Post War Style: Exploring Apparel from 1945-1959 By Phoebe Holden
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Figure 2 FOREWORD Fashion is shaped by different driving forces from the world around us, and these often cause a lot of controversy. After World War Two, technological advances and global influences affected the way apparel was designed and made, and various people and events dictated what was popular. The time between 1945-1959 was revolutionary to fashion in many ways, inspiring the
new teenage market and bringing about Dior’s New Look, both of which are still relevant today. A new economy and a new generation was emerging which would affect apparel for years to come. I will be analysing how the driving forces of fashion brought about the styles, materials, colours and patterns that were used in the period.
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INSIDE THIS ISSUE:
World Events, Politics and Society
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Demographic and economic data
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Technological developments
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Influential People
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Media, Music, Cinema and TV
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Art and Design
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References and Figures
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Word Count: 2998 3
World Events, Politics and Society World War II brought a halt to the femininity of the 30s, and instead a Utilitarian style was adopted by women as males were sent to war. This embraced shorter skirts, military details and even trousers, providing them with freer movement during their new working lifestyles and adhered to the strict clothing and fabric rations. This implies that being “fashionable” was insignificant during this time; providing for their family and country was a woman’s main priority. After the war ended in 1945, many women readopted slightly more feminine styles, but they were still very conscious of the
amount of fabric used, and there was even stipulation about using foreign fabric. Norman Hartnell was forbidden to use “enemy” products for Princess Elizabeth’s wedding dress, and she was given a mere 100 additional clothing coupons to purchase the gown (Baker, 1991). This shows that not importing higher quality and larger quantities of fabrics led to a scarcity that restricted the available apparel further. These restrictions meant that for a few years after the war, trends and looking stylish was still unimportant to many people. Most couldn’t afford to spend valuable coupons on frivolous styles, thus fashion
was predominantly influenced by necessity and practicality.
On release from the army, men were given a standard wardrobe, consisting of “a suit, shirt, tie, socks, hat and a pair of shoes” (Baker, 1991) which became their basic attire. Due to the scarcity of men during war time, menswear didn’t have time to evolve and 1930s fashions were still very popular. Men themselves found it hard to readjust to civilian life so the familiar styling with its almost “military conformity” was preferred (Baker, 1991), providing a habitual, security-in-numbers aesthetic, a comfort after the trauma of war. Men did, however, take on certain trends because of their wartime associations. The duffle coat, made famous by both Viscount Montgomery of Alamein and its link with Corvette escort ships, was so popular after the war that they were quickly purchased from military surplus shops (Baker, 1991). Their warm, woollen material and easy-to-fasten toggles made them advantageous on the cold seas, and earnt them a nostalgic association with heroic war efforts that the male population revered. Figure 4
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Demographic and economic data Clothes rationing continued in Britain until 1949, yet America’s restrictions were lifted on VE Day in 1945 (Baker, 1991). British people couldn’t afford to buy into the latest fashions, especially the New Look, and so campaigned against them. They saw them as wasteful and ex-
pensive, believing Ateliers and their clients were mocking their lack of money. Colin McDowell explains that “It was seen as a political gesture of defiance from the rich to the poor”, flaunting how the War hadn’t affected the insignificance of the public to the aristocracy
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(McDowell, 1997). This is because these styles were impractical except for those who were rich enough to not work, as the longer hemlines and restrictive corsetry were not functional for the lifestyle of post-war women. The British Guild of Creative Designers were persuaded by
Figure 7 Parliament to boycott the designs, and protesters in Paris itself shouted “40,000 francs for a dress and our children have no milk.” (Baker, 1991). At the time, the new style would have ruined the European economy if it was adopted by the masses, however the shock of it triggered a conflict between fashion and sensibility, generating a desire in women for this beautiful look they couldn’t have. As the economy improved, the New Look infiltrated the mass market, with most designers creating their own versions at various price points and magazines releasing sewing patterns for the style, making it accessible and achievable for all. America’s economy restored faster than Britain’s so used new technologies like mass manufacturing to allow people to buy the latest trends without paying expensive Parisian prices. The developing teenage market
Figure 8 quickly took advantage of this. Teenagers initially became a mass market because they had increased spending power, many taking on jobs or getting increased allowances from more financially stable parents, and with their leisure time and desire to copy the latest looks, retailers couldn’t ignore them (Dorner, 1975). Soon enough, they developed their own styles and trends, and as other countries’ economies improved this market spread throughout Western culture. This increased the generation gap by giving the youth a voice, dissuading teenagers from dressing like 7
their parents and taking on new, often rebellious styles. The end of rationing brought new fashion changes, particularly for men. They suddenly had extra money for apparel, which they celebrated by purchasing popular pre-war styles such as double-breasted suit jackets and fuller trousers with cuffs, unpressed pleats and higher waists (Baker, 1991). As menswear hadn’t experienced major change over the war except removing these details, the reappearance of these were seen as luxuries and a restoration of hope.
