“Jacqueline Kennedy wore this off-white sleeveless gown of silk chiffon over peau d’ange to the 1961 inaugural balls. Its strapless bodice under the chiffon covering is encrusted with brilliants and embroidered with silver thread. Ethel Frankau of Bergdorf Custom Salon designed and made the dress based on sketches and suggestions from Mrs. Kennedy. It was worn with a matching cape (not displayed).”

These are the words that are used to describe the Inauguration gown and matching cape from the Smithsonian, which is their home.

However the real story isn’t so simple. The peau d’ange that the dress was made from was the last of a very expensive bolt of fabric from France. As no more of the same fabric could be found handy, the workrooms at Bergdorf Goodman’s did something sneaky—they covered the skirt in a layer of chiffon, and then found a different, but similar fabric for the cape. The sheen of the fabric was enough that when it, too, was covered in chiffon, it would appear to be the same fabric as the skirt.

https://www.si.edu/newsdesk/photos/jacqueline-kennedys-inaugural-gown-1961

<div class="md"><p>“Jacqueline Kennedy wore this off-white sleeveless gown of silk chiffon over peau d’ange to the 1961 inaugural balls. Its strapless bodice under the chiffon covering is encrusted with brilliants and embroidered with silver thread. Ethel Frankau of Bergdorf Custom Salon designed and made the dress based on sketches and suggestions from Mrs. Kennedy. It was worn with a matching cape (not displayed).”</p>

<p>These are the words that are used to describe the Inauguration gown and matching cape from the Smithsonian, which is their home.</p>

<p>However the real story isn’t so simple. The peau d’ange that the dress was made from was the last of a very expensive bolt of fabric from France. As no more of the same fabric could be found handy, the workrooms at Bergdorf Goodman’s did something sneaky—they covered the skirt in a layer of chiffon, and then found a different, but similar fabric for the cape. The sheen of the fabric was enough that when it, too, was covered in chiffon, it would appear to be the same fabric as the skirt.</p>

<p><a href="https://www.si.edu/newsdesk/photos/jacqueline-kennedys-inaugural-gown-1961">https://www.si.edu/newsdesk/photos/jacqueline-kennedys-inaugural-gown-1961</a></p>
</div>

The story behind Jackie’s Inauguration Dress and Cape, 1961

Wedding of the actress and miss world Amparo Muñoz in 1975 (I love how him is also wearing white clothes). 

Audrey Hepburn wearing Hubert de Givenchy for film "Sabrina" in 1954.

Evening dress by Jean Patou and Bergdorf-Goodman. Worn by Elizabeth Parke Firestone. Collection of The Henry Ford Museum, 1940

Model of a Turkic Khakas Woman From the Late 19th Century [1005x1320]

A wool sweater, probably American, ca. 1895 CE, now housed at the Metropolitan Museum [4000x3166]

Evening dress by House House of Worth circa 1898–1900

These are the last pictures, from Nottingham castle 

<div class="md"><p>These are the last pictures, from Nottingham castle </p>
</div>

Hats from Nottingham castle 

Lady from Peru, holding a plate with incense, 1868. Dress seem to be cotton fabric, which would make sense. Love the long black shawl.

Indian noblewoman dressed in her finery, circa 1890s

I am researching this hat for a project and would appreciate any suggestions on where to find comparisons and insights about its provenance. The label reads: "Made Especially for You by Madeline," it is either braided straw or raffia, and I would describe it as a compact hat with a spiraled construction. Label: "Made Especially for You by Madeline" suggests mid-20th-century production, possibly custom-made. Its interior is gold lining with a grosgrain ribbon trim. I believe it could have been inspired by "coolie hats" as they called conical shape hats at the time (1950s - 1960s). Thank you!

https://preview.redd.it/u71ad20a854e1.png?width=1166&format=png&auto=webp&s=5b3ad7c22c39005ebc4d45a272f831cb28a087d7

https://preview.redd.it/e65a620a854e1.png?width=1176&format=png&auto=webp&s=389ece57916563d1ee1a69c2d20d3420739ee68c



