Cinema Wedding Gowns: Arizona (1940)

This post was one of the more difficult ones to put together because I had over 40 screenshots to choose from due to Jean Arthur wearing today's wedding gown for several scenes and the dress itself having so much detail.

We will start with some full-length shots.

It's difficult to know how to describe this gown. There are tiers and ruffles and lace and possibly some beadwork. The skirt is gathered and wonderfully full with beautiful movement. 

Jean Arthur appeared on the cover of the September 1940 issue of Arizona Highways wearing the wedding gown (sans veil). There was also a six-page spread about the film. You can view the entire magazine here! Click the download symbol to view a pdf of the magazine. This is the clearest picture of the gown I could find and it also shows the hem and tiers really well. It could easily look too fussy but somehow doesn't.

In this shot we get an excellent view of the waist and bodice detail. Note the lacework "stripes: on the bodice under the collar section, sleeves, and going down the skirt. 

This shows the "stripes" on the skirt a little better. 

The dress has a scoop neckline with drop shoulders and balloon sleeves.

Another shot. If you're wondering why Jean Arthur doesn't look too happy it's because right after the wedding William Holden has a gunfight scheduled. I have to say, she's taking it much better than I would have ;)

The veil doesn't look historically accurate to me but I love it so much. The lace is exquisite. 

She wears it almost as if it were a shawl.

It comes down to a point on the sides.

On most women the bow could look silly but Jean makes it work. Such a pretty curled updo!

Another look at the bow as well as her beaded choker.

Just because ;) *swoon*

Spoiler: He survives the gunfight.

Cinema Wedding Gowns: Joe MacBeth (1956)

This installment of Cinema Wedding Gowns takes a look at what one wears to marry the right-hand man of a prominent mobster - that also happens to be based on a Shakespeare play.

It's just a quiet afternoon wedding with no guests - and the groom has already missed his wedding multiple times due to his *clears throat* job. A simple midi-length sheath in ivory satin is satisfactory.

A fingertip length tulle veil attached to a beaded hat frames the face nicely and helps soften an angry face when he's late. Again.

A dramatic, beaded, stand-up collar should also help... maybe

Cinema Wedding Gowns: The Man from Colorado (1948)

Today's wedding gown is worn by Ellen Drew in her disastrous marriage to Glenn Ford in the 1948 film The Man from Colorado. 

The film is set just after the Civil War so the gown reflects the fashions of that time with a pleated full skirt and pointed waist, long sleeves that extend past the wrist, and a row of buttons all of the way up to the small pointed collar. It is made of a heavy ivory satin. Notice the glove on her right hand. The long tulle veil (draped over her arm) is attached to a floral headpiece that looks a little more 1940s than 1860s. 

Fluttery lace sleeves have been added over the long sleeves for a unique look. There isn't a great view of the back but it looks like it may be similar to a shawl but attached. I wonder if this dress was worn in a previous film sans the lace detail. It would be a great way to recycle the costume while giving it a new look. Note the drop earrings.

Cinema Wedding Gowns: Casanova Brown (1944)

This month's Cinema Wedding gown is worn by Anita Louise in Casanova Brown (1944). The costumes were by Muriel King. 

A look at the full gown. It is fitted through the hips and appears to have panels (mainly in the back) to give it a fuller look and a very short train. It's difficult to tell how long the veil is, as it goes behind a piece of furniture. It is either chapel or cathedral length. 

It appears to be a satiny brocade fabric.

A closer look at the neckline and sleeves. It had a medieval look to it. 

I love how the tulle frames her face.

A look at the shiny floral crown.

Cinema Wedding Gowns: The Power and the Prize (1956)

This month's gorgeous 1950s wedding gown is from The Power and the Prize (1956) starring Robert Taylor. It was designed by Helen Rose and worn by Niki Dantine (credited as Nicola Michaels).

The gown is strapless with a sweetheart neckline and sheer overlay with a high illusion neckline. It looks like the bodice goes straight into the skirt without a seam (perhaps constructed of long panels). The lace applique flows straight down from the bodice to the skirt. It also decorates the neckline. Note the floral headband with the attached tulle veil edged with floral applique.

The back of the gown. It's difficult to tell if there is applique on the back as well and how far down the skirt it goes. 

The voluminous skirt with what appears to be a short train as she steps up on a stool.

A gorgeous silhouette. It appears that the skirt has several layers for fullness.

Imagine having a wedding gown this gorgeous and then the groom going on a business trip and falling in love with someone else? Actually he was marrying you more for a career move and you didn't love him that way anyway as he was older than you and had known you since you were a kid...

The veil with its delicate edging of appliqued flowers. It appears to be fingertip length.

A look at the undergarments that help give the skirt it's fullness.

Cinema Wedding Gowns: Rob Roy the Highland Rogue (1953)

This month's Royal Film Performance post was on the Walt Disney film, Rob Roy the Highland Rogue (1953). In it, Glynis Johns wears a lovely wedding dress. I thought it would be fun to feature it today.

Set in 18th century Scotland, the dress features a silhouette similar to Colonial/Revolutionary War style gowns, with the 3/4 sleeves edged in ruffles and the low neckline. 

It is made of heavy ivory satin and ends just above the ankles.

The skirt is flat in front and pleated on the sides and back.

The waist is tight and seems to have some sort of belt. Notice the way the ruffles on the sleeve are attached.

The neckline is just barely off the shoulders and features an interesting wrap-like design, withplisse fabric attached behind and covering the bust. It makes a soft "V" shaped neckline. A tartan (probably her family's clan, as it is different from the MacGregor tartan) is attached at the right shoulder with a brooch and falling behind her is then caught up over her left arm.

A closer look at the sleeves, double heart brooch, white shoes and stockings, and what looks like a veil. In a promotional photo she is wearing a wreath of ivy in her hair.