THE GREATEST DAY
Wedding Photography from the 19th to the 21st century
Weddings are surrounded by dreams, custom and tradition, social requirements and
great expectations. Ever since photography established itself in the middle of the
19th century as a means to capture precious moments, photography accompanies
the «greatest day».
Wedding and photography have a special relationship. A wedding without souvenir
photos is unthinkable. The German term «Hochzeit» translates as «high time» and
once referred to any festive steppingstone in life. The term hence included all those
moments we like to capture and keep by taking photographs.
As time went by and the agenda of festivities got more fragmented, the meaning of
«Hochzeit» was narrowed down to «wedding». Of all festivities the wedding is indeed
still the one coming closest to the earlier meaning of a «high time». There is hardly
another moment in life that is as elaborately defined and as joyfully celebrated as a
wedding. Birth, wedding and funeral are the three main turning points in our life cycle.
The wedding is, however, the only one in which we actually have a say, the one we
can actively experience, share and orchestrate.
Custom, tradition and meaning may have changed over time. Due to its ritual
character, a wedding always tends to appear as a moment of invented reality.
A moment we want to keep and preserve by carefully holding on to souvenirs like the
wedding reel and veil, the dress or the shoes. Those keepsakes as well as the strong
demand for wedding photographs show how much meaning and symbolic weight we
endow this moment with. Objects and photos trigger memories and stories we like to
keep and share.
ROOM 1
Royal Weddings
Fascination and Perfect Orchestration
From the middle of the 20th century royal weddings are accompanied by a host
of pictures. Royal weddings are media events. They create a pictorial world that
invades our own imagination and dreams of a fairytale wedding.
The memories and imageries of each royal wedding are kept alive by a mass of
documentaries and memorabilia. Modern technology made it possible for two
billion people to take part in the wedding of William and Catherine.
The arrangement of royal marriages gave way to the perfect orchestration and
staging of the wedding itself. Once it was all about politics and power, about contracts
behind closed doors. Deeply in love with her chosen bridegroom, Queen Victoria
changed it all. She made her wedding a public affair, a display of love and affection
for everyone to see. For her wedding in 1840, 21’000 best view tickets were sold.
In 1956 Grace Kelly brought a touch of Hollywood to the scene and the film industry
further fuelled bridal dreams by the movie version of empress Sissi’s wedding.
Real Fairytales
The main ingredients of royal weddings are pomp, splendour and pageantry mingled
with the public display of eternal love. And nobody plays it better than the Brits.
Regardless of the tragedy that followed, the wedding of Charles and Diana still
stands as the epitome of a fairytale wedding. The marriage of Queen Elizabeth is
remembered as a sign of hope and communion in times of post-war hardship.
The creation of national confidence also played a part in the wedding of William and
Catherine. It served as an enchanting break and offered a sign of continuity as the
world spins ever faster. Further, and as many a common bride or groom before her,
Kate delivered the example for a modern fairytale come true.
White Wedding
400 years ago Maria de’ Medici chose a white bridal dress. She was the exception
of the rule. Usually, royal and noble brides were dressed in various colours. Main
feature was the gaudiness of the bridal gown which was designed to display
abundance and status.
Again it was Queen Victoria who changed it all. A Queen already, she opposed
all the suggestions and conventions to marry in her stately robes. By wearing a
comparatively modest white gown she wanted to be a bride – and not a Queen –
on her wedding day.
Initially, white was worn by choice. To associate a white gown with purity, virginity
and virtue came much later. Created in line with the wished for properties of a bride
to be the symbolism worked well and prevails up to our days.
Among commoners a white gown was primarily a statement of wealth. Before the
1920’s hardly anybody could or would afford to command a dress for wedding
purposes only.
Queen Victoria sought to escape her royal role by wearing a white dress.
The gowns of her successors however make clear that there is no real escape
for them. Catherine dressed by Dior? Unthinkable! The personal freedom of a royal
bride comes to an end where the commitment to the country and its people begins.
