In Danielle Steel’s epic new novel, the lives of four generations of women in one family span fortune and loss, motherhood, tragedy and victories. From the glamorous San Francisco social scene of the 1920s, through war and the social changes of the ’60s, to the rise of Silicon Valley today, this extraordinary novel takes us on a family odyssey that is both heartbreaking and inspiring, as each generation faces the challenges of their day. The Parisian design houses in 1928, the crash of 1929, the losses of war, the drug culture of the 1960s—history holds many surprises, and lives are changed forever. For richer or for poorer, in cramped apartments and grand mansions, the treasured wedding dress made in Paris in 1928 follows each generation into their new lives, and represents different hopes for each of them, as they marry very different men. From inherited fortunes at the outset to self-made men and women, the wedding dress remains a cherished constant for the women who wear it in each generation and forge a destiny of their own. It is a symbol of their remaining traditions and the bond of family they share in an ever-changing world.
the wedding dress
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From the romance of its evolution to the splendor of its design, the wedding dress is unlike any other garment, a talisman from a fantasy world, the manifestation of dreams coming true. This book draws on wedding garments in the V&A's renowned collection along with photographs, letters, memoirs, and newspaper accounts to explore the history of the white wedding dress and the traditions that have developed around it from 1700 to today, when designers from Vera Wang to Vivienne Westwood continue to challenge the aesthetic. Paintings, drawings, and wedding photos depict queens, princesses, celebrities, and everyday women--including Kate Middleton--in their gowns. The text considers the dress in the context of the commercialization of weddings that began in the Victorian era. The Wedding Dress is not only about costume, but also about the cultivation of the image of the bride.
These finely wrought stories unfold in the Dakotas during the struggling pioneer days and bone-dry landscape of the thirties as well as the verdant years that followed, where the nighttime plains are bathed by softly radiant harvest moons shining down from dazzling northern skies. Young's absorbing narratives begin with the pleasant sense of “Once upon a time...” anticipation, but the firmly sketched details, warm humor, and vivid characterizations reveal an unanticipated and satisfying realism. The haunting title story is about a beautiful and tragic pioneer woman and her wedding dress; her gown takes on a life of its own and turns into an enduring symbol for the grace and compassion of homesteading women on the plains. In “Bank Night,” a hired hand working during the midst of the Depression wins $250 at the movies, careening him into a single night of notoriety that becomes a legend in its time. “The Nights of Ragna Rundhaug” tells the tale of a woman who wants only to be left alone with her white dog, Vittehund, and her crocheting but instead is propelled into a life of midwifery “because there was no one else to do it.” The babies have predilection for arriving during blizzards and always at night, when she must be transported across the dark plains by frantic husbands who have fortified themselves with strong drink and headstrong horses. All the stories in The Wedding Dress are linked by the enigmatic Nordic characters who people them and by the skill with which Young draws them. Emotions run so deep that they are seldom able to surface; when they do the interaction is extraordinarily luminous, both for the characters themselves and for the fortunate reader. The Wedding Dress is for all readers, young and old.
"One dress. Four women. An amazing destiny. Charlotte Malone is getting married. Yet all is not settled in the heart of Birmingham's chic bridal boutique owner. Charlotte can dress any bride to perfection-except herself. When she discovers a vintage mint-condition wedding gown in a battered old trunk, Charlotte embarks on a passionate journey to discover the women who wore the gown before her. Emily in 1912. Mary in 1939. And Hillary in 1968. Each woman teaches Charlotte something about love in her own unique way. Woven within the threads of the beautiful hundred-year-old gown is the truth about Charlotte's heritage, the power of faith, and the beauty of finding true love"--
Features a comprehensive history of wedding fashions, discusses selecting and wearing a contemporary wedding dress, and depicts wedding attire through the ages
Over 300 photographs of wedding dress styles by such fashion luminaries as Oleg Cassini, Christian Lacroix, John Galliano, and others are showcased in this Beautiful guide to the most essential element of the most importatnt day. Artistic sketches and fabric details show endless creative possibilities.
Presents designs, patterns, techniques, and instructions for sewing a variety of bridal gowns and veils suitable for individual body types.
Although the Victorian white wedding dominates western bridal dress and large portions of former colonial empires, marriage rituals vary significantly throughout the world. The Japanese, for instance, combine both traditional ceremonies with receptions utilizing western approaches to dress. In the Andes the bride will personally create a multi-layered dress to showcase her weaving skills. Berber brides in Morocco wear binding clothing that covers their faces, a notable contrast to Canadian prairie-province brides whose stylized gowns individualize and enhance body shape. This engaging book examines the evolution and ritual functions of wedding attire within the context of particular cultures. It raises questions as to the relationship between contemporary wedding attire and traditional values. It discusses the changes international migrations have had upon the wedding dress of several ethnic groups. It provides insights into numerous societal relationships to weddings, such as the ban on bridal-produced embroidery in dowries in India, the challenges individual values have to larger societal ones in themed weddings, and the relationship between the return to pre-western attire and identity politics. Exploring these issues, the authors provide unusual insights into the centrality of dress in shaping individual identity as well as its importance in reflecting cultural values and ideals.
In times of great uncertainty, the urgency of the artist's task is only surpassed by its difficulty. Ours is such a time, and rising to the challenge, novelist and poet Fanny Howe suggests new and fruitful ways of thinking about both the artist's role and the condition of doubt. In these original meditations on bewilderment, motherhood, imagination, and art-making, Howe takes on conventional systems of belief and argues for another, brave way of proceeding. In the essays "Immanence" and "Work and Love" and those on writers such as Carmelite nun Edith Stein, French mystic Simone Weil, Thomas Hardy, and Ilona Karmel—who were particularly affected by political, philosophical, and existential events in the twentieth century--she directly engages questions of race, gender, religion, faith, language, and political thought and, in doing so, expands the field of the literary essay. A richly evocative memoir, "Seeing Is Believing," situates Howe's own domestic and political life in Boston in the late '60s and early '70s within the broader movement for survival and social justice in the face of that city's racism. Whether discussing Weil, Stein, Meister Eckhart, Saint Teresa, Samuel Beckett, or Lady Wilde, Howe writes with consummate authority and grace, turning bewilderment into a lens and a light for finding our way.