Vintage fashion at it’s finest – Edward Molyneux

For someone who loves fashion and all things about the history of fashion, this next designer is someone who I knew little about. Surprising, since my favourite eras in fashion are The Jazz Age and The Golden Age, which this designer fits right into. It’s slightly embarrassing that I have only recently discovered the true talent and beauty of British born designer Edward Molyneux, but I’m so glad I did. I have seen many of his pieces exhibited in shows I have been to, but never knew anything about the man behind them all. It was difficult researching this genius of design as many of my vintage fashion books glazed over him as a designer. But I kept digging and found some stunning images and information on his work. So if you’re keen to know more about another grand couturier from the 1920’s, then join me on this next stylish instalment on Anastacia Rose Blog!

Captain Edward Molyneux was born in London on 5^th September 1891 as was of Irish decent. The story of his early childhood remains much untold. When he was sixteen, Molyneux dropped out of school after the death of his father, to begin working to support himself and his mother. Molyneux had a keen interest in painting, and it was this form of art that he initially pursued. Working as a sketch artist, Molyneux entered a competition with a sketch of an evening dress. He won, and his career in fashion was born. This award introduced Molyneux to the prominent and influential Lady Duff Gordon, who hired Molyneux to work for her in her English fashion house Lucile. Here Molyneux nurtured and crafted his own talents and styles, and became a leader in the style game.

After gaining such valuable experience and knowledge, Molyneux branched out on his own, and established his own house in 1919 in Paris, with a philosophy based on seamless elegance. The designers’ success rose quickly in the nineteen twenties, with women from all walks of life recognising his name. From the aristocratic women of wealth and heritage, to the café society flappers, Molyneux mixed with them all, and was happy to dress any woman who was tall and slender. His creations were not showy, with emphasis placed on the cut and fabric that was used rather than embellishments. His designs were not only chic but also wearable, with a refined elegance that capsulated the Jazz Age. When the decade evolved into the 1930’s, Molyneux adopted the bias cut, with his sheath gowns a display of sculptural simplicity. One of his most recognised outfits was that of a backless gown, bias cut, and finished off with a fur draped effortlessly over the models shoulders.

The 1930’s saw Molyneux cross paths with some famous clientele, which only emphasised his position in the world of fashion. He designed costumes for the stage during this decade, and also the wedding gown and trousseau for Princess Marina of Greece in 1934. The colour pallet in which Molyneux dabbled was most simplistic, with black, navy, grey and beige featuring heavily in all his collections throughout time. Also in the 1930’s, Molyneux displayed luxurious coats made of velvet, and was one designer who adopted the matching dress and coat look of the era. Towards the end of the decade, Molyneux started to experiment with changing the silhouette of the waist, making it narrower and more fitted to the models own features. This is a look that was largely successful during the 1940’s thanks to Dior’s “New Look”. With the radiant success of his House, Molyneux was able to diversify and introduced to his company a line of furs, lingerie, millinery and perfume. All were a success.

With the looming threat of a Second World War, Molyneux escaped Paris for London. Here he was conscripted into the British Army, where he served as an infantry captain. He served his time in the army, and suffered health issues as a result. He lost the vision in one of his eyes. Post war, Molyneux returned to Paris to try and pick up where he left off. Unfortunately due to his ailing health he could not return to the greatness that he had been known for. In 1950, Molyneux retired to Jamaica, and watched the world of fashion flourish in a new direction. Some years later, in 1965, Molyneux flirted with the idea of making a comeback. For a brief time he came out of retirement, but much had changed in the realm of fashion and Molyneux no longer had the passion or the energy to reinvent himself.

At the age of eighty three, Edward Molyneux passed away in 1974. During his time in the luxury world of couture, he achieved greatness. His designs have stood the test of time, and now take their place in the history of fashion. They are inspiring, elegant, timeless and breathtaking in their simplicity. A sketch artist, war veteran and fashion design. It’s a resume that reads well and honours the success of this great man. At a time when the French largely dominated the runway, this quiet British achiever well and truly left his mark. You just have to search a little deeper to find him, that’s all!

