The White in Australia

CHLOE BORICH Curatorial Assistant

For generations, heavenly shades of white high-fashion gowns worn by celebrities and have illuminated the poignant desires, hopes fnancial elitists. However, it is important and expectations of . The wedding to remember and refect on the plentiful, dress is renowned for its transformative everyday narratives and social histories power and ability to turn young girls into of Australian wedding fashion that could women through ceremonious lengths otherwise be at risk of falling to the wayside. of satin, lace and tulle. The allure of the So, what is it about that dress? How did is universal and has long it become so infuential? And what can refected the ever-changing lexicon of wedding tell us about the lives of fashion. Its potent legacy has signifed Australian brides? shifting attitudes towards femininity and the body, and towards women overall. E A R LY B E G I N N I N G S : The romantic, fairytale-like quality of the THE INFLUENCE OF . wedding dress, loaded with symbolism and embodying the memories of that special Histories of the white wedding dress day, has led to it being not only a treasured routinely begin with Queen Victoria, who personal object, but more broadly, an artefact is widely believed to have single-handedly of immense social, cultural and aesthetic popularised the tradition of wearing white value, often kept long after its short debut. on her wedding day in 1840. This is actually a common misconception; several royal Considering this beguiling reputation, it is women around Europe preceded Victoria in unsurprising that the majority of museum this trend, including Mary, Queen of Scots, collections and exhibitions devoted to in 1558. The French frst popularised the wedding fashion tend to favour a prestigious colour white during the early nineteenth portrayal of it; biased towards opulent and century, prescribing it to their informal

