Edwardian Brides and Bridal Gowns

from the May 1906 issue of Harper's Bazar

"Charmingly attractive are the trousseaux planned for the Easter brides of 1906, and while it might be thought that there could be nothing strikingly novel left for the designers to furnish to the public, the impossible has been attained, and there is no end of absolutely new features to be seen.

White satin and point-lace have, from time immemorial, been considered the proper attributes of a bride, but in these days there is far more choice of materials allowed, and there are many most charming gowns made of silk, chiffon, and lace that find favor. For an elaborate gown the white satin or satin combined with brocade still ranks foremost, but the gowns of lace with court train of brocade or satin are also extremely effective. Accordion-pleated chiffon completely veiled with flounces of lace is exquisitely dainty and becoming, and has been chosen by some of the most prominent brides in the fashionable world, while in the newest models are to be seen lace, chiffon, and satin all combined.

The court train so fashionable at present for wedding gowns has much that is practical to recommend it. The gown is in itself complete without it, and the train can be removed, leaving the gown perfect in detail and much more adaptable for other occasions than many a simpler wedding gown. A charming design is shown in the chiffon with lace flounces, with court train of white satin. The chiffon waist has a high draped bodice of satin, but yoke and front of lace; the sleeves are of satin, lace, and chiffon combined, and the veil is of white tulle with lace edge.

Bride's gown with coast effect in satin; yoke, revers, and cuffs of heavy lace; pleated chiffon frills at the elbows; tiny pearl chains fastening the coast at the front.

A simpler design is a combination of white silk or satin with chiffon, and is made in strikingly novel design of a long pointed coast worn over a pleated chiffon or lace skirt. In the back the gown is in princesse effect; there are a deep lace yoke, revers, and cuffs of lace. It is a style that is becoming to either a slender or a stout figure, and the gown would be quite possible for other occasions as well. Princesse wedding gowns are always charming and becoming, and the hard lines can be softened by the draping of the material across the bust or by bias bands arranged in semicircles or loops or by lace flounces across the front. The soft silks and satins so fashionable now are especially well suited to the princesse styles, and the fabric clinging closely to the figure, outlines any good curves and emphasizes graceful lines.

Bridal gown of mousseline and lace with court train of heavy white satin; draped girdle and bolero of the satin; the train is fastened only to the shoulders.

Lace veils are not always becoming and tulle veils invariably are, which is one reason why the tulle veil is more generally seen. A grandmother's or mother's wedding veil is not always a thing of joy to deal with, even when the lace is of the most costly description. Its folds sometimes hang in too stiff lines or it is of a shape or length almost impossible to drape becomingly. The tulle veil, on the contrary, can be most easily arranged and made becoming, while if desired it may be bordered with lace of the most expensive description.

The present style of coiffure also enables the veil to be becoming, the pompadour giving a basis to which to pin the wreath or half-wreath, and then to fasten the veil under the flowers. The veil never is so becoming with the hair arranged low as high on the head, for the knob or braid holds the veil out too far from the head to give good lines. It is astonishing how much difference all these details make in the general appearance, and too much care cannot be bestowed upon them. Often the most inexpensively gowned bride will look far better than one whose gown and veil have cost a fabulous amount, simply because the veil is becomingly arranged and the style better suited to the wearer.

The 'Going-away' or traveling costume ranks next in importance to the wedding gown, and almost as much attention is paid to it. Only when a long journey is to be started on immediately is the traveling costume on severely simple lines, and, in fact, it is becoming more and more the custom for the so-called going-away gown to be on the elaborate order, almost like a reception gown. The coat-and-skirt costume with waist to match is a favorite model, and for spring the light-weight cloths or veilings are preferred. A charming model is in the favorite Alice blue trimmed with black satin and blue brain several shades darker; the skirt has much more trimming than is usually seen, and is of a peculiar cut in the fact that, while it is wide around the foot is does not give the effect of flare, but clings quite closely to the figure. The double-breasted short jacket is extremely smart trimmed with velvet to match the skirt and with a double row of flat gold buttons. The sleeves are short, but the cuffs come well below the elbow, and the shape is good.
 

LEFT: Empire dinner gown for a bride; pale violet-chiffon over liberty satin; lace flounces with band and girdle of deeper velvet; narrow velvet ribbon on the bodice. RIGHT: Bride's going-away gown of blue cloth with black satin and braid trimmings; waistcoat of dotted cheviot.

