Letter from the Editor Welcome to ROUGE magazine. We are a collective of students interested in fashion, art, writing, and the relationship of each with the world. The French name itself, rouge, translates to red in English. The color red can signify many different meanings and elicit a wide range of emotions. Red evokes passion, strength, and vibrancy: qualities the magazine strives to promote through its articles. Additionally, Rouge aims to delve deeply into the world of fashion. The fashion industry is a paradoxical idea in the sense that it reacts to and grows in the world around it, yet it is solely based upon the consumerist-driven desire for money. The fashion industry is a living, breathing machine. Rouge will be exploring how this establishment, and its subsequent ideals, has affected the world and vice-versa. This particular issue will focus on how major world events have affected women’s fashions throughout time. I hope you enjoy reading the first issue. Annika Suderburg
Input: Mia Dooley, Galilea Garcia, Madeline Laun, Miles Ogden, and Nicole Strubinski
INDEX 1. Letter from the Editor 2. What We’re Wearing: Winter Formal 3. Politics Influencing Fashion 4. Ultimate Holiday Look 5. Dupes for the Holidays (and Every Day) 5. Tristan Huo: Featured Artist 6. The Ambiguity of Red: A Short Story 7. How World War II Influenced Women’s Fashion 8. Winter in California 9. Rouge: A Poem Sources section
What We’re Wearing: Winter Formal By Lilly Sayenga (with Ava Hart)
Winter is finally upon us in sunny California, which means that it’s time for La Salle’s most highly anticipated dance of the year: The Snow Ball! To honor such an important event, the editors of Rouge asked me to represent the class of ‘21 and showcase some outfits appropriate for the night. This year’s theme is An Evening in Manhattan, so cue the glitzy, stunning styles of the Big Apple! I had my friend Ava model some dresses with me that are perfect for dancing the night away in style.
1.
Wearing: Dress-Vintage 1960’s Jean Allen from Etsy. Shoes- Nine West. Bracelet- Vintage. Wearing a bright, festive color like red is sure to make a statement amongst more sultry tones. To let the powerful color speak for itself, I chose a long but simple silhouette that doesn’t compromise details. The pleated chiffon adds texture, making this gown super flattering. Gold kitten heel sandals add a touch of height and a hint of glitz.
2.
Wearing: Dress- J.Crew. Shoes- Via Spiga. Ava took a similarly simple approach by wearing a black dress made with crinkly chiffon. The little black dress works well to act as a blank slate for a bold makeup look so as to emphasize the girl in the dress (instead of the dress on the girl)! She wore a similar pair of heeled gold sandals to mine.
3.
Wearing (Lilly, right): Dress- Betsey Johnson. Shoes- Nina. Wearing (Ava, left): Dress- Scala. Shoes- Lauren by Ralph Lauren. Earrings- Target. For our second looks, we took a slightly more sparkly route. I opted for a shorter, more glittery frock by Betsey Johnson to add texture and layers to my ensemble. The sequined bodice is contrasted by the matte layers of netting that make up the skirt. To complement the design of the skirt, I wore some taller heels that play off the skirt’s black stripes. I completed the look with a red lip and minimal jewelry.
4.
Ava wore a black dress with silver sequins rain-
ing down, which resemble snowflakes. Having a gradient of glitter like this on an otherwise traditional silhouette makes for a very memorable and flattering dress. Plus, it looks like the Manhattan skyline! To tie in the silver, she wore some strappy metallic heels and gemstone earrings. You’ll notice that to match both of our outfits, we opted for loose curls, neutral eye makeup, and a red lip. As freshmen, we wanted a glamorous holiday look that wasn’t too overpowering. Red lipstick was the perfect solution, as the color is typically associated with Christmas, as well as being a classic complement to black dress attire. When you’re deciding what makeup to wear, always remember the importance of color! I hope this article finds you excited to attend the winter dance! Have fun, stay safe, and let it snow, lancers!
