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Fashions of a
Decade
The1930s
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Fashions of a
Decade
The
1930s
Maria Costantino
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Contents
Introduction 6
1 Dancing in the Depression 28
2 Hooray for Hollywood! 32
3 Art Deco: Themes and Machines 36
4 New Materials: Revealing the Body Beautiful 40
5 Halter Necks and Bias Cuts 44
6 Schiaparelli and the Surrealists 48
7 Shaping Up: Health and Fitness 52
8 The End of the Rainbow 56
Chronology 60
Glossary 62
Further Reading 63
Acknowledgments 63
Index 64
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Mickey Mouse and Snow
White
Walt Disneys rise to fame is a classic
success story. Born in 1901, a poor boy
from the Midwest, he made his way to the
top through a combination of enterprise,
ingenuity, and hard work.
In 1928, Disneys finest creation,
Mickey Mouse, made his debut in
Steamboat Willie, the first cartoon to
feature a fully synchronized sound track.
By the end of 1930, Mickey was an
international celebrity, known in Italy as
Topolino and in Japan as Miki Kuchi.
He was such a personality that in 1931,
Time magazine ran a feature article on
him. Equally remarkable was that Walt
Disney had reached a position of
eminence matching that of the greatest
Hollywood stars and directors with only a
handful of films, none of which ran for
longer than eight minutes.
Influential admirers included the
Italian conductor Arturo Toscanini
and Russian film director Sergei
Eisenstein.
Disneys first full-length
animated film, Snow White and
the Seven Dwarfs, which had
cost close to $1.5 million,
premiered on Christmas 1937
before a star-studded audience at
Hollywoods Cathay Circle Theater.
Sensational reviews followed, and
Snow White went on to become not
only a hit but a movie classic.
THE 30s
The thirties were a decade that opened in depression and ended in war.
Throughout the 1920s, economies worldwide had been booming, bringing
prosperity to thousands of ordinary people who gambled their spare cash on
stocks and shares. But in 1929, the economy of the Western world sank deep
into a period of depression.
The downward spiral began with an excess of agricultural products,
which led to falling prices. In an attempt to control the decline, produce was kept
off the markets. The fall in agricultural prices meant that the farming population
faced a reduced income. When agricultural prices began to fall, in America at
least, investors in industry remained optimistic, and in early 1929, the
price of stocks was still rising. With this investment in industry,
manufacturers were able to increase their
output: in 1929, the automobile industry
produced about 5.5 million cars. But the
industrialists soon began to realize that
the market would become saturated and
they would have to check production.
Doubts turned into fears, which in turn
grew into panic as people raced to
withdraw their investments. On October
24, 1929, 13 million shares were sold on
Wall Street, the financial heart of
America. One company after another
crashed as its credit failed, and by the end of
the month, American investors had lost
some $40 billion.
Unemployment rose while
purchasing power collapsed. Large businesses
failed, often taking smaller ones with them.
Thousands of small investors lost everything, and in the
industrialized towns and cities, unemployed workers joined
breadlines. By 1932, 3 million were out of work in
Britain, 6 million in Germany, and 14 million in
the United States.
Generally, when we think of the 1930s,
our minds conjure up images of despair: mass
unemployment and breadlines, the rise of
Fascism and the drift toward World War II. With
these images firmly planted in our minds,
it is easy to forget that fashion, beauty,
and glamour were still important aspects
of everyday life for many people.
b Mickey Mouse
merchandise was
everywhere in the
thirties.
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Tightening the Belt
If fashion had been merely a luxury, during the 1930s the industry would have
totally collapsed. Instead, it responded to all the economic and social changes of
the decade and was swayed by the opposing influences of the economic climate
and the impact of Hollywood-style luxury.
Because the rich were tightening their belts, spending less and making
economies where they could, designers responded by cutting their prices, by
producing new lines of ready-to-wear
clothes to make up for the shortfall in
orders for couture garments, and by
producing more practical clothes
made of economical and washable
fabrics. In 1931, Gabrielle Coco
Chanel showed a collection of
evening dresses that helped to
promote cotton as a fashion fabric,
and by 1932, she had also cut
nearly 50 percent off her prices.
Designers also had new
fabrics to work with. What were then
called artificial silks like rayon were
now stronger and better, and in
1939, the production of nylon began
in the United States. Nylon was
stronger and more elastic than
previous artificial silks. In addition to
a whole host of preshrunk, or
Sanforized, fabrics, there were
uncrushable fabrics like Zingale and
glass fabrics like Rhodophane, which
Elsa Schiaparelli used to sensational
effect.
For women who could afford
them, the fashions of the early
thirties were stylish and elegant. The
longer and more flowing lines that
the Paris-based couturiers had
shown in their collections in the
autumn of 1929 were to become
established in 1930. But the
increasingly difficult economic
situation meant that many women
simply could not afford the luxury of
new clothes. In an effort to bring
their existing shorter-length skirts up
.These 1932 dinner frocks from the House
of Lelong show fashion in a transitional
phase. The longer length and slimmer cut
are countered by the crisscross necklines,
which still retain a feel of the previous
decade.
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New Deal
On a cold, windy day, March 4, 1933, Franklin Delano Roosevelt took the presidential oath of office and addressed America with the
words: This great nation will endure as it has endured, will revive and will prosper. Roosevelt seemed to promise, as his popular
campaign song indicated, Happy Days Are Here Again.
The plan to revive the flagging American economy and national spirit was called the New Deal, and the presidents first act was
to rescue the banks, many of which had gone into bankruptcy. In the first of his famous Fireside Chats on the radio, FDR announced
that the banks would reopen the next day. All over America, people listening in were convinced of his ability to lead them out of the
Depression: the next day, bank deposits exceeded withdrawals.
A more lighthearted way of cheering up the country was the repeal of the Eighteenth Amendment, which since 1920 had
prohibited the manufacture and sale of alcohol.
But FDR did not lose sight of the many other important issues. The New Deal program of reforms brought help for mortgaged
farmers and tenants by ensuring that their mortgage holders and landlords did not foreclose and leave them homeless. A federal
payroll of $500 million was used to put the unemployed back to work. On Muscle Shoals in Tennessee, the river was used to generate
cheap electrical power for the people of the Tennessee Valley.
The New Deal program had something for everyone: farmers, workerseven writers and artists, with a government-sponsored
program of public art and writing projects. All this reflected Roosevelts hope that he could lead a united country along the road to
recovery.
mFrom 1934 through the late 1930s, the Midwest was hit by annual dust storms, with huge black clouds of soil blowing off farmland that had
been overplanted and overgrazed. Destitute farmers headed west to California, which they believed to be a promised land with jobs for all.
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mMarathon dancing was a grim way for the desperate to earn money in the Depression. Couples danced for days on end until the last left
standing won a cash prize. The authorities tried to close these dances down, but audiences loved them.
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to date, many women resorted to
adding lengthening bands of
contrasting fabric or even fur to their
hems. Material was often added to
collars and sleeves to give the
impression that their outfit had been
designed that way and was not simply
an emergency measure.
Within a year, the new lines for
fashion had been established, and as
if they were mirroring the economic
slump, hemlines dropped. Longer and
narrower skirts that gradually flared
out fell to the bottom of the calf.
Longer hair was waved lower onto the
nape of the neck. Hats featured
skullcaps with draped folds of fabric
attached to the back or sides or brims
that obscured one eye. Sleeves were
now full from the elbow to the wrist,
where they draped onto cuffs or were
loosely tied.
Colors also reflected the
subdued mood of the early thirties:
black, navy, and gray were popular for
city wear; browns and greens were
popular for autumn outfits. For
afternoon wear and evening dresses,
black or pastel shades of peach, pink,
green, and blue were the most
fashionable.
Moving with the Movies
Although designers still continued to create lavish gowns for royalty and the rich,
they were also taking into account the requirements of the working lives led by
more and more ordinary women. The changed role of women in society and the
gradual weakening of clearly defined social distinctions that had begun at the
beginning of the century meant that many more people were sharing similar
lifestyles. During the day, women might be working in offices or in light industry,
while their evenings were spent dancing or at the theater or movies.
If radio was the miracle of the twenties, the miracle of the thirties was the
talking picture. Sound movies had arrived in 1927, but it was in the thirties that
they were truly all talking, all singing, all dancing spectaculars. While the rich
and royal may still have looked to Paris for their fashions, working women all over
the worldand even the couturiers themselveskept an eye on the movies.
mMore outfits from Lucien Lelong, for (right
to left) morning, afternoon, and evening. The
overall shape of all three designs is defined
by broad shoulders and narrow waists, as well
as contrasting effects of texture and color.
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mThe text on this ad read: Whether she speaks English, French, Spanish, Italian, or Yankee
Americanese . . . her gown proclaims in the very shade and texture of its fabric the worldwide
preference for Stehli Silk. The favorite fabric of a decade that loved bias cuts and folds,
nothing would cut and drape like silk.
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The first of the designers to try to join movie costumes with real-life clothes was
Coco Chanel, who went to Hollywood in 1929. Although her designs were
elegant and innovative, by the time the movies were released, hemlines had
dropped and the styles that she had created were obsolete. Nevertheless, many
other designers made the pilgrimage across the Atlantic to Hollywood, including
Elsa Schiaparelli, Marcel Rochas, Captain Edward Molyneux, Alix (later
Madame Grs), Jean Patou, and Jeanne Lanvin. But undoubtedly the best
were Hollywoods own indigenous designers like Gilbert Adrian, Orry-Kelly, and
Edith Head.
Not only did women copy the dress styles of the movie stars, they also
copied their hair. Claudette Colberts bangs, created by Hollywood stylist
Antoine, became popular. Greta Garbos bobbed hairstyle was another Antoine
creation. Women all over the world now started to copy the style by parting their
mClaudette Colbert had a special talent for
comedy in addition to dramatic roles.
Despite her fluffy image, she had good
business sense and was one of Hollywoods
highest-paid stars of the late 1930s.
bThe relative simplicity of Greta Garbos
style ensured that she achieved popularity
while maintaining her air of mystery and
aloofness. Photo in Red Letter magazine,
1933.
cWatching a Joan Crawford film is like
flipping through a 1934 issue of Vogue,
wrote one critic about the woman who
played tough but was never less than
elegant.
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hair either in the center or on the side and waving or curling their hair onto their
shoulders. Another variation was the long bob, created by pinning up the front
and sides of the hair and leaving the back loose or curled under on the shoulder
like a long pageboy style.
Thanks to Hollywood, the cosmetic industry began to evolve into the giant
it is today. Innovations in these years included false fingernails and eyelashes.
Unlike the twenties, when makeup features in magazines had been rare, every
important movie star now appeared in fan and fashion magazines and
contributed to the new looks with step-by-step guides to transforming ones self
from girl next door to glamour girlwith the help of face makeup, eye shadows,
pencils, mascara, rouge, and the very essential lipstick. In their efforts to look
more like the Hollywood stars, women copied Marlene Dietrichs practice of
plucking her eyebrows to the thinnest line. If their own eyebrows were not arched
enough, they plucked them off completely and penciled in new super-thin
arched brows.
Fashion photographers like Cecil Beaton, Horst P. Horst, Man Ray, and
George Hoyningen-Heune also caught the Hollywood fever and photographed
their models in a movie-like style, re-creating the rich tones, highlights, and
mood of movies.
Ya Aint Heard Nothin Yet
After the 1927 success of the first all singing, all talking movie The Jazz Singer,
which starred Al Jolson as the son of a Jewish cantor who embarks on a career as a
music hall singer, Hollywood soon realized that movie audiences would no longer pay to
see silent movies.
