• WEEK 5

• 1920s • 1930s • 1940s

1 • As we entered the C20th, womens’ fashion began to change significantly

• The rage for the “hobble” skirt begun by Poiret lasted until 1914/15 when skirts became softer and more bell shaped.

• The body was still very much covered, although the degree of fabric was much less. There was more mobility in the garments

• The outbreak of the first world war in 1914 coincided with the Parisian couture collections • By late 1914 disruption to money and shipping caused problems for the couture industries.

Image: Mendes V et all (2010) Fashion Since 1900,

Thames and Hudson, Day suits ss 1914 Image: Mendes V et all (2010) Fashion Since 1900, Thames and Hudson, a member of the Women’s Royal Air Force

• WW1 did have a significant impact on women’s lives as from 1916 onwards women were encouraged to enter the labour force to take the place of men.

• Numbers of women wore trousers, boilersuits and dungarees for the first time to undertake arduous but highly skilled roles.

• Clothing factories that were redeployed to make uniforms discovered the ease of larger, simpler runs of production, and took on more labour to meet demand. PESTEL FACTORS FOR THE 1920s

POLITICAL ECONOMIC TECHNOLOGY British Empire old monarchies Wall Street Crash 1929 The Car boosted Europe was changing Dustbowl years in the USA employment in the USA - and gas, rubber, Russia’s New Communism industries benefitted. China’s revolution Cinema boosted fashion FASHION A time representing a new awareness of the Salvatore Ferragamo became known for the cage heel and Began to reveal the body self. Bodies were no worked with Hollywood celebrities Chanel . Schiaparelli longer hidden. After Andre Perugia designed the “heel less shoe” Vionnet . Gres WW1 people also needed escape, Patou fantasy and change. SOCIETAL CULTURE LEGISLATION Leisure became increasing important. Romantic novels by Scott Going to the seaside and participating Fitzgerald, D H Lawrence Alcohol in sports became popular. Dance crazy Fred Astaire Jean Patou and Chanel designed Romantic ballet and theatre 4 stars Valentino and the everyday Flapper Girls KEY LOOKS AND INFLUENCES FOR 1920s + 1930S HOLLYWOOD + SOCIETY

http://www.pinterest.com/ http://fashionstyleguru.wordpress.com/ http://fashionhistorian.net/blog/ lisajohn2/1910-1920-1930-women- 2012/08/13/ferragamo-salvatore-ever- 2012/11/06/andre-perugia-the-art-of- fashion/ heard-of-the-cage-heel-it-was-designed- shoe-design/ by-salvatore-ferragamo/

GREAT 1920S AND 1930S BOARD ON SALVATORE FERRAGAMO ANDRE PERUGIA PINTERST STUNNING!! http://glamourdaze.com/2012/11/ http://www.museoferragamo.it/en/ the-1930s-the-golden-age-of-glamour- index.php for-womens-fashion.html Above photo is of Fay Wray in 1934 - she was in the original King Kong 5 Image: Mendes V et all (2010) Fashion Since 1900, Thames and Hudson, End 1910’s-to mid 1920 and authors own photograph 1923 • The outfits above illustrate the transition to a softer, shorter, bell shaped skirt, pleating and kilting were also popular. (Mendes,V 2010), Buxbaum G (2009) asserts this was due to a “backwards look at seemingly more harmonious, secure times” • The war did impact on fashion detailing, with roomy pockets, and military style frogging and braiding making an appearance on jackets. Coco Chanel

• Gabrielle ‘Coco’ Chanel took these new trends and develop them into a lifestyle choice for more casual and sporty clothing.

• Chanel is best known for her use of jersey, a fabric previously used for men’s underwear and sportswear.

