The Reluctant Bride (Wedded Bliss Book 1)

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As for accessories, the bride herself has the customary orange blossom trim on her gown and on her flower wreath, which the younger girl is trying on. The bride’s hair is in a simple up-do with a single braid going across her hair at the front. While a bridal gown’s silhouettes vary today and dependent on the bride’s aesthetic, small waists and full skirts are still fashionable. Though the look is achieved with tulle petticoats rather than crinolines. The slim waist and full-skirted silhouette worn by the women in the painting was in vogue during the 1860s (Fig. 3). The full skirt is achieved through the use of a crinoline. According to Jane Ashelford in her book The Art of Dress: Clothes and Society 1500-1914: The fashion for white wedding dresses started in the mid-eighteenth century, although most people were married in coloured gowns. By the early nineteenth century more and more women opted for white as it implied purity, cleanliness and social refinement. The less well off or more practically minded opted for pale blue, dove grey or fawn, which they could wear for special occasions long after the event.” (86) Abby Taylor walked out on her irresistible husband three years ago. Now she has no choice but to return to Italy to ask him for a favor. To pay for her grandmother’s heart operation she needs his money, but it comes with strings attached.

While it was fashionable to have the a bridal gown of white and ivory, as Johnston notes, colored wedding ensembles were also acceptable (Fig. 6). In contrast to the white gown of the bride, the other women in the painting are dressed in colored satins, which were considered fashionable according to “Chitchat upon New York and Philadelphia Fashions for December” in Godey’s Lady’s Books and Magazine (1866): The Hesitant Betrothed.” Sotheby’s. Accessed April 9, 2018. http://www.sothebys.com/en/auctions/ecatalogue/lot.108.html/2005/19th-century-european-art-n08121. Ashelford, Jane, and Andreas Einsiedel. The Art of Dress: Clothes and Society, 1500-1914. London: National Trust, 1996. http://www.worldcat.org/oclc/759883168. Everyone’s for sale, including me. One moment I’m the forgotten daughter of one of the most wealthy families in the country, and the next I’m the blushing bride in an arranged marriage. My fate is sealed in my wedded union with a complete stranger.Auguste Toulmouche.” Rehs Galleries, Inc. Accessed April 9, 2018. http://rehs.com/Auguste_Toulmouche_Bio.html. In public, Perry Constantine is the life of the party. Easygoing. Adored. In private, he’s brooding. Dark. Angry. But so am I. It’s a contest of wills to see who will break in the bedroom first, and while I try to remain strong, I find myself craving the very man I swore to hate. Reluctant Bride (released in the U.S. as Two Grooms for a Bride) is a 1955 British comedy film. [1] [2] Plot summary [ edit ] Without a doubt, the legacy of the simple white wedding dress continues today (Fig. 13). The use of the color white, ivory or cream in wedding dresses has stood the test of time, in fact, it is now considered quite adventurous when a bride gets married in another color.

Chitchat upon New York and Philadelphia Fashions for December,” Godey’s Lady’s Magazine 73 (1866): 548. https://babel.hathitrust.org/cgi/pt?id=mdp.39015027389397;view=1up;seq=529. Overall, The Reluctant Wife was a fantastic story that was centered around things I don’t read about every day while still featuring characters that made me so happy. Honestly, they made my tummy all tingly and happy feeling. That is never a bad thing, my friends. ;)” The color is also notable as brides of social standing tended to wear white, ivory or cream. According to Johnston in her description of an 1865 bridal gown in her book, Nineteenth-Century Fashion in Detail: The Reluctant Bride – review - cast and crew, movie star rating and where to watch film on TV and online". Radio Times. Johnston, Lucy, Marion Kite, and Helen Persson. Nineteenth-Century Fashion in Detail. London: V&A Publications, 2005. http://www.worldcat.org/oclc/741415660.

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Despite the magnificent play of color and texture, the most striking aspect of this painting is the bride’s direct gaze at the viewer. Her focus is clear and despite the fact that she is comforted by the two women, she reacts to neither gesture. One is holding her hand; while the other with the shawl, who seemingly just arrived, is kissing her on the forehead. She does not respond to the sentimentality of the gestures and her gaze is defiant. A demonstration of resistance to her dilemma – that of an arranged marriage, a common occurrence during the 19th century. During the 19th century, the bride’s dress design gives an important insight into the century’s customs and social convention. According to the introduction written by JoAnne Olian in Wedding Fashions 1862-1912: 380 Costume Designs from La Mode Illustrée: As for the fur trim decorating the bride’s dress, it has a similar look to an 1885 dolman (Fig. 4) which Lucy Johnston describes in her book, Nineteenth-Century Fashion in Detail: The story is certainly never boring; there is always something getting in the way of their final happiness, though the epilogue is a lovely tribute to the final issue. All in all, this is a well-done contemporary category romance that works on every level.”

Dress was never more clearly one of the most visible signs of “correctness” and “suitability” so valued by nineteenth-century society, than in the bridal gown.” (iv) Olian, JoAnne, ed. Wedding Fashions, 1862-1912: 380 Costume Designs from “La Mode Illustrée.” New York: Dover Publications, 1994. http://www.worldcat.org/oclc/963446499. Satins will be very much worn: they are of very elegant quality, and rich shades such as crimson, Magenta, blue, green, with the softer shades of mode.” (548)