From San Francisco Wedding Scene, 2003

How to Approach Custom Bridal Attire
by Sara Schieron

Today, we rely so heavily on the ready-to-wear clothing that many of us have no idea what "custom" really means. When preparing for our weddings we have a unique opportunity to test out traditions of the past, and as modern as brides get, tradition is still a major part in the planning of the contemporary wedding.

Melding the past and the present is a trend very familiar to Redwood City based Bridal Designer, Diana Ackerman. Diana's specialties are alterations, embellishments, and custom veils. She has been a tailor all her life, stringing buttons as early as 3 years old. Deciding to take a turn into attire more romantic, Diana entered into the Bridal Industry formally, some 15 years ago.

Regardless of their time in the industry, no two Custom artisans' are alike. The perspectives they work from are as varied as the materials they use; so pairing your gown (and your ideas) with a custom vendor is a process in your bridal journey that should not be glossed over.

Diana says, "Some brides come in with books of research and others come in with no idea what they want. No matter what, we can always work it out. I suggest ideas and design solutions and after three or four ideas I tell them they can always let me know if my suggestions are silly to them. I remind them, it's not about the designer. It's about the bride. I don't take anything personally."

While Diana's approach is very open to diverse perspectives, there is no denying that following certain guidelines can make the custom process more comfortable.

In terms of custom attire, there are two ways to realize your custom ensemble: either commission a designer and bridal gown artisan to build a dress from scratch, or go to an artisan with a dress (new or used) in hand. In the case of a tighter budget, the second alternative can frequently offer the most cost efficient options while still allowing for all the custom bells, beads, and bows.

Regardless of how you hope to attain your ensemble, working with a custom artisan can be broken into four stages: research, trial, collaboration, and refinement. To save on time and money, it is always a good idea to research gowns and accessories beforehand.

While Diana suggests you research only as much as makes you comfortable, she also requires her brides to come in with their bridal lingerie and shoes for all fittings. "Shoes and lingerie change a woman's posture." And who would deny we stand differently in heels and corsets than we do in sneakers and camisoles?

After researching your ideal ensemble, go to bridal salons and try on gowns and accessories. Trial is crucial. The gown of your dreams may be a sheath, and in your dreams, you look fantastic, but in reality a sheath gown could make you look like a bowling pin with a veil. By trying on different shapes you can get a sense of what your best physical traits are and what styles of gown accentuate those traits. This is the kind of information a dressmaker will really utilize.

The next step is to research your vendor. Asking around is always a good way to get insider information. Remember that you're not just looking for a person who can use a needle and thread, you're looking for a person you can work with. Also, keep an eye out for vendors who specialize in your specific needs. Don't go searching for a couture designer when what you need is an alteration. This brings us to our next point: The interview.

Some artisans charge for consultations, making interviews a budgetary impossibility. Even if you can only chat with the potential artisans by phone, chat! Meeting with the artisan is always preferred, but the goal is to get a sense of how each artisan operates. Ask a lot of questions and find a way to look at pictures of previous work. Your ideas and the artisan's taste will effect the outcome of your ensemble so make sure you like the artisan's examples. Ask if the vendors have websites. This can really speed the along the selection process. You want to make sure the artisan has a sense of flexibility and make sure the artisan listens. Remember to listen as well, and never forget there is more than one "right" way. Be certain you feel comfortable expressing your feelings and your desires. No artisan would want you to end up with a dress you don't like.

When collaborating with an artisan it is critical you use good etiquette. Smart artisans realize the anxieties and stress you exhibit during your meetings are not personal comments, however, it is always poor form to vent at your vendor. While you commission your artisan, they are not beholden to you. Rudeness is never becoming.

At the same time we must be kind, honesty is very important. You are developing a relationship with this artisan and this dress you are working on together is your wedding gown. Make sure your needs and desires are discussed and acted upon. Often, it is the most fruitful for a bride to come in with concepts, instead of guidelines. If a bride enters saying "I want this exact ensemble, for this much, on this date," she'll find herself in a difficult situation.

Diana specifies, "The biggest misconception my brides have about custom work is the amount of work involved. They say 'It fits pretty well in the bodice, it just needs to be hemmed,' but they do not realize there is usually a necessary bodice adjustment and a hem, and then the perfect bustle needs to be put in place. Some brides are unfamiliar with the terminology and are not sure what a bustle is, or what it does, so we talk about different options."

As might be expected, negotiation is part of collaboration. When brides bring their heirloom gowns in to Diana for refitting or restoration, sometimes it's more than just antique stains that have to be fixed in order to return the gown to it's original splendor. "The most complicated job is when the gown is too small. If it's too small, it's usually too small around the bodice. I won't just add a gusset or faux panel because I do not want it to look like we added something to make it fit, so we redesign the bodice, we create a corset design or redesign the back of the gown. My biggest compliment is 'it doesn't look like you've done anything'."

Diana is specific about including the budget as part of the collaboration process. "Budget often demands a priority assessment. I need my brides to budget for veil and dress separately. From that point I can tell them what can be done. If a bride's priority is her veil, her veil can be very embellished and this will accent her gown's simplicity and excellent fit. If the dress is the priority, the dress can absorb the embellishment and the veil can be simple."

Even individual fees can be negotiated. "Collaborating is a very rewarding part of my job. I love the bride's energy and excitement and sometimes even nervous jitters. When brides want custom embellishments on a plain dress (my absolute favorite thing to do), they don't realize this is a time-consuming job.  So sometimes I have to negotiate with them. In some cases, if I charged my brides regular per-hour rates they would have to pay me in round trip tickets to France."

This brings us to the final stage in the journey of custom attire: refinement. Once the gown fits, your shoes grace the hemline and your train shows it all off, you will inevitably talk about a veil. While some brides come in with veils to pair to their gown, most enter with gowns and leave the veil off as an errand in the eleventh hour.

For both these occasions, Diana has designed a collection of custom bridal veils. She says, "The veil plays on all the romantic notions we've had all our lives. When she walks down the aisle, the bride is the picture and the veil is the frame."  Diana's veil line, bearing "The Threadbender" label, begins with her graceful and demure silhouette collection; crafted out of nylon and polyester tulle in white, diamond white, and ivory. Her couture collection features inventive materials and motifs. Often mirroring era styles such as 1920's two comb cathedrals and Spanish mantillas, her veils coordinate modern and vintage fabrics and trims to create hybrids that can harmonize with both new and heirloom gowns alike.  Unpredictable textiles are a signature in her couture work: constructing veils of such exotic fare as pre-deco gold metal mesh and circa 1940's English bobbin cotton tulle.

I tell my brides there are two rules. One, the bride has to communicate with me. After all, this is her dress and her day. And two, that we have a lot of fun. I let every woman know she will be the most beautiful bride in the world."

Diana says, "It is a blessing to be part of a process that I believe so much in. Marriage is the best institution in the world. How you enter your marriage is a day you will remember for a long time. This is the beginning of your future as a 'Mrs'... or as a 'Ms.', whichever you prefer. But either way, it is very romantic and I feel it's an honor to be of service."

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