When Paris fell to Germany on June 14, 1940, French fashion history was nearly high-jacked by the Germans. The powers that be were seriously considering moving the main French couture houses to Berlin in order to re-establish the seat of haute couture there and claiming the title of fashion capital for themselves. Luckily US destroyers were transferred to Great Britain on September 3, 1940 and the United States of America entered the war officially on December 8, 1941.

 

Before the start of the war, New York fashion designers would annually make their way across the Atlantic to attend French fashion shows. Upon their return they would take the women’s fashion trends and men’s fashion trends they had observed and copy these couture designs to suit the American market. However, once the Germans had taken control of Paris and the US Navy had stationed battle ships in the Atlantic, they were cut off from this rich source of inspiration. In an attempt to keep up a steady supply of new fashion trends they turned to leisure wear, with the result that the country emerged as the leisure wear capital of the world.

 

By the time 1941 rolled around war goods manufacturing had taken centre stage. All stocks of natural fabrics were confiscated by the government and domestic manufacturers were forced to concentrate their efforts on creating substitute fibers to use for domestic garment manufacture. Rayon manufacture received a boost as a result and nylon stockings became available in 1943.

 

War restrictions even inspired fashion trends! Throughout 1942 the War Production Board continued to enforce severe restrictions of the amount of fabric used in garments. Regulation L-85 was issued on March 8, 1942, effectively decreeing that every aspect of clothing manufacture was to be regulated by the War Production Board. Stanley Marcus, apparel consultant to the Board, took the stand that it was every designer’s patriotic duty to create clothing that would stay fashionable for multiple seasons.

 

This led to a great turnabout in women’s fashion history. American designers, in a desperate effort to comply with the restrictions enforced by Regulation L-85, introduced a new suit style for women that combined short, straight skirts with jackets no longer than twenty-five inches in length. Similarly sheath evening dresses began to replace the long, flowing gowns that were the staple of the ‘30s.

 

McCalls distributed patterns that showed how to turn men’s suits into ladies suits and women’s dresses into clothing for children. American women were once again picking up needle and thimble and setting to work to make their own families’ clothing. The Thirties had introduced the notion of thrift, but now it was pushed to the extreme. Fashion magazines dictated that women invest in conservative fashions that would make do for multiple seasons and gave advice on proper garment care for maximum wear. The concept of mix ‘n match separates was introduced and these classic leisure wear styles became popular on college campuses, soon to be adopted by all levels of society.

 

In an attempt to re-establish French domination in the fashion world, 53 French couturiers joined forces in 1945 to bring the world a travelling exhibition of their finest works. The participating designers included Balenciaga, Jacques Fath, Jean Patou, Elsa Schiaparelli and Robert Ricci, son of Nina Ricci. The exhibition consisted largely of dolls in fully furnished sets, harking back to the 18^th century when it was the norm to present fashion in such a manner. The dolls in the exhibition were clothed by couturiers, artisans and textile workers, while artists and theatre workers created the elaborate sets. Top hair dressers created wigs of human hair and the jewelry houses of Cartier and Van Cleef & Arpels were commissioned to create miniature jewelry for the dolls.

 

The exhibition had the desired effect and by 1946 Paris had reclaimed its title as the seat of fashion.

 

Once peace was declared, the women of America decided the time was ripe for change and yet another slew of fashion trends ensued. Weary of the severely tailored garments they had to wear during wartime, they were more than ready to return to a softer, more feminine silhouette. In answer to this demand, the house of Dior introduced the New Look in 1947, featuring sweeping lengths and full skirts. Excessive use of fabric was now seen as opulent and women’s fashion returned to the romantic.

 

Peplums were back with a vengeance. The butterfly, bustle and gathered peplum were in great demand and many varieties of ruffles found their way onto skirt hems, waistlines and bodices. Feminine blouses were teamed with gored-, gathered- and A-line skirts and adorned with neck bows and puffy sleeves. Lace was also en vogue and collars were cut full in a Peter Pan or traditional pointed shirt-collar design.

 

By the end of the forties underwear had finally made the transition from the corset to the bra and the girdle. After the war was over under-wire bras became available and nylon stockings were once again on the market. Leather platform shoes were in great demand - their soles studded with ‘nail heads’ in defiance to the severe metal rationing of the war era (a fashion trend that subsequently carried over to leather handbags).

 

While Paris was attempting to regain its grasp on the world of couture after the War, American designers continued to take great strides in gaining respect and credibility in the realm of leisure wear.

 

PICTORAL TIMELINE:

 

1940:

Very little change from the 30’s: shoulders are slightly more emphasized and skirt hems have risen to just under the knee. As if to make up for this flagrant disregard of proper decorum, necklines have risen sharply and continue to stay there for the rest of the decade.

 

1942:

The muscular lines that first appeared in the 30’s are now perfectly suited to the war effort, where women have to take the place in factories of men who left for the front lines.

 

1943:

By now the war has raged for four years and fabric is becoming a scarce and dear commodity. It is used sparingly and magazines have begun offering advice on how to recycle old clothing. Most patterns indicate two different fabrics so it may be easily assembled using parts of other old garments.

 

1944:

Fashion trends veer towards close-fitting garments in two or more fabrics. Shoes are recycled and consequently look somewhat plump.

 

1947:

By now the average American had endured two years of hard living, considering themselves lucky if they had one full change of clothes on their back. Interest in fashion is tentatively flaring up again, although recycling and fabric economy still remains important. Shoes are still big with thick soles.

 

1948:

A full year after its inception, Dior’s New Look finally reaches the closets of Middle America. Not everyone can afford the large amounts of fabric required to construct a wide skirt yet, so narrow skirts remain in fashion as long as it is teamed with a tight bodice/jacket that cinches the waist.

 

1949:

Wide skirts rule the roost alongside narrow waists and horizontal seams either above or below the waist. For the first time in fashion history two silhouettes reign side by side: the narrow skirt and the classic 1950’s poodle.