Wedding Traditions from the Victorian Era

It’s crazy to think about where our traditions come from. The unexplained reasons behind why we do what we do sometimes bring us comfort, but when we learn their origins, they become even more meaningful . Many of the traditions that we still hold in weddings today are from the Victorian Era, over 100 years ago!

 

Take for instance, the “traditional” white wedding gown that’s so common in the western world. Well, the truth is that, historically, they weren’t always white. Most women just wore their best and most beautiful gown for their wedding. Queen Victoria was the one who popularized the white wedding dress in 1840, and ever since then, white wedding dresses have been the trend. Even though today dresses with splashes of color—blush, baby blue, lavender, even black—are gaining popularity, white is still the most traditional and popular color for wedding dresses. Queen Victoria’s daughter (also named Victoria), is also responsible for another tradition when she popularized the use of the “Bridal March” as the song to mark the bride walking down the aisle at her wedding in 1858. Although songs by artists ranging everywhere from Billie Holiday to Chris Brown are used for the Bridal Procession today, the “Bridal March” is still most iconically associated with weddings.

The Victorians were also the ones who kicked off the idea of an engagement ring that the hopeful potential groom would give his bride as a symbol of commitment. However, the wedding rings of the Victorian Era were not quite what we imagine when we think of our diamond studded bands of today. Instead of diamonds, wedding bands shaped like snakes with dotted ruby eyes were popular in Victorian England. The snakes were supposed to symbolize eternity.

Bridesmaids were present in Victorian English culture, just like in our culture today. However, while it’s considered rude for anyone other than the bride to wear white today, it was the complete opposite in Victorian England. Weddings were supposed to be white overall, with other colors only acting as an embellishment to white. So, bridesmaids would sometimes wear white veils and white gowns. Mother of the brides were supposed to wear black, unless they were “in mourning,” in which case they would wear purple or red, depending on where they lived and their local custom.

Victorian receptions didn’t last until the wee hours of the morning like ours do today. In fact, breakfast and brunch were normally held as wedding receptions because weddings themselves were in the early morning. There were three wedding cakes, one fruitcake for guests, one light cake for the bride, and one dark cake for the groom. Guests could take boxed cake with them on their way out to eat later, but the bride’s cake wasn’t touched. Instead, it was packed away and saved to be eaten on the couple’s twenty-fifth wedding anniversary. As soon as the cake was cut, the couple would change for their honeymoon. The difference between honeymoons of today and those of the Victorian Era were that nobody knew where the couple was going! Instead of bragging about their lavish trip, asking where the couple was going was considered in bad taste, and only the best man (who was sworn to secrecy) knew, as he helped them to the train station with their bags.

Victorian weddings were similar to what we typically celebrate today, and we can see where many of our traditions come from when we look at them. Because so many of the traditions of Victorian Weddings are still present in our culture today, we can only guess at what our great grandchildren will take from the weddings we have today!

A Modern Woman in the Victorian Age: The Tea Party

A popular trend among women in the past few years is to host a Victorian Tea Party as if it was 1867. These events—lavishly decorated, handwritten invites, hoop-skirt optional—are used as bridal showers, fifth birthday parties, charity events, baby showers, and more. Really, anytime there will be a gathering of more than three women, it has the potential to be a tea party. However, what was it really like to host a Victorian Tea Party? In reality, they were much more formal had many more rules, and if the wrong etiquette was used during one, it could end a woman’s social life.

 

From The Home Manual: Everybody’s Guide in Social, Domestic, & Business Life, 1889, we learn the afternoon tea is among the most informal events one can host, that only light refreshments should be served, and no wine of any variety should appear. In the Victorian Era, calling cards were used to communicate among neighbors and friends, and the type of calling card one used denoted the formality of the event. Because the type of calling card used is so vital to knowing how formal an event was, a simple “visiting card” would have been used for tea (The Home Manual).

 

To hold your tea, a tea urn would be most ideal. Tea should be made in bulk in the kitchen and then placed in the urn for heating, then served in antique flowered tea-sets. If you don’t happen to own a flowery tea set, don’t fear! A common pastime for Victorian ladies was hand-painting china, and you could create your own lovely china and have it be just as authentic (Victoriana). As for food, scones served with jam, curds, and clotted cream are the most traditional option for tea parties (Tea Laden). Along with light sandwiches, nothing more was expected.

 

Throughout the Victorian era, we can see the beginnings of women’s liberation through ladies’ fashion. Although the era ended with restricting corsets and bustles, they were much improved from the thick petticoats and steel hoops of the 1830’s. Day dresses of the late 1800’s “show that women were leading rather more active lives,” but that does not mean that they were not restrictive in their own way (Victoria and Albert Museum). Many corsets had bone and steel linings, and the hemlines of dresses did not allow for free flowing movement. To hold a completely authentic tea party, your dress will no doubt be uncomfortable, maybe even painful.