Politics Influencing Fashion By Nicole Strubinski
In the case of Tinker v. Des Moines Independent School District, the Supreme Court found that political expressions through fashion are protected by free speech. This case pertained to an incident in 1965. Students protested the Vietnam War by wearing black armbands, angering the school board with their politically provocative attire. The students’ expression of their political stance was truly brave, especially for its relation to such a hot-button issue like the Vietnam War. Tinker v. Des Moines, the ruling that supported the student protest, has continued to protect the right to free speech and expression through artistic means like fashion. The practice of using fashion as a means to express political ideologies has left significant effects on history and continues to influence the fashion we see from the street to the runway today.
Le Smoking
During the 60s, the fashion industry introduced a world of bold colors, less coverage, and more freedom that came alongside the liberation of female freedom, identity, and sexuality. Divorce rates increased as women decided what was best for themselves and emerged from their traditional role in the circle of domesticity as complacent assistants to their husbands. The introduction of the government-approved birth control pill also marked a political turn in how the world viewed women’s sexuality. Fashion began to shift away from constrictive elements that highlighted the traditionally feminine hourglass figure to slightly more androgynous attire that lacked a defined waist. Mary Quant’s mini-skirt further embodied this new sense of unbounded freedom. The most significant of these fashion innovations of the time was likely Yves St. Laurent’s Le Smoking, a stylized tuxedo for women that was so disputatious it was banned from restaurants. Highland Rape British designer Alexander McQueen has played a large role in addressing social issues through his work. His Autumn/Winter 1995 collection and runway show Highland Rape used elements of traditional Scottish fashion to allude to the English ravaging of Scotland during the 18th and 19th centuries. The metaphorical rape was seen as an cultural oppression, and was expressed through the usage of torn, tattered clothing, bruised and distressed models, and plenty of tartan. The politically and socially aware McQueen wanted to ensure those events would not disappear into the annals of history. As a result, he created an iconic and controversial collection that made its mark in fashion history.
Today’s political climate is still up for interpretation by artists. Many fashion designers have found inspiration from events like the United States pulling out of the Paris Agreement to the emergence of new gender expression. Local Los Angeles brand Recreation, created by Angela Vance, is specifically focused on sustainability. The fashion industry is the second largest industrial polluter in the world, second only to oil. From manufacturing synthetic fabrics to using toxic dyes and trashing leftovers, the waste left behind by the fashion industry are seemingly far less important than the profit made off of a three dollar t-shirt. However, Recreation adheres to its motto, locally made, eco driven. Vance’s devotion to the cause is shown through her hand screen-printed textiles and 100% organic fabrics. This is just one example of how our climate, both politically and environmentally, affects the ways designers produce their clothing. Another aspect of social change that is especially Spring/Summer 2016 prominent in today’s ever changing society is the phenomenon that is gender expression. What people wear inherently affects the ways in which they are perceived by those around them, and many who wish to challenge the traditional gender roles do so through their fashion choices. Internet icons and drag queens are especially well known for this, as they not only challenge common ideas with modern ones, but use the modern technology of the internet and contemporary social networking platforms. Instagram user delablanca_ is well known for the ways in which he dresses according to his own regulations. Contrary to the notion that men should present themselves as masculine, this style visionary knows how to make heels and eyeshadow work with loungewear and sports attire. The restrictions that come with choosing to present one binary gender or the other may be comfortable and pleasant for some, but our ever progressing social climate today denies the notion that they are necessary. In much of society acceptance and celebration of differences has played an even larger role than changes pertaining to gender expression. Body positivity is another way in which fashion lines and designers have been influenced by the political world. McQueen’s co-edited edition of Dazed and Confused, an online magazine, featured the theme of Fashion-able and included models with disabilities. This edition challenged the status quo of what beauty looks like. Catherine Longa, a model in this edition who stunned in a one-sleeve dress, stated after seeing her prints, I never thought I could look so beautiful. Today, we see models of all shapes and sizes becoming more and more prominent in catwalk shows and ad campaigns despite the extremely restrictive and borderline unsafe requirements for models that are still in place. Between the political events of the past, present, and future, one thing will always remain a constant: people finding a way to express themselves in every way they can. Through fashion, one of the most versatile, subjective art forms, these ideas come to life and are worn as proudly as a black arm band or as openly as false eyelashes on your nephew. Through the ever changing world of politics, no issues will be left uncovered or untouched by the world of fashion.
