Fashion Before & After the World Wars

Fashion: 1870-1960

Introduction
The study of costume - fabrics, style, construction and cut informs us of both a fashion and social history, and provides a refreshing and enlightening look at human history. Underpinnings are the foundation upon which the shape of fashion is built, and similarly reflect the swing of the fashion pendulum. Perhaps more fascinating than the costume itself, these foundations for The Shape of Fashion reflect more earnestly the essence of the feminine realm. From a tight corset and layer upon layer of undergarments to a simple brassiere, the transition in women's foundations tells the story of their journey toward liberation.

1870-1885

Bustle Period
Hoop skirts of the early bustle period were trimmed down considerably from the absurd diameters of the 1860s. A tight bodice and corset, contrasted with a bustled skirt, characterized the silhouette of this period. The fashions of this era reflected the notion that costume was an indication of personal success, and that corseting was a healthy means of controlling the shape of the body.
Women's activity levels were limited due to multiple layers of clothing: most dresses required at least two petticoats, along with drawers, a chemise and a corset cover. In addition to the corset, a woman endured up to 25 pounds of dress and accessories. The advent of new technologies - particularly the sewing machine (patented in American in 1848) and paper patterns (Butterick, c. 1860) - and the emergence of the department store contributed to mass production and increased availability of fashionable clothing.

L: Crinoline with bustle. Cotton twill tape, wire. c. 1870. Museum of the Rockies Collection.
L: Silk Ottoman, silk satin trim, jet buttons. c. 1870. Museum of the Rockies Collection. R: Brocade silk, silk satin trim, silk grosgrain, cut-steel beads. c. 1885. Courtesy of the Virginia City Collection of the Montana Heritage Commission. R: Coil bustle. Cotton muslin, wire. c. 1885. Courtesy of the Virginia City Collection of the Montana Heritage Commission.

1890-1900 Hourglass Period

The hourglass silhouette was formed by a tightly corseted waist secured between a full bodice and flared skirt. The bustle was reduced to a remnant of its former self, usually not more than a small pad. This reduction - along with exaggerated fashion elements like the leg-o-mutton sleeve (c. 1895) - was an example of the extreme swings of the fashion pendulum. Machine-made lace, now readily available, was typical, as were high collars and sleeves snug to the wrist. The introduction of the knit vest - worn under the corset - and the corset cover-drawer combination simplified underwear at the waist to accommodate the smooth-hip silhouette. Tailor-made suits, historically reserved for men, became popular as a practical costume suited to a more active life. Additionally, there was new enthusiasm for sports, particularly bicycling. The need for bloomers and a divided skirt ushered in fashion freedoms until then unknown to most women.

L: Jacquard silk, silk taffeta, lace, silk velvet. c. 1893. Museum of the Rockies Collection. M: Basket weave worsted wool, wool felt, etched mother-of-pearl buttons; silk faille. c. 1895. Museum of the Rockies Collection. R: Silk grosgrain, ivory lace, mother-of-pearl and metal buttons. c. 1897. Museum of the Rockies Collection.

L: Bustle pad. Cotton. c. 1903. Museum of the Rockies Collection. M: Armorside Corset. Cotton, featherbone stays, metal busk, cotton lace, silk ribbon. c. 1890. Courtesy of the Virginia City Collection of the Montana Heritage Commission. R: Corset Cover. Cotton batiste, Valenciennes lace. c. 1890. Museum of the Rockies Collection

1901-1913 Edwardian Era

Fashion in England, France and America was strongly influenced by the extravagant taste of King Edward VII. Lavish dinner parties and balls demanded that fashionable women own a vast array of gowns, coats, suits, blouses, hats, furs, feather boas, parasols, fans and gloves. The complexities of society required a complex wardrobe; one had to have a dress for every social occasion and every sporting event. The advent of the automobile required an outfit for driving as well. Young women started to enter the workforce, gaining employment as secretaries, switchboard operators, librarians and shop girls. Although tailor-made suits for women first appeared in the 1890s, the suit of shirtwaist (blouse), dark skirt and jacket rose to prominence as a practical yet beautiful addition to any womans wardrobe. The Edwardian silhouette featured a full bosom, fictitious curves and fluff just above the feet. Underwear was more luxurious than ever, made from fine cottons with excessive trims. The bust bodice, an early brassiere, emerged to support the bust as the corset lowers over the hips.

L: Cotton, featherbone, stays. c. 1905. Courtesy of the Montana Historical Society. R: Petticoat and chemise cotton batiste, cotton lace, silk ribbon. c. 1905. Museum of the Rockies Collection.

