Peterson A.T., Hewitt V., Vaughan H., Kellogg A.T. The Greenwood Encyclopedia of Clothing through American History, 1900 to the Present. Volume 1: 1900-1949
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Those with less-ample bustlines could use various kinds of padding and
falsies that were developed over the decade. The now standard A, B, C,
and D cup sizes were established by the Warner company in 1935, and
the strapless bra was introduced in 1938 (Laubner 2000).
Panties were introduced for the first time in the 1930s and resembled
the mid-thigh-length, wide-legged tap pants worn by tap dancers in mov-
ies. Other undergarment options included bloomers, bloomer knee suit,
step-in, pantie-girdles, vests, union suits, and a variety of other combina-
tion garments.
Sleepwear
During the earl y part of the decade, nightgowns were shapeless, unfitted
tubes, but they became more defined through the use of vertical pin tucks
and sashes tied at the back. In the mid-thirties, high-waisted gowns were
popular, and, by the late 1930s, nightgowns resembled eveningwear. They
featured V necks with a high empire waist.
Sleeping pajamas consisted of wide-legged trousers, with a belted or
girdled top featuring decorations similar to those seen on nightgowns. In
Ginger Rogers wears a glamorous V-neck nightgown that looks like an evening
gown, from the 1937 film Shall We Dance, with Fred Astaire. [Courtesy of
Photofest]
220
WOMEN’S FASHIONS
later years, man-tailored pajamas became more popular, complete with a
button-front tailored top. Late 1930s sleeping pajamas included shoulder
yokes, puffed sleeves, and square shoulders.
Other garments
Loungewear included the ever-popular lounge pajama, bathrobes, whose
construction generally resembled outerwear garments, extravagant bed
jackets of marabou feathers, and satin housecoats.
HEADWEAR AND HAIRSTYLES
Headwear
Although the 1920s was dominated by variations on a single style of hat,
the 1930s saw a continuous flow of new shapes and styles. In general, hats
revealed more of the head than in the previous decade and were influ-
enced by fantasy and surrealism, especially those designed by Elsa Schia-
parelli. Many brims draped low over one eye, adding drama. Sports hats
were a necessity and had casual soft crowns and brims. The fez, boaters,
tricornes, pillboxes, flat straw hats, berets, and hats based on professional
headwear (tailors, sailors, and cowboys) were also popular. Just before the
start of WWII, veils became popular. Film continued to influence fashion
trend, and Greta Garbo’s headwear in Mata Hari and other films made a
significant impact.
Hairstyles
Taking over from the 1920s bob, the ‘‘floue’’ became the most prominent
hairstyle of the 1930s. The floue was waved and fluid over the crown of
the head, ending in a nestle of curls or ringlets at the nape of the neck. In
general, hair was longer than in the previous decade, although Vogue
noted in 1930 that ‘‘long hair is not smar t’’ (Probert 1981a, 30). Holly-
wood gained momentum in its influence on hair, with Jean Harlow’s
blond tresses leading the pack in the 1931 film Platinum Blonde.
Cosmetics
D uring the 1930s, the cosmetics industry continued to grow, mostly as
a result of Hollywood’s continual prevalence in society through films
and adver tising campaigns. Face powder, rouge, lipstick, and mascara
were now standard in the beautification process. Innovations contin-
ued, and false eyelashes became available for the first time (Watson
2004). A cake form of Maybelline mascara was also available to all
levels of consumers. Eyebrows continued to be the focus, and some
1930s, The Great Depression
221
women even removed theirs entirel y to draw them in high and arch ed
like Je an Har low ’s.
FOOTWEAR AND LEGWEAR
Footwear
The 1930s saw a shift in focus for shoe design. Comfort became more of
a concern to designers and shoppers at large. To this end, shoes became
wider and toes less pointed. Heels were not as high and were constructed
with a wider base for a more solid foundation.
Also during the 1930s, differences between shoe types became more
pronounced, with specific shoes for specific activities. Following a more
widespread interest in health, innovations in sports shoes were prevalent.
Commonly known as the tennis shoe, the first linen shoes with rubber
soles were developed in 1934 and were used for golf, sailing, and other
sports activities. Along with flat sandals, these shoes were typically worn
with shorts and women’s trousers. Heeled sandals were worn with eve-
ningwear in a variety of styles, including the cutaway or open toes. Sling-
backs were another alternative.
