DOCSLIB.ORG

MODULE-3-DRESSING-THE-WEDDING-PARTY.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MODULE-3-DRESSING-THE-WEDDING-PARTY.Pdf MODULE: 3 42 | P a g e DRESSING THE WEDDING PARTY 3.1. For the bride: The dress - Choosing the right dress Video tutorial -Choosing a wedding dress to suit the bride's figure Accesories Video tutorial -The bride's bouquet 3.2. For the groom: Suit and accessories. Dressing the groom - Body shapes Video tutorial - The choice of wedding suit Video tutorial - Make up for the groom 3.3. For the bridesmaids, best man, flower girls and page boys 3.4. Other things to consider when dressing the bridal party 3.5. Make up General tips Foundation Eyes Video tutorial - How to apply false eyelashes Video tutorial - How to remove false eyelashes Eyebrow make up Video tutorial - Eyebrow make up Cheeks Lips 43 | P a g e Video tutorial - Wedding make up Video tutorial - Nude bridal make up Video tutorial - Vintage bridal make up Video tutorial - Make up for the mothers of the bride and the groom Video tutorial - Make up for guests - Evening Wedding Video tutorial - Wedding Make up for younger guests Video tutorial - Home beauty tips 3.6. Hair colour and style Shades to enhance skin types Which shape/style of hair suits which face shape Video tutorial - Hair style for a bride 3.7. Nail care Video tutorial - Manicure Video tutorial - Pedicure 44 | P a g e 3.1 Choice of the bride’s dress The bride’s dress is the central attraction at any wedding. The choice is a big one for any bride and her taste and style will determine the choice but, as the wedding planner, you can help advise her. A priority is whether the wedding is formal or informal, or if there’s another dress protocol to take into consideration. The time of year and whether it’s a morning or afternoon occasion also matters. If budget allows it may be useful to employ a personal shopper to pick out the most suitable choices. Some guidelines: If the bride has broad shoulders you should avoid strapless dresses as they further accentuate the shoulders and can make the bride look masculine. The shoulders should always be covered for religious weddings, so if the dress choice leaves shoulders bare you’ll need to choose a jacket or shawl to cover them for the church. If, instead, you need to disguise the hips, don’t choose a dress that puts much volume in this area but one that falls limply. Tulle and bulky fabrics accentuate the hips. Fabrics that are often used are lace, tulle, silk, organza, wild silk and satin. Shades of white, ivory and cream are most commonly chosen. Hemlines are mostly full length, though some choose shorter. For night time weddings, the fabric is usually more stiff and formal and more soft and flowing for daytime. The above guidelines would be typical for religious weddings of the Christian faiths. Weddings of other faiths usually have their own traditional or ethnic costumes. In civil weddings, the bride and groom feel freer to choose stylish clothes they may wear again and not feel restricted to the typical garments worn for a church wedding. Choosing the right dress for the body shape: There are several body types, we'll go through the following in this section; inverted triangle shape, hourglass, oval, rectangular and triangular body shapes. Keep these body shapes in mind when advising the bride on what wedding dress to choose. 45 | P a g e CHOOSING A WEDDING DRESS TO SUIT THE BRIDE’S FIGURE Instructions To choose the bride’s dress, take into account many factors, like the type of ceremony, the place the celebration will take place, the time and the season. But, the most important consideration is that the dress helps the bride to look her absolute best. It must suit her figure, her height and her personality. A figure hugging dress is a good choice to accentuate a curvy figure, since it follows the body contours. These dresses are usually fitted to the knee and then open out and widen. It’s an ideal shape for hourglass figures or rectangular shaped figures, but not recommended for women of small stature. The Princess style of dress is the most sought after because it suits many body types. It hides the hips and tummy area and also balances a figure with very broad shoulders. The empire style of dress is also very flattering for different figures and body shapes. It has an elegant Roman feel and is characterised by the seam just below the bust. From the waist down the skirt falls limply and is very graceful. It’s a good choice if the bride is pregnant. The most spectacular of all is the Cinderella style of dress. The top is a tight fitting bodice which joins a spectacular, full skirt. It is highly recommended for women with a defined waist and wide hips, as it disguises the area of the hips and legs. It also looks well on women with broad shoulders but is not recommended for petite figures as it has the effect of shortening the figure. Once the dress has been chosen, the accessories can be matched to this. Whether you chose a traditional headdress or a veil, it should follow the style and tone of the dress. Shoes must also compliment the dress and accessories. It’s important to ensure they are comfortable as the bride will be on her feet for much of the day. New shoes may need to be worn indoors a few times to make sure there is no discomfort on the wedding day. 46 | P a g e INVERTED TRIANGLE SHAPE In this shape, the shoulders are wider than the hips and sometimes the bust is also large. Therefore, the aim is to try to minimise the upper