1900 Conceits of Fashion. The bride herself is a noted very picturesque and generally dressed like an old picture. She looked lovely in her wedding dress of white crépe de chine, trimmed with rare old lace, the satin train was beautiful; broidered with silver lilies and edged with a broad band of valuable ermine. Her bridesmaids’ dresses in their white muslin skirts and curious old-fashioned were quite unique, and they charming picture red cloth riding coats, with three-cornered black hats trimmed with white plumes, and carrying sable of colour muffs. The rich red of the coats gave a lovely touch of colour against the pure white of the bride’s dress, idea will probably be reproduced at other weddings this season.

1902 A very pretty wedding was celebrated at St. Paul’s this afternoon between M r. Henry Donald H. Wheeler (of Brockley, Kent), and Miss Grace Harriett Wainwright (daughter of Mrs. Bailey, of St. Aubyn’s, Bridgeroad). The ceremony was performed by the Rev. B. J. Cunningham. The bride’s wedding dress was composed of cream cashmere, with a souave of closely tucked glace silk, the same also forming the upper part of the sleeves; the trained skirt was bordered with a chiffon ruching, while she wore a veil fastened with orange blossoms and carried a handsome bouquet. The three bridesmaids- – the Misses Katie and Mary Wheeler (sisters of the bridegroom) and Miss Alice Bailey (half-sister of the bride) -were attired in blue cloth dresses trimmed with stitched glace silk of the same colour, and white felt hats with blue silk bows.

1904. The bride was given away by her father and wore a beautiful wedding dress of ivory chiffon embroidered in pearls and silver, and bordered round the hem with a Brussels lace flounce. The long train was of lace lined with silver gauze, and she carried a bouquet of eucharis lilies. Attending her were six bridesmaids—Miss Hermione Cooper and Miss Sybil Cooper (sisters), Miss Hadow, Mrs Grosvenor, Miss Beauchamp, and Miss Graham Murray. They made a charming procession in cream lace dresses with mink, an, three-cornered hats of geranium red chiffon with long abided red feathers. They carried red velvet muffs adorned with fur and cream lace, and wore pale coloured roses fastened into the bodice of their dresses

1906. This bride has a soft, almost ethereal presence—she looks like she’s stepped out of a late Victorian or Edwardian dream.

Her gown is long, flowing, and ivory-toned, made of light, gauzy fabric that drapes gently to the floor with a slight train. The silhouette is loose and classical rather than tightly structured, giving it a natural, almost Grecian feel. Delicate gold embroidery decorates the bodice and waist, adding a subtle richness without overpowering the softness of the dress. The sleeves are sheer and billowy, enhancing that airy, romantic quality.

She wears a long, diaphanous veil that falls from a decorative headband across her forehead—this headpiece has a medieval or Pre-Raphaelite influence, rather than the later structured bridal tiara. Her hair is worn long and loose in soft waves, reinforcing that natural, almost mythical aesthetic.

In her hand, she carries a trailing bouquet of pale pink roses with greenery, arranged loosely so it cascades downward rather than being tightly bound—very much in keeping with the romantic, artistic style.

Overall, she evokes a blend of medieval revival and early 20th-century artistic bridal fashion—more poetic than formal, with an emphasis on softness, nature, and quiet elegance rather than rigid ceremony.

This bride feels a little more structured and refined—still romantic, but with a clearer sense of early 20th-century elegance.

Her gown is a soft ivory or cream, made from layers of lace and satin. The bodice is fitted and richly detailed with lace, gently shaping the figure, while the neckline is modest and softly rounded. The sleeves are short and delicate, made of lace, giving a light, feminine touch.

The skirt is beautifully layered, with lace-edged tiers and a slight train flowing behind. She lifts part of the skirt with one hand, revealing her shoes—classic heeled bridal shoes adorned with small blue bows, hinting at the “something blue” tradition. A glimpse of a blue garter at her knee reinforces this detail.

Her veil is long and lace-trimmed, draped over her head and shoulders, attached to a softly styled updo. Unlike the previous bride’s loose hair, this hairstyle is more controlled and polished, in keeping with the period’s move toward refinement.