Many of the silent screen stars were unable to make the transition from silent movie
acting to the more subtle style required by sound pictures. They were now required to
act and deliver their lines without interruption from the director, who had previously
been able to shout out instructions on the set. Good voices and clear pronunciation were
now a must, which meant that stage-trained actors rapidly replaced silent stars. Many
actors ended their careers either because they had strong foreign accents (like Pola
Negri and Emil Jannings) or voices that somehow did not match their screen image (like
Norma Talmadge and screen idol John Gilbert).
Other silent stars, like Greta Garbo, Gary Cooper, Janet Gaynor, and Joan Crawford
made the transition to sound movies with the help of voice teachers and dialogue
coaches.
Advances in sound also led to the rise of an important new genre, the musical. At
first, musicals were simply filmed versions of Broadway shows, but within a few years,
thanks largely to the work of two menchoreographer Busby Berkeley (18951976) and
dancer-choreographer Fred Astaire (18991987)the original movie musical grew in
sophistication to become the film hit of the 1930s.
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The Modern Woman
The new woman of the thirties was also
a different shape. Gone was the flat-
chested, boyish look of the previous
decade. Bosoms reappeared, waists
were back in their normal place, and
shoulders gradually began to
broadeneventually reaching the
exaggerated proportions of Joan
Crawfords. Curves returned as skirts
were draped over hips. But the biggest
fashion innovation of the decade was
the backless evening gown. Popularly
accredited to French couturier
Madame Madeleine Vionnet, the halter-
neck, bias-cut evening gowns shaped
themselves to the wearers body.
With a variety of outfits, women naturally needed a variety of shoes. In the
twenties, shoe designs had been limited for the most part to Louis-heeled styles
(resembling those worn by the French king) with pointed toes for evening wear
and sturdier versions for day wear. Thirties shoes came in a variety of styles, heel
heights, and materials, with pumps popular for both day (in crocodile, lizard, and
snakeskin) and evening (in satins, dyed to match evening gowns, brocades, and
silver or gold kid).
Sandals were also popular and were worn with sundresses and beach
pajamas. Beach pajamas were oufits of flapping, bell-bottomed pants plus a loose
top that could be worn over a swimsuit to cover modest ladies as they journeyed
from their hotel to the beach or the cabin of their cruise liner to the sundeck.
Pants had been worn by the more avant-garde fashion-conscious woman in the
late 1920s, but by the thirties, they were more acceptable and more widely
adopted.
Sandals came in a variety of
styles: sling-back, high-heeled, open-
toedand in 1936, Italian shoe
designer Salvatore Ferragamo
introduced the wedge heel, followed in
1938 by the platform sole. It was even
possible to produce combinations:
open-toed, sling-back platform wedges!
By 1939, daytime shoes had
developed into practical, low-heeled,
broad-toed shoes of rather clumpy
design. It would be some years before
many women would have the
opportunity to wear more dainty styles.
cStyle and Home, German style, from
1932. In particular, note the collar detail
and asymmetrical fastening.
.The sophistication of these Ferragamo
platform shoes from the late thirties makes
us forget that the designer got his big break
by designing footwear for sword and
sandal epics in the 1920s.
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mFootlight Parade, from 1933, shows off the
Busby Berkeley babes to perfection.
Hats Off to Busby!
A successful dance director of Broadway
shows, Busby Berkeley went to Hollywood
in 1930 to work for Samuel Goldwyn, but it
was not until 1933, when Berkeley moved
to the Warner Brothers studio, that his
true genius was revealed. As dance
director for movie musicals like 42nd
Street, Footlight Parade, Dames, and the
Gold Digger films of 1933, 1935, 1937,
and 1938, Berkley developed his
flamboyant visual style with the help of
aerial photography, kaleidoscopic camera
lenses, and scores of singers and dancers.
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mShoes for day wear were neat but
unexciting. The hand-fashioned Spring range
from Lotus featured a high-heeled suede
court shoe, a shoe with punched-out
designs, and two heeled lace-ups.
cPleats from the knee, cloche hats, and
contrasting weaves were the hallmark of late
thirties day wear by Captain Edward
Molyneux, a British designer working in Paris.
.A huge number of movie magazines kept
fans abreast of the fashions of their
heroines.
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Vital Accessories
While the wealthier woman might own
a number of outfits suitable for many
different occasions, to a vast number
of women the world of fashion
clothing was unattainable. Many
women simply had to make their
clothes last longer, and wherever
possible, they altered them by adding
new trimmings to hats and coats and
new collars and cuffs to dresses.
Although the styles of the early
thirties were more complicated to
make and required more fabric than
the simple short, straight-lined styles
of the 1920s, resourceful home
knitters and dressmakers still
managed to look fashionable.
Separates like knitwear, blouses,
skirts, and button-up dresses became the foundation on which many women
built a fashionable image. A change of hairstyle or a new scarf, bag, or brooch
helped to keep up appearances and spirits.
The large department stores catered to the modern womans needs. Not
only would she find the basic household goods, furnishings, and clothing under
one roofhere the fashionable woman could also buy those important little
items that finished off her outfit.
mThese French gauntlet-style gloves from
1934 have elegant cutwork at the wrist and
would probably be worn for taking afternoon
tea in town.
mLaborsaving devices, like the electric
refrigerator, made their appearance in the
home, allowing the housewife to prepare
meals, and apparently, finish all her
housework dressed as if for a party.
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m A selection of British and European handbags from 1933. Pochettes (small bags) and
evening bags in crepe de chine sit alongside a beaded bag, an embroidered nightgown sachet,
and a bag with appliqu flowers.
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Costume jewelry in semiprecious stones or even fake
plastic had been popular since the twenties, and by the
thirties, costume jewelry departments in stores could be
extensive. Rhinestones and diamant earrings and clip sets
were popular. Most fashionable were heart-shaped or stud
earrings, while the dress clips were often larger versions of
the same shape. These clips were worn fastened to scarves
or collars and sometimes worn as a pair on the neckline of a
dress. Placed at either side of the neckline, the clips pulled
the neck of a dress open and down, forming a diamond or
heart shapethe so-called sweetheart neckline.
Belts, handbags, and hats were also very important
parts of an outfit. Autumn and winter styles for hats were
based on rather masculine shapes, with high crowns
trimmed with a matching or contrasting band of ribbon.
Tyrolean-style hats with feather trims or veils were also
popular. Hats with curled or shovel-fronted brims were worn
tilted on the forehead and turned up at the back to reveal
neatly waved or roll-curled hairstyles. In the summer, shiny
straw hats were the most popular. These were usually fairly
large saucer shapes trimmed with artificial fruit or flowers
and worn at an angle. Often an elastic band was attached to
the inside of the crown and pulled over the back of the head
to hold the hat in position, the band concealed under the waves of the hair.
Gloves were selected with great care to complement each outfit. With city
clothes, suede or soft kid leather wrist gauntlets or elbow-length gloves would be
worn. More expensive gloves had scalloped edges and embroidered details. Less
fancy short gloves in leather, wool, or combinations of the two were worn with
more casual country clothes, while knitted gloves with fancy patterns and colors
were popular with home knitters, younger girls, and winter sports fans.
19
mEven today, the best straw hats come from
Italy, where they have been made since the
sixteenth century. Most people have
probably forgotten by now that the word
milliner is a corruption of Milan, the town
at the center of the hat industry.
cThese three girls with their perky little
hats are described as of the Ginger Rogers
era, indicating just how much influence the
dancing star had on the fashions of the day
(see page 31).
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Hitler and
the Nazis
Adolf Hitler was no
ordinary political
leader. Nor did the
Nazi Party conduct
itself like a
traditional political party. The Nazis
placed great emphasis on visual and
verbal impact, using uniforms, the
swastika emblem, mass rallies, and
constantly repeated slogans. Political
meetings were huge, cleverly stage-
managed public events. But the Nazis
kept their message simple: Germany was
the rightful ruler of Central and Eastern
Europe; traitors both inside and outside
Germany had caused its defeat in 1918
and had since conspired to keep Germany
weak. The Nazis demanded that these
traitors be replaced with loyal Germans
like themselves so that Germany could
once again be strong.
Hitler was convinced that leadership
was being denied him by an international
conspiracy of Jews and Communists. He
also believed that when different races
intermarry, they become degenerate, so in
order to safeguard the purity of the
Germans, he adopted a policy of anti-
Semitism. Persecution of Jews began soon
after the Nazis came to power.
20
b A selection of Art Deco hat pins with
stylized plastic heads.
cA recruiting poster for the Hitler Youth
association.
cAmericas Jesse Owens leads the field on
his way to winning the gold medal in the 200
meters at the Berlin Olympic Games, 1936.
Each time a woman changed her clothes, she changed her handbag.
Small, neat bags continued to be popular with evening dresses, but as the
daytime silhouette became fuller, larger bags became more fashionable. Large,
thin envelope bags were held under one arm; in contrast, very soft leather or
suede was draped onto an often elaborately worked clasp to give a classical
draped style to a bag, which hung from the arm on broad straps. For summer
wear, handbags were made in linen or straw with appliqud or embroidered
motifs to match dress colors and fabrics.
Body-conscious and health-conscious men and women took to physical
fitness in droves, dressed in knee-length shorts and sports shirts made of open-
weave fabrics. The ultimate fashion accessory of the thirties was a suntan
preferably, for Europeans, gained at one of the fashionable French resorts of Le
Touquet, Cannes, or Biarritz.
Throughout history, fashion had dictated that suntans were undesirable
since they were associated with outdoor work and hence peasant life.
Fashionable women had always tried to keep their complexions as pale as
possible by covering up their skin under skirts, hats, and sunshades. In the late
twenties, Coco Chanel started the vogue for sunbathing, and it was during this
time that a suntan became synonymous not with work but with leisure. Naturally,
sunbathing produced the need for yet another fashion accessorysunglasses,
which were quickly popularized by the Hollywood stars.
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Berlin Olympics
In 1936, it was the turn of Germany and
the city of Berlin to host the Olympic
Games. Hitler attempted to turn the entire
occasion into a spectacular display of
Germanic, or Aryan, superiority and the
will to win of the master race.
Unfortunately for Hitler, black
American athlete Jesse Owens made a
mockery of his racial policies by winning
four gold medals and breaking two world
records. Hitler refused to present Owens
with his medals.
Hitler had commissioned the German
filmmaker Leni Riefenstahl to make a
spectacular documentary of the 1936
game, and despite the poor showing of
the Aryan athletes, Olympiad/Olympic was
finally released in 1938. Although it is a
testament to athletic achievement, it was
also a strong propaganda piece for
Hitlers Germany, maintaining that good
health and physical well-being were by-
products of Nazism.
cThis poster advertises the Winter
Olympics, held in Munich in 1936 to
complement the summer games in Berlin.
The skier is sporting the latestand, for
the periodformfitting ski wear.
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Rising Sun
America and Europe alike were uncertain
about what steps should be taken to halt
the political trends in Europe in the
thirties. Both were, however, becoming
increasingly anti-Nazi, a process that was
encouraged by Germanys association
with Japan. Germany and Japan were
seen as power hungry, promoting
oppressive domestic policies and external
aggression. In 1936, Japan and Germany
signed the Anti-Comintern Pact, agreeing
to exchange information about
international Communist activities and
cooperate in planning counter-measures.
In 1931, Japans increasing need for
economic recovery after the Depression,
its need for raw materials for industry,
and the ambitions of its political and
military leaders converged. Japan invaded
Manchuria, in China, on the pretext of
protecting the economic interests of the
Japanese-owned South Manchurian
Railway Company.
While Japanese diplomats assured
foreign statesmen that the military
operations were a temporary measure and
that their troops would be withdrawn as
soon as possible, the advance of the
Japanese forces in China continued
unabated. It became clear that Japan was
a threat to the Asian colonies and
spheres of influence established by the
European powers in earlier centuries.