Catherine literarily wore her commitment: Embroidered in the lace of her wedding
dress are the English rose, the Scottish thistle, the Welsh daffodil and the shamrock
of Northern Ireland. More United Kingdom is hardly possible.
The Adorned Headdress as Signifier
A ceremonial wedding epitomises a rite of passage. Whether garments or décor,
course of action or setting: the whole layout highlights the state of transition. Veil,
adornment and jewellery play an important role and no bride would appear without
any kind of headdress.
The bride’s headdress makes her stand out and marks her transition. The glamour
of royal diadems and tiaras is often copied and still enchants more than the eye.
Especially in circles of nobility and royalty, the tiaras are treasured heirlooms and
represent the status of the bride.
Sarah Ferguson made the idea most obvious. A specially designed veil allowed her
to enter the church adorned with a floral reel and to leave it crowned by a royal tiara.
It was her way to stress her transition from common to royal bride.
ROOM 2
Times of Unlimited Possibilities
Wedding Photography from the 1940’s until Today
In the 19th century, wedding photographs became treasured mementos in each
family household. 1954 – fourteen years after the actual event – Queen Victoria
opted to have one and posed with her husband Albert in full wedding attire for the
photographer.
Despite new photographic possibilities, the beautifully posed portraits of bride
and groom remained the favoured option until the 1940’s. In the beginning of the
20th century, the production of colour photographs became possible but was not
established before the 1950’s.
The idea of capturing the event itself was born during the «wedding boom» after
the Second World War. Portable roll film cameras and compact flashbulb lighting
made photographers more mobile and the possibility to get a full circle documentary
became fashionable. The wedding album was born.
As a result, the late 1950’s saw a decline in studio photography. The theme screens
of the studios and their selection of feature accessories were replaced by real world
backdrops. Nowadays, special photo-shoots are arranged in all kinds of places.
Stories are told, emotions captured. Where wedding photography once followed the
example of portrait painting, it now begins to mirror the models provided by glossy
magazines.
Once a Princess
Inspired by fairytales and lulled by the according industry and media, every girl
dreams about once being a princess. Adult life usually tells a rather different story.
However and as soon as her wedding approaches, the dream comes back in full
force.
Since the 20th century, brides and grooms-to-be are flooded by a torrent of images.
There is the majestic splendour of royal weddings, there is the glamour staged and
claimed by Stars and Starlets and there is a sea of wedding journals and magazines
which make the bride out as the aesthetic highlight of the day.
The elegance of famous post-war brides, the movie wedding of empress Sissi, the
glamour of Grace Kelly and the fairytale wedding of Princess Diana – they all feed
into our imagination about what a bride is, represents and especially what she should
look like.
Pageantry Aside – We Say «Yes, I Will»
In 1874 the Federal Assembly of Switzerland decided to harmonise and to
secularise the regulation of the civil status administration. Civil marriage was
declared mandatory in 1876. Since 1912 the Swiss Civil Code defines the rights
and responsibilities of husband and wife.
Marriage as defined by law and managed by bureaucracy, is a down to the facts
affair, stripped bare of romance and spectale. The 20th century turned marriage
into a decision made by two people. The duty to publicly announce their wedding was
made redundant in the year 2000.
Getting married without much ceremonial but by signature at the registry office
became fashionable in the late 1960s, and found its parallel in the increase of extramarital cohabitation. No matter how down-to-earth such a wedding might be: pictures
will still be taken.
Away from Tradition and Back Again
The number of marriages began to drop in Switzerland in the late 1960’s. The youth
movements of the time, a wave of women’s emancipation and a lot of «Flower
Power» left their mark in the worlds of bridal fashion and traditional wedding
ceremonies.
It’s a time of trial and error. Brides sporting hippie-style dresses and bare feet or
dressed up in trouser suits – nothing seemed impossible. The hype around Princess
Diana’s wedding, however, brought a rather sudden end to all wedding experiments.