 

While there are countless other rules and formalities, our world seems to be obsessed with going back in time to experience the days of the Victorian era. Hosting tea parties brings us back to more elegant, more refined times. Perhaps the next special occasion you host, be it a gathering of old friends or a birthday for your family, a tea party may be just the right fit.

From wholesalelolita Victorian Dress

Ladies’ Evening Dress of the 1850s and 1860s

Ladies’ Evening Dress of the 1850s and 1860s
a Brief Overview on the Elements of a Period Ensemble

This era was one where ladies fashions saw the transition from a style where bell-shaped skirts were supported by a multitude of petticoats (see 1854 illustration, left)to the introduction of the cage crinoline or hoop-skirt as skirt support. Flounced skirts were quite popular in the 1850s; in the late 1860s skirts became elliptical.

Ladies’ evening gowns of this era typically consist of a full gathered or pleated skirt (usually 115″-140″ at the hem), a fitted bodice with rounded open neckline and short puffed sleeves. In the early 1850s they would have been worn over starched petticoats, after around 1856 they would have been worn over a wired hoop (105″-125″ bottom hoop circumference on average). The bodice is usually fastened at the center back by either hooks and eyes or lacing. The look of the bodice was usually longer waisted in the 1850s and becoming more short waisted throughout the 1860s.

BODICES: FIT:The bodice fits smoothly wthout straining across the body or shoulders.
NECKLINE: The neckline is open, just to the turn of the shoulder (lower cut in Europe), the armhole is slightly dropped. The neckline is usually finished with a tucked net trim or eyelet edging and has a drawstring for a snug fit.
WAISTLINE:The waistline is either pointed in front and back or straight; points are more common earlier in the period, straight waistline appears more often late in the period. Princess-line gowns are cut with the bodice and skirt in one piece, not extremely common.
CLOSURE: The closure is in the center back, especially when the waist is pointed, with either lacing (most common) with hand sewn eyelette holes or hooks and eyes. Front hooks or buttons are sometimes seen.
SLEEVES: Sleeves are short and are usually puffed (single, double, or triple), or a ruffle with puff beneath. Sleeves usually have an undersleeve of white net or easily washable material.
TRIM: The neckline trim is often called a berthe, and is pleated horizontally around the neckline; ruffles, ribbon, lace, sashes, or sheer net fichus are also popular. The neckline, armhole, and waistline are all usually edged with fine self piping.

SKIRTS:

demorest 1865 detail LENGTH: Skirts are full length, sweeping the floor for day wear and a bit shorter for dancing (the more experienced the dancer the longer the skirt can be).
WAIST FINISH: The waistline is gathered or pleated in several combinations: pleated in front and gathered in back; gathered all the way around; layered box pleats; pleats all the way around.
SHAPE: The shape of the skirt is bell shaped in the 1850s and early 1860s, transitioning from a petticoat supported skirt to a crinoline (cage or boned skirt) support. Throughout the 1860s the shape changed from bell to an elliptical shaped, ending the decade with a conical skirt with more fullness towards the back.
FULLNESS: The skirt should have enough extra fullness to allow it to fall gracefully over the hoop. A skirt that is not very full will show the lines of the hoop’s underneath.
PETTICOAT/UNDERSKIRT: An over-the-hoop petticoat is recommended, especially for sheer fabrics.
HOOPS: Hoops were generally smaller for day wear than evening wear. The size of the hoop ranges from around 115″ to 150″ in circumference depending on things like height, level of society, or formality of occasion. The width of one’s hoop should be chosen to harmonize with a lady’s height. A lady of 5’ 2” might choose a hoop of 110-120” circumference, but a lady 6’ tall might have her hoop at 150” around. It is best to avoid a hoop that is too large and will not fit into the ballroom.

FABRICS: Fabrics used were most often silks in taffeta, moire and lightweight jacquards or brocades; for summer wear lightweight organdies, various open weaves and cotton muslins were popular.
PATTERNS: patterns Can be solids, stripes, small prints (both allover and border prints) or plaids. Embroidered degigns are also seen.
COLORS: Colors are generally lighter for young ladies, darker for older women. Bright red should be avoided, as should black (in America), unless one is in mourning, and very dark colors.
TRIM: The gown can be decorated with contrasting or complimentary trim and black or white lace. Decorative elements (ruffles, bows, geometric designs, flowers, etc.) on the bodice and skirt usually matched, with the skirt decoration reflected on a smaller scale on the berthe (neckline trimming, see illustration) of the bodice.

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