1934. For six months ‘Red Tim’ was considered the most eligible bachelor, or widower among the tinker tribes of Leinster. The first day of the races he met Molly O’Hanm second day he wedded her. The third day they were married. The church was crowded when the bridal pair walked to the altar. Tim wore corduroy trousers and a blue coat, with 2 red handkerchief around his neck. Molly struck a bright note with a pink skirt, white blouse, and black and silver shawl. About forty tinkers were present. Afterwards all drove off in fleet of gaily-decorated asses and carts towards the edse of the Curragh where the wedding breakfast was given.
1934 A dress of pearl pink chiffon, covered with tiny tucks, has been made for the bride, who will be given away by her brother, Aubrey. The pin tucking moulds the dress on princess lines until falls in full flares forming a petallike train. With it, Miss Isles will wear a veil of net, so fine that it has been named Illusion, finished at the hem with orange blossom tinted a pearly pink. Her flowers will be pink orchids and lancifolium lilies—that is the white lily flushed and speckled with a deep pink. Two sisters. Miss Kathleen and Miss Margaret Isles, the bridegroom’s sister, Miss Nellie Johnson and Miss Eileen Gaunt, will follow the bride down the aisle, preceded by two small children, the little boy carrying a cushion of pearl pink satin for the bride to kneel on. The elder maids and the little girl, Miss Pat Summers, who is a niece of the bridegroom, will be in satin frocks frilled with pleated silk net, china blue in colour, their shoulders covered with capettes made of frilled silk net and finished with trails of pale pink caussia roses.
1935 The bride, who was given away by her father, wore a dress of lavender marocain with hat and shoes match. She carried a bouquet of white tulips. The bridesmaid, Miss Elsie Lovatt, sister of the bride, wore a blue satin dress with hat and shoes to tone, and carried a bouquet of daffodils.
1939 A simply cut clover-coloured dress, with matching coat and accessories to tone, was chosen by Miss Evelyn Cruickshank, daughter of Mr and Mrs Alexander Cruickshank, Boat House, Aberlour, for her wedding yesterday to Mr William Smith, son of Mr and Mrs William Smith, Ardivot Cottages, Lossiemouth. The bride, who was given away by her father, was attended by Miss Sheila Cruickshank, Aberlour. who chose a tailored coat of royal blue with matching dress, halo hat and blue handbag. She wore a spray of sweet peas.
1943 The bride wore a dress of white figured slipper satin, with embroidered veil, halo orange blossom and bouquet of red carnations. bridesmaids were the Misses W. Hoiden (sister of the bride). D. Saltmarsh (sister the bridegroom), J. Barnard, B. Sykcs, and D. Seymour. Three were in pink satin, and two in mauve taffeta silk, and all had bouquets of bronze chrysanthemums. Their gold crosses and chains were the gifts ot the bridegroom.
1953 Bride wore blue. She was wearing a ballerina length dress of pale blue lace and organdie, with blue feather headdress and a spray of pink carnations. The bridesmaid was Miss Ann Young, the bride’s sister, who wore a lilac tie silk ballerina length dress and a spray of pink carnations.
1953 The bride wore a dress of lace over net, with train, Juliet cap and veil. Her bouquet was of cream roses. She was attended by Miss P. Rance who wore a gold taffeta dress with cap and muff trimmed with freesias.
1955. This image presents a beautifully composed mid-20th-century wedding tableau, centred on a poised and radiant bride. She stands slightly forward, drawing the eye immediately to her gown—a full-length design of delicate white lace laid over a soft orchid-pink silk base. The subtle blush tone glows through the lace, giving the dress warmth and depth rather than stark whiteness. The silhouette is classic for the 1950s: fitted through the bodice and flowing into a generous, elegant skirt that suggests both structure and grace.
Her headdress is particularly striking—a cap formed entirely of real flowers, echoing the romantic tradition of natural bridal adornment. A fine veil falls softly from it, framing her face and trailing behind. In her hands she carries a cascading bouquet rich with texture and symbolism: orchids for beauty, roses for love, lilies-of-the-valley for purity, and white heather for luck. The arrangement spills downward in a gentle, formal cascade, typical of the period’s bridal style.
Flanking her are five bridesmaids, evenly spaced to create a sense of balance and ceremony. They wear matching dresses of white crystal organza layered over white, giving a light, airy translucence. Their dresses are simpler than the bride’s but harmonise perfectly, with soft volume in the skirts and delicate sleeves. Each holds a small bouquet that complements the bride’s without competing with it.
1955. At the centre stands the bride, given away by her father, wearing a ballerina-length gown of cream figured brocade. The fabric has a soft richness, and the high, stiffened collar and long sleeves give her an elegant, almost sculpted silhouette so typical of the period. Her look is made especially distinctive by an unusual head-dress of silvered decorative hearts, from which falls a circular, shoulder-length veil—both modern and slightly whimsical. Instead of a bouquet, she carries an ivory-backed prayer book, marked with pink carnations, a thoughtful touch that echoes her pink shoes, adding a gentle note of colour to her otherwise cream ensemble.
Beside her is her sister, Miss Sylvia Freeman, acting as bridesmaid. She wears a ballerina-length gown of mushroom pink nylon, light and softly flowing, complemented by white accessories and a white lace head-dress. Her appearance is refined and harmonious, designed to support the bride’s look without overshadowing it, while still contributing to the soft pastel palette of the group.
