Here’s one way to personalize your newlywed nest: add color. Even the smallest pops can make your space
more vibrant, more fun, more you!
Looking for more newlywed nest inspiration? Start here. Or check out our sister site Utah Style and Design.
Angela and Steven
St. Regis, Deer Valley. June 22
Photography by Morgan Olsen at In Frames Photography
A DM DEBUT
A mutual friend introduced Angela and Steven at City Creek Center, and when the two parted ways, Steven couldn’t get Angela out of his head. Later that evening—in keeping with millennials everywhere—Steven made his move by following Angela on Twitter and sliding into her DMs. Two-and-a-half years later, Angela was nearly finished unwrapping gifts at the couple’s baby shower. When she opened up the final present, she was shocked to discover her dream ring inside. Angela looked up to see her beau on one knee, asking her to be his wife.
MOUNTAIN AMOUR
When Angela started planning her wedding, she considered a beachfront affair in her home state of California. After giving it more thought, she realized that everybody takes trips to the beach; it’s much less common to travel to the mountains. Angela wanted to give her friends and family a unique opportunity, so she decided on Park City and chose the St. Regis for its lift rides, offering breathtaking views of the surrounding alpine peaks.
A PEARL-TONED PARTY
When Angela sat down with Mara Mazdzer, owner of Fuse Weddings and Events, she knew she wanted an all-white wedding. Together, the pair collaborated to create an event that checked all of Angela’s boxes: simple, glamorous, moody, romantic and monochromatic. The duo added contrast with hints of gold that elevated the celebration’s feeling of sophistication.
HOME SWEET HOME
Angela and Steven are both Utah transplants, so they chose to honor their birthplaces by bringing elements from each location into the ceremony. Angela purchased a dress and veil from California because she was born and raised in Los Angeles, while Steven chose the couple’s rings from a local business in Kansas City. Incorporating references of their hometowns into their nuptials helped personalize the celebration and make it unique to the pair.
A GRAND ENTRANCE
Angela decided against first-look photos, instead allowing Steven to view his bride for the first time—along with everyone else—as Angela’s mother walked her down the aisle. Before creating that special moment between the couple, the pair made sure to give their one-and-a-half-year-old son his own opportunity to shine. Performing as his dad’s best man, the toddler made his way down the aisle in a toy Bentley operated by his grandfather.
TOUCHING TUNES
The first time Angela flew to Missouri to meet Steven’s family and friends, her future hubby treated her to his own rendition of “Stingy” by Ginuwine. Naturally, the two felt it was a fitting choice for the soundtrack to their first dance. Later, during the reception, Angela opted out of a father-daughter dance and instead chose to pay homage to her culture by performing a traditional dance with her El Salvadorian mother to upbeat cumbia music.
Wedding Planner: Mara Mazdzer, Fuse Weddings and Events
Photographer: Morgan Olsen at In Frames Photography
Venue: St. Regis Deer Valley
Entertainers: Oquirrh String Quartet
Jeweler: Meierotto Jewelers
Cake: Flour & Flourish
Gown Designer: Ines Di Santo
Bridal Shop: Lovella Bridal
Bride Headpiece: Maria Elena Headpieces
Suits: The Black Tux
Bride and Groom Shoes: Christian Louboutin
Florist: Decoration Inc.
Videographer: Chris McClain Productions
Cigars: The Tinder Box
Personalized Party Favors: Summertime Sweets
Find more inspiring Real Wedding stories here.
Photographer Heather Nan has built a reputation as one of Utah’s most sought-after wedding photographers. Nan’s wide range of photographic interests means she is always taking on a new project: during our interview, in fact, Nan was scouting the Great Salt Lake Marina—with kids and a dog in tow—for an upcoming “just-for-fun” shoot in the rain. Before her photography career, Nan studied anthropology in college, and that same interest in people animates her work, whether she’s capturing a vibrant wedding celebration or the perfect living room.
Her work has been featured in the New York Times, Kinfolk Magazine, Style Me Pretty, Inside Weddings and our magazine. Her photos are featured on the newest covers of both Utah Style & Design and our sister publication Utah Bride & Groom. Beyond weddings, her portfolio includes portrait, fashion and commercial photography, including home design.
