FOR THE EASTER BRIDE

Sun (Auckland), Volume II, Issue 324, 9 April 1928, Page 4

FOR THE EASTER BRIDE

By POPPY BACON The most definite remark one can make about modern wedding dresses is that velvets of every variety have taken the place of the sentimental tradition of white satin. But there are numerous changes. Not so very long ago, a bride set about planning her wedding dress with an eye to its future possibilities as an evening gown. This economical idea seems to have waned in popularity and, nowadays, bridal gowns are so distinctive and distinguished, that their wearers rarely use them a second time, even with alterations. And, although it is expensive, this, I think, is how it should be. The bridal dress is now recognisable apart from its veil. One design, with a few individual alterations, seems almost strictly, to be adhered to. The bodice is on the tight side, neither long nor short-waisted, and finished in a mediaeval point in front. Sleeves are long and tight with deep mitten cuffs which cover the hand to the fingers. Necklines are, for the most part, square, though this, of course, is decided by what is most becoming to the wearer. Skirts are long and full: all of them touch the shoes, and they are arranged in gathers the whole way round or at the sides only. Pearl embroidery comes before any other variety of trimming. Corsages are embroidered with pearl yokes. One beautiful design, worn by society bride, was made with a yoke of minute leaves which finished above the waistline in a heavy circular motif of embroidery.

Another gown, in which velvet and chiffon were allied, was embroidered where the two materials joined in a wide band of pearl. Lace is very rarely employed, but this is probably on account of the simulated lace embroidery. A recent bride was married in a velvet frock with a fairly full skirt adorned by thousands of closely-massed seed pearls, and small diamond paillettes in which touches of silver were introduced. From a distance it gave the effect of a very heavy lace. The waistline was trimmed with a matching band and the sleeves were decorated from the wrist to the elbow.

Trains are longer and more magnificent than ever before, most of them being embroidered to match the decoration on the dress. Those that are plain are either original in cut or trimmed with some outstanding decoration. A train lined with ruched pink chiffon was ornamented with a tremendous diamante true-lover’s knot and the edges were diamante sewn. Another design was finished with a monster velvet flower, each petal of which was outlined with seed pearls. A gown from a well-known model house had a circular train edged with ermine tails. All trains fall from the shoulders. Headdresses are on the fanciful side, many coronet effects being seen. They are a composition of silver tissue and pearls, and, very often, edged with a wreath of orange blossoms. Veils seem more voluminous than ever.