Making Vintage 1930s Clothes for Women E-Book

Ciara Phipps

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Veröffentlichungsjahr: 2019

Beschreibung

From the elegant bias-cut gown to the light and liberating day dress, this book looks at and celebrates the historic silhouettes, fabric cuts and contextual history of 1930s clothing. Equipped with instructions, patterns and enchanting photos, it explores the history of 1930s fashion, and explains how to make a range of versatile thirties inspired garments. It takes ten examples of 1930s garments, ranging from a lingerie set to a heavy coat, to create a capsule collection. The patterns are taken from original 1930s garments, with each piece being carefully measured and the patterns scaled down accordingly. Step-by-step instructions for making each garment are complemented by close up photographs of historic details and decoration. A beautiful and practical book, it will inspire designers, dressmakers and lovers of vintage fashion who want to express themselves through timeless and elegant style. Explores the history and context of 1930s clothing styles, cuts and designers, to give a full understanding of how fabric was manipulated to create figure-hugging silhouettes. Superbly illustrated with 443 colour images and 29 patterns taken from original 1930s garments.

Leseprobe

First published in 2018 byThe Crowood Press LtdRamsbury, MarlboroughWiltshire SN8 2HR

www.crowood.com

This e-book first published in 2019

© Ciara Phipps and Claire Reed 2018

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author's and publisher's rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 502 2

All photographs © Tessa Hallmann Photography

Dedications

Ciara: For Oran, Mum and Agnes.

Claire: This book is dedicated to the memory of my grandmothers, Daisy and Nora; also to Mum, my one-woman PR machine, and to my husband Clive, who always tells me how proud he is of me.

Note: The graph-paper diagrams in this book are in centimetres and millimetres

Contents

1 Introduction

2 Creating Your 1930s Garment

3 Fashion History and Context

4 Lingerie Set

5 Kimono Robe

6 Playsuit

7 Summer Day Dress

8 Long-Sleeved Day Dress

9 Tailored Dress and Matching Cape

10 Evening Dress and Matching Cape

11 Velvet Evening Dress

12 Evening Jacket

13 Coat

14 Caring for Your Garment

15 Conclusion

Glossary

Acknowledgements

Bibliography

Index

Introduction

1

Wearing vintage clothing is often an alluring and enticing prospect, given the variety of exciting styles, shapes and fabrics available to recreate historic looks. Making vintage-inspired clothing allows the maker to engage with the different construction techniques that were used historically, the variety of dynamic patterns and shapes that were worn, and the magic associated with fashion from previous decades. Whether you are making garments for yourself or as a commission for someone else, the opportunity to embrace the elegance and sensual nature of clothing from the 1930s will encourage you to view clothing with a greater appreciation for its construction.

Summer day dress.

Embed elegance into your personal style by taking inspiration from the 1930s.

The wearable nature of fashion from the 1930s will allow you to create your own individual and unique look, one that accentuates and celebrates the shape of the female body. Both elegant and functional, thirties style is timeless and very translatable to the contemporary wearer. By incorporating garments inspired by or based on original thirties clothing into your own look, you can capture the ‘chicness’ inherent in fashion from this fascinating era. The lasting appetite for both wearing and making vintage clothing comes partly from the unrivalled quality of early to mid-twentieth-century clothing. Whether ready-to-wear or couture, clothing made during the 1930s was of extremely high quality in its construction and finishing. This element of quality assurance gives the contemporary wearer and maker an understanding and appreciation for the importance of this quality when creating a timeless garment made to stand the test of time.

This book explores the history of 1930s clothing by unpicking the styles, designers and context of the era, providing a platform for you to understand how fashion from this decade developed, before moving on to learn how to reproduce your very own thirties-inspired garments. With instructions, patterns and photos, it looks at and celebrates the elegant fluidity of thirties fashion and the classic nature of the garments selected for re-creation in this book.

The 1930s was a time of crisis, conflict and upheaval; however, fashion, art and design flourished, providing a foundation on which designers could expand and develop after the end of World War II. The figure-hugging nature of clothing from the thirties and the development of activewear both demonstrate the change in body image and issues of social morality. A decade of liberation for women, the thirties is often called upon as inspiration for many contemporary designers. The bias cut will forever be a timeless feature of fabric manipulation and draping, something many designers and makers utilize today in order to achieve fluidity, sensuality and movement in the garments they are creating.

The beauty of vintage clothing is in its uniqueness.

Although hugely adaptable and wearable for the contemporary reader or maker, the interest and continuing love of thirties clothing is in its uniqueness. Whether you are looking to simply enhance your capsule wardrobe with some unique one-of-a-kind thirties garments to pair with contemporary clothing and accessories, or whether you are keen to embrace and redefine your look with a thirties twist, there are plenty of beautiful examples within this book to recreate and reinterpret.

A woman with cropped shingled hair wearing a luxurious coat with fur-edged lapels and cuffs, riding a horse with a sophisticatedly dressed man in a trench coat and matching hat. Gap of Dunloe Killarney, 1930. (Ciara Phipps’ family photo)

Three young women wearing mid-calf length woollen skirts with cropped blazers and short bobbed hair. The central woman wears a double-breasted cropped jacket, while the woman on the left of the photo has low slung buttons with wide decorative button holes, 1935. (Ciara Phipps’ family photo)

The garments included in this book are from the dress and textiles collection held at Southend Museums Service. This collection is vast and varied and includes examples of costume and accessories dating from the seventeenth century onwards. This collection also contains the largest and most comprehensive collection of swimwear in the country, which was a wonderful resource when researching the development of activewear and resort wear in the thirties. The collection of 1930s clothing within the collection is both diverse and dynamic, ensuring that a varied selection has been included here, allowing the reader to create a complete thirties-inspired capsule wardrobe. Given their unlimited access, the authors have been able to get up close and personal with each garment explored in this book.