The same model is equally effective in gray, tan, or old-rose pink; the last, however, not to be rashly adopted, as it is not always becoming.

The Empire style is shown in the lace gown, white with medallions of black, and a line of black velvet in the V-shaped point outlining a yoke of another kind of lace. The model requires to be most carefully treated, for while the lines are most graceful, and the close-fitting princesse lining should do away with any appearance like a tea-gown, if it is not perfectly executed the fashion is unsatisfactory, because it does suggest the tea-gown rather than the theatre gown. The wrap worn with the costume is smart and unusual, and can be made up in either cloth or silk and in any one of the new shades of color.

The spring brides will have a good opportunity to appear in the newest of fashions in hats, but they also have to face the fact that they have not so wide a choice as later in the season when the fashions have been quite decided upon. They are far better off than a few years ago before the fashion of going South came into favor, for then spring hats were not exhibited until spring had come,  while now the ordering of the outfit for the South forces the new designs into notice. There is to be a great variety of shapes and styles in hats this season. Large hats, small hats, and medium-sized ones are all to be popular. Demure shapes, with turned-down brims and high crowns are in sharp contrast with the most coquettish little affairs with low crowns and turned-up brims that are bent at right angles. In the former the trimming is in soft folds around the crown and massed at the back, but outside; in the latter the trimming is all inside the brim and starts from the back, giving the effect at first glance of the hat being put on wrong side foremost.

There are to be hats so small as to look more like hair ornaments than headgear; hats large and picturesque and on the coal-scuttle bonnet order of old-time form, but scattered in among such extreme models will be discovered scores of most charmingly refined styles of medium size and with no marked exaggeration of trimming. Rough and smooth straws, heavy and transparent, all are to be had, while flowers, feathers, ribbon and velvet bows are equally fashionable. The flowers are fascinating in color, and the present fashion is to use as many as possible, closely massed together, but with green foliage mixed in. Roses so true to life that it seems quite possible to believe they are real are most lavishly employed, and one of the best models for a serviceable hat to be worn with a tailor gown is of fancy black straw with a twist of pale green or pink ribbon around the crown, and at the back and over the crown a mass of deep pink roses.

Left: Round cloche-shaped hat of dull blue straw trimmed with pale green mousseline and white roses. Right: Black crin hat bound and trimmed with black satin; pale yellow ostrich tip and roses at the back.

Stiff wings and quills are also fashionable and trim the smaller, more eccentric hats effectively. They are often most oddly arranged, always with an aim to the smart appearance rather than to the becoming, but no woman with any taste would ever buy a hat of this description if it were not becoming. If the lines are wrong the effect is so painfully bad that even an individual most hopelessly lacking in taste must see it at a glance.

The picturesque styles will not seem out of place and old-fashioned when worn with the taffeta gowns and coats that are made on the old-fashioned order, and there are quantities of them to be seen in the new models. The Empire and Directoire hats must follow when the Empire and Directoire styles of dress lead, and milliners have recognized that fact and acted upon it. In time, when the chastening of the American taste has done its work with this latest fad, the results may be satisfactory; for the moment the fashion had best not be entered into lightly or unadvisedly.

Colored muslins are charmingly attractive, and there are many new designs since last year. The bordered effects are very novel,  and the waists or sashes or ribbon to match the design of the border are certainly quite original. The finest of organdies are among the new materials and in all shades; white with bands or borders of dull colors is thought smart, while an additional shade of color is gained by lining these bands with chiffon a shade darker. Flowered silk waists, high or low, with muslin skirts are thought attractive and smart, and the colorings are most artistic. Flowered silk girdles and sashes also furnish a variety of effect that is very satisfactory.

Left: Summer evening gown of lace and organdie with wild-rose garlands and pink ribbon bows and sash. Right: Design by Mathilde See. Smart cloth carriage coat of any preferred color embroidered to match; worn over an Empire gown of black and white lace combined.

The pattern robes simplify dress-making most wonderfully. There is a wide range of choice in the quality of these pattern robes, but among them are pleny at low price and of fine quality that are most satisfactory."

Left: Tea-gown for a bride; pale-blue surah with collar and cuffs of velvet in a much deeper shade; lace underdress. Right: Empire tea-gown of cream batiste and Oriental embroidery in warm, rich colors; gold buttons fastening the cape to the gown.

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04/22/2006