Great Depression and World War 1 Fashion Trends

Costume and manner from the 1930s to the stop of Globe War II

The most characteristic North American fashion trend from the 1930s to 1945 was attention at the shoulder, with butterfly sleeves and banjo sleeves, and exaggerated shoulder pads for both men and women by the 1940s. The period too saw the first widespread apply of homo-made fibers, especially rayon for dresses and viscose for linings and lingerie, and synthetic nylon stockings. The zipper became widely used. These essentially U.Due south. developments were echoed, in varying degrees, in Britain and Europe. Suntans (called at the fourth dimension "sunburns") became fashionable in the early 1930s, forth with travel to the resorts along the Mediterranean, in the Bahama islands, and on the eastward coast of Florida where one can learn a tan, leading to new categories of clothes: white dinner jackets for men and beach pajamas, halter tops, and blank midriffs for women.^{[i] [ii]}

Fashion trendsetters in the flow included Edward Viii and his companion Wallis Simpson, socialites like Nicolas de Gunzburg, Daisy Fellowes and Mona von Bismarck and such Hollywood movie stars as Fred Astaire, Carole Lombard and Joan Crawford.

Womenswear [edit]

1930s [edit]

Width at the shoulders was achieved by many means. In Dorothy Gish'due south outfit of 1932, the width is in the sleeve cap, which is pleated into the armscye.

Classic style in the Thirties in Europe (Hungary 1939).

Elizabeth Arden'southward glaze features wide, rounded shoulders cut in one piece with the yoke, 1939.

Overview [edit]

The lighthearted, forward-looking attitude and fashions of the tardily 1920s lingered through near of 1930,^[3] simply by the end of that twelvemonth the effects of the Smashing Depression began to affect the public, and a more than bourgeois approach to fashion displaced that of the 1920s. For women, skirts became longer and the waist-line was returned upwardly to its normal position. Other aspects of manner from the 1920s took longer to stage out. Cloche hats remained popular until about 1933 while short hair remained popular for many women until late in the 1930s and even in the early 1940s. The Great Depression took its toll on the 1930s womenswear due to World War Ii which dates from 1939 to 1945. This greatly afflicted the style of how women dressed during the 1940s era. According to Shrimpton "Committed to ensuring the fair distribution of scarce just essential resources, namely food, habiliment, and furniture, the government introduced a comprehensive rationing scheme based on resource allotment of coupons - a arrangement deriving, ironically, from the German rationing plan devised in November 1930."^[iv]

Because of the economic crash, designers were forced to slash prices for clothing in order to continue their business adrift, especially those working in couture houses. Designers were too forced to use cheaper fabric and materials, and dress patterns also grew in popularity as many women knew how to sew together. Hence, clothing was made more accessible, and there was also a continuation of mass production, which was ascent in popularity since the 1920s. The 1930s allowed women from all classes and socio backgrounds to be fashionable, regardless of wealth. With prices slashes on types of fabrics utilized for designing, new inventions such as the cipher made garments quicker and cheaper to make. This was also influenced by the rise in women inbound the workforce alongside the rise of the business girl, equally they still were able to beget to clothes well and stay in style. Daywear also had to be functional, but it never lost its touch of elegance or femininity, as the dresses would notwithstanding naturally highlight the female or womanly shape with cinched waistlines, skirts fitted to the hip and fullness added to the hem with flared gores or pleats. Frilled rayon blouses also went with the cinched waist.^[v]

Considering dress were rationed and fabric was scarcer, the hem lines of dresses rose to knee length. The main sort of dress in the 1940s included features such as an hour glass shape figure, broad shoulders, nipped in high waist tops and A line skirts that came down to just at the genu. Many different celebrities who embraced this blazon of style such as Joan Crawford, Ginger Rogers, Barbara Stanwyck, and Ava Gardner. Fifty-fifty though daywear dresses were influenced by the war, evening dresses remained glamorous. Women'southward undergarments became the soul of fashion in the 1940s^[6] because it maintained the critical hourglass shape with smooth lines. Dress became utilitarian. Pants or trousers were considered a menswear item simply until the 1940s.^[6] Women working in factories showtime wore men'due south pants but over time, factories began to make pants for women out of cloth such as cotton, denim, or wool. Coats were long and downwards to the articulatio genus for warmth.

Major fashion magazines at the time including Vogue continued to cater to the fashionable and wealthy women of the 1930s to proceed reporting and reflecting the most pop trends in that time menses, despite the affect the economical crash had on them. The wealthiest yet managed to afford and keep up with the most high-end or the well-nigh coveted designs and maintain their lifestyle.

Fashion and the movies [edit]

Indian saree made from chiffon textile, inspired by the evening dresses of Hollywood starlets.

