An excellent counter example to the strict mandate for a white dress is provided when one unruly bride insists upon choosing a pink dress, exclaiming “It’s my day, so I’m gonna wear the color that looks best on me,” an assertion which is followed by a “ding” sound effect and an exasperated look from the consultant (Say Yes to the Dress 2011, “Fashion Police”). The combination of editing and sound effects used here shows the viewer that this bride has
transgressed and that this type of rebellion is not considered acceptable behavior in the world of SYTTD. It is even more telling that there are barely any pink dresses in stock for the bride to try on, which serves to further emphasize the importance of the white dress. By the end of the episode the show has managed and incorporated this bride’s resistance into the larger narrative of traditional femininity by encouraging her to purchase a dress in “blush,” which is only slightly pink. This particular storyline is especially ironic when one considers the normally acceptable (and often encouraged) selection of pink as a representation of femininity; the ideological containment of the rebel in this instance speaks to the overarching importance of the perception of virginity over all things feminine.
However, even this small act of rebellion is eventually incorporated back into the
dominant narrative. In season ten there is an entire episode devoted to brides who want colorful dresses. Fashion consultant Randy provides the framing for the episode: “Sometimes brides just don’t want to wear white—maybe it’s a cultural reason, or maybe they just don’t wanna look like everyone else” (Say Yes to the Dress 2013, “You’re Making Me Blush”). All three brides
Sheena is excused right off the bat when it is explained that she needs a non-white dress for her traditional Hindu wedding reception because white is normally reserved for funerals in Indian culture. Sheena ultimately selects a dress that can be ordered in an acceptable shade of blush.
Bride Kara, whose family already possesses micro-celebrity status as former cast members on The Real Housewives of Orange County, initially asserts her desire for a red dress, much to the chagrin of her future mother-in-law, who laments that “Everybody would be focused on the red dress and not her and not my son” (Say Yes to the Dress 2013, “You’re Making Me Blush”). However, after also being discouraged by Randy (who immediately confronts her with “Here’s my question: what if somebody shows up at your wedding wearing a red dress?”), Kara ultimately decides on a more toned-down version of her vision and goes with a blush dress (acknowledging in her confessional-style commentary, “A wedding dress should be about what you want, but sometimes you have to think about other people”) (Say Yes to the Dress 2013, “You’re Making Me Blush”).
The third and final bride featured in this episode, Bride Tamara, represents the ultimate example of containment. Tamara left Kleinfeld’s having ordered a dress in blush, only to call back later and change the dress color to white (without ever having seen or tried on the dress in white). This change of heart causes her much distress over whether or not she will actually like the dress with this change in color, but, luckily, when she returns to the salon months later for her fitting, she is pleased and relieved to discover that she loves the dress in white. Balance is restored and the dominant order is reinforced when she proclaims at the end of the episode: “White makes me feel like a bride. I feel like a bride. I didn’t realize how important the color was until I actually got married” (Say Yes to the Dress 2013, “You’re Making Me Blush”). Her
initial act of pseudo-resistance—choosing a color other than white for her wedding dress—is ultimately quashed by her own self-disciplining actions.
Another instance of rebellion occurs when brides refuse (or fail) to engage in the wedding planning process in the proper way. Episode six from season nine, “Beat the Clock,” is
dedicated entirely to “brides that have waited till the last minute to buy their bridal gown” (Say Yes to the Dress 2013, “Beat the Clock”). This episode serves as a cautionary tale that begins with a warning from Randy for all potential brides-to-be, advising them that they should purchase their gown “at least 6-8 months before the wedding, otherwise you’re gonna be stuck with either a sample gown, or you’re not gonna be able to get maybe a gown that you want” (Say Yes to the Dress 2013, “Beat the Clock”). Randy delivers this advice in such a way as to indicate the seriousness of the situation and the undesirability of ending up with the dreaded “sample gown” (the horror!). The responsibility is always in the bride as she is expected to be both aware of this important timeline requirement and ensure that she complies.
To further illustrate the significance of this wedding planning rule, the episode repeatedly shames the errant brides-to-be by emphasizing their lateness over-and-over through multiple avenues, including the voice-over narration (“Debbie’s tasked with helping a bride who’s left dress shopping to the last minute” and “with such a close wedding date, Debbie doesn’t waste any time calling for backup”); consultants’ interactions with brides (“so we really don’t have much time, do we?” and “it’s a really close date for us”); conversations among staff members (manager Dorothy to consultant Antonella: “you know it’s really difficult when you have a specific look and you don’t have any time to do it”); and consultants directly addressing the camera (Debbie: “Ebony is so disappointed, and I don’t know how to break it to her, but if you wait this long, your selection is very, very limited,” and Randy: “when a bride waits till the last
moment to go shopping, it looks like we can’t do our job, so, that I take personally, ‘cause I can do my job”) (Say Yes to the Dress 2013, “Beat the Clock”).
These examples illustrate how SYTTD encourages both hyperconsumerism and the desire for pseudo-celebrity/royal status, while reinforcing traditional gender roles and notions of
appropriate femininity. Even brides who attempt to resist normalization are ultimately contained the moment they walk out the salon with a dress (regardless of color or style).