Reproduction of paper love token (BBC)
I researched the traditions
surrounding weddings, wedding ceremonies and marriage through history. I looked
at the small trinkets and items that were seen as good luck charms or
superstitions based around those objects. The types of objects people collected
were varied. Some were simple paper
ephemera, love tokens in the form of book marks, horse shoes, paper puzzles,
paper fans and small cards commemorating the time and date of a wedding. Other items would be lockets containing a
lock of hair from a loved one: a famous example of this being the lockets
containing the hair of Lord Nelson and Elizabeth Hamilton. Some of the love
tokens would be just that, tokens stamped or decorated with the date and
perhaps a few words from a poem or psalm. Embroidery was also a popular
decoration for tokens, small hankies or pieces of fabric would have names and
dates stitched onto them. Images of
loved ones would take the form of tiny silhouettes or painted ceramic cameos.
Other tokens would be tiny silver lockets or love hearts
A “memory box” made of embossed and painted paper containing eye miniature, ca. 1830. (Credit: Skier Collection)(Salon.com)
More images here http://onelondonone.blogspot.co.uk/2012/03/look-at-look-of-love.html
Lord Nelson and Emma Hamilton love token
http://historyhoydens.blogspot.co.uk/2011/01/lord-nelson-and-emma-hamilton-love.html
Hair memento folk art
http://dulltooldimbulb.blogspot.co.uk/2010/12/hair-memento-folk-art-1850-woven-love.html#.UITymIad6So
Babys cockade
http://austenonly.com/2010/10/23/my-review-of-threads-of-feeling-at-the-foundling-museum/
Lovers silhouette
Love tokens
Bridal favour V&A collection 1889
Wax, cloth, paper and silk satin ribbon on wire
Wedding favours were
small mementoes that were handed out to close friends, relatives, and
others connected to the wedding. At Queen Victoria's wedding in 1840,
The Times reported upon the wedding favours given to the guests:
"Every lady exhibited a white favour, some of which were admirable specimens of refined taste. They were of all sizes, many of white satin riband, tied up into bows and mixed with layers of rich silver lace. Others merely of riband intermixed with sprigs of orange flower blossom."
By 1840, imitation orange blossom was a popular trimming for weddings. This wedding favour is on a less grand scale than Queen Victoria's favours. However, the concept is similar in that it features wax and cloth orange blossoms and myrtle flowers tied up with cream silk satin ribbon.
"Every lady exhibited a white favour, some of which were admirable specimens of refined taste. They were of all sizes, many of white satin riband, tied up into bows and mixed with layers of rich silver lace. Others merely of riband intermixed with sprigs of orange flower blossom."
By 1840, imitation orange blossom was a popular trimming for weddings. This wedding favour is on a less grand scale than Queen Victoria's favours. However, the concept is similar in that it features wax and cloth orange blossoms and myrtle flowers tied up with cream silk satin ribbon.
Wedding boots 1865
Wedding wreath, orange blossom made from green and white feathers on
silk-thread wrapped wire with silk ribbons, Great Britain, 1854 V&A
This delicate orange
blossom wedding wreath is a rare survival. Imitation blossom was
normally made from wax, paper, or cloth, but this example is made
entirely from feathers and silk ribbons on fine wire. The white feathers
have been carefully dyed in shades of green for leaves, or tinted with
touches of yellow to replicate petals. It is associated with the 1854
marriage of Elizabeth Wroughton Richards to Edward Nugée.
The wreath could have been purchased from a milliner's establishment, or made at home by a particularly talented home handicrafter. Women's periodicals in the 19th century provided instructions for various handicrafts, including featherwork. They advised their readers on how to clean and dye feathers, and how to make them into various accessories or dress-trimmings. Typically the feathers were stitched down flat into mosaic-like patterns, so the three dimensional quality of this wreath is unusual.
Source V&A
The wreath could have been purchased from a milliner's establishment, or made at home by a particularly talented home handicrafter. Women's periodicals in the 19th century provided instructions for various handicrafts, including featherwork. They advised their readers on how to clean and dye feathers, and how to make them into various accessories or dress-trimmings. Typically the feathers were stitched down flat into mosaic-like patterns, so the three dimensional quality of this wreath is unusual.
Hair ornament, braided.V&A 1969 Made by Graham Smith for Jean Muir
Cream silk tulle bonnet trimmed with bands of white crepe and sprays of imitation orange blossom, coal scuttle shape
Wedding bonnet 1870-75
Ivory (originally pale blue) satin bonnet trimmed with ribbons, artificial white lilac and tinted velvet ivy leaves.
This beaded hat was
created by the milliner Simone Mirman, who designed custom-made hats to
co-ordinate with a specific dress or ensemble. She also offered a wide
range of ready-to-wear evening and cocktail hats in various unusual
shapes. These hats would have sat neatly upon the sleek hairstyles of
fashionable women.
Scientific discoveries provided a rich source for inspiration for designers throughout the 1950s. Atoms and cell structures were used as the basis for patterns and original forms. The shape of this bejewelled silk cap seems inspired by the undulating shape of an amoeba, or single-cell animal.
