Gowns For Bridesmaids 1912
Bridesmaids' gowns during the past few years have become the means of communicating to the feminine world the latest dictates of fashion. The large coterie of friends of the bride nowadays displays the most kindly interest not alone in the bridal gown, which is of course of the utmost importance, but also in the frocks worn by her attendants.
Everyone feels assured that the bride herself has designed or assisted in designing them, studying the matter long and carefully before choosing the one advanced style that she feels assured is best suited to the majority of her bridesmaids.
The bride endeavors to put into these gowns some new fashion note so in advance of present-day styles that it will come as a distinct surprise and novelty to the assembled guests on her wedding day. This does not necessarily mean a large expenditure of money.
In fact, at many of the smartest weddings the bridesmaids’ gowns, while decidedly fashionable in line, material, and treatment, are not elaborately or expensively trimmed.
On the contrary, they rely almost entirely upon the novelty and quaintness of the design rather than upon the expensive nature of their trimming for their effectiveness.
This year many brides are choosing for their attendants “picture gowns,” made of soft, lustrous taffeta and trimmed with shirrings, puffings, quillings, scallops, rows of velvet ribbon, fringes, or any of those quaint effects which characterized the frocks worn early in the eighteenth century.
This quaint Daguerreotype style of gown, which it is predicted will be revived with twentieth-century modifications this spring, calls for much hand-work. On the other hand, it may be made up by a clever home dressmaker, with a girl's own help.
The draped surplice bodice and the low-cut neck, naturally, is the rule with this style of gown, and the quaint quillings and fringe trimmings mentioned heretofore are the rules.
The draped skirt, made by swathing the figure with the wide material, is the rule where crêpe météore, chiffon, or soft brocaded crêpes are used.
Taffeta, however, calls for quite a different treatment, and as this is to be the smart material of the season the cut and style of skirts will undoubtedly be modified to suit it.
The triple tunic skirt is entirely new and in excellent style, and the rather simply cut straight skirt with tucks set in at each side of the front and back panel and trimmed about the lower edge with fringe or puffings and quillings of the material is also good.
The gown shown in the upper right-hand corner developed in pale-blue taffeta is smartly trimmed with scallops bound with pale pink velvet. These scallops are one of the very smart revivals of old-time fashions.
The fringe is blue, just the color of the material. This frock shows the shaped bertha of taffeta edged with scalloping and fringe, the triple tunic skirt trimmed in the same manner, and high crushed girdle of pink panne velvet.
The girdle and bertha finish with a wired velvet bow at the left side of the front. Similar bows trim the two lower flounces at the left side.
The V-shaped neck is finished in a soft and most becoming manner with a band of pink panne velvet edged With a full frill of Valenciennes lace. A frill of the same lace trims the close-fitting elbow sleeve.
The gown at the left of the panel is a soft and becoming frock developed in shadow lace and fine net over pink crêpe météore.
"Gowns for Bridesmaids," in Harper's Bazaar, New York: Harper & Brothers Publishers, Vol. XLVI, No. 3, March 1012, p. 132.
Editor's Note: Some terminology used in the description of women's clothing during the 1800s and early 1900s has been changed to reflect more modern terms. For example, a women's "Toilette" -- a form of costume or outfit has an entirely different common meaning in the 21st century. Typical terms applied to "toilette" include outfit, ensemble, or costume, depending on context.
Note: We have edited this text to correct grammatical errors and improve word choice to clarify the article for today’s readers. Changes made are typically minor, and we often left passive text “as is.” Those who need to quote the article directly should verify any changes by reviewing the original material.