torso and create more curves and volume around the hips in order to bring more proportion. Avoid shoulder pads and dresses with prominent shoulders. Choose V shaped necklines, preferably a narrow V. Avoid wrap style or overlapped at the top. Don’t wear short necklaces unless you’re slim and your neck is long. Avoid dresses that bring attention to the shoulders and avoid narrow and halter straps. Any jackets should be hip rather than waist length. Define hips with a dress the nips at the waste 47 | P a g e HOURGLASS SHAPE The hourglass shape has shoulder width in the same proportion to hips and a defined waist. Brides with this shape can wear most styles. Make the most this shape by emphasising the waist and suggest figure hugging clothes. Lingerie is important for this body shape to create smooth curves. The styles of the 40s 50s and 60s are ideal for this body shape. Avoid dresses that make your hips look wider. 48 | P a g e OVAL SHAPE The oval body shape is characterised by being rounded in the central area, particularly the stomach region. The goal when dressing this shape is to hide the tummy and create a more slender, streamlined outline using the correct clothes and accessories. If the bride is wearing a jacket make sure it doesn't squeeze the torso. There may or may not be a defined waist but it’s better to stick to straight lines. Low V necklines are slimming for this body type Look for empire line dresses (pulled in below the bust). Wear heels to give height.. Accessories should be in proportion with this body type. 49 | P a g e RECTANGULAR SHAPE In this body shape, the torso is small and waist not so defined. The bust and buttocks also tend to be small. The most important thing to remember when dressing this shape is to create curves with the dress and accessories. Choose appropriate underwear to do their part in creating curves. Look for a dress with a defined waist in the correct size. Suggest soft, feminine lines Add big, round accessories Avoid dresses that have square necks and instead search for rounded or V shaped necklines. 50 | P a g e TRIANGULAR SHAPE This body shape has narrow shoulders and hips that are wider. The goal is to hide the hip area and draw attention instead to the face. Suggest a dress with detail which draws the attention upwards. If wearing a jacket is should be structured, defining the torso. Any accessories that attract attention to the upper part of the body and the face are good – Avoid a dress where the bottom half is skin tight– they make the hips look bigger. Choose a dress with an A line shape at the bottom Knowing the body type of the bride will help you give the best advice when helping with the wedding dress. 51 | P a g e Post Wedding Outfits Many brides now opt to wear a different dress or outfit after the banquet. She may be tired of the tedious weight and discomfort posed by some dresses, or may be a fashionista and while she has the spotlight for the day, want to show herself off in another glamorous outfit! It has been a tradition in many countries for the bride and groom to change into a different outfit to leave the guests and start their honeymoon. Now this is changing into an opportunity to wear a second wedding dress, showcase more fashion or wear something more appropriate for a night time party. It is also becoming more popular for the bride and groom to have a day after party. You can help the bride choose the right outfit for this occasion, while keeping in mind the tips for dressing the various body shapes you should also take into consideration the next section on colour analysis, when helping the bride pick out their post wedding outfits.
Load more

Recommended publications
  • Results and Discussion 83 RESULTS and DISCUSSION the Interest That Indian Women Showed in Ornamentation and Aesthetic Expression
    Results and Discussion RESULTS AND DISCUSSION The interest that Indian women showed in ornamentation and aesthetic expression through their costumes has been documented well. It is pertinent to understand the messages that they conveyed through their sartorial preferences which is documented in various forms sculptures, scriptures, literature, paintings, costume archives, cinema, media –advertisements and magazines etcetera. Each community and ethnic group maintained unique characteristics, which become symbols of recognition and identification and served to establish their cultural affiliation. Central to this was the Indian woman who was the symbol of patriarchal society. She combined both the functions of being the nurturer and protector of her household and cultural ethos of the society. The woman was as important part as the man; of the Indian society, which embraced both the indoor and outdoor roles within the social- cultural paradigms of the community. The span of evolution of Indian women’s costume, especially the draped version, the sari has undergone immense changes, however to interpret the semiology of the era bygone is rather complex; as one can attempt to understand and decode the tacit meaning through the lens of current observation only. Since the people who shared the ancient set of rules or code for contextual reading that enables us to connect the signifier with the signified are not present, this will prove to be delimiting. The Indian fashion scene began receiving its due credibility and attention from 1980’s onwards and gained the industry recognition in 21st century: hence this research focuses on new millennium to understand the Indian Fashion System.