Throughout the 1930s and early 1940s, a second influence vied with Paris couturiers as a wellspring for ideas: the American cinema.^[vii] As Hollywood movies gained their popularities, general public idolized movie stars equally their role models. Paris-based fashion houses were losing their ability and influences in most major fashion trends during these years. Many American and European moviegoers were fascinated by and got interested in overall fashion including wearing apparel and hairstyles of movie stars which led to various fashion trends.^[eight] After the film Tarzan, fauna prints became pop. On the other hand, different styles such every bit bias-cut, satin, Jean Harlow-style evening dresses and the coincidental look of Katharine Hepburn also became famous.^[9] Paris designers such every bit Elsa Schiaparelli and Lucien Lelong acknowledged the impact of picture show costumes on their work. LeLong said "Nosotros, the couturiers, can no longer alive without the cinema whatsoever more than the cinema can live without us. We corroborate each others' instinct.^[10]

The 1890s leg-o-mutton sleeves designed past Walter Plunkett for Irene Dunne in 1931's Cimarron helped to launch the broad-shouldered look,^[eleven] and Adrian's piffling velvet hat worn tipped over 1 eye past Greta Garbo in Romance (1930) became the "Empress Eugénie chapeau ... Universally copied in a broad toll range, information technology influenced how women wore their hats for the residual of the decade."^[11] During tardily 1920s to early 1940s, Gilbert Adrian was the head of the costume department at Metro-Goldwyn-Mayer, the nigh prestigious and famous Hollywood moving-picture show studio. He produced numerous signature styles for the elevation actresses of the flow, equally well as countless fashion fads during those times. One of his popular dresses was the gingham dress, a cotton fiber apparel with a checked or striped pattern, that he made for Judy Garland for the motion picture The Sorcerer of Oz in 1939, and for Katharine Hepburn for the movie The Philadelphia Story in 1940.^[viii] Flick costumes were covered not only in pic fan magazines, but in influential fashion magazines such every bit Women'due south Wear Daily, Harper'southward Bazaar, and Vogue.

Adrian'southward puff-sleeved gown for Joan Crawford in Letty Lynton was copied by Macy'south in 1932 and sold over 500,000 copies nationwide.^[12] The dress was appraised every bit one of the almost influential pieces in the era'due south fashion, inspiring numerous designers to showcase like styles in their ain work.^[13] One of Crawford's widely influential pieces was a white organdy dress with ruffle adornments. With the use of shoulder pads, the dress made the movement freer, emphasizing the back past removing adornments previously popularized in the 1920s.^[14]

One of the nigh stylistically influential films of the 1930s was 1939's Gone with the Wind. The dresses in the picture show were designed with simplified adornments and a mixture of different monotone hues equally opposed to using a varied color palette. This was considered to be Plunkett'southward intentional design to utilise modernism, the emerging aesthetic of the 1930s. Plunkett received praise for producing costumes that adequately harmonized the era of the film with the artful sense of the belatedly 1930s. The costumes brought back the Neo-Victorian manner, also as potent use of symbolic color.^[15] It inspired the Princess Ballgown, a Victorian style clothes reduced to full A line skirts with petticoats underneath for fullness.^[6] It was the nearly popular style for teens going to prom.^[6] Plunkett's "barbecue clothes" for Vivien Leigh as Scarlett O'Hara was the almost widely copied dress after the Duchess of Windsor's wedding costume, and Vogue credited the "Scarlett O'Hara" wait with bringing total skirts worn over crinolines dorsum into wedding ceremony fashion after a decade of sleek, effigy-hugging styles.^[11]

Lana Turner'south 1937 film They Won't Forget fabricated her the first Sweater daughter, an informal wait for young women relying on large breasts pushed up and out by bras, which continued to exist influential into the 1950s, and was arguably the first major style of youth fashion.

Travis Banton gained his fame by, after working at a couture house in New York, designing costumes for Marlene Dietrich as a caput designer of Paramount. His style was softer and more attracting than Adrian's, embodying femininity by his sense of balance with the use of Vionnet's bias-cut, and was known for refined concepts of simple lines and classic styles. Many famous movie stars during the 1930s such as Magdalene Dietrich and Mae Due west at Paramount became the models of wit, intellect and beauty through Banton's elegant costumes. The costumes he fabricated for Dietrich for various movies such equally Shanghai Limited 1932, and The Scarlet Empress 1934 portray her sharp regality.^[thirteen]

Retail vesture and accessories inspired past the period costumes of Adrian, Plunkett, Travis Banton, Howard Greer, and others influenced what women wore until war-fourth dimension restrictions on fabric stopped the flow of lavish costumes from Hollywood.^[xi]

Difficult chic and feminine flutters [edit]

Jean Patou, who had first raised hemlines to 18" off the floor with his "flapper" dresses of 1924, had begun lowering them again in 1927, using Vionnet's handkerchief hemline to disguise the modify. Past 1930, longer skirts and natural waists were shown everywhere.^[xvi]

But it is Schiaparelli who is credited with "changing the outline of way from soft to hard, from vague to definite."^[16] She introduced the attachment, synthetic fabrics, simple suits with bold colour accents, tailored evening gowns with matching jackets, broad shoulders, and the color shocking pink to the fashion globe. Past 1933, the trend toward broad shoulders and narrow waists had eclipsed the emphasis on the hips of the later 1920s.^[16] Wide shoulders would remain a staple of style until later World War II.

