From Malaga comes a wardrobe story that broke the rules of modern weddings. The maid of honour Belinda showed up at the wedding in a dress that was not bought from a boutique and not styled by anyone - it was sewn by her cousin, the designer Isabel Montiel. The inspiration is the 1920s, the era of the Charleston and the liberated woman.

The dress is champagne-coloured silk gauze, with hand-sewn decorative pleats and movable accents. There was one shawl for the ceremony in the Church of the Sacred Heart, and - what better backup for an evening - the family manila shawl for the reception at La Casita de Madera in Churriana. The hat was oversized, in natural raffia, a deliberate provocation in an era of minimalist small hats.

The details matter. Isabel Montiel is a designer working in a small circle in Malaga, and her approach to this wedding wasn't a fashion statement - it was a family duty. She sewed dresses for the bride, for the maid of honour, and for several other guests. "It was inspired by the Charleston era," she describes. Everything within the family circle: an aunt, a cousin, a dialogue between form and freedom in a quietly intimate moment in the wardrobe.

For a Balkan wedding, this is a radical thought. Here the maid of honour is usually under pressure not to "outshine the bride" - a rule used against any bold woman with style. The Malaga example shows the opposite: an outfit can be both homage and discretion, both historical and personal, all at once. The maid of honour shouldn't be a smaller lamp than the bride - she should be a second lamp. And she should carry it with soul.