<div class="md"><p>I am researching this hat for a project and would appreciate any suggestions on where to find comparisons and insights about its provenance. The label reads: &quot;Made Especially for You by Madeline,&quot; it is either braided straw or raffia, and I would describe it as a compact hat with a spiraled construction. Label: &quot;Made Especially for You by Madeline&quot; suggests mid-20th-century production, possibly custom-made. Its interior is gold lining with a grosgrain ribbon trim. I believe it could have been inspired by &quot;coolie hats&quot; as they called conical shape hats at the time (1950s - 1960s). Thank you!</p>

<p><a href="https://preview.redd.it/u71ad20a854e1.png?width=1166&amp;format=png&amp;auto=webp&amp;s=5b3ad7c22c39005ebc4d45a272f831cb28a087d7">https://preview.redd.it/u71ad20a854e1.png?width=1166&amp;format=png&amp;auto=webp&amp;s=5b3ad7c22c39005ebc4d45a272f831cb28a087d7</a></p>

<p><a href="https://preview.redd.it/e65a620a854e1.png?width=1176&amp;format=png&amp;auto=webp&amp;s=389ece57916563d1ee1a69c2d20d3420739ee68c">https://preview.redd.it/e65a620a854e1.png?width=1176&amp;format=png&amp;auto=webp&amp;s=389ece57916563d1ee1a69c2d20d3420739ee68c</a></p>
</div>

Hat Research - "Made Especially for You by Madeline" label

1950s outfit.

What came after the Gibson Girl fashion specifically during the ‘40s and 50’s? In other words, were there any groups of women with a certain fashion style whom received a name like to classify that style and what were those names?

I think they had more outfits when Nottingham had a standalone costume museum.

<div class="md"><p>I think they had more outfits when Nottingham had a standalone costume museum.</p>
</div>

Some more pictures from Nottingham castle 

Drag show costume in 1938 (the Spanish cuplé singer María Antinea used to dress as a man for her shows)

Found this on Market place listed as "umbrella from the 1920s" does anybody know if it's actually from the 20s?? Thank you.

This is Mabelle Corey, a popular comedy actress in the 1900’s. I was wondering what she wearing in these photos 

Profile Portrait of a Lady by an unknown Franco-Flemish artist, ca.1410. National Gallery of Art, Washington.

Portrait of Wilhelmine of Prussia, Queen of the Netherlands, by Johann Friedrich Bury, ca.1818. Koninklijke Verzamelingen, Den Haag.

I have a few more but can't post anymore pictures 

<div class="md"><p>I have a few more but can&#39;t post anymore pictures </p>
</div>

1920s-1970s Nottingham cast

Silk evening gown, probably French, 1916. Victoria and Albert Museum.

Sophia Loren at the Libo film festival en Venice, 24 of August to 7 of September 1958. I have never seen Sophia this skinny, she looks good as always.

Mona Lisa of the Deep: A daguerreotype of an unknown woman was found in 2014 in the wreck of the SS Central America, 7,200 feet beneath the ocean surface off the coast of South Carolina. The ship went down in 1857 yielding a treasure worth upward of $765 million in 2021 dollars [2400x3756]

Mantilla dress of the cupletista Julia Fons.

Metallic Brocade Doublet, 1598-1610.  Les Arts Décoratifs.

Found it great grandparent’s attic :)

Lady Wolverton Baroness cosplaying as Britannia (or in costume), the porsonification of the Kingdom, in the Devonshire Ball, 1897 for the diamond Jubilee. 

Victorian lady in this elaborated pattern dress, and her hat, Mid XIX century

1. Callot Soeurs, 1930. Dress made of silk, plastic (cellulose acetate), linen, and leather.  This iconic dress has a show-stopping cathedral-length train. It is a dramatic example of a French couture wedding gown. It demonstrates the sleek and simple elegance of 1930’s fashion. It also illustrates the craftsmanship of Callot Soeurs in its construction and design. The scallops on the train are worked on the bias and evokes rippling water, as in a Japanese landscape, and is consistent with Callot’s Asian inspiration. While this dress dates from the period after Madame Gerber's retirement from Callot Soeurs, it serves as evidence that the next generation, Madame's sons Pierre and Jacques, inherited their mother's capabilities to design and beautifully execute dress designs until the business merged with the house of Calvert in 1937. The MET     