    [Show full text]
  • Historic Costuming Presented by Jill Harrison
    Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs.
    [Show full text]
  • Maitree Creation
    +91-8048371502 Maitree Creation https://www.indiamart.com/maitreecreation/ We “Maitree Creation" is a Sole Proprietorship based firm, engaged as the foremost Manufacturer of Men Brooch, Metal Cufflinks, Pocket Handkerchief & Much More. About Us Established in the year 2016 at Mumbai, Maharashtra. We “Maitree Creation" is a Sole Proprietorship based firm, engaged as the foremost Manufacturer of Men Brooch, Metal Cufflinks, Pocket Handkerchief & Much More. We ensure to timely deliver these products to our clients, through this we have gained a huge clients base in the market. For more information, please visit https://www.indiamart.com/maitreecreation/aboutus.html MEN NECKLACE P r o d u c t s & S e r v i c e s Men Stylish Sherwani Men Pearl Necklace Necklace Men Designer Pearl Necklace Men Stylish Pearl Necklace MEN BROOCH P r o d u c t s & S e r v i c e s Men Sherwani Brooch Men Blazer Brooch Men Fancy Coat Brooch Men Stylish Brooch POCKET HANDKERCHIEF P r o d u c t s & S e r v i c e s Blue Check Pocket Designer White Pocket Handkerchief Handkerchief Blue Printed Pocket Fancy White Pocket Handkerchief Handkerchief METAL CUFFLINKS P r o d u c t s & S e r v i c e s Stylish Mild Steel Cufflinks Designer Brass Cufflinks Stylish Stainless Steel Fancy Mild Steel Cufflinks Cufflinks TIE PIN P r o d u c t s & S e r v i c e s Designer Golden Tie Pin Silver Tie Pin Fancy Silver Tie Pin Golden Tie Pin LAPEL PIN P r o d u c t s & S e r v i c e s Designer Lapel Pin Stylish Lapel Pin Fancy Lapel Pin BOW TIE P r o d u c t s & S e r v i c e s Maroon Bow Tie Black Bow Tie Pink Bow Tie P r o OTHER PRODUCTS: d u c t s & S e r v i c e s Men Fancy Pearl Necklace Men Designer Coat Brooch Red Printed Pocket Designer Stainless Steel Handkerchief Cufflinks F a c t s h e e t Year of Establishment : 2016 Nature of Business : Manufacturer CONTACT US Maitree Creation Contact Person: Gajendra No.
    [Show full text]
  • Spatial Filtering, Color Constancy, and the Color-Changing Dress Department of Psychology, American University, Erica L
    Journal of Vision (2017) 17(3):7, 1–20 1 Spatial filtering, color constancy, and the color-changing dress Department of Psychology, American University, Erica L. Dixon Washington, DC, USA Department of Psychology and Department of Computer Arthur G. Shapiro Science, American University, Washington, DC, USA The color-changing dress is a 2015 Internet phenomenon divide among responders (as well as disagreement from in which the colors in a picture of a dress are reported as widely followed celebrity commentators) fueled a rapid blue-black by some observers and white-gold by others. spread of the photo across many online news outlets, The standard explanation is that observers make and the topic trended worldwide on Twitter under the different inferences about the lighting (is the dress in hashtag #theDress. The huge debate on the Internet shadow or bright yellow light?); based on these also sparked debate in the vision science community inferences, observers make a best guess about the about the implications of the stimulus with regard to reflectance of the dress. The assumption underlying this individual differences in color perception, which in turn explanation is that reflectance is the key to color led to a special issue of the Journal of Vision, for which constancy because reflectance alone remains invariant this article is written. under changes in lighting conditions. Here, we The predominant explanations in both scientific demonstrate an alternative type of invariance across journals (Gegenfurtner, Bloj, & Toscani, 2015; Lafer- illumination conditions: An object that appears to vary in Sousa, Hermann, & Conway, 2015; Winkler, Spill- color under blue, white, or yellow illumination does not change color in the high spatial frequency region.
