Clothing for women as an alternative to wedding gowns

Forget about the traditional conventions of sinuous spectacular gowns if you want to look different and not go bankrupt! After all you are the bride not the wedding gown, a wedding gown will not necessarily make you look beautiful just because it is flowing and luxurious.

If you do prefer a dressier outfit for your wedding, you may opt for prom dresses, which are definitely cheaper than actual wedding dresses, but can come in different flowing styles in satin and white netting; you may choose amongst different colors including white. Make sure you purchase the prom dress in department stores or those, which specialize in junior clothing, for you, may end up spending nearly as much as you would on a wedding dress. You may also try looking for formal wear similar to prom dresses in stores during the fall season as schools get ready for formal homecoming dances; during this period stores also stock dresses for holiday parties. Even better, wait for this period to pass and take advantage of the special offers during the clearance sales.

The classic suits are also a good solution, especially for second time marriages, and why not your first time round? Suits will give you a refined look whether you choose a pant or skirt suit. Select a style that will give you an extra feminine look, choose paler colors if they suit you, for a more delicate appearance, and try wearing an elegant hat, this will also make the difference and will enhance the overall look.

Another good idea is to organize a themed wedding. This will be more original and fun and the dress will definitely be less expensive as opposed to the traditional wedding gown. A popular theme is the medieval or Renaissance setting, but you may choose others. On this occasion you can simply rent your outfit, which really is the best idea, for you will only be wearing it once anyway. Set off for a local theatre or costume shop and choose amongst the many different styles and periods for the clothing that will flatter your figure.

If you prefer a more casual look you may opt for a theme such as a beach/luau wedding. Organize your wedding on the beach; this will render the even more creative and unique. If you choose this solution you may wear a stylish swimsuit with a sarong to drape over it.
Other options are mother of the bride dresses, these are ideal for more mature women and they are available in more discreet styles or even flamboyant ones, this depends how you want to look that day.

Finally, whatever you choose, make sure you feel at ease confident and special for that day, for all brides look radiant whether they are overdressed or just plain elegant

Taken from http://antiquedress.blogspot.com/

EMBROIDERY Dress with matching EMBROIDERED Vest PHENOMENAL

Nude-tan, crepe-backed silk satin lines the interior of the dress which closes by hook and eyes at the hidden side. Yards of expensive, dual-finished edge Reticella needle lace defines the low cut dress yoke of the dress portion above the bust, and fully around the skirt hem. The upper hip length vest also has the Reticella needle lace lining around the vest opening and bottom. The shoulders of the flapper dress have a sheer, ruffled lace-edged shoulder flounce that peeks out slightly from beneath the vest for modesty's sake. On the vest, the shoulders have rows of gentle gathered smocking. The dress must be worn with the vest as the under layer dress back has no net or embroidery there. This was done purposefully so the vest embroidery would not have layers that competed in embroidery busyness- this way you could see the pretty pattern clearly. This magnificent 1920's dress would be perfect to wear at the annual Gatsby picnic located at the Dunsmir Mansion in Oakland, California, or a 1920's dance, 20's wedding or flapper party. You should allow for at least 1"- 2" looser in bust and waist so this dress fits properly- flapper gowns were not usually tight.

Condition:

This is truly the dress that time forgot! This 20's gown has an extremely pristine and very clean appearance at first glace. Even up close there's only a VERY, VERY minor almost imperceptible "bleed" of slight yellow color from the floss onto the netting on the vest and dress plus the silk underneath very slightly- all just looks like part of the bold pattern, so can only be seen if backed against black material. I had to take many photos so that you could even make this out at all. One slightly darker 1" round watery looking tannish spot on one side near waist/ hip seam juncture- one tiny age spot on one shoulder flounce (see close-up) most sellers wouldn't even mention this. The overall "health" of the fibers of this gown is truly amazing. Yes, this dress can be worn safely if minor precautions are taken such as underarm guards, and using napkins when eating/ drinking and airing between uses (plus not storing on hangers). I know it sounds simple, but these types of things really help keeps a gown like this at it's best. All hooks and eyes strong and accounted for. I think there might have been a silk organza or Georgette lining at some point that might have been removed. If that is the case, it was removed so well, this does not distract at all. One 1/4" puncture on the netting on skirt that could easily be mended. A few net pinholes, but in all, the net, embroider and silk is 99.9 percent intact. Really in Very Excellent, museum quality.