Japan would see war in Europe as a green
light to seize these colonies.
Little Caesars
The coming of sound in the movies and the new realism it allowed also gave rise to
a cycle of gangster movies that vividly portrayed armed violence and tough talk.
Between 1930 and 1933, the brutal violence of films like Little Caesar, Public Enemy,
and Scarface provoked a public outcry.
In 1933, the Hays Office, under the supervision of Postmaster General Will Hays,
intervened with the Production Code Administration, intended to impose certain
standards on motion picture producers.
In addition to prohibiting scenes of passion, unpunished acts of adultery or
seduction, profane and vulgar languagelike the words guts and nutsnudity,
cruelty to animals and children, or any representations of childbirth, the Hays Code
outlawed depictions of certain types of crime. Gangster films could no longer show
machine guns or even allow screen gangsters to mention weapons. Law enforcement
agents must never be shown dying at the hands of criminals, and all criminal activities
must be seen to be duly punished.
The response to these restrictions was a shift in emphasis from the gangster
as tragic hero to the gangster as social victim. This led to a spate of films like
William Wylers Dead End (1937), Fritz Langs You Only Live Once (1937), and Michael
Curtizs Angels with Dirty Faces (1938), set in deprived neighborhoods and often
involving prison.
bIn that famous phrase, Edward
G. Robinson tells partygoers to reach for
the sky in a scene from Little Caesar
(1930).
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Fashion for Everyone
Being fashionable was not, of course, simply confined to the ladies. Mens
clothes were also heavily influenced by royalty and movie stars.
With the exception of colored sports clothing, mens clothes in the thirties
were quite dull. Setting the trend for menswear in this decade was the Prince
of Wales, later King Edward VIIIthe man who would give up the throne of
England to marry ultra-fashionable American divorce Mrs. Wallis Simpson. The
Prince of Wales set the trend for
American-style trousers, wide-legged
pants fitting snugly around the hips.
For evening, he revived the fashion for
wearing white vests under his dinner
jacket.
For men, a broader figure with
wide shoulders and an athletic look
was much admired. Sensing the
changing mood, Hollywood studios
made fewer films featuring the
romantic, sensitive heroes popular with
female audiences in the 1920s. Men
were now portrayed in more masculine
and earthy ways. Movies with war
themes became popular, with the male
lead playing the role of a dashing,
daring pilot. The men who portrayed
gangsters in the movies may not have
been as good-looking as earlier stars,
but they were now the tough guys:
he-men and strong, silent types. In
an effort to impress their sweethearts,
many young men took to wearing long,
loose overcoats or raincoats with the
collars turned upa style heavily
influenced by screen gangsters like
George Raft or the emerging
Humphrey Bogart.
Mens clothes were very
conservative compared to womens.
Business and social etiquette still
required men to wear heavy, dark suits,
collars, and tiesand, of course, a hat.
The most popular hat of the thirties
was the trilby, a soft felt hat with an
indented crown, made fashionable by
Sir Antony Eden, the British statesman.
23
.In this cover illustration by Ernst Dryden
for the February 1932 issue of the
fashionable French mens magazine Adam, a
man in studiedly casual clothes lounges
around a harbor or boating marina.
The 1930s-4C 9/19/06 8:45 AM Page 24
An alternative was the fedora, a hat
with snap brim that was worn with
the brim up at the back and down at
the front.
Many of the younger
generation, especially the more
bohemian artists and writers, were
very politically conscious, and their
clothing often displayed their beliefs.
Since they felt that dealing with
serious world problems was more
important than spending time and
money on their appearance, the
clothes they wore were basic and
functional.
Young women in this group
wore their hair straight and cut off at the chin or shoulder: longer hair was
pinned up into a bun or worn in braids. Young men still wore their hair short,
but it was considered longer and less well groomed than was usual or
acceptable for the thirties. Many of these men discarded their hats, but some
did wear berets, as did like-minded females. Young women sometimes wore
scarves tied either under the chin or at the back of the neck in what was
considered a peasant style. For both the men and women of the hatless
brigade, standard clothing consisted of basic and often leather jackets, open-
necked shirts or roll-neck sweaters, and baggy corduroy trousers. Well-
polished lace-up shoes were cast aside in favor of sensible and comfortable
open-toed sandals.
Children were not immune from fashion, especially the well-known
ones. The two young British princesses Elizabeth and Margaret Rose were
followed, photographed, and copied everywhere they went. In 1932, little girls
in England all wanted a Margaret Rose dress: a knitted dress trimmed with
rosebuds. Following a newspaper report that Princess Elizabeths favorite
colors were primrose yellow and pink, lots of little girls went to parties swathed
in tiered organdy dresses in the colors worn by the future queen of England.
The child idols of Hollywood were Judy Garland, Mickey Rooney, and
Shirley Temple, whose curls and sweetness won the hearts of millions of
mothers. There was even a product called Curly Top, which claimed to
encourage childrens hair to curl! Boys, however, had their curls cut off and were
dressed in miniature mens suits and ties as soon as they were old enough.
b George Raft, another of the screen
gangsters who really dressed to kill. Note
the elegant leather gloves in this shot from
They Drive by Night, made at the end of the
decade.
24
.Style for girls. Shirley Temple stars in
Curly Top, complete with fashionable
box-pleat skirt and fitted capelet with
hand-embroidered ducks. The outfit was
designed by Rene Hubert, wardrobe chief
for Twentieth Century Fox.
The 1930s-4C 9/19/06 8:45 AM Page 25
.Pablo Picassos Guernica has become the single most
telling symbol of the Spanish Civil War.
The Spanish Civil War
In 1936, the army, under the leadership of the Fascist General
Francisco Franco, led a revolt against Spains legitimately elected
left-wing government, attempting to replace it with a single-party,
conservative, and Catholic state.
The government had the support of republicans, socialists,
communists, anarchists, labor groups, and Catalan and Basque
nationalists, all organized into a loose coalition calling themselves
Loyalists. They were soon joined by a volunteer force of men and women
from other countriesincluding many writers and artistsknown as
the International Brigade. The contingent of 3,000 American volunteers
was known as the Abraham Lincoln Brigade.
Both Italy and Germany supported Franco, providing thousands of
their own troops, advisers, planes, tanks, and ammunition. Only Russia
gave any help to the Loyalists, while democratic governments in
America and Europe chose neutrality. In spring 1939, however, the
Russians stopped supplying the Loyalists, and the Spanish Republic
finally fell after more than two years of bloodshed. More than a million
Spaniards had died, and thousands of refugees had fled to France.
One of the worst incidents was in 1937, when the German
Luftwaffe bombed the small Basque town of Guernica in northern
Spain, inflicting massive civilian casualties. Such horrifying scenes of
death and destruction finally made all nations aware that warfare was
no longer limited solely to opposing armies. Civilianseven whole
civilizationswere now under threat from the machinery of modern
warfare.
From Munich to World War II
Hitlers plans for a greater Germany implied expansion
into neighboring territories, and by 1938, he was
threatening Czechoslovakia (now the Czech Republic and
Slovakia). In an attempt to appease Hitler and prevent
him invading the whole country, the Sudetenlandthe
area of Czechoslovakia that bordered Germany and
contained many German-speaking Czechswas ceded
to Germany in the Munich Agreement of September 1938.
Signing the treaty, British prime minister Neville
Chamberlain promised that it guaranteed peace in our
time.
Peace, however, proved to be a short-lived respite
during which the major European countries continued
their massive rearmament. In March 1939, Germany
annexed the remainder of Czechoslovakia, and in August,
negotiations between Britain, France, and the Soviet
Union to form a peace bloc broke down when the USSR
signed a non-aggression pact with Germany.
On September 1, Hitlers armies invaded Poland, and
two days later, Britain and France declared war on
Germany. The conflict would last until 1945 and claim
some 20 million lives around the globe.
25
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Wallis and the King
Mrs. Wallis Simpson, the wealthy American
divorcee whose marriage to the Prince of Wales,
heir to the British throne, caused a major
constitutional crisis, was famous as a
fashionable trendsetter. Her extensive jewelry
collection was auctioned after her death for a
record-breaking sum.
26
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27
Spirit of the Age
Hollywood and royalty were not the only
influences on fashion design in the
thirties. Designers also responded to the
current trends in art, science, and even
engineering. One major art and literary
movement of the thirties was
Surrealism, which featured dream-like
landscapes and strange images. The
motifs used by Surrealist artists like
Salvador Dal, Ren Magritte, Max Ernst,
Jean Cocteau, and Man Ray can be
found incorporated into many designs
by couturiersespecially those of Elsa
Schiaparelli, who often collaborated with
Surrealist artists to produce hats that
looked like shoes or wicker baskets filled
with butterflies, dresses with desk
drawers, and gloves with gold
fingernails attached to them.
The 1930s were also a decade of
great engineering triumphs, symbolized
best in the early years by the Chrysler
Building and the Empire State Building
in New York City and later, in 1937, by
San Franciscos Golden Gate Bridge.
While some people attempted to
produce the tallest, the largest, or the
biggest, others competed for the honor
of being the fastest. The idea of speed captured the imagination of young people in
the thirties and led to fierce international competition for all types of speed records,
like the fastest transatlantic crossing by an ocean liner. World land speed records
were set and broken by Britains Sir Malcolm Campbell in his car Bluebird, while in
the air, his compatriot Amy Johnson flew her tiny Gypsy Moth plane called Jason
from Europe to Australia. When Vogue announced in 1934 that the fashionable
silhouette would have the sleek lines of a speedboat or airplane, evening dresses
fell into swallowtail points at the back, waists were pinched in, hair was swept back,
and hats were cut across the head at acute angles.
But in 1939, it was to be all change on the fashion front. As Europe
became embroiled in World War II, fashion designers and magazines stressed
economy, simplicity, and practicality. For many women, the clothes they had
bought in 1939 were the last they would invest in for a long time. Now they had
to make do and mend.
b In their wedding
picture, Mrs.
Simpson shows her
flair for fashion in a
dress from American
designer
Mainbocher. Telltale
details include the
gathered bodice and
tiny ornamental
buttons.
mAlmost dwarfed by
a streamlined
locomotive, a model
in fox fur jacket and
bird hat by Elsa
Schiaparelli makes
the cover of Vogue,
fall 1939. Look
closely to see the
models oversized
bangle bracelets.
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T122{ 1920s }P28.P1 2006-10-16
T122{_W(}P28.P1 2006-10-16
Dancing in the
Depression
Gowns to Beat the Blues
Despite failing economies, many women saw it
as their duty to be fashionable. As people tried
to compensate for the grayness of everyday
life in the Depression, they turned their leisure
time into something special by way of their
clothes.
Evening clothes became very different
from day clothes. In earlier decades, when the
wealthy had set the styles, there had been no
real need for them to wear practical day
clothes or to reserve the really impractical
styles for evening. Now, despite the
Depression, all kinds of women were leading
active and productive lives. They required
simpler fashions for daily wear, while their
luxurious long gowns were kept for evening.
Evening dress for men remained formal:
dinner jacket, tuxedo, or tails.
28
mA more elegant chain store look for 1939, with tightly belted
waists and gathered sleeves. Hats could be wide brimmed or
narrow, as long as they were worn at a saucy angle.
bAmerican tailoring is seen at its best in these
custom-made suits from Middishade. The catalog for
1931 offered Middishade Blue, Gray, and Brown.
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29
In 1930, Vogue summed up the day and evening
looks of the year. They all came from the Anglo-Danish
actress Gertrude Lawrences wardrobe for Noel Cowards
play Private Lives and were designed by Paris-based
American Mainbocher: fur-trimmed tweeds and a bias-cut
evening dress of paneled white satin.
