The Wedding Day has arrived, the most important event in a Victorian girl's life. It is the day her mother has prepared her for from the moment she was born. The Victorian girl knew no other ambition. She would marry, and she would marry well.
Naming the Day
The wedding itself and the events leading up to the ceremony are steeped in ancient traditions still evident in Victorian customs. One of the first to influence a young girl is choosing the month and day of her wedding. June has always been the most popular month, for it is named after Juno, Roman goddess of marriage. She would bring prosperity and happiness to all who wed in her month. Practicality played a part in this logic also. If married in June, the bride was likely to birth her first child in Spring.
June also signified the end of Lent and the arrival of warmer weather. That meant it was time to remove winter clothing and partake in one's annual bath. May, however, was considered unlucky. "Marry in May and rue the day," an old proverb goes. But "Marry in September's shine, your living will be rich and fine."
Brides were just as superstitious about days of the week. A popular rhyme goes:
Marry on Monday for health,
Tuesday for wealth,
Wednesday the best day of all,
Thursday for crosses,
Friday for losses, and
Saturday for no luck at all.
The Sabbath day was out of the question.
The Wedding Ensemble
Once the bride chose her wedding day, a prerogative conferred upon her by the groom, she could begin planning her trousseau, the most important item of which was her wedding dress.
Brides have not always worn white for the marriage ceremony. In the 16th and 17th centuries for example, girls in their teens married in pale green, a sign of fertility. A mature girl in her twenties wore a brown dress, and older women even wore black. From early Saxon times to the 18th century, only poorer brides came to their wedding dressed in white--a public statement that she brought nothing with her to the marriage. Other brides wore their Sunday best.
Color of the gown was thought to influence one's future life.
Blue--love will be true
Yellow--ashamed of her fellow
Red--wish herself dead
Black--wish herself back
Grey--travel far away
Pink--of you he'll always think
Green-ashamed to be seen
Ever since Queen Victoria wed in 1840, however, white has remained the traditional color for wedding gowns and bouquets. A woman then used her dress for Court Presentation after marriage, usually with a different bodice.
The early Victorian wedding dress had a fitted bodice, small waist, and full skirt (over hoops and petticoats.) It was made of organdy, tulle, lace, gauze, silk, linen or cashmere. The veil was a fine gauze, sheer cotton or lace. The reasonable cost of a wedding gown in 1850 was $500, according to Godey's, with $125 for a veil. By 1861, more elaborate gowns cost as much as $1500 if constructed with lace.
Formal weddings during this period were all white, including the bridesmaid's dresses and veils. Veils were attached to a coronet of flowers, usually orange blossoms for the bride and roses or other in-season flowers for the attendants. The bride's accessories included: short white kid gloves, hanky embroidered with her maiden name initials, silk stockings embroidered up the front, and flat shoes decorated with bows or ribbons at the instep.
For the mid-Victorian bride (1870s) there was an emergence of middle class wealth, and with it a display of their new riches. Wedding gowns fashioned by Worth in Paris were the ultimate status symbol. And if one couldn't afford an original, one copied them. Full court trains were now part of the wedding ensemble, as were long veils, a bustle, elegant details and two bodices--a modest one for the wedding and a low one for special occasions.
The late Victorians (1890s) saw the bustle disappear, a demi-train and large sleeves now in fashion. If the bride married in church, the dress must have a train, with a veil of the same length. The veil could be lace or silk tulle. From the mid-Victorian era to the 1890s, the veil covered the bride's face and was not lifted until after church. The veil was not used as a shawl after the wedding any more, however. White kid gloves were long enough to tuck under the sleeves, and had a slit in one finger to slip the ring on without removing the glove. Slippers were of white kid, satin or brocade and the heels rose to one inch.
For the widow who remarried in the early and mid-Victorian eras, she did not wear white, had no bridesmaids, no veil and no orange blossoms, (a sign of purity.) She usually wore a pearl or lavender satin gown trimmed with ostrich feathers. In the later decades, she was allowed attendants as well as pages, but no veil or orange blossoms. She could wear a shade or two away from white, preferring rose, salmon, ivory or violet.
As for jewelry, diamonds have always been popular. When white dresses were in vogue, pearl and diamond combinations were fashionable. The mid-Victorians had a more extravagant display of wealth, often a diamond tiara for the ceremony. Combination pieces of diamond jewelry that could be separated later as individual pieces were popular. Traditionally, the jewelry worn by the bride was a gift from her husband. The earlier in the day the wedding, the less jewelry.
Finally, for the bride, you may recall the English rhyme: "Something old, something new, something borrowed, something blue, and a lucky sixpence in your shoe." Something old was often a family heirloom and the bride's link with the past. Something new could be her dress or a gift from the groom. Something borrowed was of real value like a veil or headpiece, and returned to the owner. Something blue was often the garter or an embroidered handkerchief. The touch of blue symbolized faithfulness, while the sixpence ensured future wealth.
