Simon Martin<\/i> <\/span>\n<\/div>\nFollowing technological advances facilitating outdoor photography, in the late 1860s wealthy families began to hire photographers to visit the reception venue. This \u2018white wedding\u2019 scene was taken at the home of the bride, the daughter of a railway engineer.\n

\n
1. A young boy sitting on the floor in front wears a picturesque velvet costume. This knickerbockers suit was a new style established during the 1860s.<\/li>\n<\/ol><\/li>\n<\/ol>
  Studio carte de visite, early 1870s<\/h3>\n
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  Carte De Visite<\/i> <\/span>\n<\/div>\n
  This card-mounted photograph typifies many ordinary Victorian wedding pictures. The couple visited their local studio after the service, wearing fashionable \u2018Sunday best\u2019 outfits but, typically, displaying no floral accessories. Between the 1860s and 1880s most wedding photographs used the carte de visite format, measuring about 2.5 inches by 4 inches. This example is hand-tinted, showing the genuine colours of the clothing.<\/p>\n
  \n
  This photograph is identifiable as a classic studio wedding portrait. The couple\u2019s intimate pose implies their relationship and the bride clearly displays her wedding band, highlighted in gold.<\/li>\n
  We can date this image to c1870\u20131874 because of the bride\u2019s hairstyle incorporating thick chignon behind her head and her layered costume displaying bustle drapery at the back.<\/li>\n
  It looks as if the bride might be pregnant. Many brides were when they married, but rarely revealed the fact in photographs. Otherwise the bulge might possibly be bulky drapery!<\/li>\n
  The groom wears a high-fashion narrow-fitting suit, the coloured trim or piping outlining the outer trouser leg seams a dress detail associated mainly (but not exclusively) with the 1870s.<\/li>\n<\/ol><\/li>\n<\/ol>
  Outdoor wedding scene, mid-1890s<\/h3>\n
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  Carte De Visite<\/i> <\/span>\n<\/div>\n
  Advances in outdoor photography during the late 1800s encouraged wedding group scenes. Special bridal wear and costly \u2018white weddings\u2019 weren\u2019t yet common, but ordinary brides often wore a veil and other white accessories.<\/p>\n
  \n
  This photograph can be firmly dated to the mid-1890s from the fashion clues, especially the women\u2019s \u2018leg-of-mutton\u2019 sleeves, at their widest in 1895\/1896.<\/li>\n
  Typically this bride wears a fashionable pastel-coloured day dress, accessorised with a special white veil, striking lace collar, white gloves and bodice corsage.<\/li>\n
  The bridesmaid (left) wears clothes and accessories similar or possibly identical to the bride, but, as usual around the century\u2019s turn, a fashionable hat not a veil.<\/li>\n
  The men\u2019s stiff bowler hats, starched winged shirt collars, white neckties, gloves and boutonni\u00e8res are all typical of ordinary weddings of the era.<\/li>\n<\/ol><\/li>\n<\/ol>
  Outdoor wedding scene, April 1913
  $\"""\"$ <\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/picture><\/div>
  Simon Martin<\/i> <\/span>\n<\/div><\/h3>\n
  Both outdoor photography and \u2018white weddings\u2019 became widely established in the early 1900s. This bride is the daughter of the bridal couple depicted in the photo from 1869.<\/p>\n
  \n
  This bride\u2019s slender, asymmetrical grey gown is typical of the era.<\/li>\n
  Her ensemble was described in the Kent & Sussex Post<\/em> as \u201csilver-grey chiffon velvet with court train draped with Brussels lace veil (worn by her mother on her wedding day)\u201d.<\/li>\n
  In 1913 affluent grooms often wore sloping morning coats, as here, or more traditional longer frock coats, with gloves and boutonni\u00e8res.<\/li>\n
  Young pages and flower girls were increasingly popular. Page boys often wore white sailor suits.<\/li>\n<\/ol><\/li>\n<\/ol>
  Garden wedding scene, Croydon, 1923<\/h3>\n
  $\"""\"$ <\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/picture><\/div>
  Kat Williams<\/i> <\/span>\n<\/div>\nAfter the First World War<\/a>, when weddings were often hurriedly organised, a new generation of brides revived the romantic \u2018white wedding\u2019, many wearing white bridal dresses with veils, as here. Some photographs were taken in the studio, but more often outdoors, commonly in the family garden. Several different photographs of this occasion survive.\n
  \n
  During the 1920s bridal caps or floral wreaths attached to veils were invariably worn well forward, or low on the forehead.<\/li>\n
  Bridal hemlines followed daytime dress fashions throughout the 1920s. Early in the decade they were set at around low-calf-length, stockings and shoes also white for summer weddings.<\/li>\n
  The groom, a working man, wears a slender lounge suit with a long, single-breasted jacket; short, narrow trousers; and a starched turned-down shirt collar typical of the early\/mid-1920s.<\/li>\n
  Modern male wedding accessories between the wars included a boutonni\u00e8re, gloves and felt trilby- or fedora-style hat with dented crown, as seen here.<\/li>\n<\/ol><\/li>\n<\/ol>
  Church wedding scene, July 1939<\/h3>\n
  $\"""\"$ <\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/picture><\/div>
  Jon Mills<\/i> <\/span>\n<\/div>\nAs the Second World War<\/a> loomed, and for as long as the conflict lasted (1939\u20131945), grooms usually married in service uniform, as here, while brides either wore traditional \u2018white wedding\u2019 ensembles or smart civilian clothes.\n
  \n
  In the 1930s views of the front porch or lichgate of the church where the marriage service occurred were popular in ordinary wedding photography.<\/li>\n
  Military or quasi-military uniforms often indicate that a wedding occurred around wartime. Uniform experts can identify the organisation plus the wearer\u2019s role and rank.<\/li>\n
  A guard of honour was common at this time, the bride\u2019s colleagues in formation here dressed in the uniform of the Auxiliary Fire Service (AFS), formed in January 1938.<\/li>\n
  The bride\u2019s trim knee-length dress with padded shoulders and puffed sleeves was fashionable in the late 1930s and early 1940s. So was her jaunty veiled asymmetrical hat.<\/li>\n<\/ol><\/li>\n<\/ol>
  Church wedding scene, October 1944<\/h3>\n
  $\"""\"$ <\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/source><\/picture><\/div>
  Jayne Shrimpton<\/i> <\/span>\n<\/div>\n
  Many 1940s wedding photos were taken after the service, outside the church, as here. By 1944 clothes rationing, utility and austerity guidelines were well established, favouring slender, relatively unadorned garments.<\/p>\n
  The bride\u2019s slender, untrained gown in figured white \u2018bridal satin\u2019, long veil and wired headdress are typical of the era.<\/p>\n
  The groom, in a reserved occupation, wears a civilian suit that follows most utility guidelines in its moderate cut, although, like many men, he contrived trouser turn-ups.<\/p>\n
  The bridesmaids wear fashionable, wide-shouldered, pale blue cr\u00eape de Chine dresses together with characteristic tiara headdresses; the adult bridesmaids\u2019 short veils were a distinctive 1940s trend.<\/p>\n
  The bride\u2019s mother (right) wears a tailored dress, the skirt pleats typical of the 1940s. Her angled felt hat is also fashionable, her fox-fur stole favoured by mature women.<\/p> <\/body><\/html>\n
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