Peelin the Apple
Suitably attired for the evening, people could escape the
bleakness of everyday life at the theater, where they were
captivated by the lyrics and melodies of Jerome Kern, Cole
Porter, George Gershwin, and Noel Coward. But an even
more popular entertainment in these years was dancing.
In the twenties, the popular dances had been the
Charleston and the Black Bottombut in the thirties, you
needed rhythm and had to know how to swing. The swing
music of Americans like Fats Waller, Jack The Gate
Teagarden (gate meaning the ability to swing), Count
Basie, Artie Shaw, and Duke Ellington set dance floors
humming, from the ritziest nightclubs and ocean liners right
down to dance halls. Even in front of the radio in their own
living rooms, everyone and anyone Lindy-Hopped or danced
the Big Apple (the forerunner of the jitterbug, whose name
mTailor-made clothes for spring 1932 from Lucile of Paris. The
dress on the left, trimmed with four brass buttons, is worn over a
beige chemisette. A boldly colored scarf contrasts with the blue-
and-white diagonals of the center dress, while the jacket of the
beige suit on the right falls to a point at the back, and its collar and
cuffs are trimmed with brown astrakhan.
mThe styles for fall 1933 are defined by subdued colors,
asymmetrical fastenings, three-quarter-length skirts, fur trimmings,
tiny clutch bags, and berets.
.Big band was the definitive sound of the thirties.
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30
was a euphemism meaning bottom). Dancing was a popular way to keep fit in
the thirties. You needed more than rhythm for steps like Kicking the Mule,
Truckin, and Peelin the Apple: these dances also required complete
unselfconsciousness. In America, this was no doubt encouraged by the repeal, in
1933, of Prohibitiona ban on the manufacture and sale of alcohol in place since
1920. The more restrained could still tango or take to the dance floor to the
sounds of the big bands led by Henry Hall, Jack Payne, Glenn Miller, and Tommy
and Jimmy Dorsey.
Offshoots of commercial swing music included Latin American rhythms
like the rhumba, whose hip-swaying movements were ideal for drawing attention
to the flowing lines of draped, bias-cut dresses. The more acrobatic Lindy
Hoppers needed different dancing clothesfor women, blouses and sweaters
with a short flared or pleated skirt, white bobby socks (ankle socks), and flat
shoes. For their partners, the look was created by loose pants and sweaters.
The best loved of all the dancers were also Hollywood idols. Throughout
the decade, Fred Astaire and Ginger Rogers dazzled audiences with their
intricate routines and left everyone humming Cheek to Cheek, the hit song
from Top Hat. RKO had been one of the smallest of the Hollywood film studios,
but in 1933, following the success of the first Fred Astaire and Ginger Rogers
film, Flying Down to Rioin which they werent even given star billingit
mFred Astaire and Ginger Rogers swing into
action in Top Hat, the hit musical of 1935.
Ginger Rogers wears one of her own highly
distinctive designs.
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31
became known as the home of the Fred Astaire-Ginger Rogers
musical. Between 1934 and 1939, RKO made eight Astaire-Rogers
movies, including The Gay Divorce (1934), Top Hat (1935), and
Swing Time (1936), establishing Fred and Ginger among the
most popular box office attractions in America.
Although they both began as performers, Astaire
went on to direct and choreograph most of his own
dance sequences, while Ginger Rogers designed many
of the lavish gowns she wore on-screen.
Gentlemen Drivers
Another popular way of keeping the blues at bay in the
thirties was automobile driving. Those fortunate enough to
own a car, whether it was a Ford Tin Lizzie or one of the
fancier sports models, drove off to the new roadhouses,
some of which had restaurants and sometimes
swimming pools and dance floors. For these outings,
the chic woman wore a jacket-and-skirt outfit under
one of the new three-quarter-length swagger coats with
epaulets at the shoulders or, on wet days, a military-style
trench coat.
Gentlemen drivers ideally sported heavily greased
hair, a little mustache in the manner of Hollywood star
Ronald Colman, a single-breasted
jacket, and a pair of plus foursa
form of knickersworn over
diamond-patterned woolen stockings.
The lounge lizard typesmooth and
languid with clipped sideburnswore
cuff links, shirt studs, and tie pins and
carried a cigarette holder.
Being correctly dressed for the
occasion was not something dictated
by fashion alone. In the thirties, social
duty and status also demanded that
the correct hats, dresses, or suits be
worn. Suspenders and certain styles of
boots and caps, were not acceptable.
There might be a Depression but
fashionable men and women could not
drop their standards.
bStyle was crucial, even in the suburbs:
the DeSoto was billed as Americas
smartest low-price car.
mFew could match the style of Fred and Ginger, but the Lindy
Hop was for everybodyor at least, the young and fit.
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32
Hooray for Hollywood!
Stars of the Silver Screen
In the midst of pre-war gloom and the economic depression blazed the
irresistible glamour of American films. The screen goddesses of the thirties
Joan Crawford, Greta Garbo, Jean Harlow, Marlene Dietrich, or Mae Westwere
models whose looks and mannerisms many women tried to copy. Furthermore,
the cinema also acted as a showcase for chic, avant-garde interiors: there was a
preference for films in which the settings were department stores, beauty salons,
and glamorous homes. Shot in black and white, the Hollywood movies
popularized the characteristic Art Deco style of the period.
Certain stars were style models, and the outfits they wore became
important features of the film, exerting a direct influence on the fashions
available in the stores. One of the top Hollywood designers was Gilbert Adrian,
who had begun his West Coast career creating clothes for silent movie
star Rudolph Valentino. Later, when Adrian joined MGM Studios, he designed
costumes for Crawford, Harlow, and Norma Shearer. For Garbo, in
the 1929 film A Woman of Affairs, he had created the slouch hat, a larger-
than-normal cloche hat worn at an angle and pulled down over the forehead.
It proved to be influential on hat design for the next ten years. In 1936, Garbo
wore another Adrian creation, the Eugenie hat in the film Camille. Trimmed
with ostrich feathers and partially obscuring one eye, the Eugenie hat was
widely copied.
m Joan Crawford wearing the Letty Lynton
dress, which spawned a thousand copies.
b In the hands of British stars like Gertrude
Lawrence and Ivor Novello, fashion on
the musical stage was as glamorous and
up-to-date as on the screen.
cBette Davis, a liberated woman in a male
dominated industry, specialized in difficult
and powerful roles, setting a new standard
for women on the big screen. On-screen and
off, she personified a slightly aloof elegance.
Inset: style was not restricted to the women:
Clark Gable, the unchallenged king of
Hollywood, was the fashion yardstick for
men all over the world.
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33
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34
In 1932, a dress that Adrian designed for Joan Crawford proved so
popular that Macys department store in New York reported selling over half a
million dresses in similar styles. This was the Letty Lynton dress: a wide-
shouldered, white organdy dress with ruffled sleeves, extended shoulders, and a
nipped-in waist.
Although the influential fashion trade paper Womens Wear Daily had
reported a year earlier that French designers were exaggerating the widths of
shoulders with new cuts, revers, and capelets, Adrians Letty Lynton dress
accelerated the conversion to the wide-shouldered style. The optical illusion this
created, of narrower waists and hips, emphasized a womans natural shape and
directed attention down to shapely legs and ankles.
Each of the stars had their own look, created for them by their designers.
Greta Garbo, for instance, was known for her pageboy hairstyles, tailored suits,
and, in particular, her belted trench coat worn with dark glasses, a beret, or a
floppy-brimmed hat.
The Blonde Bombshell
Blonde hair was greatly admired, much sought after, and easily acquired.
Peroxide was brushed on the hair, usually with a toothbrush, and reapplied until
the desired shade was achieved. Many of the starlets in Hollywood were groomed
mMarlene Dietrich favored a personal style
of casual tailoring, whether she wore skirts
or, a little uncommon for the time, slacks.
b Screen goddess Greta Garbo wears the
Eugenie hat designed for her by Adrian for
the movie Camille (1936).
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35
to be blondes, and the ultimate in blondness was platinum blonde. Jean Harlow,
the most famous of them all, was usually featured in her films slinking about in
satin, bias-cut halter-neck gowns. In her short career, the Blonde Bombshell
inspired thousands, if not millions, of women to bleach their hair, with varying
degrees of success.
For millions of movie fans, glamour meant Marlene Dietrich. Often cast as
a sophisticated, somewhat mysterious femme fatale, Dietrich wore clothes that
were dressy but not fussy, tailored but never too masculine. Despite the new skirt
lengths, Dietrich somehow always managed to show off her elegant and shapely
legs. And while Mae West displayed her hourglass figure in tight-fitting floor-
length dresses, it was Joan Crawford who gave the second half of the decade
another universal fashion: the bright red, cupids-bow mouth.
Hollywood in Fashion
The looks and clothes of the Hollywood stars were not the only thing that women
copied. The type of women the actresses portrayed also had their effect on
womens behavior, language, and gestures. The restless, flighty flappers of the
1920s were replaced by a new modern type of woman: glamorous, articulate,
and independentthe perfect match for their tough guy partners.
But Hollywood did not restrict itself to glamour. It also spawned crazes for
pseudo-historical fashions like the small, round, open-weave Juliet caps and long
velvet dresses worn by Norma Shearer in Romeo and Juliet or boater hats with
ribbons as worn by Katharine Hepburn in Little Women. None of the costumes in
these films were historically accurate, however, since they were always modified
to meet with star approval and suit contemporary tastes.
But just when it seemed that Hollywood designers could get away with
anything, the 1934 Hays Code of censorship was imposed. In addition to
banning certain language, subjects, and behavior from the screen, the Hays
Code meant that low-cut or revealing dresses were banned. Filmmakers worked
around the restrictions and devised new situations for their characters, while the
designers cut away at dresses to reveal a new, safe area of womens bodies
their backs.
The impact of Hollywood was such that magazines like Vogue began
asking whether Paris or Hollywood was creating the new fashions. In fact, it was
more of a swapping of ideas. European designers Marcel Rochas, Alix, Edward
Molyneux, Jean Patou, and Jeanne Lanvin all traveled to California to design for
films, and the film designers also made trips to Europe, researching material for
their creations. Furthermore, the stars themselves spent their new fortunes
traveling to Europe to be dressed.
In 1935, Elsa Schiaparelli opened a boutique in Place Vendme in Paris
the first of its kind and the model nearly all couturiers would follow in the future.
Schiaparellis first private customer was Anita Loos, author of Gentlemen Prefer
Blondes, and throughout the decade, she went on to dress a galaxy of stars,
among them Marlene Dietrich, Claudette Colbert, Norma Shearer, and Gloria
Swanson.
mJean Harlow, the Blonde Bombshell, in
1933. The halter-neck, bias-cut silk, and
exaggerated fur trimmings are all intended
to underscore her famous sex appeal.
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Art Deco: Themes
and Machines
Streamline Style
Art Deco was a style that drew on the art of different cultures
for its motifs. In the 1920s, elements of the style had been
taken from African and pre-Columbian art, and after the
discovery in 1922 of Tutankhamens tomb, Egyptian themes
became hugely popular. Alongside motifs of fountains,
gazelles, hunting dogs, and zebras, these elements were
incorporated into fabric designs and pieces of jewelry.
By the 1930s, the hallmark of the Art Deco style was
its geometry, largely derived from the Cubist movement in art.
All the motifs, from flowers and animals to the human figure,
became angular, but the most popular subjects were the
hard-edged forms of zigzags, electric flashes, and sun-ray
motifs. The geometric shapes of Art Deco lent themselves
perfectly to strong colors and contrasts, with red, black,
white, and silver being one of the most fashionable color
combinations.