116 117 day and evening wear, and subsequently and new ideas towards wedding fashion daunting and time-consuming tasks. increase in mass-produced clothing and, in to bridal clothes, as a sign of status and in particular fowed constantly between Largely governed by the infuence of turn, the decline in numbers of independent affuence. Nevertheless, Victoria was a these fashion capitals. Much slower was European fashion, this demand arguably dressmakers. However, the one special bridal pioneer for a number of reasons. the transmission of these fashion styles to gave way to an area of specialisation garment that women continued to rely on While her decision to wear white was not Australian shores. Albeit delayed, fashion and some creative freedom, enabling dressmakers for, and that kept dressmakers groundbreaking, her white wedding dress from London and Paris became and dressmakers to establish burgeoning solvent, was the wedding dress. signalled a move away from the remained the most appealing here. This Australian aesthetic and stylistic choices. ceremony being undertaken as a simple international infuence was transported WEDDING DRESS REALITIES. legal agreement towards the extravagant, through illustrated magazines and By 1900, however, the retail industry was romantic ceremonies we are familiar with periodicals, pattern books, catalogues, and in changing this landscape and presented the For most Australian women in the today. By choosing to wear white, Victoria photographs, newspapers and letters, which public with a new way to consume through nineteenth century, employing a high-end broke with royal convention by not wearing outlined relevant changes of fabrics, lengths the introduction of major department dressmaker to design a single-use gown was her coronation robes and crown, which of skirts, position of waistlines, and favoured stores. Sydney and Melbourne welcomed no doubt a luxury. Naturally, only women was the custom. She opted for a dress in cuts or drapes of fabric. Australia remained Anthony Hordern & Sons (1823), David who could afford the grandeur of accordance with the intimate occasion and highly conscious of the sartorial authority Jones (1838), and Grace Brothers (1885),5 a custom-made wedding dress, modelled fashion of the day: white silk-satin trimmed of London and Paris, and ensured clothing while Queensland saw the emergence of after European designers such as Charles with lace, a low wide neckline, and puffed followed their lead as closely as possible, family-run department stores throughout Worth, could wear one. For the greater sleeves.1 For the nuptial occasion, a court in order to keep up with international the state, including Cribb & Foote Ltd (1855) proportion of brides, affordability and was attached at the waist and a expectations of social status and prestige.3 in Ipswich, Stewarts (1864) in Rockhampton, practicality were paramount in selecting held in place atop her head by a garland of and McDonnell & East (1901) in Brisbane.6 the dress for their wedding day. If the dainty orange blossoms. Victoria’s ascension Throughout the nineteenth and well into Department stores presented well-to-do herself, family member, or local dressmaker to the throne coincided with the emerging the twentieth century, sewing was a big clientele with accessible fne fashion, and, did not alter a dress passed down from their archetype of woman as a virtuous, domestic part of domestic life, with most women despite presenting an imposing threat mother or other family member for the angel, and her ethereal-like appearance on making and mending their own and their to independent dressmakers, ultimately occasion, then many early brides wore their her wedding day was the embodiment of this family’s clothing. For many women, it was strengthened Australia’s burgeoning fashion best dress to their wedding. Whether made fashionable ideal. This ideal was one widely more than a domestic skill but a means to industry. While the majority of goods and especially or adorned for the day, the ‘best circulated through the pages of women’s make a living. The skilled self-employed services sold in department stores were dress’ served as a functional, multipurpose magazines, which, by the mid-nineteenth dressmaker, largely working out of their imported, including desirable collections garment that could be worn to a variety century, had become affordable and own home, would expertly make, mend, of European fashion and fabrics, in-house of special occasions and be altered in line therefore increasingly popular. In August alter, and repurpose garments while dressmaking departments and onshore with the changing needs of its wearer. This 1849, Godey’s Lady’s Book declared in its remaining conscious of the cost and clothing factories were soon established, versatile approach continued well into the fashion commentary on ‘The Bride’s Dress’ original purpose of the item. This economic which promoted local production and twentieth century. that “custom has decided ... white is the most and accessible nature of the dressmaker employment opportunities for many women. ftting hue, whatever may be the material. appealed to the needs and wants of middle- Regional clientele were also looked after by Fashion magazines of the 1930s advised It is an emblem of the purity and innocence class society by making fashionable dress department stores’ delivery vehicle services brides on styles of dresses that could later of girlhood, and the unsullied heart she now more economically accessible. By contrast, and through fashion-focussed mail-order be adapted for other uses. Women altered, yields to the chosen one.”2 Thus, Victoria had Sydney and Melbourne’s high streets catalogues, which were posted to all corners dyed, and changed decorative elements come to epitomise the ideal woman, and her were home to exclusive boutiques, where of the country. Because of these catalogues, of the dress so that they could wear it for dress was the ideal gown. Victoria’s choice high-end dressmakers skillfully mediated women in the country were provided with other occasions. Coloured dresses appear to dress as a bride of the times had not only the gap between European and off-the- access and insight into the latest fashions frequently throughout The Bowerbird presented her as a relatable feminine fgure rack-wear for the city’s elite. Australian emanating from Europe and inspiration and The Bride collection—not only in the to the everyday woman, but signifcantly dress historian Margaret Maynard states, they could take to their local dressmaker. form of bridal gowns but also promoted discussion around bridal fashion “society dressmakers, milliners and their While delayed, over time, the best and most dresses—from the 1930s and 1940s, when and the work of local British dressmakers ‘hands’ attracted the top echelon of rich and exclusive European fashion styles, fltered access to fabrics was limited due to impact more widely. fashionable clients”.4 The most prestigious through to emerging cities and out to rural of the worldwide economic depression and Australian boutiques sold Parisian couture towns, and acted as integral points of design war-time rationing. The increased economic THE AUSTRALIAN CONTEXT: DRESSMAKERS imports alongside their own elegant reference for locally made garments. prosperity of the post-war period saw the AND THE BURGEONING FASHION INDUSTRY. reproductions, hand-sewn by talented re-appearance of coloured dresses during seamstresses back of house. Dressmakers While dressmakers and department stores the 1950s, though not for brides but for the Owing to the geographical proximity of were routinely overwhelmed by wedding co-existed for a number of decades, the older members of the bridal party. White, London and Paris, fashion trends generally dress commissions, which were often economic boom of the 1950s saw a dramatic ivory, and cream persisted as the de rigueur

