Category: Sewing

20th century · Anzac · Art · Attachment to place · Belonging · Camden Story · Craft · Crafts · Cultural Heritage · Cultural icon · Cultural plantings · Design · Family history · Festivals · History · History of Emotion · Living History · Local History · Local Studies · localism · Memorial · Memorialisation · Memorials · Memory · Metaphor · Military history · Modernism · Monuments · Patriotism · Place making · Propaganda · Second World War · Sense of place · Sewing · Stereotypes · Storytelling · Symbolism · Uncategorized · Volunteering · Volunteerism · War · War at home · Wartime · Women's diaries · Women's history · World War One

Red Flanders poppies, a field of memories

camdenhistorynotes

A flower honours the dead

The red Flanders poppy appeared in Camden in recent years when local identity Frances Warner was inspired to crochet them for Anzac Day in 2013. Frances was inspired by the efforts of two Melbourne women, Lyn Berry and Margaret Knight, who had organised the 5000 Poppies Project. They initiated the project to pay tribute to their fathers’ military service in World War Two, triggering a massive community outpouring of emotions, memories, and commemorations. Frances’ efforts were part of this response.

Wreaths with artificial poppies for the 2023 Anzac Day Ceremony in Camden from Camden Florist (CF 2023)

What is the significance of the red Flanders poppy?

The red Flanders poppies were among the first plants to spring up in the battlefields of northern France and Belgium after the war. Soldiers’ folklore said that the vivid red came from the blood of their fallen comrades.

The poppy symbolises many cultural mythologies, from remembrance to sacrifice, dreams, regeneration, and imagination. In Christianity, the red of the poppy symbolises the blood of Christ and his sacrifice on the cross. The Roman poet Virgil used poppies as a metaphor to describe fallen warriors in his epic tale, the Aeneid, written around 25 BC. (https://www.uniguide.com/poppy-flower-meaning-symbolism)

The Anzac Portal website states that Canadian medic John McCrae recalled the red poppies on soldiers’ graves who died on the Western Front and wrote the poem ‘In Flanders Field’. He wrote the poem whilst serving in Ypres in 1915, and it was published in Punch magazine after being rejected by The Spectator. (https://www.iwm.org.uk/history/why-we-wear-poppies-on-remembrance-day)

In Flanders Fields

by John McCrae (1915)

In Flanders fields the poppies blow

Between the crosses, row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below.

We are the Dead. Short days ago

We lived, felt dawn, saw sunset glow,

Loved and were loved, and now we lie,

In Flanders fields.

Take up our quarrel with the foe:

To you from failing hands we throw

The torch; be yours to hold it high.

If ye break faith with us who die

We shall not sleep, though poppies grow

In Flanders fields.

https://www.poetryfoundation.org/poems/47380/in-flanders-fields

Red poppies growing in the fields at Flanders remind the community of the soldiers’ lives lost in battle during World War One on the Western Front. (2023, Narellan Town Centre)

In response to In Flanders Fields, American humanitarian and teacher Moina Michael was so moved by the poem that she pledged to ‘keep the faith’ and scribbled down on an envelope ‘We Shall Keep The Faith’ in 1918.

We Shall Keep the Faith

by Moina Michael, November 1918

Oh! you who sleep in Flanders Fields,
Sleep sweet – to rise anew!
We caught the torch you threw
And holding high, we keep the Faith
With All who died.

We cherish, too, the poppy red
That grows on fields where valor led;
It seems to signal to the skies
That blood of heroes never dies,
But lends a lustre to the red
Of the flower that blooms above the dead
In Flanders Fields.

And now the Torch and Poppy Red
We wear in honor of our dead.
Fear not that ye have died for naught;
We’ll teach the lesson that ye wrought
In Flanders Fields.

Moina Micheal used the poppy symbol to raise funds for US ex-servicemen returning from World War One and was known as ‘The Poppy Lady’.  (http://www.greatwar.co.uk/people/moina-belle-michael.htm)

Australia

In Australia, the Returned Soldiers and Sailors Imperial League of Australia (RSS&ILA) first sold poppies for Armistice Day in 1921. The League imported one million silk poppies made in French orphanages. The RSL continues to sell poppies on Remembrance Day to assist its welfare work. (https://www.awm.gov.au/commemoration/customs-and-ceremony/poppies)

People place a red poppy next to a soldier’s name on the AWM Roll of Honour ‘as a personal tribute’. This practice began in 1993 at the internment of the Unknown Australian Soldier. (https://www.awm.gov.au/commemoration/customs-and-ceremony/poppies)

This image shows poppies on the Roll of Honour at the Australian War Memorial in Canberra. (K Alchin, 2021)

United Kingdom

Poppies are used in remembrance all over the world. In the United Kingdom, the white poppy represents an international symbol of remembrance for all casualties of war, civilians and armed forces personnel, and peace.

