To receive the Vogue Business newsletter, sign up here.
Jackson Wiederhoeft always loved clothes. The designer’s nana used to crochet blankets by the pool in the summer, joined by a child who much preferred crocheting over swimming. “I’ve always had a love for crafts. I love being near the garments,” Wiederhoeft says.
Wiederhoeft, who grew up in Houston and studied at Parsons, still likes to do things differently. At 1pm on 12 September, the designer sent out a collection of 24 looks (plus 20 more Wiederhoeft-dressed dancers) on a stage in a La Mama, small theatre in New York’s East Village. Titled ‘Night Terror at the Opera’, it was a dreamlike, absurdist performance in three acts, with nods to David Lynch. The middle act was the runway show.
It brought back memories of the designer’s first show after founding their brand in 2019: a full-bridal, 10-look ballet performance shown on a stage in Chelsea. Then, Wiederhoeft wasn’t bothered about selling anything. That stance has changed — yesterday’s collection, featuring eveningwear, ready-to-wear and bridal, is very much made to be sold.
During Covid, Wiederhoeft focused on bridal. “It provided an opportunity for small brands to do what actually made sense for their business, and not what you’re ‘supposed’ to do,” the designer says. A niche offering in an overly traditional American bridal market, the Wiederhoeft brand found success with the fashion set. “Bridal can sometimes be perceived as lowbrow, so that’s a challenge you’re up against,” they say. “But it’s such a huge market and there’s so much opportunity for good design.”
As the pandemic eased, Wiederhoeft opened a showroom in March 2021. Since then, the brand has expanded from custom bridal to occasionwear although remaining direct-to-consumer. Wiederhoeft has met the majority of their customers. It’s great research: “Just to be in the fitting room, to be with a client while they’re trying on garments,” the designer says. “It’s an amazing experience, building the brand corset by corset.”
Now, the trajectory of the business is becoming more expansive. Wiederhoeft, who was a 2022 Vogue/CFDA Fashion Fund finalist, debuted ready-to-wear styles in February, and last week launched in Bergdorf Goodman and Loho Bridal, its first two wholesale accounts.
“How do we expand from a custom, speciality business to a ‘global situation’ with categories?” the designer asks, rhetorically. The first step is to build out the team, bringing in some expert support. LMF Consulting owner Lauren Fastenberg is newly onboard as sales manager. Stacey Caldwell, who heads fashion consultancy Caldwell Creative, is handling business strategy. A senior production manager is starting in October. “I couldn’t have engaged with these people until I got to a point by myself,” Wiederhoeft says. “But now, there’s enough for them to chew on.”
Wiederhoeft is determined to stay true to the brand’s embrace of storytelling and theatricality. “Every time I’ve tried to do something commercial, I have to remind myself — and people remind me actively — ‘We want the fun stuff from you.’ Which is great.”
Over the next five years, the goal is to expand the business to a blend of 40 per cent wholesale, 40 per cent DTC and 20 per cent made-to-measure bridal. Annual sales of $10 million are anticipated within that time frame. Category expansion is also on the horizon, with home products set for 2024 and accessories and small leather goods in 2025.
Beyond bridal
Can Wiederhoeft tap Gen Z fans who can’t fork out thousands of dollars for a signature corset? “Within Gen Z, we have a lot of people watching, but there isn’t as much of a way for them to engage with the brand,” Wiederhoeft says. Now, at least, perhaps their budgets can stretch to $290 for a black, crystal-embellished tee with the slogan “Say no to drugs”. On yesterday’s runway, a model donned a white tee that read “Heiress”.
To date, even Wiederhoeft’s more basic silhouettes have been festooned with beads and embroidery, the designer says. “Which is really fun — but it can also look just as good in a gorgeous fabric.” This season’s denim, for example, has crystal-embroidered knee patches.
Some garments and shapes can be reworked and reinterpreted, making scaling more feasible — and price points more accessible. Wiederhoeft’s Wasp corset has been perfected over the last year and a half. “It’s done so much good work for us,” the designer says, pointing to the inside of a gold dress that uses the same construction. This season, there’s a corset with a similar shape, but it’s a more affordable zip-up with stretch panels.
The wholesale route
Wiederhoeft has been cautious about expanding into wholesale. Opportunities in the past were shunned because of the compromises involved — a toning down of the brand. “One thing I want to be careful about is keeping the messaging strong, so we’ve been very slow to approach wholesale,” Wiederhoeft says.
Fresh out of Parsons School of Design, the designer started out interning for Thom Browne back in 2014 and still takes advice from Browne, who became chairman of the Council of Fashion Designers of America (CFDA) this year. “You are the brand,” Wiederhoeft recalls Browne used to say. “And you have to be in every single sales meeting until you physically can’t.”
Bergdorf Goodman SVP of women’s fashion and store presentation director Linda Fargo says the timing is good for Wiederhoeft to go into wholesale. “Jackson felt a natural synergy with Bergdorf’s, and as a Vogue CFDA finalist, had asked for our mentorship,” she says. “Bergdorf’s always has a place for ‘unicorn’ talent. I was immediately drawn into the world [they] created.”
Fargo says that Wiederhoeft ticks the business boxes Bergdorf Goodman looks for in an emerging designer. “Aside from a unique voice and sharp execution, [they] have a story to tell, know who [they] are, and are open to ideas, to a point, and are ultimately a professional,” she says. “We felt that all [they] needed to move past a private client-based custom order business model was some store retail experience — and that was something we could offer.”
A selection of Wiederhoeft pieces curated by Fargo will be located in Bergdorf Goodman’s curated Linda’s Shop. It’s the right fit for Wiederhoeft’s first wholesale venture, she says. “We can cherry pick special pieces versus buying large collections, and the Linda Shop curation leans towards fantasy and character,” Fargo explains.
More wholesale deals are likely on the way — the brand will hold buying appointments in Paris for the first time this October.
The pursuit of seasonal trends is not the Wiederhoeft way. It’s a lesson Wiederhoeft learned during their years at Thom Browne. “Just do what you do well, and it will come,” the designer recalls Browne used to say.
It seems to be working. The collection was wearable, while still leaning into the bells and whistles Wiederhoeft is known for. Consumers were receptive. “That show was the best thing I’d seen in years,” one guest told Lindsey Media founder Lindsey Solomon, who handles the brand’s PR. “I’d had interest before, but now I’m sold.” After the show, the designer spoke with a gaggle of press and fans, all keen to profess the joy they felt watching the show. “I feel lucky that I built this business around something so inherent to me,” Wiederhoeft told Vogue Business. “Dreams, nightmares, etcetera.”
The view over the next five to 10 years is to build out the Wiederhoeft world beyond the US. Strategic investment, ideally from a European backer, is on the wishlist. Just don’t expect Wiederhoeft to tone down the sartorial message. “This is not a quiet luxury brand,” the designer says. “Wiederhoeft means evening gowns at 1pm.”
Key takeaway: Wiederhoeft honed in on bridal business during the pandemic. Now, designer Jackson Wiederhoeft is looking to expand, building out the brand’s ready-to-wear and venturing into wholesale. The designer is navigating how to scale a brand founded in the art of theatricality, performance and storytelling, building a bigger business without compromising the flamboyant style.
Comments, questions or feedback? Email us at feedback@voguebusiness.com.
More from this author:
From New York to Dallas: Adam Lippes rethinks the fashion show
‘It takes tenacity’: Aisling Camps on building a brand in a walled-off industry
How Aussie and New Zealand brands are making their mark overseas