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Technological Developments When the war ended, the mass manufacturing methods that originated in America during the war were imitated throughout Europe. The high demand for products called for a more efficient production method, and allowed the masses to access copies of the latest trends at affordable prices (Baker, 1991). This new production method grew the teenage market by allowing them to dress similarly, creating a specific style for the new generation inspired by their on-screen idols. Trends like Dior’s New Look were now accessible to a wide market, proving a major problem for the high-end couturiers. Knock-off artists had seen their shows and sold their styles to the public before they themselves sold to their wealthy clientele. Many retailers advertised that it was “better to wait for perfection” (Agins, 1999), yet the publics yearning for high-end labels still dropped rapidly. In menswear, mass production gave formalwear a much cheaper price tag. Before the war, there was no middle-ground between high-end tailors such as Moss Bros and their low-end copies, but with mass manufacturing and large retailers be-
coming popularised, it was now acceptable to buy formal and work suits from chain stores (Dorner, 1975). This meant most men were able to buy good-quality suits for reasonable prices, threatening the production of high-quality suits which had to rely on loyal, wealthier consumers. Screen printing transformed the design of garments worn, as it became quicker and more efficient to print onto textiles. By the 1950s, more whimsical, fun patterns appeared such as “stripes, florals and gingham printed on wide skirts and dresses” (Worsley, 2011). After the initial style took off, it began to appear on all forms of garments and in all aspects of life, from sailing boats on sports dresses to the iconic poodle skirt. This style was also promoted by idolised stars such as Elvis, who popularised the Hawaiian shirt. The development of Nylon provided a low-cost substitute for silk which was used in dresses and underwear due to its easy upkeep and attractive feel and look. Although today it is viewed as down-market, the modernity of the material secured its status as chic and desirable, with Harper’s Bazaar 9
calling it a “dream fabric” (Worsley, 2011). It rapidly became one of the most popular fabrics of the day, being used for anything including fur coats, and inspired designers such as Madame Grès to create theatrical evening gowns which looked expensive despite the low price. This allowed anyone to achieve a luxurious, classy look for a fraction of the cost. In men’s casualwear a wider range of weaves and hues became available, as the technological advancements in artificial fibres and machinery had allowed retailers to produce more interesting garments for a lower cost such as sportswear or “slacks” (Dorner, 1975). This shows how the development of new materials influences the types of garments produced, and thus the trends at the time. The new, modern materials and styles attracted the public because they were utterly original and held a contemporary appeal.