The greatest stylistic innovation of the Depression era,
and an important aspect of Art Deco, was streamlining. Speed
was one of the marvels of the modern age, and the shapes
and lines dictated by aerodynamics were incorporated into
the work of many designers. In America, the style was
embraced by a wave of European designers who came to the
United States to escape the rise of Fascism and the imminent
war in Europe. But the prophet of streamlining was industrial
designer Norman Bel Geddes. Many of Bel Geddess ideas
were visionary rather than practical, but through his efforts,
streamlining became the accepted style. It also came to be
seen as a symbol of optimism and promise for the future,
suggesting a nation moving forward out of the Depression to
become the powerhouse of the new machine age.
Manhattan Skyline
The best examples of the Art Deco style are to be found in
the design of skyscrapers. Skyscrapers were born of the
problems of constructing buildings in the restricted spaces of
cities like Chicago and New York, but since they quickly
became potent symbols of commercial power, many were
built in towns and cities where building space was not in
particularly short supply.
mThe Chrysler Building, New York: a towering monument to the
success of the Chrysler Motor Corporation.
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37
The most famous of all the skyscrapers built in the 1930s are in New York
City. Begun in 1931, Rockefeller Center is a complex of offices, shops,
restaurants, and theaters that included the RKO Roxy movie theater and Radio
City Music Hall. The Empire State Building of 1931 rises 102 stories above the
city and included, at its summit, a mooring for airships. Unfortunately, the
updrafts and currents created by neighboring tall buildings made the use of
airships in cities impossible.
The best example of the Art Deco skyscraper is the 1930 Chrysler
Building. Its overall shape is a ziggurat, or stepped pyramid, topped by a tower
and spire with sculpted decorations inspired by automobile parts like radiator
mTraveling clothes of 1932 from Womans
Journal. The short red jacket in heavyweight
cloth offers the freedom of movement
needed for driving, while the other outfits
are perhaps more suitable for the passenger
seat or the railroad car.
cThe folds of this evening gown by Alix are
closely modeled on the flowing drapery of
the ancient Greek sculpture Winged
Victory.
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38
grilles and hubcaps. The building not
only suggests the wealth of the
Chrysler Corporation but, in its
decoration, also recalls the
Chrysler car.
Material Advances
Not only were the headquarters and
factories of the manufacturing giants
built in the new style but so were small
gas stations, bars, restaurants, and
movie houses. These buildings used
modern and inexpensive materials:
enamels, plastics, wood, and
aluminum could all be produced
as prefabricated units. The styles
and materials of streamlining,
representing everything that was
forward-looking, modern, clean, and
efficient, proved themselves flexible
enough for use not only on the
super-sleek transcontinental trains
and skyscrapers but for a wide
range of low-cost, mass-produced
consumer items like kitchen
appliances, radios, and even fashion
accessories.
The belief that something
inexpensive could also be fashionable
first appears with Art Deco. The
fashion of earlier decades had been
more or less confined to the wealthy,
who were happy to pay for expensive
materials and exclusive
designs. Gabrielle (Coco)
Chanel captured the new
spirit in a range of clothes
designed on simple lines
in inexpensive fabrics like
cotton, and her designs
could be easily copied
by the home dressmaker.
Chanel also helped to
popularize costume jewelry made
of inexpensive materials like plastic.
mThe Greyhound bus was another triumph of
streamlining, its long, lean lines suggesting
speed and comfort.
bThis enamel and white-metal watch, from
the middle of the decade, has the classic
stepped pyramid design so typical of Art
Deco.
bThis smart red necklace
is made of Bakelite. This
new plastic, made by Dr.
Leo Baekeland, a Belgian
chemist, became one of
the wonder substances of
the decade and was used
for everything from
jewelry to telephones.
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39
Plastic became chic simply because it was a novelty, but it was also cheap
enough to be available to allnot just the better offand versatile enough to
mimic ivory, ebony, jade, or coral. Fashion could now be mass-produced, and
the make-believe glamour of the movies was within the reach of everyone who
aspired to it.
mBakelite, this time colored to look like
ivory, was used for this radio, made by the
Italian firm Ducati.
mThe Phantom Corsair, designed by Rust
Heinz in 1937. A styling exercise for the
car of the future, it looks some twenty
years ahead of its time. mA blue-and-white-striped suit of 1936 shows many Art Deco influences in its pattern, cut,
and detailing.
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New
Materials:
Revealing
the Body
Beautiful
From Silk to Rayon
Not only did the clothes that women
wore in the 1930s become more
womanly, women also wore fewer of
them. The new curvy shape that
women sought was enhanced by a
variety of fabrics, some old and some
new, that could be cut and draped to
show off the wearers body.
In addition to the various silks,
wools, and linens designers had always
used, they now had at their disposal a
whole range of synthetic materials.
Since these new fabrics could be
produced inexpensively, they were
often used for mass-produced clothing.
Some designers, howevernotably
Elsa Schiaparelli and Victor Stiebel
incorporated synthetic materials into
their haute couture range.
Since the late nineteenth
century, the search for synthetic
substitutes for natural materials had
concentrated on silk. Silk was the most expensive raw material because it was the
hardest to produce: the mulberry tree on which the silkworms feed will grow only
in certain climates. Experiments in the last years of the nineteenth century led to
the development of artificial silk, later called rayon, which was made of wood
cellulose treated with chemicals to produce long, silk-like threads. The new fiber,
once woven into cloth, produced a fabric that not only draped well but also had a
high absorbency, which meant it could be dyed easily.
Looking and feeling like silk, rayon was used for lingerie at the less
expensive end of the market, and since it was also washable, a whole range of
ready-to-wear, crease-resistant dresses became available, in colors from the palest
pastels to the deepest blues.
mThis woman is delighted that her silk
stockings are protected by their new
cellophane packaging, but by the end of the
decade, the stockings themselves would
probably be made of an artificial material.
cThe secret of this simple dress worn by
screen star Gloria Swanson is in the figure-
hugging drape. The outfit is set off by a
stunning selection of jewelry based on
ethnic designs.
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Rayon was also widely used for stockings, but in 1939 it would be
replaced by a new fabric, nylon. Nylon was the result of a research program
begun in 1927 by Wallace H. Caruthers at the Du Pont Company in Delaware.
In 1938, Du Pont produced nylon commercially and in the following year
successfully tested it in knitted hosiery. By the end of the decade, nylon
stockings had replaced the often shiny and poorly fitting rayon ones.
Fabrics Galore
Rayon and nylon are perhaps the two most familiar synthetic fabrics from a
whole host of intriguingly named materials. We are also familiar with cellophane,
but we dont usually associate it with fashion. Yet it was out of this material that
Alix created an evening dress likened to the wing case of a shiny black beetle.
Victor Stiebel also used cellophane, in conjunction with white taffeta, in an
accordion-pleated gown modeled in Vogue in 1936 by Vivien Leigh.
Metallic fabrics were also popular. Lam is the name given to fabrics
woven with flat metallic threads, immensely popular for evening wear. Sequins
and beads made from colored plastics and glass also swathed womens bodies in
shimmering light effects.
Rhodophane, a less well known fabric developed in the 1920s by the
French company Colcombet, was a glass-like fabric made from a mixture of
cellophane and other synthetics. It was versatile enough to look either like clear
glass or a gauzy cobweb. Despite its fragile appearance, Rhodophane was used
mThe Surrealists seem to have taken over this particular fashion shoot,
which promotes a white rayon suit from Dorville, dating from 1938.
mBeachwear styles of 1935 in Krepe-Tex
from the American Charnaux Company,
promising fit as never before.
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43
by Schiaparelli for a variety of dresses
and accessories, including handbags
and even shoes.
The new synthetic materials
were not just confined to evening wear
and lingerie. They also gave a boost to
accessories and leisure wear. Elastic
yarns made of rubber combined with
silk, cotton, or rayon produced a fabric
that, since it clung to the body and
kept its shape when wet, was ideal for
swimwear. Plastic materials could be
molded and colored to create jewelry,
handbag frames, belt buckles, and
sunglasses. Plastic zippers, in
matching or contrasting colors, were
pioneered by Schiaparelli, first in
sportswear and later on in evening
dresses.
b The typical Art Deco handbag that
completes actress Myrna Loys elegant outfit
owes its neat, flat shape and shiny surface
to the new materials.
cArtificial crepe is the material for this
cinema frock. Clearly, a new kind of social
occasion demanded a whole new style of
garment and a new fabric.
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Halter Necks and
Bias Cuts
Madame Vionnet Cuts It
In the 1920s, the well-known couturier Madame Madeleine Vionnet had devised
a method of cutting fabric called bias cutting. This involved cutting across the
grain of the fabric and had two distinct advantages over ordinary cutting
techniques, despite the fact that it required a greater width of material. First,
when a dress was made up of bias-cut pieces, the fabric draped in sinuous folds
and clung to the wearers body where it touched. Second, the dress would
stretch sufficiently to allow the wearer to put it on over her head or simply step
into it, without the need for any side, back, or front openings.
Using bias-cutting techniques, designers could produce gowns in silk,
satin, chiffon, and crepe that would cling around the bosom, waist, and hips and
flare out from the thighs into an elegant sweep of skirt. The bias-cutting
technique continued into the thirties, but the evening dresses now had an added
new element: they were backless. Some dresses were held up by narrow
shoulder straps, while others had halter necks, where the high panel of the front
was tied around the back of the neck,
leaving the back and shoulders
completely exposed.
Hollywoods Back Plunge
It has been argued that the fashion
for plunging backs came out of
Hollywoods ban on low necklines, but
it is also likely that the bare-backed
style was influenced by the increasing
fashion for sunbathing and swimwear
designs cut low at the back to allow
maximum tanning.
Whatever its origins, the new
fashion for evening dresses was
certainly elegant. In order to attract
even more attention to the back, there
was a vogue for wearing strings of
beads or pearls swinging down the
cThis tunic and
skirt are by
couturier Captain
Edward Molyneux,
1936. The back-
flared tunic
playfully recalls
the bustle of
the late
nineteenth
century.
cA flowing georgette evening gown of 1930,
with full scarf and trimmed skirt. A single
string of pearls hangs from the back of the
models neck.
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45
mThe interest begins at the top in this
selection of evening gowns from 1932. Of
particular interest are the varying
treatments of sleeves and shoulder straps.
From the waist down, things are a little
more standardized.
mParis designs for winter 1935, with low backs, bias cuts, and diagonal seams.
b Designs from 1936 by (left) Lucien Lelong and (right) Jean Patou. The Lelong design twists
mulberry and emerald ribbons into a column that extends down the spine; Patou slashes the
front of the predominantly black/brown dress to reveal a rainbow of colors beneath.
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back and artificial flowers pinned at
the base of the spine. Elsa Schiaparelli
went so far as to design a backless
dress with a bustle that jutted out like
a shelf.
Satins and Furs
To complement the sweep of the skirt,
many women carried large, brightly
colored chiffon handkerchiefs. Also
popular for evening wear were fox
furs. Entire animalsor, better still,
two animalswere draped over bare
shoulders. The most sought-after furs
were those of the silver fox, but ultra-
fashionable women adopted white fox
capes for evening wear
For day wear, bias-cut skirts
that flared from the hips lent
themselves to a new fashion for stripes
and checks on the bias. For evenings,
heavy crepes and dull satins gave
flowing, folding, and draping dresses
their most statuesque qualities. The
greatest draper and molder of jersey,
silk, and wool was Alix Barton, later
known as Madame Grs, who opened
her own fashion house in Paris in
1934. With great patience and skill,
Alix pleated fabrics into precise,
elegant, and simple shapes that
resembled Greek sculptures.
cClassic design from Alix (Madame Grs) in
1937. It may not be surprising to learn that
her early ambition was to be a sculptor.
