FA106

1950s: AMERICAN FASHION

Victoria Brombey Student # 00135197T FA106 ESSAY 25% Word Count: 1704

ABOUT Fashion across history has had to power to reveal many pieces of information about the time that people were living in, their income, their political values or social status. Fashion has documented the social rules and norms of society whilst allowing people to self-express and obtain a certain level of individuality. This essay will discuss the particular fashions during the twentieth century and highlight in detail the period in which these fashions took place, the social and political influence including the perceived value of the clothing and the individual wearing them.

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CLAIRE MCCARDELL Claire McCardell is an American designer born in Maryland in 1905 and was known as “…the most important American ready-to-wear designer of the twentieth century” (Page 103, FA106 Wk_7_Theoryhandout1, 2015). McCardell’s designs were frequently referred to as “The American Look” as according to Harpers Bazaar, “…she made clothes that were right, ready and revolutionary for every girl in America (Page 103, FA106 Wk_7_Theoryhandout1, 2015).

POPOVER DRESS One of McCardell’s most famous dresses was known as the ‘Popover’ dress. This unstructured, waist-less, wraparound dress was designed in 1942 and was made of simple materials such as denim and calico.

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Designer: Claire McCardell (American, 1905–1958) Manufacturer: Townley Frocks (American) Date: 1942 Culture: American Medium: Cotton

EVENING GOWN Another of McCardell’s well-known designs was an evening gown constructed of brown and white striped silk satin. This dress, created in 1939, was known for its unfixed position on the female body.

The gown is adaptable to a myriad of body types and propor tions (Heilbrunn Timeline of Art History 2006).

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Design House: Hattie Carnegie, Inc. (American, 1918–1965) Designer: Claire McCardell (American, 1905–1958) Retailer: Hattie Carnegie, Inc. (American, 1918–1965) Date: 1939 Culture: American Medium: silk

THE 1950s American fashion in the 1930s was said to be “…still in an embry-

“…desperate for homegrown design talent” (Page 103,

The evening gown presented by McCardell just as World

onic stage of development” (Page 103, FA106 Wk_7_Theoryhand-

FA106 Wk_7_Theoryhandout1, 2015). Many designers were

War II was beginning in 1939 was more luxurious than

out1, 2015) , and prior to World War II, Claire McCardell admittedly

struggling with the wartime restrictions of creating simple

the ‘Popover’ dress. This gown was presented to the Haute

stated she, like most other American designers, would copy Paris in

and inexpensive clothing due to constraints on trade and

Couture Fashion House, Madame Grès, and was constructed

regards to fashion. As a result of World War II however, the Ameri-

access to fabrics. Claire McCardell welcomed the challenge

of brown and white striped silk satin. The Heilbrunn Time-

can fashion industry was forced into adaption and originality.

of the war time restrictions and the effects this would have

line of Art History at the New York Metropolitan Museum of

on her clothing. Norman Norell supported McCardell’s

Art also states that this ready-to-wear dress was adaptable,

World War II ¬began early December, 1941 when Japan attacked

talent, stating that “…Claire could take five dollars worth

reinforces the curlicues and corkscrews of the bodice whilst

American military installations in the Pacific Ocean. The most dev-

of common cotton and calico and turn out a dress a smart

accentuating the columnar skirt. This evening gown that

astating strike fell upon Pearl Harbor, where the majority of the US

woman could wear anywhere” (Page 103, FA106 Wk_7_Theo-

McCardell produced could be seen as one last luxury before

Pacific Fleet was positioned. As a result of the Japanese sinking,

ryhandout1, 2015).

the wartime restrictions hit America in the 1930s.

damaging or destroying warships and aircraft, 2400 American servicemen and civilians lost their lives (National WWII Museum n.d,

The ‘Popover’ dress made its mark during this period of

‘December 7, 1941: A Day That Will Live in Infamy’, para 1). Accord-

restriction and adaption. This McCardell creation was

ing to History, ‘The U.S Home Front During World War II’, para 1),

classified as a ‘utility garment’ and was designed to meet

this “…dramatically altered…” the everyday life of Americans. Food,

the requirements of wartime women whose servants had

gas and clothing were rationed and women were forced to gain

“…gone off to the defense plant.” This dress was designed

employment as electricians, welders or riveters in defense plants.

as an item that could be quickly and easily ‘popped’ over something nicer underneath. As it was constructed out of

In addition to the effects of World War II, American designers could

Blue Linen, with the price tag of $6.95, it was considered as

no longer gather inspiration from Paris as well, due to the Nazi oc-

the garment that allowed modern woman to be chic whilst

Madame Grès, leading French couturier of her generation and

cupation. This left American manufacturers and department stores

carrying out household chores (Heilbrunn Timeline of Art

founder of the former Haute Couture Fashion House ‘Grès’,

History, 2006).

