1908. This 1908 wedding attendant is best understood as a living symbol of love within the ceremony. The repeated heart motifs—both on her dress and in the hoop she carries—turn her into a visual expression of the couple’s union. At a time when weddings were becoming more decorative and expressive, such imagery made the meaning of the occasion instantly visible: she represents affection, devotion, and the emotional core of marriage.

The heart-shaped garland or hoop also connects to older traditions. Wedding attendants had long carried flowers, wreaths, or arches to signify continuity and eternity. Here, that idea has been adapted into something more playful and modern for the Edwardian period. The circular form still suggests unbroken love, but the addition of bold red hearts makes the symbolism clearer and more theatrical, especially for photography.

Her soft, flowing gown reinforces her role as an attendant rather than the bride. The light fabric and delicate decoration reflect Edwardian fashion, while the scattered red accents visually link her to the hearts she carries. She becomes part of a coordinated display, blending costume, prop, and meaning into a single figure.

1908. In earlier centuries, criers were the primary way news spread through towns: proclamations, market days, lost property, even royal announcements. By the Edwardian period, newspapers had taken over that role, yet the crier’s voice (and bell) still symbolised public celebration and communal importance.

At weddings, especially in smaller towns and villages, a town crier might be invited to formally announce the marriage to the community. This could happen either just after the church ceremony or as the couple emerged, with the crier ringing his bell to gather attention before delivering a loud, theatrical proclamation—often including the couple’s names, families, and a blessing for prosperity. It turned a private union into a public event, reinforcing the idea that marriage was not just between two people, but part of the life of the whole community.

There was also a strong element of pageantry and spectacle. The town crier’s elaborate uniform—tricorn hat, braid, and often a scarlet coat—added colour and a sense of occasion to the wedding procession. In an era that loved ritual and display, this fitted perfectly alongside confetti throwing, decorated carriages, and musical accompaniment

1910. In the early 20th century, weddings became more structured and socially visible, especially among the middle and upper classes. Venues such as hotels and churches began offering coordination support, with staff informally managing timings, catering, and guest arrangements. While not yet called wedding planners, these roles marked the first step toward a dedicated organiser beyond the family, usually a woman. The role removed the stress from the bride and family and saved arguments.

After World War II, weddings grew larger and more standardised, with an expanding range of professional services—photographers, florists, caterers, and dressmakers. Bridal magazines and etiquette guides helped couples navigate planning, but the process became increasingly complex. In response, specialist event coordinators began to emerge, particularly for high-society weddings.

By the late 20th century, the modern wedding planner had fully developed as a distinct profession. These professionals took on comprehensive roles, managing logistics, design, budgets, and suppliers. Today, wedding planners act as full-service event designers, reflecting the shift from family-organised ceremonies to carefully curated, personalised experiences.

1920. This image captures a gentle, behind-the-scenes moment of wedding preparation, with two women standing side by side in simple, loose-fitting garments that resemble early 20th-century pyjamas or informal morning wear. Their clothing is light in colour, soft in structure, and practical rather than decorative—suggesting they are engaged in work rather than ceremony.

One of the women holds a gathering of freshly cut flowers—long green stems with soft pink blooms—loosely arranged as if just brought in from a garden. The flowers feel natural and unstructured, ready to be carried into the church and arranged by hand, rather than part of a formal bouquet.

The scene evokes the quiet domestic effort behind a wedding day: family members rising early, still in informal dress, preparing floral decorations before changing into more formal attire. At the time, women appearing in such relaxed garments outside private settings could be viewed by some as unconventional or even slightly improper, which adds an interesting social nuance to the image.

Overall, it offers a glimpse of intimacy and practicality—an unpolished but essential part of the wedding story, where beauty begins in simple, everyday actions.

Stag do (bachelor party)

1950. Male pre-wedding celebrations go back centuries (even to classical antiquity), but in Britain they became more defined in the early–mid 20th century as informal gatherings of male friends—often a dinner, drinks, or club evening. What we now think of as the “stag do” (rowdier, weekend trips, group activities) really took off from the 1960s–1980s, alongside changing attitudes to leisure, travel, and masculinity.

1953. Chimpanzee At Wedding – An unusual guest greeted Lancashire bride Guests at the wedding – a full grown chimpanzee dressed in a white petticoat and frock. The animal presented the couple with a horseshoe and then gave the new Mrs. Harrison an embrace. The chimpanzee ate a three course meal with other guests, and then entertained them at the piano with her own ‘“variations on a theme.”.

1953. The chimpanzee ate a three course meal with other guests, and then entertained them at the piano with her own ‘“variations on a theme.”.

Hen do (bachelorette party)

1960. The hen do is much more recent. While women had pre-wedding gatherings (like bridal showers) earlier, the modern hen party emerged in the 1960s and 1970s, influenced by the women’s liberation movement and shifting social freedoms. It became widespread in the UK during the 1980s–1990s, evolving into nights out, themed events, and trips similar to stag weekends.

1966. In the early 20th century, the Master of Ceremonies at weddings was not always a formal role, but the responsibility typically fell to a senior figure such as the best man or a respected guest. At more elaborate events, especially in Britain, a professional toastmaster might be present to announce key moments like the couple’s arrival, the meal, and the speeches, ensuring the day followed a clear and dignified order.

By the mid-20th century, weddings became more structured and larger in scale, and the MC’s role grew more defined. Acting as a timekeeper and organiser, they guided guests through the sequence of events—introducing the top table, calling for toasts, and announcing traditions such as the cake cutting and first dance. This helped maintain smooth flow, particularly in hotel or hall receptions where coordination was essential.

Later in the 20th century, the role became more dynamic and personality-driven. The MC was not only responsible for organisation but also for creating atmosphere, linking moments together, and engaging the guests. Rooted in earlier traditions of court and civic ceremony, the Master of Ceremonies evolved into the central voice of the wedding, ensuring both structure and celebration were balanced.

1995. The ring bearer has journeyed from a symbolic child in aristocratic ritual to a flexible, expressive role that reflects each couple’s personality. Whether a solemn page boy or a wagging-tailed retriever, the core idea remains the same: someone (or something!) carrying the promise of the marriage forward.