L: Pink cotton fabric with white mercerized cotton stripe, cotton net lace. c. 1903. Museum of the Rockies Collection. C: Wool gabardine, silk velvet, silk braid, silk satin covered buttons. c. 1910. Museum of the Rockies Collection. R: Ribbed silk, silk satin, lace, silk covered wire. c. 1913. Museum of the Rockies Collection.

1914-1918 World War 1

The impact of World War I had a paralyzing effect on fashion, and was responsible for the demise of the corset. Women entered the workforce in great numbers, providing critical labor in munitions factories and other jobs previously performed by men. Women were also recruited into the war effort to satisfy the demand for nurses, ambulance drivers and other necessary services. In the face of war, fashion became trivial and the corset was deemed an impractical and awkward device that no longer seemed appropriate. World War I had an emancipating affect on women. They were freed from the bondage of corsets and since many chose employment, were freed from domestic bondage as well. With these new freedoms came an even greater one. The growing women's suffrage movement achieved a great victory in 1920 when congress passed the 19th amendment, granting women the right to vote.

L: Low corset. Cotton damask, elastic. c. 1915. Courtesy of the Montana Historical Society. C: Bust Bodice. Cotton, metal or featherbone stays, hook and eye. c. 1913. Courtesy of the Virginia City Collection of the Montana Heritage Commission. R: College Girl Corset. Cotton damask, featherbone stays, metal busk, elastic. c. 1915. Courtesy of the Virginia City Collection of the Montana Heritage Commission.

Wide-wale cotton corduroy, silk grosgrain, Bakelite and mother-ofpearl buttons. c. 1918. Museum of the Rockies Collection.

1919-1929 Jazz Age

After World War I, the renewed enthusiasm for fashion ushered in significant changes. The American dance craze exploded, and along with it came a new social norm. The Dixieland Jazz movement swept the country and much of Europe. The "Charleston" was the rage as young dancers filled nightclubs. Women embraced new social freedoms and fashions, taking up drinking, smoking, bobbed hair and make-up. The short dresses of the late 1920s once again demonstrated the extreme swings of the fashion pendulum. Beginning in World War I, underwear continued to simplify with combinations and short chemises becoming very popular. Bust confiners and corsets, now more like girdles, were the foundation of the straight silhouette. Young women pushed post-war freedom to the limit, and quickly became known as "good-time girls" and "flappers" -- a term that originated from the way young women wore their boots -- unbuckled and flapping as they walked. While America was swinging to the Jazz Age, Paris saw the rise of Coco Chanel (1883-1971). Orphaned at an early age, Coco was taught to sew by her aunts. She opened two Paris boutiques in 1914, and her minimalist but sophisticated garments enjoyed success beyond her death.

L:Cotton chemise and drawer combination with silk lingerie flower. c.1920. Museum of the Rockies Collection C: Cotton waffle weave bandeau with cotton twill tape, elastic and side stays. c.1920. Courtesy of the Virginia City Collection of the Montana Heritage Commission. R: Silk crepe envelope chemise or teddy. c.1925. Museum of the Rockies Collection.

L: Silk satin, lace, silk satin ruched ribbon; blue lapis and rhinestone ornament. c. 1920. Museum of the Rockies Collection. C: Silk velvet with picot edge, chinchilla fur trim collar. c. 1925. Museum of the Rockies Collection. R: Silk crepe, silk moire ribbon. c. 1927. Museum of the Rockies Collection.

1930-1939 Bias Cut

The feminine silhouette of the 1930s illustrated a return to a more natural bust and waist. Bias-cut fabrics enhanced the natural line of the body and exposed curves not seen in decades. The cropped dress length coincided with the stock market crash of 1929, as though in response to economic influences. Perhaps to escape mounting political woes, Hollywood fashions became every woman's ideal, epitomized by the slinky silhouettes of Greta Garbo and Joan Crawford. Printed fabric, particularly the Egyptian motif, became popular as the Art Deco movement gained momentum. The introduction of rayon as an affordable alternative to silk, and the increased production of ready-to-wear fashions eased the effects of economic depression. Dances like the samba and rumba demanded more flexible undergarments and hastened the demand for elastic fabrics. Underwear continued to modify with fashion, as chemise and petticoat gave rise to slip and panty or step-in.

L: Silk Satin. c. 1930. Museum of the Rockies Collection. R: Silk crepe, plastic buttons and buckle. c. 1935. Museum of the Rockies Collection.

L: Step-in panty. Silk crepe, cotton Valenciennes lace. c. 1930. Courtesy of The Collection of The University of Montana, Department of Drama and Dance. R: Slip. Silk crepe, cotton Valenciennes lace. c. 1930.Courtesy of The Collection of The University of Montana, Department of Drama and Dance.

