"The shopper is getting more fashion savvy in general - she's watching the MTV Awards, the Oscars, and she expects the same styles for her wedding dress," says Antonia van der Meer, editor-in-chief of Modern Brides magazine.

Overriding themes, however, did emerge: romantic, womanly silhouettes got just as much runway time as traditional tulle creations; and detail, whether in terms of intricate but contained beading, or accessories like removable sashes and bows, is key.

The most prominent trend to transfer form the runway to the bridal aisle was the ubiquitous bohemian chic.

And no one paid this look more due than Monique Lhuillier. Lhuillier showed a Bohemian Chic category that incorporated defining looks from different cultures into easy, almost slip-on shapes, many with long, flowing poet sleeves.

"Talitha," a silk gown undoubtedly inspired by and named for Talitha Getty, took the look of a Moroccan tunic and added elegant touches, like a beaded neckline.

"Suzie Wong" mixed a Mandarin collar with beautiful jeweled buttons.

Fashion's denim obsession managed to find its way into the bridal market this season, too.

Michelle Roth's denim looks were fresh, clean, and subtle, and the innovative fabric gave them extra body.

A stretch denim beaded bodice and skirt with organza overlay was particularly fetching, as was a slim-cut stretch denim skirt with a fishtail train, paired with a white lace jacket.

Reem Acra showed ivory denim with a shimmery, gold-flecked finish and clever blue jean-inspired pockets and metal buttons.

Romance was the real story this season, though.

Even Vera Wang's perfect A-line gowns with corset details had more to do with a feeling of femininity and grace than Cinderella fantasies.

Delicate godet insets, sheer overlays and copious mermaid silhouettes gave Wang's collection a distinctly modern romantic feel. The accent was on the waist, thanks to draped swags, double waist details and a number of unique belts, accentuating the delicate curves of a woman's body.

Drawing out that shape was a theme for a number of designers. Lhuillier's beaded silk chiffon gown with flutter sleeves called "Espirit" worked to that effect in its elegance and simplicity of shape.

Badgley Mischka sent out a parade of curve-accentuating looks, including a body-hugging pleated taffeta and lace strapless gown and an organza and tulle dress with sheer 3/4-length sleeves. (Both, of course, featured meticulous beading.)

A six-ply crepe fishtail gown was also stunning, paired with a fitted, embroidered point esprit jacket.

Carolina Herrera's simple georgette gown with silk charmeuse lining stood out with a soft and loose appeal.

The most noteworthy number, however, was the final look: a georgette, pearl-embroidered strapless gown that elegantly shimmered and rustled its way down the runway in old Hollywood fashion.

Richard Tyler's brides had plenty of romantic - even sexy - looks to choose from, like a silk spaghetti strap appliquéd gown with a vintage slip look, a two-tone pink taffeta hand pleated number, or a curve-clinging silk chiffon dress scattered with a few chiffon orchids.

And his lace embroidered and distressed velvet gown in the softest peach, a pale pink wrap petal gown with chandelier hem, and a one shoulder ivory silk chiffon over peach silk would please the more sentimentally inclined bride.

The real developments, though, were in the details.

"There is still a lot of beading, but delicately applied," van der Meer points out.

"Just enough for a little bit of sparkle." Ruffles, lace, and pleating followed a similar trend, adding "an extra beautiful touch" at hems, on trains, and on the bodice.

Like Tyler's use of ruffles, chiffon orchids, leather and lace trims and boning; or Herrera's tiered train, trimmed with ribbon and beadwork, and use of accents like organza flowers and delicate embroidery.

Amsale's big idea was elaborate detailing in concentrated areas of the gown: a pearl and lochrosen medallion just below the bustline on one dress; simple antique jeweled buttons running up the back of another; embroidered Chantilly lace at the hem of a third.

Wang took details to the extreme: not only did the queen of corsets and trapunto put her skills to the test with gorgeous tailoring and touches, but she also made a collection of unique neck treatments, corsages, belts, head wraps and arm bands an integral part of her line. Silk organza ruffs, tissue organza jabots, babushka head wraps, tulle armbands, silk tulle peasant boleros and macramé belts made a modern impression on Wang's classic designs.

At the same time, so many accessories - as well as the other more fashion-conscious trends in evidence -- seem to speak to the bride who puts personal style before wedding book dictums.

After all, "You're making such a statement about yourself," says van der Meer. "These give you a little room to play."