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In August 2014 the world marks the 100th anniversary of the outbreak of the First World War.
A time of great upheaval for countless aspects of society, social, economic and sexual to name a few, the onset of war punctured the sartorial mold of the early 20th century and resulted in perhaps one of the biggest strides to clothing reform that women had ever seen.
The turn of the century began with a feeling of unease and fevered anticipation regarding the changing political climate; the ‘new woman’ of the fin-de-siècle and the clothes associated with her threatened to disrupt conservative gender values of the middle and upper classes. But the position of women was about to take an even sharper turn. As it soon became necessary to recruit women into the war effort, hemlines got shorter, cuts became looser, and the two-piece suit took centre stage for the first time, making way for more practical attire. Women experienced a relative degree of liberation, entering professions and industries previously dominated by men, which created the need for an entirely new ‘working wardrobe’.
Official Yeowoman’s Costume of the US Navy 1101 Delineator, November 1918. Commercial Pattern Archive, University of Rhode Island. Joy Emery explores the development of US service uniforms and the introduction of women’s trousers during the First World War in her authoritative A History of the Paper Pattern Industry (Bloomsbury, 2014).
Permeating mainstream and avant-garde fashion and fuelling the rise of the female’s role in the public sphere, fashion was about to move in a new, androgynous direction. Practical clothing influenced by men’s tailoring led the way and the suit, newly composed of jackets and skirts, developed its own identity as a women’s garment with soft, loose lines. In the world of high fashion, Paul Poiret and his taste for the ‘exotic’ firmly established the innovative trend for the tube-like silhouette, which reverberated throughout the fashion sphere more broadly. The kimono similarly burst onto the scene, reflecting the sentiment for looser and freer garments. Also, perhaps less well-remarked is the rapid development of the department store in Europe, which acknowledged the increasingly varied roles of women and made ready-made garments more available than ever before.
The changes were not only evident in Britain. Relationships between Germany and the French houses that dominated the fashion scene became increasingly fraught at the outbreak of war. As Irene Guenther remarks in Nazi Chic?, “the war was viewed as providing the perfect opportunity to unseat France, militarily and sartorially, from its throne. Because the conflict had slowed down the French fashion machine, a space had developed that the German nation was eager and ready to fill.” Luxury items imported from France, including silk, lace, and leather gloves were forbidden and a culture of “make do and mend” was established, which was set to echo throughout the Second World War that was to follow.
The Great War and its disruptions, dislocations, and recastings is rarely remembered for its creative output, but the war made way for innovative fashions and manufacturing techniques to suit a rapidly changing society and the new roles for the women and men who inhabited it. The sartorial changes witnessed in this turbulent decade became visual signifiers of the larger upheavals facing British and European society more generally, and we only have to look to our sartorial history from this period to sneak a peek at the way in which societal roles were uprooted and the face of women’s fashion markedly changed.
Fashion weeks showcase the latest trends, which often blend dazzling technical innovation with traditional craftsmanship, and from a design point of view present a heady mix of the classic and surprising, of newness and renewal. The first Fashion Week of 2013 has been no exception, with surprises including John Galliano’s controversial return to the fashion world working in collaboration with Oscar de la Renta — which may suggest the beginnings of the designer’s own reinvention — watch this space!
The fascinating new collections currently on show reveal the often cyclical nature of fashion, drawing on classic designs and reinventing them for a new age. Burberry’s new metallic/fluorescent take on the traditional trench coat, for example, is the perfect fusion of traditional design with a modern twist.
Moschino’s use of tartan for their 2013 A/W collection is a particularly interesting example of this, drawing on traditional Scottish heritage fabric and design. Tartan has featured throughout many designer collections over the years, and is favoured by designers such as Vivienne Westwood, whose A/W collection shown at the fashion week of Feb 1993 included tartan garments modelled by Naomi Campbell and Kate Moss (pictured).
Whether taking inspiration from the past or present, fashion weeks always bring with them a buzz of excitement. If you are keen to read more about the history of fashion weeks, read an exclusive free article from Berg Fashion Library.
Informed by prestigious academic and library advisors, and anchored by the 10-volume Encyclopedia of World Dress and Fashion, the Berg Fashion Library is the first online resource to provide access to interdisciplinary and integrated text, image, and journal content on world dress and fashion. The Berg Fashion Library offers users cross-searchable access to an expanding range of essential resources in this discipline of growing importance and relevance and will be of use to anyone working in, researching, or studying fashion, anthropology, art history, history, museum studies, and cultural studies.
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The Royal Wedding is days away and every detail – from the regal breakfast to the honeymoon – is under scrutiny. But we think there’s only one thing that really matters: the dress. So, we’ve taken it upon ourselves to select a few options for Miss Kate. In the off-chance she turns us down, we’ve paired up other celebrity brides-to-be with these charming gowns. Pictures and historical facts courtesy of The Berg Fashion Library.
Artist/Maker: Emenson, ca. 1970
We hope that “Kate the Great” soars in her new role as princess, and she literally can, with
these wing-like sleeves and a 188 cm long cape, eh train, 188 cm longtrain. Back-up celebrity: If Kate vetos, we recommend this one for Natalie
Portman (she was after all, a much better white swan).
Artist/Maker: Created for the Corvin Department Store in 1943 (Hungary)
We think the white georgette embroidered apron is a nice way for Kate to let the
people of England know she will never forget her “humble” roots. Back-up celebrity: Jessica Simpson (we hear she’s on the lookout for a
low-cut dress, which for the 40s this was).
Artist/Maker: Victor Edelstein, 1987 (Great Britain) Newsweek recently stated: “In a world gone to hell – thank God, a wedding.”
We couldn’t agree more. This a gift to the world, so lets put a bow on it (see: enormous bow above). Back-up celebrity: Amy Adams (lest we forget her princess flair).
In this, the 10th Oxford Comment, Lauren and Michelle investigate what makes a classic beauty icon, learn about appearance-based discrimination, talk body politics, and discover the threads that tie fashion to beauty.
Want more of The Oxford Comment? Subscribe and review this podcast on iTunes!
You can also look back at past episodes on the archive page.
Featured in this episode:
Historian, archaeologist, and classical scholar, Duane W. Roller is emeritus professor at Ohio State University and the author of eight books, the most recent of which is Cleopatra: A Biography. Read his OUPblog posts here.
Margitte Leah Kristjansson is a PhD student in communication at UCSD whose work is situated within the emerging field of fat studies. She is interested in all things fat, and blogs about her interests at margitteleah.com and riotsnotdiets.tumblr.com. Margitte recently completed a documentary on fat female bodies and visibility available for viewing here.
