“For me, design is a way to create entire worlds—narratives you can wear,” says Jackson Wiederhoeft of their approach to craft. They started sketching costumes, characters, and entire stories as a child, and never put their pen down. “I’ve always been drawn to fantasy and theatre, and fashion became a natural extension of that,” says Wiederhoeft. “At Parsons, I [homed] in on storytelling through garments.”

While in school, Wiederhoeft found their voice and vision. “Being recognized by Parsons and the CFDA so early gave me the confidence to embrace my theatrical point of view in a world that often rewards minimalism,” they explain. “It meant I could take risks and be taken seriously while doing it.” It’s those same stylistic choices that have drawn some of the most avant-garde celebrities, such as Lady Gaga and Sabrina Carpenter, to their designs. “Seeing people like them wear Wiederhoeft affirms that fantasy still has a place in fashion; it can be aspirational and wearable.”

From the get-go, Wiederhoeft came in with a strong point of view. “My debut was like a love letter to drama,” they say. A mix of ballet, drag, and historical references, it was all filtered through Wiederhoeft’s original lens. “It was called ‘The Dollies,’ and each look was its own character, its own miniature performance,” says Wiederhoeft. “I wanted it to feel like opening a music box full of fantasy, play, and detail.”

The bridal category was natural fit for Wiederhoeft. “Bridal is a space where drama is not just accepted—it’s expected. I love the emotional weight of it,” they say. Since people always remember their wedding day looks, Wiederhoeft considers it an honour to play a part in the memory. “Plus, where else can you wear a full ball gown with embroidered cherubs and a 12-foot train?” they joke.

Wiederhoeft has a clear image of their bride in mind. While she’s somewhat of a romantic, she’s definitely not the helpless kind. “She loves fantasy, doesn’t take herself too seriously, and isn’t afraid to break a few rules,” they say. “Maybe she’s a theatre kid at heart. Maybe she’s a fairy in disguise,” they add. “But above all, she wants to feel like the main character on her big day.”

“It always starts with a story: who is she, what world does she live in, what’s her love story?” says Wiederhoeft of the bridal design process. From there, “I sketch, drape, and build the piece with couture level techniques,” they say. From embroidery, to lace appliqué, to delicate corsetry, a lot of the work is done by hand. The process is meant to feel collaborative and emotional, and each dress becomes its own one-of-a-kind artifact.

Each collection they imagine tells its own story, brought to life through fabrics with texture and movement such as organza, jacquard, and silk faille. “For Fall/Winter 2025, the theme was a twist on classic religious iconography through a queer, maximalist lens,” they say. “Think embroidered angels, celestial beading, and tulle so dramatic it defied gravity.” They designed Spring/Summer 2026 to be lighter and more playful. “There’s a sense of motion, rebellion, and romance. Lots of bows, capes, and layered tulle that floats like a daydream,” they explain. “Both collections explore the intersection of
devotion and drama—hallmarks of the Wiederhoeft world.”

For Wiederhoeft, there’s something special that happens during fittings. “There’s a moment when a bride tries on the gown and suddenly, it all clicks: the posture changes, the eyes light up,” they say. “That’s the magic moment I live for,” Wiederhoeft continues. “It’s when the fantasy becomes real.”

Feature image courtesy of Wiederhoeft.