America was in a depression, but Hollywood was spending millions on movies to transport us from the everyday. Brides were emulating the cinema silhouette that was long and thin, emphasizing the contours of the body usually with a fishtail-like train. Wedding dresses also turned towards the now popular bias-cut which created a slim and sensual line. Most 30s wedding gowns were made of fabrics to add lushness to otherwise simple designs. Gowns would be made of silk, velvet or satin and would often have interesting textures. Though they were simple, necklines were anything but boring. Necklines plunged into round or V-shaped fronts and dipped dangerously low in the back. Dress hemlines grazed the ankle and stayed there until the end of the decade. The most popular wedding headpiece of the early decade was the Juliet cap, and later in the decade replaced by a small coronet to which a very long veil was attached.
Madeline embodies the glamour and slinky appeal of the 1935 Silver Screen. Fashioned from a lavender silk and wool blend in a fabulous zigzag weave, the bodice defines the bust in an empire treatment, and then falls to the floor, following the body?s curves. The scoop neckline, gauntlet sleeves and sash are all of a contrasting silver silk charmeuse with striking channel stitching in lavender adding to the intricate details of this dress. The sleeves are closed with 17 self covered loops and buttons down the length of the gauntlet, and the upper sleeves are bishop style with a sultry cut out slit, and then fasten behind the neck, creating an open back to the waist both daring and stylish.
The head piece, sold separately, is made of a coronet of silver silk charmeuse. A cascading veil of grey colored tulle matches in length the hem of the dress.
Dry clean only.