The book begins with a lingerie set and moves through to a coat, and includes all the garments in between that would make up a classic 1930s wardrobe. With twelve extensive patterns, each chapter contains a garment or set of garments to make one outfit that can be reproduced or reinterpreted. This provides a good variety of thirties shapes, styles and designs to choose from, whilst also focusing on garments that can be translated to contemporary tastes and figures.

The patterns are taken from original 1930s garments and have been carefully measured and are accurate to within approximately 1.2cm (½in). The measurements are non-standard, as each garment was bespoke-made for the individual wearer, and are for guidance only; however, they have been compared to current sizing standards as much as possible. It is always good practice to take accurate measurements of the individual for whom the garment is being made and the historical silhouettes portrayed in the patterns may require adapting for the modern body shape.

All the patterns are fully annotated with a scale clearly visible on each. Some patterns will have two differing scales from which to work: the garments chosen for the book vary greatly in type, style and cut, so it was necessary to scale in this manner to fit the book. It will be clear which patterns this applies to.

Measurements are given in both metric and imperial sizes to suit individual preference. The patterns that consist of more than one sheet are clearly identified at the top of each pattern page. The patterns are for guidance and will require re-sizing to individual measurements.

Unless otherwise stated, seam allowances have not been included, so this must be considered when laying out and cutting the pattern pieces. A recommended allowance is 1.2 cm (½in).

The step-by-step instructions which accompany each individual pattern are accompanied by images of the original garments which show their construction in more detail. It is worth taking the time to study the pattern and instructions before beginning your sewing project and it may, in some cases, be beneficial to create a toile before the actual garment is cut, to allow for adaptations and adjustments to be carried out.

When calculating the fabric quantities for the garments described in this book, it is always prudent to err on the generous side with fabric quantities, especially those cut on the bias grain and those patterns using facings, bindings and decorative elements cut from the garment fabric.

Four fashionable women on the beach, wearing examples of summer resort wear. The structured shoulders suggest these garments are from the late 1930s. The woman on the far left of the image is wearing high waist shorts, possibly even a small playsuit with a cinched in waist. Lillian Greaney and family at the beach, late 1930s. (Ciara Phipps’ family photo)

The patterns in this book have been aimed at the experienced seamstress, but the step-by-step instructions that accompany them have been written in as clear and concise a manner as possible, in order to encourage the home dressmaker with a good general knowledge of sewing techniques. Some of the patterns may appear to be more complicated than they actually are, but by meticulously ordering the pattern pieces and carefully following the step-by-step instructions, hints and tips, creating your own 1930s garment is definitely achievable. There will also be some inspirational suggestions on how to update each vintage garment for the contemporary wearer, with some contemporary accessories or details you might want to consider when creating your own 1930s-inspired wardrobe.

Daisy Thompson in the garden of her family home in Poplar, East London c.1935. Daisy’s brothers and father are dressed in typical working class wear. Daisy wears a polka dot patterned dress with fancy ruched collar. Her sister is in a lightweight summer dress and their mother wears a wrap-over style dress with embellished fold down collar. (Claire Reed’s family photo)

LIST OF ABBREVIATIONS ON THE PATTERNS

CF – centre front

CB – centre back

SS – side seam

SH – shoulder

SG – straight grain

LH – left-hand

RH – right-hand

Creating Your 1930s Garment

2

Making your own clothing is a very satisfying experience and one which allows the seamstress to let her imagination run free with the endless choice of fabric types and dazzling array of fabric colours, patterns and embellishments with which to create a truly unique and personal piece.

Velvet evening dress.

The 1930s is synonymous with sophistication and glamour, with its stylish and flattering cuts and opulent fabrics. The patterns in this book cover the classic staples of the 1930s wardrobe; from silky, figure-hugging evening dresses to smart, tailored daywear, they are projects aimed to inspire and encourage creativity.

Typically with this era of decadence and glamour, the fabrics used in the garments of the time reflect this, but can prove challenging to cut and stitch; however, with care and patience there is no reason why your project should not be successful and you will impress with your stylish attire. Imagine the feeling you’d have arriving at a special occasion enrobed in the soft, sensual blue velvet evening dress, or attending an interview clad head to toe in tailored crêpe de chine with sassy matching cape. The clothing we choose to wear can give us confidence when we feel we need it, express our individuality in a world of conformity or can simply be ‘just because …’.

The best advice would be to make your first vintage sewing project the one where you feel most confident in your abilities to handle the fabric and cut of the piece. Certain fabrics are more forgiving than others and some of the patterns, such as the kimono robe, are simpler in cut and design and so will be straightforward to make. The garments described in the book are a combination of professional and homemade and have imperfections and unique methods of cut and stitching; basically they reflect the individuals who created them.

Below are hints and tips on the main fabric types and cuts used in the original garments: these may help when choosing your sewing project.

Working with Velvet

Velvet is a beautiful and luxurious fabric, but one which perennially fills the dressmaker, however experienced, with dread. This is down to the fact that it often proves tricky to work with due to its smooth, silky pile (nap) which can make it slide when stitching sections together. It also has a tendency to mark easily. Combined with the fact that it is virtually impossible to press with an iron, these attributes make it understandably off-putting to use. However, velvet has a luminosity that enhances even the simplest of styles, and the variety of velvet types available, from the smooth and lustrous silk velvets to the bold and tactile crushed velvets, are enough to encourage the dressmaker to give them a try.

With any dressmaking project, preparation is the key and this is particularly important when working with velvet fabrics. Take your time, ask or seek advice and the old adage of ‘measure twice, cut once’ is never as appropriate as with this fabric. When preparing to cut out the pattern pieces using a velvet fabric, the main thing to remember is that it has a defined direction of pile and care must be taken to place all the pattern pieces with the pile running in the same direction on each. Cutting sections of your garment with the pile running in different directions will result in shading, where the pieces almost appear to be of different hues.