Ultimate Holiday Look By: Annika Bohanec Artist: Kat Lingenfelser Models: Noelle Shimazu, Daniella Gersh, & Sebastian De Kansky
Makeup is powerful. It allows an individual to take risks, be bold, try new things, and express themselves. We see bright colors all around during the holiday season and our own appearance is no different. Ravishing reds, glimmering golds, blissful blues, and graceful greens define this season, but in no way limit our creativity. Aspiring makeup artist, Kat Lingenfelser, shows off her creativity for the holiday season with a variety of looks.
With striking green eyeliner and a bold red lip, Daniella is ready to conquer this year’s holiday season!
Kat, the artist behind all the looks, goes for a crisp
blue and silver eyeshadow paired with her signature stars and bold lashes!
Are you ready to rock around the Christmas Tree? Well, Sebastian sure is with a daring red and green waterline!
Noelle is shimmering in a soft, red-gold eyeshadow, paired with a soft pink lip!
Dupes for the Holiday Daniella Gersh
Lacome Teint Idole Ultra Cushion Foundation ($47)
Smashbox Bronze Lights in Warm Matte ($34)
Morphe Continuous Setting Mist ($15)
L’Oreal Paris True match Lumi Cushion Foundation ($16.99)
Physicians Formula Butter Bronzer ($8.99)
Mac Prep+ Prime Fix+($25)
Stilla Magnificent Metals Glitter & Glow Liquid Eye Shadow in A Firenze ($24)
NARS Radiant Creamy Concealer ($30)
Colour Pop Supernova Shadow in Hard to Express ($7)
Maybelline Fit Mel Concealer ($5.29)
Marc Jacobs Velvet Noir Major Volme Mascara in Black ($26)
Too Faced Glitter Glue Glitter Shadow Primer ($20)
Maybelline Volme Express the Falsies Washable Mascara in Very Black ($5.49)
NYX Professional Makeup Glitter Prime ($5.99)
Tristan Huo: Featured Artist Academy award winning actress Viola Davis once said, “I became an artist, and thank God I did, because we are the only profession that celebrates what it means to live a life.” My name is Tristan Huo and I am an artist. Through my artwork, I hope you will be able to see how I have chosen to celebrate and interpret life. Other artists in whom I see this celebration of life have greatly inspired my work. I draw most of my inspiration from one person- Lady Gaga. Her artistry, from her lyrical and vocal prowess to her sheer intelligence and compassion, is an infinite source of inspiration for my artwork. She models what I seek most in life- to be fueled by a passion that inspires me to push myself to a never static bound. A few visual artists whom I am inspired by include Salvador Dali, Cy Twombly, Francis Bacon, Johannes Vermeer, Richard Dadd, Kai Samuels-Davis, Ryan Hewett, Ignat Ignatov, Hiroshi Sato, Elly Smallwood, and Andria Mercuri. We, as artists, constantly translate our perspectives, our opinions, our everything, into an experience, whether that’s a canvas, a roll of film, or a stage. I think of it like this- I, the artist, build a pond with fish and lily pads and algae and all that other pond stuff, in a piece of artwork. I sit at the bottom of the pond below the turbid water. People stop by and gaze into the pond. Most will only choose to see what’s on the periphery- the fish, bugs, plants and all that I’ve put into the pond. Some will search hard enough to see me sitting at the bottom, even if that image is distorted by water currents or swimming fish. They still see what they think is me. But only a few will be able to take a step back and see themselves reflected in the pond. As you view my art in these pages I encourage you to rationalize for yourself what each piece means to you before you read my explanations. Enjoy the exhibit!
Lingering on a Thought
Concept: In this piece, I present the power of the subconsciousness. Underestimating the role of your subconsciousness leads to an ambiguity of the motives of your actions. This can be both a good and bad thing, and that neutrality is represented by the dark ominous liquid dripping over the eye, representing the power of latency. The eye looks straight forward- by paralysis or by intention, no one knows.
