Married in Black - Black Silk Wedding Ensemble
- maudebasskrueger
- May 18
- 3 min read
Mme Kurtz-Penning, born
Hélène Penning (°1880),
Robes & Confection, Nivelles
1903
Silk, lace, tulle, metal, cotton
Donated by Mlle. Burni, 1977
Royal Museums of Art and History,
Brussels
C.0642.00
This modest black silk wedding dress, consisting of a fitted bodice and a matching A-line skirt, was made in 1903 by “Mme Kurtz Penning, Robes & Confections, Nivelles,” as indicated by the label sewn into the inner waistband. The bodice is designed to resemble an open waistcoat with sharp lapels trimmed with black lace; the plastron is made of cream silk, covered with finely pleated black tulle. The sleeves, gently puffed at the shoulders—a detail known as a "kick-off"—taper to lace-trimmed wrists. The entire ensemble is lined in pastel pink silk, with hand-finished seams. Originally, the dress included a train.
The maker of this dress, Hélène Penning, was born in 1880 and married Alphonse Kurtz in 1901. Her marriage certificate lists her as a seamstress in Nivelles. The dress dates from 1903, when Kurtz-Penning was 23 years old. The label includes her husband’s name, although it is possible she had her own shop before that time under her own name, it seems unlikely given her young age. The shop's address is not mentioned on the label and is nearly impossible to trace. While the address is absent, the presence of a label points to a respected atelier. Neither Kurtz-Penning nor her husband came from tailoring families, indicating she likely started the business on her own. Interestingly, her sister Zoé Penning (°1887) was also a seamstress; they may have worked together, although this is not confirmed.
At the turn of the century, black wedding dresses were a practical choice for Belgium’s working-class women, particularly in smaller towns such as Nivelles, located about 30 km south of Brussels, with a population of 11,645 in 1900. This contrasted with larger cities such as Brussels, where white bridal gowns were the fashionable choice. As stated by Nivelles historian Marie-Christine Ledecq, fashion in this medium-sized town followed a strict rhythm: new outfits were expected for seasonal fairs, outings, and religious celebrations, and some seamstresses even drew inspiration from the latest trends in Brussels. Most women turned to trusted neighborhood seamstresses, such as Hélène Kurtz-Penning. Still, not every garment was made anew; many seamstresses cleverly reworked older dresses to create the illusion of novelty. Most working-class women’s dresses were handed down, repurposed, or adjusted.
The owner of this black wedding dress probably came from a working-class family, as the dress was adapted for daily use over time. The original train has been removed, and the garment shows signs of extended wear, including hand-stitched repairs, rusted snaps, stains on the lining, and a tear near the skirt fastener. Interestingly, the waist of the skirt is much smaller than that of the bodice, a detail that may have been altered later to accommodate changes in body shape. These alterations and signs of wear reflect the continued usefulness of the dress, which was probably considered the wearer's "best dress," worn first to her wedding, and then to church or on special occasions. The tradition of wearing black wedding dresses in Belgium remained prevalent until the end of World War II and, in some regions, exceptionally into the 1960s, as demonstrated by a black wedding dress from the author's family, made in a rural town on the outskirts of Brussels and dated to 1940.
Written by Nina Derycke
Bibliography
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