"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