Josh was also very intentional with his jewelry choices for the weekend and leaned toward pieces with sentimental value. For the rehearsal dinner, he donned a gold bracelet and watch from two of his grandfathers. “On our wedding day, I wore pieces that Olivia had given me that felt like markers of our relationship over the years: a watch gifted to me for my 32nd birthday, a silver bracelet from a quick, memorable trip to Copenhagen, and a pair of emerald studs that Olivia gave to me in the final days before our wedding,” shares Josh.
The bride found her gown before her wedding dress search ever really began. “I saw the Ophelia dress from Wiederhoeft’s spring 2025 runway show, and it was an immediate scroll-pause,” says Olivia. “I remember sending it to my mom, and she was like, ‘That is the dress.’” She saw the pink gown at Wiederhoeft’s New York studio and immediately loved its marriage of nostalgic and contemporary elements. “Smith McLean—my main point of contact at Wiederhoeft and the most incredible steward throughout the whole process—told me the dress is literally inspired by a garment you’d unearth in a relative’s attic and shake the dust off,” she says.
The style featured a blush corseted bodice, a pencil skirt, hand-sewn carnations, and a long taffeta train. “I have these strong, pretty consuming pulls towards specific pieces of fashion, art, and design, and if I have that pull, there is nothing else,” explains Olivia. “So with the Ophelia, once I saw it, there was no other dress.” To accessorize, the bride wore her engagement ring—which tied to Josh’s family history—and rings from her grandmother on her other hand. “Across the weekend, it was so nice to look down and feel like I was wearing two lineages on my hands at once,” Olivia adds.
“Once the dress was set, color and beauty became something to really calibrate,” says the bride. “My makeup artist Sydney Utendahl—who’s also a close friend—and I dialed in every choice together, from skin to makeup tones to hair, to make sure everything sat in the same world.” This even led to Olivia coloring her tresses ahead of the celebration. “I have naturally auburn hair but I deepened it into a richer cherry tone to play off the blush,” she shares.
Later in the night, Olivia would swap her pink gown for a very different aesthetic. “For the after-party, I wanted a moment of transformation,” she says. “I’d been following Stockholm-based knitwear designer Mega Mikaela for a minute and was obsessed with her almost chainmail-esque weaving. We worked together over a few months to design a custom, hand-woven two-piece made from white yarn and silver steel washers.” The final look was so heavy it couldn’t even sit on a hanger. However, the bride says, “It was incredible to dance in.”
The wedding weekend arrived, and the guests—all dressed in shades of ivory and cream—gathered with the couple at Café Spaghetti for the rehearsal dinner. “We did an all-white dress code—cheekily and very much on purpose—given that the restaurant has a menu full of red sauce,” says Josh. The bride wore a Joyce Bao lace and velvet top and a damask Genevieve Devine skirt for the night. “I’m not really an archival or vintage person,” she shares. “I’d much rather shop from the Central Saint Martins freshman class,” she adds. The evening was full of food, connection, speeches from the couple’s siblings, and music. “Our close friend Scout Larue Willis, who’s an incredible musician, performed live with a guitarist, singing two of my favorite love songs—Al Green’s ‘Simply Beautiful’ (the song Olivia once told her, in college, she’d be getting married to) and Lauryn Hill’s ‘Tell Him,’” adds Josh.