Emily Kollars & Annabelle Rinehart
Emporio Restaurant
September 23, 2011
Emily Kollars and Annabelle Rinehart, both 32, had a great first date when they met in March 2010, after chatting through a dating website—such a great date, in fact, that PR director Annabelle (right) was too scared to call designer Emily for three weeks. After their second date, however, they jumped on what the couple affectionately calls the “lesbian lightning track,” moving in together by June 2010. Annabelle tried to keep her winter proposal a surprise, but Emily knew “something was up” when she saw red roses in their apartment. “I just screamed,” she recalls. “I forgot to say yes.” The pair hosted both the ceremony and reception at Emporio, one of their earliest date sites. As the first of their gay friends to marry legally, they were very emotional—and so were their guests. “Everyone was sobbing,” says Annabelle, adding that when they were declared married, “the whole room started cheering.” Although the restaurant was cramped—the D.J. was set up next to the pizza oven—their 70 guests, who were “exploding to dance,” partied until 4 a.m. anyway.
The Details
Dress: Vera Wang
Suit: Lanvin
Rings: S.H. Zell & Sons (Emily); Tiffany & Co. (Annabelle)
Shoes: Sam Edelman (Annabelle)
Caterer: Emporio Restaurant
Cake: A Simple Cake
Officiant: Patricia Bruder Debrover of the New York Society for Ethical Culture
Photographs: Cappy Hotchkiss
“We were incredibly coordinated for having no idea what the other was going to wear.” Photo: Cappy Hotchkiss
“We had our invitations done in a script with tails that flew off the page, so I tried to find something that matched when designing the programs, menus, and place cards.” Photo: Cappy Hotchkiss
Slide Header Address, date, or similar info here. For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it. Photo: ” 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York