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mThe new, more revealing dresses called
for underwear that was itself more brief and
that, while being less restrictive, could offer
firm control. Panty girdles in Lastex from the
Kestos Company of America solved the
problem.
b This figure-hugging evening dress by
Schiaparelli, also from 1937, is worn with
laced ballerina shoes.
47
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48
Schiaparelli and the
Surrealists
m Atavistic Relics After Rain, 1934, by
arch-Surrealist Salvador Dal.
mA feather motif comes into its own in this
gown.
Objects and Illusions
Surrealism was one of the major
international art movements of the
thirties. Initiated in the 1920s by
Andr Bretonwho wrote its
manifestoand drawing on the Dada
movement, dreams, and Freudian
analysis, Surrealism was initially a
literary movement involving writers like
Louis Aragon, Jean Cocteau, and Paul
Eluard but soon moved on to embrace
the visual. The Surrealists were
fascinated by objects removed from
their usual setting and seen in some
new, often bizarre context. This
disruption in the traditional role, scale,
and association was intended to shock
the viewer and produce a completely
new interpretation of the scene. There
was no single Surrealist style. Some
paintings are eerie landscapes
inhabited by objects that are not
identifiable from the conscious world,
while others, like Dals
dreamscapes, place distorted
familiar objects into strange locations.
Influential on art and literature,
Surrealism also began to affect
fashion. And not only in the way that
fashion was presentedin illustration,
photography and window displays
but in the clothes themselves.
cA relatively restrained Schiaparelli
evening coat in tweed, from 1936. The
revers are lavishly beaded for contrast, and
the headdress shows Asian influences.
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Mutton Chops and Slippers
The designer most influenced by
Surrealism was Italian Elsa
Schiaparelli. Her first commercially
successful design, around 1926, was
for a trompe loeil (fool the eye)
sweater. A simple black wool sweater
with a white butterfly bow knitted in at
the neck, its instant success enabled
Schiaparelli to establish a business in
Paris concentrating on sportswear,
tailored clothes, and evening wear. But
Schiaparelli liked nothing better than
to amuse, either through wit or shock
tactics, and like her Surrealist friends,
she was also fond of displacing
elements, using tweed for evening
clothes and burlap for day dresses.
The classic exercise in
Surrealist fashion displacement was
the Shoe Hat, the product of a
collaboration between Schiaparelli and
Salvador Dal. In 1932, Dal had posed
for a photograph wearing his wife,
Galas, slipper on his head, and in
1937, he designed the now famous
Shoe Hat for Schiaparelli. In a true
Surrealist cycle of events, Dal then
photographed Gala wearing the Shoe
Hat, dressed in a suit with lips for
pockets. Other Dal-Schiaparelli
creations included the Ice-Cream
Cone Hat and the Mutton-Chop Hat,
which perfectly matched a suit
embroidered with cutlet motifs.
b Schiaparellis famous tear dress, with
matching cape, from 1938 (see page 51).
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50
Fabric designs by Christian Berard and Jean Cocteau were complemented
by a range of bizarre accessories: clear plastic necklaces decorated with colored
metal insects that appear to crawl directly on the wearers neck; handbags that
look like bird cages; ceramic vegetables and aspirins as necklaces (designed in
conjunction with poet Louis Aragon); glowing brooches and buttons shaped like
paperweights or grasshoppers.
Also imaginative and inventive was Schiaparellis use of zippers, which she
incorporated into the designs of garments. A simple dress with a zipper in a
mThe famous fingernail gloves, paired with a three-quarter-length black evening dress.
mSchiaparellis perfume Shocking was
thought to be very French, despite the bottle
being modeled on all-American Mae West.
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51
contrasting color may not seem
outrageous now, but at the time, it was
completely new.
A Shocking Experience
Schiaparellis perfumes also bore the
stamp of Surrealism. She marketed two
fragrances in the thirties, named
thanks to her preference for names
beginning with her own initial
Shocking and Sleeping. The hourglass-
shaped bottle for Shocking was
designed by Surrealist artist Leonor Fini
and based on the silhouette of
Hollywood actress Mae West, who had
sent Schiaparelli a life-size plaster
caste of herself in the pose of Venus de
Milo as a model for the dresses she
had ordered to wear in her film
Sapphire Sal. The bottle for Sleeping
took the form of a candlestick, a
reference to the world of dreams,
always a potent source of Surrealist
imagery.
Although Schiaparelli had been
shocking her clients throughout the
decade, her moment of triumph came
in the 19371938 season. Returning to
trompe loeil effects, she produced a
jacket, inspired by Jean Cocteau,
which had a pair of clasped hands
embroidered at the waist and a womans hair, suggested by gold bugle beading,
flowing down one sleeve.
The Harlequin Collection produced the Domino motif hat, while the Circus
Collection showed the words Beware of Fresh Paint on the back of a dress as
well as hats named Chicken-in-a-Basket, Quill-Pen, and Ink-Well. Collaborating
with Dal, she created the Lobster Dress: a giant pink lobster surrounded by
sprigs of parsley printed onto an organdy dress. Dal also helped design the
fabric for Schiaparellis Tear Dress and matching cape. An evening gown to be
worn at the most formal of functions, it appears to have been torn repeatedly.
And since the cape (see p 49) did, in fact, have real tears in it, the outfiteven
when brand newlooked like it had already been ruined.
Just as Surrealist artists played games with peoples expectations of art,
Schiaparelli transformed clothingthe greatest of all the illusionistic devicesby
allowing the unexpected to replace convention.
mTwo more Schiaparelli creations from
1938. Although they somewhat resemble
womens riding hats, these are definitely
hats-about-town.
bSchiaparelli creations in wool for daytime
wear, 1938. The fabrics are jersey and
tweed, and the pinched waists are beltless.
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Shaping Up:
Health and
Fitness
Sport for All
During the thirties, physical activity
and sun worshiping assumed cult
proportions. One of the manifestations
was the Womens League of Health
and Beauty, founded in Britain by
Prunella Stack in 1930. In their
uniform of brief, black satin shorts and
sleeveless white satin blouses,
thousands of league members gave
public demonstrations of physical
fitness, based on the principle that a
trained body was the secret to a
simple but happy life.
All over England and continental
Europe, naturist clubs and health and
sports societies were formed to pay
homage to the body beautiful. Nudism
and hiking had come from Germany,
and all through the thirties, Austria
and Germany were fashionable
European holiday destinations. The
effect on fashion was a trend toward
Tyrolean peasant dirndl skirts, shorts, and feathered hats, as youngsters and
adults alike joined hiking clubs.
People were so obsessed with keeping fit that a strike by French taxi
drivers in 1936 started a craze for bicycling. Naturally, special cycling suits were
a must!
Even if she didnt take part in any sporting activity but was content to
watch, the fashion-conscious woman could wear what the fashion magazines
called spectator-sports clothes. For spring and autumn, these were skirt-suits
and coats in tweeds and checked wools, while in summer, navy blue jackets and
white skirts were appropriate wear for watching tennis or polo.
The navy-blue-and-white combination was also popular wear on cruise
ships or at holiday resorts. To emphasize a nautical look, motifs like anchors and
ships wheels were embroidered on pockets and lapels.
mMotoring and sportswear for the women of
1938. The cut echoes the forms of evening
wear, although in more robust materials
suede, leather, and tweed predominate, and
neckties and scarves are popular.
mThe fashionable female cyclist opted
for culottes or somewhat elongated
shorts.
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Freedom of Movement
With the increased popularity of active
sports, designers of sportswear now
had to address the functional needs of
the sports rather than simply altering
existing day-wear styles, while at the
same time maintaining a fashionable
silhouette. Active sportswear had to
allow for maximum movement. Skating
skirts were now shorter than they had
ever been, well above the knee and
pleated or flared for movement and an
eye-catching line. The sport itself was
given a boost by the champion skater-
turned-Hollywood-star Sonja Henie,
who skated through her films in a
variety of lavish one-piece skating
dresses.
As winter sports grew in
popularity, a skiing vacation became
an annual event for those who could
afford it. Fashionable ski outfits
consisted of matching jackets and
pants that were worn tucked into lace-
up ski boots and finished off with a
weatherproof cap.
mThis feature from What to Wear and How
to Make It magazine shows red, navy and
white cruisewear in a casual style.
cSonja Henies films usually featured
balletic skating sequences. Sun Valley
Serenade, shown here, could be mistaken
for Swan Lake.
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Fun in the Sun
As the fun-in-the-sun mentality
encouraged a heightened body
consciousness, mens and womens
sportswear became more and more
revealing.
Standard tennis wear for men
had been long white flannel pants,
with the cuffs turned up for play, white
shirts with rolled-up sleeves, white
socks, and white, crepe-soled shoes.
Fashion-conscious players in the
thirties, however, started to opt for one
of French tennis star Ren Lacostes
short-sleeved shirts, with a small
collar, buttons, and the famous
alligator emblem on the chest.
Although some amateur players,
finding the long flannels too hot and
uncomfortable, switched to shorts,
professional players still played in long
pants until the 1932 Mens National
Tennis Championships at Forest Hills,
New York, when Bunny Austin dared
to wear shorts.
Bare legs for women on the
tennis courts was a trend started in
1928 by the Spanish player Lili de
Alvarez, who played in a just-below-
the-knee culotte dress designed by
Schiaparelli. Total freedom of
movement came in 1933, when Alice
Marble wore shorts at the Wimbledon
championships.
Bare on the Beach
Designers were also cutting away at
swimwear. In the 1920s, men had
worn one-piece swimsuits that covered
their chests. Gentlemen who bared
their chests in public were not just
considered disrespectful, they risked
being arrested. By 1932, men at
private beach resorts began to follow
the European lead of swimming
mElastic waistbands for tennis pants and
shorts meant goodbye to suspenders forever.
These chain-store styles for men and women
date from 1934.
mThe military influence, on both fabric and
cut, is unmistakable in this weekend casual
wear from France, 1939.
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T122{ 1920s }P55.P1 2006-10-16
T122{_W(}P55.P1 2006-10-16
55
without shirts. Driven by the craze for suntans, the most popular swimsuits for
men and women were those that offered maximum body exposure. Once men
had cast off their shirts, designers set to work on the trunks: legs were cut higher
and new knitted fabrics like Lastex promised a figure-hugging fit. Fashion offered
a variety of solutions to the problems posed by the laws governing decency on
public beaches. The Jantzen Topper model of 1934 had a zipper waist that
allowed for the attachment of a swim shirt when decorum ruled. But by 1935,
attitudes had changed sufficiently to allow men to swim in trunks alone at most
public beaches.
Women bathers, in their pursuit of greater freedom and maximum
exposure, eventually abandoned the yards of over-skirts and shirts of the earlier
styles and adopted a one- or two-piece swimsuit based on the male prototype.
cSwimming costumes for men from the renowned Jantzen label. These novel and ever more
brief designs were only made possible by the new stretch fabrics.
Top tennis star Bunny Austins athletic
prowess was obviously given a boost by the
freedom offered by the new designs in
mens shorts.
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The End of the Rainbow
The Gathering Storm
By 1936, the worst years of the Depression were
over and the number of unemployed people was
beginning to fall. But it was also the year that the
political sky grew darker. The Spanish Civil War,
which broke out in July, was seen by many as the
showdown between the political left and right in
Europe.
When the Germans bombed the Basque town
of Guernica, almost wiping out the entire population,
the world was outraged. Pablo Picassos famous
painting Guernica (see p 25), which commemorated
the event, went on tour throughout Europe in an
effort to raise peoples consciousness about the war.