The white bridal gown but also the idea of ceremonial orchestration and pageantry
were right back on the wedding agenda.
Though traditions have their say, the options as to where, when and how a wedding
is taking place are as variegated as never before. This diversity is mirrored by the
possibilities modern photography has to offer. Traditional portrait, photojournalistic
coverage or documentary style – couples are free to pick-and-mix and that is what
they usually do.
Old Frames, New Forms
Technological progress and the invention of digital photography changed the ways
of capturing a wedding on film. Digital cameras allow deeper coverage of the event
with a virtually unlimited amount of photographs taken, and with great design and
post-production opportunities.
Once it was a sole photograph of bride and groom, then the wedding album came
along and today we can opt for full coverage containing a blend of photographic
styles and store it on a CD-ROM. We can give friends and family access to a wealth
of photographs on our wedding website and we are tempted to upload them on
facebook or twitter for the world to see.
Wedding photography depicts the same event through the centuries. By doing so,
the photographs account for social change, too. Couples with children, same-sex
weddings or multicultural ceremonies – new forms emerge while the practice of
taking pictures remains the same.
On the Table
The Bride from Head to Toe
The bride is the shining star of each wedding. The whole ceremony is carved around
her transition. She is supposed to get most of the attention. In her leading role,
the bride of the 21st century finds herself in the middle of all kinds of expectations,
traditional conventions, dreams and fashionable options.
From head to toe – everything bears a special meaning. Guidance is most welcome
and the famous «something old, something new, something borrowed, something
blue and a penny in your shoe» comes in handy.
Old and new symbolise the transition of the bride, something borrowed stands for
friendship, blue is the colour of the faithful and the penny in the shoe grants wealth.
Talking about shoes and money: The bride can prove her austerity by collecting coins
and paying for her own wedding shoes.
The Bridegroom
Until today, the bridegroom is expected to be the leading figure when it comes to
courtship and proposal. As the wedding unfolds, he steps back and lets the bride take
centre stage.
The groom’s outfit is by far less charged with meaning than the bride’s. Apart from
wearing a shirt sewn by his bride, he can mirror the bridal bouquet by decorating his
suit with a twig of similar flowers. Otherwise his outfit usually consists of his Sunday
clothes.
Keeping a set of Sunday clothes in the wardrobe became less common over the
years. Thus the groom of the 21st century shares the concern for the appropriate
outfit with his bride. The fashion industry is right at his side and offers advice. Tie,
bow tie, vest, hat and topper are key accessories. Combined with a matching suit
type, they grant a perfect appearance.
A Delicious Symbol
The breaking of bread over the bride’s head gave way to the splendid presentation
of a wedding cake. Provided as a morning gift or as dessert: the wedding cake is
a delicious symbol made of a well measured blend of tradition, superstition and
commitment.
Some of the meanings provided by the cake are fertility, wealth and the sharing of
future meals. A five-layered wedding cake represents the stages of life: birth, youth,
marriage, parenthood and old age/death. The tower of St. Brides Church is said to
have served as a model for the first multi-layered cakes that were created in the 18th
century.
Queen Victoria’s cake was the first to present a miniature of the couple on its top.
Sending wedding photographs to friends and relatives was not yet an option. Instead,
the absentees received a piece of Victoria’s cake by messenger. One of these pieces
still exists and is part of the Royal Collection.
Ritual Proceeding
The special appeal of a ceremonial wedding has a lot to do with its festiveness and
with the pleasure to share a special occasion. Although the origins of some traditions
are shrouded in the past, the ritualised proceedings and a wealth of symbols are
cherished up to today.
Some traditions are of regional origin, others acquired new meaning over
time. Though often associated with the stag or hen night – the German word
«Polterabend» refers to a wedding-eve party. It is meant to be a noisy affair to drive
demons and bad spirits away. On the way to the church, many couples are sharing
out sweets. It is a kind of road toll that grants free passage.