Artificial poppies were first sold in the UK in 1921 to raise funds for ex-servicemen and their families for the Earl Haig Fund supplied by Anna Guérin in France, who had manufactured them to raise funds for war orphans. It proved so popular that the British Legion started a factory in 1922 staffed by disabled ex-servicemen to produce their own.

The Imperial War Museum website states:

Other charities sell poppies in different colours, each with their own meaning but all to commemorate the losses of war. White poppies, for example, symbolise peace without violence and purple poppies are worn to honour animals killed in conflict.

(https://www.iwm.org.uk/history/why-we-wear-poppies-on-remembrance-day)

 Melbourne’s 5000 Poppies Project

The 5000 Poppies Project started when Lyn Berry and Margaret Knight set out to crochet around 120 poppies to ‘plant’ at Melbourne’s Shrine of Remembrance in 2013 to honour their fathers’ memory. Wal Beasley (14/32nd Battalion – Australian Imperial Forces) and Stan Knight (Queen’s Own West Kent Regiment – British Army). (https://5000poppies.wordpress.com/about/)

 The 5000 Poppy Project has had art installations on Anzac Day and Remembrance Day at Melbourne’s Shrine of Remembrance (2017, 2019) and in Canberra at the Australian War Memorial and Parliament House (2017). The 5000 Poppies Project has gone international with an installation at London’s Chelsea Flower Show in 2016. (ttps://www.rhs.org.uk/shows-events/rhs-chelsea-flower-show/2016/articles/a-field-of-poppies-at-chelsea)

Melbourne’s Shrine of Remembrance with the art installation of 5000 Poppies in 2017 (5000 Poppies)

The 5000 Poppies project has become an international tribute of respect and remembrance to those who have served in all wars, conflicts, peacekeeping operations, their families, and communities. (https://5000poppies.wordpress.com/about/ )

Frances Warner’s Red Poppy Project

Frances Warner has crocheted hundreds of red poppies, sold them for fundraising, and co-ordinated art installations with knitted poppies. All commemorating the memory of local men and women who have served our country in times of conflict and peace.

 Frances said that one red poppy takes around 45 minutes to crochet, and she estimates that she has knitted over 650. She has voluntarily contributed approximately 480 hours of her time, and she is not finished yet by a long way.

Frances says she is very ordinary yet has done an extraordinary job. Frances joins a long list of local women who have volunteered thousands of hours to honour the service of local men and women who have served in conflict and peacekeeping.

Knitted poppies made by Frances Warner (F Warner 2023)
Aesthetics · Art · Artefacts · Colonial Camden · Cowpastures · Cowpastures Bicentennial · Craft · Crafts · Cultural Heritage · Fashion · Heritage · Leisure · Local History · Local Studies · Memorial · Memorials · Memory · Place making · Placemaking · Public art · Quilting · Sense of place · Settler colonialism · Sewing · Storytelling · Women's history

A Cowpastures memorial quilt

camdenhistorynotes4 Comments

Camden Country Quilters Guild Cowpastures Heritage Quilt

Hanging on the wall in the Camden Library is a quilt, but no ordinary quilt. It is a hand-made quilt that had previously hung in the foyer of the Camden Civic Centre for many years. The quilt celebrated the Cowpastures Bicentenary (1995) and was made by members of the Camden Country Quilters Guild.

A panel in the Camden Cowpastures Bicentennial Quilt showing a map of the Cowpastures using an applique hanging in the Camden Library (I Willis, 2022)

The Cowpastures Quilt is a fascinating historical document and artefact and tells an interesting story of the district.

The Cowpastures Review stated:

The Cowpastures Heritage Quilt, which is featured on the front page, is unique. It is a product of the Camden Country Quilters Guild. It was unveiled by His Excellency, The Governor of New South Wales, Rear Admiral Peter Sinclair on the 19th of February 1995, as part of the opening of the Cowpastures Bicentennial. It was given by the Guild to the Camden Council, which has it displayed in the Camden Civic Centre.