To test the direction of the pile, run your hand up and down over the surface of the fabric; it will feel smooth as you push the fibres in one direction and coarse as you push them in the other. There are no hard and fast rules as to which direction the pile should run on the garment, but generally garments are made with the pile running down. Some dressmakers prefer to use the upward pile, as it provides a richer tone to the finished garment.

Avoid pinning velvet where possible and use fabric weights to hold the pattern pieces in place for cutting. Work on the reverse (wrong) side as much as possible and transfer the lines of the pattern using tailor’s chalk or similar marker. If tacking, make sure the stitches are not pulled up too tightly as the fabric will mark.

When it comes to stitching using the sewing machine, there are some helpful tips to make this a little easier. Using a walking foot or reducing the force of the standard pressure foot will help ease guiding the fabric layers through the machine. A universal (sharp) machine needle of 70/10H or 80/12H will work best with this fabric and using a silk or cotton thread with a looser tension will benefit when sewing.

Velvet fabrics cannot be pressed in the conventional manner and so follow the guidelines in the book on pressing velvet fabrics, which are with the instructions for the velvet evening dress and the velvet evening jacket.

Daisy Thompson on a seaside holiday c.1937. Daisy wears a short-sleeved floral summer dress with contrasting white belt. Worn with sandals and ankle socks and accessorized with a clutch bag and small hat, the outfit exudes a relaxed and youthful appearance. (Claire Reed’s family photo)

Working with Fine Fabric

The ethereal qualities of fine fabrics, such as silks, chiffon and other sheers, give a soft and romantic feel to a garment; they are light and comfortable to wear but not so easy to sew. Common problems encountered when working with these types of fabrics are fraying, puckering and pulling of the fibres; also they can be difficult to lay out when preparing for cutting.

Luxury fabrics come with a price tag to match and this can add to the anxiety and reluctance to use them. Fraying is an issue and some fabrics of this type have a tendency to fray more than others; as it is impossible to avoid handling when cutting, preparing and making up the garment there can be substantial loss to seam allowances if not done with great care. A useful tip is to ensure that scissors are sharp and free of nicks to the blades, which could snag the fabric fibres when cutting out the pattern pieces.

Take time when laying out fine fabrics and positioning the pattern pieces on them. As they have a tendency to move and distort during handling, be as gentle as possible. Ensure your hands are clean, and remove any chunky jewellery that may rub against the fabric and snag it. Rather than pulling at the fabric to manipulate it, try to lift, smooth and pat the surface to help it lie flat and even, especially when the fabric is folded double.

Only use fine, sharp pins and slide them carefully into the fabric weave and through the layers. Placing tissue paper between the fabric layers can help. When stitching using the sewing machine, always use a brand new, sharp needle of fine gauge, such as 60/8 or 70/10, depending on the fabric type. To help guide the fabric through the machine and avoid it being pulled into the foot plate, it is advisable to increase the force of the pressure foot and hold the fabric taut when guiding it along.

The general rule of thumb is to use a looser tension with a short stitch. Also, try to avoid back-stitching at the end of a run or seam, as this can cause the fabric to pull and pucker; simply tie off the threads to secure the end of the row of stitching. Use a sewing thread that is not too strong for the fabric and although a polyester thread is usually fine to use, a cotton thread is the ideal choice for fine fabrics.

A French seam is often the preferred choice in garments made from fabrics of this nature, due to the fact that, as it encloses the raw edges, the seam is neat and strong.

When pressing a fine fabric, take care to set the heat of the iron to suit the fabric type; in general terms, natural fibres such as silks can take a hotter iron setting than a synthetic fibre. It is always beneficial to use a clean pressing cloth and it is also worth testing a scrap of the chosen fabric as, with certain types, the heat can create unwanted surface shine. It is best to press fine fabrics on the reverse (wrong) side and avoid, where possible, pressing the right side.

Working with the Bias Grain

The bias grain runs at a 45-degree angle to the straight grain (warp and weft threads of the weave) and is often referred to as the ‘cross’ grain due to the fact that it runs diagonally across the straight grain of the fabric. Bias-cut garments offer excellent stretch and movement, creating a smooth and flattering silhouette and a close fit to the body. This method of cutting worked perfectly for the fluid and figure-hugging styles of 1930s garments; the stretch qualities meant that potentially bulky plackets and fastenings were not required as the garment could be slipped on over the head.

If you are inexperienced with this method of constructing garments, it is advisable to start off with a simple pattern and a fabric that has good weight and draping qualities. Avoid choosing a pattern that requires accurate matching at the seams or distinct patterns within the fabric design; the satin evening dress and cape, for example, requires several panels to be matched perfectly to achieve the crisp, geometric look of the piece and also uses a decorative finish on the hem that needs a skilled hand to produce.

The lingerie set might be a good starting point, as the pattern pieces are smaller and therefore easy to manipulate, plus the well-placed lace elements on the garments will distract from any mistakes, which dressmakers of any experience will tell you can easily happen.

The essential point to remember is to take care when laying out the pattern at the start of your project, as it is important to ensure that the direction of the grain lines on the pattern pieces are true. Cutting slightly off the bias grain will cause the pattern pieces to twist and make accurate stitching of the seams more difficult to achieve. Taking time at this stage will pay dividends when it comes to stitching the pattern pieces. Depending on the fabric type, it can be useful to use the single-layer method of laying out the pattern, especially where a silky fabric, such as a satin, is being used.

When cutting out the pattern pieces, a rotary tool works well and can make this process easier. If using scissors, ensure they are sharp; with particularly slippery fabrics, it is worth considering using scissors with serrated blades, as these give greater contact with the fabric.

Once the pattern pieces are cut, try not to over-handle them as they will stretch and distort. Use a light touch and lift the individual pieces gently, working on a flat surface where the fabric will be supported as it is being manipulated. It is advisable, where possible, to tack the garment seams before stitching as this will give the garment stability when it is guided through the sewing machine.