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Taken from http://antiquedress.blogspot.com/

Mme. Grosfield COUTURE 1912-1915 Silk Evening Gown

This Edwardian gown is elegantly tasteful and just stunning to view the amount of neat, well finished and meticulous work done here. It's better finished than many of the old designers I've seen over the years. There's a tremendous amount of fine hand work on this tasteful evening gown. The gown is made of a thin, soft, fluid, drape-able black silk satin charmeuse, with ultra-fine, hand-woven, Chantilly, (flowered) shadow lace Bretells (think "over-straps.") on the shoulders, both edged in jet beads that any serious lace lover would just love to have! There's a dual sleeve, the upper layer made of shirred, sheer black silk Georgette, the lower, inner sleeve of form-fitting, fine, shadow lace with petite black sequins.

The dress back has very meticulous pleated draping of the diaphanous silk Georgette over the cream shadow lace layered inside, as to show the insides through tastefully, much like a "see-through" sheer postcard popular back then. This was a very clever and handsome dress back treatment design by this dressmaker.

Cream inner bodice is made of cotton, micro honeycomb net with silk, hand re-embroidered lace over an inner panel of jagged cream hand-made, flowered shadow lace. There's many jet beads, plus iridescent, silvery gray/blue/pink hue, plus black gelatin sequins. Large, faceted, jet-glass beads are suspended from ebony shirred silk Georgette. Two rectangular black/silver sequin appliques' decorate the lower bust with loosely suspended shadow lace with more dangling jet-glass beads. It has a front opening bodice of original aluminium type hook and eyes, in fantastic condition. Inner bodice is made of cream tissue china silk, just in phenomenal condition as well. The silk gro-grain belt is specially "fitted" to sit round on the waist with the dressmaker's tag in fanciful script stating, "Grosfield" "Chicago" in, golden-yellow silk brocade woven into cream silk satin. It's attached with cream silk thread in a herringbone pattern.

The wrapping, side opening belt is gathered self-fabric, with hard, "tulip" shaped, self-fabric wrapped belt ornaments- very tasteful and clever additions, and the height of fashion throughout this period (1912-1915). There's 3 distinct layers to the skirt. The top layer which you see in the photos, has been precisely and finely pleated in a "tulip" shape, and has a very slight and very even overall brownish-black hue considered "off black." The back waist is slightly higher behind than front as per my (1912-1915) date for this gown. Cornflower blue silk taffeta peaks out from the overskirt edge folds. Second layer that reaches the feet (on a petite woman... ankle or 3/4 length on a tall woman.) is soft black, round hem. Bottom layer (kind of a slip of heavy weight, jet black silk twill back) reaches the floor also with large, round scalloped edges. If this a slip, it is a very heavy-duty one. Either way, this creates a well layered skirt effect.

Condition:

Happily, this beautiful Edwardian gown is in superb condition as far as lace Edwardian gowns go, both inside and outside. I have only seen a tiny pinhole on one sheer Georgette shoulder, a tiny lace break in a bit of lace on a sleeve I couldn't find again, and 1 1/2" pinky sized slightly lighter spot on outer skirt outside hip bottom that is nearly impossible to see. The (inner) Grograin belt might have had a mend slightly over the years. All the hardware (hooks/ eyes and snaps) is there, and in perfect working order with no obvious problems. Even the laces feel good (and with old lace, especially black, that is usually rarely the case.)

However, even with all the good stuff about condition to say... I will not recommend wearing this gown. (This is a rare early couture designer gown...) I always try to encourage people not to wear any old designers. The rare ones (such as this) can have a big following at later eras, and need to be well preserved, documented and studied for future generations.

If you really desire to wear this gown, then only with hesitation I would recommend wearing UNLESS the form-fitting lace on the lower portion of the undersleeves are carefully removed. (The inner sleeves are completely handmade and ultra fine in nature... I just fear if the lace undersleeeves were worn, the aged fibers might tear although they seem healthy enough, they may catch, or break from stress just being formitting/ aged and the superfine in nature.) Then, the gown is carefully worn with proper undergarments underneath, and moisture guards to help keep the moisture away to keep the inner laces healthy and from any body moisture causing possible color bleeding to the cream areas of the insides. Also a few inches of looseness around bust and waist would be desirable to help keep stress pulling at bay.

This fabulous Edwardian designer gown would be a fabulous museum display on old couture designers, wonderful to make patterns from, and is delightful in a collection due to terrific condition, and it could be worn as long as the step as I recommended was followed. A really, really terrific early designer couture evening gown!

Price is: $525

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Taken from http://antiquedress.blogspot.com/