118 119 for brides, promoted by popular women’s Victorian ideals remained favourable, the PAGE 116 periodicals and international mail-order appearance of wedding dresses became less Valmai Cecila Crump arriving at the church catalogues. In these prosperous times, the ornate. Tea dresses were a popular choice for with her Father. practice of repurposing wedding dresses Australian brides due to their unstructured Valmai married Douglas declined and gave rise to the new custom of and fuid form, which was suited to the Hamilton in Middle seeing wedding dresses as sacred heirlooms tradition of morning wedding ceremonies. Brighton, Victoria. 20 December 1948 to be passed down to future generations. Not to be fooled by the façade of lightweight cotton normally reserved for women’s DRESS 22, PAGE 134 WEDDING DRESSES OF T H E B R I D E downtime, when donned for a wedding, LEFT - I AND THE BOWERBIRD C O L L EC T I O N : tea dresses were worn in conjunction with Angela O’Brien wearing SHIFTING SILHOUETTES AND the traditional undergarments of the time, a dusky-pink velvet bridal CHANGING TIMES. including corsets, petticoats, and camisoles. gown with the chapel Arguably, the appearance of bridal tea gowns train, for her marriage This mentality of collecting and preserving during this era points to the gradual move to Harold Pentreath at wedding dresses, and the tangible evidence away from the cumbersome layers Sacred Heart Cathedral in Bendigo, Victoria. of this practice, provides us with insights of Victorian gowns. Her sister wears a into the evolution and rich history of matching Australian wedding fashion, though skewed The 1920s saw a rapid move away from the gown in purple velvet. 2 May 1942 towards the gowns of upper- and middle- strictures of Victorian dress and etiquette class women. In most cases, surviving after the First World War and the beginning DRESSES 18A AND B, PAGE 133 wedding dresses belonged to the wealthy, of the ‘Roaring Twenties’ in Paris. Social who could afford one-off gowns and the and cultural changes in response to the cost to store and preserve them. While devastation of war saw social attitudes relax, the signifcance of the wedding dress economic and creative industries fourish, has maintained its unwavering appeal, greater freedoms arise for women, and its silhouette has represented a woman’s overall, society’s turn towards modernity. standing in society and shifted with the Flapper culture was at the heart of dramatic Depression and Second World War. Despite of food and clothing across the country.8 changing winds of fashion as well as changes to the ideal female fgure. Inspired the faltering economy, fashion progressed Maynard identifes that women’s clothing attitudes towards femininity and the body. by the jazz age, fappers were fashionable rapidly along with technological and came to strike a delicate balance between During the nineteenth century, a woman’s young women who fouted conventional aesthetic advancements, such as synthetic utility dressing and popular feminine body was considered ‘weak’, thought to expectations of behaviour in favour of fabrics. The strong infuence of Paris styles, but functionality was imperative.9 need constant support from rigid structures enjoying themselves; they wore their hair couture was temporarily replaced by the Overall, restricted access to materials and beneath their clothing. Thus, from Europe bobbed, their shoulders bare, their skirts captivating rise of the ‘Golden Age of Film’ resources meant dress patterns had to be to Australia, tightly boned corsets and short, and their waistlines low—perfect and the glamour of Hollywood. Renowned simplifed: focus returned to narrow waists; stays were essential undergarments, which for late night dancing at speakeasy bars. French couturier Madeleine Vionnet drew skirts were slimmed down and shortened; trained the waist to draw in, along with wire This risqué and rather androgynous a distinction between movement, the body, squared shoulders emulated a masculine petticoats called ‘crinolines’, which infated physique quickly infuenced bridal wear. and dress, and introduced the bias cut: the silhouette; and outfts were fnished with billowing full skirts from the waist down. In keeping with this modern sensibility diagonal cutting of fabric against the grain minimal embellishment. The mood of the Towards the end of the century, the focus and the emergence of the Art Deco design to create draping, fgure-hugging gowns. time is exemplifed by two extraordinary shifted to the back of the hips and waist: movement, fabrics such as cotton, fne Australian wedding dresses also embraced dresses in the collection that belonged to gathered fabric, tiered lace, padding, and muslin, and voile were replaced by luxurious this new design technique, as well as elegant Angela O’Brien and her sister, who were elaborate decoration created protruding silks and rayon, as well as lavish beading lace and silk buttoned sleeves. bride and bridesmaid (DRESSES 18A & B, see 7 ‘bustles’ to exaggerate an idealised feminine detail. The focus on new genres of art and IMAGE I). Travelling from Bendigo, the sisters shape. These augmented feminine fgures design, as well as the growing entertainment The 1940s were punctuated by the Second purchased material for their dresses in are distinctly reminiscent of Victorian era industry, facilitated an abandonment of World War, which saw the repurposing Melbourne: pink velvet for the bride and dress and represent the ambiguity that tradition in favour of Paris-fuelled decadence and recycling of garments become integral purple velvet for the bridesmaid. Whether surrounded the female body at the time. and ornamentation. to wedding fashion due to war-time fabric or not this unusual choice of fabric was shortages and rationing. Ration coupons intentional, it was most likely their only The beginning of the twentieth century The 1930s saw a return to the romantic were administered in order to limit consumer option due to the limited selection of fabrics saw some relief from the highly structured feminine image and the female fgure become spending and limit impending shortages of available at the time. Bearing a striking female custom of dressing. Although increasingly sleek and svelte during the Great goods, aiming to balance the distribution resemblance to one another, the dresses