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THE SOCIAL INFLUENCE Socially, the ‘Popover’ dress was widely known as it sold in the

ion in Adver tising, Caroline Milbank noted that “…because

thousands. According to The Heilbrunn Timeline of Ar t History, the

there were so many different types of American women

‘Popover’ dress was classified as a ‘utility garment,’ which enabled

and so many requirements across the country for different

it to be sold as a ‘special deal’ with labor at only $6.95. It was

types of clothes, most American designers offered multiple

widely known that this garment was presented to war time women

silhouettes at any given time.” This explains the difference

who required a stylish yet affordable and functional outfit that

throughout McCardell’s collections. However the one thing

allowed them to complete the maid’s work.

throughout her collections that remains consistent is the

Designer: Norman Hartnell (American, 1901–1979)

ready-to-wear, everyday wear for “…American women, col-

Date: 1942

The ‘Popover’ dress had mixed social perceptions. Owning a ‘utility

lege coeds and housewives” (Page 103, FA106 Wk_7_Theo-

Culture: American

garment’ indicated that you purchased the discounted and inex-

ryhandout1, 2015). As this was McCardell’s target market it

Description: Norman Hartnell designed this dress during

pensive dress in order to do your own household cleaning which

shows what social influence her garments may have had on

World War 2 under strict rationing guidelines. He econ-

may insinuate you were of lower income or social status. However,

society.

omised in the amount of trimmings, creating a neat and

during this period of wartime restrictions, many housewives could have afforded to hire the help, yet weren’t able to continue their employment due to World War II. Therefore, the social perception of this dress could have gone either way; a low income woman needing a cleaning outfit or a wealthy wife adapting to war time restrictions.

The evening gown by McCardell is dissimilar from the ‘Popover’ dress in construction, look, fabric and purpose. Cited in Daniel Delis Hill’s novel, As Seen in Vogue: A Century of American Fash-

Victoria Brombey Student # 00135197T

simple design.

THE POLITICAL INFLUENCE Politically, the 1950’s was a tumultuous period. The Second World

fabric manufacturers focused purely on war-related textiles,

Low morale spread across America despite of the American govern-

War was a global war that spanned from 1939 to 1945, with vari-

designers were forced to work with wool and silk, rayon and

ment propaganda and advertisers constantly reinforcing the “…ide-

ous conflicts in the lead up. World War II was known as the most

viscose, as these were the fabrics used for parachutes, maps

als of beauty and feminine responsibility…” (Walford, 2011). Women

widespread war in history, and produced ‘…impor tant changes in

and uniforms.

who weren’t working, were homemakers, taking care of responsibil-

American life; some trivial, others profound’ (Digital History 2014).

ities “…bigger than they would have imagined” (Craig 2009). EvenTo conserve fabrics, dresses were made shorter, vests and

tually, the propaganda produced by the government encouraged

One of the most striking changes in America involved fashion (Dig-

cuffs disappeared, along with double-breasted suits, pleats

women to continue making sacrifices, “…every yard of fabric saved

ital History 2014).

and ruffles (Digital History 2014). Limitations of fabrics

might mean a quicker route to victory” (Walford 2011).

American designers were forced to play safe with their designs, as

were also in place, as the chemicals required for certain

“…there was hardly any time or money to be spared for the mak-

fabrics or dyes were needed to be reserved for wartime

ings of fashionable items, as production lines quickly changed to

use, resulting in collections of blacks, browns and whites.

produce only war materials.” (Craig 2009).

However, to raise moral The Textile Colour Association of the United States eventually allowed patriotic colour’s to

Heavy changes occurred in the Spring of 1942, when the War Pro-

be used by the names of ‘ Victory Gold’, ‘Gallant Blue’, and

duction Board and the Civilian Production Administration “…issued

‘Patriot Green’.

a series of rules for the garment industry…” (Walford 2011). The guidelines indicated were deemed strict, for example, they stated

Another dramatic change was the impact on women. The

the maximum width the skirt could be, the circumference of the

most visible change in society was the sudden appearance

sleeves and the maximum width of a belt (Craig 2009).

of women in uniform. With more than 250,000 women joining the Women’s Army Corps, Army Nurses Corps, Voluntary

The guidelines on materials were also strict to the extent that “…

Emergency Services, Navy Nurses Corps, the Marines and the

fashion had never before used so little fabric” (Walford 2011). As

Coast Guard, married working women outnumbered single working women for the first time in history (Digital History 2011).

Victoria Brombey Student # 00135197T

BIBLIOGRAPHY America Goes To War, December 7, 1941: A Day That Will Live In Infamy, The National WWII Museum n.d. viewed 1 November 2015, In Conclusion, fashion has the power to reflect values and life-

http://www.nationalww2museum.org/learn/education/for-students/ww2-history/america-goes-to-war.html

styles of the period. As the 1950s was a time of major lifestyle change, fashion was forced to change with it. Socially, fashion was

Craig, T 2009, ‘ World War Two Fashion’, Glamourdaze blog, web blog post, n.d, viewed 1 November 2015, http://glamourdaze.com/world-

able to reveal changes in gender roles and social classes or sta-

war-two-fashion/the-influence-of-war

tuses. By examining what type of person in society wore what, it exposed various identities about society. As a result of political

Digital History 2014, Social Changes During the War, Digital History, viewed 1 November 2015, http://www.digitalhistory.uh.edu/disp_

events including the Second World War, the fashion industry was

textbook.cfm?smtID=2&psid=3493

heavily impacted. Not only did this effect what women and men wore, the style and structure of the garment, the material it was

History, The U.S Home Front During World War II, viewed 1 November 2015, http://www.history.com/topics/world-war-ii/us-home-front-

made from as well as the colour, it effected the morale. What was

during-world-war-ii

once lavish and creative changed to simplistic and functional. This essay has revealed the challenges American’s faced during the

Page 103, FA106 Wk_7_Theoryhandout1, 2015

1950’s and how they coped with the changes.

Walford, J 2011, Forties Fashion: From Siren Suits to the New Look, Thames & Hudson 2011, New York City, NY, viewed 1 November 2015, http://www.amazon.com/Forties-Fashion-From-Siren-Suits/dp/0500288976

Victoria Brombey Student # 00135197T