The first platform shoe was developed in the mid-thirties by the
French shoemaker Roger Vivier. Innovative Italian designer Salvatore
Ferragamo designed the first wedge shoe in 1936. Wood and cork were
used to create these soles and were frequently covered with cloth and
leather and were decorated with sequins, embroidery, or bows.
After the vibrant colors of the 1920s, shoes of the 1930s were more
subdued in tone and were often made to match the color of the dress.
Velvet, cr^epe de Chine, and satin were popular materials for evening foot-
wear. Leather continued to be worn during the day and evening. How-
ever, beginning in 1939, wartime leather shortages caused considerable
restrictions on shoe styles in Europe, which later affected the U.S. market.
Legwear
Silk was still the most popular material for stockings, but the 1930s saw
the rise of rayon as an alternative. By 1939, however, rayon had been
completely replaced by nylon.
OTHER ACCESSORIES
Jewelry
Whimsical, imaginative jewelry by designers such as Elsa Schiaparelli was
inspired by surrealist ideas. Native- and tribal-influenced jewelry was
222
WOMEN’S FASHIONS
popular, and art deco continued to influence the early 1930s. Chinese and
East Indian motifs and shapes were particularly favored by jewelers such
as Cartier. Alternatively, the 1930s also saw an increase in the use of cos-
tume jewelry using materials such as Bakelite and celluloid. Both real and
artificial flowers were frequently used for corsages, necklaces, and brace-
lets, reflecting a late 1930s interest in romanticism.
Handbags
The 1930s was a transitional period for handbags, between the smallish bags
of the 1920s to the larger styles of the 1940s. Envelope-style pouchettes or
clutch bags were the most common of this time and were most frequently
made of leather for daytime use. Small, handmade crocheted or cloth bags
also reflected the romantic mood. Beaded bags remained appropriate for eve-
ning and fancy afternoon dress, although bags made of wooden beads were
used during the day. Metal mesh bags remained popular for evening, in addi-
tion to armor-mesh bags with floral or faux-brocade motifs.
Miscellaneous Accessories
Because of the popularity of sunbathing, the most necessar y fashion acces-
sory for summer in the 1930s was sunglasses. Popularized by Hollywood
stars, tortoiseshell rims were particularly favored. Belts, too, drew atten-
tion, and, as the waistline was returned to its proper place, highly decora-
tive clasps featuring jewels, metal, and plastic became the norm. The late
1930s interest in romanticism brought an interest in long fingerless lace
gloves and floral print fans.
1940–1946,
WORLD WAR II
WWII placed tight restrictions on materials that were used in clothing.
Manufacturers and designers innovated to adapt to rationing and the lim-
ited availability of common clothing materials. Women’s more active role in
public life and the workplace was expressed in their masculine silhouette
and more comfortable clothing. This era is named after the war.
FORMALWEAR
Silhouette
Boxy and broad shoulders sloping into a draped bodice, down to a slim
waistline with floor-length skirt flaring just belo w the waist represented the
soft, understated feminine silhouette that remain ed dominant during the
1940–1946, World War II
223
war years of the 1940s. This
triangular silhouette was created
by large shoulder pads, the nar-
row waist, and the flared skirt.
As the war co ntinued, the skirt
narrowed, and this look was
transformed into a slim sheath.
Waistless shifts reduced the use
of fabric by 50%, and straig ht
skirts falling from a slig htly
gathered waist provided a slim
profile.
Skirts
Floor-length skirts were often
gored to add fullness. During
the war, few women invested
in floor-length skir ts because
of rationing and specific
government directives restrict-
ing the use of fabric. Short
skirts retained some fullness
until later in the war.
Bodice
During the war years, bodices were typically softly draped and fell gently
from the shoulder to a fitted waist or princess waist. The new bodice was
form fitting over a conical stitched understructure defining a pointy chest
with tiny wasp waist. Sometimes bodices were accessorized with bolero
jackets, collars, or rhinestone brooches.
Women wore separates for some formal occasions. Long, gored skir ts
were paired with jacket-style blouses, rayon blouses with full sleeves, and
sweaters embellished with sequins.
Necklines
Most formal gowns featured V, round, and sweetheart necklines.
Sleeves
Sleeves that extended just above or below the elbow were pleated from
the shoulder pad and fell straight with little extra fabric. Puffy, short
sleeves were another popular style.
