Fashion Rationed: World War II Style

By Paige McKirahan

Though The Great Depression was nearing its conclusion at the end of the 1930s, the fashion industry was still shaking from the effects of its economic downfall. Moving away from the tubular styles of the 1920s, this pre-war period saw the revival of a feminine, waist cinching silhouette and made way for mass, factory produced styles. Don’t worry—corsets were still out of trend and the type of form fitting style that the ‘30s loved was that of an accentuated natural waist. The innovations in industry that made ready-to-wear a staple in design also allowed none other than Elsa Schiaparelli to pioneer zippers, making them a staple in this decade’s garments as they were ultimately less expensive than buttons.

Though daywear styles were simple and refined, evening wear remained glamourous and continued garnering inspiration from Hollywood starlets. Backless gowns became the centerpieces of long gowns and chiffon, silk, crepe-de-chines, and satin were used to create elegant and flowing lines. Women’s pants also became a huge hit in the late 1930s, popularized by “sailor” style which included buttons on the front of the high waist. Beach pajamas, one piece jumpers with wide legged pants, also became a wardrobe staple for women at the time as they were commonly worn for beach or relaxation days.

1938 women’s pants 

(image credit to vintagedancer.com) 

The beginning of World War II in 1939 placed an emphasis on global conflict rather than haute couture, pushing creative expression to the backburner. To support the war effort, common clothing materials began to be rationed, taking a toll on style and calling for alternative fabrics. Rather than using nylon and wool, which were both needed by the military, a new synthetic fabric called rayon was extremely popular for clothing in these wartime years. These fabric restrictions put a renewed emphasis on legs that we previously saw during World War I; less fabric meant simple designs with shorter hemlines were in now style out of necessity. Fabric rations were also responsible for the creation of the two-piece swimsuit in 1946 as creating a bikini was more economical than one pieces. 

An unforeseen shift was brought along in the 1940s that altered the fashion world forever; Paris was knocked from their throne as the leader in haute couture and style, with New York emerging as the new influencer. Parisian couture houses garnered disapproval from the public and many grew weary of top designers as it seemed they were in cahoots with occupational forces. Coco Chanel specifically closed down her studio during this period as she was criticized for her relationship with a high ranking Nazi official, tarnishing her brand. Claire McCardell, American designer, made use of fabrics that were not in high demand by the military like cotton denim, jersey, gingham, and calico for everyday styles. “War Wise” became trendy and patriotic colors were the “it” aesthetics of the decade as American style was making its first true marks on the industry.

Claire McCardell design, 1946

(photo credit to enews.com)

As the Great Depression lead into the new war, costume jewelry was still a wardrobe staple as movie star glam style reigned. Clothing was relatively plain and lackluster, so jewelry was large, colorful and decorative to compensate. Metal was in short supply, so sterling silver became the go to material and provided a base for large, colored gemstones. Vermeil also became popular for these over-the-top pieces; the material, which is a base of silver plated with gold, gave the look of luxury while remaining inexpensive. Cheaper materials such as wood, shell, glass, bakelite, and fabric were used to created pieces with patriotic symbols, flowers, bows, and whimsical animals. Popular motifs during this time included novelty shapes and prints, nature, flowers, fruits, and vegetables. Patriotic themes were common as it was important to keep morale up during the War; many wore brooches that were in the shape of the letter “V”, which was a common symbol for victory in this decade.

Cartier "V" brooch ad, 1945

(image credit to vintagedancer.com) 

Despite the glitz of the roaring ‘20s, the late ‘30s and ‘40s were forced to forgo glamourous habits for those more modest on account of the current political and economic climates. Regardless, this time period shows that fashion and style can persevere, molding with the restrictions of the time. Limits on materials forced designers to become innovators, creating timeless silhouettes that were not previously utilized in the industry. American courtiers really began to step into the global spotlight, and New York as a city secured its place as an emerging fashion leader. To celebrate this victory, head over to our collection to get you some ‘30s and ’40s pieces of your own!

Elsa Schiaparelli was an Italian fashion designer who, along with her rival Coco Chanel, is regarded as one of the most prominent figures in fashion between the two World Wars.