New Psyche
Concept: A self-portrait inspired by a personal desire to be more confident, self aware, and independent. The imagery on the right side of the painting reflect repetition, comfort, and commonality, from the beige tiles to the calm cloud. On the left side, things are a little more unpredictable, like the distorted cloud. Even though the light source is on the right (based on my shadow), I still face left. On the bust itself, layers are unraveling to reveal new colors, from the grey tones to the skin tones to the greener tones. My new reality is evident in the fish swimming in the sky and in the unfinished look of the painting.
Paint Me a Prison Concept: I thought about labels and what it means to have an identity in our world. That people will always search to try to understand another through clichÊs and stereotypes and inaccurately reflect the wholeness of a human being. That the further people try to express themselves to others, the more others imprison them into a label so as to better understand them. The diversity of color in the skin tones reflect the complexities of people that are often trivialized and the perpendicular lines around the face reflect how the prison fails to encompass the entirety of the person in covering up the subject’s left eye.
Til Death Do Me Part
Concept: Representative of the cross section of life and death. The subject (androgynous) lives in a state of limbo in which (s)he knows that (s) he is alive, but is living a life that feels monotonous and dull. This is represented by the frame of the skull painted over the face, the indifferent eyes that stare beyond, the sun’s eternal and perpetual rising and setting without differentiation between the two, and the turbulent waters around the subject.
Death and the Triumphant Dream Concept: A woman has a dream of her greatest fear: death. In her dream, she envisions herself dying in two ways- naturally through decay (left) and unnaturally through murder (right). As the dream progresses, represented by the pastel blues and pinks dripping down, her obsession of the question of her death begins to take over her real life, represented by the muddy-green blobs. As her fear consumes her, she not only loses sense of time and reality, but also no longer knows which of the three is her true self.
The Ambiguity of Red By Mia Dooley Color is the foundation on which everything is built. It is the window we look through that allows us to see into the nature - the heart and soul- of that which we are seeing. Yes, truly seeing. Color, like art, is the universal language of the soul. But red, red is everything. There are no limits to what it can represent, for it can mean an innumerable amount of things to all people. But how does one even begin to understand what red means to them, and why should it mean anything at all? Understanding anything about the self can quite often push people to the brink of insanity with their constant yet unsuccessful attempts at achieving it. And these people, with madness in their eyes and a crumpled list of fruitless attempts in their shaking hands, place the blame on the window. They accuse it of being the reason for their lack of insight. So this window that we all look through, this color, is either clouded or crystal clear, depending on whom you may ask With that being said, we can examine and learn from a small group of individuals who have so conveniently banded together in search of success. I invite you to ask these people all the questions your heart desires, and to even ask your own heart a few questions as well. Blinded by the fluorescence of the light, our lovely group of four individuals is momentarily stunned by the starkness of the room. They are sat on uncomfortably hard chairs facing outwards, each with nothing to look at but the intense, glaring whiteness of the wall in front of them. But the shock is over in an instant, almost as suddenly as it had become apparent to them, and they are faced with the true plainness of their surroundings. Shadow and light play off one another to differentiate one white wall from the next, one chair from the next, and one person from the other. If they would just turn their head even a quarter of an inch they would become aware of the presence of another right next to them. Yet somehow the room feels so empty. They had come here to understand; how can they do so if this is all they are given to work with? Suddenly, the room does not feel quite as empty anymore. Each individual becomes aware of a shining silver paint can with the word “RED” written neatly on the front sitting directly in front of their wall, a single paint brush placed on top. How could they have missed it? It is the only outstanding thing in the room. They had come here to understand; what is some red paint and a brush going to do to help them? Starving from the hysterical madness that came as a result of their lack of inspiration and stayed because of their willingness to let it, these individuals found themselves impulsively drawn to this abstract place. They would do anything for a morsel of knowledge or a crumb of understanding — anything but use their own minds to get it. Their vision is clouded, and somehow their eyes refuse to communicate to their eager minds that they are blind. And so it is the window’s fault, or society’s fault, or any other outside force they can think of that is responsible for their lack of insight; at least that’s what they would tell you. But soon, they will know. For hours, maybe even days, they sit there, each staring at their own simple can of red paint. At first they are frustrated and angry, exactly how they had been their entire lives. The longer they sit there the more sure they become that they can hear the incessant, mocking ticking of a clock. And so they sit, and stare, and brood, until finally, they begin to think. But first, who are they, exactly? And what are they finally thinking? One of these four individuals is a writer with a penchant for controversy and a passion for self-expression. Much like her words, she is ready and waiting to spark a flame on this barren wasteland and watch it burn. She abhors all forms of conformity, advocates constant rebellion, and values the subversiveness of the Beat Generation — she is magnificent. But she has one fatal flaw; she lacks the wit and courage to use any of it. Our impassioned writer feels as though she has been defeated, but a writer, if she be a true writer, is never defeated.