To celebrate our brand new issues of Utah Style & Design and Utah Bride & Groom, we talked with Nan about her inspirations, favorite locations and why she says good wedding photographers are actually seven different photographers in one.
UBG: Tell us about how you got started in photography.
I have always done some photography. I even shot a couple of weddings randomly in college, because that’s what you do when everyone’s poor. Until my daughter was born, I only had a 35mm film camera. Then my husband bought me a point and shoot, and when you’re home alone with your child, they just become their little muse. I just needed a creative outlet. I’ve always been somewhat of an artist: I was a big ceramist all through high school and college. When my daughter turned two, I got my first real digital camera, and then I knew that I wanted to do it as a business. I spent a year interning with a couple of photographers, knowing that I wanted to go into weddings. I spent that year shooting with them and doing some creative projects on my own, one of which actually got picked up by Utah Bride & Groom. I had 12 pages of editorial work and I hadn’t even shot my own wedding yet. That was definitely a massive platform for me, because I had this instant credibility of being published. Then, I started my business and never looked back.
UBG: You work in many different fields: weddings, portraits, families, commercial and editorial. What is the full range of projects you work on?
Weddings are the primary side of my business right now. I feel like I’ll probably do weddings for a long time, but I really love commercial work. I love the idea of getting together and collaborating on a project. I also love design, whether it’s clothing, architecture or interiors.
I really wanted to get into interior work because there’s a lot of great designers in Utah. I photographed a bride who worked with Hillary Taylor, and I mentioned to her, “Think of me if you ever need a photographer.” When COVID hit last year, Hillary was wanting to try out a local photographer. She took a little chance on me, and we spent last May shooting her home. Then, we worked on other projects, including photos for her furniture line which was featured on the cover.
I feel like as wedding photographers you tend to be seven different types of photographers in one. You have to be able to shoot people, do portraits, take candids and photograph details in the whole scope of the day. People who have done wedding photography a long time have the skills to stretch into other areas.
UBG: Last year, COVID interrupted the traditional wedding season. Did this inspire you to try some new things?
For sure. COVID gave me the space to tackle new projects, because sometimes it takes courage and bravery to make space for something else. I’ve established my wedding business for over 10 years, but creatively, I love the diversity of being able to work on different projects. I enjoy, too, the collaboration of coming together, supporting different points of view and supporting others’ creative outlook on their own art. Weddings, even though you’re surrounded by a ton of people, can be a lonely place, because you’re a sole person working with a small team or by yourself.
UBG: A lot of your wedding photos pay particular attention to vignettes: shots of flowers, architecture and landscapes. Has this translated to other areas of your work?
100%. In wedding photography, you get a taste of all those things. You are thinking of showing the whole scope of a wedding day, because many brides spend a year and a half on the design of their wedding, so it’s as important to capture aspects of the design as the celebration.
UBG: What is your favorite local spot for taking wedding photos?
Amangiri is where my heart is. The Utah Bride cover story was my first time shooting there, and it had always been a bucket list place for me to shoot. It’s very much my aesthetic: I love clean lines, I love interesting light and I love photos that mesh with the environment rather than competing with it. I love the lighter yellow desert in that area, as opposed to the red rocks in the Southwest.
Clients ask me all the time what my favorite venue is. For me so much of it comes down to the light. River Bottoms Ranch was really thoughtful in the way they approached it. It was built to be a wedding venue, so they were very conscious of the flow of the day, and they even did a light study on the property, which I totally give them big gold stars for. With that said, when places do have difficult light, it forces me to think in different ways and I tend to be a little more creative.
UBG: Do you have a dream venue to shoot for a wedding?
I don’t know about any venues specifically. I’ve never travelled to Japan, and that’s definitely a place I would love to shoot creatively. I respond to the more minimalist approach to styling and life in general.
UBG: Do you have a favorite photographer who inspires your work?
Do they have to be alive?
UBG: No!