Figure 9: opposite, top Figure 10: opposite, bottom left Figure 11: opposite, bottom right
Influential People Throughout history, people have had celebrities whom they look to for fashion inspiration. These range from royals and the aristocracy to, more recently, Hollywood stars. Between 1945 and 1959, the lines between royalty and Hollywood blurred when Grace Kelly married Prince Rainer in 1956 and became Princess of Monaco, instantaneously fulfilling the fantasy of women all over the world. Princess Grace became a fashion icon not only for bridalwear, the long sleeves and embellished lace inspiring brides for years to come, but also her “coolly elegant style” which women rushed to imitate (Worsley, 2011). Immediately after the war, womenswear designers were split between the utility trend and creating different styles. On the one side, a feminine trend was beginning to emerge. Claire McCardell was creating less structured, fuller skirted dresses (Gristwood, S. and Eastoe, J. 2013), Balenciaga lowered his hem to 15 inches from the floor, and by 1946 many designers adopted narrow waistlines inspired by Mainbocher before the war (Baker, 1991), creating more fluid styles that reintroduced simplicity to the female
form. On the other hand, utility was still very popular, with military details, padded shoulders and most importantly less material, as rationing prohibited frivolous fabric usage. This was continued by most men and women as it was cheaper and easy to work in. It wasn’t until Dior released his “Corrolla” collection in 1947 that fashion was given a clear direction. Dior was met with many critics accusing him of flaunting his wealth, deterring from the strict “Make Do and Mend” agenda and corrupting the economy, but fashion critics met this look with adoration. The scandal and controversy produced masses of publicity, with Harper’s Bazaar editor Carmel Snow saying ““It’s quite a revolution, dear Christian, your dresses have such a new look”, unintentionally creating the famous term which referred to the new silhouette (Baker, 1991). It was a desire for something more feminine that made women fall in love with the collection, which rejected all the harsh, serious lines of utility and was reminiscent of the preWorld-War-I Belle Époque era. The new length suggested elegance and wealth, and the corsetry nipped in their waists, 10
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making their busts and hips appear larger, accentuating female sexuality whilst remaining modest. The many metres of fabric oozed extravagance that was longed for after the long period of rationing. Princess Mary Garet began to sew additional strips of fabric onto her coats to achieve the new length, between 14 to 8 inches from the floor, and so many women followed suit that retailers could not ignore the trend. By 1948, Dior inspired apparel was selling for “£6 with 15 coupons” (Baker, 1991), and so the New Look trend broke the market and was the most popular silhouette until the mid-fifties.
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Although the industry had strong influences from the higher-class, a trickle up theory arose through motorcycle and scooter owners, predominantly in America. Their subculture oozed coolness and danger, showing this through their jean and leather jacket combination. This style soon reached Hollywood, and was adopted by Marlon Brando in The Wild One (Worsley, 2011), who allowed this style to reach a wider audience and inspired teenagers to replicate it. In this period, designers began to recognise the influence of Hollywood trendsetters, and formed mutually beneficial relationships to promote both parties. Arguably the most famous example of this is the relationship between Audrey Hepburn and Givenchy. This was a longstanding, successful partnership, with Givenchy dressing Hepburn on-screen, for red carpets Figure 15
and in her signature “neat black trousers and bateau-necked tops” (Worsley, 2011). This resulted in a trickle-down movement wherein lower-class labels imitated these styles and made them available to the wider public. The emergence of the fashion journalist dictating which designers were popular, instead of flattering rich fashion couturiers, was another development that affected apparel. People were now looking for the journalists to tell them what – and who – to wear. An established journalist giving their approval or disapproval often sealed a designer’s fate for that season, although more reputable houses usually had a base of loyal patrons who bought into the brand regardless. A designer that had a longlasting effect on fashion was Mary Quant. Although she didn’t invent the miniskirt until the
60s, during the late 50s she designed ever shorter pieces that beforehand would only have been worn by children, and in 1959 Balenciaga created his “baby doll” night dress (Gristwood, S. and Eastoe, J. 2013). This dramatic change in hemlines was scandalous; nothing as revealing had ever made its way into the mainstream before. In 1946 when Louis Réard launched his prototype bikini, society simply was not ready toembrace women showing that much skin. Réard had to hire a stripper to model it as no professional would accept the job at risk of ruining their career (Worsley, 2011). As time went on women became a lot more accepting and enjoyed the excuse of showing more of their bodies. These examples show how the old principles of modesty were evolving into sexual expression. The new generation were becoming more free and rebellious, and these shorter, more revealing styles embraced that.