Despite the efforts of the many Europeans and
Americans who joined the International Brigade to
fight on the Republican side, it was soon clear that
Franco and his German and Italian allies would win.
Greatly encouraged by their exploits in Spain, Hitler
and Mussolini began building up their own forces.
War was not confined to Europe, however. In
the same year, Japan invaded China and seized
Beijing and Shanghai, forcing the government to
move to Hankow and uniting Chiang Kai-shek with
the Chinese Communist forces led by Mao Zedong
and Zhou Enlai. It was only a matter of time before
the storm broke over the world.
cThe aristocrat of coats for
half a century was the proud
slogan of Rodex, makers of
coats in fine tweed. These
coats were exported all over
the world, their status boosted
by the guarantee that Rodex
coats conform to the best
English traditions and are
made exclusively by British
people.
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Gearing Up
Fashion designers responded to and
reflected the prevailing mood of these
troubled years. Daytime fashion
became more severe and militarily
inspired, with square, epauletted
shoulders, frog fastenings, feathered
hats, gauntlet gloves, and sensible,
low-heeled shoes. Like soldiers,
women were expected to be
meticulously groomed and to pay
attention to every tiny detail.
By 1938, it was clear that war was not far off. That seasons designs
were seen by Vogue as being useful factory looks. Hair was pinned up safely
and hidden under scarves, suits were broader shouldered, and skirts were a
little more skimpy, using less fabric. In contrast, evening dresses cast a
nostalgic look back at a more romantic and peaceful past with crinolines (stiff
underskirts), tight waists, and frills.
A year later, Europe was engulfed by warbut not before a whole new
industry of ready-to-wear clothing had been established, catering to the needs
and desires of people who wanted moderately priced, fashionable clothes.
Thousands of Europeans fled the oppressive regimes in their homelands to
seek refuge in Britain and America, among them many skilled tailors,
seamstresses, and dressmakers, who brought not only their labor but a sense
b mThese two typical suits of 1938, with
broader shoulders and boxy jackets, were
perhaps a foretaste of the military styles of
the war years. Hats and button details,
however, show these designs to be rooted
firmly in the prewar era.
mColor makes a comeback in these outdoor
outfits by Margaret Barry, Eva Lutyens, and
W. W. Reville-Terry.
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bThese are definitely styles for men going
on vacation and not to war, although this is
February 1939.
.A tailored linen suit from Maggy Rouf that
looks forward to the styles and cuts of the
following decade. The flower-decked Suzy
hat claims inspiration from French
Impressionist painter Claude Monet.
cSuitcase labels from romantic places: in
this case, the Italian lakes.
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of continental style that had been
lacking in some areas of British and
American design.
In 1939, European couturiers
went to war with clothes that were
practical and, in most cases, the last
they would design until peace was
restored. They produced shirtwaist
dresses and simple suits that would
not date, while sweaters and pants
became acceptable fashion wear.
Makeup artists like Helena
Rubenstein and Cyclax responded
with spiritedly named lipsticks like
Regimental Red and Auxilliary Red.
The ever resourceful Schiaparelli
produced designs in Maginot Line
Blue and Foreign Legion Red before
embarking on a lecture tour of the
United States, where she was to
spend most of the war years.
One trend that emerged very
briefly in the Paris collections of
1939, only to disappear almost
immediately, was the sharply defined
waist. In contrast to her earlier styles,
Coco Chanel showed tight-waisted,
full-skirted dresses, while Mainbocher
displayed full-skirted dirndls. Not until
Christian Diors New Look in 1947
the first postwar fashion to have a
strong impactwould slim waists
again be featured so strongly.
But for the time being at least,
there were to be no more escapist
follies or fashion fantasies. All over the
world, practical fashions were in style.
cAnticipating the shape of the Dior New
Look, with its emphasis on the nipped-in
waist, Mainbochers 1939 collection can
also be seen as pointing the way to the style
of the forties.
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Chronology
News
Parliamentary democracy comes to an end in Germany.
Japanese invade Manchuria.
Proclamation of Republic in Spain.
Franklin Delano Roosevelt elected president of the United States.
Hitler becomes Chancellor of Germany.
Roosevelt announces New Deal.
Prohibition repealed.
Reichstag fire.
Night of the Long Knives.
Nazi purge in Germany.
The Japanese make Henry Pu-yi, last emperor of China, puppet ruler of Manchukuo (Manchuria).
Germany repudiates military provisions of Versailles Treaty.
Nuremberg laws deprive Jews of rights in Germany.
Mussolini invades Abyssinia (modern-day Ethiopia).
Death of King George V.
Abdication of Edward VIII.
Rebellion brings in Spanish Army.
Spanish Civil War begins.
RomeBerlin Axis proclaimed by Mussolini.
German airforce bombs Basque town of Guernica, Spain.
Rioting in Czech Sudetenland.
Japanese seize Shanghai and Beijing.
Nazi Germany annexes Austria.
Chamberlain meets Hitler at Munich.
Germany invades Czechoslovakia.
Italy invades Albania.
Britain, France, Australia, and New Zealand declare war on Germany.
Russia invades Poland and Finland.
1930
1931
1932
1933
1934
1935
1936
1937
1938
1939
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Events
Amy Johnson flies solo to Australia.
Youth Hostels Association formed.
Chrysler Building in NYC completed; 1,046 feet high.
Empire State Building in NYC completed; 1,250 feet high.
Great Hunger March of unemployed to London.
Campbell drives racing car Bluebird at 235 mph.
George Washington Bridge over the Hudson River opened.
Polythene first made.
Ocean liner Queen Mary launched.
Popular song: Smoke Gets in Your Eyes.
Silver Jubilee of George V and Queen Mary.
Radar invented.
Mickey Mouse appears in color.
Olympic Games in Berlin.
Exhibition of Surrealist art in London. Dal attends wearing deep-
sea diving suit.
Margaret Mitchell publishes best-selling novel Gone with the Wind.
First full-length Disney cartoon: Snow White and the Seven Dwarfs.
Picasso paints Guernica.
Golden Gate Bridge, San Francisco completed.
Duke of Windsor marries Wallis Simpson.
Chaplins Modern Times is released.
George Biro makes first practical ballpoint pen.
Vivien Leigh and Clark Gable star in Gone with the Wind.
German battleship Bismarck launched.
John Steinbeck publishes The Grapes of Wrath.
Fashion
Womens League of Health and Beauty formed in Britain.
Chanel shows collection of 35 cotton evening dresses.
Mainbocher is first American designer to open a Paris salon.
Schiaparelli introduces a bustle to her backless evening gowns.
Margaret Rose dresses made popular for children by Princess
Margaret in England.
Adrian designs Letty Lynton dress for Joan Crawford movie.
Garbo stars in Grand Hotel; Mae West in She Done Him Wrong.
Ren Lacoste introduces short-sleeved tennis shirt.
Influence of Hollywood at its highest.
Molyneux designs trousseau for Princess Marina.
Tyrolean look popular.
Alix (Madame Grs) opens Paris salon.
Schiaparelli opens her boutique in Paris.
Popular color in Britain is Jubilee Blue.
Steibel creates Cellophane and taffeta dress.
Schiaparelli designs clothes and accessories in Rhodophane.
Surrealist influence on fashion design and illustration at its height.
Schiaparelli launches fragrance Shocking in Mae West inspired
bottle.
Italian shoe designer Ferragamo introduces the wedge heel.
Dali and Schiaparelli produce the Shoe-Hat.
Schiaparelli launches fragrance Sleeping.
Ferragamo develops the platform-soled shoe.
Sweaters and trousers appear in Vogue.
Paris shows tight-waisted dresses, a prelude to the postwar New
Look.
Schiaparelli and Mainbocher leave Paris for the United States.
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62
Glossary
Adrian (Gilbert Adrian) (190359)
American designer of stage costumes for
Broadway shows until 1925, when he
moved to Hollywood to make clothes for
Rudolph Valentino. After working with
Cecile B. De Mille, Adrian moved to MGM,
where he designed costumes for Greta
Garbo, Joan Crawford, Jean Harlow, and
Norma Shearer.
Alix (Madame Alix Grs) (191093) French
designer Grs opened her first fashion house
in 1934 as Alix Barton. She was renowned
for her ability to drape and mold silks and
jerseys until they resembled the flutes of
classical columns.
Antoine (18841976) Polish-born
hairdresser Antoine ran a beauty practice in
Saks Fifth Avenue, New York, from 1925 to
1939. He created the popular Shingle Cut of
the late 1920s, and designed the upswept
hairstyles of the thirties and was responsible
for the creation of Greta Garbos long bob
and Claudette Colberts bangs.
Art Deco A style of architecture and design
originating at the Paris Exposition des Arts
Dcoratifs (1925) and continuing through
the 1930s. Art Deco concentrates on
simplified geometric forms.
Bias Cut A method of cutting fabric across
the grain, devised in the late twenties by
Madame Madeleine Vionnet. Panels of
fabric cut on the bias and stitched together
made dresses cling in certain areas, like
the bust and hips, but also created long
sweeping skirts that flared out from the
thighs.
Chanel, Gabrielle (Coco) (18831971)
French designer, who began working under
her own name in 1914. In 1930 Chanel
went to Hollywood to design for several
films made by United Artists. In 1931 she
showed a range of evening dresses
designed to promote cotton as a fashion
fabric. Much of her attention in the mid-
thirties was focused on manufacturing. In
1939 she closed her salon in Paris but
reopened it in 1954, at the age of 71.
Cocteau, Jean (18891963) French artist,
stage designer, illustrator, poet, and
playwright. Closely associated with the
fashion world through his links with the
theater and his friendship with Elsa
Schiaparelli, with whom he collaborated on
designs for accessories. As an illustrator,
Cocteau also designed covers for a number
of fashion magazines, notably Harpers
Bazaar.
Dal, Salvador (19071987) Spanish-born
painter and Surrealist, famous for his
dreamlike landscapes and images such as
melting watches. In addition to designing
fabrics for Schiaparelli, Dal also
contributed to jewelry and fashion design.
Dirndl Originally a peasant garment,
thought to have originated in the Austrian
Tyrol. Dirndls have full skirts, loosely
gathered onto a waistband to fall in soft
pleats. In the thirties, the popularity of
walking and hiking made dirndl skirts
fashionable wear.
Ferragamo, Salvatore (18981960) Italian
shoe designer. At the age of 16, Ferragamo
joined his brothers in California where he
made shoes by hand for the American film
company, Universal Studios, Warner Bros,
and MGM, as well as for private clients.
Returning to Italy in 1927, in 1936 he set up
a workshop in Florence to be the first large-
scale producer of handmade shoes. In
1938, Ferragamo was credited as having
originated the wedge heel and platform sole.
Halter-neck Created by the high panel of
the front of a dress or blouse being tied
around the neck, leaving the back and
shoulders exposed. The halter neck is
credited to Madame Madeleine Vionnet
and was popular for evening wear and
beach clothes in the 1930s.
Head, Edith (18991981) American
costume designer and head designer at
Hollywoods Paramount studios from 1938
to 1967. With over a thousand film credits,
Head designed for Marlene Dietrich, Mae
West, and Dorothy Lamour, for whom she
designed a sarong in 1936 (for the film
Jungle Princess) that was widely copied as
beachwear.
Lacoste, Ren (19051996) French tennis
star, nicknamed le Crocodile, launched a
white, short-sleeved tennis shirt that had a
small collar, buttons at the neck, and a small
crocodile emblem on the chest (often called
an alligator shirt).
Lastex Trade name of the American
Rubber Companys elastic yarn made of
rubber combined with silk, cotton, or rayon
and used for lingerie and swimwear.