120 121 were ultimately destined to be worn for defned by simplifed lines and details, ballroom dancing, with Angela removing the long sleeves, and gently tapered waistlines, train of her dress for this purpose following overall upholding a more conservative feel the wedding. In contrast to these upbeat in comparison to dresses from the previous intentions, the facial expressions of the four era. The dresses of The Bowerbird and The pictured in the image is in keeping with the Bride collection suggest it was not until the photographic style of the time. It is stories 1970s that carefree ideals were to become like Angela’s that encapsulate the persistence associated with wedding fashion in Australia. of marital tradition, and, the enduring history of the wedding dress during times The 1970s witnessed many social, political, of suffering. and cultural changes that reshaped the expectations of women. This led to a The 1950s silhouette was defned by Dior’s collision of aesthetics within modern ‘new look’, which boasted a return to fashion. Historical references were mixed traditionally feminine Victorian-esque together; for instance, sleeve styles from waists and founcy skirts. This refected not the turn of the century were mixed with a only the newly boosted economy, but also contemporary mini-skirt hemline. Many the woman’s renewed relationship with the wedding dresses became equally laid-back domestic realm and role as ‘homemaker’. as they were graceful. In a move away from Simultaneously, the 1950s saw innovation traditional bridal attire, wide-brimmed in textiles production and the decline of hats were a fashionable accessory for spring home-made clothing, enabling dresses to time and often replaced veils, be showy and decorative, synonymous with allowing a bride to transition seamlessly ABOVE LEFT - II this newfound prosperity. The collection into the social atmosphere of her afternoon Barbara Weymouth showcases a number of dreamy 1950s gowns reception. of the time in her Duchess satin that emulate the vigour that permeated post- also welcomed this newfound informality. and ivory guipure lace war life. The infuence of Dior’s new look can is pictured in , worn by wedding gown. DRESS 34 IMAGE V 21 October 1961 be seen in DRESS 23 & 26 (pictured in I MAG ES a bride relaxing with her bridesmaids DRESS 26, PAGE 136 IV & II) in the form of sweetheart necklines, before her wedding. An air of nonchalance exaggerated waistlines, and peplum detail. seems to have diffused any formality or Examining the images further, one can see seriousness usually synonymous with the ABOVE RIGHT - III An unknown bride that the brides are each wearing lipstick and approaching main event. The bride herself wearing a delustered a classic pearl necklace; a sign these smaller appears completely at ease in her dress: a cream silk satin details were now affordable to the everyday fuid, loose-ftting chiffon gown, paired bridal gown. 1962 woman. Also in this instance, the older age with a waterfall cape that falls naturally of the brides and the sophisticated appeal of around her shoulders. This look epitomises DRESS 27, PAGE 136 their dresses signal a dignifed move away the effortless though elegant style that from the ideal of the blushing virginal bride underpinned 1970s’ wedding fashion. LEFT - IV Valmai Celia Crump in previously perpetuated in women’s media. her full-length cream The vast array of popular fashion shapes faille gown. The end of the 1960s signposted a and styles from previous decades have DRESS 22, PAGE 134 progression to a more streamlined become somewhat of a bible for wedding silhouette across Europe and the United fashions to come. From the 1980s States. This responded to the rise of the onward, different eras were revisited and women’s rights movement and a rebellion reinterpreted religiously through bridal against conservative taste. Although wear, coinciding with an increasingly this development transitioned into mass-produced and mass-marketed wedding attire, the looks in this collection approach to wedding fashion. It was for demonstrate a relatively restrained take on this reason that The Bowerbird and The

