In this week's blog, Costume Society member and Keeper of Costume at Chertsey Museum, Grace Evans, gives us behind the scenes insight into the Marriage à la Mode exhibition.
Chertsey Museum has just opened its latest fashion exhibition. Entitled Marriage à la Mode, it explores wedding dresses dating from the 1780s right through, to the 1980s. All of the garments hail from the Olive Matthews Collection of Fashionable Dress, a nationally significant group of over 6,000 garments which is housed at Chertsey Museum. Admission is free and the display remains open until the 5th of September 2026.
Wedding dresses are a perennial favourite with our visitors and not having mounted a display solely devoted to this theme for over fifteen years, we felt it was high time we showcased some more of our important and beautiful examples. As always, selecting pieces was a tricky process. I was spoilt for choice and several new wedding gowns have been added to the collection in recent years. Eventually I settled on a range of dresses which show both the changes in prevailing female fashions and the ways in which bridalwear has more recently strayed into the territory of fantasy. Since more modern gowns have often been inspired by historical womenswear, a display which includes earlier pieces is also helpful in that it shows how designers have been influenced by the past.
Ultimately, the dresses selected for display have been chosen for a wide variety of reasons. These include examples of links to broader bridal fashions, evidence of unique construction and decoration techniques, or the survival of accompanying items such as accessories and photographs. Where possible, we have shared details of the brides themselves, helping to enhance understanding and engage more deeply with the garments on a human level.
Marriage à la Mode, opening case, © Olive Matthews Collection, Chertsey Museum
For the opening case we wanted to create an immediate impression on the viewer. The similar colours of white, ivory and cream and the abundance of lace, floral decoration and tulle is very effective. Incidentally, the whole display is set off by beautiful backdrops; panels which are inspired by religious architecture. We have mirrors at the backs of our cases to allow visitors to see garments in the round, and the archways mean that areas of reflective glass are still available for that purpose.
This first case contains the earliest pieces in the display. They date from the 1780s to the early 20th century. We located the most important group (possibly in our whole collection) at the centre – our 1780 wedding ensemble which consists of an open robe, matching petticoat, hat and shoes. These items were worn by Jane Bailey for her marriage to James Wickham on the 9th of November 1780. I wrote a paper for Costume (Vol. 42, 2008) all about this group. In the article I recorded my discoveries following in-depth research into the bride, her husband, their backgrounds and legacy. The importance of these items led them to be included in the V&A’s wedding dresses exhibition and accompanying catalogue in 2014, and in 2019 the Olive Matthews Collection Trustees funded the creation of accurate replicas to be used in talks and education sessions. The replicas include all the layers of dress that were required, and a film of the garments being worn is also included in the exhibition. Members may be interested to know that this group is also the subject of a very popular talk that I have given to numerous groups. In it I talk about the ensemble itself and then go on to discuss my discoveries. I bring the replicas along with me so we can explore the process of dressing the bride from underwear to outerwear. To find out more, or to make a booking you can email enquiries@chertseymuseum.org.uk
The Jane Bailey ensemble is flanked by further wonderful examples. An 1840s gown of silk satin resembles Queen Victoria’s wedding dress – the piece that launched so many white wedding dresses for brides who might previously have chosen a smart daywear outfit of another colour. On the other side we have an important 1850s crinoline gown. In addition to its relative rarity and incredibly pristine condition, its importance is due to the presence of a matching evening bodice. This allowed the bride to dress appropriately for a reception later in the day. The two bodices are displayed side by side and offer a fascinating window into contemporary styles for day and eveningwear made in beautiful ivory silk damask with a delicately woven floral design.
Many people’s eyes are drawn to the extreme narrowness of the waist seen in our 1880s wedding gown which is also found in this first case. Measuring just 20.5 inches, the impression of almost impossible slenderness is partly achieved through a clever optical illusion. The corset which must have been worn with this gown would have shaped the body into an oval, shifting the small amount of excess flesh present to the back and thereby giving the sense of extreme narrowness. Due to the newly columnar styles of the early 1880s, followers of fashion sought to lace themselves even more tightly than their predecessors in order to retain the sense of a narrow waist without the help of a wide skirt to provide optical contrast. This gown is also typical in that it features excessive amounts of rouching and pleating. There is a sense in which dressmakers, now making good use of the sewing machine, needed to justify high prices to their clients by incorporating excessive decorative elements.
As we progress through the exhibition, the second case brings us to the early 20th century. Here we have a wonderful example from c.1918 – 1920. It is made from silk satin, panels of which hang down the front and back without a waist seam. The gown is trimmed with ecru lace and beadwork and beadwork tassels hang at the sides. The shorter skirt features bead fringing, and the gown sparkles in the corner of the case. Alongside this item is a rather plainer silk georgette gown from 1928. It has a short skirt and is embellished with a modest amount of tambour-work embroidery. The skirt is short – just below the knee – a far cry from the formal gowns of the 19th century, and additionally, this thoroughly modern bride kept all the accessories associated with her wedding gown – her shoes, stockings, garter, gloves, blue silk handkerchief and even her makeup!
M.2018.201,1928 rouge by Bourjois. © The Olive Matthews Collection, Chertsey Museum. Photo by John Chase Photography
Perhaps the most striking of all the pieces in the exhibition is a beautifully shell-like pink satin wedding gown from 1931. The donors of this piece stated that it was made by the fashion house of Norman Hartnell – though no label is now present. It is cut in a Medieval-inspired style with a long train and beautifully flowing tulle additions to the sleeves. The neckline and center front are embellished with tiny seed pearls and the front of the skirt features inverted pleating as the narrow sheath-like gown extends outwards from hip level. Hartnell was instrumental in popularising coloured wedding gowns at this time, and I know of at least one other example of a pale pink Hartnell gown.
The exhibition continues with pieces from the 1940s – one of which is made from parachute silk – and a rather buttoned-up 1950s gown which references late Victorian styles; offering a chance to look back and compare with the real late Victorian example in the room. Many visitors feel nostalgic about a wonderful 1984 gown by Laura Ashley. It is made from cotton and features puffed sleeves, a wide skirt and a piecrust collar – all embellished with Torchon-style lace. Many of us will remember the importance of Laura Ashley in 1980s fashion and this romantic mixture of Victorian and Edwardian styles results in a piece that is very reminiscent of the era, and of the iconic bridal gown of Diana, Princess of Wales, designed by the Emanuels.
Returning to the gallery itself, for those interested in construction, or who might long to wear the items themselves, we have a wardrobe with selected replica pieces. These appeal to adults and children alike, and we are lucky to have Jane Forrest, a talented member of staff who painstakingly re-creates items for us.
We look forward to welcoming you to the exhibition. Alternatively, if Chertsey is too far to come, you can explore the exhibition through our virtual tour.
We hope you will have a chance to come to Chertsey to see the display. The exhibition is on until the 5th September 2026.
Chertsey Museum is located at 33 Windsor Street, Chertsey, Surrey, and is open Tuesday to Friday 12.30 to 4.30, Saturdays 11 to 4. Admission is Free.
Grace has previously taken us behind the scenes at Chertsey; you can revisit her behind the scenes look at Chertsey's previous 1940s fashion exhibition on our blog.
