HERE COMES THE BRIDE, LOVELIER THAN EVER.

Star (Christchurch), Issue 19268, 3 January 1931, Page 20 (Supplement)

HERE COMES THE BRIDE, LOVELIER THAN EVER.

(From our Fashion Correspondent.) PARIS. The modern bride is a charming exponent of the new freedom. From her slim, young shoulders she slips the mantle of tradition and chooses her wedding gown to suit her own tastes and type. She is a composite portrait of the brides of other days. Her veil may be chosen from the age of romance, her laces from grandmother's treasure chest, her wedding gown from among the latest models, or the picturesque affairs of a bygone era and still have fashion’s hearty approval. Not so many years ago no bride was considered fittingly attired unless she approached the altar in stiff, stately satin. “ The bride’s dress could stand alone,” was a phrase included in all fashionable wedding descriptions. Nowadays, the garment may “ stand alone,” or it may be of such a delicate sheerness that the entire garment may be slipped through her bracelet. The bride’s taste may be as fickle as fashion and still meet the requirements of the mode. Her choice of materials is practically unlimited this season. Satin, lace, georgette, chiffon cloth and sheer velvet are among the fabric favourites, for these are the mediums that best lend themselves to the classic lines approved by fashion. Pastel Shades Are New. Although most brides still cling to the traditional white and off-white shades for the formal wedding gown, a few novelties in the way of tinted effects have been introduced recently. Only the most delicate shades, however, are permissible. Very pale flesh and blue tones that appear almost white, yet give to the wedding picture a semi-moonlight effect, will be seen at some of the early spring w’eddings. A few ivory white wedding gowns have their trains lined with georgette of a delicate tint, repeating the colour scheme of the dresses worn by maid-of-honour or attendants. In olden times not only the veil itself but the lace of which it was made was designed especially for the bride. Sometimes her monogram‘and that of the bridegroom were made into the lace, and “ brides of quality ” often had their crests or coats of arms caiyied out in the design. The famous Lucrezia Borgia’s wedding veil was of delicate green lace. Greek and Roman brides wore huge yellow veils, and it is said that the Persian bride of to-day often chooses yellow for her veil. Veils To Suit Your Type. A connoisseuT of exquisitfe laces suggests that the modern bride’s veil should express her personality not only in the matter of style but in the pattern and type of lace used. For the very young bride she advises Brussels applique in its various forms. For the tall and stately lady she advocates the rare and lovely Point de Venice * reminiscent of court veils of the seventeenth and eighteenth centuries. For the bride who has passed the first flush of youth, duchess lace is suggested. Tulle offers an admirable solution to the veil problem of the bride who must count the cost, since only the fortunate few can afford the rare laces. Tulle veils combined with lace to match the dress trimmings are correct —and thoroughly charming. Old-style Head Dresses. Every season brings its quota of veil arrangements, and this season the variety is greater than ever before. Old-style head-dresses have been revived, and many new ones added. The shorter veils, however, favour variations of the coronet style, while the long veil adopts a number of novel cap arrangements that enhance the beauty of the wearer. The modern bride’s shoes are usually made of material to match her dress. Little, if any, jewellery is worn. Fashion has planned many charming creation® for the weddings of early spring, anA every creation is built around the ides of helping the bride to look her very best when she plays the leading role in that old but ever new story: “ And so they were married and lived happily ever afterwards.” (Copyright.)