• She created fluid wearable, easy, lightweight pieces that became the height of fashion as Image: Mendes V et all (2010) Fashion Since 1900, we became more Thames and Hudson, Chanel’s ‘Costumes de Jersey free, mobile, sporty and aware of our 1917’ and outside her shop in Deauville 1913 Coco Chanel

• Buxbaum G (2009) also reminds us that she was also an eminent couturier that unseated Poiret, who after the war simply could not adjust, and that most of our women’s wear today is a “Result of Chanel’s ideas, experiments and clean outs”

• Buxbaum (2009) also reports she once told the painter Dali she “Took the English masculine and made it feminine” and did nothing more than “ transform men’s clothing into women’s jackets, haircuts, ties and cuffs”

Image: Buxbaum G (2009) Icons of Fashion, Prestel, Chanel 1937 and tulle dress 1938 • The look that dominated the post war years was termed ‘La Garçonne’ after Victor Margueritte’s fashionable novel. Later this became the ‘Flapper’.

• This youthful style promoted the drop waisted chemise dress, bobbed, or cropped and shingled hair, worn with a cloche hat Image: Mendes V et all (2010) Fashion Since and usually a long 1900, Thames and Hudson, As above string of pearls • Radical and daring Buxbaum (2009) reminds us this crossover of the sexes was not accepted by all, but believed the style to be an “androgynous dress code that would broaden the discussion of the relationship between the sexes”

• Mendes (2010) believes it to be a myth that women largely abandoned corsets during this era, but adopted long, cylindrical, elasticated corsets that flattened the bust and suppressed the curves.

• This was the era of the film star and when Greta Garbo and Marlene Dietrich adopted this look, millions of women followed their example.

Image: Buxbaum G (2009) Icons of Fashion, Prestel, day dress Lanvin 1927 • Practicality in sportswear (Lee- Potter 1984) was a new concept which became established during the 1920’s, leading the field was couturier Jean Patou. • captured the public’s imagination for her short skirt lengths, boyish figure and wide bandeaus as much as her game. • The masculine silhouette became instrumental in freeing women from the previous heavy layers of sportswear.

Image: Lee-Potter (1984) Suzanne Lenglen 1926 in Jean Patou • The simple shapes and revolutionary fabrics of Coco Chanel were also instrumental in the development of sportswear and freeing the feminine silhouette.

• Friends with Diaghilev, she produced the outfits, inspired by the Prince of Wales, for a later Ballet Russes production Le Train Bleu a vision of modern spirit and (V&A 2008) the sportification of fashion

• The relaxed ‘sportive’ style perhaps had the Image: V&A (2008) Le Train Bleu, biggest influence on Coco Chanel for Le Ballet Russes menswear of the era 1924 Image: Mendes V et all (2010) Fashion Since 1900, Thames and Hudson, mid twenties fashionable attire, and plus fours for golf

Top right authors own photographs Brighton 1923 Image: Mendes V et all (2010) Fashion Since 1900, Thames and Hudson, Group of friends late 1920’s

Image: Buxbaum G (2009) Icons of Fashion, Prestel, Swimwear on a Deauville catwalk 1928 • http://www.youtube.com/watch? v=yNAOHtmy4j0

• Dance craze the Charleston sums up the spirit of optimism and abandonment of the 1920’s • Watch The Flappers... • http://www.youtube.com/watch? v=OMOBdQykKQY

• But with the Talking Movies, sound and music brought a new dimension to life as epitomised by Fred Astaire and Ginger Rogers in this clip 1934 with a much needed optimism, along with romance and glamour. • See video for Fred and Ginger... 1930’s

• The heady optimism of the roaring twenties ended almost overnight with the Wall Street crash of 24th October 1929 which caused worldwide recession and unemployment.

• Export trade to the US became non existent and thousands of dressmakers, tailors, embroiderers and seamstresses were laid off.