WWII evening dresses feature narrow silhouettes and emphasized
shoulders. [Library of Congress]
224
WOMEN’S FASHIONS
Decorative Details
Clothing was lacking in ornamentation throughout most of the 1940s as
a result of wartime restrictions. General Limitation L-85 Order issued by
the U.S. War Production Board was in effect from 1942 to 1946. This
order forbade nonessential details and outlawed certain garments.
Included in the forbidden items were woolen wraps, full evening dresses,
bias cut, and dolman sleeves. Sheath evening dresses replaced the long
flowing gowns of the thirties. American designers used eye-catching fabric
inserts and other creative measures that complied with the fabric-saving
regulations.
Rayon was commonly used in eveningwear. It came in various weaves,
including taffeta, velvet, satin, chiffon, and crepe. The jersey weave was
popular because the fabric hung nicely and draped well when walking.
Gowns were also made of velvet and taffeta. D uring the war, rayon became
the fabric of choice for wedding gowns because silk was in high demand
for parachutes and cotton was being used for duffle bags and uniforms.
Sleeves were long, often tapered with a wedding point to balance the
simple train of the dress. Trains were shorter during the war, but veils
from finger-tip-length silk tulle with beaded buckram crowns to floor-
length silk-tulle veils with wax flowers and silk ribbons completed the
look. Although wedding gowns were exempt from the government’s L-85
guidelines restricting the use of fabric, many brides were married in suits
because young men were soon to be shipped overseas and they did not
have time to plan lavish weddings.
BUSINESS WEAR
Silhouette
The silhouette established at the beginning of the decade effectivel y froze
during the war. Skirts extended just below the knee, the waist was natural,
and shoulders broadened.
Dresses
Dresses were very popular during the war. They were available in a variety
of solid colors and prints. Often they had a fitted bodice that buttoned up
the front. Square, V, or round necklines were common, as well as lace-
trimmed collars. The skirts were flat across hips, and the skirts were gored
to flare at the knee-length hem. Usually, there was a belt at the natural
waist, even if a dress had an empire-waist seam. Short or elbow-length
sleeves were popular, and they gathered into an elastic band. Long straight
sleeves were also common.
1940–1946, World War II
225
Suits
Early in the decade, man-tailored suits were fashionable. These suits had
fitted, hip-length jackets with padded shoulders and long straight sleeves.
The jackets had patch or slit pockets and a masculine, notched collar. The
skirts were narrow. This style of suit was available in typical men’s colors
such as navy, black, gray, beige, and pinstripes.
As the wartime clothing restrictions emerged, suits became more min-
imal. Two-piece suits usually had knee-length, straight skirts and jackets
that were twenty-five inches or less in height as American designers com-
plied with government restrictions on yardage and fabric. Lapels were
narrow, pockets were flapless, jackets were short, and skirts were straight.
Bolero jackets were popular short jackets the ended just below the bust.
The Eisenhower jacket, which slightly bloused and gathered into a fitted
belt at the waist, was modeled after military jackets.
By the end of the war, jackets had exaggerated shoulder padding and
peplums. The skirts no longer had gores; they had been replaced with vents
or pleats to ease movement. Typical solid suits had been joined by suits
made from patterned fabric, including herringbone, tweed, and plaid.
Decorative Details
Very little trim was applied, so detail was provided in covered buttons and
stitching. Simple, minimalist designs reduced the amount of fabric used
in length, fullness, and accoutrements. Everything was restricted, includ-
ing pleats, the number of buttons, use of metal zippers, cuff s, yokes, and
pockets.
Uniforms
Women had many opportunities to serve the war effort in uniform. Tasks
ranged from medical practice to office duties, coding, and transcription.
Women Accepted for Voluntary Emergency Service and Women’s Auxil-
iary Corps wore feminine versions of men’s uniforms. Class-A uniforms
were navy or black skirt and fitted jacket with white blouse, with white
hat with dark bill and trim. Field duty required olive drab skirt and fitted
suit jacket with tailored tan blouse with short or long sleeves. A-line skirts
fell just below the knee and were worn with chunky black or brown
oxfords. Although women did not carry military rank, their jacket lapels
did carry the insignia of the branch served. Nurses’ uniforms were white
dresses with fitted waist and buttons down the front, similar to those
found in civilian hospitals.
Women could be found holding civilian jobs traditionally held by men
that required uniforms as well. With most able-bodied men going to war,
226
WOMEN’S FASHIONS
train and streetcar conductor jobs went to women. They wore a simple dark
blue suit consisting of an A-line skirt and fitted jacket with matching blue
hat that was copied from the men’s uniform. Stamped gold-tone buttons
were worn on the single-breasted jacket and on the sides of the billed hat.
