Amy T Peterson, Valerie Hewitt, Heather Vaughan, et al

by The Greenwood Encyclopedia of Clothing Through American History 1900 to the Present (pdf)

  of luxury were added to higher-quality day dresses rather than the overt

  displays of wealth of the previous decade.

  Dresses

  Dresses were still more popular for daywear than other types of garments.

  Button-up, shirt-style dresses with blouson tops were common. Dresses

  designed in the early part of the decade sometimes had two waist seams:

  one at the natural waist and one at the hip, evidencing the transition from

  the earlier 1920s dropped waist. High collars or fur scarves framed the

  face and added a chicness to more formal daywear dresses.

  Sleeves and shoulders were the focus of the 1930s silhouette. Sleeves

  themselves were generally full from the elbow to the wrist. Referred to as a

  ‘ coat-hanger silhouette,’ the exaggerated shoulder was the focus for a variety

  of designers beginning in 1933. Pagoda shoulders, shoulder flares, tabs, and

  layering all added to the bulk of the shoulder. The focus on the shoulder

  was also emphasized by shoulder-wide collars, ruffles, flounces, wrap tops,

  and ruffled sleeves. Capes and cape sleeves continued to be fashionable.

  Skirts became narrow across the hips, were slightly flared, and were

  much longer. The time of day dictated the length, and typically daywear

  was approximately fourteen inches from the ground, with afternoon wear

  approximately twelve inches from the ground. Inset triangular sections,

  flares, and a variety of pleats added interest to skirt shapes and empha-

  sized movement.

  Separates

  In the early 1930s, ensembles were more popular than separates, but they

  slowly found their way into daywear (New York Times 1930). Knitwear,

  216

  WOMEN’S FASHIONS

  blouses, and skirts were becoming a part of the fashionable wardrobe.

  Trousers continued along similar lines as in the previous decade. They

  had a flat front, were wide legged, and were often paired with short-

  sleeved, collared knit tops with geometric graphic designs. More formal

  silk tops featured draped pieces and were frequently belted and trimmed

  with ribbon.

  Decorative Details

  Daywear colors depended on time and location. Subdued tones such as

  black, navy, and gray were popular in the city; browns and greens were

  prevalent in the fall. Afternoon wear was usually black or a pastel shade

  of peach, green, blue, or pink.

  Buttons were a popular trim, especially square ones (Washington Post

  1935). Innovator Elsa Shiaparelli frequently used creative shapes such as

  acrobats and lovebirds. The zip fastener also began to be used on hand-

  bags and eventually on daywear. Belts worn at the natural waist were

  nearly universal. Fur trim made of flat pelts was also used for daywear.

  OUTERWEAR

  Coats

  As it had in the early 1920s, the silhouette of the 1930s swung from fem-

  inine to more masculine shapes as the decade progressed. Early 1930s

  coats were rounded and feminine to match the silhouette of the garments

  underneath. Shoulders became more pronounced as the decade pro-

  gressed, and, eventually, the overall look become boxy and square. Both

  collars and lapels grew in size as the decade progressed. Popular details

  included added fabric at the back in the form of pleated, ‘ action-back’’

  detailing, and fishtail backs, which were created with large rippling pleats

  from a shoulder yoke. The early 1930s saw coat hems ending below the

  calf, but they rose to the knee in 1937 and remained there for the dura-

  tion of WWII.

  Several coat styles carried over from the previous decade. These

  included the surplice coat and polo coats. Initially worn by men to polo

  matches in the 1920s, women adopted the double-breasted, caramel-

  colored sport coat in the early 1930s. Later styles included the following:

  the reefer coat, which was inspired by the U.S. Navy pea coat; the swagger

  coat, which featured a flared or fishtail back; the hourglass-shaped prin-

  cess coat; and the short, square box coat of the late 1930s.

