wedding

This is the marriage of Hugh Corr and Margaret McKenna. Kieran Rocks

1940s weddings were less formal than in previous and following decades, however, with most were held during the 10 am and 1 pm brunch time with a light meal and cake served to guests after the church ceremony. As with most events, 1940s wedding clothing varied from business dress to very formal attire. Often the bride, groom, and the wedding party would all wear their best suits and dresses. Some brides chose to make a dress for the occasion but chose a color and design which meant they could wear it again after the wedding. Rose pink was a very popular choice for brides and bridesmaids and white silk and satin were unavailable due to the war, lace, and tulle weren’t rationed although it was still very expensive. Source: www.ohsodelightful.com/what-they-wore-1940s-wedding-dress...

Top left corner has "Doug McEwan During war" There was a Douglas Harold McEwan who served in WW2. He was from Toowoomba. He was married Jessie May Wright on 20 July 1940. Comparing his army portrait to this photograph, they appear to be the same man. Veteran Details Name - MCEWAN, DOUGLAS HAROLD Service - Australian Army Service Number - QX10470 Date of Birth - 11 Jul 1917 Place of Birth - TOOWOOMBA, QLD Date of Enlistment - 05 Jul 1940 Locality on Enlistment - PITTSWORTH, QLD Place of Enlistment - TOOWOOMBA, QLD Next of Kin - MCEWAN, JESSIE Date of Discharge - 09 Mar 1945 Rank - Craftsman Posting at Discharge - 2/125 AUST BASE ORDNANCE WORKSHOP

The I Do! Wedding Stories from Queensland exhibition at the Queensland Museum is featuring never heard before stories from Djunngaal Elders and Yarrabah community members. The exhibition features a mission style basket and commissioned wedding dress designed in partnership with Djunngaal Elders, Gunggandji descendantand Yarrabah artist Simone Arnol and Cape York Peninsula, Umpila, Djabuguy, Yirrganydji man, Bernard Singleton. With strong roots in Yarrabah and over 20 years working in Indigenous law and Native Title, Arnol has been part of the arts and fashion industry for five years. "I use strong connection to family and Country as a foundation to all my works, always keeping it grassroots while respecting the Elders, our keepers of knowledge," Arnol told NIT. She said what started out as an artistic commission of, "a perspective of Indigenous weddings for a traditional wedding ceremony" soon turned into a 12-month long process of storytelling the Yarrabah Elders narrative. "Soon into consultation with the Elders of Yarrabah we found that there was a more important story to be re-told," Arnol said. The story in question would instead shed light into the dark history of prior policies of forced protection and assimilation and how this affected cultural traditions and lore. "The girls and boys when they fell in loveâ€"they couldn't come out of the dorm in the yard to be with their boyfriend or husband ... they had to stay behind the fence," Granny Hope said. "The girls were inside the fence, [while] the boys were outside the fence." In many cases mob weren't afforded the privilege of marrying someone they loved, however this wasn't the only restriction they faced. "This impacted harshly on them as it included separate education for Aboriginal children, town curfews, alcohol bans, no social security, lower wages, State guardianship of all Aboriginal children," Arnol said. "Laws that segregated Indigenous people into separate living areas, mainly on missions, special reserves outside towns or in remote areas." That's why when first asked to do the commission, Arnol was quick to establish the true purpose. "Everything we do is a voice for our Elders ... It is not going to be a pretty dress." Source: nit.com.au/09-11-2020/1512/aboriginal-designed-wedding-dr...