In contrast with the hard chic worn by the "international set".^[16] designers such as Uk'south Norman Hartnell made soft, pretty dresses with fluttering or puffed sleeves and loose dogie-length skirts suited to a feminine figure. His "white mourning"^[17] wardrobe for the new Queen Elizabeth'due south 1938 state visit to Paris started a brief rage for all-white wear.^[18]

Feminine curves were highlighted in the 1930s through the use of the bias-cut. Madeleine Vionnet was an early innovator of the bias-cut, using it to create clinging dresses that draped over the body's contours.^[xix]

Advertisement for women'south fashion at McWhirters department store, Brisbane, Australia, 1941

Through the mid-1930s, the natural waistline was often accompanied past emphasis on an empire line. Curt bolero jackets, capelets, and dresses cutting with fitted midriffs or seams below the bust increased the focus on breadth at the shoulder. By the tardily 1930s, emphasis was moving to the back, with halter necklines and high-necked but backless evening gowns with sleeves.^{[two] [16]} Evening gowns with matching jackets were worn to the theatre, nightclubs, and elegant restaurants.

Skirts remained at mid-dogie length for day, but the end of the 1930s Paris designers were showing fuller skirts reaching simply beneath the knee;^[twenty] this practical length (without the wasteful fullness) would remain in style for solar day dresses through the war years.

Other notable fashion trends in this menstruation include the introduction of the ensemble (matching dresses or skirts and coats) and the handkerchief brim, which had many panels, insets, pleats or gathers. The clutch glaze was stylish in this catamenia likewise; it had to be held shut equally at that place was no fastening. By 1945, adolescents began wearing loose, poncho-like sweaters called sloppy joes. Full, gathered skirts, known every bit the dirndl skirt, became popular around 1945.^[21]

Accessories were vital components of an outfit, this 1943 black business suit was accessorized with a halo chapeau, black gloves and pink clutch pocketbook

Accessories [edit]

Gloves were "enormously of import" in this period.^[18] They were a type of accessory that came to be seen as more of a condolement rather than for style. The elaborate trim was removed and was replaced by plain gloves. Evening gowns were accompanied by elbow length gloves, and twenty-four hour period costumes were worn with short or opera-length gloves of cloth or leather.

Manufacturers and retailers introduced coordinating ensembles of chapeau, gloves and shoes, or gloves and scarf, or hat and bag, oft in striking colours.^[18] For bound 1936, Chicago's Marshall Field's department store offered a blackness hat by Lilly Daché trimmed with an antelope leather bow in "Pernod light-green, apple blossom pinkish, mimosa yellow or carnation chroma" and suggested a handbag to match the bow.^[22]

When war broke out in 1939, many women purchased handbags with a respirator pouch due to fear of poison gas attacks.^[23]

Sportswear [edit]

During the mid to late 1930s, swimsuits became more revealing than those of the 1920s, and ofttimes featured lower necklines and no sleeves. These were made from nylon and rayon instead of the traditional wool, and no longer included a short modesty skirt.^[24] Experimental swimsuits fabricated from bandbox wood veneer were a fad in the early 1930s, just did not catch on amidst the mainstream.^[25]

Union of Wallis Simpson and King Edward Eight (from January 1936 until his abdication) [edit]

Notable American socialite was Wallis Simpson and her marriage to Prince Edward was also seen as influential trendsetters during the 1930s period of fashion. Their wedlock was historical, been chosen "The Greatest Dear Story of the 20th Century" by some, due to the fact that Prince Edward was royalty and in line for the throne. However, his beloved affair with Wallis Simpson is what attracted attention and made headlines.

Simpson was not only a socialite, only she was American and a divorcee, both of which were deal breakers for the majestic family at the fourth dimension. As Prince Edward constitute he could not marry Simpson on these circumstances, he did the unthinkable by giving upward the throne to ally her. Every bit the ii wed in 1937, their marriage marked a more progressive mindset that people slowly began to adopt, as people already wanted to ditch old traditions and trade it for new ones, especially for those in the majestic family.

Their wedding and marriage was well chronicled by Vogue, including a spread of Wallis Simpson before her wedding day, captured by iconic mode photographer, Cecil Beaton, which included the iconic Lobster apparel by Elsa Schiaparelli, which included a hand-painted lobster by Salvador Dalí, a pregnant surrealist artist and painter in the 1930s.^[5]

War years [edit]

Wartime austerity led to restrictions on the number of new clothes that people bought and the corporeality of fabric that clothing manufacturers could use. Women working on war service adopted trousers as a practical necessity. The United states of america government requisitioned all silk supplies, forcing the hosiery industry to completely switch to nylon. In March 1942 the government then requisitioned all nylon for parachutes and other state of war uses, leaving simply the unpopular cotton and rayon stockings. The industry feared that non wearing stockings would go a fad, and advised stores to increase hosiery advert.^[26] When nylon stockings reappeared in the shops there were "nylon riots" equally customers fought over the first deliveries.^[27]

In Uk, clothing was strictly rationed, with a system of "points", and the Board of Merchandise issued regulations for "Utility Clothes" in 1941.^[18] In America the War Production Lath issued its Regulation L85 on March 8, 1942, specifying restrictions for every particular of women's clothing.^[28] Because the armed services used and then much greenish and brownish dye, manufacturers used more cerise dye in article of clothing.^[26] Hands laddered stockings were a detail concern in Britain; women were forced to either paint them on (including the back seam) or to join the WRNS, who continued to issue them, in a cunning aid to recruitment. Afterward in the state of war, American soldiers became a source of the new nylon stockings.

