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The New Zealand Dressmaker: Experiences, Practices and Contribution to Fashionability, 1940 to 1980

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The New Zealand Dressmaker: Experiences, Practices and Contribution to Fashionability, 1940 to 1980 The New Zealand Dressmaker: Experiences, Practices and Contribution to Fashionability, 1940 to 1980. A thesis submitted in (partial) fulfilment of the requirements for the degree of Doctor of Philosophy Jan Hamon MA (Fashion & Textile Studies) School of Design and Architecture RMIT University July 2007 i Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; and, any editorial work, paid or unpaid, carried out by a third party is acknowledged. Jan Hamon ii ACKNOWLEDGEMENTS I am indebted to a great number of people who have helped to bring this thesis to fruition. Paramount amongst them was the dressmakers whom I interviewed. They were generous with their time and knowledge and were a pleasure to engage with. I owe much to my senior supervisor, Janet Medd, for her wisdom, encouragement, and consummate patience. Words cannot adequately express my gratitude to her. Special acknowledgement goes to Laurene Vaughan, my second supervisor, for her insightful and incisive advice. I am grateful to RMIT University for accepting me as a scholarship student, thereby making the pursuit of this study financially feasible, and to my employer, Auckland University of Technology, for practical support in the guise of time and resources. I would like to acknowledge my colleagues at Auckland University of Technology, particularly Desna Jury, Head of School of Art and Design; Mandy Smith, Programme Leader – Fashion; Yvonne Stewart, post-graduate colleague; and the other members of the fashion team. Thanks to them for their tolerance during the period that I have been wedded to this endeavour. Special thanks to proofreaders Sandra Burke and John Hastings for their attention to detail. Finally but significantly very special thanks to my mother Mary Hamon. She has my admiration, as one of the dressmakers who informed this study, and my appreciation for nurturing my own interests in fashion. iii DEDICATION This thesis is dedicated to the memory of my mother Mary Hamon (1931 – 2006). iv TABLE OF CONTENTS TITLE PAGE DECLARATION ACKNOWLEDGEMENTS DEDICATION ABSTRACT 1 CHAPTER ONE 3 INTRODUCTION 1.1 Introduction 3 1.1.1 The Dressmaker in the Context of this Study 7 1.1.2 Aim and Time Scale of the Study 8 1.2 Personal Interest 10 1.3 Research Questions 12 1.4 Organisation of the Research 12 CHAPTER TWO 17 LITERATURE AND METHOD 2.1 Context 17 2.2 Literature Review 20 2.2.1 The Study of Women’s History in New Zealand 20 2.2.2 Historical Studies on New Zealand Women From the 1940s to the 1980s 21 2.2.3 The Importance of the Popular Press 23 2.2.4 The Search for New Zealand Dressmakers 25 2.2.5 Pre-colonial / Colonial Period 27 2.2.6 Into the Twentieth Century - pre World War Two 30 2.2.7 World War Two and Beyond 33 2.2.8 International Comparisons 39 2.2.9 Conclusion 41 2.3 Methodology 42 2.3.1 Sources of the Research 44 2.3.1.1 Primary Research 44 2.3.1.2 Secondary Research 45 2.3.2 The Collection and Analysis of Oral (Life) History Narratives 45 2.3.3 Recording Oral History Narratives in New Zealand Studies 48 2.3.4 Locating and Selecting the Dressmakers 49 2.3.5 The Interview Questions 51 2.4 Limitations 55 v CHAPTER THREE 64 HISTORY AND CONTEXT 3.1 Nineteenth Century 64 3.2 Twentieth Century 76 3.3 Factors Unique to New Zealand 80 CHAPTER FOUR 89 COLONIAL SETTLEMENT IN NEW ZEALAND 4.1 Missionary Wives 89 4.2 Colonial Settlement 93 4.3 Maintaining the Wardrobe 95 4.4 Dressmakers 98 CHAPTER FIVE 114 CLOTHING AND TEXTILES; ESTABLISHING AN INFRASTRUCTURE 5.1 Setting the Contemporary Context in New Zealand 114 5.2 Competition; Retail, Mail Order, and Manufacturing 119 5.2.1 Retail Opportunities 119 5.2.1.1 The Establishment of the Major Department Stores 121 5.2.2 Mail Order Opportunities 126 5.2.3 Manufacturing Opportunities 127 5.3 Resources 131 5.3.1 Textiles 131 5.3.2 Haberdashery 134 5.3.3 Equipment 134 5.3.4 Patterns 135 5.3.5 Magazines 137 5.4 Education and Training 138 5.5 Business Development 141 CHAPTER SIX 155 THE IMPACT OF WORLD WAR TWO 6.1 New Zealand At War 155 6.2 Home and Family 158 6.3 Wartime Employment of Women 165 6.4 The Impact of the War on the Production of Clothing 170 6.5 Austerity Measures 172 6.6 Comparing New Zealand to Britain and Australia 174 CHAPTER SEVEN 186 THE DRESSMAKERS 7.1 The Dressmakers; Background and Training 187 vi 7.1.1 Marriage and Family 187 7.1.2 Family Traditions 190 7.1.3 Acquisition of Specialist Skills and Knowledge 192 7.1.4 Reasons