Okay! When I started my business about 11 or 12 years ago, there was a push for photos to be more organic and free. But I always had an incessant need to clean things up—not necessarily physically, but compositionally, and to be really thoughtful in that way. I struggled, because when you’re starting out, and you’re looking around and seeing what’s going on, you tend to overthink what you’re doing. Then I discovered Rodney Smith, who passed away a couple years ago. He was a commercial and editorial photographer from New York—you should look him up. With his work, you could just tell he was just super anal, which sounds so funny. (Laughs.) But when I discovered his work, even though stylistically it’s different from what I do, I felt more okay about what I was doing. I love his work. I love that he probably overthought so many things in his process.
UBG: I feel like when you see an artist in any medium who is particular about their craft, it’s inspiring to see the thought that’s put into it.
Totally. Admittedly, it can be a detriment. Sometimes I have to step back. When it comes to emotion, I tend to let things happen. Sometimes when it comes to editorial work, things just happen that can surprise you, and it can be better than the picture you had in your head. So I’ve tried to learn throughout my time to step back and let things land as they will. I feel like I’m talking to my therapist! (Laughs.)
UBG: I’d love to talk more about the shoots featured on the covers of Utah Bride & Groom and Utah Style & Design. They are very different projects with distinct aesthetics.
For the shoot at Amangiri, I called dibs on the model, I pulled the gowns and directed the hair and makeup. I wanted to make it minimal, sleek and elevated. I like fashion that is clean aesthetically but has an element of surprise.
The Hillary Taylor shoot for the furniture line she designed for The CEH. That came together on a second day of shooting: we shot all of the products the day before. The CEH wanted to include portraits of her, and we wanted to incorporate the products with the little garden behind her house. We met at 6 in the morning while Hillary was getting ready with her assistants, and we wanted to highlight the little shed in the garden. We actually brought in a ton of plants because it was shot in the fall, and all of that greenery along the path was added to fill in the space. Then, we brought the screen and table out, envisioning our own Martha Stewart moment: a little editorial in the garden.
There was a shoot of Catherine O’Hara in Vanity Fair last year that was very high fashion, but she was in her garden. There’s a shot of her all dressed up with trimming shears by a hedge. That was a little bit of the inspo: we wanted to glam her up a little bit but play off of her working in the garden.
UBG: Do you have projects that stand out as particular favorites?
Working with Hillary was definitely a highlight. She was someone who believed in my skill, and her style is so different from mine, but I really appreciate what she does. Man, she’s so good at mixing textures and patterns together in a light and happy way. It was something different and it came out of a moment of darkness in the world in general.
When it comes to editorial work, there was a shoot I did actually for Utah Bride & Groom in 2016 at Little Sahara. It was of one of my bigger shoots I did logistically: we basically built a whole massive scene out in the middle of the desert, there was a storm coming in and there was a lot riding on the lines logistically, so it was really stressful. But the end result was just so beautiful, and it was one of the first times that I dug my hand really deep into the art direction side of things. So that was a lot of fun.
UBG: Do you prefer shooting people or places?
They work in different ways. I get the collaboration of working with people when I do interior and commercial work, versus portrait work, where I get to work with people too. I don’t know if I can say I like one over the other. If I’m shooting more of one, the other is more appealing, because I like variety in my work. It keeps me fresh.
It’s the people aspect that I love. I love being able to highlight people’s creative work, but I also like to be creative with people.
Brand new issues of Utah Style & Design and Utah Bride & Groom are available on newsstands now. Look for more of Heather Nan’s photos on our website this Spring.
Photos by Chelsey Black
Styling: Chelsey Black, @chelseyblackphotograph
Photography: Chelsey Black, @chelseyblackphotography
Florals: Evergreen & Ivy Events, @evergreenivy
Jewelry: Life and Jewels, @lifeandjewelsjewelry
Dress: Utah Brideroom, @utahbrideroom
Location: Rowley’s Red Barn, @rowleysredbarn
For more stunning bridals, click here.
An invitation sets the tone for the celebration. It whets your appetite and elevates anticipation. And when it’s handcrafted by experts, it’s a gesture of love you can hold in your hand. The artists at Ann Elizabeth Print Studio create meaningful invitations.