CASUAL WEAR
Silhouette
The idea of separates was introduced by American designers during the
forties. Mix and match ensembles along with multipurpose and multisea-
son outfits were popular during the years of war restrictions because they
created the illusion of more outfits than one actually had. The silhouette
during this period included puffed or padded shoulders, a slender, natural
waist, and close-fitting skirts and pants.
Dresses
Early in the decade, two-piece full-skirted dresses were popular in cot-
ton with bright plaids, stripes, and gingham for summer, and heavier
wool suit styles for cooler weather. S kirts fell just below the knee before
the war, with full or pleated skir ts. Culotte dresses were als o popular.
The garments of women volunteers in the Civilian Defense program reflect wartime
restrictions. [Library of Congress]
1940–1946, World War II
227
They followed the lines of other c asual dresses, but they had a split
skirt. Matching mother-daughter dresses were available. These youthful
cotton garments had close-fitting bodices with sweethear t or square
necklines and puffed short sleeves. The full skirt was often trimmed
with ricrac.
Separates
Blouses/Shirts. Typically, blouses had puffed sleeves or padded shoulders.
Sleeve lengths were short, three-quarter length, or long. Convertible col-
lars and round necklines were common. Floral prints and stripes were
popular prints.
Tailored halter tops that exposed the midriff were popular. They had a
V neckline and straps that crossed in back or tied. Another popular style
was the dirndl blouse. It was loose-fitting blouse made from cotton batiste
with puffed short sleeves. Typicall y, it was edged with lace and had a
square or low round neckline.
Pants. Women’s trousers were fashioned after menswear, with belted
waist, wide legs, and creased fronts. Some versions were cuffed and others
were not. Typically, casual fabrics were made from denim, cotton twill,
seersucker, gabardine, and wool. Overalls and shortalls became popular.
They had the same trim, tailored silhouette as pants. They were creased
and cuffed. The bib was fitted and had crossover straps in back. Culottes,
which were split skirts, were also popular. They were often paired with a
jacket.
Skirts. Casual skirts were designed for easy movement. A-line skirts
often had vents or pleats to allow women to move easily. A popular style
was the dirndl skirt, which was a full skirt gathered into the waistband.
Typically, it was made in floral prints, and the hem was often trimmed
with ribbon or ricrac.
Other Separates. Playsuits were popular for casual wear. They were
combinations of a blouse and shorts with an overskirt, which could be a
wrap skirt or a skir t with a bib top or suspenders. Another style had a mid-
thigh-length skirt with underpanties and a midriff-baring halter top. Play-
suits usually came in patterns such as stripes, checks, and floral patterns.
Coveralls were worn for work and chores. They were loose in the hip
and leg, and the legs tapered at the ankle. Although they were loose fit-
ting, the legs were creased and they had a fitted waistband. The bodice
usually had padded shoulders with a convertible collar and long straight
sleeves or full sleeves gathered into the cuff. They were made from dura-
ble cotton cloth or corduroy. Generally, they had work pockets at the
chest and front and back of the hips.
228
WOMEN’S FASHIONS
Pinup and Sweater Girls. Pinups were
mass-produced photographs and draw-
ings of women. Although the term was
coined in 1941, these images existed
since the 1890s. With so many men
being off at the front and away from
their wives and girlfriends, the pinup
industry boomed. Men mounted these
images in the ir lockers and inside their
helmets. Film stars were popular pinups,
and some of the favorites included Betty
Grable in a bathing suit, showing off her
famous legs, and Rita Hayworth, Ava
Gardner, Veronica Lake, Jane Russell,
and Lana Turner, all looking rather
sultry.
Pinup girls sometimes wore tight-
fitting sweaters that emphasized their
breasts. This style was copied by many
young women. When the management
at the Vought-Sikorsky plant decided
that women wearing this style to work
was too distracting for the male work-
ers, they created a company rule that
prohibited sweaters. The company sent
home fifty-three women who violated
the rule, and twenty-two others walked
out. Despite the company’s opposition
to the trend, women continued to wear
the popular style.
Betty Grable in one of her famous pinup
poses, a favorite of American soliders.
[Library of Congress]
Jane Russell, in a pin-up pose much loved by
World War II servicemen, wears an unad-
orned but well-fitting dress from the 1943
film The Outlaw. [Courtesy of Photofest]
1940–1946, World War II
229