Completing the scene is little Ruby Babb, the young attendant, who brings a sense of innocence and sweetness. She is dressed in an ankle-length gown of pale green net over taffeta, the layers giving her a delicate, airy appearance. Her hair is tied with a pale green ribbon adorned with a pink rose, linking her visually to the bride’s carnations. With lace gloves and a posy of mixed freesias in her hands, she adds both fragrance and colour, a charming finishing touch to the composition.
1958 The bride, who was given away by her father, wore a full-length gown of ivory French brocade with. a shoulder-length veil held in place by a headdress of orange blossom and pearls, She carried a bouquet of white roses, freesias, and lilies of the valley. The two bridesmaids wore a full-length gown of – daffodil yellow nylon over taffeta,
1958 The bride wore a dress of white nylon net with glitter and pearls. She had a headdress of orange blossom and pearls and short veil. She carried a bouquet of red tulips and white narcissi. Bridesmaids were Miss Sheila Moffat. Miss Catherine Dunn and Miss Kathleen Dunn, and the small attendant was Miss Caroline Watson. All four are cousins of the bride. Miss Moffat wore a dress of pink net over taffeta. Miss Catherine Dunn wore lemon net over taffeta, and Miss Kathleen Dunn blue net over taffeta. All had matching headdresses. The] attendant was in a white dress with headdress to match. She carried a posy of mixed spring flowers.
1960. Given in marriage by her father, the bride stands poised in an unusual and highly distinctive gown. The skirt is cut short at the front, revealing her shoes, while dipping into a long train at the back, which flows elegantly behind her. At the front, the skirt is plain and bell-shaped, but toward the back it falls into soft, gathered folds from a dropped waistline, giving the dress movement and a sense of drama. The bodice is smoothly fitted with long sleeves and finished with a gentle fichu neckline, adding a refined, almost historical softness. Her short circular veil, simple and light, is held neatly in place by a circlet of pearlised leaves, lending a delicate sparkle. In her hands, she carries a bright, cascading bouquet of tangerine carnations mixed with lily of the valley, the vivid orange tones standing out against the white gown.
Surrounding her are the four bridesmaids—Mrs Anne Radcliffe, Mrs Carolyn Kelly, Miss Ann Clague, and Mrs Irene Fullerton (the chief bridesmaid)—whose dresses bring a joyful burst of colour to the composition. Their gowns, made of tangerine satin, are shorter versions of the bride’s design, echoing the same clean lines and gentle structure. The richness of the satin catches the light, creating a warm glow that enlivens the scene, especially fitting for a day described as not very sunny.
Each bridesmaid wears a simple Alice band adorned with a large flat bow in matching satin, a detail that adds both charm and cohesion. In contrast to the bride’s bold bouquet, they carry neat arrangements of cream carnations, softening the overall palette while maintaining harmony with her flowers.
1961. The bride wears a classic short gown of smooth satin, falling just below the knee—a fashionable length for the early 1960s that reflects a shift toward lighter, more practical bridal styles. The dress has a clean, structured bodice and a softly flared skirt, giving it a graceful but modern silhouette. Her shoulder-length veil is sheer and delicate, held in place by a charming head-dress of orange blossom and pearls, a traditional combination symbolising purity, love, and continuity. She carries a cascading bouquet dominated by orchids, interwoven with lily-of-the-valley and stephanotis, creating a flowing, textured arrangement typical of the period’s refined floral taste.
Beside her stands the bridesmaid, noticeably younger, adding a sense of family intimacy to the scene. She wears a short, full-skirted white dress made of Swiss embroidered anglaise, its fine eyelet pattern giving it a light, decorative softness. The puffed sleeves and cinched waist echo the bride’s silhouette in a simpler, more youthful form. In her hands, she holds a small posy of anemones, whose dark centres provide a subtle contrast to the otherwise pale palette.
1961. This image presents a beautifully formal and slightly theatrical wedding tableau, perfectly echoing the remarkable detail of the “crinoline dress with seven petticoats” worn at the Kemsing wedding.
At the centre stands the bride, representing Miss Margaret Jean Standing, poised and radiant. Her gown is a striking crinoline creation of nylon lace, its structure dramatically expanded by the many layers beneath—said to be seven petticoats, which give the skirt its full, bell-shaped silhouette. The dress is richly textured: a delicate net bodice and sleeves sit lightly against the upper body, while tier upon tier of lace and nylon descend to the hem, creating depth and movement. Her head is crowned with a sparkling diamante headdress, catching the light with a refined brilliance, and a soft veil falls behind. In her hands she holds a vivid bouquet of red roses and fern, the deep colour standing out boldly against the pale gown.
Flanking her are the two bridesmaids, representing Miss Linda Price and Miss Irene Martin, arranged symmetrically to frame the bride. They wear elegant dresses of pale blue nylon layered over darker blue silk, creating a subtle tonal richness. Their dresses are simpler in form than the bride’s but echo her style through soft fabrics and gentle volume. Each bridesmaid wears white gloves and carries a white prayer book, rather than flowers, adding a sense of ceremony and tradition to their role
1963 The pages wore rifle brigade uniforms, while the bridesmaids’ dresses were of pale pink organdie. The elder attendant wore a dress of deep pink wild silk. The bride’s dress was white lined with wild pink, and she wore a diamond tiara. The bouquets and church decorations were of various pink and white flowers.
1963 The Bride Wore Black. One bride recently married all in black so that she could claim complete equality with her husband. The white dress, she thought, was an outdated symbol of woman as a chattel. I’m sure that most brides who go to the altar in white these days don’t see themselves as chattels, but merely as someone with an unrivalled opportunity to have something really pretty to wear. For if it imposes equality for a bride to wear black like the bridegroom, why shouldn’t the bridegroom wear white? A man in a white suit would enliven any wedding.