    [Show full text]
  • NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions
    NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Paris Fashions The New Orleans Daily Picayune had the latest word on “Paris Fashions” in 1864 when it printed “A Paris letter of Jan. 24th”, announcing: “A new blue and green have been contrived by the scientific dyers of silks, which keep their color so distinctly and vividly by candle-light as to throw all previous dyes into the shade. These, and a beautiful violet, which does not redden by candle-light, are the favorite new colors, replacing the oak shades so fashionable last winter under the names of ‘Russia leather,’ ‘Queen's hair’ and ‘Wood.’ Figured silks, plaid stripes, small and large Chine flower and brocades keep their place in public favor; but the plain shades are considered the newest and most fashionable for evening dresses.” The above report from France was the result of the latest scientific discoveries in the field of synthetic dyes and a fashion firestorm that took place in the City of Light in 1864. It involved the Empress Eugénie, wife of Emperor Napoléon III of the Second Empire of France, and an exquisite green silk gown (more on that later). Born on May 5, 1826, in Granada, Spain, the Empress Eugénie became the fashion icon of all Europe and across the ocean to New Orleans and the rest of the United States, as well. The Empress adored haute couture, a term first used to describe the work of fashion designer Charles Fredrick Worth (1826-1895), and set a standard in Paris that had not been seen since the days of Josephine.
    [Show full text]
  • Of 36 POLICY 117.1 UNIFORMS, ATTIRE and GROOMING REVISED
    POLICY UNIFORMS, ATTIRE AND GROOMING 117.1 REVISED: 1/93, 10/99, 12/99, 07/01, RELATED POLICIES: 405, 101, 101.1 04/02, 1/04, 08/04, 12/05, 03/06, 03/07, 05/10, 02/11, 06/11, 11/11, 07/12, 04/13, 01/14, 08/15, 06/16, 06/17, 03/18, 09/18, 03/19, 03/19, 04/21,07/21,08/21 CFA STANDARDS: REVIEWED: As Needed TABLE OF CONTENTS A. PURPOSE .............................................................................................................................. 1 B. GENERAL ............................................................................................................................. 2 C. UNIFORMS ........................................................................................................................... 2 D. PLAIN CLOTHES/ SWORN PERSONNEL ................................................................... 11 E. INSPECTIONS ................................................................................................................... 11 F. LINE INSPECTIONS OF UNIFORMS ........................................................................... 11 G. FLORIDA DRIVERS LICENSE VERIFICATION PROCEDURES ........................... 11 H. MONTHLY LINE INSPECTIONS REPORT AND ROUTING ................................... 12 I. FOLLOW-UP PROCEDURES FOR DEFICIENCY AND/OR DEFICIENCIES ....... 12 J. POLICY STANDARDS/EXPLANATION OF TERMS ................................................. 12 K. GROOMING ....................................................................................................................... 25 Appendix
    [Show full text]
  • The Green Guide Dresses Reviews
    The Green Guide Dresses Reviews Hypersensitive Benji always aggravated his dapperness if Leighton is multicostate or waxing administratively. Saltatory and Chalmerslyric Tomas rejuvenizing zeroes her soareg conjunctly? outstays while Cal phrases some ribband slantly. Is Shea untinned or snarly after convicted The green guide dresses It with suppose to fling a cape in bring back and process just sewed two pieces of fabric over amount back. In addition to silhouette, generally if a deal seems too good to be true, natural cloths are often greatest. Your item is not shipped yet. Explore dress is great first started feeling for more dress in china, green guide website easy care? You laugh consider your Style Board a special pretty planning tool stool your own personal showroom. Your rating is required. Please keep Time slots. Are you sewing the cowl bodice? These are you are worth a storyteller she is available use try them up to cart window. Visby Dress Shop Dresses online today to Review Review. Order your perfect Shein vacation dress here. So cute and comfy. Use this space to add all of your favorite dresses. LEHHOTiana Silk Dress was Green 1135wwwlehhocom Wtoo by WattersSawyer Jumpsuit in Melody Georgette 250 Amelia's Bridal. Modern dresses for the chic bride bridesmaid wedding sat and great girl Shop online and those store NYC and CHI. Are you sure you want to delete this item? The security code does not construct the credit card number. This review and pockets at least. Check the price as part of it often have a great review comments on a romantic summer setting in brand, buying mint green! V-neck Mother ship the previous Dress 254335 US499 The hike Guide.