  Wool and wool blends were the most popular for cloth coats, in check,

  herringbone, plaid, and ombre stripe. Solid somber colors such as tan,

  1930s, The Great Depression

  217

  oxford gray, navy, and brown were popular in the early 1930s, with more

  vibrant colors such as wine, rust, teal, and pink gaining popularity in the

  later 1930s.

  Fur coats continued to be popular with the wealthy, and particular atten-

  tion was paid to silver fox, sable, and the novelty of monkey fur. Fur scarves

  and pieces continued to be worn over suits and dresses as status symbols.

  Shawls/Wraps

  Evening wraps and capes followed feminine lines throughout the decade.

  Long and slender coats in dark velvet lined in light-colored silk, taffeta,

  or satin were most popular. Shorter, jacket versions were also frequently

  worn. Peter Pan and bumper collars were frequently used on these gar-

  ments. Inspired by period movies, evening capes of velvet, taffeta, and

  satin had shawl or stand collars, with hoods becoming popular at the end

  of the decade. Lengths varied and were found as short as the elbow and

  as long as a full-length gown, with anything in between permitted.

  SWIMWEAR/SPORTWEAR

  Swimwear

  Sunbathing continued to be popular, but a fitness craze was also in full

  swing. Toned bodies were shown off in tighter, flesh-revealing styles.

  Elastic fabrics such as Lastex and Contralex developed by companies like

  Jantzen helped to shape the figure (Probert 1981b). The overskirts and

  extra material of the previous decade were discarded for brief one- and

  two-piece suits that resembled men’s styles. Swimsuits of the time were

  also very low in the back with cross-over straps and halter necklines.

  White suits became popular to show off a tan, and later bright colors

  became popular. In 1935, the two-piece later known as the ‘ bikini’

  appeared but did not proliferate until the 1940s. In the late thirties, the

  elasticity and cut of swimwear focus moved from the back to the hips.

  Although exposure was common on the beach, covering up had a mul-

  titude of fashionable options. Beach pajamas, now cut on the bias, contin-

  ued to be worn and were frequently seen in a variety of sporting activities,

  including yachting. Other types of beachwear included beach suits, bicycle

  beach suits, and basic coordinates. Other cover-up options included tailored

  hip-length beach coats and capes. Fabrics for beachwear ran the gamut and

  included terry cloth, spongy cotton, and wool in a variety of knits.

  Large sun hats tied with a ribbon under the chin helped protect bath-

  ers from sunburn. Heeled and flat sandals, sometimes with lacing up the

  legs, were also frequently worn.

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  WOMEN’S FASHIONS

  The U.S. women’s Olympic swim team, 1936. [AP / Wide World Photos]

  Skiwear

  Skiing did not become a popular sport in the United States until the

  1930s. Winter festivals on the east coast, beginning in 1931, and the

  Winter Olympics of 1932 at Lake Placid helped the sport to rise in popu-

  larity for the wealthy
elite.

  The typical ski outfit for both men and women was a double-breasted

  boxy jacket worn with Norwegian-style trousers that were gathered at the

  ankle using Lastex yarn. Stirrup pants were later introduced at the 1936

  Olympics in Germany. Darker colors were initially worn, with brighter

  tones appearing later. Expert skiers wore white, which in the 1920s had

  been frowned on. Two-tone suits and brightly trimmed accessories were

  also popular. Typical high-fashion fabrics such as gabardine, silk, wool,

  and jersey were waterproofed for skiwear. Schiaparelli even went so far as

  to introduce tortoiseshell-rimmed ski goggles in 1936 for wealthy women

  to wear on the slopes.

  1930s, The Great Depression

  219

  Golf

  One- and two-piece ensembles in tweed were popular for golf. Some were

  adamantly in favor of one over the other. However, professional golfer

  Molly Gourlay claimed that ‘ any form of one-piece garment; anything

  hung from the shoulders impedes balance’’ (Lee-Potter 1984, 35).

