THE BRIDE'S OUTFIT
ORIGIN OF THE TROUSSEAU
One must study the marriage customs of many countries before the
development of the trousseau idea can be fully traced. But it is
interesting--especially to the bride--to discover that at her
impressive marriage ceremony to-day she is merely repeating the ancient
customs of her ancestors, so very far back that Europe itself was not
yet known.
We find the first trace of it in the book of Genesis (Gen. xxiv. 53).
Perhaps you remember the story. Abraham's servant Eliezer brought
handsome jewels to Rebecca as a seal to the marriage compact. It is one
of the earliest evidences of outfitting for the wedding. And then we
find a trace of it among the early Eskimos, where the bridegroom must
supply his bride with all the clothes necessary for the "honeymoon."
Later, in Roumania, we find the clothes and shoes are a very important
part of the gifts to the bride. Largely from the customs practiced in
this latter country, but also from Italy, Sweden, and Greece, the idea
of the marriage trousseau sprang.
The development is most marked in Roumania. Here we find the tiniest
girls, some of them as young as five years, working on bridal
finery--each one striving to outdo the other in beauty and elaboration
of work. Each finished article is laid carefully away in a huge chest,
until such time as a suitor appears. In days gone by, the bridegroom
had the privilege of examining the trousseau and deciding whether or
not it was complete, and often his choice rested upon the worth of the
bride's outfit.
Perhaps it was because a complete outfit was so very necessary to the
young girl starting out upon her new duties as a wife that the
development of the trousseau has been so rapid. In the year 1308, at
the wedding of Edward II to Isabella of France, the trousseau played an
important part indeed. Here is a description of the bride's outfit, as
taken from E. L. Urlin's book, "A Short History of Marriage:"
"She (Isabella) brought two gold crowns ornamented with gems, gold
and silver drinking vessels, golden spoons and fifty silver plates.
Her dresses were made of gold and silver stuff, velvet and
taffetas. She had six dresses of green cloth, six of rose scarlet
and many costly furs. For linen she had 419 yards, and the
tapestries for her chamber were elaborate with the arms of England
and France woven in gold."
Elaborate, yes, and certainly "fit for a queen." But perhaps we find
the trousseaux of our misses of the twentieth century more interesting!
THE TROUSSEAU OF TO-DAY
It would be ridiculous to attempt to list the articles that must be
included in the trousseau of the bride of to-day. This matter must be
entirely dependent upon circumstances, means and convenience. There can
be no definite set of rules to govern the contents of one's wedding
outfit. But there are certain conventionalities we can discuss that may
be of value to the bride in preparing for her wedding.
There is, of course, something very beautiful in the thought of making
one's trousseau entirely by hand. And there is an old tradition about
"sewing happiness into the wedding outfit" that brides like to believe.
But when we glance at the shop windows with their lavish displays of
the daintiest creations, and when we think of the professional modiste
with her developed sense of the artistic, we must admit that it is not
a practical custom.
It used to be the practice for each young girl to have a "hope chest"
into which she put linens, etc., against the wedding day. This was
during the time when most of the trousseaux were made by hand.
It seems rather a foolish waste of time for the girl of moderate means
to sit for endless hours sewing on rows and rows of lace when machine
made garments may be had at reasonable figures. If she chooses her
things carefully they will bear the stamp of her personality almost as
much as if she had fashioned them herself; and, of course, there are
many finishing touches that she can add which make the things
peculiarly her own, such as initials and monograms, crocheted edges,
etc.
It is gratifying to note that the trousseau of to-day does not contain
such frilly, useless things as did the trousseaux of our grandmothers'
time. Linens boast deep folds of the material and neat hemstitching
instead of huge borders and inserts of lace. Under-things are made and
bought with a regard for wear and utility, rather than merely to be
pretty to look at. The entire outfit shows a tendency to be more useful
and less ornamental. Which is, of course, as it should be.
And now let us consider some of the more important items to be
included.