Love Always, Anastacia Rose xx

“A little party never killed no body” – F. Scott Fitzgerald, 1926

Could you ever imagine living life in a totally different era to the one we are in now? Be it from the past or something from the future, fashion, culture and lifestyles are constantly evolving. From one decade to the next you can see significant changes and developments in everything from language and clothing to technology and construction. This world is for ever changing! But if I had the opportunity to be transported back in time to an era of fun, flirtation and famous fashion, I’d definitely take a trip to the 1920’s.   In only two more years we will once again be living in the twenties, and I wonder if any of the glorious trends in fashion will be revived? I for one would love to dress like a flapper, with my feather boa floating along behind me, gin in hand, kicking up my heels to the Charleston and dancing till the wee hours of the morn. What a magical time it was!

The 1920’s was a decade of big cultural change. For the first time ever, women in America were allowed to vote, and women in both Europe and Britain were given a new found freedom. Fashion evolved into some significant statements that thankfully remained present for some years to come, and we have seen such trends be reborn and readapted to our modern way of life. Following the cease of the World War, cultural divides began to be torn down, with people from all classes and races merging to live their best lives. Louis Armstrong could be heard crooning those jazzy blues in many speakeasies that were cropping up all over America. The prohibition had sent folks underground, with roaring parties being held in conspicuous places all over the major cities. Film had become popular with starlets like Gloria Swanson and Clara Bow gracing the silver screen, and fashion was largely influenced by Hollywood. Art Deco came alive during the twenties, and is a trend that is hugely popular today, with its hues of black and gold.

It was during the 1920’s that fashion started to become more relaxed and fun. Previous decades had seen women clad in many layers, with structural undergarments a necessity that forbade women from doing even some of the simplest tasks. There was also an etiquette where one changed ones outfit numerous times per day depending on the time and occasion. This trend did remain in some cultures up until the late 1950’s, and included morning dress, afternoon attire and then evening outfits.   But it was during the 1920’s that women and men started to loosen their morals when it came to fashion attire, amongst others things! Fashion houses in Paris were leaders in the market, with the likes of Chanel, Lanvin, Poiret, Patou, Lelong and Vionnet all enjoying success during this time. British designer Norman Hartnell was developing popularity also thanks to that of the Royal Family.

Arguable one of the biggest influencers of the decade was Coco Chanel. Her introduction of black as a shade to be worn at all times, not just in mourning, was revolutionary. She is also credited with designing the staple item in any woman’s wardrobe, the little black dress. It was in 1926 the Chanel made this ensemble famous, and over ninety years later we are still rocking the LBD. In 1921 Chanel released her eponymous fragrance No. 5, and designed the first cardigan jacket ever to be seen in women’s fashion. It was through the revolution of style that Coco Chanel developed that women were finally free from their corsets, and adopted a slender silhouette that was so much more versatile.

Another fashion statement from the twenties that is just as famous as Chanel is the Flapper. This term was given to young women who dressed in a certain way and displayed particular characteristics that were fun, flirty and flamboyant! The Flapper typically had bobbed hair and during the day she would often pull a cloche hat tightly over her smooth crop. By evening, the Flapper was all about having fun. Wearing dresses know as chemise or shift they embodied dropped waistlines and hung from the shoulder to the knee. With strands of pearls and the bar shoe, Flappers would dance the night away to the Charleston. They got their famous name from being described as looking like a bird flapping its wings before take-off, whilst they were hopping away on the dance floor. The Flapper was typically carefree, and focused on living in the moment, and not stressing about what might come next. I think we should all take a leaf out of the Flappers book here!

If you were not a Flapper during the 1920’s, there were other trends in which you could follow. Evening wear had become more risqué. Women began to show more skin than ever before, with shoulders and backs often being exposed while wearing long floating gowns. Hem lines rose and fell throughout the decade, but never came above the knee. As a result of these varying hems, hosiery sales went up, and the invention of Rayon as a fabric alternative to silk, only increased their popularity. Other synthetic fabrics were also born during the roaring twenties, which started to reduce the cost of some garments, and made clothing more affordable for all classes. Metal hook and eyes were also developed and were an alternate fastening to the humble button. Many fashion stores started cropping up in Paris, London and across America. These fashion boutiques started to use the mannequin to showcase their designs, and how to put together and outfit that would complement oneself. This resulted in women buying more than one item of clothing whilst on a shopping trip. Sportswear too became popular for women, as it allowed ease of movement through pleating and jersey fabrics. The motor vehicle also revolutionised women’s clothing, as it became more practical and resourceful for entering and exiting ones automobile.

