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Material Memories: the Parachute Wedding Gowns of American Brides, 1945-1949

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Material Memories: the Parachute Wedding Gowns of American Brides, 1945-1949 Material Memories: The Parachute Wedding Gowns of American Brides, 1945-1949 A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History of the College of Design, Architecture, Art, and Planning by Carolyn Wagner B.A., A.A. Thomas More College May 2013 Committee members: Morgan Thomas, Ph.D. (Chair) Kimberly Paice, Ph.D. Martin Francis, Ph.D. ABSTRACT After the Second World War there are several accounts of brides and grooms repurposing parachute silk to make a wedding dress. This study collects, records, and examines nine case studies of this sporadic practice, focusing primarily on parachute wedding gowns designed and worn in the United States between the post-war years of 1945 and 1949. By exploring the materiality of the fabric and the physical transformation involved in fashioning a dress from a parachute, these wedding dresses are seen as the result of creative resourcefulness. This practice also embodies the synthesis of the post-war transitions occurring within the personal and social spheres. In contrast to today’s disposable culture, the parachute dresses of the Second World War emphasize singularity and historicity. Drawing from current scholarship on material culture and the complex relationships between people and their possessions, this study examines how parachute gowns bridge world-historical events and the lives of ordinary people. The dresses are vibrant material creations with lives and histories that are worth recording and remarking. ii © Copyright 2015 Carolyn Wagner TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………………….v LIST OF FIGURES……………………………………………………………………………...vii INTRODUCTION………………………………………………………………………………...1 CHAPTER ONE: Material Transformation………………………………………………….9 Chapter One Images……………………………………………………...33 CHAPTER TWO: Wars and Weddings……………………………………………………...58 Chapter Two Images……………………………………………………..83 CHAPTER THREE: Testimonies and Forecasts…………………………………………….…95 Chapter Three Images……………………………………………..……110 CONCLUSION…………………………………………………………………………………126 BIBLIOGRAPHY……………………………………………………………………….……...129 iv ACKNOWLEDGEMENTS Throughout this project I was struck again and again by the unfailing support and generosity I received from a number of extraordinary people. First, the members of my thesis committee were instrumental to my cause. Dr. Morgan Thomas, I am forever indebted to you for your guidance. I would still be on the first page without you as a copilot. You helped me navigate in the right direction, you gave order to my indecisive thoughts, and you fully supported my goal. Dr. Kim Paice, from elephants to wedding dresses, you have embraced and encouraged my interest in unconventional subjects, and for that I am grateful. Without your support I would not have had the courage to take on this topic. Dr. Martin Francis, thank you for sharing your invaluable wisdom and insight. Without you I would have likely never heard of parachute wedding dresses and I certainly would not have gained a deep understanding of their historical significance. I also owe a great deal of thanks to those outside of the University of Cincinnati community who offered their time, talents, and assets to this project. Gayle Strege, thank you for being my fashion and textile guide. I am very appreciative for your willingness to share your knowledge, resources, and time. Mr. Foley, thank you for being my window into World War II. Your insights, stories, and assistance in viewing and photographing the items of war have shaped the historical foundation of this project. Cynthia Amnéus, thank you for being my wedding dress extraordinaire. I cannot thank you enough for generously sharing your materials with me and for offering encouragements each time I see you. To my family and friends, thank you for being by my side throughout this project. Your reassurance and understanding during the most challenging moments allowed me to continue. To my mom, there are no words for how grateful I v feel for your unwavering support. Thank you for joining me on my research fieldtrips. I will always cherish our adventures. Finally, thank you to the women who shared their stories with me. Ruth Hensinger, Elizabeth Morgan, and Barbara Ley the opportunity to speak with each of you has been an unparalleled experience. Ruth, thank you for sharing your detailed documents with me and for kindly answering my questions. Elizabeth, thank you as well for sending your records and for willingly telling me your and Edwin’s stories. Barbara, you are truly one of a kind. Thank you for welcoming me into your home, history, and future. vi LIST OF FIGURES All photographs by Carolyn Wagner, unless otherwise stated. Fig. 1: Morgan Dress Detail. 