Scientific discoveries provided a rich source for inspiration for designers throughout the 1950s. Atoms and cell structures were used as the basis for patterns and original forms. The shape of this bejewelled silk cap seems inspired by the undulating shape of an amoeba, or single-cell animal.
This tiara is made from polished branches of coral. Coral is formed from
the skeletons of tiny marine organisms. Most of the coral used in
Victorian jewellery came from the seas around Italy, where it was fished
between April and July.
Various imitations of coral were available from the late 1800s.
These included early plastics, stained ivory, and French 'coraline',
made of coloured alabaster.Source V&A
Although this
headdress is exceptionally well preserved, it cannot be precisely dated.
A married woman in Egypt in the first millennium AD was expected to
cover her head when out of doors, and finds from many burial sites show
that fine hairnets and elaborately patterned caps were common
protection.
The headdress with its long scarf-like ends is so loosely woven that it creates the impression of stripes. The original rectangular piece of textile has been seamed together and gathered at one short end to fit on top of the head. The other short end has been split up to the neck to form two flaps, possibly serving as a scarf around the neck or it could have been wrapped around the head like a turban. The flaps end in a fringe made out of the warp threads. There are remains of purple wool ties at chin level for fastening it.
Source V&A
The headdress with its long scarf-like ends is so loosely woven that it creates the impression of stripes. The original rectangular piece of textile has been seamed together and gathered at one short end to fit on top of the head. The other short end has been split up to the neck to form two flaps, possibly serving as a scarf around the neck or it could have been wrapped around the head like a turban. The flaps end in a fringe made out of the warp threads. There are remains of purple wool ties at chin level for fastening it.
Source V&A
These lappets formed
part of a headdress, known as a ‘lace head’ in the 18th century. It was
composed of a curved panel, the cap back, to which two long streamers
were attached, called lappets. The whole ensemble was finished with a
lace frill. The lappets might be pinned up on top of the head in pleats,
but more usually were left to hang loose, fluttering with the slightest
movement.
Among the various items of Englishwomen’s fashionable dress for which lace was used in the 18th century, the lace head was a particular focus for the display of wealth and taste. The quality of the lace, the excellence of its design and fine workmanship, and thus its likely expense, would be immediately apparent to observers.
Source V&A
Among the various items of Englishwomen’s fashionable dress for which lace was used in the 18th century, the lace head was a particular focus for the display of wealth and taste. The quality of the lace, the excellence of its design and fine workmanship, and thus its likely expense, would be immediately apparent to observers.
Source V&A
Convex silver repoussé disc from which hang 17 chains and pendants. The
pendants appear to represent common domestic objects including a hammer,
an axe, a sword, a coffee pot and a frying pan.
This engraved badge
design may have been a prototype for the insignia on hats worn by
soldiers of the French regiment known as the Chasseurs D' Orleans
(1842-1848). The regiment was named in commemoration of Prince
Ferdinand-Philippe of Orléans who died in July 1842. When the Royal
Family were exiled from France in 1848 the regiment was renamed
"chasseurs à pied".
It is one of a group of objects from the workshop of the Swiss engraver, Jean Julien Faucherre ( 1805-1891). He was born and trained in Switzerland but worked in France from about 1830 to 1841 when he settled in London. In 1857, he was described as a master watch engraver but the surviving material, although including watch dials, demonstrates wider involvement in the silversmithing trade from electrotyped dressing table boxes to engraved panels for carriage clocks. It is very rare to find so much documented material from one of the smaller workshops in the trade. His work would have been largely anonymous and sold under the name of larger silversmiths or retailers of the Victorian period.
It is one of a group of objects from the workshop of the Swiss engraver, Jean Julien Faucherre ( 1805-1891). He was born and trained in Switzerland but worked in France from about 1830 to 1841 when he settled in London. In 1857, he was described as a master watch engraver but the surviving material, although including watch dials, demonstrates wider involvement in the silversmithing trade from electrotyped dressing table boxes to engraved panels for carriage clocks. It is very rare to find so much documented material from one of the smaller workshops in the trade. His work would have been largely anonymous and sold under the name of larger silversmiths or retailers of the Victorian period.
Mens wedding attire?
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| Peineta |
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| Mantillas |
Portrait of Emilie Ambre as Carmen by Edouard Manet, 1880
Philadelphia Museum of Art
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| Woman in Mantilla (La Salchichona) - 1917 Picasso |
White dress is what most people in the West associate with weddings.
This isn’t surprising since white is universally regarded as the
color of purity, and weddings are all about celebrating and cementing a
monogamous, loving relationship.
However, this tradition of wearing white wedding dresses in fact only started in the mid-19th century when Queen Victoria of England wore a white wedding gown when she married her consort Albert in 1840.
Beyond the Pale
In reality, in previous centuries in the West, other colors were preferred for wedding gowns.
Outside of the West, a range of colors besides white has always dominated the wedding day.
Using Blue for the Big Day
In ancient Rome, brides wore blue to symbolize love, modesty, and fidelity.
