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The 1930s Bride – The Bridal Bouquet

It is customary to think of the bouquet as a matter of decoration alone, but it can be more useful than that.  it, too, can have an influence on the figure.  It is not enough that the lovely flowers be held with unconscious grace; they must be carried with an apparent unconscious grace at that position which will be most flattering.

The tiny bride will carry her flowers hight, well above the waist, and the  fluttering ribbon streamers attached to the bouquet should be long, extending to the hem of her dress.  This will help to create a long line that contributes to an illusion of greater height.  The bouquet should neither be too massive, nor too broad, and it will be most successful if the flowers are white.

The tall bride’s bouquet may have colour contrasts in it.  It should be held waist high, and the ribbon ends should not extend below the knees.

For the plump girl the bouquet should be of a flat formation, with a certain amount of width. If held at her waist it will minimise hip breadth, or if carried just under the bust it will conceal rotundity.

A Word about Colour

This is important because, although wedding dress and veil are white, they need  not necessarily be an uncompromising pure white if that would be inimical to the complexion – which it very definitely can be.  For a clear white skin, with a not too vivid colour in the cheeks, white would be suitable. But if the complexion tones are ruddy or sallow, then ivory or cream white will suit the colouring of the wearer much better than the pure white tone.

The 1930s Bride – Wedding Veil

The following is a continuation of previous posts on advice given to the 1930s Bride.

So much for the wedding gown itself.  now for the veil.  the tall girl will want to have her fitting cap-like so that it will not add to her height, while the tiny girl can have hers shaped in front to a peak that helps to build up her figure.  The veil for the tall girl can be very full billowing out over her shoulders, because that breadth will hel to reduce her height.  But the short girl and the plump girl will insist on their veils being pulled well together at the back of the neck and on their falling shortly from there rather than flowing voluminously over their shoulders.  the thin girl’s veil should strike a happy medium between these two extreme. but even the bride of average proportions cause, although she has no figure worries, she has her features and the shape of her face to consider in order that the soft frame of her wedding veil may contribute to her loveliness.

The hear-shaped face,” that is, a somewhat triangular one with a pointed chin and abroad forehead, should have  veil draped rather low on the brow to conceal the too broad forehead.  It will slant diagonally from the temples to the ears, to cut off a bit of forehead breadth, and at the ears it will fit flatly in order not to add to facial breadth and so make the pointed chin lose character.

Such a headdress, however, would be unsuitable for the bride whose face is the perfect oval praised by poets and artists.  There must be no line to mar that oval, and therefore, the veil should closely follow the facial contours, in plain, simple lines.  A band of small seen pearls fastening under the chin, would give a most enchanting effect.

So pliable is the cobwebby fabric of the bride’s veil, that, under the persuasion of deft fingers, it can be coaxed at will to lend beauty and mystery.  The too round face can be transformed into flowery loveliness if the veil be worn fairly curves on the cheeks, thus changing mere roundness into soft curves.  The high regal band, which rises to a not too sharp point in the centre of the forehead, is another subtle device.  Features that are small and fine must be accompanied by a veil of very simple flat lines, no frills and furbelows to put them into insignificance.  a veil drawn tightly across the brow will give full prominence to the features.  If the nose is large the veil should be given fullness in the draping at the back, thus in parting a more pleasing line to the profile.

1930s Bride – The Wedding Dress

There is little doubt but that the bride’s wedding gown is the most thrilling and romantic dress of her entire trousseau.  coming down the aisle of the church, leaning on her father’s arm, her white gown shimmering softly and falling in graceful folds about her white-shod feet, she is the incarnation of romance.  Everyone turns to look at her, “Here comes the bride!”  This is her big moment! No wonder such anxious care and thought are always expended on the selection of the material and the line of this lovely gown.

Because she longs to passionately that her wedding gown be perfect, the girl who is going to be married needs to be fully informed about every element that goes into the creating of a wedding dress that is to be not only perfect in itself, but also perfect in herself.  This is by no means one and the same thing.

The Tall Bride
The Wedding dress for the too tall girl is a good beginning for this subject. Let us see how she can make it work for her instead of against her. The waist should be places fairly low. If it is high, it makes a long line to the skirt hem and so adds to the impression of height. If a girdle or cord is used at the waist, this should come only to a little below the knees rather than reach the skirt hem. the neck should be a rather long square, all these facts being based on the principle that the more short and ‘breaking up’ lines the tall girl can achieve, the more elements she has for the creating of an illusion of average height. If the skirt is rather full at the waist, in the manner of the robe de style, this, too, will add enough breadth to disintegrate a long unbroken line. The tall girl will remember to bring careful though to bear on the subject of her train. Instead of starting from the back of the neck, it should be places at the shoulders. It must not be too narrow, nor any longer than is necessary for beauty and grace. A long, narrow train beginning at the nape of the neck will add inches to her appearance and height.

The Short Bride
It is fairly obvious that the tiny girl who is under average height will want to go about the designing of her wedding gown in practically an opposite way to the Tall Bride. Her aim, her ideal, is to look tall. So her dress is of the waistless, princess style, fitting closely, with no breadth imparting drapery or gathers. If she wears a cord or girdle it is placed about her hips, making her waist line as high as possible, and the ends will only just escape the floor. The neck, too, will be high, encircling the base of her throat, for her object is to achieve along unbroken line from the head to the tip of the slipper. Her train will be places as high on the back of her neck as can be managed. It will be long and narrow, coming within the edges of her shoulders. It can be about one-third longer than her own height in order to contribute its utmost to a long, height-suggesting line.