Most women wore skirts at or nearly knee-length, with simply-cut blouses or shirts and square-shouldered jackets. Popular magazines and pattern companies brash women on how to remake men'southward suits into smart outfits, since the men were in uniform and the material would otherwise sit unused. Eisenhower jackets became popular in this menses. Influenced by the armed forces, these jackets were bloused at the chest and fitted at the waist with a chugalug.^[21] The combination of neat blouses and sensibly tailored suits became the distinctive attire of the working woman, college girl, and immature society matron.^[29]

The shirtwaist dress, an all-purpose garment, also emerged during the 1930s. The shirtwaist dress was worn for all occasions, besides those that were extremely formal, and were modest in blueprint. The dress could either take long or short sleeves, a pocket-sized neckline and skirt that fell beneath the knee. The bust was rounded simply not particularly emphasized and the waistline was often belted in its normal position. Pockets were both functional and used for ornament and were accompanied by buttons downwardly the front, around the sides or up the back of the dress. These dresses often were accompanied by coordination coats, which were made out of contrasting fabric only lined with the dress fabric. The jacket was ofttimes synthetic in a boxy fashion and had wide lapels, wide shoulders and numerous pockets. The wearing apparel and coat combination created an overall consequence of sensibility, modesty and girl next door lifestyle that contrasted the very popular, 2d-skin similar style of the bias-cut evening gown.^[29]

Women wearing snoods in a factory

Women's fashion in vacation in Lake Balaton in Hungary (1939).

Headwear [edit]

Woman wearing a turban during wartime with all the fashionable accessories.

The 1940s was a flow marked by iconic headwear. Because of the war, electric current European fashion was no longer bachelor to women in the United states. In 1941, hatmakers failed to popularize Chinese and American Indian-based designs, causing one milliner to lament "How different when Paris was the fountainhead of way". As with hosiery hatmakers feared that bareheadness would become popular, and introduced new designs such every bit "Winged Victory Turbans" and "Commando Caps" in "Victory Gold".^[26] American designers, who were oft disregarded, became more popular as American women began to wear their designs. American designers of fix-to-wear contributed in other ways too. They made improvements to sizing standards and began to utilise fiber content and intendance labels in clothing.^[30] Hats were 1 of the few pieces of wearable that was not rationed during WWII, therefore there was a lot of attention paid to these headpieces. Styles ranged from turbans to straw hats.^[31] The snood was an important accessory to a woman working in the factory. Snoods were fashionable and functional at the aforementioned time, they enabled factory women who were wearing pants and jumpsuits to still look feminine. Snoods pulled hair out of the face up by containing it all at the back of the caput in a hanging net. With all the long hair hanging in the cyberspace, the front of the hair was left out and could exist curled and styled to glamourize the factory uniforms. Other popular headpieces were variations of headscarves, such as the bandana Rosie the Riveter is pictured wearing in the recruitment posters. Some other variation of the headscarf was simply tying a square scarf folded in one-half under the chin. Later in the 1950s and 60s these headscarves became highly glamorized by celebrities like Audrey Hepburn, Brigitte Bardot, and Jacqueline Kennedy. This glamorized look came from women in the 1940s who wore headscarves over their victory rolls in order to make their simple apparel look dressed up. Draped turbans – sometimes fashioned from headscarves – too made an appearance in fashion, representing the working adult female of the menstruation. These were worn by women of all classes.This type of headwear could be glamorous or applied. Turbans were the most functional for the working woman because she was able to have all her hair out of her face and skip washing her hair by roofing information technology with the turban. Both turbans and headscarves were useful for hiding curlers and then when a woman got off work all she had to practice was take out her curlers and her hair would be prepare for a dark out.^[32] All these culling options to hats were popular, not only for part and glamour, but also considering the look could be achieved quite inexpensively.

Swimwear [edit]

Woman wearing a swimsuit in swimming puddle in Hungary in 1938.

Typical 1945 two-piece swimsuit worn past Gene Tierney

An of import style that became popular due to the war was the ii-piece swimsuit which later led to the Bikini. In 1942, the War Production Board passed a law chosen the Fifty-85 which put restrictions on vesture production.^[33] For swimwear companies the Fifty-85 meant they had to use x per centum less material in all their designs, every bit a consequence swimsuits became smaller. Swimsuits had been becoming more minimal for a while only in 1944 Tina Leser debuted one of the showtime two-piece swimsuits. Fifty-fifty though the bottoms were high waisted, cut depression on the legs, and paired with a pocket-size bandeau, Lesers' 2 piece was still considered a daring style for the era. According to Sarah Kennedy, writer of The Swimsuit: A History of Twentieth-Century Fashion, unlike the bikini the two-piece was created out of necessity and was non meant to be shocking. Apparently in that location was an unspoken rule that bellybuttons must never evidence which accounts for the loftier waisted bottoms.^[34] Despite it beingness scandalous to some, the 2-piece was eventually accustomed because there actually wasn't some other option. The L-85 did not simply make swimsuits smaller, simply it also pushed designers to get more creative with their designs, this led to suits that accentuated and drew attending to women'due south bodies. This was done by putting boning in the swimwear. Ii years after Leser debuted i of the commencement two-pieces, the bikini was invented in 1946 by a French engineer named Louis Réard. It was plain named after the Bikini Atoll, which was the site of a nuclear bomb test in 1946, because Réard hoped its affect would be explosive in the fashion globe.^[35] The bikini was even more daring than the two-piece, thus it did not go pop until 1953 when Brigitte Bardot was photographed in one at the Cannes Film Festival. Although the bikini did get popular in Europe in 1953 it did not get pop in the United States until the 1960s.