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Media, Music, Cinema and TV The pre-war period saw the rise of Hollywood, and increasingly movie stars became role models both on and off screen. After the war American teenagers began to wear jeans due to Marilyn Monroe and James Dean emanating their rebellious, cool characters. Companies like Levi’s began importing jeans to Europe, allowing teenagers throughout Western culture to shape their youthful identity (Worsley, 2011). One of the reasons these jeans were so popular, aside from them being promoted through cinema, was how they suggested affluence that was so longed for after the war. Teenagers seeing their idols wearing these gave them something to aspire to, and imitating their clothes was the first step. A major trend caused by Hollywood starlets such as Jane Mansfield in the 1950s was the “sweater girl” look, where “provocatively tight jumpers were stretched over thrusting breasts” (Worsley, 2011). Teenage girls, eager to copy their idols, took to this look with eagerness, yet the older generation highly disapproved. This didn’t matter, however, because
the new generation did not wish to dress similarly to their parents, and saw these new trends as a way to distinguish themselves and form reputations. In menswear, another scandal was aroused when teenage boys began to wear T-shirts inspired by James Dean and Marlon Brando. These had previously been regarded as underwear, so to wear them out in public was a sign of revolt (Worsley, 2011). This shows the new generation wanted to distance themselves from the old, confidently moving on from war and defining their societal status through apparel. Rock and roll movies and music inspired a new style for young people, who were eager in their rebellion against pre-war tradition, dressing with style against rationing. There were two main styles that emerged from this; tough and dandy.
skirted jackets” and velvet (Dorner, 1975), showing their determination to restore previous generations’ wealth and luxury. There was also the “teddy boy” look; long jackets with padded shoulders, waistcoats and slim trousers, accessorised with rings for violent purposes (Dorner, 1975). The greasers kept a tough aesthetic but favoured leather jackets, and although congregating in gangs they were less violent. Their female counterparts wore all-black pencil skirts or tapered three-quarter length slacks with tight sweaters to accentuate their breasts and hips (Dorner, 1975). This presented a negative image to the old
Tough looks were adopted by young men and women called “greasers” and “rockers”. They were inspired by different movements forming a cool yet rough vibe. One was the “NewEdwardian” group, who wore “narrow trousers […], stepcollared or brocaded waistcoats, Figure 18 14
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Figure 20 generation, who were disapproving of the reputation and ideas these teenagers represented. The other side to rock and roll music was the “dudes” who distinguished themselves by wear-
ing polished, clean apparel. Their turnup trousers and “jazzy”, outrageous accessories (Dorner, 1975) showed they were fashion conscious, giving them a more innocent image compared to the greasers. The girls wore wide circle skirts
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with petticoats for modesty that twirled and complimented the new dances (Worsley, 2011). Although their whimsical style differed from their parent’s generation, this was a less controversial revolution.
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Art and Design During the mid-1940s to the 1950s, abstract expressionism became increasingly popular. Artists like Jackson Pollock brought a contemporary change that influenced many designers of the time. In 1953 Dior created a suit printed in a Tachist design, meaning to stain, spot or blot (Fogg, 2010) showing again how Dior was ahead of his competitors in not only style but pattern too. Many designers and artists alike turned to abstract patterns, communicating with emotions rather than images. Advances in microscopic photography provided inspira-
tion for many pattern designers (Fogg, 2010), creating pieces that were open to interpretation by the artist and consumer. The contemporary looks produced were met by adoration from clients who wanted to embody modern styles. A contrast to this was narrative art, in which popular culture and obvious subjects were featured, inspiring the Pop Art movement of the 60s. Conversational prints and iconography were inspired by places, animals, vehicles and more, with teenagers embracing this trend with enthusiasm. It was very whimsical, inspiring the famous
Poodle Skirt and Elvis’ Hawaiian shirts. Exotic clothing also appealed to this consumer, featuring “ornate prints inspired by ethnic patterning� (Fogg, 2010), which held very clear inspiration and subjects. This style of art and pattern suggests that these clothes celebrated Western culture.