Cover of Cowpastures Review displaying the Camden Cowpastures Bicentennial Quilt Issue Vol 1 1995. (I Willis)

The Cowpastures Bicentennial Committee created postcards and notepaper featuring the quilt that was sold at Gledswood Homestead and the Camden Library.

Postcard of Cowpastures Heritage Quilt 1995 (Camden Museum)

Quilts were practical items with social value

Quilts have sentimental or commemorative value and are examples of needlework skills and techniques, and the use of specific fabrics used in their designs.

The Victoria and Albert Museum in London states on its website:

As a technique, quilting has been used for a diverse range of objects, from clothing to intricate objects such as pincushions. Along with patchwork, quilting is most often associated with its use for bedding.

Quilting first appeared in England in the 13th century, reached a peak in the 17th century and can be traced back to 3000BCE. The word quilt means a ‘bolster or cushion’.

According to the V&A museum, a quilt is usually a bedcover of two layers of fabric with padding or wadding in between held together by lines of stitching based on a pattern or design. Very fine decorative quilts often become family heirlooms and are passed down through generations. In a domestic situation, women made quilts to celebrate ‘life occasions’ like births and weddings.

The V&A states that quilts are often quite large and associated with social events where people share the sewing. In North America quilting was a popular craft amongst Dutch and English settlers and quilts were made as part of marriage dowry for a young woman.

Quilting is often associated with patchwork where the quilt was made of scraps of fabric or ‘extending the life of working clothing’.

Convict women and quilting – The Rajah Quilt

In the National Gallery of Australia is a quilt made in 1841 by convict women transported on the Rajah from Woolwich to Hobart. According to blogger Bernadette, a descendant of one of the women who made the quilt, it is one of the most important textiles in Australia and world history.

The Rajah Quilt (NGA)

The textile is called the Rajah Quilt and was organised as part of the scheme organised by prison reformer Elizabeth Fry’s British Ladies Society for promoting the reformation of female prisoners. The quilt is made up of over 2000 pieces of fabric and it has been described as

 a patchwork and appliquéd bed cover or coverlet. It is in pieced medallion or framed style: a popular design style for quilts in the British Isles in the mid 1800’s. There is a central field of white cotton decorated with appliquéd (in broderie perse) chintz birds and floral motifs. This central field is framed by 12 bands or strips of patchwork printed cotton. The quilt is finished at the outer edge by white cotton decorated with appliquéd daisies on three sides and inscription in cross stitch surrounded by floral chintz attached with broderie perse on the fourth…

On the Rajah’s arrival in Hobart, the quilt was presented to the governor’s wife Lady Jane Franklin by the 29 women who sewed it on the voyage to Van Dieman’s Land. Lady Franklin sent the quilt back to England to Elizabeth Fry and then it was lost. It was rediscovered in a Scottish attic and returned to Australia in 1989 and placed in the collection of the National Gallery of Australia.

The quilt’s story is one of hope at a time of despair and disempowerment from a group of women hidden in the shadows of history. A type of radical history.

Cowpastures Quilt tells a story

Quilts often told a story and in the V&A collection, there are a  number of significant quilts telling Biblical stories, scenes from world events and the 1851 Great Exhibition.

The Cowpasture Quilt tells the story of the Cowpastures on its Bicentenary. The story was represented in the different panels in the quilt created by the Guild members who were part of the project. The quilt’s construction was a community effort and each sewer has their name sewn into the quilt.

  

Camden Cowpastures Bicentennial Quilt hanging in Camden Library in John Street Camden (I Willis, 2022)

The significance of the individual panels in the quilt was explained by the Cowpastures Review and it stated:

The central pane – the discovery of the Hottentot cow. The left pane – The Aboriginal influence, mining, the map of the ‘Cow Pastures’, representing flora and fauna and the Stonequarry Bridge at Picton. The right panel – St John’s Church, John and Elizabeth Macarthur, Camden Park Estates, Belgenny Farm, Gledswood Homestead and merino sheep and vineyards. The bottom panel – John Street, Camden, including ‘Macaria’ and representations of horticulture venture in the area. Not visible in the photograph in the names of the ‘quilters’ and some surprise ‘first family’ names.