Schiaparelli was born in 1890 and raised in Rome, Italy. The cultural background and erudition of her family members served to ignite the imaginative faculties of Schiaparelli’s impressionable childhood years. She became enraptured with the lore of ancient cultures and religious rites. The content of her writing alarmed the conservative sensibilities of her parents, so they sought to tame her fantasy life by sending her to a convent boarding school in Switzerland. Once within the school’s confines, Schiaparelli rebelled against its strict authority by going on a hunger strike, leaving her parents no alternative but to bring her home again.

Schiaparelli was dissatisfied by a lifestyle that was refined, but ultimately cloistered and unfulfilling. Her craving for an exploration of the wider world led her to try to remedy this and when a friend offered her a post caring for orphaned children in an English country house, she saw her opportunity to leave. The placement, however, proved uncongenial to Schiaparelli. She subsequently planned a return to the stop-over city of Paris rather than admit defeat by returning to Rome and her family.

She married a charlatan, whom she got engaged after one day of dating. They moved to NY in 1916 and their lives were followed by FBI and others suspicious of his career credits along and spy actions during war times. Soon after Schiaparelli and then husband Dr. Kerlor had their daughter in 1920, he left them behind. So, in 1922, she moved back to France with her daughter "Gogo". Schiaparelli relied greatly on the emotional support offered her by her close friend Gabrielle 'Gaby' Buffet-Picabia, the wife of Dada/Surrealist artist Francis Picabia.

Schiaparelli’s design career was influenced by couturier Paul Poiret, who was renowned for jettisoning corseted, over-long dresses and promoting styles that enabled freedom of movement for the modern, elegant and sophisticated woman. In later life, Schiaparelli referred to Poiret as "a generous mentor, dear friend."

Schiaparelli had no training in the technical skills of pattern making and clothing construction. Her method of approach relied on both impulse of the moment and the serendipitous inspiration as the work progressed. She draped fabric directly on the body, sometimes using herself as the model. This technique followed the lead of Poiret who too had created garments by manipulating and draping. The results appeared uncontrived and wearable.

Schiaparelli was also renowned for her unusual buttons, which could resemble candlesticks, playing card emblems, ships, crowns, crickets, or silver tambourines. Many of these fastenings were designed by Jean Clement and Roger Jean-Pierre, who also created jewellery for her. In 1936, Schiaparelli was one of the first people to recognise the potential of Jean Schlumberger, who she originally employed as a designer of buttons.

Schiaparelli's output also included distinctive costume jewellery in a wide range of novelty designs. One of her most directly Surrealist designs was a 1938 Rhodoid (a newly developed clear plastic) necklace studded with coloured metallic insects by Clément, giving the illusion that the bugs were crawling directly on the wearer's skin. During the 1930s, her jewellery designs were mostly produced by Schlumberger, Clemént and Jean-Pierre. 

Schlumberger's jewellery, with its inventive combinations of precious and semi-precious stones proved successful, prompted him to launch his jewellery business in New York at the end of the '30s. Schiaparelli also offered brooches by Alberto Giacometti, fur-lined metal cuffs by Méret Oppenheim, and pieces by Max Boinet, Lina Barrette, and the writer Elsa Triolet. Compared to her unusual couture 1930s pieces, 1940s and 1950s Schiaparelli jewellery tended to be more abstract or floral-themed.

 Schiaparelli also designed the wardrobe for several films, including Moulin Rouge in which Gabor played Jane Avril. She famously dressed Mae West for Every Day's a Holiday (1937) using a mannequin based on West's measurements, which inspired the torso bottle for Shocking perfume. 

Schiaparelli's fanciful imaginative powers coupled with involvement in the Dada/Surrealist art movements directed her into new creative territory. Her instinctive sensibilities soon came to distinguish her creations from her chief rival Coco Chanel, who referred to her as 'that Italian artist who makes clothes'. Schiaparelli collaborated with a number of contemporary artists, most famously with Salvador Dalí to develop a number of her most notable designs. 

The House of Schiaparelli was first opened in the 1930s at 21 Place Vendôme, but was shut down on 13 December 1954. The failure of her business meant that Schiaparelli's name is not as well remembered as that of her great rival Chanel. But in 1934, Time placed Chanel in the second division of fashion, whereas Schiaparelli was one of "a handful of houses now at or near the peak of their power as arbiters of the ultra-modern haute couture....Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word "genius" is applied most often". Schiaparelli relied on inspiration rather than craftsmanship and, "it was not long before every little dress factory in Manhattan had copied them and from New York's 3rd Avenue to San Francisco's Howard Street millions of shop girls who had never heard of Schiaparelli were proudly wearing her models".