Style gallery [edit]

1930–1935 [edit]

• 

  1 - 1930

• 

  2 - 1932

• 

  3 - 1932

• 

  four - 1933

• 

  v – 1933

• 

  6 – 1933

• 

  7 – 1934

• 

  8 – 1934

• 

  9 - 1934

• 

  10 – 1935

• 

  eleven – 1935

1. Newspaper advertisement for women's dresses, Paris Dress Shoppe, Allentown PA, 1930.
2. A drove of swimwear, Ladies Home Periodical, 1932.
3. Dutch actress Cissy van Bennekom and model Eva Waldschmidt, 1932.
4. Models wearing evening dresses by Jeanne Lanvin, 1933.
5. Extra Mae West wearing an elaborate nightgown in She Done Him Wrong, 1933.
6. Portrait of Nan Wood Graham by Grant Woods, wearing a polka dot blouse and Marcel wave hair, 1933
7. Outlaw Bonnie Parker standing in forepart of a Ford Model 18, 1934.
8. Girl in Dallas, Texas wears a sweater and mid-calf length brim with pleats, 1934.
9. Vocalizer Annette Hanshaw models an evening dress designed past Gladys Parker, 1934
10. Young woman wearing a long, form-fitting dress with puffed sleeves, 1935.
11. Extra Elisabeth Bergner wears a fashionably tilted lid and a leopard fur coat, 1935.

1936–1939 [edit]

• 

  ane – 1936

• 

  two – 1936

• 

  iii - 1936

• 

  4 – 1936

• 

  5 - 1937

• 

  vi-1937

• 

  7- 1938

• 

  8-1938

• 

  ix-1939

• 

  ten-1939

1. Young woman wears her hair in short, hard curls framing her face up, only smoothen at the crown to accommodate her small lid, 1936.
2. Young woman wears a printed wearing apparel fitted through the midriff with short puffed sleeves, Minnesota, 1936.
3. Carole Lombard in a gown Travis Banton designed for her personal wardrobe, 1936
4. Writer Alfonsina Storni at the beach resort urban center of Mar del Plata, 1936.
5. Fine art showroom of artist Roy Parkinson and his pupils, Brisbane, Queensland, Australia, 1937.
6. Window shoppers outside Simpsons section store in Toronto, Ontario, Canada, 1937.
7. Portrait of writer Zora Neale Hurston, 1938
8. Middle aged couple, USA, July, 1938
9. Plastic face up protection from snowstorms. Canada, Montreal, 1939
10. "Cyclone" evening dress by Jeanne Lanvin, 1939.

1940–1945 [edit]

• 

  ane – 1941

• 

  2 – 1941

• 

  three – 1941

• 

  4 – 1942

• 

  5 – 1942

• 

  six – 1943

• 

  7 – 1943

• 

  viii – 1943

• 

  ix – 1943

• 

  10 – 1944

• 

  11 – 1944

• 

  12 – 1945

1. Sportswear of 1941 featured square shoulders and flared shorts.
2. Actress Lana Turner examines cotton stockings, wearing a smart genu-length arrange with square shoulders, in this Farm Security Assistants photo of 1941
3. Extra Rita Hayworth in a pink and silverish lamé evening gown by Howard Greer, 1941.
4. Clerk at North American Aviation in California wears a pompadour hairstyle with back hair confined in a floral snood tied with a bow, 1942.
5. Girls wearing swimsuits in Hungary, 1942.
6. Women employees of the Aluminum Co. of Kingston, Ontario clothing human knee-length skirts with blouses or sweaters (oft with a string of graduated pearls), 1943.
7. Women's fashion in Europe (Hungary, 1943).
8. Singer Peggy Lee wears a pompadour hairstyle and an evening gown with a "sweetheart" neckline in the film Stage Door Canteen, 1943.
9. Typical women's and kids' mode in Europe during the Forties, Hungary in 1943, during the Second World War.
10. Writer Lillian Smith wears a nighttime suit with an open-collared blouse, 1944.
11. Bathing suits worn by members of the WACs in Northward Africa, 1944.
12. Argentine actress Mirtha Legrand with director Luis Saslavsky, 1945.

Menswear [edit]

Conductor Leonard Bernstein in sportswear of 1945: open up-collared shirt, striped blazer, and wide-legged pleated slacks

Men's neckties oft had bold, geometric patterns as can exist seen in this photograph taken in 1944

Overview [edit]

For men, the most noticeable outcome of the general sobering associated with the Great Low was that the range of colors became more than subdued. The bright colors pop in the 1920s fell out of fashion.