Title panel in Camden Cowpastures Bicentennial Quilt hanging in Camden Library (I Willis, 2022)

Fashion quilting

According to the V&A quilting fell into decline in the early 20th century under the influence of modernism. It found a revival in the 1960s as part of the hippie culture and the art community and is firmly part of the art space.

Quiltmaking as art

Artist Isis Davis-Marks writes on the Artsy website that

Quilts’ inherent associations with warmth, nostalgia, and community make them particularly appealing now, in the midst of the pandemic and widespread division and inequity. Perhaps this fraught reality can account for, at least in part, why contemporary artists are drawn to quilting as a means to express themselves. The tactility of quilted fabric inevitability conjures domesticity, and every stitch—every precisely placed patchwork—brings us back to that feeling of the comfort and safety of home

Davis-Marks writes that contemporary American artists are engaging with the craft of quilting and building on the ‘enduring and complex history of quiltmaking’. In the US context quilting was practised by slaves, Indigenous Americans and other marginalised peoples as a form of expression and craftwork for the everyday.

An applique panel of the Cowpastures Quilt shows the Regency mansion on Camden Park still estate built in the 1830s. The panel uses figures to tell a narrative about the foundational story of Australia and the Camden district as part of a settler society. The Cowpasture Quilt is on display at Camden Library (I Willis, 2022)

Davis-Marks writes that the ancient craft of quiltmaking has resonance for contemporary artists in the age of social media and illustrates a broader appeal of working with traditional mediums of textiles, ceramics, knitting and other crafts.

In a January 2020 article for Artsy, writer and curator Glenn Adamson reflected “At a time when our collective attention is dangerously adrift,” Adamson wrote, “trapped in the freefall of our social-media feeds and snared in a pit of fake facts, handwork provides a firm anchor. It cannot be spun. It gives us something to believe in.”

Artists are using quilts as a lens to look into the dark history of the past. Sometimes these are called ‘story quilts’ where they tell a story in a narrative and figures. Artist Faith Ringgold‘s work often explores notions of ‘community and ancestry’ and said that she bonded through the experience of jointly sewing quilts with her mother.

The Cowpastures Quilt is a ‘story quilt’ and tells the story of our past as part of a settler society and the dispossession of Indigenous peoples. The quilt uses figures and narrative to examine the past through the lens of the women who constructed the quilt in 1995. More than this the Cowpasture quilt is a public statement and an affirmation of community through the collective efforts of local women who undertook the sewing project. The collaborative efforts of the Camden Quilters created a significant piece of public art and a narrative statement of who we are through the use of history.

A panel of the Cowpasture Quilt shows the Henry Kitchen cottage from 1819 still standing today as part of the Belgenny Farm complex which is one of the most important colonial farming complexes still intact in Australia on the former Camden Park estate of the Macarthur family. The quilt is on display at the Camden Library. (I Willis, 2022)

Updated 26 August 2022; originally posted 16 August 2022

1920s · 20th century · Attachment to place · Business History · Camden · Camden Story · Church History · Churches · Cobbitty · Costume History · Cultural Heritage · Cultural icon · Denbigh · Dress history · Family history · Farming · Festivals · Heritage · History · Interwar · Lifestyle · Local History · localism · Modernism · Place making · Retailing · Ruralism · Sense of place · Sewing · Social History · Storytelling · Uncategorized · Weddings

Whiteman & McIntosh, Camden Colonial Families Celebrate a Moderne Wedding at Cobbitty

camdenhistorynotes1 Comment

An important social event

In late August 1928, two Camden colonial families celebrated the marriage of Keith Whiteman to Alice Margaret (Marge) McIntosh. This wedding was a social event between two local families of some importance and social status. The McIntoshes conducted a very successful dairy operation on the family property of Denbigh at Cobbitty, while the Whiteman family were successful Camden retailers.

Wedding 1928 McIntosh Alice McIntosh Denbigh CIPP lowres
In her bridal gown, Marge McIntosh was photographed in the garden of her home at Denbigh Cobbitty for her wedding on 25 August 1928. The style is strongly influenced by the modern from London and Paris (Camden Images Past and Present)

Both families had colonial origins. Members of the Whiteman family had immigrated to New South Wales in 1839 from Sussex to work on Camden Park Estate. While the McIntoshes had immigrated to New South Wales from the Inverness region of the Scottish Highlands in the 1860s.

