Archives for posts with tag: Les Modes

marthe-wingrove-1915

Keeping smart in polar temperatures is a must

journal des dames et des modes, moda femminile,1913

Journal des Dames et des Modes, Paris, 1913

This post wants to investigate the ‘rise’ (literally) in fashion of the collar for women during the period 1913-18. As we saw in the last post, by 1914 the negative effects of the war had driven French fashion designers to invent a new style and to promote it assiduously in the hope of reviving interest,  sales and more importantly, an industry which gave work to 1000s of people.

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La Baionnette, 1916

The new  war silhouette, with its full but short skirt was young and dynamic, cheeky yet elegant .  Corsets had practically been forgotten, replaced by more comfortable brassieres. The waistline positioned slightly above natural level. The collar of coats, jackets and blouses became a new focal point: rising up high to frame the neck, elongating the line from head to bust. The new haircuts – kiss curls framing the face while the long tresses were pulled up high behind the head to look like they had been cut (that was only happening in the most bohemian of circles around 1915).

Paquin, manteau de ville, 1915

Les Modes, Paris, 1915

These high rise collars were particularly suitable for winter fashions. They stood high thanks to a stiff lining or, as we can see above, thickened by the addition of fur. They framed the face perfectly and kept the neck warm.

They remained popular for several years.

Alvaro Guevara,Mrs Fairbairn Nancy Cunnard,1919,NGV Melbourne

Alvaro Guerara, Mrs Fairbairn (Nancy Cunnard), 1919, N.G.A. Melbourne, Australia

There was something masculine in this way of pulling the collar up around the ears, maybe yet another influence from uniforms to be seen everywhere in Europe during those years. The heavy, thick wool greatcoats buttoned right up and worn with the collar turned up for extra protection from wind and rain.

australian soldier, WW I

Australian soldier, WW I

WAAC army auxiliary corps, greatcoat wiith fur collar

WAAC  – female army auxiliary  corps, WW I,  in wool greatcoat with fur collar

More masculine/feminine fashion contaminations in the images below:

cover les modes

Les Modes, Paris, 1915

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La Baionnette, 1918

The shirt or blouse for women of this period deserves a closer look too. It had remained popular from the previous decade but  was totally revised in shape. New influences were at work on the imagination of the designers.  The blouse, which  had of course existed for decades (since the 1850s to be precise) now also became an interesting mix of feminine and masculine.

Premet, 1914 L.M.

Les Modes, Paris, 1914

The collar was wide and kept well open, supported beneath by the stiff collar of jacket or coat. When worn with a light fabric dress only it was probably starched stiff and well ironed into shape.

E.L.Kirchner,Erna e Gelda, 1913c

E.L.Kirchner, Erna and Gelda, Germany,  1913

The earlier blouse was distinguished by its femininity denoted by plenty of lace and ruffles. The neck was closed in as it was not proper to show skin during the day.

hairstyles

Journal des Demoiselles, Paris, 1900c

At the same time though, it must be noted that a new kind of female was emerging, the educated middle class young woman who worked. She was more likely to wear a ‘masculine’ style shirt + tie. She was after all claiming her new space in a male centered society.

Mrs Gray s group,1909,McCord mus

Female student,s 1909, Canada

By 1914

Lewis, 1914 L.M.

Les Modes, Paris, 1914

The new blouse was not mimicking men’s fashion. It was taking its linearity and transposing it into the feminine sphere. A perfect blend to represent the new generation of women to emerge from a devastating war, when for the first time they will be expected to ‘wear the trousers’ in a Europe that will have lost most of its young men.

camicia pizzo di Vernon, Scandinavia, 1915-17c

Vernon lace blouse, 1915-17c, Scandinavia

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La Baionnette magazine, France, 1916

In this post Fashionarchaeology wants to pay its own (thematic) tribute to the memory of World War I.