The jazz age of the Roaring Twenties would have been a marvellous time to be alive. Whilst they would have endured great hardships at times, the fact that people could pick up and carry on is something to aspire to. To be a fabulous Flapper would have been so entertaining. I hope that in this next decade we see some homage paid to the traditions that became the 1920’s. Fashion is a constant revolving doorway, so who knows what we might see pop up again!

Love Always, Anastacia Rose xx

“It is what a woman leaves off, not what she puts on, that gives her cachet” – Paul Poiret

If you are looking for an icon of nineteen twenties fashion, then you will absolutely cross paths with the name Poiret. Known in the industry for cultivating some of the biggest and most sensational changes to women’s fashion, Poiret was a modernist in its first and purest form. He dominated the fashion scene in Paris and abroad from the mid 1900’s until he closed his House at the end of the twenties. He is credited with giving women more freedom in their fashions, and introduced colour, opulence and international flavours to his designs. What a time it would have been to be alive!

Paul Poiret is one of the greatest couturiers that France ever produced. Born in April 1879, he lived on both sides of luxury and poverty in his 65 years. His father was a cloth merchant, and when Poiret was old enough to work, sent him to apprentice in an umbrella factory. Whilst working in the factory, Poiret would collect the scraps of silk from the cutting room floor, and fashion them into outfits for his sister’s dolls. He had a knack for sketching and loved to design, and began to take a portfolio of his work around to couture houses in Paris. He sold many of his designs and then in 1896, was hired by Jacques Doucet. Here Poiret began to nurture his skills of design, and learnt many new techniques from the great couturier. Poiret then moved onto the House of Worth, where his flamboyant designs were too much for this classic fashion brand and clientele.

Finally in 1903, Poiret open his own House where he could be as creative and Avant Garde as he pleased. Poiret not only established himself in women’s clothing, but also as a great business man. He introduced things previously not seen or heard of by fashion designers, and became an entrepreneur before we even knew the word existed. He became known for lavish window displays of his latest creations, and threw some of the most sensational parties of the time. He opened his home, a mansion in Paris, and invited everyone who was on society’s it list. Poiret used his muse and wife to showcase his latest designs at these parties, with no expense spared. Think Gatsby, and that’s the kind of soiree that Poiret was known for giving!

There are some notable developments in fashion history which we can thank Poiret for. One of the best known innovations was that of freeing women from their corsets. Poiret changed the silhouette of fashion dramatically when he started to use draping techniques and free flowing fabrics. No longer did women’s busts ooze over the top, but a much more flat and comfortable style was adopted. The empire line was a style that Poiret favoured, raising the waist line to just below the bust, and allowing the fabric to be fluid from this point on. Fabrics such as muslin, lightweight silk and satin, and tulle were all used, and a vibrant colour pallet was introduced.

A lot of the inspiration for Poiret’s designs came from oriental influences. The use of colour and pattern was inspiring to Poiret, and he became known for his kimono coats when he first opened his House. Poiret travelled to many places to draw further on his inspiration, and we began to see tassels, feathers, Batik, Persian and ropes of pearls all come through in his work. Design innovations such as the hobble skirt, a skirt with a very narrow hem which significantly impeded the wearing from walking, was another of Poiret’s creations. Harem pants are another staple of Poiret, which are a baggy trouser cinched in at the ankle. As you can imagine, women did not wear trousers in the early twentieth century, so Poiret created a frenzy with his new ‘Style Sultane’ silhouette. The ‘Lampshade’ tunic also came from the House of Poiret, which as the name suggests, was a tunic with a wide hem line encasing a wire structure to give it more definition and make the shape more dramatic. Poiret also drew inspiration from the Ballet Russes, and frequently used draping in his work. This draping technique lead his designs to herald a somewhat Hellenic influence, which saw a departure from the traditional tailoring and patternmaking from couturiers before.

In 1911, Poiret further established his brand with the introduction of a fragrance. He was the first French couturier to do so. The same year, he also developed a home décor division, and the Poiret brand started to become known as a whole lifestyle, not just something affluent women could wear, but something they could also decorate their homes with.   The lavish and luxurious lifestyle that Poiret, his wife and five children had become accustom to, started to slow down at the beginning of the First World War. Like many French men, Poiret had to serve for his country, and as a result, his fashion empire had to close. Upon re-entering the trade in 1919, Poiret struck difficulties, and found rivals in the likes of Chanel. While Chanel was establishing herself as another great French couturier, Poiret was unable to keep up. His garments while they had been revolutionary and opulent, were not fine examples of construction. They looked dazzling from afar, but if you got too close, you could see the flaws. Women were starting to become accustom to not only great design, but fine sewing and finishing. Poiret sadly never regained his place at the top of the scene, and after struggling for a few years, closed his doors in 1929. What was left of his stock was sold off as rags.