1960s’ style. For instance, DRESS 26 & 27 (see Bride concludes its journey of Australian IMAGE II & III) are foor-length bridal gowns, bridal wear at this turning point.

122 123 THE WEDDING DRESS TODAY. References: 1 Cynthia Amnéus, Wedded Perfection: Two Centuries Over time, wedding dresses have refected of Wedding Gowns (London: D. Giles Ltd, (2010), 34. 2 “Etiquette of Trousseau,” Godey’s Lady’s Book, August the shifting winds of fashion and evolving 1849, http://godeysladysbook.com/white_wedding_ attitudes towards women. The various dress_origins.htm. silhouettes featured in The Bowerbird and 3 Jennifer Craik, “Is Australian Fashion and Dress Distinctively Australian?,” Fashion Theory 13, no. 4 The Bride collection spotlight the eras they (2009): 409–441. come from and the imperative technological, 4 Margaret Maynard, Out of Line: Australian Women and social, and cultural changes of their time. Style (Sydney: UNSW Press, 2001), 76. 5 Ibid, 72. 6 Nadia Buick & Madeleine King, The Fashion Archives, Today, weddings are as celebrated as ever. http://thefashionarchives.org/?cat=36. Wedding dresses have become a mainstay 7 Anni Turnball, “Inside the Collection: Flappers, Frocks and Fashioning the Modern Woman, Tales for haute couture collections in Paris and from the Australian Dress Register,” MAAS, 27 for multiple contemporary ready-to-wear February 2013, https://maas.museum/inside-the- designers. They have become, for many collection/2013/02/27/fappers-frocks-and- fashioning-the-modern-woman-tales-from-the- brides, a refection of one’s own style, australian-dress-register/ culture, and identity. Despite this sense 8 “Rationing of Food and Clothing during the of individuality, bridal wear has become Second World War,” Australian War Memorial, https://www.awm.gov.au/articles/encyclopedia/ incredibly commercial. Whether the dress homefront/rationing. is custom made or ‘added to basket’ online, 9 Jenny-Lynn Potter & Kerreen Reiger , “ and contemporary wedding dresses still retain a Frocks: Dressmakers and Making of Feminine Identity in postwar Australian Society,” Journal of Australian palpable sense of wonderment. The intricate, Studies, no. 41:1 (2017): 113-130. delicate beauty that exists between the folds of a gown such as these exhibited in The Bowerbird and The Bride has inspired the aesthetic of contemporary Australian

ABOVE - V wedding fashion today. Moreover, these A 1970s bride relaxes garments illuminate the otherwise forgotten with her bridesmaids stories of Australian brides, and through wearing a white them we can understand and celebrate our chiffon gown with unique fashion history. waterfall cape.

DRESS 34, PAGE 139

LEFT Anne Catherine Grace, married Paul Connellan, in a ‘ballerina’ length gown with voluminous skirt in Birchip, Victoria. 27 April 1957

DRESS 24, PAGE 135

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