2. Front and back of the Callot Soeurs dress       

3. Photograph of Fotini Sigara in her wedding dress on February 21, 1930. Courtesy of the Peloponnesian Folklore Foundation. The image portrays Fotini Sigara posing for a photograph minutes before her wedding to Konstantinos Polydoropoulos. The wedding took place at the Excelsior Hotel in Athens on February 21, 1930. The dress is made of sheer, off-white satin and lace, worn with long bathing gloves, and a string of pearls at the neck. The bride also wears a dramatic make-up style. The dress, the photograph, and an invitation for the wedding are part of the Peloponnesian Folklore Foundation. The dress is a great example of the bridal style of the 1930s with the bias-cut, smooth fabrics that emphasised the curves of the female body. Wedding dresses were very influenced by Hollywood which provided a glamorous model for gowns. Fotini Sigara’s dress is quite simple and the train is very long and wide. The use of lace, organised in horizontal stripes on the bodice and widening the line of the skirt with vertical inserts, make the simplicity of the dress quite interesting.                  

4. “Beautiful Bride", c. 1930. Photographer is James Van Der Zee. From the National Gallery of Art. James Van Der Zee was an American photographer best known for his portraits of Black New Yorkers. He was a leading figure in the Harlem Renaissance. Aside from the artistic contributions of his work, Van Der Zee produced the most comprehensive documentation of the period. This beautiful bride appears at her loveliest in her fitted gowns with long, sweeping line. The drop waist, short length wedding dresses of the 1920s have all but disappeared. The decade of the bias cut gowns that slimmed the body in shiny silk, rayon, and satin had arrived. This gorgeous bride is wearing some of the other trends of the era including a higher necklines and long sleeves.           

5. Silk Satin Wedding Dress, c. 1930. Crepe backed silk satin wedding dress with long dolman sleeves covered with beautiful buttons. The dress has a bateau (boat) neckline and a slight train. From Live Auctioneers.                   

6. Mrs and Mrs John Smith. From the Smithsonian, Archives Center, National Museum of American History. The bride looks to be wearing a lace coat with a collar over a dress made of plain silk or a rayon silk combination. Her veil is long and cascading and trimmed with lace. She is wearing a lace halo bridal hat. Her hair is curled and framing her face which was a popular style in the 1930s. She is holding a bouquet of roses.      

7. Ivory Satin Spencer Wedding Jacket with Long Ruched Train, 1931. The silk satin dress was designed by Jeanne Lanvin. From Phoenix Art Museum. Although 1930 maintained some of the light-hearted styles of the roaring twenties, by 1931, fashions became more conservative again. The 1930s were an unusual period of history. The elation, extravagance, and fearlessness that followed the end of the First Great War came to an abrupt end in 1929 when wall street crashed which started The Great Depression. Of course, history gets reflected in the fashion. However, people used weddings to show confidence for the future and continued to spend a lot of money on their big day.      

8. Elizabeth’s wedding dress in Frankenstein (1931). Costume design by Vera West. Vera West designed the gowns for almost 400 films during the 1930's and 1940's for Universal Studios. She designed costumes for quite a few dramas and even some comedies, but the majority of the films were in the horror or mystery genre. Hollywood had a substantial impact on wedding dress styles, with brides widely imitating glamorous evening and wedding gowns worn by movie stars.            

9. Elizabeth’s wedding dress in Frankenstein (1931) Costume design by Vera West.      

10. Wedding ensemble by designer Elizabeth Hawes, 1932. Fashion designer Elizabeth Hawes created understated, elegant, and charming garments for women of means. Hawes believed that form follows function. It was important to Hawes that her garments were not only stylish but easy to move in, and—by incorporating quality, breathable fabrics—comfortable to wear. She was deeply influenced by the early 20th century French couturière Madeleine Vionnet. She admired Vionnet’s methodology and drew upon her approach to draping and creatively piecing fabrics together on the body. Hawes preferred utilizing complex mitering techniques (a technique that involves cutting and overlapping the edges of a material to create a corner, usually at a 90° angle) and textural juxtapositions that counterbalanced the otherwise minimal details of her designs. This wedding dress epitomizes the classic elegance of Hawes’ work. Miss Blanchett Ferry Hooker wore the wedding ensemble for her marriage to Mr. John D. Rockefeller III, in November 1932. The highly visible society event drew crowds, with over 2,500 guests in attendance, and hundreds of observers that spanned multiple city blocks outside the Riverside Church in Manhattan.  It was one of the social events of the year in Manhattan. The bridesmaids wore a variation of Blanchett’s wedding dress in fuchsia. Her sister, Helen Huntington Hooker was her maid of honor and wore a deep purple version of the dress with a matching short veil, also designed by Hawes. The MET.            

