Making something new out of found curiosities is what Danni from Oh, Hello Friend is all about. These simple statements made out of tiny bits from the past are great little gifts for yourself, your bridesmaids or better yet your flower girl. You can find more adorable creations at the Oh,Hello Friend etsy store, oh, and take a peak at her blog!

Next week, I will have the opportunity to use an original 1950s letterpress which is owned and operated by Tanya Roberts {Snap + Tumble}. I have been following Tanya’s blog for a couple of weeks and when I saw her offer a curiosity course on how to operate a letterpress, I jumped at the chance.

By Catherine Lash

I have to supply the paper for the course, and that has been a lesson of itself . There are many many different types of paper you can use for letterpress all with their own unique characteristics: smooth, velvety, bright white or antique, etc. I have no idea what would look the best, so I decided to purchase four different types to compare.

I am excited to get my hands dirty and create and I will have a full letterpress report for you next week. In the meantime, below is a little letterpress history, thanks to Wikipedia

Letterpress printing is a term for the relief printing of text and image using a press with a “type-high bed” printing press and movable type, in which a reversed, raised surface is inked and then pressed into a sheet of paper to obtain a positive right-reading image. It was the normal form of printing text in the West from its invention by Johannes Gutenberg in the mid-15th century until the 19th century, and remained in wide use for books and other uses until the second half of the 20th century. In addition to the direct impression of inked movable type onto paper or another receptive surface, the term letterpress can also refer to the direct impression of inked printmaking blocks such as photo-etched zinc “cuts” (plates), linoleum blocks, wood engravings, etc., using such a press.

Costume jewellery. Without sounding like a complete oxymoron, vintage costume jewellery can be as authentic and valuable as the real stuff. For the low-down on what’s hot for weddings, The Wedding Co. caught up with Toronto’s Queen of collectable costume jewellery, Carole Tanenbaum, for a quick education.

The Wedding Co.: What about vintage costume jewellery makes it appealing to a bride?

Carole Tanenbaum: Three things. First, it is the most creative, original way to accessorize oneself as a bride. Women will spend any amount to express their individuality on their wedding day and there is no more unique statement to make than to wear a piece of jewellery that is likely to be one-of-a-kind. In my 26 years in the industry, I’ve come across only about half a dozen duplicates. Secondly, the history that is inherent in each piece increases its value; every item that has survived has already touched many people’s lives. It is my hope that a bride would pass a piece on to her children and that they would wear it on their wedding day, making the history of the piece more personal. Also, finding something with its own history is exciting. Thirdly, it’s easily a bride’s something old, and often her something blue. Many brides choose to wear diamante and sapphire earrings on their wedding day.

TWC: What distinguishes collectable items from the larger body of costume jewellery?

CT: Costume jewellery today is mass produced and is often vintage-inspired. What I collect are original vintage pieces from the Victorian era to the ’80s that are in excellent condition. They are collectable because they have survived the decades when they were never meant to, costume jewellery was meant to adorn and to jazz up an outfit and be disposed of often, not to be saved or respected. Fine vintage costume jewellery is now so limited that its value can compete with gemstones, even though its made from composite metals and not precious metals or gemstones.

Its value has also been increased by its popularity with fashion icons and museums. Michelle Obama wore one of my pieces during the inauguration, choosing it over a Harry Winston or a Neil Lane, for example. She chose it for its historical value and sophistication; she loved that the piece made a unique fashion statement.

TWC: Who is the bride that chooses fine costume jewellery?

CT: She already has a fashion conscience and is looking for that unique statement. Few items in fashion have such a wide appeal, 18 year-olds like it because it is in vogue, while 80 year-olds appreciate its nostalgic value. This means it appeals to a bride who is concerned about finding something that won’t go out of style and that she’ll love forever.

TWC: Are there certain eras and styles that work better for weddings?

CT: Two periods that don’t ever go out of style are Art Deco and the ’50s. They are the two most popular periods for brides and collectors alike. Deco’s small and architectural feel appeals to the woman who is more conservative and who, perhaps, wants to stretch herself to wear vintage while the Gentlemen Prefer Blonds-era of the 1950s offers the large stones and bracelets, and drapy earrings for a Marilyn-like wow. Either way, brides are still sticking to colourless pieces but I suspect that may change and they may still get into coloured jewellery yet. I like to include both conservative pieces and ones that push outside the box in my bridal collections to inspire creativity.

TWC: Finally, is there a difference between what a Canadian bride’s taste and an American bride’s?

CT: Certainly, Canadian brides are more conservative and lean towards more traditional looks, although they are getting more into the American style of following fashion. Canadian brides are often very drawn to the Montreal designer, Sherman, which is interesting in itself as it’s nice to wear something that is historically Canadian on your wedding day.

A selection of Carole Tanenbaum’s bridal collection is available at White, Toronto.

When our very own Creative Director and former wedding photographer, Catherine Lash, tied the knot ten years ago with Stephen Bulger, owner of the Stephen Bulger Gallery, they used their shared obsession with photography to ‘develop’ personalized tokens of thanks. At dinner, each place setting included a matted, postcard sized, anonymous photograph. Hand-written name tags were tied on to indicate seat locations and to personalize the favours.

Catherine and Stephen searched antique markets and old paper shows for snapshots that matched an aspect of the personality of each guest. Anonymous snapshots can cost twenty five cents to $10 each for one, or you can purchase bags a dealer has thrown together for $5 to $10. These bags will contain 25-50 pictures, ten of which will likely be great shots.

After suitable photos were found, such as a skier for a brother who loves the rush of downhill or a fisherman for a cousin who loves the peace of the water at dawn, each tiny photo was matted in an 8×10 mat and tied with a ribbon and a name tag.