2014, Digital photography. Fig. 2: Ley Dress Detail. 2015, Digital photography. Fig. 3: Short’s Wedding Day, 1946. Don F. Pratt Museum, Fort Campbell, Kentucky. Fig. 4: Reserve Parachute. 2014, Digital photography. Fig. 5: Back of Reserve Parachute. 2014, Digital photography. Fig. 6: Paratrooper training exercises. Available from: 3 Quarters Today: My Life, my photography, my passions, http://3quarterstoday.com/2012/05/26/honoring-my-dad-the- paratrooper/. Fig. 7: Suspension lines. 2014, Digital photography. Fig. 8: Label of Parachute Manufacturer, 2014, Digital photography. Fig. 9: Short’s Dress. 2014, Digital photography. Fig. 10: Short’s Dress Detail. 2014, Digital photography. Fig. 11: Short’s Dress Detail Two. 2014, Digital photography. Fig. 12: Sherwood’s Dress—Blouse, Skirt, Slip. 2014, Digital photography. Fig. 13: Sherwood’s Dress—Slip Detail. 2014, Digital photography. Fig. 14: Sherwood’s Dress—Blouse Detail. 2014, Digital photography. Fig. 15: Apex/Sherwood’s Dress Comparison. 2014, Digital photography. Fig. 16: Sherwood’s Dress—Slip Detail Two. 2014, Digital photography. Fig. 17: Paul Noll, Reeling. Available from: http://www.paulnoll.com/China/Suzhou/silk- 11.html. Fig. 18: Morgan’s Dress—Plain Weave. 2014, Digital photography. Fig. 19: Morgan’s Dress Silk Detail. 2014, Digital photography. vii Fig. 20: Silk Map Lingerie, BBC News. Available from: http://www.bbc.com/news/magazine- 31719704. Fig. 21: First cover of “So You’re Going to Be Married: A Magazine for Brides,” 1934. Kisses and Cake. Available from: https://kissesncake.wordpress.com. Fig. 22: “Your Right to a Wedding.” Available from: Bride’s Magazine, Summer 1942, Vol. 8, 33. Fig. 23: Reynold’s Dress, 1946. The National WWII Museum, New Orleans. Available from: http://www.nationalww2museum.org/exhibitions/wedding-gowns-of-wwii-war-brides.html. Fig. 24: Reynold’s Wedding Day, 1946. The National WWII Museum, New Orleans. Available from: http://www.nationalww2museum.org/exhibitions/wedding-gowns-of-wwii-war- brides.html. Fig. 25: Bush’s Wedding Day, 1946. Ohio State University’s Historic Costume & Textiles Collection, Columbus, Ohio. Available from: https://fashion2fiber.osu.edu/. Fig. 26: Bush’s Dress, 1946. Ohio State University’s Historic Costume & Textiles Collection, Columbus, Ohio. Available from: https://fashion2fiber.osu.edu/. Fig. 27: Bush Dress Detail. 2014, Digital photography. Fig. 28: King’s Dress, 1941. Victoria and Albert Museum, London, England. Available from: http://collections.vam.ac.uk/item/O125284/wedding-dress-and-dolling-ella/. Fig. 29: King’s Dress Detail, 1941. Victoria and Albert Museum, London, England. Available from: http://collections.vam.ac.uk/item/O125284/wedding-dress-and-dolling-ella/. Fig. 30: Bilodeau’s Dress, 1945. The National WWII Museum, New Orleans. Available from: http://www.nationalww2museum.org/exhibitions/wedding-gowns-of-wwii-war-brides.html. Fig. 31: Bilodeau’s Wedding Day, 1945. The National WWII Museum, New Orleans. Available from: http://www.nationalww2museum.org/exhibitions/wedding-gowns-of-wwii-war- brides.html. Fig. 32: British war brides traveling to America. From: Jenel Virden, Good-bye, Piccadilly: British War Brides in America. Urbana: University of Illinois Press, 1996. Cover. Fig. 33: Invitation Comparison. 2014, Digital photography. Cincinnati History Library and Archives, Cincinnati Museum Center, Cincinnati, Ohio. Fig. 34: Bourland’s Wedding Day, 1946. Smithsonian National Museum of American History, Washington D.C. Available from: http://www.smithsonianmag.com/ist/?next=/smithsonian- institution/june-a-time-for-weddings-and-wedding-tales-19543309/. viii Fig. 35: Parachute Packing Room Portal, 1942. Jon T. Hoffman, Silk Chutes and Hard Fighting: U.S. Marine Corps Parachute Units in World War II. CreateSpace Independent Publishing Platform, 2013. Fig. 36: Paratroopers, 1944. WWII in Color. Available from: http://www.ww2incolor.com/news/site-updates/15-astonishing-world-war-2-photos-that-bomb- your-senses. Fig. 37: U.S. solider in full gear on D-Day, 1944. Gordon L. Rottman, World War II US Parachute Infantry Regiments. Osprey Publishing, 2014. Fig. 38: Bill Mauldin, Homeless Veteran, 1940s. Available from: Mark Herzog, He Has Seen War, 2011. Fig. 39: Maternity Wear Advertisement, 1940’s. What to Expect. Available from: http://www.whattoexpect.com/tools/photolist/100-years-of-maternity-fashion. Fig. 40: Hensinger’s Wedding Day, 1947. Smithsonian National Museum of American History, Washington D.C. Available from: http://patch.com/pennsylvania/southwhitehall/the-wedding- dress-that-dropped-from-the-sky. Fig. 41: Hensinger’s Dress, 1947. Smithsonian National Museum of American History, Washington D.C. Available from: http://newsdesk.si.edu/snapshot/parachute-wedding-dress.
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