• still led fashion, but London began to develop couturiers of a similar nature; Molyneux, Norman Hartnell and Digby Morton became key figureheads of British fashion Image: Mendes V et all (2010) Fashion Since 1900, Thames and Hudson, Prince of Wales 1933 and The Wedding of the Duke and Duchess of Windsor in Mainbocher • Crowned Edward VIII in 1936 before his abdication, the Princes of Wales was considered the international menswear style leader (Mendes, 2010) • Mrs Simpson’s dress reflects the longer length naturally waisted style of the 1930’s, which was slender yet shapely. Madeleine Vionnet • A significant movement of the 1930’s was the inspiration of neo classical forms.

• Vionnet and Madame Gres were at the forefront of trying to capture the draping, pleating and folding of classical antiquity of ancient Greece and Rome.

• Fluid jerseys, silks, and chiffons were draped directly onto a mannequin or the body to create seemingly simple, yet highly complex garments. Image: Buxbaum G (2009) Icons of Fashion, Prestel, Vionnet in Vogue 1930 Madeline Vionnet • She is most associated (Buxbaum, 2009) with bias cutting, which increased the fluidity of her pieces.

• “It was the bias cut, discovered by Vionnet – that made freedom of expression in clothing possible” Issey Miyake

Image: Buxbaum G (2009) Icons of Fashion, Prestel, Vionnet 1933 Elsa Schiaparelli

• The Surrealist movement was formed in 1924, but not exhibited until 1936. Schiaparelli a friend and collaborator with Jean Cocteau and Salvador Dali captured in clothing the innovation and displacement of their ideas. • Using motifs and themes from the artworks she created surface decoration, millinery and accessories. • All her collections featured stunning embroidery by Lesage and the themes; musical notes, the circus, astrology were all reinforced by novelty buttons and trims.

Image: Buxbaum G (2009) Icons of Fashion, Prestel, Tear dress after Dali 1937 Image: Mendes V et all (2010) Fashion Since 1900, Thames and Hudson, As above caption and Schiaparelli hat sketches Image: Mendes V et all (2010) Fashion Since 1900, Thames and Hudson, Women’s League of Health and Beauty mid 1930s • Health and sports clubs such as the Women’s League of Health and Beauty sprang up throughout the 1930’s. linking the idea of beauty with general wellbeing. • Lastex a new American rubber yarn introduced in 1930 revolutionised underwear and sportswear http://static.top-10-list.org/wp-content/uploads/2009/10/Frederick-Perry.jpg In the 1930’s British player Fred Perry bought a ‘dash and daring’ to the game (V&A 2008) a superb athlete, he diversified from the game into clothing by first producing towelling wristbands and then the iconic honeycomb knit pique polo shirt that cemented the fame of the brand from 1950 onwards. • The foundation of another sports empire, was similarly created by French tennis player Rene Lacoste.

• A near contemporary of Perry (V&A 1998) he started his clothing business in 1933 with knitwear manufacturer Andre Gillier.

• From the 1970’s onwards his distinctive crocodile badge found favour with ‘preppy’ American college students. With the take up of Perry by 1960’s British mods, the two typify the argument as to where British street style came from.

http://i48.tinypic.com/s2zlf8.jpg Images: Mendes Late 1930’s V et all (1999) 20th Century • Tailored trouser suits Fashion, also were popular Thames and throughout the 1930’s, Hudson skirts were lean and flared as were trousers. • There was a Jacques Heim proliferation of Tyrolean ensemble late and German peasant 1930’s styles, that became a major trend oddly (Mendes V, 1999) coinciding with the rise of Hitler.

Salvatore Ferragamo 1938 Hollywood influence

Hollywood glamour before and throughout WW2 film had provided a vital link to fashion and escapism. Audiences thrilled to films such as Brief Encounter and Casablanca.

Hall C (1985) suggested everyday women in the 1940’s looked so glamorous as they were emulating screen sirens such as Katherine Hepburn, Ingrid Bergman, Bette Davis and Joan Crawford on a daily basis.

Image: Hall C (1985) The Forties in Vogue, Octopus Books, mixed screen stars http://historicromance.files.wordpress.com/ 2011/07/1940s-fashion-1.jpg In 1939 the Second World War broke out.