ABOUT THE LINENS
In selecting her linens the bride should pay particular attention to
quality; the amount she buys depends upon the size of the new home, and
upon the means at her command. There must be sheets and pillow-cases;
bath towels and kitchen towels, napkins and table-covers. If she is
fond of handwork, there may be hand-embroidered linens for the
bed-spreads, hand-embroidered linen scarfs and hand-embroidered
centerpieces of linen. One bride we know included a twenty-yard bolster
of uncut linen in her trousseau in addition to the items mentioned
above. If one can afford it, it is best to start out with a generous
supply of linens, as somehow the older they grow, the longer we have
them, the more precious they become.
Linens are usually initialed. When household and personal linens are
marked, they bear the initials of the bride's maiden name. Towels for
the bath are marked with a single initial in white or colored thread,
to match the border. Table-covers, if initialed at all, have the
letters placed in the center, half-way between the middle and edge of
the table; napkins are initialed in the corner. White linens are
invariably initialed in white.
FOR THE BRIDE
"Girl, do not exult in thy wedding dress; see how much trouble lurks
behind it," says an old Syrian proverb. But where is the little
American bride who does not exult in her dainty wedding things--who
does not glory in the silks and cottons and laces and ribbons of her
trousseau? Always a lover of the beautiful--especially in clothes--she
finds a new charm in these pretty things that portend so much happiness
to come.
There are her underthings--soft, frivolous, much-beribboned chemises,
camisoles and petticoats. Some are of practical muslin or soft, crinkly
crêpe. Others are of rich _crêpe-de-chine_, and lately, knitted
undergarments of silk are favored. Then, there are the dresses, her
chief delight. There is one smart street dress of serge or poiret
twill; an afternoon frock or two of taffeta, georgette or satin as she
prefers; one elaborate evening gown for important occasions, and one
very much less elaborate for semi-evening affairs. And if she is a wise
bride, she will include a smart dark-colored suit, with several fluffy
little blouses. Then, of course, there are the crisp, neat, becoming
little frocks for the morning-at-home. But she should not make the
mistake, which is all too common to brides, of getting several times as
much as she needs.
Other details, such as hose, shoes and hats are best decided by the
bride herself. In fact, the entire trousseau must be determined by the
bride in proportion to such important considerations as her means, the
length of the honeymoon, and the distance of the trip she expects to
make. The items above were offered as a suggestion, and one may add or
detract according to the dictates of common sense. It is suggested,
however, that the trousseau be small and carefully selected, rather
than large and expensive, for the fashions are constantly changing and
not even so momentous an occasion as one's wedding warrants heedless
extravagance.
THE WEDDING DRESS
The origin of the white gown for the bride is not very difficult to
trace. White, since time immemorial, has been the color used to denote
purity. White animals, in certain countries, are held sacred, just as
the white flowers are sacred elsewhere. The exclusive use of white for
the bride is supposed to have grown out of an old custom of the
Patagonians, who cover the body with white paint on the eve of the
wedding ceremony.
To-day the keynote of the wedding gown is simplicity. The days of
elaborate gowns with trains so heavy with the weight of precious jewels
that eight girls had to carry them, is over. The sensible American
bride knows that simplicity is more becoming to the solemn dignity of
the occasion than extremely elaborate dress.
With styles constantly changing as they do, it would be of no value to
offer any description here. However, this little item, taken from the
announcement of a fashionable wedding recently held, may offer some
helpful suggestions: "The gown in which Miss ---- became the Countess
---- was of heavy white satin cut with an almost austere simplicity.
The drapery of the skirt was marked with a garland of lilies and
orange-blossoms. The tulle veil was bordered with old English point
lace, an heirloom of the ---- family."
From a study of the descriptions of other bridal gowns at recent
important weddings, we find that satin is without doubt the favorite
material. _Crêpe-de-chine_ and heavy white brocade are also used;
and the bride may select whichever material she likes best, something
soft and clinging unless she is inclined to be too slender, when
taffeta is more suitable. Undoubtedly, no matter what the style of the
gown happens to be, it should boast a train; and a draped skirt is
always a popular wedding mode. The length of the sleeves and skirt is
entirely governed by the fashion of the moment.
