Wedding Dress: Made 1915, Modified 1945. "Jeanette Gunn modified her mother's 1915 wedding gown for her own wedding to Doug Motter in 1945. A professional seamstress removed the original high neckline and its net and lace inserts, replacing it with a sweetheart neckline, popular in the 1940s. The original silk satin dress was made in London Ontario by Smallman and Ingram Limited for Anna Martin's Calgary wedding to Dr. John Gunn..."
1911 Wedding dress, Marshall Field & Co., Chicago. Silk satin, lace, pearls, rhinestones, and wax blossoms. Off-white silk satin. Bodice has lace over-layer with low, rounded neckline. C-shaped back with pearl beading & rhinestone medallions at each side. Rhinestone buckles at shoulders. Bow-shaped pearl decorations at front and upper arms, w/strands of pearls at back & skirt. 3/4 lace sleeves. Skirt has net over-layer with large embroidered bow of pearls. Via Chicago History Museum.
1911 Wedding dress in off-white Silk satin. Bodice has lace over-layer with a low, rounded neckline. C-shaped back with pearl beading and rhinestone medallions at each side. Rhinestone buckles at shoulders. Bow-shaped pearl decorations at front and upper arms, with strands of pearls at back and skirt. Three-quarter lace sleeves. Skirt has net over-layer with a large bow of pearls embroidered at front. Purchased at Marshall Field & Co., Chicago.
Silk satin wedding dress with cream silk net overlay and wide Brussels lace, fancy embroidery and wide satin ribbon decoration, English, 1833. Worn by Emma Talbot, who was married at Penrice Castle on June 18th, 1833.
Wedding Dress, Lucile, Chicago: 1916, silk satin, Valenciennes and Chantilly lace, silk flowers, petticoat of "Pussy Willow" silk. "Worn by Katherine Keith at her marriage to David Adler on June 1, 1916. This wedding dress shows direct reference to a style of dress popular in the mid-to-late eighteenth century that had a wide skirt supported by a boned understructure called a pannier...The pannier in this dress is one single piece of boning stitched into the lining of the garment."
Grès was able to create pieces of increasingly complex drapery and pleating by tacking her difficult medium onto the rigid form of the shaping underbodice. Her lacing of a #gold lamé ribbon, which articulates the separate, vertically draped panels that run unbroken from neckline to hem, alludes to the girdling and quiver straps seen in classical renderings of #Artemis.
Purple silk crepe evening dress inspired by Botticelli's paintings. Jewel neckline, cap sleeves with pleat detail, and slender hips. Decorated with a spring floral that is embroidered on the body of the dress and a wreath of sequins, plastic, and silk around the neck. By Elsa Schiaparelli, French, 1938.