Wedding ceremony

The ceremony was a relatively small country wedding of 60 guests, given both families’ social profiles and economic positions. The wedding ceremony was held in the historic setting of St Pauls’s Anglican Church at Cobbitty.

St Pauls was the centre of the village of Cobbitty and an expression of its Englishness, typical of several villages across the Camden District. The church was originally built under the direction of Galloping Parson Thomas Hassall in 1842 and adjacent to his 1828 Heber Chapel.

St Pauls Cobbitty 1910 CHS0669
Cobbity’s St Paul’s Anglican Church 1910 (Camden Images)

According to the press reports, the church was decorated with a simple floral arrangement of white flowers and asparagus ferns (Camden News, 20 September 1928). The white flowers for the  August wedding were likely to have been, according to Angela Wannet, Butterflies Florist in Camden, local calla lilies, oriental lilies, and carnations with trailing ivy.

While not elaborate, the floral displays in the church indicated that the families did not spare any expense on this critical family celebration.

Bride and groom

Cobbitty-born 33-year-old bride Marge McIntosh was the fourth child of Andrew and Ada McIntosh of the colonial property of Denbigh at Cobbitty. Denbigh is one of the oldest gentry properties on the Cowpastures and is listed on the state heritage register. It was initially an 1812 land grant to Charles Hook, then by the Galloping Parson Thomas Hassall (1826-1886), followed by the McIntosh family.

The family first leased the property in 1868 and then purchased it from the Hassall family in 1886. The State Heritage Inventory States that the house and property ‘retains a curtilage and setting of exceptional historic and aesthetic significance’.

Camden Melrose 69 John St FCWhiteman CIPP
Melrose at 69 John Street Camden was a substantial Edwardian home of the Whiteman family. Demolished in the late 1970s. (Camden Images Past and Present)

Camden-born 28-year-old bridegroom Keith Whiteman was the second child of Fred and Edith Whiteman of Melrose at 69 John Street, Camden. Melrose was a significant Edwardian brick cottage on John Street Camden. The Whiteman family had significant business interests in Argyle Street Camden, including a general store and newsagency. 

Keith and his brother Charles gained control of the general store 12 months after Keith’s wedding on the death of his father, Fred. The original Whiteman’s general store opened on Oxley Street in 1877 and moved to Argyle Street. According to The Land Magazine, it was ‘reminiscent of the traditional country department store’. (28 February 1991) and at the time of the report on Australia’s oldest family-owned department stores.

The fashionable bride

We are lucky to have a wonderful photograph of the bride Marge McIntosh in her wedding gown at Denbigh. It provides many clues to the importance of the wedding to both families and their no-nonsense approach to life. While not an extravagant wedding, the bride’s outfit reflects that no expense was spared on the gown and floral decorations for the bouquet and the church decorations.

The design of the outfits, as described in the press reports and in the photograph, reflects the influence of modernism and the fashions from Paris and London. This was a modern wedding in the country between two individuals of some social status.

According to the press reports of the day, the fashions worn by the wedding party were the height of modernism. The bride wore a classic 1920s design described as a ‘simple frock of ivory Mariette over crepe-de-chen’ of lightweight silk crepe as a backing, which was quite expensive.

According to one source, the made-to-order gown was fitted and likely hand-made by a Sydney-based dressmaker. The Mariette wedding gown style is still popular in England for brides-to-be if wedding blogs indicate trends. The bride’s gown was fashionable for 1928, with the hemline just below the knee.

The bride’s veil was white tulle, with a pink and white carnations bouquet. One local source in the shoe industry describes the bride’s shoes as a hand-made white leather shoes with a strap and a three-inch heel. They would have likely been hand-made by one of the four or five Sydney shoe firms of the day, some located around Marrickville.

Cobbitty St Pauls Church Interior 1928 Wedding Marg McIntosh&Keith Whiteman CIPP
Interior of St Paul’s Anglican Church at Cobbitty with floral decorations for the wedding of Marge McIntosh and Keith Whiteman on 25 August 1928 (Camden Images Past and Present)

Marge McIntosh wore a headdress of a ‘clothe’ veil style, which was popular then. The veil was ‘white tulle mounted over pink, formed the train and held in place with a coronet of orange blossom and silver’. According to press reports, the elaborate floral bouquet was made up of white and pink carnations and, according to Angela Wannet who viewed the bride’s wedding photo, was complemented by lilies and ferns.

