If you are a regular reader of this blog, you almost certainly believe that sartorial choices are made by individuals to create aspirational versions of themselves, i.e. you dress in the fashion of the person you want, or believe yourself, to be. Given that belief, what do you think this Victorian-era wedding gown might reveal about its wearer?
Wedding gown
1877-78
Gift of the Helen Larson Estate
2001.31.4
The most striking visual aspect of this silk dress is the lacing which stretches from the collar to the hem. Almost immediately, the lacing of a corset is brought to mind. This association would have been obvious in the 1870s too, as most corsets of the era laced up the back. This suggestion of undress creates a tension when contrasted with the impression of restraint and propriety implied by the long sleeves, high-collar and train. Given that this was worn as a wedding dress, the obvious tension between conceal and reveal becomes extremely intriguing. Both modest and exhibitionistic, this would have been quite a wedding dress indeed!
Before you suggest that the FIDM Museum wedding dress is an oddity, take a close look at the image below, which appeared on the cover of Harper’s Bazar on August 11, 1877. This “sea-side toilette” shares the center front lacing and also features a heavy silk cord draped around the hips. Actually two garments, the darker colored skirt and sleeves are of a “mandarin yellow silk” while the laced over-garment is a “sleeveless polonaise” of white cashmere. The polonaise is trimmed in black velvet ribbon embroidered in green, yellow and red arabesques. The accompanying parasol is also of mandarin yellow silk, lined with white and topped with yellow flowers.
Reprinted from Victorian Fashions & Costumes from Harper’s Bazar: 1867-1898. p.106.
Bodice detail of 2001.31.4
This wedding dress came to the FIDM Museum as part of a collection which once belonged to the British dress and textile collector Doris Langley Moore (1902-1989). In Moore’s book The Woman in Fashion, a chronological history of fashion from 1800-1927, our wedding gown is worn by ballerina Marjorie Tallchief. Though the practice of dressing live models in historic garments is no longer condoned by museum professionals, it was once common among both collectors of historic dress and museums. Garments from Moore’s extensive collection are now part of many dress/textile collections in the UK and the United States. If you know of any objects in museum collections associated with Doris Langley Moore, drop us a line as we’d love to know!
Back view of 2001.31.4
Pocket detail of 2001.31.4
The inclusion of the seaside dress has me wondering if it’s actually a nautical reference — the lacing is certainly reminiscent of sail lacings…
You make a great point! The lacing is certainly reminiscent of sail lacing, but would that same reference be made in a more formal wedding dress? I wonder…
I love love LOVE this dress. Your illumination of its dual personalities is wonderful. It’s chaste, but alluring.
I am curious about the triangular shapes of the top hem and the collar. To me, it’s almost patchworky feeling…like maybe the two personalities of the dress are meant also to illustrate how marriage weds a resourceful woman to noble purpose. Am I nuts?
Interesting observation, Becky. The triangular shapes around the neck of this dress have always reminded me of teeth…like jaws (or a toothed trap) closing on her neck! You interpretation is much kinder and more positive. I did a little research and found another dress from the same time period with similar trim. It’s bit hard to see, but enlarge the image and you can clearly see similar trim around the neckline and cuffs.
http://www.metmuseum.org/works_of_art/collection_database/the_costume_institute/dress_dinner_house_of_worth/objectview_enlarge.aspx?page=1&sort=0&sortdir=asc&keyword=1877&fp=1&dd1=8&dd2=0&vw=1&collID=8&OID=80002780&vT=1
Really fine antique dress for wedding and I have an idea about it to make dress like this design for my wedding in march. It is looking like a queen’s dress. Thanks for post.
The dress is simply exquisite. I agree the lace is visually striking and beautiful. I must research the museum collections associated with Doris Langley Moore. Thank you for sharing such timeless information with your readers.
Doris Langley Moore exploded the myth of the 18-inch waist, which almost all Victorian women were supposed to have had, by measuring over 200 surviving dresses and bodices. Her survey revealed that the average 19th century waist measurement sat comfortably within the 20-30 inch range.
Speaking as a wedding photographer in the UK, we do occasionally get brides who wear vintage wedding dresses belonging to there grandmother’s and occasionally much older. They really do make a fantastic change from modern wedding dresses which somehow seem less stylish. I suppose this is to do with the huge amount of work and skill that went into a quality wedding dress back in the Victorian era, skills which I imagine have died out in recent times. Interesting article, thanks. Pat
I have a photo of my great grandmother getting married in a very similar dress around 1865 in Hamburg/Germany. It also has ribbons down the front, allthough they just come down to the (incredibly small) waist.
My mom told me that the material for this dress (a heavy kind of silk) was imported form Japan, where an uncle was working for a bank in Yokohama…
Wow,wedding dresses have indeed been to a lot of transformations. While brides of yesteryears were fully clothed, nowadays brides bare out more skin.
Wow! That is a gorgeous dress! I love the intricate details from its pocket. I never thought wedding dresses from ages ago would be this beautiful because the details are hardly shown from the photographs.
Maybe the bride was marrying a sailor, having a seaside wedding, or wanted a nautical theme – the heavy lacing against that ecru color certainly reminds me of sails