Paul Poiret lived out the remained of his live on a much more discreet level than he had previously. On the verge of poverty, having lost everything, Poiret died in 1944, aged sixty five. By the time of his death, most in the fashion world had forgotten all about him and the tremendous things he contributed when at the top of his game. His close friend, Elsa Schiaparelli, was the one who paid for his burial service. It took some years before the industry finaly recognised the achievements of Poiret, and since then, many exhibitions have been held in his honour. Being the first designer to publish a look book, create a logo and dive into costume design as well, Poiret really was an innovator.

After ninety years lying dormant, the Poiret brand has been revived by Beijing born designer Yiqing Yin, and will showcase its first collection for Fall 2018. It seems that fashion will always remain attached to its past! For a man that stabilised the French Couture industry, Poiret’s legacy will live on. Not only a designer, but a poet, a painter, a musician and a well-travelled individual, Paul Poiret and his quirky creations will forever hold their place in the history of fashion.

Love Always, Anastacia Rose xx

Quality is remembered long after price is forgotten – Savile Row

 

Tailoring is a pure craft, a skill that requires time and talent. A trade that takes hours of intense labour to achieve a stunning result. It takes patience, a gentle touch and a knowing authority. It is a form of fashion that I well and truly fell in love with, and have remained so ever since. I first fell in love with the art of tailoring when I started my fashion degree. It was a wardrobe in the rag trade that I had not yet opened. I knew little of it, and had no appreciation for it. But as soon as I opened that door and dove right in, I was surrounded by such art, such magic, and some of the finest fabrics money can buy! Yes, I fell in love hard, and have never looked back.

If you look up the definition of tailoring in any fashion dictionary, it will say the activity or trade of a tailor, or the style or cut of a garment. So what is a tailor? A tailor is well skilled in the area of making, mending or altering clothing, especially suits, coats and other outer wear garments. In history, tailors have been predominantly male, learning their craft as apprentices on the cutting room floor. It is still a trade in the fashion scene that is mainly occupied by men, although there are many women who have, or are, making themselves known in this trade. It takes a lot of time to truly custom make a suit, with the client being involved in most processes. From taking intricate measurements to choosing the fabric and trims, having a suit or other garment custom made for yourself is one of the greatest pleasures you can have. And it will be a wardrobe staple that will last you a lifetime!

Through my love of this craft, I learnt about the coveted street in London called Savile Row. And I was lucky enough to visit it when I travelled to England a few years ago. The prestige and pomp of Savile Row was breathtaking. The heritage listed buildings and their lavish facades makes the section of street in the Westminster district something us old school fashionistas can swoon over. It still has an air of grandeur over it, even though the modern world has started to creep in over the last few years. Traditionally, the tailoring establishments on Savile Row would have their showroom on ground level, where clients would come in to be measured up, and their cutting room in the basement. The street dates back to 1731 when it was first appeared, and was completed in 1735. Tailors started to move onto the Row around 1803, when they were primarily constructing suits for military officer and politicians. As more businesses began to set up, the houses were altered to allow more natural light in on the ground floor. The Row got its name from Lady Dorothy Savile, the wife of one of the then estate owners. It was a region highly populated by affluent society, and has kept this air about it for all these years.

The Row has seen many changes come and go over the years. Some of it was destroyed in World War Two, but was later rebuilt. Many of the original buildings still on the Row have now been heritage listed. Tailoring is a trade that began to lose its way in the 1960’s, due to the introduction of ready to wear clothing labels. In 1969, Nutters of Saville Row was established, to maintain this grand tradition, but to modernise its style and approach. Headed by designers Richard James, Ozwald Boateng, and Timothy Everest, the group fought to keep the Row alive, but introduced new ways to do so.

There are some famous names who have been regular clients of the Row over the years, including Napoleon 3^rd, Prince Charles and Winston Churchill. The Beatles also occupied a space at number three Savile Row that they used as a recording studio. It was here that they recorded the track ‘Let it be’, and their final live performance was staged on the rooftop of number three in January 1969. The term bespoke is believed to have originated on the Row. For a garment to be classified as bespoke, it must primarily be cut and sewn by hand. The restrictions around this term however have been loosened over the years, with bespoke tailoring now allowed to be machine sewn, as long as it is still made to measure. It’s estimated that about fifty hours of hand labor per suit is required to achieve the perfect result.