“We work to learn everything we can about our clients, from their likes and dislikes, to their pets’ names and how they organize their spice drawers,” says Ann Jager, owner. “Every detail matters when it comes to designing their custom suites.” Once the product is approved and ready for production, a printing specialist works closely with the design team to make sure everything is perfect. Then, every single piece goes through a rigorous quality check.
“We’re very hands-on throughout the entire process,” says Jager. “This may sound crazy, but humans are actually operating the machines The design team touches, feels and visually approves every piece. Printing is truly a craft.”
Jager wants her clients to truly enjoy the tactile experience. “Paper is made from all types of fibers including cotton, wood, bamboo and plants,” says Jenner Lehr, customer service specialist and director of digital marketing. “Some particles will leave uneven bumps or leftover specks.” Jager encourages her clients to embrace the imperfections.
Planning an event can be stressful, so the team does everything they can to make the design experience seamless, easy and fun. “Our customer service specialists are warm and responsive,” says Lehr. “Our clients feel like friends by the end of the process.” If you want to make a statement for your next gathering, begin with a customized invitation.
“The overall impression makes an invitation special—how the guests receive it, open it and thumb through each piece. That’s why we’re so particular about pairing the right paper with the right printing method.” — Ann Jager, Owner
What’s Ahead:
Textured invitation suites. Whether the texture is a result of paper itself, dimensional printing methods—thermography (raised ink), letterpress (pressed ink), embossing (raised impressions without ink, or debossing (pressed impressions without ink)—or adding a dripped wax seal, twine or vellum to the final invite, texture and tactile sensation are important.
Excited About:
Since custom postage is no longer a thing, we’re really excited to see more clients using vintage postage stamps as an alternative. Vintage postage stamps are the perfect way to add a personal touch to a paper suite, giving an envelope character and surprise.
Fresh Ideas:
Design trends continue to ebb and flow, so save or pin what you love online. For example, a traditional-style invitation could be refreshed with modern typography or, instead of the traditional natural white paper with colored ink, try using colored paper.
4970 S. 900 East, Suite F-105, SLC | 801-262-3605 | annelizabeth.com
Camp Sarika by Amangiri delivers a rare departure into the wild, elevated by consummate comfort. This is a place where Utah’s otherworldly landscapes are celebrated and Native American culture is honored at every turn. The solitude and silence of this desert lend themselves to a splendor, entirely unique to the countless untouched miles of red rock country.
Each component of Camp Sarika is marked with sincere intentionality, right down to its deeply apropos nomenclature. Sarika is derived from the Sanskrit word for “open space” and “sky,” while Amangiri’s moniker translates to “peaceful mountain.”
In the morning, the camp is greeted by slanted sunbeams peeking up from breaks in the flat-topped mesas—a tranquil backdrop that offers a warm welcome to your wedding weekend. The 600 acres of peace and quiet that surround the camp suggest a stark departure from the seemingly inevitable matrimonial jitters. As the day passes, dawn’s glow transforms into boundless blue skies that light up sun-soaked limestone rocks; your celebration is officially underway.
In many ways, 2020 provided everyone with the opportunity to realize what’s really important—our families, our friends and our health. As that challenging year shifts out of focus, new priorities emerge when it comes to celebrating life’s momentous events—namely, intentionality. Bringing loved ones along for new experiences and adventures, opening new doors and ensuring that those closest to you are there for the ride is at the heart of this monumental place, as it encourages you to make it “a camp of your own.” The abundance of space surrounding the camp is accentuated by its design, making the camp the ideal destination for groups or families looking for exclusive insight into the destination or a special place for a celebration in undisturbed privacy.
As the last rays of sun fall across the desert range, the cool tones of the day explode into a horizon of vermilion, salmon and plum. That vibrant, unimpeded view proposes the ultimate backdrop for your “I dos.” Its saturation also implores you to make bold design choices that pay homage to its sheer otherworldliness. Mara Mazdzer, owner of Fuse Weddings and Events, teamed up with Amanda Hansen, owner of Decoration Inc., to do just that. “We chose to keep the ceremony site simple, while offering tonal cues that mimicked the desert sunset within the florals,” says Mazdzer. Those very tones were carried over from the rehearsal dinner, where the colors shone bolder and brighter in the desert daylight.
