Wedding bodice | Chicago History Museum | 1896

Wedding bodice | Chicago History Museum | 1896

Wedding dress, made by bride’s mother | Charleston Museum | 1928
I love pointing to the past when people talk about how new and trendy things like hi-low hems are - you’re actually wearing a fashion that’s ~90 years old!

Wedding dress, made by bride’s mother | Charleston Museum | 1928

I love pointing to the past when people talk about how new and trendy things like hi-low hems are - you’re actually wearing a fashion that’s ~90 years old!


Beaded Silk Crepe Wedding Dress sold by Salon of the Dames, ca. 1928

Wedding dress sold at Salon of the Dames, 1910s

Wedding dress sold at Salon of the Dames, 1910s

Wedding Dress | 1795-1805 | Museu Nacional do Traje e da Moda

Wedding Dress | 1795-1805 | Museu Nacional do Traje e da Moda


Beaded Wedding Dress || Minnesota Historical Society || 1891


Silk Wedding Dress | IMA | 1870

Wedding Dress | IMA | c. 1871

Wedding Dress | IMA | c. 1871

"Cloth-of-silver" (silk bobbinet embroidered with heavy silver lamé) wedding dress with white silk satin lining and silver metallic-thread embroidery, English, c. 1816. 

Made by “Mrs. Triaud of Bolton Street” and worn by Princess Charlotte for her wedding to Prince Leopold. The dress apparently required 500 hours of detailed hand-stitching in ultra-fine, mono-filament silk threads, “almost invisible to the naked eye.”

"Cloth-of-silver" (silk bobbinet embroidered with heavy silver lamé) wedding dress with white silk satin lining and silver metallic-thread embroidery, English, c. 1816.

Made by “Mrs. Triaud of Bolton Street” and worn by Princess Charlotte for her wedding to Prince Leopold. The dress apparently required 500 hours of detailed hand-stitching in ultra-fine, mono-filament silk threads, “almost invisible to the naked eye.”

oldrags:

Wedding dress worn by Mary Peterson Wells, 1910-11 (worn in) the Philippines (Manila), FIDM Museum & Galleries

Wedding dresses usually follow the lines of contemporary fashionable dress. This wedding gown, with its high waist and slim silhouette, highlights the popularity of silhouettes inspired by ancient Greek and Roman dress. As described in a post featuring a c. 1912 tunic dress, this style emerged about 1908 and was a dramatic departure from the S-bend silhouette. Mary wore this wedding dress with a headpiece of wax orange blossoms and buds. Sweet-smelling orange blossoms have long been worn by brides, but their popularity was cemented in 1840, when Queen Victoria wore a crown of orange blossoms for her wedding. For those without access to fresh orange blossoms, wax blossoms were a popular alternative. In this photograph, Mary is pictured wearing her wedding gown, the orange blossom headpiece, an extended veil and long gloves.
Though we know that this gown was worn for a wedding in the Philippines, we don’t know where it was made. If made in the Philippines, its up-to-date style is testament to the rapid spread of fashion information to regions far from Paris, the center of high fashion. Alternately, the bride might have commissioned the gown in the United States before setting sail for Manila. Answering this question will take more time, as we haven’t completed our research on Mary Peterson Wells. We know that she was born in 1887, but not the location of her birth. Based on what we’ve discovered so far, she was probably related to James Jackson Peterson. Born in West Virginia in 1853, Peterson was appointed United States consul for Honduras in 1890. By the early 20th century, Peterson had moved to Manila where he received an appointment as official translator and sheriff for the City of Manila. The relationship between James Jackson Peterson and Mary Peterson Wells is still unclear.
The lace panels decorating the gown might have been a family heirloom, given to Mary for use on her wedding dress.

oldrags:

Wedding dress worn by Mary Peterson Wells, 1910-11 (worn in) the Philippines (Manila), FIDM Museum & Galleries

Wedding dresses usually follow the lines of contemporary fashionable dress. This wedding gown, with its high waist and slim silhouette, highlights the popularity of silhouettes inspired by ancient Greek and Roman dress. As described in a post featuring a c. 1912 tunic dress, this style emerged about 1908 and was a dramatic departure from the S-bend silhouette. Mary wore this wedding dress with a headpiece of wax orange blossoms and buds. Sweet-smelling orange blossoms have long been worn by brides, but their popularity was cemented in 1840, when Queen Victoria wore a crown of orange blossoms for her wedding. For those without access to fresh orange blossoms, wax blossoms were a popular alternative. In this photograph, Mary is pictured wearing her wedding gown, the orange blossom headpiece, an extended veil and long gloves.

Though we know that this gown was worn for a wedding in the Philippines, we don’t know where it was made. If made in the Philippines, its up-to-date style is testament to the rapid spread of fashion information to regions far from Paris, the center of high fashion. Alternately, the bride might have commissioned the gown in the United States before setting sail for Manila. Answering this question will take more time, as we haven’t completed our research on Mary Peterson Wells. We know that she was born in 1887, but not the location of her birth. Based on what we’ve discovered so far, she was probably related to James Jackson Peterson. Born in West Virginia in 1853, Peterson was appointed United States consul for Honduras in 1890. By the early 20th century, Peterson had moved to Manila where he received an appointment as official translator and sheriff for the City of Manila. The relationship between James Jackson Peterson and Mary Peterson Wells is still unclear.

The lace panels decorating the gown might have been a family heirloom, given to Mary for use on her wedding dress.


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