A shower of rice or flowers brings good luck and fertility to the newlyweds.
Artful menue and place cards add a touch of luxury and love to the dinner table.
Gifts for the Journey Ahead
Providing the bride with a dowry is a fading custom. Since the 1970’s it is more
common for the couple to issue a list of gifts aimed at setting up their new household.
Elaborately ornated documents and benign cards with romantic motives made good
wishes tangible. For a long time, the reception and reading out of wedding telegrams
rejoiced couple and guests alike.
Wedding newspapers, home made biopics of the couple and fun poetry belong to
the gift shower and are often presented with a cheerful wink. Since the beginning of
photography, snapshots are included in many of the presentations. And what became
the most common motive for the thank-you-cards? – a wedding photograph!
ROOM 3
Change Captured by Camera, 1840 to 1930
Wedding memories on their way to the 20th century
The history of wedding photography begins in the early 1840s. During this period,
photography had very little commercial use, but the idea of creating memories of the
wedding day was already born. Mainly because of equipment limitations, wedding
photography remained studio photography for more than a century. In the 1800s
there were no paper photographs, no multiple photographs, no albums. As soon as
copies on paper became an option, there was a surge in demand.
More and more couples visited the studio. The photographers were happy to
provide a choice of stage props and featured screens to create a setting for the
posing of bride and groom. Some of the props reappear again and again in various
photographs.
The photographs have an air of artificiality about them. This probably has to do with
the rather austere posing as well as with the setting as a whole. Another thought
might cross the mind of the beholder: what is the couple feeling and thinking just
now? Is it a role they play? Are they at ease with themselves while posing in their
festive robes?
The viewers as well as the people photographed might agree on one thing: a
wedding photograph captures a moment in time that will never return. The photo
preserves memories and only those memories can bring some life to the static
impression we get while standing eye to eye with bride and groom.
Marriage is a Family Affair
Love marriages became a romanticised ideal during the 18th century. Up to the
19th century, however, marriages were primarily family affairs. The Bernese Civil
Code only approved of a marriage when it was based on parental agreement.
Family politics and economic interests were not necessarily opposed to a marriage
based upon love. But they were a key issue and added a particular dimension to
weddings right into the early 20th century.
Weddings radiated joy and splendour. During the 19th century and particularly in
more rural areas old wedding customs and traditions were held high. The festivities
served as an expression of status by the families involved. Accordingly, the wedding
photograph was meant to present the couple as a new and honourable family unit.
The Black Wedding Dress
Until the beginning of the 20th century, most brides were not spoilt for choice
in regard to their wedding dress. Thanks to the beginnings of photojournalism they
were aware of the marvellous white gowns worn by the noble and rich. Economic
reasoning prevented bridal dreams and aspiration from running too high.
Far into the 20th century, it was common to marry in the best dress or in traditional
costume. Black was considered as elegant and suitable for other social occasions
to come. It was the white veil which provided for a bridal look. The groom, too,
chose his best suit. In some areas, the bride was weaving and sewing him a special
wedding shirt.
The 1920’s: Fashion Comes into Play
Until the beginning of the 20th century a bride’s attire was meant to represent the
status and wealth of her family. The appeal of a white wedding dress was therefore
not just fashion related. A white dress was an aspiration to a higher social standing
put on show.
The arrival of ready-made clothing made white wedding dresses more affordable.
The brides’ fashion consciousness was on the rise and the air of the roaring 1920’s
did the rest. Accompanied by post-war wedding boom – bridal fashion gained
momentum.
Designs by Coco Chanel inspired the bridal look of the 1920s. With the hemline
moving up it was the shoes that gained more attention. The veils were arranged
in hat-style and pulled down into the forehead.