Use a machine needle recommended for fine fabrics as described in the previous section, and pull the fabric gently as it is guided under the pressure foot. For curved areas, such as a neckline, or if the fabric is particularly stretchy, running a row of stay-stitches can help to hold the shape and prevent distortion.

When it comes to creating the hem on the garment, it is worth leaving the garment to hang overnight, as gravity will pull the fibres downwards and it is best to let that happen before the garment is finished, in order to avoid an uneven hem. When pressing the finished garment, use the heat setting appropriate to the fabric type and make sure the garment does not hang and therefore pull at the seams. Lift and support the fabric when pressing.

There is much literature and online tutorial advice available in the world of sewing and crafting which are worth investigating and with the hints and tips offered in this book, we hope you will be inspired to create your own masterpiece. It is always a good idea to test out a fabric for its cutting and stitching qualities before embarking on your chosen sewing project and many fabric shops sell in small quantities, so it is worth investing in a couple of twenty-centimetre pieces to practise on and see what might suit your project.

Above all, enjoy making whatever it is that enthuses you; in whichever fabric, colour or pattern ignites your imagination!

Fashion History and Context

3

Socio-politically speaking, the 1930s can be framed by two major world events. The Wall Street Crash of 1929, followed by the outbreak of WWII just ten years later, led to the 1930s being overlooked in some areas of art, design and fashion study.

Woman wearing a sophisticated mid-calf length dress with a pulled-in waist, short sleeves and a decorative pussy bow neckline detail. She wears fashionable matching gloves and hat with the ensemble, and has a matching jacket slung over her arm. (Photo: Shutterstock)

As one might imagine, such major events created a period of crisis for those living through the decade; however, the output of fashion designers, artists and architects would suggest the period was in fact a fruitful decade of flourishing creativity and innovation. According to some commentators on the period, the horrors of the war played a very big role in overshadowing the developments and changes in 1930s design and style. For many the period is defined by these major world events; however, the developments within the fashion and art world should not be underestimated. In a decade that followed on from the excesses of the Jazz Age, and preceded the era of austerity experienced in the utilitarian forties, the 1930s has, at times, been considered merely a transitional decade bridging the gap from one era of extremes to another. In fact, the 1930s witnessed some of the most interesting and innovative changes that still influence contemporary design and fashion today, something that more fashion historians, designers and authors are acknowledging.

The decade began with the 1929 Wall Street Crash, something that in many ways characterized the 1930s. This financial event was the largest collapse of the stock market in American and global history. The crash plunged the USA into the ‘Great Depression’ and left the world reeling from the ramifications of ‘Black Tuesday’, 29 October 1929. As the new decade began, everyone was swiftly becoming aware, often painfully, about the extent of this financial disaster in both America and Europe, in which ‘Thrift is the spirit of the day. Reckless spending is a thing of the past’ (as noted by the Sears catalogue for 1930). Levels of unemployment soared, and hardship and poverty proliferated. This depression and the severely high levels of unemployment persisted throughout the whole decade, regardless of the efforts nations made to curb the severity of the economic downturn. This festering financial disaster created the perfect breeding ground for new powers to take hold and sell a new way of life to those disheartened by the effects of the Great Depression. The rise of European authoritarian regimes was the result of this economic downturn experienced around the world. Before the end of the decade, Europe found itself embroiled in a horrifying conflict once again, one that would be remembered as the most shocking obliteration of life that Western history would experience. The foundation for WWII was laid in the 1930s, which perhaps led to the decade being viewed through a lens of negativity.

The preceding decade was considerably more fruitful in its excess of luxury and glamour, among many other things. The liberation and freedoms of women were a major item on the agenda, and the clothing of the time reflected this. The glitzy evening dresses of the 1920s were designed for the hedonistic lifestyles of a generation who grew up during the gloomy and oppressive years of WWI. These heavy years had restricted their fun and freedom and many in the middle and upper classes sought relief from the horrifying destruction and loss of life in nightclubs, impromptu parties and casual and frenzied socializing. There was a desire to reject the traditional ideals of the previous generations, thus there was a loosening of morals and clothing. Women had gained more economic social and political freedom which was reflected in a less fussy and restrictive modern wardrobe. The fashion of the twenties was comfortable, simplified and younglooking, with curves being outlawed and the tubular dress being worn with a dropped waist, a flattened bust and a straight silhouette.

Towards the end of the 1920s the waistline started to move back to its natural position, and the look of evening wear was considerably more elegant and mature with a traditionally ‘feminine’ silhouette beginning to appear. This clear refinement of clothing is considered a response to the Great Depression; however, the changes in fashion at this time were not so much about being thrifty and conservative but more about streamlining and creating a more elegant body shape. The severity of the economic downturn was in a shocking contrast to the wealth and excess across all aspects of society, fashion and design that was experienced in the Jazz Age. Although the general overtone of the 1920s is one of glamour and illicit indulgences, many were still living below the poverty line. Many could not afford any form of fashionable clothing – a fact often overlooked in the study of fashion history. When focusing on everyday clothing, the 1920s look was still a recognizable one; however, one must not underestimate the glaring gap between those who were able to afford high-end fashion and those who could not. The most recognizable styles and shapes within fashion design tend to be from the higher end of fashion, which suggests it represents only a small section of society and social strata.

The transition of fashion and clothing from the 1920s to the 1930s can be illustrated by the reduction of elaborate cubist-style ornamentation and the gradual move towards a figure-hugging shape as seen in the later part of the decade and into the early 1930s. Garments were now following the natural curve of the body, clinging closely to the hips (often requiring the addition of a triangular panel inserted into the skirt at the waist) and swooping to lower hemlines. As these shapes and silhouettes were already appearing within fashion prior to the economic downturn, it is difficult to ascertain what stimulated this new direction. Typically in times of financial and economic hardships, more restrained and conservative forms of fashion dominate, particularly when considering use of fabric and the position of hemlines. In order to create a cheaper garment, less fabric is used and the hemline is predominately higher. This direction of style did not appear until later in the thirties, which many fashion historians note is an intriguing feature of the interwar years. It has also been noted by some authors that the rise in right-wing politics at the time provided an opportunity for fashion to become more conservative in its appearance. If anything, fabric usage increased in the early 1930s, given the lengthening of hemlines and the addition of small capes and other interesting accessories.

