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March 1894

"The Art of Dressing a Bride"

Of all people in the world the French are the ones who most positively combine sentiment and frocks. The rich lace, the costly jewel, the much-trimmed gown never belongs to the unmarried woman until she has passed youth. Even on the very day of her wedding, the French girl, while she is essentially a bride, always has in her costume the suggestion of youth and innocence. The material especially dedicated to the bride is white satin, heavy and lustrous; occasionally some caprice of fashion may show itself on one of these gowns, as has the band of sable around the edge this winter. But the artist in dress disapproves of any such departure from regulation rules, the first one of which is that the bride shall be all in white. White silk, white crepe, white cloth, and some of the very thin stuffs are occasionally chosen for the wedding gown, but personally I can fully sympathize with the girl who chooses fewer frocks in her trousseau, yet elects that on her wedding day she shall really look what she is, a bride. With her white gown come the white tulle veil and the orange blossoms.

There are some things that a bride must remember: her bodice must be high in the neck; her sleeves reach quite to her wrists, and her gown must fall in full, unbroken folds that show the richness of the material, and there must not be even a suggestion of such frivolities as frills or ribbons of any kind. The design for a white satin wedding dress which is shown in Illustration No. 1 is that approved by the greatest and most artistic of dressmakers. It has about it not only the air of girlishness that should be there, but, by the disposition of the rich material, makes prominent the elegance of toilette that will be permitted to the young matron.

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 The Dainty Wedding Gown

The Attendant Maids

  One of Gainsborough's Maids

 The Other Bridesmaid

 Wedding Etiquette

Bibliographical Information:
Mallon, Isabel A. "The Art of Dressing the Bride",
The Ladies' Home Journal, Vol. XI, No. 4, March 1894, p. 17.

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