Dowries morphed in the Victorian era with trousseaus, items given to the bride by her parents — like towels, linens, silver — that were seen as shared property of the couple.
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The Salafi Al‑Nour reportedly did well in the election in part because of loyalty it won from voters with the many Salafi-sponsored charitable activities: help for the sick and the poor; financial assistance to widows, divorcées, and young women in need of marriage trousseaus; and abundant religious instruction.
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The story is based on the life of a middle-class Indian girl, Kituu. Despite having dreams in her eyes, she dares to dream beyond the horizons of her little mohalla (colony). She faces life’s biggest challenges at the age of 20. When other girls are busy planning their husbands and their trousseaus, Kituu is forced to bring all her resourcefulness to the fore in saving her family from potential ruin and a lifetime of debt.
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She also became an accomplished zither player, teaching others to play to earn some money. Her savings allowed her to buy a sewing machine, the first owned in the town of Giengen, and this led to another opportunity to earn income. Margarete worked on trousseaus for the town folk and by her mid-twenties was making fashionable clothes and traveling to other towns to work and visit family, sending her cart ahead of her and traveling by post coach.
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Gertrude Biggs Colburn (1885 – November 10, 1968) was an American dancer, dance teacher and sculptor. Colburn was born in Baltimore, the third of four daughters born to artist Alfred Bland Biggs (1856–1887) of Winchester, Virginia and Martha Virginia Dumax of Maryland. Her father died when she was young; her mother, just 28 when she was first widowed, supported herself and her four daughter creating trousseaus for Baltimore's wealthiest families. She eventually had a large staff of 30 sewing her designs.
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Decorative needlework such as embroidery was a valued skill, and young women with the time and means would practise to build their skill in this area. From the Middle Ages to the 17th century, sewing tools such as needles, pins and pincushions were included in the trousseaus of many European brides. Decorative embroidery was valued in many cultures worldwide. Although most embroidery stitches in the Western repertoire are traditionally British, Irish or Western European in origin, stitches originating in different cultures are known throughout the world today.
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In 2001, she set up the Meeras Mahal, a heritage museum. As the collection grew, she shifted it to a building in Noor Bagh near Sopore. By now, it consisted of handwritten Qur'ans, Persian, Arabic and Sanskrit manuscripts, historical coins, an entire history of the evolution of the Kashmiri pheran (wedding trousseaus from both the Muslim and the Pandit communities), pottery, and artifacts related to the weaving of Pashmina textile. In contrast to the Shri Pratap Singh Museum in Srinagar, which concentrated on the royal history and elite art of Kashmir, the Meeras Mahal deals with the material culture of ordinary people.
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115; M.D.C. Crawford, The Ways of Fashion (1948), p. 57; "It is the Skirt of the Times of Louis XV Which Cheruit Likes," New York Times, October 4, 1914. In early 1915 the house of Chéruit was acquired by its directors Mesdames Wormser and Boulanger, who, Vogue observed, kept the salon "to its original type" while bringing "much originality to it." Women's Wear Daily, April 27, 1915; "The Blue Book of the Grande Maisons," Vogue, December 15, 1915, p. 55. In addition to evening gowns, the house was known for chic cinema wraps, furs, lingerie, wedding trousseaus, even children’s clothing in rayon.
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Such voyagers were called tobacco brides (or King's daughters, Casket girls, or Jamestown brides) and 150 pounds of tobacco was the typical auction price for them, although they usually had the right to refuse the highest bidder. However, tobacco brides were often sent to America against their will, and often sent at very young ages. There were many women and girls who went to America for this purpose (the 1619 voyage being the first), with the women and girls promised free passage and trousseaus for their trouble. Many tobacco brides came to America fleeing hardship, but many also suffered once in America.
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Kösem made charities and donations both for people and ruling class in the state. She visited the prisons every year, paid the debts of imprisoned people, supplied the trousseaus of daughters of poor families and servant girls trained by her, wedded them and won their confidence. She had Çinili Mosque and a school near it constructed in Üsküdar in 1640 and she also had the small mosques and fountain of the Valide madrasa of Anadolu Kavağı, fountain in Yenikapı, Valide Han mosques, fountains in Beşiktaş and Eyüp and Valide Caravanserai in Çakmakçilar Yokuşu built. It is also known that she had also laid fountains built outside the city of Istanbul.
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In 1881 the Sisters moved to Spring Hill where, in 1900, they purchased two cottages in Leichhardt Street (now St Paul's Terrace) at the corner of Warren Street, now part of the current site of the Villa Maria Centre. They became known in Spring Hill as the Black Sisters because they wore long black dresses and bonnets. Though needlework continued to be their main source of income (they were well known for making priests' vestments and supplying Brisbane emporiums with bridal trousseaus), the Sisters were unable to support themselves solely from needlework and began taking in boarders who paid a weekly rental for the rooms. In 1902 they began caring for elderly ladies.
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