However dark and dreary the political and economic context of the 1930s was, it was also a time of modernity, glamour in fashion and streamlining in design. The era was deemed a design decade, with changes throughout the arts scene and the development of design consultancy as a profession, with the sector of consumer products on the rise. This role saw the development of more consumer products than ever before and more avenues in which to sell them. Advancements were not restricted to just the arts sector but were evident within new technologies such as intercontinental aviation, colour photography and technicolour at the cinema.

The fashion leaders around the world embraced the new understated but elegant look of the period, with Paris maintaining its position as the epicentre of haute couture (literally, ‘high fashion’); this position continues to the present day although there are now cities around the world that rival this prestigious accolade. Even in the 1930s, such cities were crucial contributors to the development of the ‘modern’ look that appeared during this decade of political and financial instability. This period has been referred to as the ‘Golden Age of Fashion’, an epoch during which a selection of industrial innovations were appropriated by leading designers and artisans. The 1930s was also a very important time for the synthesis or merging of the disciplines of art and fashion. This converging of ideas and styles had never been seen before in such an emphatic and recognizable way. The integration of art into fashion was key in the creation of a new and modern aesthetic, formally signifying the breakaway from the preceding Edwardian period that was restrictive in its social values and ideals and in its clothing.

The emblematic long and sinuous silhouette of the thirties was a very clear departure from the restrictive and, at times, oppressive modes of dress seen prior to this decade. This new silhouette gracefully accentuated the body rather than controlling it, similarly to the loosely liberating twenties-style garments. There was however, more control and focus on the female form and the celebration of it rather than merely hiding it under a shapeless tubular dress. The previously recognizable style of the 1920s flapper was a boxy chemise-style garment with a dropped waist. When considering the notoriety of the 1920s flapper dresses and the reinvigorated fascination with Jazz Age culture, this style was surprisingly short-lived, remaining popular from about 1925 to 1928. This loose and liberating style cut all connections with the fashions of the era before WWI; however, the masking of the body and the relatively shapeless nature of the garments led to the silhouette becoming somewhat of a fashion fossil, seemingly never being embraced in full within contemporary fashion. This is in contrast to the key elements of the style associated with the 1930s, which have been recurring in fashion for more than eighty years, demonstrating its longevity and timeless aesthetic.

Styles of the 1930s

Among other features of fashion in this decade, the 1930s produced two distinct looks. The first look had an accentuated shoulder, natural waistline, fitted torso and bust, a narrow hipline and an elongated hemline. This style began to emerge in the late twenties, but was firmly in place by 1930, reflecting the new streamlined Art Moderne aesthetic that would come to dominate the decade. The woman of the thirties was a more grown-up version of the 1920s flapper girl, with a style that was described as being more ‘feminine’ when compared to the boyish garçonne style of the preceding decade. The new figure was slender yet curvaceous, draped in a calf-length glamorous gown with an elegantly permed bob. This new feminine silhouette involved the waistline returning to its natural position, where it remained for the rest of the decade. This waistline was more or less emphasized depending on the garment; however, it appeared more nipped in and refined from around 1933 onwards. This natural waistline was highlighted more obviously by the adoption of empire lines created by small bolero jackets, capes and the inclusion of seams just below the bust. The length of skirts was also fixed until the later years of the decade, when hemlines rose. For the majority of the thirties, calf length was used for daywear and floor length for evening dress. A slender and figure-hugging shape could be created by the insertion of a V-shaped insert, its apex just below the middle of the bustline and its sides flaring out to the hips. The skirt itself was quite often layered at the bottom, perhaps with a tiered set of ruffles or even fully pleated; in contrast, the slender and simple rolled hemline at the bottom of a plain skirt was favoured by the Art Moderne style that involved minimal ornamentation.

The torso was further accentuated by the lowering of necklines, which were decorated with ruffles, tiered collars or wide scalloped edges. There was also an appetite for trompe l’oeil effects for jumpers, for bows, ascot-style ties and corsages of fabric flowers. The back of the garment (and the wearer) was now considered to be as important as the front, with features such as plunging backlines and diamanté straps running across the back of the neck in order to highlight this. The development of back jewellery was now a common sight in high-end Hollywood-style costume, something that would soon influence trends for the average women with an interest in fashion.

By 1934, this elegant style was being supplemented by a neo-romantic element that saw hemlines rising, skirts becoming fuller and waists becoming more cinched. The ‘New Look’ created by Christian Dior in 1947 was inspired by many elements of the late thirties style. This suggests that WWII halted the progress of fashion design and production, and this new style was not able to flourish until the late forties rather than earlier in the decade. Given the huge economic downturn experienced during the 1930s, fewer garments were being sold and produced when compared to the influx of clothing to the market in the twenties. Regardless of the sparseness of the industry, there were still lasting innovative styles and features created at this time, which reinforces the importance of this decade in fashion history and design.

One such style was the tailored suit, which became hugely popular in the 1930s. The practicality and versatility of the ‘ensemble’ of matching skirts, dresses, blouses and coats was ideal for the working woman who was rushing around town running errands and socializing. Leading designers were catering to the taste makers within society, who were expressing a taste for both elegance and ease, and the tailored suit ensemble provided them with this. The speed at which these changes within fashion were accommodated could also be attributed to the technological advances in textiles with the creation of new fibres and fabrics such as synthetic silk. The techniques of dying and printing fabrics were also greatly improving, as showcased at the Exposition Internationale des Arts Décoratifs, which was the first major international marketing platform to display new features such as this within arts and design. This event was hugely influential, with the term ‘Art Deco’ being coined in the 1960s in relation to the design ethos presented at this exposition. The term ‘Art Deco’ is often applied to all aspects of design from the 1920s through to the early 1940s; however, the term ‘Art Moderne’ is also used. It is important to understand the differences between these two styles and movements, as Art Deco was referred to as ‘Moderne’ during the twenties and was only later termed Art Deco.