On the wedding day, the guests were blown away by the thought and time that went into choosing a picture specifically for them and loved the idea that they had been given an original piece of art to boot. The pictures also added to the event by providing a visual snapshot of each person in attendance. This broke the ice for strangers and created many avenues for conversation throughout the evening.

Ten years later the couple still visits homes where the photos are on display framed or sitting on mantels with the ribbon and name tags still intact.

Photo by Peg McCarthy

This story first appeared in The Wedding Co.’s newsletter, The News, in June, 2008

Inspired by old Hollywood and what she terms, “real girl glamour,” Amy Michelson designs wedding gowns that are body conscious and sexy without losing their demure appeal. Her dresses “make both a husband and a grandmother smile,” she joked in an interview at White, Toronto, where she attended a trunk show for her 2009 collection.

One of the first wedding gown designers to move to a leaner silhouette, Michelson is known for her soft and flowing dresses, most of which are cut on the bias to flatter and emphasize the shape of a woman’s body. She works a lot with open backs, long tails of organza, soft bows and lighter fabrics; but while her dresses appear to be completely unstructured and even slinky, they have been built to support. Michelson describes the security of “zipping in” and says she finds brides love the sensation of a dress that cinches them in, especially around the waist. She’s also a fan of muted colours for a create nude or non-coloured effect: white, she says, can have a “thickening effect.”

From Millionaire to Moet to Love Me Tender, Michelson’s love of the dramatic is clearly stamped on her work and evident by the names she gives her gowns; she says the creative process isn’t complete until each gown has the right name. “My gowns are full of goddesses, fairies, wood nymphs and mermaids,” she confessed as we explored the collection. She loves the magical quality of a wedding dress and understands that every bride is searching for that one perfect gown that makes them feel like a princess, even if its not a white ballgown.

Already designing evening gowns and having started in fashion by re-working vintage pieces for celebrities, Michelson launched her distinct style when she adapted a vintage dressing gown into a more modern shape to create a sophisticated wedding gown; she soon realized there was little like it on the market. A few years later, Carolyn Bessette Kennedy’s slim, white gown marked a turning point in the shape and structure of gowns and brought Michelson’s style of  “glamour fairy” gowns mainstream appeal. Michelson continued to create gowns in her trademark style, offering shapes and designs which are a little less fashion forward for a timeless, romantic feel and has dressed many famous women from Halle Berry and Salma Hayek to Christy Swanson, at her wedding to Lloyd Eisler in February.

Looking forward, Michelson loves the idea of adding texture and a little more architectural structure to her gowns. Already, she’s adding decorative elements like lace ‘leaves’ to her gown Corsage and long rows of unexpected Swarovski buttons to Opening Night for a little unusual bling.

Amy Michelson is exclusively sold in Toronto by White, Toronto.

That “Something Old” from the adage represents a link between the bride and her family, particularly her mother or grandmother or even more distant relations. Something old is also symbolic of continuity from the past.  To draw upon this symbolism, a bride may wear a piece of antique family jewellery or incorporate an old trinket into their attire. Alternatively, she may use something from the mother’s or grandmother’s wedding gown. Other things that may be chosen include a handkerchief, a scarf or a piece of lace. In The Wedding Book, Mindy Weiss suggests an heirloom can be used as a reminder of a loved one, for the groom, a watch or pair of cufflinks is a beautiful gesture.

When it comes to blending together new and old styles, a brooch or ring or necklace that has so much meaning may not fit with the overall effect of the gown or style of the wedding. Consider adorning a bouquet with a large brooch (but be sure to have someone in charge of removing the brooch before the bouquet is put down for the evening), a ring can be strung on a necklace or sewn into the gown and a necklace might make a better hair ornament if carefully set into place.

If you haven’t stumbled upon Ginny and Ed’s spectacular 20s-inspired wedding, you’re in for a real treat, if you’ve seen the pictures but not the video which we found on the bride’s own blog, skip to the bottom of the post.

From their telegram invitations…

… to the seersucker suits and flapper dresses …

… to the incredible details and a set of very game friends …

Photos courtesy of Once Wed and 100 Layer Cake.

Andrea Garland, a London-based aromatherapist, has created natural lip balms, face and body creams and muscle rub and packaged them in vintage tins and boxes.

Tired of the chemical-laden mass produced products with boring packaging, Garland’s reducing, re-using and recycling vintage in the most stylish of ways. Items not from her vintage collection are also from natural products and are packaged in lovely amber bottles. But it’s the idea of giving a bridesmaid, friend or sister a one off tin of gorgeous Rosy Beauty Balm which she will always associate with your wedding day that has made us smile.

Re-fills are also available at a fraction of the original cost to keep us coming back for more.

Finding that perfect vintage element that doesn’t ‘date’ your wedding to a specific decade but rather gives it a beautiful, ageless feel can be hard. For those people who are willing to spend a little time tracking down the perfect lace for a custom veil, a band of ribbon to accessorize you or your bridesmaid’s  look, check out Dolls and Lace.com.

Don’t let the cutesy look and mention of dolls put you off, this website is full of one of a kind finds  – antique and vintage lace, ribbon, millinery items, wedding rings and fabric are all described in detail and sourced from around the world.

After a few visits we found that all our favourite items were snapped up pretty quickly so this isn’t for the weak of heart! If you find something that looks perfect, grab it! Our current favourites from the site include metallic ribbon from an estate sale in France, gorgeous red and white striped ribbon for a colourful boutonniere and yummy turn of the century rosettes.

The captions on these photos are the full or shortened descriptions from the actual site, by the detailed accuracy of these notes I can only imagine the passion dedication this small business owner has for her finds!