Her first step in the right direction is realizing that she will not let herself be defeated by her irritation, nor by the boredom that has begun to set in. She is a writer after all, and writers must always be searching for a story in the most unlikely of places. She could write about the painfully plain, oppressive walls and the sheer frustration they — no. That’s too easy. Too predictable. What about the can of red paint? It is the only mildly interesting thing in the room. Perhaps she could write about the fact that she has done nothing but stare at it for hours on end and all that she can think about is the anger that is slowly building as a result of it. In fact, she is so unbelievably angry that she quite literally sees red and — red. Suddenly it is no longer about the paint can as a whole, but of the red paint inside it; specifically, the color. She sees it now, and from there her novelist mind is quick to think of different ways of interpreting what her eyes are seeing. Its connotations can range from positive to negative, from foreboding to striking, but she finds it is most effective in its effortless power to draw strong emotions such as rage, or even of comfort and warmth. This is it, she realizes. She has to use her fear and the energy of red to fuel the electricity of her writing. Each word must be biting, each sentence a bold step over the line. She must make people uncomfortable to truly feel something with each passing paragraph, because that is the only thing that will ever really matter. The burning energy of the artist in the room seems to radiate within the four barren walls, but it is trapped. It bounces from wall to wall desperate for an escape, searching for a crack in the obstruction. Simple words could never do justice to the nature of this energy, for it, like her art, can only be felt. But as extraordinary as this artist may sound, she only has the potential to be. She is the remaining white hot embers of what used to be an all-consuming flame. And so for now, her energy -her true potential- cannot find an escape and rather than fighting to break through the walls, she blames them. Little does she know that all she needs is some kindling to reignite the flame. Her art has been lacking in the fiery passion that once made it so special for far too long. She knows this, and it frustrates her to no end. What’s more, she is frustrated by the fact that she has yet to do anything about it. But more often than not, inspiration in its purest form will come to you, and not you to it. For her, it has come in the form of a can of red paint. The weak flame within her subconscious flickers because deep down she knows that this is it. The embers recognize that the burning energy in which the color red carries with it is the same energy it used to rule with, and it yearns to be who it once was again. It fights and fights until, finally, it ignites and burns with the same vicious nature of red, of fire, and the flame is fed by the artist’s mind and body, a delicate yet sure extension of the paint brush. Even while she is sat in an almost painfully uncomfortable chair, the dancer in our midst sits with the poise and grace that has been instilled in her ever since she can remember. Her energy is graceful in its boldness and bold in its elegance, radiating a feeling of both controlled calmness and controlled chaos. It’s as if her energy could burst out at any moment and move her body in the most powerful and emotional of dances. But her body and mind won’t connect, and she won’t let them because she is scared. So she sits and waits for people to come in here, when really, all she needs to do is go out there. She has been dancing ever since she could stand on her own two feet. Her form is magnificent, techniques effortless, but without feeling. She is too timid to allow her true passion to flow into the movements of her body. But soon her feelings of confusion and frustration upon staring at her can of red paint turn into ones of admiration and longing to be what the red inside is; bold and sure of itself. How can she do this? Well, where has she really seen red before? On the stage, red was always considered an attention-grabber, a brave statement, all the while maintaining its never-ending elegance and grace. Anyone wearing it exuded these qualities, but there was always something off about them. The red was a front, a smokescreen, not who they really were. And suddenly, she gets it. There is no room for hiding her feelings away because the whole point is to be confident in showing them. She cannot hide behind red, either, because that would be a lie. The glowing, otherworldly red fire must come from within her. Last, but certainly not least, is a woman sat with the most careful and observing of stares. There is a fire in her eyes, a constant flicker that many have grossly mistaken for a simple trick of the light, but the flame is ever-present. She sees everything, knows everything, is everything; a writer, an artist, a dancer, a woman, and more. Yet somehow, she allows the thoughts and feelings of others to be more valuable than her own. All that
