Entry No. 4: The Whisper, the Rose & the Revelation
Hello, my dear darling.
This past April, I had the opportunity to attend two private showings during New York Bridal Fashion Week, as well as briefly explore an ensemble-style market show in Manhattan. As I prepare for my own debut during NYBFW in April 2026, I thought it only fitting to experience the current landscape—to observe how today’s top bridal houses present their visions to the world. So, I packed a small bag, boarded a Greyhound bus, and set off—just days before heading to Florida for a much-needed family vacation.
The first show I attended was Reem Acra’s Roses presentation, held on Monday evening, April 7th, in a sleek Manhattan penthouse. Guests—including photographers, influencers, and industry veterans—glided in a large oval around the room, cameras poised, shifting gently to make way for one another as the gowns floated before us. Lace and floral details wove delicately through the collection, with familiar silhouettes—sheaths, mermaids, A-lines, and a few ball gowns—on display. One piece in particular caught my eye: a whisper of a dress with a floaty tulle skirt and transparent illusion bodice, accented with soft floral appliqués. The skirt reminded me of my own wedding gown—tulle piled like clouds, an ethereal silhouette that still defines much of my design DNA.
And yet, while the collection was undeniably beautiful, it felt safe. Marketable. Many of the gowns echoed designs already found on boutique racks, and the presentation format—though creative—made it difficult to truly savor the garments. Attendees quietly remarked about bumping into one another or having to step aside before they were ready.
The highlight, for me, was the installation by the incomparable Preston Bailey, the celebrated designer behind some of the world’s most luxurious events. His signature artistry was unmistakable—grand candelabras of varying heights, flickering real pillar candles, and an ambiance that enveloped the room in romance and light. It was truly stunning. If it had been my show, I would have loved to see bold red roses—perhaps tucked into the arms of the candelabras or cascading delicately from above—as a nod to the name of the collection and the opulence of the campaign imagery that first introduced it. But I suspect the absence of color was not a missed detail on Preston’s part, but rather a brand decision. Perhaps there was a concern that vivid florals might outshine the gowns themselves, or shift the tone of the presentation. Still, as a viewer, the disconnect between the evocative campaign and the neutral, pared-down setting left me wanting more.
One thing is certain: Preston’s work elevated the atmosphere, and I would be honored to collaborate with him in the future. His designs don’t just decorate a space—they awaken it.
Another detail that left me quietly unsettled was the casting. A single racially ambiguous model does not reflect the world we live in or the brides who dream in color. For a house of Reem Acra’s stature, it was a noticeable absence.
The next morning, I made my way to the Mira Zwillinger presentation, which took place in a minimalist white studio—its bare walls the perfect canvas for their luminous gowns. There’s something undeniably magical about how their A-line skirts move—hovering between a ball gown’s romance and an A-line’s restraint. The fabrics were featherlight, dreamy, with visible hints of internal structure: horsehair hems and soft crinolines that gave shape without weight.
I especially appreciated the casting, which reflected more diversity—even if not in body size, at least in showcasing models of various ethnic backgrounds. So many bridal brands miss how breathtaking light-hued gowns can be on deeper skin tones; the ivories, blushes, and whites absolutely glowed.
I had a wonderful vantage point at the end of the runway and didn’t miss a thing. If I had two gentle wishes for this show, they would be: one, to see the house explore color more boldly—just one blush gown graced the runway—and two, to see more pieces overall. The collection was so lovely I didn’t want it to end.
Afterward, I stopped for coffee and a quiet moment of reflection before heading over to the One Fine Day market show, hosted at Daylight Studios. I’d presented there myself during Horizon Bridal Market in 2022, so the space was familiar. The show spanned two floors, though I only browsed the first.
It didn’t take long to sense the overwhelm. Dozens of designers, some with grand booths and others tucked into tight corners, filled the space. There was chatter and movement, but also chaos. Many of the designs began to blur together—similar silhouettes, familiar laces, echoes of trends rather than unique voices. It left me with more questions than answers, especially as I had considered whether my own NYBFW debut should take place within a collective market space like this. But as I looked around, the decision became clear.
I will be doing a solo presentation.
There is a beauty, a stillness, a reverence that comes from placing your work in its own world—a curated setting that allows the story of each gown to unfold. A collective space demands compromise: space, time, attention, and ultimately, creative autonomy.
As I reflect on the entire trip, I am grateful. I saw exquisite details, delicate handiwork, and the devoted craftsmanship of talented ateliers. But I also left more certain than ever of the direction I’m called to walk in. I want my brand to be beautiful, timeless, and singular. At this stage, I am not interested in working with stores—not because I don’t respect their role in the industry, but because the demands of marketability often encroach upon creative purity. To shape something truly original, I must protect my expression with sacred care.
And so, as I prepare for my NYBFW debut in April 2026, I do so with clarity, reverence, and deep excitement. I look forward to welcoming you into my world when the time comes.
Which gowns did you like best? Would you like to see my coverage of NYBFW October 2025?
With Love,
Dani Simone, The Dressmaker