The framework for the ceremony took cues directly from the desert camp itself. “The beauty of the space is striking, so we worked to frame the space rather than impede the view,” explains Mazdzer. “That’s where the ‘church of dirt’ concept came in,” says Hansen. “It offers structural parallels to the surrounding mesas without detracting from them.”
The wedding gown by Sarah Seven boasts a clean-lined simplicity contrasting with the intricate textures that abound within the limestone rock. To complement the gown, hair stylist Tenesha Luckett chose a sleek updo that melds elegance with contemporary style. In keeping with the bride’s chic, modern aesthetic, makeup artist Janelle Ingram created a dewy glow elevated by a pop of pink on the lips. And jewelry by J. Brooks Jewelers completes the look with gold pieces that mirror the warm-toned desert surroundings.
The A-list team that came together for this create this photo story understands the importance of creating a celebration that embraces the environment. The lands surrounding this amazing location make you feel as though it’s the last remnant of the truly wild west. The staggering landscape—adorned with canyons, mesas, mountains, gorges, rapids and desert—contains stories of human life that date back more than 10,000 years. This revitalized, reimagined piece of history implores all who visit to make it the setting for a story of their own.
THE TEAM
PLANNER: Mara Mazdzer, Fuse Weddings and Events
TABLE RENTAL: Diamond Event & Tent
LINENS: Fuse Weddings and Events
FLORAL, CANDLES: Decoration Inc.
CHAIR RENTAL: Decoration Inc.
STATIONARY, PRINTED MATERIAL: Twelve30 Creative
CHINA, FLATWARE, GLASSWARE: Wild Event Studio
PHOTOGRAPHER: Heather Nan Photography
HAIR STYLING: Tenesha Luckett
MAKEUP ARTIST: Janelle Ingram
GOWN: Sarah Seven
JEWELRY: J. Brooks
MODEL: Sydney Williams
Find more desert inspiration here.
Gold Creek Pond is the ideal backdrop for a modern mountain shoot featuring formal but unfussy style from the bride and groom.
Photos by Halley Vernon
VENDORS
Photographer: Halley Vernon
Dress: Dawson & Deveraux
Florals: Anthera
Hair and Makeup: Pacific Brides
Models: @strawberry_short_kook + @sweetnei
Our 2021 print issue hits newsstands this week!
This sweet bridal session has us ready to run to the forest.
Photos by Reggie Ann Film
VENDORS
Photographer: Reggie Ann Film
Dress: Off White Bride
Hair: Schiess Styles
From mountain elopements to desert bridals, check out more dreamy wedding moments from real couples. Our 2021 issue is available April 1!
Who can resist breathtaking National Park bridals? This bride’s boho-cowgirl style is right at home in an adventurous, into-the-wild shoot.
Photos by Rachel Jensen
VENDORS
PHOTOGRAPHER: Rachel Jensen, @rachsummerphoto
DRESS: Raw + Golden Rentals, @rawgoldenrentals
FLORIST: M. Floral Co., @m.floral
Get inspired by more Real Weddings.
COVID has caused wedding plans to shift and change. Luckily, Utah brides have been quick to adapt to the ever-evolving social distancing rules and regulations. Macy and Dallin had planned a temple sealing for June. When temples of the Church of Jesus Christ of Latter-day Saints shut down, they decided to go ahead and get married civilly in a small, family-only ceremony.
The couple opted to set up a small ceremony at Tunnel Springs in North Salt Lake. With the rolling hills and beautiful views of Salt Lake City valley, it seemed like the perfect place to get married. The couple read vows to one another, exchanged rings and declared their love for one another.
Photos by Madison Larsen
VENDORS
Photographer: Madison Larsen Photography, @madisonlarsenphotography
Wedding Dress: Bridal Center, @bridalcenter
Hair: Kanani Wilkinson, @kanani.hmua
We have real weddings for every season in our archives.
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