knowledge, and still she perpetuates the misconception that she should only understand what things mean to other people and not what they mean to her. Why? She has simply been underestimated one too many times, both by others and, more importantly, by herself. So when she sees her own can of red paint, she is instantly overwhelmed by the storm raging within her. Such a simple thing, and yet, it forces her to confront her biggest flaw; her lack of confidence in herself. She knows so much, understands and observes everything around her — everything but herself. She cannot be truly content until she does, and she knows this. It makes her so angry that she knows this because it would be so much easier to just be unaware. Ignorance is bliss, after all. But knowledge is power, and now that she is finally in a place where she wants herself to change, she can. The almost offensive can of red paint now serves as a means of inspiration. And so she asks herself, What does red mean to me? Well, the answer is actually quite simple; everything. Red is to her what red is to the writer, to the artist, to the dancer, and even then, it means so much more. And so they sat there for hours, days even, staring at their not so simple can of red paint. In the grand scheme of things, the precise amount of time in which it took each of them to connect their body with their mind is irrelevant; they took exactly the amount of time they needed. But to them, it felt like an eternity, until suddenly, a great stillness fell over everything. The moment when they finally began to think is the moment when time became meaningless. And as quickly as it had stopped, time began to speed up. Newly made and freshly inspired, our writer stands up from her chair with purpose. She grabs the paint brush and opens the paint can with haste, as if it would be a crime to wait any longer, and faces her oppressively blank canvas with courage. From the moment her paint soaked brush touches the wall, the only time it leaves is to pick up more paint. Then it is right back on the wall, writing the story she has been waiting all her life to write. Everything about this story is unconventional, from the how to the why, but that is exactly how it is supposed to be. As for the artist, one too many words have already been said about her, for the precise purpose of her work is to express what simply cannot be expressed by the means of words. She paints whatever she needs it to be, whatever you need it to be, and it is magnificent. The dancer does not even need to touch her red paint. She simply rises with the grace and poise she has always carried with her, but this time, it is different. These moves are powerful because this time it is no longer a mindless way in which she carries herself; this time, it is intentional. As she dances, each graceful movement exudes a certain confidence, and the sense that they have been carefully planned; and they have. Subconsciously, she has been preparing for this moment since the first time her feet stepped onto a stage. The fire in the woman’s eyes shines brighter than ever. Now no-one, not even herself, would ever dare to underestimate its power ever again. Her use of the red paint is simple, as she has already gotten everything she needs from it. Standing directly in front of the large wall, she looks so small, as if it could swallow her up at any second. But she knows, and we know, that she is much more powerful than the wall could ever dream to be. So with that, she paints a red door, opens it, and walks right out into the great big world.
Mia is a junior at La Salle. She is involved in the arts program and is currently taking Advanced Drawing and Painting. Mia loves to write and cites the Beat Generation as one of her primary influencers. Mia is also an avid reader and is currently reading four books, including Stockholm Noir.