Known as the Golden Mile of Tailoring, Savile Row has in recent years seen the resurgence of the traditional tailor back on its streets. In the 1950’s there were roughly forty tailors occupying the Row, including the greats Henry Poole and Co, and Gieves & Hawkes. This number dropped radically in the early noughties to only nineteen businesses. But by 2014, the Row was flourishing again with forty four ateliers on the scene. There is now also a mix of modern eateries scattered along the Row, and some big name department stores have also managed to filter in.

If you ever get the opportunity to have something tailor made for yourself, then it’s a must do! You will never regret the feeling of opulence and pride when wearing a made to measure garment. The fine craftsmanship, the impeccable cut and the unlimited selections that will be present to you is something of bucket list quality. Tailoring is a true form of art and skill, one that must be appreciated and understood by the wearer to reach its ultimate potential. Let’s hope this magnificent tradition is never lost.

Love Always, Anastacia Rose xx

 

“When a woman smiles, her dress must smile with her” – Vionnet

 

The jazz age of the 1920’s was a fabulous time. A time of new found freedom after the restraints of World War One. It was a time to enjoy yourself, to let your hair down and dance the night away to some hot jazz in an underground speakeasy. And it was a time when women’s fashion also became less restrained. For many years women had been forced into the confines of a corset, or many layers of petticoats and folds of fabric. But with new designers like Vionnet on the scene in Paris, women began to know what freedom really felt like! With a much more sleek and flowing style, the 1920’s became an era of progression, with many fringes, beading and tassels ornamenting the much loved flapper style. It was a new modern influence that was oh so fun, and is still seen in fashion today.

One of the largest contributors in twenties fashion fantasies was Madeleine Vionnet. Born in Chilleurs-aux Bois, France on June 22^nd 1876, Vionnet found her feet early in the fashion stakes, and continued to refine her skills until they triumphed in the 1920’s. Not being born into privilege, Vionnet worked hard to earn her place. At only twelve years old, Vionnet was forced into work like many young girls of the era, and began an apprenticeship as a seamstress. She was confident in her work, with natural abilities. By the age of eighteen, Vionnet had been married, and suffered the loss of an infant. After such tragedy, she chose to up and leave her current life, and moved to London in search of a better storyline. Whilst in London, she continued to work as a seamstress, and was fortunate to be employed as an assistant to Court dressmaker Kate Reilly. Reilly was contracted to dress the Royal family, and Vionnet must have learnt tremendously under her guidance. After a few years abroad, Vionnet decided to head back to Paris, which was already becoming the centre of haute couture. She began working for the Callot Soeurs, a famous couture house in Paris, and for the next six years made toiles for all of their innovative designs. Following this success, Vionnet changed scenes and took a position with Jacques Doucet, from 1907 – 1911. By this time, Vionnet was starting to discover her own unique style and way of dressmaking, which didn’t always coincide with that of her employer.

The following year, amongst the onset of World War One, Vionnet took the brave step of opening her own House. Finally she could design what she wanted. The House was only attainable for two years however, and in 1914, Vionnet had to close the doors. The war had proved too much of an obstacle for many in Paris couture to overcome, with other great designers like Chanel also succumbing to the German advances. Like many, Vionnet fled Paris to safer grounds, and returned after the war was over. In 1920, the House of Vionnet returned to the couture scene, and by 1923, it was so successful that it moved to a larger premises on the famed Avenue Montaigne. Vionnet once again started producing her innovate designs that freed women from their corsets. By 1925, Vionnet had crossed the Atlantic, and opened her first boutique in New York, selling ‘off the peg’ designs to the fashion forward American. Many Hollywood starlets of the time became supporters of this new found luxury brand, including Marlene Dietrich, Katherine Hepburn and Greta Garbo. By 1930, Vionnet was still going strong, with her ingénue techniques of draping and bias cutting largely contributing.