The Thin Bride
Frequently the very thin girl makes the mistake of believing that, in order to give herself more rounded contours, she must choose loose-fitting clothes. There is a dangerous theory, for nine times out of ten clothes that hang loosely will emphasise angles.  Let her have her wedding dress shaped softly over the bust, let her have a full gathered skirt, but let her make sure it is fitted at the waist. The sleeves can be full, sloping gradually from shoulder to hem and then caught in with a band at the wrist. Her train should not be too long, and it should be broad, reaching to the edges of the shoulders. A shiny material such as satin, or a heavy one like silver lame, will giver her a better, fuller lime than thin crepes or dull crepe satins.

The Fuller Figure
Now we come to the plump girl. To a great extent her problems are similar to the short girl’s. She, too, will want to concentrate on those long unbroken lines which will, by making her look taller and straightening out unwanted curves, create an illusion of slimness. Particularly for her in s the choice of the material for the wedding gown of great importance. No shiny satin which reflects the light and so adds to breadth. No stiff heavy fabrics which add bulk. A dull fine crepe is her most friendly fabric, simply made. If hips are her greatest trail a skirt that flares outwards towards the hem, giving a slanting, pyramid line, will help to minimise their importance. If her bust is too prominent, a V-shaped neck ending in a point a little below the fullest portion of the bust will help. Sleeves must be “easy”, not so tight that they make her arms look fat and constricted, not so full that they add breadth to her silhouette. The train should be long and not too wide, coming within the edges of the shoulders and starting as high up on the frock as possible.

Source:  1930s publications

1930s Bride – Reception

Where To Have Your Reception

It is customary for the parents of the bride to bear the expenses of the wedding reception, and, of course, their decision as to where it will be held is influenced by the amount that can be spent on that ceremony.  Either through sentiment or through the necessity for economy many people prefer that the reception be held in the home. But sometimes the decision is in favour of an hotel, at which a private dining-room and salon may be engaged. In that case the hotel attend to all the details of preparing and serving refreshments.  These can vary from a cold buffet affair to a formal and elaborate luncheon.


1930s Bride – The Wedding Cake

One of the best moments on the Great Day itself is when the ceremony is over and the Bride is standing  surrounded by her friends at the reception.  It is then that the head waiter steals quietly to her and whispers that the time has come to cut the cake.  The eyes of everyone present are upon her when the first slice is cut and, of course, exclamations and cried of admiration can be heard about the Cake itself.  Have you decided yet about your Wedding Cake?  An excellent way of obtaining the very best is to have your cake made my Huntley and Palmers, the famous Reading biscuit and cake manufacturers, who have a section of their factory devoted entirely to the production of wedding cakes.  Indeed, their experience of seventy-five years in this art enables them to offer cakes as distinctive in beauty as they are unrivalled in quality.  you must not think that by getting your cake from Huntley and Palmers that you are restricting yourself to one or two or three different designs.  Those little personal details such as crests and monograms are carefully carried out to individual requirements, and each cake can, of course, be made to any weight or size required.  The wedding cake will be delivered to the actual place where the reception is being held, quite ready to be placed in position.

The cake must be ordered in advance, and details as to the number of guests and the decorations for the cake must be discussed with the baker.  When the refreshments or the reception luncheon are finshed there comes the ceremony of the cutting of the cake.  This is always done by the bride, with the groom standing by to assist her.  Portions of the cake are passed to each guest.  As soon as this important ceremony is completed, the bride retires to change for her honeymoon.

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Have your wedding cake made by Huntley and Palmers, the firm of repute who have been privileged to make many Royal Bride Cakes, and you know that not only will it be the best, but also be befitting to the great occasion.

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1930s Bride – Wedding Cars and Presents

Cars For The Wedding

As a rule it is the bride’s parents who provide the car which takes her to the church. If they so desire they also provide cars for any of the wedding guests and for the bridesmaids. If there are not sufficient available they can be obtained from concerns which make a business of hiring cars.

The Bridegroom supplies the car which brings himself and his bride from the church to the reception and afterwards takes them to the train when they leave for their wedding journey.

 

Listing and Arranging Wedding Presents

This is a subject of much more importance than might be thought at first glance.  Even a simple wedding entails an overwhelming amount of detail and unless some system is followed it is impossible to keep track of the wedding presents.  By the time you have received about a dozen, you no longer have an idea concerning who sent what, and whether or not you have acknowledged its receipt!  The minute one is received it should be noted down, together with the name of the donor.  Then, as you acknowledge the present, check it off on your list.  In this way you can tell at a glance what has been sent you by each guest and whether you have yet written to acknowledge its receipt.  The writing of these notes should be delayed.

…more to follow

1930s Bride – The Wedding Bouquet and Flowers

Although there is no hard and fast rule about wedding flowers it is usual for the bridegroom to provide the bouquets for the bridesmaids, whilst the bride’s parents see to flowers for the church and reception.  The bridegroom, of course, sends the bride her bouquet, but he consult her as to her choice.

In deciding on what flowers to have one is necessarily somewhat guided by the deason of the years and the flowers available.  However, with more or less unlimited means it is possible to have some lovely and original combinations at practically any time or season.  Here is one suggestion for an outstandingly distinctive choice of bouquets.

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There are the bridesmaid’s bouquets arranged in the form of old fashioned clusters.  The centre would consist of yellow roses encircled with violets. Around this would come a rin of salmon-hued sweet peas, with an outer edge of lillies of the valley.  With the previous tones of yellow, salmon pink and violet, the bridesmaids’ frocks could be chosen from among these colours.  The bride’s bouquet, harmonising with these, could of of white roses with a few creamy pink or golden roses interspersed.