Suits [edit]

By the early 1930s, the "drape cut" or "London Drape" adapt championed past Frederick Scholte, tailor to the Prince of Wales, was taking the world of men'due south fashion by storm. The new suit was softer and more flexible in construction than the suits of the previous generation; extra fabric in the shoulder and armscye, lite padding, a slightly nipped waist, and fuller sleeves tapered at the wrist resulted in a cut with flattering folds or drapes front and back that enhanced a homo'southward effigy. The straight leg wide-trousers (the standard size was 23 inches at the gage) that men had worn in the 1920s also became tapered at the bottom for the kickoff time effectually 1935. The new adjust was adopted enthusiastically by Hollywood stars including Fred Astaire, Cary Grant, and Gary Cooper, who became the new fashion trendsetters after the Prince'southward abdication and exile. By the early 1940s, Hollywood tailors had exaggerated the drape to the point of extravaganza, outfitting film noir mobsters and private eyes in suits with heavily padded chests, enormous shoulders, and wide flowing trousers. Musicians and other style experimenters adopted the about extreme grade of the drapery, the zoot adapt, with very loftier waists, pegged trousers, and long coats.^{[36] [37]}

Formal wear [edit]

In the early 1930s, new forms of summertime evening clothes were introduced as appropriate for the popular seaside resorts. The waist-length white mess jacket, worn with a cummerbund rather than a waistcoat, was modeled later formal wearable of British officers in tropical climates. This was followed by a white dinner jacket, single or double-breasted. Both white jackets were worn with blackness bow ties and black trousers trimmed with braid downwardly the side seams.

Sportswear [edit]

By 1933, knickerbockers and plus-fours, which had been commonly worn as sports-clothes in the 1920s had lost favor to casual trousers among the fashionable. In Uk and Southward Africa, brightly striped blazers in ruby, white and blue were often worn in the summer both equally breezy wearable, and for sports such equally tennis, rowing or cricket. This connected until wartime rationing rendered the distinctive textile unobtainable.^[38]

Accessories [edit]

The most common hat of this period was the fedora, often worn tipped down over one eye at a rakish angle. The more conservative Homburg also remained popular, specially among older people and even began to be worn with semi-formal evening apparel in place of the tophat, which in plough became confined to wear with formal. Neckties were wide, and bold geometric designs were popular, including stripes, and quadrilateral designs.

Wartime restrictions [edit]

Many things affected the fashion of clothes that people wore. Thrift also afflicted men's civilian clothes during the war years. The British "Utility Accommodate" and American "Victory Accommodate" were both made of wool-synthetic alloy yarns, without pleats, cuffs (turn-ups), sleeve buttons or patch pockets; jackets were shorter, trousers were narrower, and double-breasted suits were made without vests (waistcoats).^[1] Men who were not in uniform could, of class, continue to wear pre-war suits they already owned, and many did so.

Way gallery 1930s [edit]

• 

  1 – 1930

• 

  2 – 1934

• 

  three - 1937

• 

  4 – 1938

1. Golfing attire of 1930, worn past Baby Ruth and quondam New York governor Al Smith - State Archive of Florida.
2. Double-breasted suits have pocket flaps and functional buttonholes in both lapels. President Franklin D. Roosevelt, 1934.
3. Photo of Sydney Cup, Randwick, 1937.
4. Photograph of Walt Disney shows the padded shoulder and widening lapels of 1938.

Style gallery 1940–45

• 

  1 – c. 1940

• 

  two – 1940

• 

  3 – 1940

• 

  four – 1941

• 

  five – 1942

• 

  vi – 1942

• 

  7 – 1942

• 

  8 – 1943

1. Photo of Charles Spurgeon Johnson wearing a broad-lapelled suit with a striped necktie, c. 1940.
2. Photograph of Stark Immature in a herringbone tweed suit, 1940.
3. Writer William Saroyan wears the wide, patterned necktie stylish in 1940.
4. Overcoats of Wendell Willkie, Thorne and Cowles
5. Jazz bandleader Tiny Bradshaw wears a double-breasted adjust with wide lapels and tapered trousers, accessorized with a large pocket foursquare (handkerchief) and a patterned necktie, 1942
6. Actor Walter Pidgeon wears a houndstooth check jacket, 1942.
7. Extreme zoot suits of 1942
8. Human skiing in Hungary, 1943.

Working clothes [edit]

Both men and women working on war service wore practical trousers or overalls. Women bundled their hair upward in caps, scarves, and snoods.

• 

  1 – c. 1933

• 

  2 – 1942

• 

  3 – 1942

• 

  four – 1942

• 

  5 – 1943

1. Young men of the Noncombatant Conservation Corps working in loose-cutting trousers and brimmed hats, Virginia, c. 1933.
2. Shepherd, Montana, 1942.
3. Women working on war service in Texas wear their hair in snoods, 1942.
4. Men and women of North American Aviation on lunch break wear short-sleeved shirts and trousers, 1942.
5. Woman working in the Richmond shipyards wears applied overalls and a cap, 1943.

Children'due south clothes [edit]

Children's article of clothing in the 1930s and 1940s was heavily impacted by the problems of the era with many families suffering from financial difficulties from the Neat Low and textile shortages and rationing during the Second World War. Clothing was oftentimes bootleg with mothers often making garments from other items such every bit sacks. However, these outfits were often based on pop fashions.^[39] Sewing patterns to guide their creation were ofttimes included in magazines.^[forty] Exchanges were fix upwards where children's clothes which had been outgrown by their previous owners could exist handed downward.^[41]

Still, mode continued to be a major influence on the style children were clothed with contemporary writing suggesting that many were interested in how they looked and keeping up with current trends.^[42] Frilly dresses with embellished puffy sleeves inspired past those worn by child fashion icons such as American filmstar Shirley Temple and British princesses Elizabeth and Margaret were pop with girls in the 1930s. Hemlines were shorter for younger girls and reached below the articulatio genus every bit they grew older. Immature boys were mostly dressed in brusk trousers unremarkably combined with a shirt simply sailor suits also remained popular.^{[39] [43]}