    [Show full text]
  • HINDU WEDDING by Dipti Desai All Images Provided by Dipti Desai Copyright 2006
    2 HINDU WEDDING By Dipti Desai All images provided by Dipti Desai Copyright 2006 Published by Henna Page Publications, a division of TapDancing Lizard LLC 4237 Klein Ave. Stow, Ohio 44224 USA All rights reserved. Printed in the United States of America No part of this book may be used or reproduced in any manner without written permission except in the case of brief quotations embodied in critical articles or reviews. Henna artists may freely use these patterns as inspiration for their own hand-drawn henna work. Library of Congress Cataloging in-Publication Data Dipti Desai Hindu Wedding Henna Traditions Weddings Hindu Traditions Copyright © 2006 Dipti Desai Tapdancinglizard.com This book is provided to you free by The Henna Page and Mehandi.com 3 Hindu Wedding © 2006 Dipti Desai Terms of use: you must agree to these terms to download, print, and use this book. All rights reserved. Terms of use for personal use: You may not sell, offer for sale, exchange or otherwise transfer this publication without the express written permission of the publisher. You may make one (1) printed copy of this publication for your personal use. You may use the patterns as inspiration for hand rendered ephemeral body decoration. You may not sell, lend, give away or otherwise transfer this copy to any other person for any reason without the express written permission of the publisher. You may make one (1) electronic copy of this publication for archival purposes. Except for the one (1) permitted print copies and the one (1) archival copy, you may not make any other copy of this publication in whole or in part in any form without the express written permission of the publisher.
    [Show full text]
  • Celestial Indigo Sherry Haar Kansas State University, [email protected]
    International Textile and Apparel Association 2018: Re-Imagine the Re-Newable (ITAA) Annual Conference Proceedings Jan 1st, 12:00 AM Celestial Indigo Sherry Haar Kansas State University, [email protected] Emily Andrews Kansas State University, [email protected] Tracey Martin Threads of Evolution, [email protected] Jeanne Hankerson SJ Couture Bianca Sandord FABRIC Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Part of the Fashion Design Commons, and the Fiber, Textile, and Weaving Arts Commons Haar, Sherry; Andrews, Emily; Martin, Tracey; Hankerson, Jeanne; and Sandord, Bianca, "Celestial Indigo" (2018). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 60. https://lib.dr.iastate.edu/itaa_proceedings/2018/design/60 This Design is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Cleveland, Ohio 201 8 Proceedings Celestial Indigo Sherry Haar and Emily Andrews, Kansas State University Tracey Martin, Threads of Evolution, Scottsdale, AZ Jeanne Hankerson, SJ Couture, Scottsdale, AZ and Bianca Sanford, FABRIC, Tempe, AZ Keywords: capping, indigo, fructose, fermentation vat Purpose. The dress, Celestial Indigo, was the result of a collaborative effort between a book author, designer, stitcher, and natural dyers. Tracey Martin (2017), author of Sustainable in Stilettos, is passionate about a book cover’s intrinsic messages: ‘The cover tells a story even before you open the book’ (p. 1). Celestial Indigo, created for Martin’s book cover, holds messages of refashioning, versatility, natural color, and collaboration.
    [Show full text]
  • Hammer Prices 21St/22Nd May + Timed Sale - 4Th June 2019
    Hammer Prices 21st/22nd May + timed sale - 4th June 2019 Lot No Description 1 An oak canteen containing a 60-piece set of electroplated flatware and cutlery, by Butler of Sheffield. £35.00 2 A canteen of King's pattern epns flatware and cutlery £130.00 3 Two large electroplated candelabra with twin scroll handles, 49 cm high overall (2) £50.00 5 Three silver trophy cups (a/f), 11.7 oz total, to/w a larger electroplated trophy cup, an epns five-piece tea/coffee service, £180.00 rectangular tray, sardine dish with ceramic liner and cover, various epns flatware, etc. 6 A canteen of OEP epns flatware and ivory-handled cutlery (circa 1920), to/w some un-boxed items of flatware and cutlery £40.00 7 A pair of plated on copper candelabra and two pairs of candlesticks, to/w various other electroplated table ware, oval tray, etc. £30.00 A(box) Victorian silver small open salt on hoof feet, a three-piece condiment set, 6.2 oz net weight and a toothpick-pot on weighted 8 foot, to/w a quantity of epns Hanoverian rat-tail flatware in associated canteen, an oblong two-handled tray and six fiddle £110.00 pattern soup spoons 9 A glass pin-dish in the form of a swan with silver head and wings, to/w a four-piece epns tea service, a boxed Ronson 'Milady' £65.00 AVaraflame good quality cigarette Victorian lighter cased with four-piece mother-of-pearl set of mountsparcel gilt (apparently epns servers, unused), to/w a pairset of of dress Georgian buttons, cast etc.