It was important that everyday fashion and clothing was durable and easy to wear but also elegant and feminine. This led to fabrics such as velvet becoming hugely popular at the time, given its luxurious feel and finish. Devoré velvet was also favoured: interesting decoration could be created with this fabric patterned by the controlled burning away of the pile by an acid treatment. Cottons and linens were now also being promoted as fashionable materials, and with the use of such fabric by couturier Coco Chanel in haute couture creations in the previous decade, these fabrics were no longer associated with poverty and the working class. Their durability and their reasonable price elevated their popularity during the 1930s, when the negative effects of the economic recession were most notably felt.

This renaissance for cheaper and more conservative fabrics did not deter the elite from opting for silks and other more expensive fabrics such as fine wool crêpes, luxurious lamés in gold and silver and silk satins. Given the advances in textile technology, it was now possible to create imitations of such fabrics successfully using man-made fibres. Fabrics like rayon or artificial silk had been developed in the previous decade; they were now gaining popularity, given the desire for skimming gowns designed to highlight and celebrate the female form. These fabrics were now rendered affordable for nearly everyone rather than merely the wealthy.

Fur capes, stoles and wraps were worn extensively for both day and night. The highest-end sable, mink, chinchilla and silver fox were all highly desirable, and the cheaper pelts such as muskrat and rabbit could be dyed to resemble nearly anything. This illustrates the desire for fur fashion in the lower end of the market too. For those who could not afford even the lower-end furs and pelts, the availability of ‘processed lamb’ and the wide variety of other cotton pile faux furs, demonstrates the extensive popularity of this fashion.

SOURCES FOR THE DECADE’S STYLE

The Art Deco style was showcased in 1925 at the Exposition Internationale des Arts Décoratifs, possibly best displayed in the context of furniture design. The style built upon the stylized and cleanly formed lines of the preceding style of Art Nouveau. There were a great number of influences on Art Deco style, such as the Greco-Roman period in which the ideals of balance and proportion were highly favoured. The Egyptian two-dimensional silhouettes found in artwork from this period and the Asian high-shine, glossy finish of lacquered artefacts can also be seen as clear influences on design for the Art Deco style. Fashion was to follow art and furniture in showing a lightness and sense of restrained ornamentation.

The Art Moderne movement developed in the USA and dates to the early 1930s. This movement shared many qualities with the Art Deco style but these were further magnified. Moderne was streamlined, and the design of furniture (for example) was considerably pared down when compared to Art Deco work. The prominence of geometric outlines was highly favoured, and there was an appreciation of the machine-made, designed to be mass-produced regardless of its mass production capabilities. Arts and design from the Moderne style displays a sense of motion in a light and uncluttered way.

Ready-to-Wear and the Working Woman

Everyday fashion and clothing for the working woman had to be durable and easy to wear, but there was also a very clear desire to look elegant and on trend too. The availability of more affordable alternatives to the expensive luxury fabrics, alongside the common practice of copying haute couture designs, demonstrates a desire by women of all social classes and statuses to be fashionable and stylish. This desire was served very well by manufacturers and advertisers of fashion, who developed a very intricate retail structure that catered to society’s burgeoning needs. This would become the ready-to-wear market which is considered to have led to the democratization of fashion during this era, something which now dominates in our own contemporary society.

The growth of this ready-to-wear market was also complemented by the expansion of magazine culture, which saw many lower-end publications available to assist women on the selection and purchase of fashionable ready-to-wear clothing, much in the same way that our contemporary publications provide advice, examples and suggestions on how to create or develop your own personal style. The 1930s saw ready-to-wear companies blossom, with more variety in fabric, shape and styles than ever before. This sector was additionally supported by the fast production techniques that were continually improving, and the development of catalogue companies advertising and marketing the extensive retail opportunities that were available to more women.

Catalogue shopping revolutionized the way women shopped during this decade, with companies such as Sears (in the USA) and Littlewoods (in the UK) bursting onto the scene. Catalogue retail developed in the second half of the nineteenth century, so this development was not a new one; however, given the expansion and prevalence of the railways, the consumer base was now considerably larger than the industry had previously seen. Mail order companies thrived and shopping from home was hugely convenient for the busy woman, much as it is today with the availability of online shopping. Many of these catalogue companies offered nearly everything, which removed necessity for tiresome repeat visits to the shops, especially with children in tow. The options of paying in instalments encouraged women to purchase multiple items from the one company, and the great customer service of postal discounts, hassle-free returns and a huge variety of items for sale ensured these companies built enormous loyal customer bases who greatly trusted and relied upon them.

In the UK, the company of Littlewoods distributed its first catalogue in 1932, and swiftly encouraged users to set up their own ‘shilling clubs’. These clubs contained groups of women who were typically consuming or purchasing from one or more shares in the club. The money from these women was then collected up and usually amounted to a few poundsworth of goods each week. The women would then draw lots to decide the order in which they would receive their goods. All the members of the club received their goods before they had finished paying for them, except for the unlucky member who received her goods last. The organizers of these clubs tended to receive discounts on their own purchases, and the vast majority of the clubs were set up by women who would purchase fashionable clothing and accessories.

Although convenient for the club members, the clubs were a good initiative to generate and increase sales. The substantial uptake of such initiatives demonstrated the everincreasing appetite for fashionable clothing by all classes and social strata. The range of products available also expanded significantly during the 1930s, as there was a desire to wear fashionable garments that were clearly inspired by the luxurious evening wear of haute couture houses. There was also an increase in the purchasing of fashionable but functional daywear ranges for the average working woman. The variety of clothing available from companies such as Littlewoods and Sears illustrates the growing diversity in leisure activities and pastime destinations now available to nearly all of society. It was no longer just the social elite who could afford to wear luxurious-looking evening wear to an event, but those of more conservative means too.

