Andrew Kwon’s NYBFW 2025 Collection Aquarelle Is a Love Letter to Modern Brides

“Fishing, truthfully, wasn’t my favourite part. It was the reservoir that enchanted me, the way the sunrise softened into golden hues across the water, shifting from warmth at dawn to deeper blues by evening.”

What about that specific piece of art resonated with you, and how did it manifest in your designs?

That painting didn’t just catch my eye; and it captured a memory. The water, the mythic figures, the softness of the scene — it felt like stepping into a forgotten chapter of my childhood. I’ve always been drawn to nature and the mysterious world of mythological beings, such as nymphs, sirens, and celestial spirits. It felt natural to explore a new chapter of the ANDREW KWON universe that imagined these beings in motion. I built on my signature design language, draping, twisting, and sculpting fabric into movement. We worked with the lightest mousselines and custom-woven silks that shimmered like water, and created intricate hand embroidery using pearls, crystals, and delicate beading. Some embroideries took over 40 hours to complete, with at least one set done by me. Everything was designed to feel as if it could float, like wind tracing the surface of a lake. From the opening gown to the final look, Aquarelle tells a story of movement, emotion, and timeless couture.

How would you describe the woman for whom you designed this collection? What is she dreaming of when she steps into these gowns?

She is someone who dares to feel deeply. She doesn’t follow trends, she sets them. She’s elegant yet unafraid, intuitive in her sense of self and her perception of the world. She’s not interested in wearing what others have worn countless times — she’s searching for something meaningful and unforgettable. When she steps into an ANDREW KWON gown, she envisions not just a walk down the aisle but a moment suspended in time, something that evokes awe, emotion, and magic. She understands mythology, not in a literal sense, but in the way she navigates life with confidence, romance, and a desire for transformation.

What couture techniques or fabrics in Aquarelle best represent the tension between structure and softness?

I studied architecture alongside fashion at Parsons, and that tension between strength and lightness has always fascinated me. In Aquarelle, I pushed that further than ever before. Delicate corsetry was overlaid with bias-draped silks that looked liquid. Petticoats were engineered for movement rather than volume. One look had embroidery that took over 200 hours to complete, yet it felt weightless on the body. We developed custom fabrics that ripple and catch the light like water. These gowns aren’t just garments, they are sensations. That contrast between structure and softness is where couture magic lives.

ANDREW KWON (2)
Aquarelle at New York Bridal Fashion Week

Were there any new technical challenges or innovations you explored this season?

Absolutely. I pushed bias draping to a new level within the ANDREW KWON aesthetic. Some skirts were made using two or three types of silk, each cut on the bias and pieced together through quarter circles, crescents, and triangular panels. Bustiers were layered in bias-cut silks to achieve a sculptural softness, and the seams themselves became a form of art.

“The biggest challenge was ensuring that every piece looked as if it were gliding, never heavy or still. The goal was to create couture that felt like mist or melody.”

ANDREW KWON (1)
Aquarelle at New York Bridal Fashion Week

How do you approach storytelling through bridalwear?

To me, every collection is a film and every gown is a scene. I don’t design just for a moment. I design to create an atmosphere. Music, light, movement, and fabric must all harmonise. I start with a feeling, a melody, or a memory, and build from there. In bridalwear, storytelling becomes even more powerful. These dresses appear in some of life’s most emotional and photographed moments. I want them to tell stories of beauty, identity, and meaning.

How did presenting at Nubeluz at The Ritz-Carlton NoMad elevate the vision behind the collection?

The moment I walked into Nubeluz, it felt like fate had brought me there. The floor-to-ceiling windows, emerald-toned accents, and reflective ceilings created a setting that felt like standing inside the sky. The New York skyline shimmered below, echoing the tones of the painting that inspired Aquarelle — the warmth of sunset, the glimmer of dusk on water. It felt celestial. Everything about the venue mirrored the world I was building. It wasn’t just a presentation, it was a dream in motion.

What mood or atmosphere did you want to create for your guests that evening?

I wanted it to feel like dawn by the water, quiet, powerful, and healing—a space where time slows and emotion takes over. The music, silhouettes, and movement were all carefully curated to evoke a poetic feel. This wasn’t about trend or spectacle, it was about emotion. Guests didn’t just watch a show, they entered a world.

What has shifted most in your creative process over ten collections?

Reaching my tenth collection has been an emotional experience. I started this brand in my living room apartment. Now I have my atelier in New York City. That shift in space changed everything. Initially, I edited myself. I designed what felt “safe.” Now, I trust my instincts. I work with talented artisans and patternmakers, many of whom have contributed to the creation of legendary red-carpet gowns. I’ve also started developing our fabrics, pushing in-house craftsmanship to new heights.

“Aquarelle marks not just a milestone, but a transformation.”

ANDREW KWON (1)
Aquarelle at New York Bridal Fashion Week

What do you hope to be remembered for in the bridal industry?

I hope to be remembered as someone who reimagined the wedding dress — someone who brought cinematic emotion to a shared tradition. I design for the bride who sees fashion as art, who doesn’t want what everyone else has. I want my gowns to feel deeply personal, ethereal, and unforgettable. I want them to move people, not just in form, but in feeling.

How do you define modern luxury, and how does it show up in your work?

Modern luxury is intimacy. It is emotion, intention, and identity. It’s not just about the dress — it’s about the experience of creating it. Luxury is the quiet of a private fitting. It’s weeks of hand embroidery. It’s a designer who listens, who sees you. That is what I want to offer every bride — something timeless, soulful, and uniquely her own.

Can you share a meaningful behind-the-scenes moment from Aquarelle?

There was a quiet moment in the atelier when my team and I stood together watching the final gowns come to life. No words were needed. The room was full of pride and wonder. Aquarelle came together with a certain magic. The pieces felt like they found us. It was a moment I’ll never forget — a shift into a new chapter of the brand.

What’s one lesson from your early career you still carry with you?

I’ve heard a lot of “no.” I’ve been overlooked. And every time, I remind myself that my vision matters.

“I design for women who feel deeply. When I see a woman wear one of my gowns and feel changed, even for a moment, I know I’m on the right path. Every rejection helped build this dream.”

ANDREW KWON (1)
Aquarelle at New York Bridal Fashion Week

What’s next for you creatively? What new ideas are you excited to explore?

I’m looking inward to memories, mythologies, and the architecture of emotion. I want to delve beyond the gown and explore how light, space, and story impact our feelings. With my background in architecture, I am fascinated by how structure evokes emotion. I’m ready to expand the world of ANDREW KWON, through silhouette, material, and the spaces that hold the work. I’m building the next dream.

What do you hope a bride feels when she steps into one of your gowns?

I hope she feels transformed — as if she’s stepped into a story that was always waiting for her. I want her to feel something ethereal, something beyond words.

“My gowns carry my emotions, and I hope they awaken something in her, too—a feeling of confidence, softness, strength, and above all, magic.”