A Groom's Attire
The grooms, too, were concerned with fashion on their wedding day, and turned to magazines for advice on how best to be turned out. In the early Victorian era, the bridegroom wore a frock coat of blue, mulberry or claret, and a flower favor in his lapel. By 1865, men's coats were tailored with a special "flower-hole" for this purpose. His waistcoat was white, and his trousers of lavender doeskin. Black was out of the question. The best man and groomsmen wore frock coats also, but in a more subdued tone.
By the mid-Victorian era, frock coats were seldom worn, the morning coat being preferable because of its smarter appearance. Some grooms still wore frock coats, however, and did so with a vest of black cloth, dark gray trousers, a folded cravat of medium color, and lavender gloves stitched in black.
Fashions changed rapidly in the late Victorian years, from no need for gloves in 1885, to a must for gloves in 1886. By now, however, men wore pearl colored gloves with black embroidery. By 1899, the frock coat was back in style along with a double-breasted, light-colored waistcoat, dark tie, gray striped cashmere trousers, patent-leather button boots and pale tan kid gloves. Throughout the Victorian era, a black top hat was a necessity.
By the end of the Victorian era, boutonnieres were large--a bunch of lilies, a gardenia or stephanotis sprig. If the wedding was in the evening, as now allowed by English law, full dress tailcoats were in order, with white gloves and white waistcoat. The father of the bride dressed like the groom and groomsmen, and according to the time of day for the wedding.
Attendants, Children and Family
Gowns for the bridesmaids had to be both practical and beautiful, for they became a part of the girl's wardrobe after the ceremony. Some generous brides provided the dresses for their attendants. During the early Victorian years, skirts were full and bodices tiny. Tradition called for an all white wedding, but color could be added for an accent if the overall effect remained white. Bridesmaids covered their heads with short white veils falling from a coronet to just below the hip. Weddings at home did not require a veil, and often headpieces of flowers and ribbons were worn.
By the mid-Victorian era, bustles were the height of fashion. White was no longer the color, but was still worn at some weddings, often in combination with another color. By the 1890s, the Victorians were more willing to try innovative new fashions, closely following fashions from Paris. Large sleeves were in style, emphasizing the shoulders. Grey, violet and lilac were popular in England, while Americans preferred white, rose or green. By 1898, fashion dictated that the bridesmaids' dresses be in direct contrast to the bride's, so as not to distract from the beauty of her gown. That custom is still in practice today.
Children were a symbolic part of the Victorian wedding and had their own dress etiquette. Little girls could be flower girls or ring bearers. If older, they could be junior bridesmaids or maids of honor. Regardless of their role, their dresses were of white muslin tied with a ribbon sash that matched their shoes and stockings. The dresses were either long or short depending upon the prevailing styles and ages of the girls. The boys had the important role of holding the bride's train. They dressed as court pages in velvet jackets, short trousers and round linen collars fastened by large bows of white crepe de chine or surah. Their laced shoes were black, unless it was a formal wedding, in which case they wore white silk hose, and buckles on their shoes. Their velvet suits could be black, blue, green or red, with a matching hat, which was optional. The hat was removed for a church ceremony.
Social customs dictated what the mothers and female guests wore, also, the difference subtle yet present. At a daytime wedding, guests wore walking or visiting costumes. The mothers, and other female family members, wore reception toilettes, being more elegant than daytime costumes, but less formal than evening dress. All women had to wear bonnets in church, but they were optional for at-home ceremonies. Bonnets were not worn for evening receptions. In the late Victorian era, black was suggested as an appropriate color for the mother of the bride. These were never made of black crepe, however, which signified mourning. If the mother was in mourning, she could put aside her crepe for the ceremony and wear purple velvet or silk in America, or cardinal red in England. Queen Victoria, the mother figure at many weddings, always wore black and white because she was in mourning for her "dearest Albert."
The Wedding Trousseau
It is customary, at the wedding, for the young bride to wear only pure white, with a wreath of orange flowers to adorn the full veil of lace. The widow or elderly lady will wear pearl color or tinted silk, without wreath or veil. The bridesmaid of the youthful bride may wear colors, but a very beautiful effect is produced by pure white, with colored trimmings. In some cases, one-half of the bridesmaids will wear one color, and the other half another color. No black dresses should be worn by the guests. Any in mourning may, for the time, wear purple, lavender, iron-gray and other quiet colors.
The bridegroom and groomsmen will wear white gloves, vest and neckties.
The bride's traveling dress should be very quiet and modest, and not such as in any way to attract attention.
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