Forgot Password?|Close
Free Shipping to the US
Giles Newsletter
Your Cart is empty
Meissen Porcelain

Pin It

Wedded PerfectionTwo Centuries of Wedding Gowns

Published by GILES in association with Cincinnati Art Museum

Published — (UK and USA)

Dimensions — 272 pages, 279 × 229 mm (9 × 11 in.), portrait

Illustrations — 136 colour and 21 b & w

Format — Hardback

Price — UK£30.00 / US$45.00

ISBN — 978-1-904832-84-3

Press Release — Wedded Perfection: Two Centuries of Wedding Gowns

Sales Points

"Wedded Perfection is a delight" Alexendra Eastman, Piecework "Much more than a catalogue."

"The academic approach unravels the layers of human, social and economic history so often locked into historical objects" Althea Mackenzie, Costume

"Beautiful images and enlightening essays" Heather Vaughan, Worn Through (

"A scholarly record", Eve M.Kahn, New York Times "A showcase of beautiful dresses, and...a study of the status of women in the past 200 years." Kathy Schwartz, Cincinnati Enquirer

"A thoroughly enjoyable book, I would highly recommend it to all students of creative subjects. It raises timeless issues of gender equality, society and the ever changing roles of women, and does so in a way that still enables all girls to picture themselves lavishly clad in an elaborate vintage frock. Perfection!" Rosaleen Gallagher,

About the Book

Wedded Perfection: Two Centuries of Wedding Gowns explores the compelling allure of the white, single-use wedding dress for modern women and its iconic stature in Western cultures. Full-length colour plates and exquisite details of nearly 60 wedding gowns and dresses from the late 18th century to the present day, drawn from Cincinnati Art Museum’s internationally renowned permanent collection, are supplemented with loans from major designers. These include work by Jeanne Lanvin, Christian Dior, Paco Rabanne, Vera Wang, Bob Mackie, Yohji Yamamoto and Zac Posen. Cynthia Amnéus examines the role of women within society, the institution of marriage and the evolving aesthetics of wedding gowns. Two further essays discuss the establishment of the bridal industry after World War II and the democratization of the white wedding gown for working class brides. An interpretive entry is provided for each gown detailing construction techniques and fashionable characteristics, original bridal photos, comparative illustrations, and information about the designers.

About the Author(s)

Cynthia Amnéus is curator of costume and textiles at the Cincinnati Art Museum. She has taught at Xavier University and the University of Cincinnati and is the author of A Separate Sphere: Dressmakers in Cincinnati’s Golden Age, 1877–1922 (2003), which won the 2004 Victorian Society of America Publication Award. Sara Long Butler is professor of Costume Studies, Miami University, Oxford, Ohio. Katherine Jellison is associate professor, Department of History, Ohio University