If You Only Knew. Kristan Higgins

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       Chapter 7: Jenny

      “OH, GOD,” ANDREAS says. “Look at the hordes. This is awful.” Though he threatens weekly to quit, I don’t think he will, despite the reverse commute to the city. Who else would let him work on his novel during work hours?

      “Hordes are good, Andreas,” I say patiently, looking at the line that snakes down the block. “This is great. It’s our grand opening. Smile. Be happy. And do not open that door until the stroke of twelve, okay?” It’s Sunday, the sun is shining, and the streets of Cambry-on-Hudson are filled with people strolling around, having brunch—yes—shopping. Outside my shop is a huge tin bucket filled with early peonies, bought from the florist across the street. A chalkboard sign says “Bliss: Open House today from 12-5. Come in, look around and enjoy!”

      My mother is the first person in line. This does make my shoulders droop a little. But no, no. While my mother will talk endlessly about her wedding to Dad, she at least does it in a highly romantic manner. It could be good for business. Still, it would’ve been nice if she hadn’t worn sweats. She looks a teeny bit homeless. Sneakers, too. Her hair is messy. It’s all part of the “I’m A Widow” package, lest there be any doubt that her life was ruined when Dad died.

      As ever, a cold needle pricks my heart.

      Well. I have too much to do to rehash the past.

      Andreas pops the champagne at the little bar I’ve set up for today. Pink champagne and pale pink-frosted cupcakes from Cottage Confections, the fabulous cake shop conveniently located four doors down. Kim, the owner, and I became instant friends as soon as she welcomed me to the downtown with six chocolate cupcakes. We’ll be referring each other lots. Andreas arranges the napkins, sets out a beautiful notebook so people can write down their emails.

      To advertise my skills, the showroom is furnished with dress forms adorned with finished gowns in each of the classic shapes—A-line, mini, modified A-line, trumpet, mermaid, sheath, tea-length and, most popular of all these days, ball gown. The forms stand around Bliss like a beautiful army, shimmering in the pinkish lights of the store, the crystals from the ball gown catching the light and casting tiny rainbows, the satin of the tea-length glowing.

      I fluff the cathedral train on the Grace Kelly–inspired dress, fingering the silk mikado. Bliss is not the type of shop that has ready-to-wear dresses. I’m not a salesperson; I’m a designer. But I do keep a few dresses on hand for the women who want to play dress-up.

      Another section of the showroom features accessories—veils, belts, headpieces, gloves, garters. I’ll have to make sure my nieces don’t get into too much trouble over there. They tend to view my workplace as their personal playland.

      Hung on the brick walls are a huge selling tool—pictures of my brides in their dresses, each one a black-and-white photo, hung at precise intervals. One picture is bigger than the others: Rachel, wearing the most beautiful dress I’ve ever made.

      The back half of the shop is where the work really happens. Of course, there’s the dressing room with its apricot-painted walls and dais with three-way mirror, as well as a couch and three upholstered chairs, a coffee table with a photo album of my work. That’s where I’ll do consultations and fittings, where the bride shows me pictures of dresses she likes, where I’ll ask all the questions they love to answer—what’s your vision for the day, do you have a theme, how do you want to look.

      The workroom is across the hall, where Andreas and I painstakingly organized thousands of fabric samples: satin, silk, chiffon, organza, charmeuse, lace—I have more than a hundred samples of lace—and yards and yards of muslin, since I make a mock-up of every dress before cutting the dress fabric itself. In the center of the room is a huge oak table—my work space, complete with four different sewing machines.

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