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The Brisbane Courier reported this wedding thus: DRYNAN-FLANAGAN. At St. Stephen's Cathedral on August 7, the marriage was solemnised of Mr. Andrew John (Drew) Drynan (eldest son of Mr. and Mrs. James Drynan, Beaudesert) and Miss Marie Flanagan (second daughter of Mrs. Flanagan and the late Mr. Andrew Flanagan, Forest Home, Rathdowney). Rev. Father Hennessey performed the ceremony, assisted by the Rev. Father Steele (Yeronga). The bride, who was given away by her uncle (Mr. Frank. Egan), was in a silver lace and georgette frock made with wide side drapes, and an uneven hem line with a diamente ornament at the side. Her pale pink tulle veil was arranged in cap fashion with a coronet of orange blossoms and silver lace. She also carried a showy bouquet of white roses and sweet peas. The bride was attended by two bridesmaids, Miss Kitty Flanagan (sister) and. Miss Ena Drynan (sister of the bridegroom). They wore frocks of pale blue, and pale pink net, respectively. The tucked bodices were attached to skirts adorned with handkerchief and peacock drapes mounted on silver lace, and finished with soft taffetas bows. They wore blue and pink crinoline hats faced with tulle and trimmed with bows of silver rib- bon. They also carried bouquets ol pale pink and blue flowers. Mr. Jim Drynan (brother of bridegroom) was best man, and Mr. Jack Enright was groomsman. Miss Kitty Slack presided at the organ. The guests were enter tained at the Jenolan Cafe by Mrs. Flanagan, who wore a costume of black mariette with an overrskirt of block silk lace. She also wore a black hat with touches of pink, and carried a bouquet of red and pink shaded roses. The bridegroom's mother was frocked in a semi-ensemble of honey coloured mariette with a front panel of satin beauté, and a hat en suite. She carried an autumn tinted posy. After the recep tion the bride and bridegroom left on their honeymoon, which will be spent on a motor tour of the Northern Rivers. Mrs. Drynan wore a travelling frock of fawn Marocain showing hand embroideries, with a Visca straw hat in a lemon shade. nla.gov.au/nla.news-article21440802

You can see the original newspaper article here: trove.nla.gov.au/static/ndp/tmpImageFiles/article21440802...

Fashion in the 1920's Picture In the 1920’s fashion was no exception. Clothing changed with women changing roles in modern society, particularly with the idea of freedom for women. Jean Patu, a new designer on the French scene in the 1920’s, began making two-piece sweater and skirt outfits in luxurious wool jersey and had an instant hit for his morning dresses and sports suits. Two of the most iconic fashions of the 1920’s are the cloche hat and the flapper dress. The cloche hat changed from the wider-bristled hats of the decade before and continued to change up until the 1930’s and elsewhere. The cloche hat was worn often tilted covering their forehead but they can still see. Their hair was often cut short and styled flat to fit under the hat. A cloche hat often covered the ears as well and sometimes ends off the women’s haircuts. In the 1920’s women wore silky dresses and tops. In a lot of outfits women would wear a dress that is just below the knees. Back then something that was popular was a dress which has a strap at the waist. These dresses looked quite old looking but they were in fashion. With an outfit women would always wear a piece of jewellery, a necklace, bracelet or earrings. Their hair was normally cut short with headbands or clips in it. Source: historyofaustralianfashion.weebly.com/1920s.html

1920s Fashion Trends for Women * Below-knee length drop-waist dresses with a loose, straight fit. * Beaded evening dresses inspired by “flappers.” * Mary Jane or T-strap heel shoes. * Casual sport golf knickers, argyle socks, blouse and tie. * Cocoon fur coats and fringe wraps. * Cloche hats and short bobbed hairstyles. * Bead or feather headbands for evenings. * Long pearl necklaces, bold Art Deco colors, faux gemstones. * Small beaded purses held pretty makeup compacts and cigarette cases. Source: vintagedancer.com/1920s/when-to-wear-what-in-the-1920s/