How WWII Influenced Women’s Fashion By Galilea Garcia
World War II created an era of technological and social change in almost all aspects of domestic life, yet citizens of countries like Britain and the United States were still expected to retain traditional values. This combination of innovation and tradition were embodied in the woman’s fashion industry from 1939 to 1949. Although women were a crucial part of the war effort, they were also expected to make an effort to remain feminine, maintaining pre-war conventions of dress and conduct. These expectations created not only a challenge for women, but also for the clothing industry, which had to combine practicality with style. Fashion leaders would end up creating some of the most indelible clothing that surpassed the barriers of rationing, factory work, and tradition. Encouraged to make due and mend, a notable catchphrase introduced by the fabric rationing program which began in Britain in July of 1941, women began to make clothes out of any fabric they could get their hands on in order to save their coupons for other necessities. Old, slinky evening gowns from the 1920s and 30s became much shorter dresses. Men’s suits became jackets and skirts, while curtains were made into uniforms. This process of innovating when needed was followed by women before and after the war. Before entering the war in 1939, Britain enacted Blackout laws to defend against feared air raids. The government mandated that street lights be turned off or dimmed, and all windows and doors be covered at night with heavy fabric, paint, or cardboard. These blackouts definitely protected citizens from the dangers of airborne warfare, but they also made it much easier for car collisions to occur. This threat was due to the British government insisting that car headlights
Propaganda Poster
be dimmed by plastic covers when driving, which would later be mimicked by the United States. The apparel industry saw this safety hazard as the perfect opportunity to introduce innovative clothing and accessories for women. Light-reflecting purses appeared on the market and glow-inthe-dark buttons were sewn into clothing. This made it easier for drivers to see pedestrians during blackout drills.
When the blackouts began, the government also distributed gas masks and encouraged citizens to carry these masks with them at all times. Britain had distributed more than forty million respirators, issued in a cardboard box with a carrying string threaded through. Immediately, issues arose over the unattractiveness of the respirator package and designers created large handbags with gas mask components. The most famous air raid attire was undoubtedly the Siren Suit, an all-in-one garment put on quickly over nightdresses, popularized by British Prime Minister Winston Churchill. The Siren Suit was the epitome of redefining women’s beauty standards, which kept the ladies comfortable while sleeping on cold shelter floors, but still kept chic by vibrant colors and patterns. None other than Vogue Magazine announced that women should not fear aping men in their use of slacks because they had made them entirely their own.
Siren Suit
Besides the Siren Suit, the most powerful image of the working women was the factory uniform, as worn by the immortal character, Rosie the Riveter. One of the enduring misconceptions of WWII is that women entered the industrial workforce for the first time. Lower class women had been working in factories since the beginning of the Industrial Revolution; however, WWII was the first time that women of all social classes joined together to work at the same type of job. In the U.S., a very popular short film called Danger: Women at Work informed women about the accommodations they would have to make in their wardrobe to remain safe while operating machines. The advice given is reasonable, instructing women to restrain their hair and clothes order to avoid their getting caught in machines. Ladies were also warned not to neglect proper nutrition because they had to make up for the calories they were burning during factory work. The film genuinely emphasized the importance of women in bringing about a quick victory. After the war, clothing rations continued until 1946 in the U.S., and until 1949 in Britain. Although women were glad to stop having to make do with what they had, they were also reluctant to let go of their new identity. Many woman feared that with the return of men, their newfound independence would be stripped away. These concerns were expressed by Audrey Withers, a journalist for Vogue, who wondered how long it would take for men to forget what women accomplished when the country needed them. Despite their efforts, Withers and many other woman felt a sense of regression during the postwar era, but the achievements made in women’s fashion would affect the development of their clothVeronica Lake ing for decades.
Winter Style in California By Annika Suderburg I have always loved wintertime! Not only does it mean Winter Break, but I finally get to break out my warm winter jackets once again. Although we live in Southern California where seasons are practically nonexistent and cold is anything under 70°, a few extra layers in the winter are still needed for those rare chilly days we do experience. The following are a few of my favorite winter looks. The outfits vary from multiple layers of warm outerwear to a simple long-sleeved t-shirt ready for California cold or a few degrees below. I hope they help inspire you to make the most of winter fashion this season!
Rouge By Tess Gauthier
Rouge is a color often found with us women, Whether it be the war paint many of us don each morning, Or the shade we use to draw outside the lines. It is the uniting color of blood that runs through all our veins, And the hue of our dear friend, Rosie’s bandana too. Rouge demands to be seen, And understood rather than simply heard. We wear rouge when we are brave, And when we are afraid too Because no matter how we appear on the outside, Our hearts will forever be rouge. We are resilient, We are rare, We are rouge.
Sources Politics Influencing Fashion
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