“A century on, the events of 1914-18 are still difficult to comprehend. The first truly global conflict, the war’s toll in human terms resulted in over 9 million soldiers and 6 million civilians killed and 21 million wounded”

These are the opening lines of the catalogue to a very interesting exhibition currently on in London, “The Great War as recorded through the fine and popular arts”

http://www.morleycollege.ac.uk/morley_gallery/whats_on/2057_morley_gallery_the_great_war_as_recorded_through_the_fine_and_popular_arts

In her opening text, historian and art specialist Sacha Llewellyn  immediately brings home the ultimate reality, the sheer number of lives involved. Reading this was, well, shocking. A term which came to mind was ‘discomfort’ and this set me off thinking about the dichotomy comfort/discomfort that was actually very much alive in the fashion discourse during those years.

1914 Paris: Fashion had been living a true revolution for a few years, since the debut of designer Paul Poiret who, in 1907, decreed a change in silhouette and abolished the S-shaped corset of the previous era. He took The word ‘comfort’ and made it fashionable, whereas up until then it had been synonymous with lower class practicality.

Agnes, 1914 L.M.

Les Modes, Paris, May 1914

As we can see in the fashion magazine photo above, both day wear and evening wear were softly draped and not too binding of torso and hips. Heels were moderately high, hats reasonably sized. Both outfits seem quite comfortable.

But then war broke out and began to affect everybody’s lives in one way or another. Women found themselves in a new predicament: working class women were called to work in those jobs that had been left vacant by men. Manly jobs that required them to wear trousers for the first time ever (see the blue overalls bellow : a little belt added for fashion’s sake). These women were to feel the effects of this new lifestyle deeply well beyond the war.

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Paul Iribe, woman factory worker, 1917

At the other end of the social spectrum, upper class women were not expected to work (although some did, as nurses), they  were used to defining their role in society through their use of the latest fashion from famous designers but now they began to  feel some ‘discomfort’ regarding fashion. Was it right to spend time and money on clothes when one’s husband or son was at war? The moral dilemma was strongly felt. The effect of this and of war in general on the fashion world – in France first of all and subsequently everywhere else – was disastrous.  Sales dropped and the industry nearly collapsed.

The problem was faced head on. A committee was set up (led by Paul Poiret) by the French government and an ingenious solution found: totally new fashions were launched for winter 2015. The new war ‘style’ was characterized by a natural waistline, a short skirt and very high heels. The new proportions required women to buy a whole new wardrobe.

Umberto Brunelleschi, La bersagliere, 1917

Umberto Brunelleschi, La Bersagliere, 1917

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La Baionnette,1916

Magazine illustrations tended to exaggerate these new elements, especially the length of the skirt which in reality does not seem to have been worn as short as the above images.

stivaletti cuoio con ricamo,1917-18c,texas

Leather and bead embroidery boots, 1917, Texas museum, USA

1948.59_CAM

Afternoon dress by Estelle T.Hart, 1915, Cincinnati Museum of Art, USA

The media was extremely supportive as we can read in the article published in Les Modes on November 1915

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Les Modes, Paris,  Nov 1915

The new fashions should be bought and consumed as a war effort by women. Especially those women who were not expected to do manual labour. Wearing these fashions was also about patriotism and ‘keeping up appearances’ despite the difficult times.

These new fashions received great media coverage and even satirical magazines like La Baionnette (published between 1914 and 1918) represented them exquisitely.

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La Baionnette, 1916

The magazine even dedicated a whole issue (August 1915) to the topic of fashion – in satirical terms of course. “Elegancese Berlinoises” was the title, each image representing German women in old-fashioned, shapeless clothes. Their figures far from the fashion ideals of Parisian couture.

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La Baionnette, Aug 1915,      translation: “German fashion from now on will not follow French taste”

A last word should go to hats of this period. This was one of the most creative and darkly inspired moments of the history of millinery

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Lewis,2,1917

both from Les Modes,Paris , 1917

feather hat, 1915, Met NY

Feather toque,1915,  Metropolitan Museum of Art, N. Y

toque, fur, 1912-18, met ny

Fur and embroidery toque, 1916c, Metropolitan Museum of Art, N.Y.

In conclusion we can say that World War I fashion was a comfort in the discomfort of the times. A true effort was made by Paris fashion houses, followed by the rest, to keep alive an industry and ultimately (however frivolous it may sound) to keep up morale through exterior female beauty.

Apart from the high heels, it actually looks very comfortable indeed.