About the hairstyle: During World War I (1914-18), women took the place of men in many workplaces, including factories and fields. Safety concerns made it acceptable for women working in these environments to cut their hair. Generally, though, a woman’s long hair was thought of as her crowning glory – and it was quite a jolt to cut their hair so short for fashion. Bobbed styles were, initially, met with shock and resistance. For example, in some western countries, women who worked with the public (such as teachers, department store workers, and office girls) were fired for coming to work with bobbed hair. Similarly, some schools banned bobs. Preachers sermonised against the bob. Similarly, various conservative types made claims that cutting hair short could lead to all sorts of nasty side effects, like a mustache, baldness, or life eternal as a spinster. Heavens! As with all trends that create shock waves, things gradually calmed. By the mid-1920s, much of society was becoming more accepting of short hair. Some older women were also going for the chop, preferring the convenience of shorter hair with no more frizzing, backcombing, stuffing, and pinning. Variations of the 1920s Bob * Plain Bob - the Buster Brown This classic women’s 1920s hairstyle had a blunt-cut fringe and hair ending just below the ears. It was also known as a Dutchboy, Dutch Cut, or Buster Brown (after the cartoon character’s bobbed hairstyle). For those without a fringe, a side parting was the thing. A bobby pin could hold back the hair if needed. * Charleston Bob It was a softer-looking bob named after the Charleston dance – the dance of the decade. The hair came to just below the ear lobes and had large, soft waves in it. It was very fashionable in 1925. * Eton Crop - the Boyish Bob The Eton crop was also known as the boyish bob or the Garçon. It was a very short bob, shaved at the nape and cut above the ears. It appeared in the mid-1920s and was named for the hairstyle favoured by schoolboys in Britain who went to Eton. The masculine style attracted much comment and was often the target of satire, cartoons and the press. * Moana Bob The Moana bob had a distinctive parting that ran parallel to the forehead, with the fringe swept forward. The rest of the hair was combed back over the crown, creating a little rounded lift. .......and the list is much longer, than the hair!!!!! Source: hair-and-makeup-artist.com/womens-1920s-hairstyles/

WOW !!!

That's my relative :)

PeggyA. How wonderful! Do you have any biographical information about her? We'd love to add it to the catalogue record.

A pretty and promising Australian-born actress in Hollywood films from the early 1930s, pinch-cheeked Mary Maguire was born Helene Teresa ("Peggy") Maguire in Melbourne, one of five children born to footfall player and boxer turned hotelier Michael "Mick" Maguire. One of her sisters became actress Joan Shannon. A student at the Academy of Mary Immaculate in Fitzroy, the fresh-faced actress made her film bow unbilled in the film Diggers in Blighty (1933). Billed as "Peggy Maguire" in her second film Heritage (1935) directed by Charles Chauvel, who discovered her, she received good reviews for this and earned another fine role opposite Charles Farrell in The Flying Doctor (1936) in which she changed her stage moniker to "Mary Maguire". In the United States from August of 1936, Warner Bros. signed her to a seven-year contract and cast her in That Man's Here Again (1937) co-starring Tom Brown. Other roles came her way with Confession (1937) and Alcatraz Island (1937) and Sergeant Murphy (1938). Warner Bros. released her from her contract when she refused a role in Mystery House (1938). Fox signed her up briefly in 1938 and cast her as the lead in Mysterious Mr. Moto (1938), the Gracie Fields musical Keep Smiling (1938), and The Outsider (1939). From there she signed up with British Picture Corp. and starred in Black Eyes (1939) with Otto Kruger and An Englishman's Home (1940) with Edmund Gwenn. Marriage and the birth of a child joyously interrupted her career, but when the child died suddenly in infancy, the devastated Mary returned to work and was cast in the British film This Was Paris (1942) starring Ann Dvorak and Ben Lyon, but no other future films came her way. A second marriage to Philip Henry Legarra in 1945 prompted a sudden move back to the States where he worked as an engineer. An attempt to resurrect her film career failed. The marriage lasted until his death in 1971 and Mary passed away three years later, interred alongside her husband at Forest Lawn in Glendale, California. - IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net Source: www.imdb.com/name/nm0536604/bio?ref_=nm_ov_bio_sm