Tag Archive | 1930s wedding dress

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