Despite hanging out for as long as possible, women where eventually conscripted to carry out war work, even active service, to assist the heavy toll on men.

Image: Hall C (1985) The Forties in Vogue, Octopus Books, Women shipbuilders 1943 WW2 also saw women engage in active service for the first time; WAACs (Women's Auxiliary Army Corp, the WRENS (Women's Royal Naval Service) and perhaps most dangerously of all working on ‘ack ack’ or anti aircraft batteries.

Image: Hall C (1985) The Forties in Vogue, Octopus Books, Ack Ack battery 1943 Women all over Britain were called up to work in munitions (ammunitions factories) or be part of the Land Army.

Images: Hall C (1985) The Forties in Vogue, Octopus Books, The land army and Jacqueline Cochran 1941 munitions girls • Some of the great names of British (Mendes V 1999) including; Edward Molyneux, Hardy Amies, Digby Morton, Creed and Worth London were recruited by the Board of Trade in 1941 to create a year round wardrobe for the Utility scheme - a highly restricted capsule collection of garments purchased by ration coupons.

• The ingenuity of the designs was not really recognised until years later.

Images: Mendes V et all (1999) 20th Century Fashion, Thames and Hudson, Women munitions workers attending a display of Utility clothing 1942 Images: Mendes V et all (1999) 20th Century Fashion, Thames and Hudson, Utility outfits, The Incorporated Society of London Fashion Designers and Digby Morton above left. Image: The Kyoto Costume Images: Mendes V et all (1999) 20th Institute (2004) Fashion Century Fashion, Thames and Hudson, Taschen, Jean Lanvin 1940-44 American tailored outfits; Kraus (left) and Hattie Carnegie • During the 1030’s and 1940’s cycling replaced horseriding as a practical, fun and available means of transport.

• Vogue (Lee-Potter 1984) struck a note of optimism – “She’s high on a hill; where she’s got there by her own effort. No road map of the future bewilders her”

• In the grim days of petrol rationing cycling was cheap and beneficial.

Image: Lee-Potter (1984) Photograph Toni Frissell 1942 Opie R (2003) The Wartime Scrapbook, New Cavendish Books Another government organised campaign ‘Make Do and Mend’ was introduced by the government in 1943 to ensure clothes lasted as long as possible and could then be further recycled. In a grim grey war exhausted Britain, rationing dragged on until well into the fifties and most women were desperate for change and to end the ‘Age of Austerity’.

Opie R (2003) The Wartime Scrapbook, New Cavendish Books After it’s liberation from German occupation Paris quickly re- asserted itself as the leader of global fashion. The fashion press raved about Dior’s ‘New Look’ in fact a return to feminine conformity – narrow, gently sloping shoulders, the ‘waspie’ corset to cinch in the waist, hips were padded and heavy, full skirts to low calf length were supported by layered petticoats. Originally criticized as irresponsible and inappropriate the New Look took about a year to filter into mainstream fashion. Images: Mendes V et all (1999) 20th Century Fashion, Thames and Hudson, Bar Suit 1947 2012 a resurgence of a new look?

Prada SS 2012 Burberry A/W 2012/3 http://lornaclaireweightman.com/tag/kate-moss/ and http://news.instyle.com/2011/07/01/ kate-mosss-wedding-dress-john-galliano/ Phantasmagoric … a design from the Philip Treacy spring/summer 2013 collection at London fashion week. Photograph: Jonathan Short/AP http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2012/sep/19/london-fashion- week-fine-art REFERENCES

• Mendes V et all (1999) Fashion Since 1900, Thames and Hudson • Buxbaum G (1999) Icons of Fashion; The 20th Century, Prestel. • The Kyoto Costume Institute (2004) Fashion from the 18th to the 20th Century, Taschen • Hall C et all (1985) The Forties in Vogue, Octopus Books • Opie R (2003) The Wartime Scrapbook; From Blitz to Victory 1939-45, New Cavendish Books