The bias cut was not something new when Vionnet started showcasing it, but the designer is largely credited with making it so well known. Cut on a forty five degree angle to both the warp and weft of the fabric, the bias techniques allows the fabric to drape and wrap around the models body. Coup en Bias as the French refer to it, is a free flowing style that displays the natural curves of the female form. With such a linear silhouette, the wearer has no need for a corset or petticoat. There is also no stiffeners used to structure the fabric, and no padding is required either. Many of Vionnet’s gowns that encompassed this style also had no requirements for buttons or other fasteners. One could easily slip the ensemble on over your head. Previously the bias technique had only been used on hemlines, but Vionnet started using it to create entire gowns, which is why she had to order her fabrics two yards wider than usual. These fabrics were purchased by the bolt, and consisted of crepe, crepe de chine, gabardine and silk satin.

 

Vionnet continued to be an innovator over the 1920’s and 1930’s. Other design concepts that can be attributed to Vionnet, and that still appear in fashion today, are the handkerchief hem, the cowl neckline and the halter top. Vionnet was a perfectionist like many of us designers are. She used to create her samples on miniature dolls to ensure the right look before it went onto larger scale production. At the top of her empire, Vionnet employed one thousand staff in over twenty six ateliers. She remained for her entire life, very much a private person. Choosing to complete her work away from her ateliers, Vionnet spent most of her time in her private study. Here she would have her head seamstresses visit her to go over design ideas and options. It was very rare that Madame Vionnet was ever seen in her atelier! Due to the huge success of her new style, it was inevitable that Vionnet had her designs copied. It was a well know trade in the 1920’s that many leading designers had their styles ripped off and sold overseas for a much lower price. Vionnet tried her hardest to stop this from occurring, and would even personally fingerprint all of her garment labels to prove their originality. Vionnet also fought for her workers rights during her reign in fashion. She fought hard to introduce better labor practices and fairer conditions. Health care for her employees was one of her achievements, as too was maternity leave. Dining halls and canteens were first scene in Vionnet’s ateliers before other designs adopted the same benefits for their employees.

Known in the industry as the “architect among dressmakers”, Vionnet crafted a career full of success. In 1939, once again due to the threat of war, Madame Vionnet closed her House for good. She officially retired in 1940. Having popularised many styles still evident today, Vionnet was a designer of immense talent and charge. The influence of the 1920’s would have been a completely different scene had it not been for Vionnet striving to give women independence and freedom in their fashion choices. The grand couturier passed away at almost one hundred years old, in March 1975. What a legacy she left behind!

Love Always, Anastacia Rose xx

Fashion on the Ration – How women remained stylish during World War Two

Clothing is something most of us take for granted these days. Usually if we want to purchase something, we either jump online and order it direct to our door, or we head to the local shopping centre and browse amongst the varied range of stores within. Most of us also purchase fashion for the here and now, the latest trends or celebrity inspired look. We occasionally invest in larger budget items such as a coat or evening dress, with the intention of keeping it in the wardrobe for a few years. But fast fashion has largely taken over our lives, with our wardrobes changing style from season to season. So can you imagine what it was like to be a woman surviving in the 1940’s when fashion became an item rationed by the government due to the Second World War? Some had been through it previously in the First World War, but it was much more prominent in Britain and across Europe for almost the entire decade of the roaring forties. Women no longer had the freedom to go to their local store or couturier to buy something fabulous. Instead fashion was dictated to them by what was available during the war years, and what was deemed appropriate (which is why Dior created such controversy when he released his 1947 New Look). Many innovations came from war time rationing of clothing, some which we still use today, and others which I’m glad never caught on!

At the beginning of the 1940’s, Britain was heavily involved in the war, with many of its country men fighting on the front line, and many of its women being put to work in factories. As the war progressed, with no end in sight, many sacrifices had to be made. Food is something that was largely controlled and became extremely hard to come by. But what many people don’t realise is that clothing too was a luxury that suffered drastically during this time. On 1^st June 1941, clothing became rationed across Britain with a limit being put on the amount of garments one could purchase. As money was also scares during this time, coupons similar to those used to receive food items were given out in 1942 under the Utility Clothing Scheme. This allowed people to save up their coupons and then head to the stores to purchase garments. Women had to be frugal in their choices of clothing, as whatever they purchased was likely to have to survive for many seasons to come. It became apparent early on in this scheme that some manufactures were producing inferior garments, which lead to the less wealthy citizens receiving items that soon wore out. To try and make it an even playing field for all members of society, the Government introduced the ‘CC41’ label. This ensured that whatever was produced, be it socks, underwear or jumpers, had to adhere to a sustainable level of quality. This way, everyone could obtain these higher quality garments with the coupon rations.