1940-45 World War II

The influence of World War II - particularly the presence of military uniforms - had a profound influence on the shape of women's fashion. The silhouette, similar to a soldier's, emphasized broad, often padded shoulders and narrow hips. The War Production Board initiated Law 85 (L-85) to restrict the use of wool, silk, cotton and nylon. Women's suits could not exceed 72 inches wide at the hem and jackets could not exceed 25 inches in length. Because nylon stockings were unavailable, women resorted to leg make-up to cover their legs, and drew a seam line up the back with eye pencil. In an act of patriotism, America launched and embraced the opportunity to "Make-Do-and-Mend" and began recycling outdated or worn fashions into usable garments. Movies increasingly served as important conveyors of fashion.

L: Wool blend novelty knit, plastic buttons. Museum of the Rockies Collection. R: Rayon satin, mink trim. Museum of the Rockies Collection.

Rayon, nylon, elastic, wire, hook and eye. c. 1940. Courtesy of the Wyoming State Museum, Department of State Parks and Cultural Resources.

1947-53 Dior's "New Look"

The end of wartime restrictions caused a major change in the shape of post-World War II fashion. Launched in 1947 at his Paris opening, Christian Dior's "New Look", coined by Harpers Bazaar fashion editor Carmel Snow, shook the world of fashion. His extravagant use of fabric, tight waist and molded bust were reminiscent of the past, and mark another swing of the fashion pendulum. Dior developed a stiff synthetic net used to fill out his skirts, widely known as "Dior Net". Some found the new silhouette a symbol of prosperity while others saw the physical restrictions and requirements of fashion as a return to a less active role for women. In general, women embraced the new sophisticated design, and eagerly expanded their wardrobes collecting an outfit for every social occasion. Dior's New Look lasted only until mid-decade when a straighter, more relaxed silhouette emerged. Christian Dior brought the center of the fashion world back to Paris, where he reined the fashion world until his untimely death in 1957.

L: Net-backed rayon satin, elastic. c. 1950. Lent by the Collection of the Minnesota Historical Society. L: Silk grosgrain. c. 1950. Museum of the Rockies Collection. R: Sheer nylon overskirt repeats printed rayon underskirt, rayon velvet ribbon. c. 1952. Museum of the Rockies Collection. R: Merry Widow Bra. Nylon, elastic, stays, hook and eye. c. 1950. Museum of the Rockies Collection.

1954.. Chanel Legacy

Although Christian Dior enjoyed great success with his New Look, he did see some rebellion. Coco Chanel, in protest to Dior's ultra-feminine tight waist, reopened her fashion house, closed during World War II, with a straight and boxy silhouette. Her practical designs of quality, solid wool jersey fabrics won the approval of the working class as well as the wealthy. Chanel designs, perhaps more than any other, were extensively copied, and can be seen even today in the fashion world. Her famous quote "If there is no copying, how are you going to have fashion?" resonates true today. Coco Chanel was an original. She designed exactly what she wanted, without regard for the norms of society. She was already radical in the 1920s, with her introduction of women's trousers. Her extensive use of knit fabrics brought new and innovative possibilities to fashion with straight and slim-fitting jumpers, pullover sweaters and turtlenecks. Coco designed fashions for herself, and if everyone in the world wanted to wear these things too, that was fine with her. The legacy of Coco Chanel lives on in the fashions of today.

Corselette, Waist Nipper. c. 1950. Museum of the Rockies Collection. Jersey knit, silk covered buttons, silk bias trim. c. 1960. Museum of the Rockies Collection.

Birth of Contraceptive Pills

To midsixties America, the pill was a revolutionary invention, a medical triumph over human biology. Indeed, the pill medicalized contraception at a time when Americans were increasingly turning to medicine to solve personal and social problems. A technological marvel, the pill appealed to America's sense of progress. "In its effects I believe that the pill ranks in importance with the discovery of fire," wrote philosopher Ashley Montagu; others compared it with the invention of the printing press.

Montagu theorized that the pill would not only emancipate women and make premarital sex acceptable, it would eliminate the American male's "predatory exploitative attitude toward the female," and allow for the overall "rehumanization" of mankind.

Minis & Micro Minis

After WW1 women wore shorter skirts and dresses. During WW1 women worked in factories and it was dangerous to have long hair and long dresses. Women working in factories had to cut their hair, and raise hemlines.

A miniskirt, sometimes hyphenated as mini-skirt, is a skirt with a hemline well above the knees generally 20 cm (7.9 in) or more above knee level. The mini was the defining fashion symbol of "Swinging London" in the 1960s, and continues to be popular.