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References and Figures References – Agins, T. 1999. The End of Fashion. New York: HarperCollins. Baker, P. 1991. Fashions of a Decade: The 1940s. London: Batsford. Dorner, J. 1975. Fashion in the Forties & Fifties. Surrey: Ian Allen Printing Ltd. Dudbridge, S. Unknown. History of Fashion 1940’s – 1950’s. [Online]. [Accessed: 28 November 2017]. Available from: www.catwalkyourself.com/fashion-history/1940s-1950s/ Dudbridge, S. Unknown. History of Fashion 1950’s – 1960’s. [Online]. [Accessed: 28 November 2017]. Available from: www.catwalkyourself.com/fashion-history/1950s-1960s/ Gristwood, S. and Eastoe, J. 2013. Fabulous Frocks. 2nd ed. London: Pavillion Books. Hudelson, M. Unknown. Movements in Twentieth-Century Art After World War II. Catwalk Yourself. [Online]. [Accessed: 28 November 2017]. Available from: http://www2.palomar.edu/users/mhudelson/ StudyGuides/20thCentLate_WA.html Jackson, L. 1991. The New Look – Design in the Fifties. London: Thames and Hudson. McDowell, C. 1997. Forties Fashion and the New Look. London: Bloomsbury. Sessions, D. 2017. What Did Women Wear in the 1930s?. [Online]. [Accessed: 20 November 2017]. Available from: https://vintagedancer.com/1930s/women-1930s-fashion/ Sowray, B. 2012. Christian Dior. Vogue. [Online]. [Accessed 27 November 2017]. Available from: http:// www.vogue.co.uk/article/christian-dior Worsley, H. 2011. 100 ideas that changed fashion. London: Laurence King Pub. Figures – 1)
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Leaper, C. 2017. Audrey Hepburn in Givenchy on the set of Roman Holiday. [Online]. [Accessed 28 November 2017]. Available from: http://www.marieclaire.co.uk/fashion/1950s-fashion-icons-fifties-style-moments -in-pictures-81397 Maywald, W. 2016. The Bar suit from the spring/summer 1947 collection, modelled by Renee in 1955. [Online]. [Accessed 13 November 2017]. Available from: https://www.theguardian.com/fashion/ gallery/2016/dec/09/house-of-dior-70-years-of-christian-dior-collections-in-pictures Clifford, C. 1948. The Coquette dress from the autumn/winter 1948 haute couture collection, modelled by Wenda Rogerson (Parkinson). [Online]. [13/11/2017]. Available from: https://www.theguardian.com/ fashion/gallery/2016/dec/09/house-of-dior-70-years-of-christian-dior-collections-in-pictures Driver, S. Unknown. Women’s day dresses 1945. [Online]. [Accessed 28 November 2017]. Available from: https://fashionforeverchanging.weebly.com/fashion-timeline-1945-2015.html Unknown. 2014. American screen star Lauren Bacall sits cross-legged in a trouser suit in 1945. [Online]. [Accessed 28 November 2017]. Available from: https://www.today.com/style/style-icon-lauren-bacallmastered-seductive-elegance-1D80057828 Glamour Daze. 2010. Utility dress in 1945. [Online]. [Accessed 28 November 2017]. Available from: http://glamourdaze.com/2010/09/1940s-fashion-bettys-winter-wardrobe.html 18
