The Bride Wore Handmade Silk Organza Flowers in Her Hair for Her Creative Wedding in Marrakech

When film director Pam Nasr and Mateo de la Torre got engaged in November 2025, it was in cinematic fashion. The couple was visiting Mateo’s family for Thanksgiving on Oahu, where he grew up. “He took me on a surprise trip to Kaua’i,” Pam says, “and proposed to me in the middle of the ocean off the Nā Pali Coast.” The couple had met three years prior on Hinge. “He was the only person I spoke to and met with on the app, and we didn’t stop talking after our first date.”

As someone who works in a creative field, Pam counts several artists and designers as dear friends. So when she and Mateo began planning their wedding, it was only natural that she collaborated with these loved ones for each of her looks.

Prior to their June wedding at Ksar Char-Bagh in Marrakech, the couple exchanged vows with a city hall ceremony. “I had always pictured a classic courthouse skirt-suit look, but with a mini skirt,” Pam says. She tapped friend Nina Tiari to design it, and the two turned to Mugler’s structural jackets as a starting point for inspiration.

The only problem? The weather. “It was in the middle of July,” Pam says, “so we went for a three-quarter sleeve for some air to breathe, and it helped.” She paired the look with a Christopher John Rogers veil and tonal slingback pumps.

Once Pam and Mateo arrived in Marrakech, they threw a welcome party on the rooftop of a riad in the medina to greet guests. Determining she’d need a look that befit the immersive setting, she worked with friend Michael Challita to design something soft and drapey. “We thought of YSL’s Marrakech here, something that felt loungey and airy, as if I was welcoming people into my own riad,” she says.

The end result contrasted with the rest of her wedding looks, which were more tailored. “Michael draped it on my body to get a feel of the look,” Pam says. “I loved the process so much—it was very instinctual.” It was also important to have her hair out naturally for the event. “My hair is a big part of my identity,” she says, “and it felt best to pair it with the more airy look of the welcome party.”

For her ceremony look, she was certain she wanted Christopher John Rogers to design the dress. “We had been friends for years, and I’ve always admired his eye and storytelling,” she says. “When I got engaged, he and I giggled about how him dressing me was a non-negotiable.”

The concept for the silhouette began as a take on the tuxedo dress. “My mom had a black tuxedo midi dress in the ’00s that I will forever refer back to,” Pam explains. They complemented this silhouette with some of her favorite CJR accents from previous collections: the gathered, rippled waist and the ribbon tail.

The gown was crafted from 100% silk faille, which acted as a waistcoat. Underneath, a silk and wool bustier peeked out from the dress’s neckline. “Finding the right shoe was tougher than I had imagined,” she notes, due to the front slit. She eventually landed on Danielle Frankel’s slingback pumps, which offered the “perfect amount of toe cleavage.”

For her beauty, she was initially hesitant to deviate from how she usually keeps it. “I have a pretty low-maintenance haircut on purpose—I’m not very daring with hairstyles,” she explains. But what felt right for the day of the wedding was a curly updo. “My hairstylist Shelby Samaria was incredibly patient and collaborative,” she says. To frame her face and bring a little romance, she found fabric chrysanthemum flowers in the garment district and ended up getting them remade in silk satin organza, to match the ivory of the dress. “We also added some ostrich feathers for wind drama!”

After the reception, Pam slipped into an afterparty dress that was also designed by Michael Challita. “He and I are both Lebanese, and we bonded over our similar childhood references of Lebanese pop stars,” Pam explains. In particular, they were inspired by Lebanon’s Lady Madonna and vintage Valentino. “From the beginning, the idea was to change into a long dress, but it needed to feel party-forward,” she says, adding that the beaded tassels brought the belly dancer energy to life.

They also used the after-party moment as an opportunity to switch headpieces. For this one, she channeled a festive cake topper. “Michael and I were at his studio until about two in the morning the day before I traveled, designing and meticulously assembling it,” she says. “I wanted to be able to be located from within the dance floor, as if my headpiece were an antenna.”

When reflecting on her four bridal looks, it was these connections she’s most grateful for. “I feel so lucky to have had all my dearest friends play a part in my wedding.”