Above:
Estimation circa 1934. Constance Bennet was
THE clotheshorse for the mid-thirties and once cautioned her fans,
"Never follow fads. There is a difference between novelty and originality.
The former is for women who allow others to think for them. The
latter for those who think for themselves."
1930's Ivory Silk Satin, draped and cowled
neckline and cape back of pleated satin between raglan seams.
Matter-Bourges Photograph of an Irene Hayes creation.
Stephanotis blossoms form their
own chic cocktail hat veil.
At Right: This 1940's Bride knew exactly what she wanted and chose
to offset her illusion net satin gown with a dramatic bouquet of blush pink
anthurium.
Her headpiece also complimented the shape of her
bouquet. Note the large bow carried by the bridesmaid and how it
balances the oversized bridal bouquet and compliments her own dress.
A smaller bridesmaid bouquet would have made the already large bridal bouquet
appear gargantuan.
At Left: The Joseph Horne Company of
Pittsburgh featured this full page advertisement in the Autumn, 1939 issue
of The Bride's magazine.
Ad Copy Read:
"Autumn's Bride will wear a bustle, says our Bridal Secretary, just
back from Paris. The gracefully flowing train further accents the
back-swept silhouette of this model in ivory satin."
The gown was rayon slipper satin,
lined in silk crepe. Large shoulder pads helped support the weight
of the gown and train.
This pre-WWII advertisement for Neiman
Marcus featured a wedding gown specially designed by Nettie
Rosenstein. The gown was made from
sleek rayon satin and featured a draped bust with vee neckline.
Note the traditional bouquet arrangement of a prayer book and
trailing vines of maidenhair fern and stephanotis blossoms.
1939 Ad copy
read: "Tradition among families of note in the South and
West... trousseaux by Neiman-Marcus. The bride and her wedding party
turn to Neiman-Marcus for distinguished fashions and incomparable
service... come to the Bridal Secretary for expert assistance... look
forward, from their debutante days, to a Neiman-Marcus wedding as an
adventure in beauty and perfection."
This gown was featured on the April 1947 cover of
Mademoiselle Magazines annual Brides issue.
Again we see the usage of Cattleya
orchids as a simple if not elegant bridal corsage bouquet.
1947 Ad Copy Read:
"A memory making bridal gown defining your tiny waist with a
pointed bodice and full, full skirt."
"By Pandora in Cohama's
lustrous Bur-Mil rayon satin.
Headwear of a lace pelerine hood for the
bride was created by Lily Dache."
Mademoiselle Magazine April 1947
Collection of Gulden & Brown
Above: This 1949 pattern cover from
McCall's shows a gorgeous bias cut vee-neck satin gown with a dropped
Basque waist seam.
The skull cap head piece could
be made from velvet or satin and trimmed with lily of the valley and
velvet leaves.
The veil is cascading cathedral
with a blusher front. Variations of the veil style options are
shown at top, from a circle veil to a bonnet.
The Jay Thorpe gown that Wynn Richards photographed at left was one of the most extravagant, custom made
couture gowns found in the World during the wartime year of 1944.
This wedding dress as designed by Kathryn Kuhn was the ultimate in glamour
during a time of rationing and simplicity. The bombings in Europe
had taken their toll while American manufacturing was left unscathed,
allowing the Jay Thorpe company to offer a few gowns by special order.
The
gown was custom made to specifications and cost the princely
sum of $650 on 1944. Cost Conversion
of the gown in today's dollars would be $6,632.00, a bargain at today's
luxury designer prices.
The Jay Thorpe Gown Showroom was located at 24 West 57th
Street in Manhattan in the 1940's. The same location today is the home of many
upscale art galleries.
The Forget-Me-Not
Bride, designed by Kathryn Kuhn.
"Snowy pure silk marquisette, lightly traced
with embroidered blue forget me-knots. To be treasured for
generations. Made to order. Bridal Salon.
All Rights Reserved: 1997-2009
All photographs on this page have been digitally remastered and hand colored by Lauren Lavonne
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