11. Princess Dmitri in Chanel, Vogue, 1932. Princess Dmitri of Russia (formerly, Countess Marina Golenistcheff-Koutouzoff) is wearing a wedding dress with circlet of orange blossoms at neck and veil, all by Chanel. Photo from Condé Nast. Countess Marina Sergeievna Golenistcheva-Koutouzova was a direct descendant of sisters Anastasia Romanova and Marfa Romanova. After the revolution, Marina and her family moved to Kislovodsk and later to Crimea. In August 1920, the family was evacuated to Istanbul and then to Paris. In the French capital, Marina began to work for Chanel. Prince Dmitri met her through Chanel and they fell in love and married in Paris on 25 October 1931. In 1947, they  divorced and Princess Marina moved with their daughter to the United States.           

12. Joan Crawford wearing the famous Letty Lynton organdy dress, 1932, designed by Adrian. As I previously mentioned, wedding dresses at the time were really influenced by Hollywood and this dress was one of the most influential dresses of the time. It was knocked off by designers everywhere including Parisian couturiers. The oversized ruffled sleeves are unmistakably ’30s. The great Adrian said: "Who would have thought that my entire reputation as a designer would rest on Joan Crawford's shoulders?” He was reportedly told by the movie studio to hide Crawford's broad shoulders. Brides everywhere thanked him for following his designer instincts.             

13. Norman Hartnell dress for the wedding of Margaret Whigham and Charles Sweeny in 1933 at the Brompton Oratory, London. Embroidered silk satin with pearl and glass beads and satin appliqué, tulle with metal wire, trimmed with wax. The dress took a team of 30 seamstresses six weeks to make, and the bride thought it shockingly expensive at £52. Margaret Whigham would later become the Duchess of Argyll. Margaret was the only child of Helen Mann Hannay and George Hay Whigham, a Scottish millionaire who was chairman of the Celanese Corporation of England, North America, and Canada. She was educated privately in New York City, where she moved and lived until the age of 14. She made her debut in London in 1930 where she announced her engagement to Charles Guy Fulke Greville, 7th Earl of Warwick. This wedding was cancelled as she had fallen for American, Charles Sweeny. Sadly, Margaret and Charles Sweeny divorced in 1947, and in 1951, she became the Duchess of Argyll, third wife of the 11th Duke of Argyll. V&A Museum.    

14. Train of Norman Hartnell dress for the wedding of Margaret Whigham.    

15. Detail of Norman Hartnell dress for the wedding of Margaret Whigham.           

16. Wedding Dress from an unknown designer/maker, 1933. Dress made from silk and linen. From The Cincinnati Art Museum. The Juliet Cap veil continued to be popular through the 1930's, however it became much more refined. Both the wedding gown and the veil became much sleeker and more fitted. There was less emphasis on the heavy lace and beaded finishes, brides tended to choose fewer smaller embellishments, if any. The gold wedding dress has a gorgeous matching Juliet cap.             

17. Wedding ensemble by Jacques, Chicago. It includes dress, cap, and veil, 1933. Silk satin and tulle. This beautiful dress is made of off white satin. It has a deep V-shaped neck at front and back. The off-set shoulder seams are decorated with braided satin trim. The sleeves are collapsed balloon-shaped and three-quarter length. The dress is high waisted. The skirt is gathered at the front. It flares into an ankle-length bias-cut skirt with a slight train in back. The Juliet cap is of tulle trimmed with off white satin braid, which extends into a chin strap. Off white silk tulle attaches to lower edge of cap. The veil falls to knee. Chicago History Museum.       

18. Wedding dress and slip by Blum's Vogue (Chicago, Ill.) silk satin, silk-thread embroidery. Chicago History Museum. This dress includes many of the trends of the era including the Letty Lynton puffed sleeves. It also has neo-Victorian elements, a trend that was gaining popularity as women sought a more feminine look after the flapper style of the 1920s.    