Influence of Paris and the Semi-Made Revolution

The 1930s saw the expansion of fashion catalogues and ready-to-wear companies offering copies of high-end fashion garments. The role of the haute couture industry of Paris in the twenties and thirties, as in many other decades of fashion, was that of sole and undisputed dictator of taste, elegance and luxurious women’s clothing. The Paris houses were looked upon to set the tone for future styles and trends, and the world would follow. Although other major cities such as London and New York had hugely successful fashion industries, it was felt the capital of Fashion would always be Paris (an accolade this city has continued to maintain in the eyes of many). During the 1920s, consumers of fashion from all over the globe would congregate on Paris twice a year to purchase the latest designs from their personally favoured couturiers.

It was not just individual customers who would undertake this pilgrimage to Paris, but the department stores, catalogue companies and ready-to-wear manufacturers would also travel from far and wide to report back on the trends their customers would expect to see after being showcased in Paris. Copying or interpreting has long since been a crucial feature of the dissemination of fashion. There was an awareness of this, which led to couturiers offering official duplication garments both to capitalize on this external market and to regulate the level of imitation. These designerbranded models were leased to ready-to-wear manufacturers and retailers who could then copy the garments exactly and retail them under the couturier’s name in large department stores, making high-end fashion available to a broader market. Toiles were also sold for similar purposes to the middle market – retailers and manufacturers – with the couture house even offering paper patterns for the lower end of the market. This ensured that the seasonal stylistic changes and features of Parisian fashion were filtered down throughout the industry to the rest of the world in a controlled and measured way.

This system of copying was dramatically shaken after the 1929 Wall Street Crash. Americans were encouraged to ‘buy local’ during this period of economic instability, through heavily patriotic advertising campaigns in which fashion journalists and socialites endorsed American fashion. In order to emphasize the importance of buying local whilst undermining the consumption of foreign goods, there was a huge increase in import taxes. For Paris this was as high as 90 per cent, which could easily have destroyed their fashion market, as American money was one of their largest streams of income.

One of the ways in which American purchasers of Parisian fashion would navigate and ultimately avoid paying these extremely high import taxes was by cutting the couture labels out of the garments. This would explain why there are so many items of couturemade Parisian garments within museum collections that are currently unidentified due to their lack of label. Although these types of tax hikes made it more difficult to consume Parisian clothing, purchasing did not cease altogether as the world relied very heavily on Paris to set the tone for all things chic. It was not just the individual clientele who reduced their purchasing, but large department stores had to purchase more wisely, thus restricting what was now available. It was not uncommon for department stores to club together and buy a collection of designs or styles; however, some stopped completely and relied solely on the production of copies.

In response to this changing dynamic, couturiers started slashing the prices of garments by up to half, which was only feasible by creating simpler, less fussy designs that required less labour and fabric. Another way in which the Parisian haute couture market tempted customers was through the availability of semi-couture creations that only required one or two fittings. This was considerably cheaper than a traditional couture garment, and the option to purchase a lower-cost, less intricate, limited-edition garment was offered by many of the couture houses. Some designers utilized cheaper man-made fabrics more readily in their clothing, some increased their ready-to-wear range, and some even started to offer mail order.

The desire to purchase investment pieces led to the slowing of changes in styles, as there was an appetite for elegant classics rather than the latest trend. It was a difficult time for couture houses and some ended up closing in response to slowing sales. In order to survive, many houses turned to accessories and perfumes, and the expansion of this market ensured the survival of the industry as a whole. The ready-to-wear market developed swiftly, offering a much wider range of well-made and affordable fashion. The changes in the post-Great War silhouette, which ultimately simplified clothing, made copying of high-end designs much easier to do; however, it was the perfectly fitting garment that remained the distinction of the wealthy clients of couture houses from those buying ready-to-wear. Sizes varied dramatically on the ready-to-wear market as there was no existing standardized sizing data; each company had its own set of sizes which rendered it difficult to secure a perfect fit from different suppliers. The previous loose-fitting tubular dresses of the 1920s did not rely on precise sizing given the style and cut of the garments, but the figure-hugging fluid garments of the 1930s required an exact size.

Sears offered semi-made garments that were delivered partially complete with just simple seams and finishing to be undertaken by the customer, allowing for personal adjustments which made for very well-fitting clothing. The offer of semi-made ensembles was in response to the desire for well-fitting fashionable clothes, and to combat the ongoing issues associated with a lack of standardized sizing. It also allowed for more women to have access to fashionable and well-fitting affordable clothing after the economic downturn. Many of the clients of couture houses could no longer afford the luxury of made-to-measure clothing, which boosted the sales of semi-made garments, ensuring customers could wear well-made and well-fitting clothing for a fraction of the cost. Companies such as Sears had to reassure the customers these semi-made ensembles could be completed by even the most inexperienced of makers. Promotional material using this angle suggests the companies were aware that the new customers purchasing these semi-made ensembles were previously clients of couturiers, for whom it was not necessary to be equipped with practical sewing skills in the same way it would have been for the working class.

Wealthy former clients of couturiers had to limit their expenditure on clothing, and in some cases even find employment. This made the convenience of catalogue shopping or ordering semi-made ensembles even more appealing, which itself contributed to the broadening of the variety and range of clothing styles available within this section of the fashion industry. For the working-class women who could not afford to buy any form of fashionable clothing, home dressmaking remained a popular choice. This method allowed those who were keen to wear fashionable clothing and maintain a sense of style to do so on a very tight budget. This encouraged pattern companies to offer an ever-growing variety of patterns to produce fashion-focused clothing at home. Many of these pattern companies formed partnerships with well-known Parisian couture houses, thus adding an element of glamour and exclusivity to the garments you could create. This demonstrates the continuing role Paris played in setting the tone for on-trend fashion.