She carries a neat bouquet of pale roses mixed with small blue flowers, tied with a ribbon that echoes the blue accents in her outfit. Accessories include a delicate necklace, earrings, and a bracelet, along with light gloves—adding to the sense of formality.

Overall, she embodies a transition into a more modern bridal look—graceful, coordinated, and symbolic, with careful attention to detail and tradition.

1914 The bride wore a dress of white charmeuse, arranged with pointed flounces of finest net, each point being embroidered with silver loops holding sprigs of white heather, while the train of silver lace (over palest pink chiffon) had a horseshoe of white heather in one corner. The bridesmaids—Miss Dorothy Carey, Miss Audrey Ford, Miss Enid Marsden-Smedley, and Miss Monie Craig—were in Early-Victorian dresses of pale apricot taffeta, and big Canotier hats of tulle in the same shade.

1917 The bride, who was given away by her brother, Mr. Harry S. Vincent, wore a dress of Russian style of ivory crepe de chine with overlay of lace and trimmed with swansdown, and carried a shower bouquet, the gifts of the bridegroom; she also wore a veil and orange blossoms. The bridesmaids were Miss Connie Rouse (chief bridesmaid). Miss Elsie Harman, Miss Ruth Pay, Miss Louie Pay and Miss Amy Pay, who wore nigger brown alpaca dresses, with slips of pale pink and nigger brown ninon, and nigger brown and pink hats, and they carried bouquets of pink and white flowers.

1920. This bride has a distinctly more modern—and almost austere—elegance, reflecting the shift in fashion during the late 1910s, around the time of the First World War.

Her gown is simple and refined, made from smooth, matte fabric rather than heavy lace. The bodice is softly fitted with long, plain sleeves and a high, modest neckline, creating a clean, almost minimalist silhouette. The waist sits slightly higher than earlier styles, and the skirt falls in gentle gathers, with a softly rounded, almost tulip-like shape at the hem rather than a full sweeping train.

Her veil is long and sheer, flowing dramatically behind her, but it is paired with an unusual, structured headpiece or cap beneath it—almost helmet-like in form. This gives her a slightly avant-garde or Parisian couture feel, quite different from the romantic softness of earlier brides.

She carries a bouquet of pale roses with trailing greenery, loosely arranged and wrapped in soft fabric, echoing the restrained elegance of the dress rather than ornate decoration.

Her shoes are low-heeled and practical, reinforcing the sense of wartime practicality and changing social norms.

1922 The Wedding Dress, The bride and bridegroom walked to the church to-day, with Mr. Nicolas Bosanquet, brother of the famous cricketer. The bride, toll and fair, was wearing a dark blue serge coat and skirt. a white silk blouse, a togue to match her costume, and a grey fox fur, The bridegroom was wearing a dark blue serge suit, brown shoes, and a hard felt hat.

1932. The romantic image presents a bride as the central, almost luminous figure, her appearance shaped by a strong Renaissance influence. Her headdress sits close to the head like a wimple, fashioned to resemble parchment-toned leaves, from which a soft veil of tinted pink net gently falls. Over this lies a second, more delicate layer of inherited family lace, trailing behind her in a long, graceful line that adds both movement and a sense of lineage. The gown itself is an elegant off-white—what might be described as a warm “Titian parchment” shade—its cut flowing and architectural, with pleated angel sleeves that extend outward and down to form subtle side trains.

Surrounding her are her attendants, envisioned as a larger, harmonious group. Though only a few may be visible in the image, they represent six maids dressed in the palest rose-petal silk piqué. Their outfits are sharply tailored, with neat, structured “mess” jackets that lend a refined, almost military precision to their look. Each maid wears a tiny coronet of lavender, delicately placed, and matching lavender gloves that echo the soft colour palette. In their hands, they carry large, airy chiffon handkerchiefs in shades of lavender and pink, adding movement and a lightness that contrasts beautifully with the more structured tailoring of their attire.

1933 Wedding Dress. An Ascot dress of Edwardian black tarletan has underneath a petticoat of white organdie, and under that is another of thick black taffeta, which produces a really Pompadour rustling with movement,