For Dressmaking and Acquisition of Clients 197 7.2 Professional Experience 201 7.2.1 Business Establishment, Promotion and Resourcing 201 7.2.2 Business Operation 204 7.2.3 Application of Specialist Skills and Techniques 210 7.3 Involvement in ‘Fashion’-related Activities 212 7.3.1 Competition 212 7.3.2 Contribution to Fashion and Design 213 7.3.3 Contribution to Teaching 219 7.4 Evaluation of the Content of the Interviews 220 CHAPTER EIGHT 236 POST-WAR FASHION IN NEW ZEALAND 8.1 Contributors to Post-War New Zealand Fashion 237 8.1.1 The Contribution of Awards and Promotions 247 8.2 Determining the Contribution Made By Dressmakers to Post-War Fashion 251 8.3 Deregulation of the New Zealand Apparel Industry 256 8.4 The Current Status of the New Zealand Apparel Industry 260 8.5 Acknowledging a Tradition of Skills and Knowledge 267 CHAPTER NINE 289 CONCLUSION LIST OF REFERENCES 305 Primary Sources 305 Secondary Sources 307 APPENDICES 316 Appendix One: Advice to Emigrants 316 Appendix Two: Biographies of Dressmakers 319 Appendix Three: Analysis of Dressmakers’ Responses 322 Appendix Four: A Selection of the Dressmakers’ Stories, In Their Own Words 331 vii TABLE OF IMAGES Chapter One Image One: Dressmakers’ picnic 16 Chapter Two Image Two: After Six exhibition flyer 59 Image Three: New Zealand Graphic fashion 60 Image Four: New Zealand Graphic joke 61 Image Five: New Zealand Woman’s Weekly cover 62 Image Six: Australian Home Journal cover 63 Chapter Three Image Seven: The needlewoman at home and abroad 86 Image Eight: Emigration and New Zealand 87 Image Nine: Immigration and domestic servants 88 Chapter Four Image Ten: The stone store 108 Image Eleven: Early Auckland 109 Image Twelve: Washday 110 Image Thirteen: The sewing machine 111 Image Fourteen: Needlemoney 112 Image Fifteen: A tailor’s workroom 113 Chapter Five Image Sixteen: Kirkcaldie and Stains 144 Image Seventeen: Drapery and millinery departments 145 Image Eighteen: Milne and Choyce 146 Image Nineteen: Smith and Caughey 147 Image Twenty: Farmers catalogue 148 Image Twenty-One: Farmers catalogue two 149 Image Twenty-Two: Poverty Bay Herald advertisements 150 Image Twenty-Three: Vogue pattern cover 151 Image Twenty-Four: Mail order pattern 152 Image Twenty-Five: New Zealand Woman’s Weekly pattern page 153 Image Twenty-Six: Druleigh patternmaking book cover 154 Chapter Six Image Twenty-Seven: Hints for recycling clothing during World War Two 179 Image Twenty-Eight: Women working in munitions during World War Two 180 Image Twenty-Nine: Women sewing battledress during World War Two 181 Image Thirty: Examples of wartime fashions 182 Image Thirty-One: 1948 fashions at Randwick races 183 Image Thirty-Two: Dressmaker-made linen suits 184 Image Thirty-Three: 1948 fashions in Sydney 185 Chapter Seven Image Thirty-Four: Hollywood School of Dressmaking rulers 225 Image Thirty-Five: Dressmaker MH’s measurement book 226 Image Thirty-Six: Advisory and promotional leaflets 227 Image Thirty-Seven: Dressmaker garments from the 1950s 228 Image Thirty-Eight: 1948 wedding gown 229 Image Thirty-Nine: 1950s bride and bridesmaid 230 Image Forty: 1950 wedding group 231 Image Forty-One: 1960s wedding gown 232 viii Image Forty-Two: A wedding gown from 1968 233 Image Forty-Three: 1960 bride and flowergirl 234 Image Forty-Four: 1951 bridesmaid’s dress 235 Chapter Eight Image Forty-Five: Dress pattern for a 1950s sundress 272 Image Forty-Six: Dress patterns from the 1960s 273 Image Forty-Seven: 1955 New Zealand Woman’s Weekly cover 274 Image Forty-Eight: Benson and Hedges Fashion Design Awards entries 275 Image Forty-Nine: A gown by Annie Bonza 276 Image Fifty: Sketches by Bruce Papas 277 Image Fifty-One: A gown by Vinka Lucas 278 Image Fifty-Two: ‘Stardust’ by Michael Mattar 279 Image Fifty-Three: ‘Maritza’ by Sissel Berjck 280 Image Fifty-Four: Outfit from the Mollie Rodie Mackenzie Collection 281 Image Fifty-Five: Outfit from the Mollie Rodie Mackenzie Collection 282 Image Fifty-Six: Outfit from the Mollie Rodie Mackenzie Collection 283 Image Fifty-Seven: 1950s fashion in a Gisborne street 284 Image Fifty-Eight: 1950s fashion at an agricultural show 285 Image Fifty-Nine: 1955 bridesmaid’s dress 286 Image Sixty: 1949 wedding dress 287 Image Sixty-One: 1962 wedding dress 288 Image Sixty-Two: The fabric department of Kirkcaldie and Stains 288 Chapter Nine Image Sixty-Three: A dressmaker in her own wedding gown 304 ix ABSTRACT The rationale behind this research grew from a perception that, historically, work that was seen to be “women’s work” was undervalued or unrecognised, particularly if the work was closely associated with domesticity or the exclusively feminine.
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