I turn around again and go into the guest room and close the door.

It seems I’ve just been warned.

Jenny

“Oh, God,” Andreas says. “Look at the hordes. This is awful.” Though he threatens weekly to quit, I don’t think he will, despite the reverse commute to the city. Who else would let him work on his novel during work hours?

“Hordes are good, Andreas,” I say patiently, looking at the line that snakes down the block. “This is great. It’s our grand opening. Smile. Be happy. And do not open that door until the stroke of twelve, okay?” It’s Sunday, the sun is shining, and the streets of Cambry-on-Hudson are filled with people strolling around, having brunch—yes—shopping. Outside my shop is a huge tin bucket filled with early peonies, bought from the florist across the street. A chalkboard sign says “Bliss: Open House today from 12-5. Come in, look around and enjoy!”

My mother is the first person in line. This does make my shoulders droop a little. But no, no. While my mother will talk endlessly about her wedding to Dad, she at least does it in a highly romantic manner. It could be good for business. Still, it would’ve been nice if she hadn’t worn sweats. She looks a teeny bit homeless. Sneakers, too. Her hair is messy. It’s all part of the “I’m A Widow” package, lest there be any doubt that her life was ruined when Dad died.

As ever, a cold needle pricks my heart.

Well. I have too much to do to rehash the past.

Andreas pops the champagne at the little bar I’ve set up for today. Pink champagne and pale pink-frosted cupcakes from Cottage Confections, the fabulous cake shop conveniently located four doors down. Kim, the owner, and I became instant friends as soon as she welcomed me to the downtown with six chocolate cupcakes. We’ll be referring each other lots. Andreas arranges the napkins, sets out a beautiful notebook so people can write down their emails.

To advertise my skills, the showroom is furnished with dress forms adorned with finished gowns in each of the classic shapes—A-line, mini, modified A-line, trumpet, mermaid, sheath, tea-length and, most popular of all these days, ball gown. The forms stand around Bliss like a beautiful army, shimmering in the pinkish lights of the store, the crystals from the ball gown catching the light and casting tiny rainbows, the satin of the tea-length glowing.

I fluff the cathedral train on the Grace Kelly–inspired dress, fingering the silk mikado. Bliss is not the type of shop that has ready-to-wear dresses. I’m not a salesperson; I’m a designer. But I do keep a few dresses on hand for the women who want to play dress-up.

Another section of the showroom features accessories—veils, belts, headpieces, gloves, garters. I’ll have to make sure my nieces don’t get into too much trouble over there. They tend to view my workplace as their personal playland.

Hung on the brick walls are a huge selling tool—pictures of my brides in their dresses, each one a black-and-white photo, hung at precise intervals. One picture is bigger than the others: Rachel, wearing the most beautiful dress I’ve ever made.

The back half of the shop is where the work really happens. Of course, there’s the dressing room with its apricot-painted walls and dais with three-way mirror, as well as a couch and three upholstered chairs, a coffee table with a photo album of my work. That’s where I’ll do consultations and fittings, where the bride shows me pictures of dresses she likes, where I’ll ask all the questions they love to answer—what’s your vision for the day, do you have a theme, how do you want to look.

The workroom is across the hall, where Andreas and I painstakingly organized thousands of fabric samples: satin, silk, chiffon, organza, charmeuse, lace—I have more than a hundred samples of lace—and yards and yards of muslin, since I make a mock-up of every dress before cutting the dress fabric itself. In the center of the room is a huge oak table—my work space, complete with four different sewing machines.

Shelves hold tape measures and scissors and thousands of straight pins, dozens of types of appliques, lengths of crystal and beading and accents. I never understood how a designer could be unorganized. It makes me cringe on Project Runway when someone loses their fabric.

I love my job. I love weddings, all types. Me, I opted for a quickie wedding on the beach in Provincetown, a weekend when Owen and I seemed to be the only straight couple tying the knot. Rachel and Adam came, Mom, Owen’s wonderful parents, Andreas and his boyfriend, a few friends from New York. We had lunch at a waterfront inn at the tip of P-town, and the sun shone, and we drank and laughed and ate. My dress was a flowing empire-waist sheath with a pale violet sash that fluttered in the wind, and Owen wore a navy blue suit with a lavender tie.

And look at us now.

The one thing I hate about the wedding industry is that it focuses so much on the one day. People become obsessed with details, enraged with those they love, worn out from planning a few hours of a day that may not mean that much in the grand scheme of things. Even as I’m designing a dress that will cost thousands and thousands of dollars, I’ve always tried to work that message in. Don’t forget that after this day comes thousands of other days. Be careful. Cherish each other. Don’t blow it.

Even knowing all this, I blew it. I’d say Owen and I blew it, but he’s the happiest man on earth these days.

I take a pit stop in my little bathroom. I’m wearing my work uniform, my straight, black hair pulled back in a twist, red lipstick in place. I try to look as different from a bride as possible—a little severe and simple, but chic, too. Even though I’m on my feet a lot, I love my fabulous shoes. A talent is a talent, and wearing heels for ten hours a day is one of mine.