Gallery [edit]

1930s [edit]

• 

  one- circa 1933

• 

  2-1939

• 

  3-1930s

• 

  4-1939

• 

  5- Between 1932 and 1935

• 

  6- 1930s

• 

  seven- 1936

• 

  viii-1930

• 

  nine- circa 1930s

• 

  ten- Circa 1930s

• 

  11-1930s

1. Princesses Elizabeth and Margaret pictured together as children
2. Children in Michigan Loma, Washington
3. Kid'due south birthday party in Todman Ave, Kensington, Sydney
4. School choir in Pie Town, New United mexican states
5. German children, the boy appears to exist wearing a sailor suit
6. Daughter learning how to ride a bike with friends at an unknown location
7. Studio photograph of a family unit dressed in outdoor clothing
8. Analogy originating in the Soviet Union depicting a workplace creche
9. Class photo at a Sunday Schoolhouse in Washington
10. Boys playing on stilts in Israel
11. Children gather prior to a festival parade in Ochsenfurt, Bavaria

1940–1945 [edit]

• 

  1-1945

• 

  2-1943

• 

  3-1940

• 

  4-1940

• 

  5-1942

• 

  6-1940

• 

  7-1940

• 

  8-1941

• 

  9-1940

• 

  10-1943

• 

  11-1944

1. Greek Archbishop with an counselor's girl
2. Children sat with their mother in a private living room in London
3. Children in Budapest
4. Belgian refugees in London
5. Italian postcard featuring an infant
6. Boys in the British occupied Faroe Islands stood with a picket
7. Ii girls with an older woman in Slovenia
8. Busy playground in Balgowlah, New South Wales
9. Girls sabbatum on a porch in Louisiana
10. Children at a wartime factory plant nursery in Toronto, Ontario
11. Children studying at a school in Cambridgeshire, England

See besides [edit]

• Interwar period
• Habitation front end during World War 2
  • Usa abode front during World War 2
  • United kingdom of great britain and northern ireland domicile front during Earth War II
  • Australian domicile front during World War II

Notes [edit]

1. ^ ^{a b} Wilcox, R. Turner: The Manner in Manner, 1942; rev. 1958, p. 328–36
2. ^ ^{a b} Wilcox, R. Turner: The Mode in Fashion, 1942; rev. 1958, pp. 379–84
3. ^ Flapper dresses
4. ^ Shrimpton, J (2014). Fashion in the 1940s. Oxford: Shire Publications. p. 19.
5. ^ ^{a b} Welters, Linda; Cunningham, Patricia, eds. (2005-03-01). Twentieth-Century American Fashion. Apparel, Body, Culture. Berg Publishers. doi:ten.2752/9781847882837. ISBN9781847882837.
6. ^ ^{a b c d} "What Did Women Wear in the 1940s?". Retrieved September 21, 2016.
7. ^ Ewing, Elizabeth: History of 20th Century Way, London, 1974, p. 97, 1997 revised edition, ISBN 0-89676-219-X
8. ^ ^{a b} "Hollywood Influences Fashion - Fashion, Costume, and Civilization: Article of clothing, Headwear, Body Decorations, and Footwear through the Ages". www.fashionencyclopedia.com . Retrieved 2018-04-21 .
9. ^ Fashion : the definitive history of costume and style. Brown, Susan, 1965-, DK Publishing, Inc., Smithsonian Establishment. (1st American ed.). New York, Due north.Y.: DK Publishing. 2012. ISBN9780756698355. OCLC 777654556. {{cite volume}}: CS1 maint: others (link)
10. ^ Quoted in LaValley, "Hollywood and Seventh Avenue"
11. ^ ^{a b c d} LaValley, "Hollywood and Seventh Avenue", in Hollywood and History: Costume Design in Picture show
12. ^ Leese, Elizabeth: Costume Design in the Movies, Dover Books, 1991, ISBN 0-486-26548-Ten, p. xviii
13. ^ ^{a b} Chung, So-Young; Cho, Kyu-Hwa (2006). "A Study on the Way Style of Hollywood Star Marlene Dietrich in 1930s". Journal of Style Business organisation. x: 1–14.
14. ^ Vocal, Young-Kyoung; Lim, Immature-Ja (November 2007). "The Study on the Hollywood Motion-picture show Costume of Fashion image in 1930s". Journal of the Korean Lodge of Costume. 57: 110–123.
15. ^ Kim, Hyun-Jung; Cho, Kyu-Hwa (2003). "A Study o Costume and Color Symbolism of Gone with the Wind". Journal of Fashion Concern. vii: i–12.
16. ^ ^{a b c d e} Brockman, Theory of Fashion Design, pp. forty–52
17. ^ The Queen'south mother had died in June 1938.
18. ^ ^{a b c d} Garland, Madge, in J. Anderson Black and Madge Garland, A History of Fashion, pp. 324–239
19. ^ Bryant, Nancy O. "The interrelationship between decorative and structural pattern in Madeleine Vionnet'southward Piece of work", Costume 1991, V 25, pp. 73–88
20. ^ United Printing (1 April 1954). "Hemline Changes Balmy Now". Tuscaloosa (Ala.) News . Retrieved 1 March 2014.
21. ^ ^{a b} Tortora, P., & Eubank, Chiliad. (2005). A survey of celebrated costume. pp 400–450. New York: Fairchild
22. ^ Marshall Field & Visitor, Fashions of the 60 minutes, Spring 1936, p. ii
23. ^ Rationed fashion
24. ^ 1930s beachwear
25. ^ Spruce bathing conform
26. ^ ^{a b c} Kennett, Lee (1985). For the duration... : the U.s.a. goes to state of war, Pearl Harbor-1942. New York: Scribner. pp. 127–129. ISBN978-0-684-18239-1.
27. ^ "Nylon Stocking society". Orgsites.com. 1940-05-15. Archived from the original on 2012-08-sixteen. Retrieved 2012-08-15 .
28. ^ WPB "Yardstick" Archived 2009-12-26 at the Portuguese Spider web Archive and word of L85 regulations at Costumes.org Archived 2009-07-sixteen at the Portuguese Web Archive, retrieved 21 October 2007
29. ^ ^{a b} Kemper, Rachel H: "Costume" (1992) pg. 144
30. ^ Harris, Kristina, Vintage Fashions for Women, 1920s-1940s, Schiffer Publishing Ltd., 1996, p. 137.
31. ^ Warren, Geoffrey (1987). Fashion Accessories Since 1500 . New York: Drama Book Publishers. pp. 146–147.
32. ^ Shrimpton, Jayne (2014). Fashion in the 1940s. Great Uk: Shire Publications. pp. 42–49.
33. ^ "Cost of Liberty: Dressing for War". The Price of Freedom: World State of war 2. National Museum of American History, Behring Center. Retrieved Apr four, 2016.
34. ^ Kennedy, Sarah (2010). The Swimsuit: A History of Twentieth-Century Fashions . London: Carlton Books Limited. pp. 114.
35. ^ Reed, Paula (2012). Fifty Fashion Looks That Changed The 1950s. London: Conran Octopus. p. 34.
36. ^ Boyer (1990).
37. ^ Walker, Richard: The Savile Row Story, Prion, 1988, ISBN 1-85375-000-10
38. ^ Southward African blazer
39. ^ ^{a b} "1930s Fashion: Women'southward, Men'due south, and Children'south Clothing". FamilySearch Blog. 2020-05-29. Retrieved 2021-08-04 .
40. ^ Elena (2018-09-28). "Three magazines from 1930s". Vintage Sewing Machines . Retrieved 2021-08-04 .
41. ^ "eight Facts about Clothes Rationing in Britain During the Second World War". Imperial War Museums . Retrieved 2021-08-04 .
42. ^ "Immature slaves of mode". The Guardian (archive). 1 July 1938. Archived from the original on 2016-07-02. Retrieved 2021-08-04 .
43. ^ "1930s CHILDREN'S Wear – Screen Archive South East". Retrieved 2021-08-04 .