19. 1933 Wedding dress and slip by Blum's Vogue (Chicago, Ill.) back, train, and front embroidery detail.       

20. Actress Ann Todd models her wedding gown, 1933. Designed and made by Helene Galin. It is made of white and silver damask satin with a cloud pattern. A long train is edged with lace belonging to her great great grandmother. Ann Todd married Victor Neill Malcolm. (Photo by Sasha/Hulton Archive/Getty Images).

<div class="md"><ol>
<li><p>Callot Soeurs, 1930. Dress made of silk, plastic (cellulose acetate), linen, and leather.  This iconic dress has a show-stopping cathedral-length train. It is a dramatic example of a French couture wedding gown. It demonstrates the sleek and simple elegance of 1930’s fashion. It also illustrates the craftsmanship of Callot Soeurs in its construction and design. The scallops on the train are worked on the bias and evokes rippling water, as in a Japanese landscape, and is consistent with Callot’s Asian inspiration. While this dress dates from the period after Madame Gerber&#39;s retirement from Callot Soeurs, it serves as evidence that the next generation, Madame&#39;s sons Pierre and Jacques, inherited their mother&#39;s capabilities to design and beautifully execute dress designs until the business merged with the house of Calvert in 1937. The MET     </p></li>
<li><p>Front and back of the Callot Soeurs dress       </p></li>
<li><p>Photograph of Fotini Sigara in her wedding dress on February 21, 1930. Courtesy of the Peloponnesian Folklore Foundation. The image portrays Fotini Sigara posing for a photograph minutes before her wedding to Konstantinos Polydoropoulos. The wedding took place at the Excelsior Hotel in Athens on February 21, 1930. The dress is made of sheer, off-white satin and lace, worn with long bathing gloves, and a string of pearls at the neck. The bride also wears a dramatic make-up style. The dress, the photograph, and an invitation for the wedding are part of the Peloponnesian Folklore Foundation. The dress is a great example of the bridal style of the 1930s with the bias-cut, smooth fabrics that emphasised the curves of the female body. Wedding dresses were very influenced by Hollywood which provided a glamorous model for gowns. Fotini Sigara’s dress is quite simple and the train is very long and wide. The use of lace, organised in horizontal stripes on the bodice and widening the line of the skirt with vertical inserts, make the simplicity of the dress quite interesting.                  </p></li>
<li><p>“Beautiful Bride&quot;, c. 1930. Photographer is James Van Der Zee. From the National Gallery of Art. James Van Der Zee was an American photographer best known for his portraits of Black New Yorkers. He was a leading figure in the Harlem Renaissance. Aside from the artistic contributions of his work, Van Der Zee produced the most comprehensive documentation of the period. This beautiful bride appears at her loveliest in her fitted gowns with long, sweeping line. The drop waist, short length wedding dresses of the 1920s have all but disappeared. The decade of the bias cut gowns that slimmed the body in shiny silk, rayon, and satin had arrived. This gorgeous bride is wearing some of the other trends of the era including a higher necklines and long sleeves.           </p></li>
<li><p>Silk Satin Wedding Dress, c. 1930. Crepe backed silk satin wedding dress with long dolman sleeves covered with beautiful buttons. The dress has a bateau (boat) neckline and a slight train. From Live Auctioneers.                   </p></li>
<li><p>Mrs and Mrs John Smith. From the Smithsonian, Archives Center, National Museum of American History. The bride looks to be wearing a lace coat with a collar over a dress made of plain silk or a rayon silk combination. Her veil is long and cascading and trimmed with lace. She is wearing a lace halo bridal hat. Her hair is curled and framing her face which was a popular style in the 1930s. She is holding a bouquet of roses.      </p></li>
<li><p>Ivory Satin Spencer Wedding Jacket with Long Ruched Train, 1931. The silk satin dress was designed by Jeanne Lanvin. From Phoenix Art Museum. Although 1930 maintained some of the light-hearted styles of the roaring twenties, by 1931, fashions became more conservative again. The 1930s were an unusual period of history. The elation, extravagance, and fearlessness that followed the end of the First Great War came to an abrupt end in 1929 when wall street crashed which started The Great Depression. Of course, history gets reflected in the fashion. However, people used weddings to show confidence for the future and continued to spend a lot of money on their big day.      </p></li>
<li><p>Elizabeth’s wedding dress in Frankenstein (1931). Costume design by Vera West. Vera West designed the gowns for almost 400 films during the 1930&#39;s and 1940&#39;s for Universal Studios. She designed costumes for quite a few dramas and even some comedies, but the majority of the films were in the horror or mystery genre. Hollywood had a substantial impact on wedding dress styles, with brides widely imitating glamorous evening and wedding gowns worn by movie stars.            </p></li>
<li><p>Elizabeth’s wedding dress in Frankenstein (1931) Costume design by Vera West.      </p></li>