Mainbocher (18911976) American-born
designer, who was a fashion editor in his
early career. He gained international
publicity when he created a wedding gown
for Mrs. Wallis Simpson for her marriage to
the Duke of Windsor and created a vogue
for Wallis Blue.
Plus-fours Knickers made of tweed or
worsted and originally favored by golfers,
plus-fours were popular menswear in the
thirties, particularly for those favoring
automobile driving as a pastime.
Rayon An artificial silk made of cellulose
fibers. Rayon draped well and could also
be dyed. In 1912 the first rayon stockings
were made. In 1916, knitted rayon became
popular, and,since it looked and felt like
silk, it was a popular substitute in the
production of less expensive lingerie.
Schiaparelli, Elsa (18901973) Italian-
born designer. After spending her early
married life in Boston and New York, in
1920 Schiaparelli moved to Paris. In 1929
she opened her own salon specializing in
evening wear, tailored clothes, and
sportswear. She often collaborated with
leading artists like Salvador Dal and Jean
Cocteau, and many of her designs were
inspired by Surrealism. She also launched
a range of fragrances and cosmetics.
Stiebel, Victor (19071976) South
African-born designer. While studying at
Cambridge in England, Stiebel designed
costumes and scenery for the Footlights
Revue in London. In 1929 he became an
apprentice at the London couture house of
Reville and Rossiter, which specialized in
formal gowns for clients of the royalty and
aristocracy. In 1932 Stiebel opened his
own house and, in addition to producing
bias-cut evening gowns, he also produced
romantic dresses for stage and screen
actresses. Experiments in synthetic fabrics
led to the creation in 1936 of a taffeta and
cellophane gown for Hollywood film star
Vivien Leigh.
Surrealism An art movement started in the
1920s and founded by Andr Breton. The
leading artists of the movement were
Salvador Dali, Ren Magritte, Man Ray, Max
Ernst, Francis Picabia, and Jean Cocteau.
Writers involved included Paul Eluard and
Louis Aragon.
Vionnet, Madeleine (Madame) (1876-1975)
French-born designer. One of the most
innovative designers of her day, Vionnet is
credited with the introduction of the bias-
cutting technique, the popularization of the
halter neck and cowl neck. Vionnet
conceived her designs on miniature
models, draping fabrics into sinuous folds.
The 1930s-4C 9/19/06 8:46 AM Page 63
Further Reading
A great deal has been written and published about the
1930sthis reading list is only a very small selection.
Magazines and movies of the period are another excellent
source of information.
Adult General Reference Sources
Blum, Stella. Everyday Fashions of the Thirties (Dover,
1986)
Calasibetta, Charlotte. Essential Terms of Fashion: A
Collection of Definitions (Fairchild, 1985)
Calasibetta, Charlotte. Fairchilds Dictionary of Fashion
(Fairchild, 2nd ed, 1988)
Cumming, Valerie. Understanding Fashion History
(Chrysalis, 2004)
Ewing, Elizabeth. History of Twentieth Century Fashion,
revised by Alice Mackrell (Batsford, 4th ed, 2001)
Gold, Annalee. 90 Years of Fashion (Fairchild, 1990)
Laver, James. Costume and Fashion (Thames & Hudson,
1995)
Lussier, Suzanne. Art Deco Fashion (Bulfinch, 2003)
Martin, Richard. American Ingenuity: Sportswear 1930s-
1970s (Yale, 1998)
OHara, Georgina. The Encyclopedia of Fashion (Harry N.
Abrams, 1986)
Peacock, John. Twentieth Century Fashion: The Complete
Sourcebook (Thames & Hudson, 1993)
Peacock, John. Fashion Sourcebook: The Thirties (Thames
& Hudson, 1997)
Peacock, John. Mens Fashion: The Complete Sourcebook
(Emerald, 1997)
Peacock, John. Fashion Accessories: The Complete 20th-
century Sourcebook
(Thames & Hudson, 2000)
Stegemeyer, Anne. Who's Who in Fashion, (Fairchild, 4th
ed, 2003)
Trahey, Jane (ed.) 100 Years of the American Female from
Harpers Bazaar
(Random House, 1967)
Watson, Linda. Twentieth-century Fashion (Firefly, 2004)
Young Adult Sources
Blackman, Cally. Twentieth-century Fashion: The 20s and
30s (Heinemann Library, 1999)
Ruby, Jennifer. The Nineteen Twenties & Nineteen Thirties,
Costume in Context series (David & Charles, 1989)
Wilcox, R. Turner. Five Centuries of American Costume
(Scribners, 1963)
Acknowledgments
The Publishers would like to thank the following for
permission to reproduce illustrations: Advertising Archive
40; Aquascutum 56; Art Archive 13, 20l, 24r, 34l, 35, 36,
38b, 38t, 39tl; Art Archive/DACS 25, 48tl; B.T. Batsford
28t, 31t, 31b, 37r, 39r 43t, 44r, 45r, 46, 48r, 49, 50l, 52t,
55t, 57bl, 57tl; Getty Images 21t, 21b, 22, 26, 54t;
Greyhound Bus Co. 38c; Kobal Collection 12r, 14t, 24l, 32t,
33b, 33t, 41, 43b, 53b; Library of Congress 27; Mary Evans
Picture Library 7, 9, 10, 11, 12l, 15, 16tl, 18, 19b, 23, 29tl,
29tr, 37l, 42l, 42r, 44l, 45bl, 45tl, 47r, 48bl, 50br, 51, 52b,
54b, 55b, 57tr, 58br, 58t, 59; National Film Archive 30;
Popperfoto 34r; Retrograph 16r; Topfoto 6, 8, 14b, 16bl,
17r, 19t, 20r, 29b, 32b, 47l, 53t; Vintage Magazine Co. 17l,
28b, 39bl, 50tr, 58bl
Key: b=bottom, t=top, l=left, r=right
63
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64
Index
Numbers in italics refer to
illustrations
accessories 17, 38, 43, 50
Adrian, Gilbert 12, 3233, 34
Alix (Madame Grs) 12, 35, 37,
42, 46
Alvarez, Lili de 54
Art Deco 26, 32, 3639
Astaire, Fred 13, 28, 30, 30, 31
Austin, Bunny 54, 55
beachwear 14, 41, 42, 43, 44,
54
Bel Geddes, Norman 36
berets 24, 34
Berkeley, Busby 13, 14
Berlin Olympics 20, 21, 21
bohemians 24
Britain 6, 25, 26, 27, 52, 57
cars 6, 31, 39
Chanel, Gabrielle Coco 7, 12,
20, 38, 59
childrens wear 24, 23
China 22, 56
Chrysler Building, 27, 36
cinema 1013, 22, 23, 24,
3233, 3235
cloche hats 16, 32
coats 17, 23, 31, 52, 56
Cocteau, Jean 27, 48, 5051
color 10, 19, 23, 24, 36, 40,
42, 43, 45, 46, 50, 51, 57
cosmetics 6, 13
couturiers 6, 7, 12, 24, 33, 40,
46, 57
Crawford, Joan 13, 13, 14, 32,
34, 35
Cubism 36
Czechoslovakia 25
Dal, Salvador 48, 49
dances 29, 3031
day wear 7, 14, 16, 28, 28, 53,
57
Depression, the 67, 89, 28,
32, 31, 36, 56
Dietrich, Marlene 13, 32, 34,
35
Disney, Walt 6
Eden, Sir Anthony 23
Elizabeth, Princess 24
Ellington, Duke 29
Empire State Building 27, 37
evening wear 7, 7, 8, 12, 16,
17, 20, 27, 28, 36, 42, 43,
44, 44, 45,45, 48, 49, 49,
5052, 57
Fascism 6, 36
fashion industry 7, 40, 57
Ferragamo, Salvatore 14
France 25
Franco, General Francisco 25,
56
Gable, Clark 32
Garbo, Greta 12, 12, 13, 32,
34, 34
Garland, Judy 24
Germany 6, 15, 17, 18, 20, 22,
25, 52, 56
gloves 17, 19, 24, 27, 50, 57
Guernica, bombing of 25, 56
hairstyles 10, 12, 13, 17, 24,
34, 35
halter necks 14, 35, 44
handbags 17, 18, 19, 20, 43,
50
Harlow, Jean 32, 35, 35
hats 10, 16, 15, 17, 19, 20, 23,
24, 24, 26, 27, 28, 29, 32,
33, 35, 51, 52, 57
Hays Code, the 22, 35
Henie, Sonja 53
Hitler, Adolf 20, 21, 25, 56
holidays 52, 53, 58
Hollywood 6, 1213, 20, 22,
24, 27, 29, 30, 31, 3235,
44, 51, 53
Hoyningen-Heune, George 13
Hubert, Rene 24
International Brigade 25, 56
Italy 25
Japan 22, 56
jewelry 19, 36, 38, 40, 41, 43
knitwear 17
Lacoste, Ren 54
lam 42
Lanvin, Jeanne 12, 35
leather jackets 24
Lelong, Lucien 7, 10, 45
Lindy Hop 30
Little Caesar 22
Lutyens, Eva 57
Mainbocher 27, 29, 59
Manchuria, invasion of 22
Marble, Alice 54
Margaret, Princess 24
Mickey Mouse 6
military style 31, 54, 57
Molyneux, Captain Edward 12,
16, 35, 44
motoring 52
Munich Agreement 25
music 2930
Mussolini, Benito 56
Nazis 20, 21
New Deal, the 8
nylon 7, 40
Olympic Games 21, 21
Orry-Kelly 12
Owens, Jesse 20, 21
Paris, 7, 10, 16, 29, 35, 35, 45,
45, 46
Patou, Jean 12, 35, 45
peasant style 27, 52
perfume 50, 51
Picasso, Pablo 56
plastic 19, 20, 38, 39
platform soles 14
Poland 25
politics 20, 22, 25, 56
Prince of Wales, Edward 23, 26
Private Lives 29
Prohibition 8, 30
Ray, Man 13, 27, 42, 42, 43
rayon 7, 32, 40, 41, 43
ready-to-wear clothes 7, 28, 40,
57
Reville-Terry, W. W. 59
Robinson, Edward G. 23
Rochas, Marcel 12, 33
Rockefeller Center 37, 37
Rogers, Ginger 24, 24, 28, 30
Roosevelt, Franklin Delano 8
Rouf, Maggy 58
Rubenstein, Helena 59
Schiaparelli, Elsa 27, 35, 40,
43, 4849, 4951, 59
Shoe Hat, the 49
shoes 14, 14, 16, 24, 27, 30,
43, 54, 57
Simpson, Mrs. Wallis 23, 26
skating 53
skiing 53
skyscrapers 21, 27, 36, 36, 37,
38
Snow White and the Seven
Dwarfs 6
Spanish Civil War 25, 56
sportswear 20, 26, 42, 43, 49,
5253, 5254
Stack, Prunella 52
Stehli silk 11
suits 23, 28, 31, 39, 57, 57,
58, 59
sunbathing 20, 44
sunglasses 20, 43
Surrealism 4849, 48, 51
swimwear 42, 43, 44, 54, 55, 55
swing 27
synthetic fibers 7, 40, 4043,
47, 54, 55
Teagarden, Jack The Gate 29
Tear Dress, the 49, 49
Temple, Shirley 24, 24
tennis 43, 52, 54, 54, 55, 55
underwear 32, 40, 41, 41, 55
unemployment 6, 56
USA 6, 7, 89, 8, 25, 26, 28,
36, 37, 57
USSR 26, 27
Vionnet, Madeleine 14, 44
Wall Street Crash, the 6
West, Mae 32, 35, 50, 51
World War II 6, 27, 57
Womens League of Health and
Beauty 52