References and further reading [edit]

• Arnold, Janet: Patterns of Fashion 2: Englishwomen'southward Dresses and Their Construction c. 1860–1940, Wace 1966, Macmillan 1972. Revised metric edition, Drama Books 1977. ISBN 0-89676-027-8
• Black, J. Anderson, and Madge Garland, A History of Fashion, New York, Morrow, 1975
• Boyer, G. Bruce, Eminently Suitable, New York: W. W. Norton & Co. Inc., 1990, ISBN 978-0-393-02877-five
• Brockman, Helen, The Theory of Manner Design, New York: John Wiley and Sons, 1965 ISBN 0-471-10586-4
• Bryant, Nancy O. "The interrelationship between decorative and structural pattern in Madeleine Vionnet'south Work", Costume 1991, Five 25, pp. 73–88
• Hawes, Elizabeth: Fashion is Spinach, New York: Random House, 1938
• Chase, Marsha: The Way We Wore: Styles of the 1930s and '40s and Our Globe Since Then, Fallbrook Pub. Ltd., 1993, ISBN 1-882747-00-iii
• LaValley, Satch: "Hollywood and Seventh Avenue: The Impact of Historical Films on Fashion", in Hollywood and History: Costume Design in Moving picture, Los Angeles County Museum of Art/Thames and Hudson, 1987, ISBN 0-500-01422-1
• Laver, James: The Concise History of Costume and Fashion, Abrams, 1979.
• Leese, Elizabeth: Costume Design in the Movies, Dover Books, 1991, ISBN 0-486-26548-10
• Steele, Valerie: Paris Mode: A Cultural History, Oxford University Press, 1988, ISBN 0-19-504465-seven
• Steele, Valerie: The Corset, Yale University Press, 2001
• Walker, Richard: The Savile Row Story, Prion, 1988, ISBN i-85375-000-10
• Wilcox, R. Turner: The Mode in Fashion, 1942; 2nd expanded edition New York: Scribners, 1958.

External links [edit]

• 1930s Fashion History
• Chicago Woolen Mills catalog for 1937
• Fashions from the Sears Catalog, 1934
• Moving-picture show galleries of 1930s fashions (UK)
• "1930s - 20th Century Fashion Drawing and Illustration". Fashion, Jewellery & Accessories. Victoria and Albert Museum. Archived from the original on 2011-08-02. Retrieved 2011-04-03 .
• 1930s Way Plates of men, women, and children's fashion from The Metropolitan Museum of Art Libraries

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