Celluloid, Bakelite, and Plastic: What Are They and How Are They Different?

By Paige McKirahan

You walk into Barney’s New York with the intention of accessorizing for a night on the town and come to find bangles of all colors. They’re beautiful, light, and handmade. You wonder how normal plastic could look so elegant and check the tag, realizing it is made of vintage bakelite. What is this gorgeous material?

Celluloid and bakelite are vintage jewelry staples often mistaken for the normal plastics that are usually casted to make jewelry. These materials are among some of the first man made plastics on the market. Celluloid predates bakelite and was created in an attempt to win a contest calling for someone to create a substitute for ivory in the 1860s. Though it did not win the contest, its creator, John Hyatt, chose to begin a manufacturing company that used the plastic to create billiard balls. The problem, though, was that the material was flammable; it would create small explosions on billiard tables if the balls knocked together! It also constantly sparked fires in hot projection rooms on movie sets when used to create movie film. To identify this plastic, you don’t need to wait for it to accidentally catch fire; the easiest way is to rub the piece vigorously and smell it. If it is real celluloid, it should smell similar to a ping pong ball.

Now, when Bakelite emerged on onto the scene in 1909, it made a sort of different explosion. It became wildly more popular than celluloid because of the simple fact that it didn’t quite literally explode and was more lightweight. When it first came into circulation, it was used primarily for industrial purposes until it started becoming available in a variety of colors. This inexpensive material then became a huge favorite of jewelry makers and differs from regular plastic jewelry as it is hand carved or polished into its design. You can check to see if your bakelite isn’t an imposter by using the 409 test. You dip a cotton swab in 409, the common household cleaner, and touch a small area of the piece. Be sure to touch a part of the jewelry that will not be seen! If it is true Bakelite, it will leave a yellow stain on the cotton swab.

As a collector or simply a jewelry lover, it pays to know if you have a piece made with one of these materials as their value has only increased over the past few decades. Authentic pieces can sell for thousands of dollars and are coveted by many in the collecting community. So now that you know the what and how on celluloid and bakelite, we invite you to pull out your vintage pieces and start testing!

From Drab to Fab: The Functionality of Dress and Shoe Clips

By Paige McKirahan

Have you ever wondered how you can change your boring, plain dresses and shoes into something spectacular? Something with character and pizazz? Well, the answer to that question of how lies in the 1930s with Hollywood icons and simple silhouettes.

By the ‘30s, dress and shoe clips were the “it” accessories; in the midst of the Great Depression, many women were looking for ways to emulate opulence and spice up plain clothing for cheap. This era paired with the imminent second World War forced fashion to become rationed, so these clips were an easy way for women to inexpensively adorn themselves to look similar to beloved movie stars like Marlene Dietrich, Tallulah Bankhead, Lana Turner, and Fay Wray. Dress clips were commonly worn as it is shown below, on the straps of a dress, or clipped as a symmetrical pair on square or sweetheart necklines.

 Marlene Dietrich sporting a dress pin

(image credit to deviantart.com)

 The popularity of the dress clip prompted the revitalization of the shoe clip, which originally came into circulation in the 18^th century. The resurgence of the trend in the 1930s aimed to embellish plain pairs of flats or heels with some sparkle and flash, which differs vastly from the feathers and ruffles that were being clipped to shoes at the trend’s conception. Since the rise of hemlines began in the 1920s, these shoe clips were an easy way to accessorize an outfit from the ground up and could even be matched to dress clips to create a complete, cohesive look!

Though expensive jewelry makers were at the front of the line in creating these fun wearables, every costume jewelry maker from America to Europe had a line of clips in circulation. Eisenberg, Trifari, Coro, and Napier were rivaling Cartier and Van Cleer & Arpels in attempt to create a more affordable alternative to luxury pieces, catering to the economic climate of the era. Common materials used in these pieces were bakelite, faux gemstones, glass pearls, and other early plastics. These companies eventually stopped manufacturing this type of jewelry in the ‘50s and ‘60s, but they are still sought out by jewelry aficionados worldwide.

Coro Dress Clip Ad

(image credit to frenchgardenhouse.com)

Shoe and dress clips gave women the ability to sparkle literally from head to toe and that option is still available today. Charlize Theron and Sarah Jessica Parker took notes from old Hollywood starlets and sported dress clips on the red carpet at recent events. To spice up your look in a similar fashion, head over to our collection of brooches and pins so you too can start feeling that 1930s glam!

