MAISON MARGOT Mirage des Camélias Collection Image: Alexandra Cohen
Maison Margot Unveils a Victorian Dream at NYBFW Fall 2026
At New York Bridal Fashion Week, Ella and Shiran of Maison Margot transform the Victorian era’s contradictions into an emotional, cinematic meditation on love, loss, and beauty.
A collection born out of contradiction, Mirage des Camélias by Maison Margot staged its debut at New York Bridal Fashion Week Fall 2026 as an ode to fragility, restraint, and impossible love. Set against a backdrop of a château under renovation in Normandy, the campaign prelude to the show felt frozen in time, with grandeur and decay meeting in a theatrical pause that echoed the collection’s tension between softness and constriction.
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Designers Ella and Shiran drew from the Victorian era (1837 to 1901), a period where rigid morals clashed with suppressed longing. Their muse was Marguerite Gautier, the tragic heroine of La Dame aux Camélias. Marguerite, forever bound to her camellias, white for pure admiration and red for passion, became the house’s symbol for a woman defined by contradictions: delicate yet resilient, restrained yet courageous.
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The gowns themselves carried this duality in every seam. Layers of diaphanous silk tulle floated over corseted bodices, creating an illusion of fragility anchored by architectural precision. Sleeves puffed and softened, only to be tempered by taut waistlines and symmetrical frames. Lace veils cascaded like whispered secrets, while embroidered camellias appeared scattered across skirts, not merely as decoration but as emblems of love too sacred to speak.
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Standout moments included the Camellia gown, with its strapless silhouette blooming in layers of Chantilly lace, and Opera, a sculptural ballgown whose ruched taffeta bodice stood like armour above a storm of billowing silk. Elsewhere, Helene offered a sensual split gown that balanced delicacy with defiance, while Naya’s cathedral-length lace veil transformed the bride into an apparition of devotion.
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Opera, a sculptural ballgown whose ruched taffeta bodice stood like armour above a storm of billowing silk.
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Elsewhere, Helene offered a sensual split gown that balanced delicacy with defiance, while Naya’s cathedral-length lace veil transformed the bride into an apparition of devotion.
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In their love letter, the designers described the collection as “born not only from design, but from emotion, from the quiet power of restraint and the wild courage of love.” That ethos was felt throughout. This was not strength shouted, but whispered. Not softness as weakness, but softness as endurance.
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At its heart, Mirage des Camélias was less a fashion show and more a meditation on the contradictions that define us. Beauty and pain. Passion and restraint. Softness and strength. In Maison Margot’s vision, the modern bride is not someone becoming someone else, she is returning fully to herself.
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