White satin slippers and white gloves enhance the simple beauty of the
wedding gown. Jewels are rarely worn, except, perhaps, one large gem--a
gift of the groom.
THE BRIDE'S VEIL
According to the marriage rites of the ancient Hebrews, ordained in
days when marriage itself was unknown in many countries, a canopy must
be held over the bride and groom by four intimate friends of the
family. Later, we find that this custom among the early Hebrews,
presaged an Anglo-Saxon custom of erecting a "care cloth" (a square
vestment) above the bride and groom. Out of this developed that of
covering the bride alone; to-day the beautiful bridal veil is the
result of those ancient customs.
Not so long ago, the veil was of tulle, and from the top of the bride's
head it fell over her shoulders, completely enveloping her to the very
tips of her shoes. This all-enveloping veil is no longer considered
good form. In its place, is the very charming veil that is gathered
into a becoming, flower-trimmed crown at the back of her head, falling
gracefully to the train of the dress, leaving the face entirely
uncovered.
The veil is always of filmy material. Tulle is favored; and lace is
particularly beautiful, especially if it is old lace that has been a
long time in the bride's family. However, tulle is preferable to
imitation lace. Orange blossoms or tiny lilies-of-the-valley may be
entwined around the crown of the head, a spray or two nestling in the
folds of the veil.
WEDDING FLOWERS
Important, indeed, is the bride's bouquet. Many a delicate flower
pressed between the leaves of a book and cherished in mind and heart
alike is silent and eloquent proof of this fact.
The most conventional form is the shower bouquet. This is a veritable
cascade of flowers and ribbon; white roses, orange-blossoms or
lilies-of-the-valley--or a combination of all three--are massed
together in the center, entwined with narrow satin ribbon. From this
"heart of flowers" lengths of ribbon wound around individual flowers
trail almost to the hem of the bride's gown. It produces a most
charming effect.
Often an ordinary bouquet of flowers is carried, which is just as
pretty if not as elaborate as the shower bouquet. Green foliage is, of
course, permissible; but there is a tendency against flowers of bright
hues. Appearing entirely in white, is one of the customs which,
ordinarily, the bride should observe, not only for the traditions woven
around it, but the suggestions of sweet dignity, purity and girlishness
that are associated with it. Lilies are appealing bridal flowers for
this same reason.
An exception is the civil wedding, or the hurried, simple wedding when
the bride is attired in traveling costume. But this will be taken up in
detail in a later paragraph.
DRESS OF THE MAID OF HONOR
Satin is the most favored material for the dress of the maid of honor.
It may be white, trimmed with pale colors, or it may be entirely pale
pink or pale blue or some other becoming color. On no occasion may the
maid of honor be dressed in pure white.
Her dress is always different from those worn by the bridesmaids. The
style is a matter of taste and prevalent fashion. If the wedding takes
place at noon in a church, the gown is either sleeveless or with very
short sleeves, and it may or may not have a train, according to the
taste of the wearer. Like the bride, she wears white gloves and carries
flowers.
If the wedding is held in the afternoon or evening, at home, the maid
of honor's gown is less formal. It may be a dainty afternoon frock of
taffeta or satin, sometimes embroidered georgette dresses are
worn--that is, for the afternoon alone. When it is in the evening, a
silk gown may be worn.
MARRYING IN TRAVELING DRESS
Very often, when a wedding takes place before twelve o'clock, or when
because of a difference of religious opinion the ceremony is performed
by a Justice of the Peace, or when the wedding is to be a very simple
one, or when for a number of other possible reasons the bride wishes it
she wears a smart traveling suit instead of the white wedding gown.
The suit should be conservative in style and color. Flowers should be
in the form of a corsage. Neither bouquets nor cut flowers are carried
when one is in traveling costume. Instead of a suit a dress may be worn
but it must be an attractive afternoon frock or street dress, not an
evening dress of any sort.
When the bride is a widow marrying for the second time her dress is
characterized by extreme simplicity whether the wedding takes place in
the afternoon or evening.