If CS Fly was there that day, his images might have looked something like this! If you’re going to have an Old West Wedding…you’ve got to have a little sepia tone in your life. 🙂
Some formal images taken in our Tombstone parlor, just before we left for the Courthouse. The bride is wearing a brocade gown in the mid 1870s style, with silk pleating and soft cotton netted ruffles with a corseted bodice in a ballgown style.
This gown has a detachable train, so she can wear it later for a Victorian Ball as a formal gown.
The bodice and skirt front had vintage lace applique and bobbinette (netted) ruffles all pinked with my antique tools and hand finished.
And the payoff… 🙂
We fell in love with Martin as well…now they’re the prettiest couple in the West. 🙂
In contrast to today, the term “wedding gown” was far more flexible in the late 19th Century than it is today. When we think of a wedding gown, we invariably think of some sort of dress that’s in some shade of white or ivory that’s only worn once on the wedding day and then stored away forever, unless a descendant chooses to wear the dress for their wedding. However, in recent scholarship, it’s been noted that the concept of the “white wedding” with its one-use wedding gown is a fairly recent development, as much a product of merchandising as social convention.
As discussed in a previous post, during the late 19th Century, a wedding dress was typically a woman’s “best dress,” often enhanced by netting, lace, and flowers (especially orange blossoms). The dress was definitely meant to be worn long after the wedding and in fact, the idea of having a dress for that’s only worn once and then stored away forever was considered the height of wastefulness. With that said, here’s just one example of what a wedding dress could be, at least if we accept the Walsall Museums’ description:
Unfortunately the photography is not the best…style-wise this is mid-1880s with a defined train/bustle and is constructed from a silver-gray silk satin for the overskirt and bodice combined with a silk brocade floral pattern for the underskirt, under bodice and sleeve cuffs. The bodice is constructed to create the effect of a jacket over a vest (although these were usually made as a single unit) and the red flowers on the silk brocade provide pops of red that add richness and variety to what would otherwise be a somewhat dull monochromatic silver-gray dress.
And here’s a nice close-up of the silk brocade fabric:
Here’s a couple of more pictures (although the color is a bit off):
The red flowers on the silk brocade panels definitely draws the eye up and fixes the viewer’s eyes (As should be the case with all bridal dresses!). Of course, as with much of fashion history, there’s rarely any absolutes and this was the case with using “regular” colors versus the more bridal colors of white and ivory during the 1880s. However, in the end, it’s important to realize that the dividing lines between “bridal” and non-bridal were not as rigid was we tend to view them today (although that’s changing). This was just a brief glimpse into the world of bridal dresses during the 1880s and that there are alternatives to the “traditional” when it comes to bridal dresses. 🙂
Helldorado is not only a reunion for fans of all things Tombstone, but it’s also a great place to get married and that’s where Lily Absinthe swings into action…one of recent projects is this wedding dress:
And here’s a standing view:
This dress is one of our Tatiana style and while it’s hard to tell from the picture, there’s a light green underlayer on the overskirt, giving the dress a subtle shade of green. It was, understandably, a stressful day for the bride but in the end, it was worth it:
And now for the ceremony…. 🙂
Voila! We wish the happy couple all the happiness in the world! 🙂
ne of the most overlooked museums in Los Angeles is the FIDM Museum. Located in Downtown Los Angeles, the FIDM Museum has maintains a small but excellent collection of fashion-related items (well, small when compared to the Met in New York 🙂 ). As noted in a previous post, we recently visited the museum to view the 11th Outstanding Art of Television Costume Design Exhibition. However, there was also an exhibit of historical garments from the Linda and Steven Plochocki Collection on display which, naturally, we had to also see.
On display were a number of examples from various eras to include our favorite, the 19th Century. First, is this stunning wedding dress designed in 1878 by Emile Pingat:
The upright silhouette is characteristic of the Mid-Bustle Era, and as such, the bustle/tornure is fairly minimal. At the same time, we see a full train outlined with a wide band of ruffled pleating. The dress is made from an ivory/champagne silk; the overskirt is smooth with little adornment except for a band of ruffled net/silk band trim accented with strings of flowers and orange blossoms (a signature Victorian trim for wedding dresses). The underskirt has vertical pleats which presents a nice contrast to the plain overskirt. The bodice is a deep cuirass bodice with three-quarter sleeves, trimmed in silk ribbons and lace, especially around the neck.
Here’s a few more views:
The orange blossoms and lace trim frame the front opening of the overskirt.
Detail of sleeve treatment of lace and silk ribbon.
Detail of bustle.
Here’s a close-up of the orange blossom trim. Originally utilized by Queen Victoria in her wedding dress in 1840, it rapidly became a fashion trend for wedding dressed throughout the mid to late 19th Century.
The trim running along the skirt hem and the edges of the train is actually a netting that’s trimmed with silk tape on one edge. The wedding dress is a stunning example of Pingat’s work and it bears further study.
Next, is a bodice from c. 1898 designed by Jacques Doucet:
This bodice contains the signature elements characteristic of Doucet’s designs- rich old gold silk fabric trimmed with lace and lace appliques, some incorporating metallic gold thread. From a silhouette perspective, the leg-of-mutton sleeves are restrained, characteristic of late 1890s styles. The bodice is shaped like a jacket, reminiscent of 18th Century styles with a shirred gauze waist with a silk satin wide belt. Overall, it’s a rich, powerful style. It’s a pity that the skirt has not survived- the total package was no doubt a complete knock-out.
Well, that’s all for today. We hope you’ve enjoyed this as much as we did going to the FIDM Museum. 🙂