Blue was also the border color of the bride’s dress in ancient Israel where it symbolized similar virtues.
Because Christianity generally portrayed the Virgin Mary in blue, purity was also associated with this color just as it is these days with white.
Blue remained a popular color for wedding gowns until Queen Victoria popularized wearing white. Perhaps the brides then were thinking of the proverb, “Marry in blue, lover be true.”
Opting for Red Instead
Regarded as the color of joy and luck, red is the color that brides wear in China.
Some brides also wore red in the United States during the Revolutionary War in the 18th century to symbolize the independence the Colonists desired.
In Korea, brides have two types of dresses to choose from, including a simple lime-green gown called a wonsam. It is embroidered with flowers and butterflies and worn over the hanbok, the doll-like traditional wedding dress that is made of patterned silk.
Where Green is Seen
Because it is the color of plants and Moroccans think it brings good luck, brides there wear green gowns.
The other type of dress that brides wear in Korea is the more elaborate gown called a hwarrot, or “flower robe.” Like the red wonsam, it is also worn over the hanbok (see last listing in ‘Red’ section above for more details).
The Reason Behind Bright Yellow
In Morocco, brides can choose to wear yellow instead of green. Yellow is worn to scare away the evil eye.
When Black Was the Fashion
During the 16th century, Roman Catholic brides in Spain wore black gowns and lacy mantillas to show their devotion to their spouse until death.
Purple Preference
To pay tribute to the dead, some American brides during the Civil War wore purple because it represents honor and courage.
Where Red and White Rule
In Japan, women wear two colors for the wedding ceremony: A white, silk kimono lined with red. This combination symbolizes happiness and a new beginning.
Sporting Silver and Gold
While women in Japan begin their wedding wearing a white kimono lined with red, they often wear gowns of silver or gold as the special event progresses.
Head wear in other cultures
Tsunokakushi (角隠し tsunokakushi) is a traditional Japanese wedding headwear.
Tsunokakushi is a rectangular piece of cloth, which covers the bridal high topknot called Bunkin Takashimada (文金高島田 bunkin takashimada), a kind of Mage (髷 mage), Japanese traditional topknot. It's often made of white silk.
This is traditionally worn to veil the bride's horns of jealousy, ego and selfishness. It also symbolized the bride's resolve to become a gentle and obedient wife
However, this tradition of wearing white wedding dresses in fact only started in the mid-19th century when Queen Victoria of England wore a white wedding gown when she married her consort Albert in 1840.
Beyond the Pale
In reality, in previous centuries in the West, other colors were preferred for wedding gowns.
Outside of the West, a range of colors besides white has always dominated the wedding day.
Using Blue for the Big Day
In ancient Rome, brides wore blue to symbolize love, modesty, and fidelity.
Blue was also the border color of the bride’s dress in ancient Israel where it symbolized similar virtues.
Because Christianity generally portrayed the Virgin Mary in blue, purity was also associated with this color just as it is these days with white.
Blue remained a popular color for wedding gowns until Queen Victoria popularized wearing white. Perhaps the brides then were thinking of the proverb, “Marry in blue, lover be true.”
Opting for Red Instead
Regarded as the color of joy and luck, red is the color that brides wear in China.
Some brides also wore red in the United States during the Revolutionary War in the 18th century to symbolize the independence the Colonists desired.
In Korea, brides have two types of dresses to choose from, including a simple lime-green gown called a wonsam. It is embroidered with flowers and butterflies and worn over the hanbok, the doll-like traditional wedding dress that is made of patterned silk.
Where Green is Seen
Because it is the color of plants and Moroccans think it brings good luck, brides there wear green gowns.
The other type of dress that brides wear in Korea is the more elaborate gown called a hwarrot, or “flower robe.” Like the red wonsam, it is also worn over the hanbok (see last listing in ‘Red’ section above for more details).
The Reason Behind Bright Yellow
In Morocco, brides can choose to wear yellow instead of green. Yellow is worn to scare away the evil eye.
When Black Was the Fashion
During the 16th century, Roman Catholic brides in Spain wore black gowns and lacy mantillas to show their devotion to their spouse until death.
Purple Preference
To pay tribute to the dead, some American brides during the Civil War wore purple because it represents honor and courage.
Where Red and White Rule
In Japan, women wear two colors for the wedding ceremony: A white, silk kimono lined with red. This combination symbolizes happiness and a new beginning.
Sporting Silver and Gold
While women in Japan begin their wedding wearing a white kimono lined with red, they often wear gowns of silver or gold as the special event progresses.
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| Traditional Spanish Mantilla |
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| Grace Kelly |
Tsunokakushi is a rectangular piece of cloth, which covers the bridal high topknot called Bunkin Takashimada (文金高島田 bunkin takashimada), a kind of Mage (髷 mage), Japanese traditional topknot. It's often made of white silk.
This is traditionally worn to veil the bride's horns of jealousy, ego and selfishness. It also symbolized the bride's resolve to become a gentle and obedient wife
Source wikipedia
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