Gabbriette is apparently not finished giving us wedding photos, and we are absolutely fine with that.
Weeks after marrying The 1975 frontman Matty Healy in Los Angeles, the model has opened the archives again, sharing dozens of new images from their wedding at Castillo del Lago. And if the first photographs introduced us to Gabbriette the bride, this latest batch gives us the full character study.
Grainy photographs. Cigarettes. A veil caught dramatically in the air. A single red rose. Matty with his bow tie undone. Gabbriette running through the grounds looking somewhere between a Victorian heroine and the lead singer of a band you discovered online at 2 a.m.
It's dark romance without the costume drama polish, and perhaps the best part is that the photographs actually look like them.
Gabbriette, born Gabriella Leigh Bechtel, married Healy in July wearing a custom creation by Matières Fécales, becoming the fashion label's first-ever bride.
The gown, named "Gabriella," took the conventions of Victorian bridalwear and distorted them beautifully. Crafted in toile-toned silk taffeta, the dress featured micro pleating that twisted around the body, frothy tulle emerging from the neckline and sleeves, and a four-tier bustle that cocooned the back before extending into a dramatically distressed train.
It was romantic, but never precious.
The newly released photographs make those details feel even more alive. Gabbriette is captured moving through the grassy grounds of Castillo del Lago with her sheer veil trailing behind her, sometimes floating around the couple and blurring the line between bridal accessory and atmospheric special effect.
Turns out a veil can do quite a lot when you let the wind handle creative direction.
Celebrity wedding photography usually arrives polished within an inch of its life. These photographs went somewhere else entirely.
Gabbriette's latest posts lean into intentionally grainy, imperfect and occasionally chaotic imagery. Instead of presenting the wedding as a sequence of perfectly composed portraits, the photographs feel like fragments from the night.
One moment has the newlyweds bowing toward one another with exaggerated old-world formality. Another captures them sharing a cigarette, with Healy's "GABI" knuckle tattoos clearly visible as he holds it toward his bride.
Elsewhere, his tuxedo becomes progressively more undone, with an open collar and loosened bow tie replacing the pristine groom styling from earlier in the ceremony.
The images feel less like documentation and more like an editorial that happened to take place at an actual wedding.
And that's exactly why they work.
Among all the distressed taffeta, dramatic veiling and gothic imagery, one of Gabbriette's simplest bridal choices continues to stand out.
The bride carried a single red rose.
In the new photographs, the flower appears again after Gabbriette takes the rose from Healy's lapel and holds it while the couple poses together.
Against the elaborate construction of her Matières Fécales gown, the simplicity of one bloom feels almost severe. A traditional bouquet might have competed with everything happening in the dress. The rose becomes punctuation instead.
It also fits a broader shift we've been watching in bridal florals. Brides are increasingly editing their bouquets down to one variety, one sculptural stem or, in Gabbriette's case, literally one flower.
The setting deserves some credit.
Gabbriette and Matty married at Castillo del Lago, the Spanish Colonial Revival estate in the Hollywood Hills famously once owned by Madonna.
With its historic architecture, sprawling grounds and old-Hollywood associations, the property already comes with plenty of character. But instead of styling the venue toward traditional Los Angeles glamour, the couple pulled it somewhere darker.
Through the lens of their wedding photographs, the lawns become windswept fields and the historic estate starts feeling almost removed from Los Angeles entirely.
That's the difference between choosing a beautiful venue and actually doing something with it.
Beside a bride wearing distressed Victorian couture, Matty Healy wisely kept his own look straightforward.
The singer wore a custom black Paul Smith suit with a white shirt and bow tie, giving Gabbriette's elaborate bridal look plenty of room to dominate.
But as the photographs progress, the styling loosens. The bow tie comes undone. The shirt opens. The boutonnière disappears into Gabbriette's hands.
By the later images, the couple look considerably less like newlyweds posing for formal portraits and more like characters halfway through a particularly glamorous night out.
Which, arguably, is exactly what wedding photographs should eventually become.
The real takeaway from Gabbriette and Matty's newly released wedding album isn't that every couple should suddenly commission gothic, grainy photographs and start running dramatically through a field.
Please don't manufacture personality for the sake of an Instagram carousel.
What works here is that the photography feels consistent with everything else about their wedding. Gabbriette's distorted Victorian gown, the single rose, Matty's relaxed tailoring, the historic Hollywood Hills venue and the imperfect imagery all belong to the same visual world.
The photographs aren't trying to make their wedding look universally beautiful. They're making it look specifically theirs.
And that might be far more interesting.
Gabbriette has shared a generous amount of her wedding with the internet, yet these new photographs don't feel like leftovers.
They reveal something the initial ceremony images couldn't quite capture: the mood.
The Matières Fécales gown looks stranger and more beautiful in motion. The veil becomes theatrical. The single rose suddenly makes even more sense. And the polished celebrity wedding portrait is replaced by something considerably messier, moodier and more memorable.
If this is Gabbriette's version of the wedding photo dump, long may it continue.
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