I’ve just returned from bridal market in New York City, and I am still pinching myself over some of the collections and dresses I viewed during my five-day juggernaut. While I had planned on blogging a bit form the shows, I forgot the USB cord for my computer on my desk, so instead I will spend the next few days filling you in on some of the goodies. But for all of the details and for my complete runway rundown, you’ll have to pick up the January issue of Mpls.St.Paul Weddings.

Now for a quick review . . .

Highlight shows: Reem Acra, Monique Lhuillier, Giles Montezin, Angel Sanchez, and Elizabeth Fillmore

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Perhaps more than neckline, train, and even silhouette, nothing really affects the way a wedding gown moves and falls over the curves more than its fabric. From the float of tulle to the cling of jersey, the light reflecting properties of satin to the texture of lace, here is an explanation of some of the most common textiles used in bridal couture. But the most important thing to remember is, no matter what fabric you choose, natural fibers—usually silk, but occasionally cotton or wool—are best.  

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Los Angeles-based couture bridal designer, Monique Lhuillier, has launched a new bridal collection. Bliss by Monique Lhuillier is  a reworking of many of Lhuillier's best selling gowns, and in most cases, at half the price.

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Now that you're experts on wedding dress silhouettes and necklines, it is time to talk trains. The length of train you choose for your gown is more dependent of the location and style of your nuptials than any of the other element. While a short dress would look all wrong at the Basilica or the Saint Paul Cathedral, a monarch or cathedral length train has the mass and drama needed to make sure you're still visible to those even in the furthest pews.

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For part two of our guide to dissecting wedding dress lingo, we talk necklines. While strapless is the neckline of choice for many brides, there are a plethora of options that suit a variety of shapes.

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We just finished putting the last pages of our summer issue of Mpls.St.Paul Weddings to press a few days ago, and there were a handful of goodies that landed on the cutting room floor. One of those items, part of an article by writer Sarah Asp Olson, did a fabulous job of breaking down the wedding dress lingo that all brides-to-be can expected to hear when they start the search for their dream gown.

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What do you get when you take two St. Paul kids who stuck around the Cities and add large, loving families and a lifetime of friends from Catholic schools?

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Ever since seeing one of her ready-to-wear collections in New York a few years ago, I’ve been a huge fan of designer Lela Rose. And when she released her first bridal collection a little more than a year ago, my respect for the designer only grew.

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Since launching her bridal collection in 1996, Monique Lhuillier has been a favorite of fashion-forward brides who crave both originality and elegance. And since her forays into evening and ready-to-wear, as well as a small yet concise and chic collection of un-matronly gowns for mothers-of-the-bride, many have been wondering when Lhuillier would start outfitting the other females in the bridal party. And if she did start doing bridesmaid dresses, how would she translate her aesthetic into a garb that is renowned for being un-chic?

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As a fashion editor in this market, I’m always on the lookout for that distinctive, local gem that delivers on its promise of something out of the ordinary, and Andrea’s Vintage Bridal, in its newly expanded setting, is just that kind of place.

Although I'm a ways out from "I Do" and "Happily Ever After," I am steeped in our local bridal industry and well versed in the buzz surrounding New York’s Fashion Week runways. Still, it wasn’t until I wandered into Andrea’s Vintage Bridal (occupying the bottom floor of Blake Antiques in Hopkins) that I developed a new appreciation for the fairy-tale gown.

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