There was much uprising over this new way of life, with many feeling uncomfortable with this new style of dressing. To try and relieve some of the negative attitudes, the Government approached a range of British designers to come together to create war time fashion for the public. Big time designers like Norman Hartnell, Bianca Mosca, Digby Morton and Hardy Aimes, came together and produced a range of fashion that not only stuck to the current regulations, but ensured a stylish take on it as well. No longer were people afraid they would all look the same, and being able to still wear designer brands help lift the spirits of many during this challenging period. Austerity regulations also largely affected men’s fashion. Only single breasted suits were allowed to be produced, with limitations placed on lapel sizes, number of pockets per garment, and the width of turn up and cuffs on both trousers and shirts. It is estimated that these limitations saved some four million square yards of cotton per year!

The 1940’s was also the beginning of manmade fabrics coming into the mass market. Natural fibres such as wool and silk were used for the soldiers’ uniforms and parachutes, which left women’s clothing out in the cold. Fabrics such as rayon and synthetic jersey became widely used, and are often found in vintage garments today. Fabrics had to be user friendly, something you could easily wash at home as the luxury of a drycleaner was long gone. As women began to be conscripted to working for the war effort, it bought about a mass change in the outfits they required. No longer was it practical for a woman to wear a tea dress if she was working on the factory floor. Trousers became the new favourite items in women’s fashion as it allowed much more ease of movement. Headscarves and turbans also became popular in the forties as women needed to cover their hair whilst working as a safety precaution. With France no longer at the top of the fashion scene due to German occupation, practicality took over couture, with styles becoming much more paired down, unadorned and refined.

The ‘Make do and Mend’ campaign came to life during the Second World War, with women encouraged to repair their own clothing. This also saw the humble dressmaker turning to alternate resources to produce garments. Curtains were no longer just used as window furnishings, but turned in to practical items that could be worn for many seasons. The suits of men away at war were no longer safe either. Women used their tailoring skills to turn them into suits for themselves, so they could save their coupons for other items. Older garments had extra panels added to the waist to lengthen the hemline, and nothing was ever thrown out. Patching, darning and altering became hugely popular in the forties, more out of necessity than desire.

Some fashion trends from this time which we are still aware of today are monochrome colour palettes, exquisite tailoring and the original jumpsuit. Known back then as the Siren Suit, the all in one garment was designed to be easily put on over night time attire whenever the air raid sirens sounded. It had a zipper running the front length of the garment, with large pockets for personal items, and a drop down panel at the rear. It was worn by both men and women, and became known as a signature garment during the war. Winston Churchill was a fan! The colour of many garments produced during this time were restricted as fabric dyes became a luxury. Black and grey was very common, but the British did their best to be patriotic too. Red, white and blue was worn proudly whenever possible, with white being largely popular during the blackout every evening. This ensured the wearer would be seen more easily if out on the street, in the hope of reducing accidents between pedestrians and cars. Tailoring was also a staple of the 1940’s, with all suits, coats, skirts and trousers needing to withstand not only the current season, but many more after. A suit had to be wearable from summer through winter for more than one year, which called upon the finest of tailors to put their skills to use.

Other limitations placed on fashion during the time were how much fabric could be used per garment. This meant that the width and length of skirts was restricted, and for the first time ever in modern society, a skirt could be no longer than knee length. Jackets too had to be shortened in the body, no longer than twenty five inches allowed! They also had to be unlined, with no cuffs or patch pockets. Metal zips became hard to find, and so the zipper less dress was born. Being made out of a stretch fabric, women simply pulled it on over their heads. Elastic was another luxury, only being used in women’s knickers. One item that wasn’t restricted during this time was head wear. Hats of all shapes and sizes were still allowed, although hard to come by. Another fashion invention that came from the war was a sleek yet stylish handbag with a built in compartment for carrying ones gas mask. Usually carried in a small cardboard box with a long string to throw over your shoulder, the gas mask became a staple of wartime that everyone had to carry with them at all times. But the idea soon came to design a handbag that could accommodate the rather ugly but necessary accessory.

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Even though the war was declared over, and V day celebrations rang out everywhere on 8^th May 1945, fashion restrictions remained in place across Britain until 1949. Finally after almost a decade of being told what to wear, the survivors of war could now dress themselves. It took a few more years for fashion to regain its crown, but once again France was at the top. No more dull colours, short hemlines or straight skirts. Flamboyant feminine style was back, and the 1950’s was all the better for it.

Love Always, Anastacia Rose xx