RECREATING THE 1930s ON YOUR WEDDING DAY

  Can you think of any fashion era more in sync with cinema than the 1930s? The body-hugging bias cut was still a new, even radical concept back then, especially for a wedding gown. While a French designer named Madeleine Vionnet pioneered the bias-cut gown in the 1920s, the 1930s were when the style took shape in the long, lean silhouette we most remember on stars like Garbo and Harlow. During this golden era, it wasn't Paris as much as Hollywood that decreed the lowdown on fashion. Hollywood designers and the actresses who wore their creations had a lasting influence on how we look at weddings and fashion today. Their work is enduring because the big screen was so saturated; it exposed so much of this new fashion of the time. The early 1930s ushered in dropped waists and skirts with bias ruffles and handkerchief treatments; bodices remained fairly relaxed. It wasn't until the 'nightgown or slip ' look made its way into evening fashion that the waist was visible once more. By the end of the era, waistlines were still defined, and wider shoulders and big hair were evolving into the look of the 1940s.

Above: ROBYN is a classic 1930s body clinging silhouette with an integrated cowl neckline in 4-ply crepe. Below: My version of the renowned Letty Lynton dress of the early 1930s. Hollywood designer Adrian created a white organdy dress for Joan Crawford, which went viral in retail. Every store and designer in America had a version.

Above: ANDRESSIA. It's a wrap--another popular look for this era-- surpliced looks. This one features lightweight Chantilly lace, Venise lace, and handmade florals, accenting a generous tulle skirt that falls into a chapel train. Below: PRISCILLA.  Another integrated cowl neck in wool crepe, this eggshell design is simple with  a peach cluster of silk roses adorning the shoulder.

  

  Above: JASMINE. White cut velvet bodice atop an organza A-line skirt. Below: EDYTA. This look was all over the screen for the lighthearted. Designers used ruffles, florals, and flounces on sleeves and skirts to highlight youth. This dress with a touch of blush is dotted with small lace cutouts in a miniature rose pattern with generous clusters at the shoulders.

Above: DELPHINE. Stunning in white. A silk chiffon pleated cowl neckline falls into a Watteau cathedral train, creating a dramatic presence by its simplicity. The dress is a medium-weight 4-ply crepe. Below: COLUMBINA. Again, Adrian's Letty Lynton influence was evident across all types of sleeve and shoulder treatments. This one is a whimsy of puff and pouf with white silk florals bordering the neck and waist. Paired with a lightweight organza skirt.

Below: FLEUR. One version of a few halter necklines that were popular in the golden age of Hollywood era. A Chantilly lace top and midriff, relaxed pleats, and pearl buttons add interest. The skirt is crepe-backed silk satin, with a matching lace side swag.

TIPS FOR CREATING A 1930s LOOK

* Silhouettes were sleek and draped the body in lightweight, high-sheen satins and crepes.

* Two of the most popular necklines were the halter and cowl, often cut very low in the back. Actually, the look was so daring, tongues clucked as the etiquette police of the time declared, 'No nice lady wore such things out at night. ' Ladies had different ideas, and wore these back-baring styles anyway. Today, the bare back is a staple in most bridal collections.

*Hair was either bobbed or worn slicked back and in a low chignon. Marcelling (deep waving process) was still being used. Accents were often florals or jewels worn in the hair.

*The platform shoe wasn't introduced till the late 1930s-40s, so if you're going for authenticity, think satin, low-heeled, and strappy.

Dresses by Amy-Jo Tatum Bridal Couture