Woman wearing a silk floor-length gown with mid-length puffed sleeves and a small collar. Hanging from her collar are tassels with decorative piped pom-poms on the end. (Photo: Shutterstock)

Classicism

The major artistic movements of Abstraction and Surrealism were very important in the inspiration of fashion design within the 1930s; however, classicism and its revival developed one of the quintessential looks of this decade. This movement spearheaded the streamlined Grecian aesthetic that the thirties can be characterized by, with an emphasis being placed on the natural body, one that could be easily distinguished in the satin figure-hugging gowns that were dominating. Although the thirties decade was strongly focused on the emancipation of women, the female form and modernism, this very historic revival would dominate inspiration for some time, demonstrating the foundation that the Greco-Roman period built, on which the Art Moderne aesthetic could develop.

The best examples of classically inspired design were beautiful to look at as well as being highly functional. This movement reflected the ideals of the greatest advocate of this style, couturier Madeleine Vionnet. Paris was still the artistic centre of Europe in the early part of the twentieth century, and the progressive artistic and design movement of Art Nouveau was dominant within the arts and architecture. Madeleine Vionnet was determined to eliminate the corset whilst also creating a new style of clothing that freed the female form from the restraints of this undergarment. Vionnet was passionate about creating a fluid garment unbound from restraints, allowing the wearer to move freely without wearing a corset of any kind. This new spirit, or Spirit Nouveau as it was called, aligned with the other aesthetic revolutionaries of the early twentieth century such as dancer Isadora Duncan and architect Le Corbusier.

The collective revival of classicism gathered momentum during and after WWI and greatly affected many of the avant-garde artists of the time, even ‘causing them to modify the revolutionary styles they themselves had invented’, as Cowling and Mundy put it. This revival inspired all areas of the arts, including sculpture, architecture and, importantly, fashion. It was the cornerstone of the Art Moderne aesthetic. It was not just the major designers and couturiers who found inspiration in the Art Moderne aesthetic, but also fashion photographers such as George Hoyningen-Huene and Horst P. Horst. The way in which Huene placed the model and utilized lighting and space captured the classically inspired perfection of couture garments.

Fashion in Paris

Paris laid claim to being the most trailblazing, trend-setting and innovative force in Western fashion design long before the 1930s. Despite this, even with clothing being designed and made, and ultimately being shipped all around the globe (thus inspiring other makers), Paris still struggled during the Great Depression especially when considering their most lucrative years had been in the 1920s. It was not all success and glamour in Paris at this time, with a number of couture houses consolidating or even closing down due to poor sales. The leading firms were producing around half the number of garments turned out in the 1920s, and the huge advertising campaigns that were seen in America all but ceased in the thirties. Companies that worked on intricate detailing such as beading and embroidery were impacted the most during the downturn of the economy. The simplifying of styles and the minimalist aesthetic that was becoming hugely popular rendered surface decoration obsolete, and the companies that specialized in this, near obsolete too.

Women were dominating the modern fashion industry in Paris until WWII, a phenomenon that had never been seen before. The appearance of nearly four dozen couture houses within the major editorial and advertising spaces of Vogue and Harper’s Bazaar in the 1930s included designers such as Lanvin, Chanel and Schiaparelli. Even the lesser-known designers such as Ana de Pambo (for Paquin) and Nina Ricci found a place within these publications. This dominance of female couturiers in France during these interwar years is attributed to a number of reasons, one of them being the severe loss of men during WWI. France’s low birth rate and the rise of the feminist movement also encouraged more women to take up work outside the home. Women were moving to the forefront of fashion; this change, along with the clothing they developed, produced an impact that has lasted ever since.

Sewing to create clothing had been largely a traditionally feminine industry. However, the late eighteenth and nineteenth centuries saw major changes; as in other industries, there was specialization, mechanization and managerial development. At the top of the industry, making clothing became couture. The couture industry was transformed from a mere craft into a high art and a very lucrative business by male couturiers such as Charles Frederick Worth. It was a widely held belief at the time that men were more naturally gifted with artistic talent, and women were thought to be just the technical labourers. The skill involved in turning these designs created by the male ‘genius’ into real garments was considered mundane and involving limited creativity. The idea that a technician or a dressmaker could also be a great artist or designer was simply unthinkable at this time, and unfortunately the term ‘dressmaker’ still has negative connotations today. It was not until the 1920s and 1930s that couturiers such as Vionnet brought the craft of dressmaking and technical skill to the creative design process.

When Madeleine Vionnet opened her own fashion house, female couturiers were beginning to compete successfully with their male counterparts. It was designers such as Vionnet and Coco Chanel who were consolidating the work of the pioneers before them in the preceding generation, such as Madame Jeanne Paquin in the first ten years of the twentieth century. Paquin not only had a couture house that employed over 1,000 workers, but was regarded as one of the world’s leading fashion authorities. The lack of fame for Paquin today is due to her male competitor Paul Poiret, who has received more attention in the study of historical fashion. Paquin made her garments from the finest fabrics with detailing and surface decoration undertaken very precisely and to extremely high standards, whereas Poiret made dramatic and memorable garments that were inconsistent in their quality and execution. Given the role of men in society at this time and similarly today, the female designer was overshadowed by her male counterpart.

Vionnet and the Bias Cut

One of the most notable design features of fashion in the 1930s was the use of the bias cut most conspicuously popularized by the designer Madeleine Vionnet. The bias cut was achieved by cutting fabric at a 45-degree angle rather than on the warp or the weft. The bias cut allowed for designers to create sculptural gowns that would closely hug the figure, by essentially draping or manipulating the fabric around the different contours of the body. Vionnet rejected everything that distracted from or distorted the natural curves of the body. Taking inspiration from the avant-garde dancer Isadora Duncan, Vionnet designed and created garments that floated around the body freely, demonstrating her understanding that fabrics cut on the bias could be draped in sinuous folds to highlight and complement the fluidity of the female form.