Hayley Paige Returns to Bridal Fashion with Twice Upon a Time Collection

NWD: What inspired your latest bridal collection for Bridal Week NYC?

HP: I call this collection “Twice Upon a Time” — it’s about returning to your roots and holding onto your whimsy. After five years of not being able to design under my own name, this body of work is a reclamation. It’s inspired by folklore, femininity, and fierce resilience — a poetic comeback stitched with joy, defiance, and unapologetic shimmer.

How does this collection differ from your past work?

The DNA is still part playful part high-craft — heaps of dramatic tulle, texture, and transformation — but there’s definitely a hint more defiance. It’s less “happily ever after” and more “choose your own adventure.” These gowns aren’t just romantic, they’re embrace an off-beat edge. They’re designed for brides who want to feel carefree in their imagination, yet grounded in their own story.

Many brides want a gown that tells a story... what story are you hoping to tell through this collection?

I love thinking of each gown as its own vignette or storyline. They’re stitched with symbolism — love letters in lace, phoenix motifs, nods to mythology and poetry. I want brides to feel like they’re not just walking down an aisle, they’re stepping into their own love and light. This isn’t about fitting into a fantasy — it’s about writing your own.

Can you share how your background and experiences shaped your design journey?

I studied fiber science and apparel design at Cornell — so I’ve always felt equal parts couturier and curious scientist. My career has been an unusual mix of “saying yes to the dress” and getting out of a “courtroom mess”. I feel so blessed to have known from a young age exactly what I wanted to do. Losing the right to my own name forced me to reimagine how to express myself, but it also made me double down on what has always given me so much purpose: design.
 

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What was the creative process like in bringing this collection to life?

I sketch intuitively — but the sketches are just the beginning. I love a good character motif to help personify each gown — they become leading ladies in their own right. From there, the design process involves translating those narratives into texture, silhouette, and structure. I create fabrics mostly from scratch, and I love creating prints that tell a story. There is a lot of technical work that goes into the construction and functionality of the designs, so our team is extremely meticulous — everything from engineered corsetry and stretch linings to micro-pleated tulle, mosaic floral embroidery, and just-the-right-amount of “basque” in waistlines. Each design should have movement, emotion, and heirloom-quality craftsmanship.

How do you balance modern trends with timeless bridal traditions?

I typically don’t! Trends and traditions are pretty subjective and sometimes divert a bride in a direction that doesn’t represent her best. I love embracing individuality and personality, which means leaning into contrasts, dualities in texture, and splashes of color. I might take a classic corset and redirect the seaming, or add splashes of iridescent opalite to freshen up a more standard rhinestone. I love brides who don’t feel confined by other people’s expectations — they want something that simply feels like them.

Can you talk about the fabrics, techniques, or embellishments you’re most excited about in this season’s gowns?

We’ve leaned into mosaic floral embroidery, basque waistlines, and hand-draped elements that feel almost like sculpture. There’s a lot of layered tulle, romantic pintucks, and illusion lace that feels like painted air. One of my favorite gowns has a stitched motif that hides a tiny phoenix — a little Easter egg for anyone who knows the journey.

Sustainability is a growing conversation in fashion... how do you approach ethical or conscious design?

Sustainability is such a nuanced conversation in fashion, and I think it’s important to be transparent rather than lean on it as a buzzword. For me, conscious design starts with intention: every gown is made-to-order, which means we’re not overproducing or adding to excess inventory the way fast fashion does. We also prioritize heirloom quality—pieces that are built to last, both structurally and sentimentally, so they’re not disposable. On the production side, we work in small batches with limited fabric minimums, so our materials remain thoughtful and exclusive rather than wasteful. And perhaps most importantly, there’s a lot of human handwork in these gowns—an artisanal element that honors the craft and naturally slows down the cycle of consumption. For brides, that translates to something truly unique and enduring, not just for the wedding day, but as a part of their story.

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When designing, do you picture a specific type of bride in mind?

She’s not a type — she’s a feeling. She’s bold and kind. She’s got main character energy but never forgets her supporting cast. Whether she’s getting married barefoot on a beach or in a ballroom with a gospel choir, she wants to feel something. I’m designing for her inner glow — not her Pinterest board.

What advice do you give to brides who are searching for their dream dress?

If you have to talk yourself into it, it’s not the one. Your dress should feel like a mirror and a muse — reflecting who you are and who you’re becoming. And don’t worry about "the rules.” Wear pink. Add sleeves. Dance barefoot. I will say, most “yesses to the dresses” come with tears, but not always.

How do you merge comfort with couture for brides who want to feel as good as they look?

We engineer our gowns with structure and stretch — because no one wants to feel like a sparkle-wrapped statue. Our linings are soft and breathable, and we pay obsessive attention to movement. If you can't sit, eat, or sneak a tequila shot comfortably… what’s the point?

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What does it mean to you to be showing at Bridal Week in New York City?

Sentimental and always in a hurry. There’s something poetic about returning to the city where it all began. Bridal Week is a sacred space for dreams in fabric. To be here again, on my own terms, is nothing short of humbling and exciting.

What trends do you see shaping bridal fashion in 2026?

Brides are way more ahead of the game these days. They do their research and have the right questions locked-and-loaded during dress appointments. I’m seeing a lot more brides seeking customizations and detachable elements or multiple looks. They are all so different in their quest! Some want that uber modern/structured look while others go full whimsy nostalgia. It makes for a very exciting landscape as a designer.
I also love that brides are seeing their gown as wearable art.

How does presenting in NYC compare with other bridal markets around the world?

NYC has a hustle and bustle that goes unmatched. It’s scrappy, electric, and creatively charged. London feels more editorial, Paris is poetic, but New York? She’s bold, ambitious, and never afraid of being off-beat.

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What has been your most memorable moment as a bridal designer so far?

Honestly? The most unforgettable moment was our first trunk show back at Kleinfeld Bridal with the new collection in New York. Being on the floor where Say Yes to the Dress was filmed, with my name finally restored, felt surreal—but what made it extraordinary was the bride. She never left. She had been waiting for this revival, and in her own way, she helped carry me back there.
When she stepped into her gown, it wasn’t just about my return—it was about her faith, her patience, and her belief that this moment would come. She reminded me that the true heroes of this story are the brides who never stopped believing, and who brought me home.

If you could describe your brand in a short message... how would you describe it?

Artful. A little poetic and a little punk. Designed for razzle-dazzlers.

How does it feel to be able to use your name again!

Humbling.

What’s next for your brand? Any exciting projects or collaborations on the horizon?

I really want to be fully in this moment. It took a lot to get here, so now that we made it, I’ve got to appreciate it.