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In 1861,
Godey’s Lady’s Book advises that when one is
considering a wedding dress, it will be seen that no person
is confined to any single style or material.
A bridal dress
that would be becoming to a tall and slender figure would
look absurd on a dumpy person. Furthermore, a fabric
suitable to the fortunes and probable gayeties of a person
in fashionable city life would be out of place in the quiet
parlor of a country home. As to the bridal wreaths—though
the diadem style is the prominent one, the coronal, the
cordon, the simple wreath, or bouquets, may be worn as best
suits the face. A bride should never sacrifice becomingness
to the fashion of the moment. Godey’s also includes
in this issue a hand-colored fashion plate of a group of
brides, claiming it is “the first plate of the kind … ever
published in this or any other fashion magazine.”
Figure 1
on the left, illustrates a Parisian bridal costume with long
flowing sleeves which could not be imported for under $1000
or $1500 (according to the fineness of the lace). This
extremely rich lace dress is layered over white silk. It is
a combination of Brussels and point Duchess lace, the
graceful design having a border of medallions, as well as,
having the same pattern repeated at the height of the knee.
The sleeves and body are of white silk with a high corsage.
This is invariably the case with French wedding dresses,
since the idea of modesty and delicacy, which belongs to the
bride, requires it. The corsage has a pointed berthé
of lace in the same pattern as the border of the gown, but
narrower. A double row of the same lace is on the long
flowing sleeves, which are caught up by a knot of white
satin ribbon. There is also a sash of white satin ribbon,
with silver fringe. The bride’s hair is turned lightly back
from the face, and dressed low, concealing the ear. She
wears a wreath of orange buds, arranged as a diadem, with a
narrow cordon of buds connecting the diadem with the
cache peigné, which droops behind. The veil of Brussels
point is arranged quite back on the head to correspond in
every way with the bridal gown.
Figure 2
features an admirable contrast to the costly Parisian dress
and veil. The bridal dress of white silk is one of almost
“nun-like simplicity.” The perfectly plain corsage is
buttoned with ornamental pearl buttons, and a rich satin
waist ribbon. The mousquetaire sleeves have cuffs
turned with a simple ruching of the material while the tulle
undersleeves include a frill of lace at the wrist. The bride
wears a plain illusion veil with a silk cord at the top of
the lower hem plus a wreath of orange blossoms mounted in
clusters.
The
wedding dress in Figure 3 is of embroidered French muslin
with six flounces of embroidery running up to the left of
the skirt and headed by a handsome flounce of lace. The
flowing sleeves have flounces and there is a matching square
berthé. A spray of blossoms are set carelessly
in the left corner and there is a sash of broad thick
ribbon. Sprays of blossoms confine the veil, which is worn
low on the forehead at each side.
Figure 4
is given for the peculiarly novel arrangement of the veil;
it is placed so as to shade the face entirely, falling In
front across the upper line of the corsage.
Figure 5
introduces a bridal gown A la Imperatrice, or gored
In front. The trimming, which is a broad ruching of the
white silk material, is placed en bretelle on the
shoulders, narrowing at the waist line, and then sweeping
off gracefully to the hem of the skirt. There is a row of
daisy buttons in white blonde lace down the front; and the
sleeves are trimmed with the ruching. A single spray of
blossoms crosses the forehead, and connects beneath the roll
of hair with a similar spray behind.
A muslin
dress is illustrated In Figure 6. It features eight
flounces edged with needlework; the sleeves are headed by
two matching flounces. The bride has a full wreath of
leaves and orange blossoms encircling her head. |