  Brightly colored double-breasted jackets in suede were popular through-

  out the decade. Coordinating pieces that allowed for adaptation to chang-

  ing weather were created in contrasting colors, with flamboyant details.

  Companies, such as Burberry, produced wraparound skirts, culottes, short

  tailored jackets, and similar garments for the relatively formal sport,

  although by the end of the decade slacks became acceptable.

  Tennis

  The shirt and shorts suit was typical attire in the early thirties. By the late

  thirties, a shorts dress with side button was fashionable. Halter necklines

  were popular. The cardigan of the 1920s was replaced by a silk or tweed

  coat. Detailing focused on the back and included small bows, buttons,

  and contrasting trim. Voluminous skirts were created through goring and

  bias cuts rather than pleating. Sportswear for tennis was made of washable

  silk, linen, or broadcloth. Tennis celebrities caused sensations in the 1930s

  as well. Mrs. Fearnley-Whittingstall played without stockings in 1931,

  and Alice Marble wore shorts to Wimbledon in 1933.

  Other Activewear

  Other fashionable sports for women in the thirties included waterskiing,

  running, fencing, and mountaineering. All sports clothing required expert

  tailoring. In general, shorts and pockets were the innovations of the day.

  Cycling required pants or shorts made of sturdy materials such as flannel,

  leather, or tweed and were worn with masculine shirts. For hunting and

  fishing, various types of bifurcated garments became acceptable for

  women. These included trousers, plus-fours, jodhpurs, and divided skirts.

  UNDERWEAR AND INTIMATE APPAREL

  Undergarments

  When fashion returned to a feminine figure and the bias cut grew popu-

  lar, undergarments became smooth, undecorated, and supportive. Popular

  backless, figure-hugging evening gowns were frequently worn without any

  underwear.

  Shaped bras for the youthful figure elevated, separated, and defined

  breasts by using gathers, adjustable drawstrings, tucks, darts, and elastic.

  220

  WOMEN’S FASHIONS

  Ginger Rogers wears a glamorous V-neck nightgown that looks like an evening

  gown, from the 1937 film Shall We Dance, with Fred Astaire. [Courtesy of

  Photofest]

  Those with less-ample bustlines could use various kinds of padding and

  falsies that were developed over the decade. The now standard A, B, C,

  and D cup sizes were established by the Warner company in 1935, and

  the strapless bra was introduced in 1938 (Laubner 2000).

  Panties were introduced for the first time in the 1930s and resembled

  the mid-thigh-length, wide-legged tap pants worn by tap dancers in mov-

  ies. Other undergarment options included bloomers, bloomer knee suit,

  step-in, pantie-girdles, vests, union suits, and a variety of other combina-

  tion garments.

  Sleepwear

  During the early part of the decade, nightgowns were shapeless, unfitted

  tubes, but they became more defined through the use of vertical pin tucks

  and sashes tied at the back. In the mid-thirties, high-waisted gowns were

  popular, and, by the late 1930s, nightgowns resembled eveningwear. They

  featured V necks with a high empire waist.

  Sleeping pajamas consisted of wide-legged trousers, with a belted or

  girdled top featuring decorations similar to those seen on nightgowns. In

  1930s, The Great Depression

  221

  later years, man-tailored pajamas became more popular, complete with a

  button-front tailored top. Late 1930s sleeping pajamas included shoulder

  yokes, puffed sleeves, and square shoulders.

  Other garments

  Loungewear included the ever-popular lounge pajama, bathrobes, whose

  construction generally resembled outerwear garments, extravagant bed

  jackets of marabou feathers, and satin housecoats.