 (image credits to everthingzoomer.com)

The Laurenficiation of America

By Paige McKirahan

To celebrate the revival of Western wear this fall, it is important to recognize one of the fashion world’s most iconic designers that made Americana inspired pieces a staple in wardrobes across the globe. Can you guess who it is? We’ll give you a few hints: colorful polos, teddy bear motifs, and American flags. If you said Ralph Lauren, the creative mind behind his namesake brand, you guessed correctly! This year, the brand is celebrating its 50^th anniversary, marking half a century of trials, tribulations, and unmatched success.

(image credits to Vogue.com)

Ralph Lauren, born Ralph Lifshitz in 1939, is a Bronx native that studied business prior to his arrival to the fashion world. He began his long career as a designer and businessman during his secondary and post- secondary studies; he would upsell handmade ties to his peers and eventually became a neckwear salesman at Brooks Brothers. After he grew tired of selling others designs and being inspired by thicker European tie styles that contrasted the popular thin ties of the time, he attempted to persuade his employer to allow him to create and sell his own pieces. Upon Brooks Brothers refusal, he approached a multitude of other manufacturers before Beau Brummell, an upscale NYC neckwear boutique, eventually accepted his proposal in 1967. Lauren begin selling and creating pieces right from their Empire State building showroom with nothing but a single drawer to work out of.

His success in Beau Brummell prompted the expansion of his products into other small boutiques and eventually brought on a deal with Bloomingdales. Lauren decided to continue with this growth and came to the conclusion that it was time to form his own company; with the help of his brother Jerry and with support from Manhattan clothing manufacturer Norman Hilton, Polo Fashions, Inc. was born in 1968. The polo name was incorporated because of Lauren’s love for athletics and the style that came along with it, despite the fact that he himself had never participated in the sport. Four years after the brands conception, he decided to introduce what can be considered the label’s most iconic design: the short sleeved collared shirt with a polo pony on the chest. 

After the release of this cult classic, the brand grew substantially over the following decades and expanded into women’s wear, fragrances, and home goods. The name was changed in 1987 to the Polo/ Ralph Lauren Corporation and it was around that time that the rise of streetwear iconography took hold of some of the label’s most emblematic figures. When the brand released its first American Flag sweater in 1989, it prompted toy maker Stieff to gift Lauren with a teddy bear wearing a mini Polo outfit. He loved the bear so much that he began selling the it in stores and put its likeness on sweaters and shirts, a design that is still overwhelmingly popular in the streetwear community today. 

(image credits to highsnobiety.com)

 In 1993, Lauren decided to step away from ivy league style and walk a more rugged path with the creation of Double RL (RRL). Though he had country-inspired collections that preceded this new design channel, he wanted to create something completely separate that would allow to fully explore the vintage Western motif away from his parent brand. This sub-brand broke out of the constraints of the Polo aesthetic and its source of inspiration lied in the prairies with early 20^th century workwear. RRL, which is named after none other than the Lauren’s over 15,000-acre ranch in Colorado, includes a full line of shirts, denim, flannels, sweaters, jackets, and chinos that emulated the designer’s love for Americana in an entirely new light.

(image credits to heddels.com)

The brand’s commitment to recreating accurate representations of heritage is evident by its careful selection of fabrics, construction, and color. With the use of leather, fringe, and Navajo style patterns, he conveyed this vintage feel with ease. One of the true embodiments of Western workwear is blue denim; the denim line in this collection is coveted with each pair being cut and sewn from the meticulously created East-West denim, making the Slim Fit Selvedge Jean a fan favorite. The pant has a five pocket construction and can range from mid to low rise with a button fly and leather waist patch. A rare feature of this denim is that it offers three options for inseam- length, allowing buyers to choose their perfect fit.

Today, Ralph Lauren is still headquartered in New York with over $2 billion in annual revenue. The story of its creation is truly a rags to riches display of the American dream; he took his ideas from a small drawer in Manhattan to the drawers of clothing lovers all around the globe. Though Lauren himself is no longer the brand’s CEO, for 48 years he was the driving creative force behind his beloved fashion house that made the prep aesthetic a cornerstone in the fashion community. Let’s all be sure to pull on our boots and polos to commemorate this golden anniversary the right way and for a little more inspiration, head over to our collection to get 20% off Western styles for this weekend only!