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Berard, C. 1947. An illustration of the Bar suit. [Online]. [Accessed 13 November 2017]. Available from: https://www.theguardian.com/fashion/gallery/2016/dec/09/house-of-dior-70-years-of-christian-diorcollections-in-pictures Vintage Dancer. 2011. Late 1940’s men and women’s fashion. [Online]. [Accessed 28 November 2017]. Available from: https://vintagedancer.com/1940s/1940s-mens-fashion/ RetroWaste. Unknown. Men's Button Down Shirts 1946. [Online]. [Accessed 28 November 2017]. Available from: https://www.retrowaste.com/1940s/1940s-fashion/1940s-fashion-boys-men/ RetroWaste. Unknown. Teenage Girls Summer Dresses in 1948. [Online]. [Accessed 28 November 2017]. Available from: https://www.retrowaste.com/1940s/1940s-fashion/1940s-fashion-for-women-girls/ RetroWaste. Unknown. Teenage Girls Summer Dresses in 1948. [Online]. [Accessed 28 November 2017]. Available from: https://www.retrowaste.com/1940s/1940s-fashion/1940s-fashion-for-women-girls/ RetroWaste. Unknown. Gloria Guinness wearing a Balenciaga Dress 1945. [Online]. [Accessed 28 November 2017]. Available from: https://www.retrowaste.com/1940s/1940s-fashion/1940s-dresses-skirts-stylestrends-pictures/ Forlano, S. 1947. The Diorama dress from the autumn/winter 1947 haute couture collection. [Online]. [13/11/2017]. Available from: https://www.theguardian.com/fashion/gallery/2016/dec/09/house-of-dior70-years-of-christian-dior-collections-in-pictures Grimaud-Ineichen, E. 2017. Hubert de Givenchy and Audrey Hepburn at a dress fitting in 1950s. [Online]. [Accessed 28 November 2017]. Available from: https://creativelivinggeneva.com/2017/05/09/audreyhepburn-hubert-de-givenchy-an-elegant-friendship-at-morges-from-20-may-17-sept-2017/ Lodi, M. 2015. Marilyn Monroe modelling the Sweater Girl look. [Accessed 29 November 2017]. Available from: http://www.refinery29.com/sweaters-for-women-trends#slide-3 Socarras, J. 2015. Rebel Without a Cause Poster. [Accessed 29 November 2017]. Available from: https:// nickgraham.com/blogs/everywhere/19377028-rebel-rebel-how-1950s-popular-culture-changed-menswear Harpers Bazaar. 2015. Cover of Harpers Bazaar in May 1948. [Accessed 29 November 2017]. Available from: http://www.harpersbazaar.com/fashion/photography/g57/vintage-harpers-bazaar-covers/?slide=24 RetroWaste. Unknown. New Edwardian in 1950. [Online]. [Accessed 28 November 2017]. Available from: https://www.retrowaste.com/1950s/fashion-in-the-1950s/fashion-in-1950/ The Mid Century. Unknown. 50s Rock and Roll fashion. [Accessed 29 November 2017]. Available from: https://fiftiesandsixties.wordpress.com/50s/fashion-from-the-50s-60s-70s/ Alexander, E. 2011. Portrait of Marilyn Monroe. [Online]. [Accessed 28 November 2017]. Available from: http://www.vogue.co.uk/gallery/marilyn-monroe-style-file Awesome Daily. 2016. Elvis in a Hawaiian Shirt. [Online]. [Accessed 28 November 2017]. Available from: http://theawesomedaily.com/32-pictures-that-prove-the-hawaiian-shirt-is-the-best-shirt-in-the-world/ Sessions, D and Sessions, O. Unknown. Different designs for circle skirts, 1956. [Online]. [Accessed 29 November 2017]. Available from: https:// vintagedancer.com/1950s/1950s-fashion-history-skirts/ Pollock, J. 1952. Abstract Expressionism painting, “Yellow Islands”. Tate Website. [Accessed 29 November 2017]. Available from: http:// www.tate.org.uk/art/art-terms/a/abstract-expressionism Kooning, W. 1950. Untitled Abstract Expressionist Painting. [Online]. [Accessed 28 November 2017]. Available from: https:// www.wikiart.org/en/willem-de-kooning/untitled-1950-1 RetroWaste. Unknown. Mark Morning Tafetta Dress 1948. [Online]. [Accessed 28 November 2017]. Available from: https:// www.retrowaste.com/1940s/1940s-fashion/1940s-dresses-skirtsstyles-trends-pictures/
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