The history of wedding robes as a part of celebrating wedding festivities dates back to the ancient Chinese and Roman civilizations. The first recorded mention of the white wedding dress in Europe was in 1406 when the English Princess Philippa married Scandinavian King Eric.

In the British Empire, the Industrial Revolution and the marriage of Queen Victoria to her first cousin Prince Albert in 1840  changed all that.  The fitted wedding dress with a voluminous full skirt became the rage after their wedding. The British population romanticized their relationship, and young women rushed to copy their Queen. The bride’s beauty was enhanced with the rise of wedding photography and did much to popularise the white-wedding dress trend.

Bridal party

Our modern bride at Cobbitty was attended by her sister Etta (Tottie) McIntosh in a frock of apricot georgette and the bridegroom’s sister Muriel Whiteman who wore a blue georgette, with hats and bouquets toned with their frocks. Georgette is a sheer fabric with a good sheen that is difficult to work and requires a good dressmaker. The fabric is difficult to cut out and sew and, according to one source, is easy to snag. The dressmaker exhibited her skill and experience with handcrafted sewing if the wedding photo of the bride, Marge McIntosh, is anything to go by.

The groom had his brother Charles Whiteman act as best man and an old school friend from Albury, Mr T Hewish as groomsman. (Camden News, 20 September 1928)

The reception

The wedding guests retired to a reception at the McIntosh’s historic colonial property of Denbigh, where the bride and groom were honoured with the ‘usual toasts’ and many congratulatory telegrams. A master of ceremony would have stuck to a traditional wedding reception with an introduction of the bride and groom, then toasts, with a response speech from the bride’s father, more toasts, responses by the groom’s father, followed by the reading of telegrams. The McIntosh family household would have likely provided the catering for the wedding.

denbigh-2015-iwillis
Denbigh homestead has extensive gardens and is still owned by the McIntosh family at Cobbitty (Open Day 2015 I Willis)

Wedding gifts

Amongst the wedding gifts were a rose bowl from the Camden Tennis Club and a silver entre dish from FC Whiteman & Sons staff. These gifts reflect the interests and importance of the bride and groom in these organisations. Tennis was a popular pastime in the Camden area in the 1920s, and some Camden tennis players did well at a state level in competitions. The entire dish would have been a plain design reflecting the influence of 1920s modern styling rather than the ornate design typical of Victorian silverware. (Camden News, 20 September 1928)

Honeymoon

The bride’s going away outfit was ‘a smart model dress of navy blue and a small green hat’. This would likely have been a fitted design typical of the style of the period and the influence of modernism in fashions in London and Paris. (Camden News, 20 September 1928)

The bride and groom left for a motoring honeymoon spent touring after the wedding festivities. In the 1920s, motor touring gained popularity as cars became more common and roads improved. Coastal locations and mountain retreats, with their crisp cool air in August, were popular touring destinations in the 1920s.

Camden Whitemans General Store 86-100 Argyle St. 1900s. CIPP
FC Whiteman & Sons General Store, 60-100 Argyle Street Camden, around the 1900s, was one of the oldest continuously family-owned department stores in Australia (Camden Images Past and Present)

Historical images

The wedding photograph of Marge McIntosh in her bridal gown, like historical photographs in general, is a snapshot in time. The image provides a level of meaning that contemporary written reports in the Camden press do not contain. The photograph provides subtle detail that can fill out the story for the inquisitive researcher.

While the wedding reports did not make the social pages of the Sydney press, it does not understate the importance of this union at a local level in the Camden community. It would be interesting to speculate if there were similar weddings between other Camden families.

The visual and written reports of the wedding give a new insight into life in Camden in the 1920s and how the community was subject to external transnational influences from all corners of the globe. Many claim that country towns like Camden were closed communities, which is true in many respects. These two Camden families were subject to the forces of international fashion and maintaining their community’s social sensibilities.

References

Summer Brennan 2017, ‘A Natural History of the Wedding Dress’.JSTOR Newsletter, 27 September. https://daily.jstor.org/a-natural-history-of-the-wedding-dress/

Updated on 27 May 2023. Originally posted on 27 September 2017 as ‘Camden Colonial Families Celebrate a Moderne Wedding at Cobbitty’