<li><p>Wedding ensemble by designer Elizabeth Hawes, 1932. Fashion designer Elizabeth Hawes created understated, elegant, and charming garments for women of means. Hawes believed that form follows function. It was important to Hawes that her garments were not only stylish but easy to move in, and—by incorporating quality, breathable fabrics—comfortable to wear. She was deeply influenced by the early 20th century French couturière Madeleine Vionnet. She admired Vionnet’s methodology and drew upon her approach to draping and creatively piecing fabrics together on the body. Hawes preferred utilizing complex mitering techniques (a technique that involves cutting and overlapping the edges of a material to create a corner, usually at a 90° angle) and textural juxtapositions that counterbalanced the otherwise minimal details of her designs. This wedding dress epitomizes the classic elegance of Hawes’ work. Miss Blanchett Ferry Hooker wore the wedding ensemble for her marriage to Mr. John D. Rockefeller III, in November 1932. The highly visible society event drew crowds, with over 2,500 guests in attendance, and hundreds of observers that spanned multiple city blocks outside the Riverside Church in Manhattan.  It was one of the social events of the year in Manhattan. The bridesmaids wore a variation of Blanchett’s wedding dress in fuchsia. Her sister, Helen Huntington Hooker was her maid of honor and wore a deep purple version of the dress with a matching short veil, also designed by Hawes. The MET.            </p></li>
<li><p>Princess Dmitri in Chanel, Vogue, 1932. Princess Dmitri of Russia (formerly, Countess Marina Golenistcheff-Koutouzoff) is wearing a wedding dress with circlet of orange blossoms at neck and veil, all by Chanel. Photo from Condé Nast. Countess Marina Sergeievna Golenistcheva-Koutouzova was a direct descendant of sisters Anastasia Romanova and Marfa Romanova. After the revolution, Marina and her family moved to Kislovodsk and later to Crimea. In August 1920, the family was evacuated to Istanbul and then to Paris. In the French capital, Marina began to work for Chanel. Prince Dmitri met her through Chanel and they fell in love and married in Paris on 25 October 1931. In 1947, they  divorced and Princess Marina moved with their daughter to the United States.           </p></li>
<li><p>Joan Crawford wearing the famous Letty Lynton organdy dress, 1932, designed by Adrian. As I previously mentioned, wedding dresses at the time were really influenced by Hollywood and this dress was one of the most influential dresses of the time. It was knocked off by designers everywhere including Parisian couturiers. The oversized ruffled sleeves are unmistakably ’30s. The great Adrian said: &quot;Who would have thought that my entire reputation as a designer would rest on Joan Crawford&#39;s shoulders?” He was reportedly told by the movie studio to hide Crawford&#39;s broad shoulders. Brides everywhere thanked him for following his designer instincts.             </p></li>
<li><p>Norman Hartnell dress for the wedding of Margaret Whigham and Charles Sweeny in 1933 at the Brompton Oratory, London. Embroidered silk satin with pearl and glass beads and satin appliqué, tulle with metal wire, trimmed with wax. The dress took a team of 30 seamstresses six weeks to make, and the bride thought it shockingly expensive at £52. Margaret Whigham would later become the Duchess of Argyll. Margaret was the only child of Helen Mann Hannay and George Hay Whigham, a Scottish millionaire who was chairman of the Celanese Corporation of England, North America, and Canada. She was educated privately in New York City, where she moved and lived until the age of 14. She made her debut in London in 1930 where she announced her engagement to Charles Guy Fulke Greville, 7th Earl of Warwick. This wedding was cancelled as she had fallen for American, Charles Sweeny. Sadly, Margaret and Charles Sweeny divorced in 1947, and in 1951, she became the Duchess of Argyll, third wife of the 11th Duke of Argyll. V&amp;A Museum.    </p></li>
<li><p>Train of Norman Hartnell dress for the wedding of Margaret Whigham.    </p></li>
<li><p>Detail of Norman Hartnell dress for the wedding of Margaret Whigham.           </p></li>
<li><p>Wedding Dress from an unknown designer/maker, 1933. Dress made from silk and linen. From The Cincinnati Art Museum. The Juliet Cap veil continued to be popular through the 1930&#39;s, however it became much more refined. Both the wedding gown and the veil became much sleeker and more fitted. There was less emphasis on the heavy lace and beaded finishes, brides tended to choose fewer smaller embellishments, if any. The gold wedding dress has a gorgeous matching Juliet cap.             </p></li>
<li><p>Wedding ensemble by Jacques, Chicago. It includes dress, cap, and veil, 1933. Silk satin and tulle. This beautiful dress is made of off white satin. It has a deep V-shaped neck at front and back. The off-set shoulder seams are decorated with braided satin trim. The sleeves are collapsed balloon-shaped and three-quarter length. The dress is high waisted. The skirt is gathered at the front. It flares into an ankle-length bias-cut skirt with a slight train in back. The Juliet cap is of tulle trimmed with off white satin braid, which extends into a chin strap. Off white silk tulle attaches to lower edge of cap. The veil falls to knee. Chicago History Museum.       </p></li>
<li><p>Wedding dress and slip by Blum&#39;s Vogue (Chicago, Ill.) silk satin, silk-thread embroidery. Chicago History Museum. This dress includes many of the trends of the era including the Letty Lynton puffed sleeves. It also has neo-Victorian elements, a trend that was gaining popularity as women sought a more feminine look after the flapper style of the 1920s.    </p></li>
<li><p>1933 Wedding dress and slip by Blum&#39;s Vogue (Chicago, Ill.) back, train, and front embroidery detail.       </p></li>
<li><p>Actress Ann Todd models her wedding gown, 1933. Designed and made by Helene Galin. It is made of white and silver damask satin with a cloud pattern. A long train is edged with lace belonging to her great great grandmother. Ann Todd married Victor Neill Malcolm. (Photo by Sasha/Hulton Archive/Getty Images).</p></li>
</ol>
</div>