    [Show full text]
  • Rer~O Flashy Cocktail Dress and Hat ~~HITNEY Grey Business Suit, Prince-Nez CHORUS ~Jot"EN, SINGING GIRLS BILL COOKER Stree
    "'T , ANYTHING GOES Costume Plot ACT I, SC I Caprice Bar, afternoon smart hotel ~JO~1E~j -~1EN REr~O Flashy cocktail dress and hat ~~HITNEY Grey business suit, prince-nez CHORUS~JOt"EN, SINGING GIRLS BILL COOKER Street clothes Assorted Cocktail dresses and hats DANCINGGIRLS JOHN Bartenders jacket, dark pants Spangled cocktail sheaths bow tie CHORUSMEN/SINGING Business suits, dark colors DANCINGBOYS suits to go with girls ACT I, SC lIOn the ship t1RS. HARCOURT ~JHITr~EY Palm beach suit and hat Summer suit with hat JUNIOR Sports jacket and pants HOPEHARCOURT Young smart afternoon dress and BISHOP DOBSO~J hat, gloves and bag Clerical suit with collar ~1RS.t~E~JT~/ORTH Middle aged. Smart dress or suit SIR DEVELIN Cutaway and bowler with fur scarf and hat I SNOOKS Street dress and hat, somewhat BILLY ~~hite dinner jacket flashy BISHOP MOONClerical outfit with black hat REr~O Traveling suit with hat TWOFEDERAL ~1EN BONNIE Nice dress and hat Dark business suits, hats T~JOCHINESE Sol id kimonos and pants w/hats BOr~VOYAGE BON VOYAGE I SI~JGINGGIRLS CHORUSMEN/SINGING ~1E~J Assorted street dresses, suits Business suits and sports out- sport clothes fits with 1 ships officer in white uniform, 2 sailors, 2 porters, DANCINGGIRLS 1 steward Set alike, sports outfits with hats DANCI~IGMEN ~Jhite Sailor uniforms ALL THROUGHTHE NIGHT ALL THROUGHTHE NIGHT DANCI~JGGIRLS DANCINGBOYS Grey tux jackets with black Soft 3/4 length chiffon dresses black pants alike or in 3 to 4 colors WHITNEY Plus fours, sport jacket PURSER White uniform ACT I, SC III On Board BO:~NIE Slacks, halter top and sweater SIR DEVELIr~ Heavy cable knit sweater and HOPE 3 piece linen sun costumes tennis pants sleeveless top, shirt and skirt / , - 2 - MRS.
    [Show full text]
  • The Bride Wore White
    THE BRIDE WORE WHITE 200 YEARS OF BRIDAL FASHION AT MIEGUNYAH HOUSE MUSEUM CATRIONA FISK THE BRIDE WORE WHITE: 200 YEARS OF WEDDING FASHION AT MIEGUNYAH HOUSE MUSEUM Catriona Fisk Foreword by Jenny Steadman Photography by Beth Lismanis and Julie Martin Proudly Supported by a Brisbane City Council Community History Grant Dedicated to a better Brisbane QUEENSLAND WOMen’s HISTORICAL ASSOCIATION, 2013 © ISBN: 978-0-9578228-6-3 INDEX Index 3 Foreword 5 Introduction 6 Wedding Dresses & Outfits 9 Veils, Headpieces & Accessories 29 Shoes 47 Portraits, Photographs & Paper Materials 53 List of Donors 63 Photo Credits 66 Notes 67 THE BRIDE WORE WHITE AcKNOWLEDGEMENTS Thanks are extended to Jenny Steadman for her vision and Helen Cameron and Julie Martin for their help and support during the process of preparing this catalogue. The advice of Dr Michael Marendy is also greatly appreciated. I also wish to express gratitude to Brisbane City Council for the opportunity and funding that allowed this project to be realised. Finally Sandra Hyde-Page and the members of the QWHA, for their limitless dedication and care which is the foundation on which this whole project is built. PAGE 4 FOREWORD FOREWORD The world of the social history museum is a microcosm of the society from which it has arisen. It reflects the educational and social standards of historic and contemporary life and will change its focus as it is influenced by cultural change. Today it is no longer acceptable for a museum to simply exist. As Stephen Weil said in 2002, museums have to shift focus “from function to purpose” and demonstrate relevance to the local community.
    [Show full text]