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".

Art Deco and the Birth of Glamour

by Paige McKirahan

In a time when the stock market followed the length of lady’s skirts, a new era of art and fashion urged us away from the soft tightness of Art Nouveau and marked the beginning of bigger experimentation within these mediums. This new movement, affectionately known as the Art Deco era, spanned from the ‘20s to the mid ‘30s and brought airy silhouettes, abstraction, and fantasy to the forefront at the conclusion of World War I in 1918. After women took up hard physical work in the absence of men, they had no interest in returning to the constrictive lifestyle guidelines they once were forced to adhere to. The ‘20s became an age of financial prosperity and luxury aesthetics, with the youthful generation taking hold of post war society and creating a type of culture that prompted innovation and celebrated eccentricity.

As the economy grew, hemlines slowly climbed; by 1919, we saw skirt lengths hit mid-calf and they continued creeping up to hit the knee in 1925. During this time, dress forms moved to a more semi- fitted silhouette with dropped waists, starkly contrasting the corseted, high-waisted style of the preceding era. Up to this point, fashion had never seen a silhouette of this type and it allowed designers to innovate with new methods of seaming, draping, beading, and fabric use. Menswear and sportswear busted onto the scene and opened the door for the use of knits, leather, and rayon, all of which became important materials of the time. Of course, as we all know, this is the era of the flapper; this short lived phenomenon was a physical embodiment of glamour and the rejection of societal norms popularized in what is referred to as the Jazz Age.

Dresses by Coco Chanel c. 1925

(photo credit to langantiques.com) 

Though Art Deco does continue with the 20^th centuries’ celebration of the female figure, it takes a more sensuous approach with semi- abstract depictions of the body. Contemporary artistic movements such as cubism and futurism seeped into clothing design, favoring the styles’ interests in technological and geometric structures. This age also found inspiration in industrial landscapes with metallic color palettes and clean lines. Aside from the modern influence of the time, jewelry and clothing also found inspiration in archeological discoveries in Egypt; design motifs including pyramids, lotus blossoms, scarabs, and anything to do with ancient pharaohs became enormously popular along with Indian, Persian, and Chinese aesthetics.

 Art Deco jewelry played with the geometric and industrial based trademarks of the movement and there were essentially two major schools of jewelry design: bijoutiers-artises and bijoutiers- joailliers. The former emphasized design over monetary value and the ladder used more precious materials to outline designs and compliment diamonds, prioritizing glamour over construction. Gold began to lose its popularity as platinum and its cheaper substitute, osimor, came into circulation as it was strong and required less metal to securely hold gems. Earrings had sharp corners and were feminine, accessorizing shorter hairstyles that were popularized in the ‘20s and ‘30s. Necklace lengths became longer in order to compliment shorter hemlines and deeper necklines, commonly featuring geometric pendants or tassels. Pearl necklaces were also a staple as the production of cultured pearls allowed them to be created in mass quantities. Popular jewelry materials of the time included a variety of synthetic plastics, such as bakelite, and other wares that could imitate gemstones, bone, and other expensive natural materials.

Art Deco Cartier Necklace c. 1929

(photo credit to langantiques.com)

Though fashion had to be rationed in the 1930s when the stock market crashed, jewelry arts seemed to continue to thrive and were revolutionized to become the focal points of outfits as buying and creating new clothing was not a priority. Large brooches, flashy ear clips, thick bracelets, and ornate dress clips were adorned with gemstones and diamonds in an almost theatrical way, allowing women of the time to create endless looks despite their limited wardrobes.

The key designers of this period, Coco Chanel and Elsa Schiaparelli, were well known rivals and fashion icons. Lovers of art and glamour, they are cornerstones in this new revolution of women’s style and created pieces that are still discussed in modern times. Chanel began her career in fashion in the early 1900s, but truly became a household name when she launched Chanel No. 5 in the early ‘20s. Then, in 1925, she released the now emblematic Chanel suit; the collarless jacket and well fitted skirt borrowed motifs from menswear and allowed women to move away from confining garments and into a new realm of comfort and freedom. Her little black dress design also was also revolutionary because it framed black as something that could be glamorous rather than a color used for mourning. Her bag designs were in a league of their own, being some of the first to incorporate shoulder straps and her classic double C logo. These Chanel pieces have endured for almost a century and have been seen in some of the most historically significant moments of all time (think Jackie O’s pink Chanel suit!).

Chanel’s iconic suit and little black dress worn by none other than Audrey Hepburn

 (image credit to Google images)

Elsa Schiaparelli was a couture- minded designer who found most of her inspiration from artists of the era. She was a nonconformist, using eclectic and unique aesthetics to create clothing that were art pieces in their own right. She collaborated with artists frequently and Salvador Dali became her creator of choice as his surrealist tone complimented her outrageous taste. They created designs that are still coveted in both the fashion and art worlds and they can be seen in The Met where they celebrate her genius in their costume institute. She truly emerged into fashion when she presented her first collection of sweaters in 1927; the designs featured geometric shapes and were hand knit in her apartment in Paris. The groundbreaking couturiere then began using visible zippers in her pieces, which was unheard of at the time being a fairly new invention. She created a swimsuit with a built in bra and brought colored hosiery to the forefront of fashion, shooting herself to superstar status. Like Chanel, she also created a legendary perfume line and has been a true gift to pop culture for decades.

Schiaparelli and Dali’s most iconic collaborations

(photo credit to Google images)

As our generation rapidly moves towards a new ‘20s, it would be remiss to not wonder what types of trends we will see in a decade that has historically been so beloved in pop culture. Everyone from haute couture designers to filmmakers adored the Art Deco aesthetic and have paid homage to the glamourous style of the era with revivals occurring frequently throughout the past 100 years. Chicago and The Great Gatsby gave us a glimpses of the period on the big screen and designers like Yves Saint Laurent, Galliano, and Diane von Furstenberg resurrected this aesthetic on the runway. We see the 1920s as an of idealized portrayal of youth, glamour, sexuality, and this romanticization has only been strengthened over time. To prepare for the new roaring ‘20s, search our collection for some Art Deco pieces that truly never go out of style! Here some of our favorites:

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!