1930s Wedding Dresses, Part I 

Tsarina Maria Alexandrovna was the first wife of Tsar Alexander II and wore this silver silk and brocade dress for her husband's coronation in 1856, Russia 

A place for historical garments, past patterns, illustrations, demonstrations, perukes, petticoats, hoops, codpieces, houppelandes, hennins, restorations and recreations from long ago.

Fashion historians, costumers and enthusiasts are welcome to celebrate some good-old-fashioned fashion.

Like this?  Check out /r/vintagefashion, /r/TheatricalCostuming and /r/HistoricalCostuming !

Interested in history, outside of the clothes?  Check out [The History Network](http://www.reddit.com/r/HistoryNetwork) on Reddit.

<div class="md"><p>A place for historical garments, past patterns, illustrations, demonstrations, perukes, petticoats, hoops, codpieces, houppelandes, hennins, restorations and recreations from long ago.</p>

<p>Fashion historians, costumers and enthusiasts are welcome to celebrate some good-old-fashioned fashion.</p>

<p>Like this?  Check out <a href="/r/vintagefashion">/r/vintagefashion</a>, <a href="/r/TheatricalCostuming">/r/TheatricalCostuming</a> and <a href="/r/HistoricalCostuming">/r/HistoricalCostuming</a> !</p>

<p>Interested in history, outside of the clothes?  Check out <a href="http://www.reddit.com/r/HistoryNetwork">The History Network</a> on Reddit.</p>
</div>

<div class="md"><p>A place for historical garments, past patterns, illustrations, demonstrations, perukes, petticoats, hoops, codpieces, houppelandes, hennins, restorations and recreations from long ago.</p>

<p>Fashion historians, costumers and enthusiasts are welcome to celebrate some good-old-fashioned fashion.</p>
</div>

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