When Blanca Zhuzhingo immigrated to New York City in 1989 from Cuenca, Ecuador, seeking opportunities to support her family, she never set out to become one of New York’s most in-demand bridal alterations specialists.
Her first job was sewing bows and snaps at a dress factory in Midtown Manhattan, and she quickly realized she needed more. “I said to myself, ‘This is not for me, it doesn’t pay enough to survive,’” Zhuzhingo, 66, said.
There, she noticed a co-worker sewing gowns, which piqued her interest. “I paid attention to how she sewed,” she said. “My boss gave me the opportunity to learn, and then my life changed. This became my passion.”
By 1995, Zhuzhingo was working in fashion production at Amsale, and 10 years later, moved on to Vera Wang.
“When I had my interview at Vera Wang, I told them, ‘I don’t have experience in alterations, but just give me the opportunity. Give me at least three months. If I can’t do it, don’t worry, I’ll go,’” she said. “But I started doing it, and they loved my work.”
She spent five years at Vera Wang, then moved on to Carolina Herrera, and in her off-hours worked on ready-to-wear pieces from other designers, including Oscar de la Renta.
After Carolina Herrera, Zhuzhingo spent five years at Elie Saab working on haute couture looks before starting her own business. She found a studio in the garment district and opened Couture Atelier by Blanca in August 2020.
What started as a single room has since grown to occupy half the floor. Word spread about her skill with intricate gowns, and her former employers, bridal salons and stylists, began referring clients to her.
Giselle Dubois, the owner of Spina Bride, a bridal boutique in New York City, who has worked exclusively with Zhuzhingo for eight years, said, “She isn’t simply an alterations specialist. She really understands bridal construction and design.”
Gabrielle Hurwitz, a bridal stylist who has worked with Zhuzhingo for four years, has had a similar experience. “A wedding dress is constructed differently; it’s made of different materials, and it’s a different investment level,” she said.
This year, Zhuzhingo estimates she will work on about 600 gowns — one of her busiest years yet — including wedding dresses, mother-of-the-bride and groom looks, and after-party gowns.
The interview was edited and condensed for clarity.
What did working inside these luxury bridal houses teach you about gown construction that shapes how you approach alterations today?
My experience starting in production was the base: You build the gowns yourself, so you understand how they’re constructed. That’s what I carried into alterations work. The technique that matters most now is when I pin a wedding dress, I take the measurements and put those same measurements onto a mannequin, then compare the dress to the body. We’re building the person’s body onto the dress form, so every detail shows up there first.
In your early years working at Vera Wang, what alterations were you most often asked for?
Most of the gowns, once they come in for the pinning, sometimes need to be taken in on the back, sides, and bust. I also had to transform the dresses and add more structure. All these details have to be done well, including shortening the hem.
What do you wish brides understood about alterations before they even buy their dress?
Everything depends on the fabric. Some fabrics are cut on the bias, and if they want it very fitted and tight, I say, this isn’t going to work well, it’s going to get wrinkles. This fabric isn’t made for that fit.
What should brides budget for alterations?
The designers at the salons usually give the bride an estimate between $1,700 and $3,000 for alterations. I have clients who don’t need the full alteration — very tall brides where we don’t even need to touch the length, just the body — that’s a different price, and it starts around $750.
What tends to drive up the cost?
Beading and embellishments require significant handwork because beads have to be removed before an alteration and reapplied by hand afterward. Vintage dresses often need extra repair and delicate cleaning. Repeat changes, such as multiple rounds if a bride’s body weight changes, would mean redoing the same work more than once, which can raise the price.
How should a bride prepare for fittings, and when should she start?
The first step is the first pinning at the fitting. Then, I take her measurements — that’s so important. My usual approach is to schedule the first appointment 10 to 12 weeks before the wedding. If it’s a rush, we can do it in a week, but that’s very, very rushed.
Do you have a favorite style of dress or details you like to work on?
My favorite are the gowns from Elie Saab. The lacework is spectacular; it’s so good. We also do a lot of beading. I did one last week on a $75,000 gorgeous gown, all beading, and it was a lot of work, but the bride was so happy.
I like to do everything, my dear — I don’t say no to anything.
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