Floral Codes and Keepsakes
Floral reels and veils belong to the most significant bridal features. Symbolically
laden they mark the transition from girl to bride to wife and they protect and are
supposed to bring good luck. After the wedding, many a bride is putting reel and
veil in a special box and cherishes them as a keepsake.
Bridal reels, crowns, tiaras as well as bridal bouquets usually refer to elaborate floral
codes. The most famous floral code was introduced by Queen Victoria but reaches
way back. The use of evergreens and especially of rosemary, orange blossom and
myrtle can be traced to ancient history.
Mothers used to cultivate rosemary and myrtle in their gardens, so they could
provide their daughters with some twigs for her wedding. After the wedding the bride
would place one of the twigs in her own garden and raise another plant for the next
generation.
Giving, Receiving and Sharing
A wedding is about two people coming together. With the beginning of courtship
the two embark on a ritualised journey, moving from promise to proposal, from
engagement to wedding. Along the way they will exchange vows, love letters and
gifts. They state their love and remind them of one another. Step by step the two
lovers tie the knot.
The possibility of sharing photographs appeals to lovers up to today. In the early
days of photography it was a very special gift and it became fashionable to exchange
precious watches and jewellery which would hold a photograph.
The two pocket watches in the display are telling the story of Max Fankhauser and
Luise Mauerhofer. They exchanged the watches as engagement gifts. They promised
each other to open the photo-casings every day at nine o’clock. By doing so, they
virtually shared a moment every day.
Engagement and Announcement
An engagement period preceding marriage is a custom dating back to the Romans.
Until the 19th century the engagement was usually called «wedding vow» and
marked the agreement between the parents of the couple-to-be. It was accompanied
by gift-giving and served as marriage announcement.
When love marriages gained ground, the importance of the engagement began
to fade and the wedding took center stage. The meaning of the engagement gifts
changed. Being once primarily a pawn, they turned more and more into expressions
of love and affection.
The engagement period usually lasts a year. Once perceived as a veritable exam,
it is now seen as a time of pleasant anticipation and romance. Love letters and
beautifully decorated engagement cards signify this romantic turn.
The Enchantment of the Belle Epoque
In 1844 the Counts of Pourtalès whose ancestors had originated from Neuchâtel
and migrated to Prussia transformed Oberhofen Castle. Once a bailiwick, it became
a joyful summer residency. In the years that followed, the Castle hosted a row of
magnificent weddings.
In 1868 the wedding of Countess Hélène Pourtalès and Count Ferdinand Harrach
brought the enchantment of the Belle Epoque to the village. The wedding of Hélène’s
cousin Margarethe in 1875 started off with a wedding-eve party. The people of the
village were invited and launched the festivities with a gun salute fired off the hills.
The wedding of Countess Eleonor Harrach in 1903 turned into a real fair including
a merry-go-round and fireworks. The last noble wedding was the one of Countess
Christa Vitzthum, held in 1919.
The Picture in the Can
Looking at old cameras, the phrase «the photo is in the can» makes a lot of sense.
From the middle of the 19th century, photo technology was improved step by step.
The process of taking a picture was simplified by the invention of new camera
models, new chemicals and materials for capturing and processing the photographs.
With less bulky equipment, photography got more and more mobile.
Shorter exposure times made posing more comfortable. Working with dry plate glass
negatives made the reproduction process easier and led to a surge in demand by the
late 1870’s. Small photographs mounted on adorned pieces of cardboard – so called
«Carte de Visite» – became fashionable. They were passed around among friends
and family who collected them in special albums.
Well-known pioneers such as autodidact and travelling photographer Arthur Zeller,
studio-photographers Emma Wüthrich, father and son Bechstein, Carl Ruhé or Jean
Moegle who was often commissioned by noble summer visitors, were involved in
the history of wedding photography. They all took photographs of Bernese wedding
couples and of wedding parties. It was not their wedding photography that made
them famous. But they endowed their customers with tangible memories of their
greatest day.
Translation: Susanne C. Jost, Bern