FIDM Museum Blog

Propaganda fashion

During World War II, raw materials were in short supply. Wool was needed for military uniforms and a shortage of rubber led to the near disappearance of athletic shoes. Silk stockings vanished, as silk fiber was needed in the production of parachutes. Additionally, factories which had produced civilian clothing were reconfigured to produce items needed in the war effort. In order to regulate the remaining production of civilian garments, the United States government implemented the L-85 regulations in 1942. L-85 dictated the styling of garments with an eye to conserving materials and production time. Skirt length, hem width and types of trim were strictly regulated, as were the cuffs and pockets of menswear. Home-sewn clothing was exempt from these regulations, but all were encouraged to "make do and mend."

In addition to the actual conservation of materials, L-85 regulations provided a constant visual reminder of the necessity of total participation in the war effort. The production of propaganda textiles featuring slogans and imagery relating to the war allowed civilians to support the war effort in yet another way. Interestingly, these textiles were not produced by governments, but by independent manufacturers. In the United States and Britain, propaganda textiles featured familiar slogans such as "V for Victory" and "Keep it Under Your Hat," a reminder that casual conversations could inadvertently reveal confidential information. Other designs featured brightly colored patterns of red, white and blue, the colors of the Allied flags. The FIDM Museum propaganda textile dress seen below features a red, white and blue pattern with the slogan "There'll Always be an England," after a patriotic 1939 song.

Dress
1941-42
Gift of Madge Baker
2005.842.2

Aprons

In practical terms, aprons are merely protective overgarments, worn to prevent food or dirt from staining the clothing underneath. Despite these functional origins, aprons have taken on the much larger role of signifying feminine domesticity. This is particularly true of aprons featuring brightly patterned fabric or decorative embellishments. In the late 19th and through the mid-20th century, plain, utilitarian aprons were worn while doing actual work in the kitchen or home, while colorful aprons were worn when receiving guests or serving food. Thus, decorative aprons came to be associated with competent and dedicated homemakers. Even today, an image of a woman or man wearing an apron is intended to convey domestic prowess.

The distinction between plain and colored aprons was particularly important in the late 19th century, when many households began to hire servants. In order to provide visual differentiation between hired servants and the lady of the house, household maids were always clothed in white aprons when interacting with visitors. In early 20th century pattern books and kitchen manuals, white full aprons are usually labeled "maid's aprons" while those made of patterned fabric are designated "fancy aprons." Though fancy aprons were not strictly necessary, it was suggested that no woman's wardrobe was complete without a few fancy aprons to spruce up her everyday dress.

Fancy apron
1895-1905
Gift of Ms. Judy Thomsen
2004.823.3

Robe de style

Today’s featured Study Collection ensemble highlights a type of dress most often associated with the Parisian designer Jeanne Lanvin (1867-1946). Called a robe de style, the upper portion of the dress is slim and close-fitting, while the skirt is full and rather long. The fullness in the skirt is a result of built-in panniers at each hip. These built-in wire structures, shaped like small baskets, extend the line of the dress horizontally, emphasizing the hips. This look hearkens back to the 18th century, when panniers were worn on a regular basis by European and American women. This historic reference was noted by American fashion writers who often referred to the robe de style as a “quaint” or “period style” dress.

Robe de style
c.1923
Gift of Ms. Sandra Coleman
S2005.851.1