  HEADWEAR AND HAIRSTYLES

  Headwear

  Although the 1920s was dominated by variations on a single style of hat,

  the 1930s saw a continuous flow of new shapes and styles. In general, hats

  revealed more of the head than in the previous decade and were influ-

  enced by fantasy and surrealism, especially those designed by Elsa Schia-

  parelli. Many brims draped low over one eye, adding drama. Sports hats

  were a necessity and had casual soft crowns and brims. The fez, boaters,

  tricornes, pillboxes, flat straw hats, berets, and hats based on professional

  headwear (tailors, sailors, and cowboys) were also popular. Just before the

  start of WWII, veils became popular. Film continued to influence fashion

  trend, and Greta Garbo’s headwear in Mata Hari and other films made a

  significant impact.

  Hairstyles

  Taking over from the 1920s bob, the ‘‘floue’’ became the most prominent

  hairstyle of the 1930s. The floue was waved and fluid over the crown of

  the head, ending in a nestle of curls or ringlets at the nape of the neck. In

  general, hair was longer than in the previous decade, although Vogue

  noted in 1930 that ‘ long hair is not smart’ (Probert 1981a, 30). Holly-

  wood gained momentum in its influence on hair, with Jean Harlow’s

  blond tresses leading the pack in the 1931 film Platinum Blonde.

  Cosmetics

  During the 1930s, the cosmetics industry continued to grow, mostly as

  a result of Hollywood’s continual prevalence in society through films

  and advertising campaigns. Face powder, rouge, lipstick, and mascara

  were now standard in the beautification process. Innovations contin-

  ued, and false eyelashes became available for the first time (Watson

  2004). A cake form of Maybelline mascara was also available to all

  levels of consumers. Eyebrows continued to be the focus, and some

  222

  WOMEN’S FASHIONS

  women even removed theirs entirely to draw them in high and arched

  like Jean Harlow’s.

  FOOTWEAR AND LEGWEAR

  Footwear

  The 1930s saw a shift in focus for shoe design. Comfort became more of

  a concern to designers and shoppers at large. To this end, shoes became

/>   wider and toes less pointed. Heels were not as high and were constructed

  with a wider base for a more solid foundation.

  Also during the 1930s, differences between shoe types became more

  pronounced, with specific shoes for specific activities. Following a more

  widespread interest in health, innovations in sports shoes were prevalent.

  Commonly known as the tennis shoe, the first linen shoes with rubber

  soles were developed in 1934 and were used for golf, sailing, and other

  sports activities. Along with flat sandals, these shoes were typically worn

  with shorts and women’s trousers. Heeled sandals were worn with eve-

  ningwear in a variety of styles, including the cutaway or open toes. Sling-

  backs were another alternative.

  The first platform shoe was developed in the mid-thirties by the

  French shoemaker Roger Vivier. Innovative Italian designer Salvatore

  Ferragamo designed the first wedge shoe in 1936. Wood and cork were

  used to create these soles and were frequently covered with cloth and

  leather and were decorated with sequins, embroidery, or bows.

  After the vibrant colors of the 1920s, shoes of the 1930s were more

  subdued in tone and were often made to match the color of the dress.

  Velvet, cr^epe de Chine, and satin were popular materials for evening foot-

  wear. Leather continued to be worn during the day and evening. How-

  ever, beginning in 1939, wartime leather shortages caused considerable

  restrictions on shoe styles in Europe, which later affected the U.S. market.

  Legwear

  Silk was still the most popular material for stockings, but the 1930s saw

  the rise of rayon as an alternative. By 1939, however, rayon had been

  completely replaced by nylon.

  OTHER ACCESSORIES

  Jewelry

  Whimsical, imaginative jewelry by designers such as Elsa Schiaparelli was

  inspired by surrealist ideas. Native- and tribal-influenced jewelry was

  1940–1946, World War II

  223

  popular, and art deco continued to influence the early 1930s. Chinese and

  East Indian motifs and shapes were particularly favored by jewelers such

  as Cartier. Alternatively, the 1930s also saw an increase in the use of cos-

  tume jewelry using materials such as Bakelite and celluloid. Both real and

  artificial flowers were frequently used for corsages, necklaces, and brace-

  lets, reflecting a late 1930s interest in romanticism.