Amy T Peterson, Valerie Hewitt, Heather Vaughan, et al
Page 50
Preteen to College
Young girls and women were encouraged to wear ankle socks because ny-
lon was diverted to the war effort. Heavy woolen stockings were worn in
winter, and most girls chose to go bare legged in the warmer summer
months. Ballet-style shoes, penny loafers, and two-toned saddle shoes
were popular among high school and college girls. Rolled up jeans or a
1940s, World War II
335
skirt, ankle socks, and loafers or saddle shoes became the trade mark look
of the ‘ bobby-soxer,’’ an adolescent girl who wore the fashionable look.
Government restrictions on the use of fabric and shortages of wool
during the war tended to shrink the length of young men’s socks. Before
the war, they came up to the knee, but they shortened to only inches
above the ankle. Several types of socks were worn by young men, includ-
ing white ribbed top, cotton athletic socks, colored argyle socks, and
solid-colored wool and cotton socks.
Brown or black leather tie shoes were worn for most occasions, but
the slip-on loafer and tone-on-tone saddle shoe was gaining in popularity
for casual wear. Two-toned ‘‘fancy’ saddle shoes popular with the zoot suit
were worn by college men. Canvas shoes were reserved for boating and
the tennis courts, and leather sandals could be found on beaches and at
poolsides.
Bobby-soxers. Bobby-soxers were adoles-
The term ‘ bobby-soxer’ gained promi-
cent girls who wore folded-over cotton
nence in the 1940s with the rising popu-
bobby socks with penny loafers or
larity of singer Frank Sinatra with teenage
saddle shoes. They wore this footwear
girls. Sinatra’s teenage fans would become
with skirts and jeans rolled up to the
so hysterical that he required security
mid-calf. Bobby socks became synony-
whenever he appeared in public. There
mous with teenagers and youth cul-
were reports of fans breaking store win-
ture, and the fad continued during the
dows and requiring ambulances while
1950s.
waiting for admission into Sinatra’s shows.
ACCESSORIES
Infant to Preteen
Young girls coveted charm bracelets made of sterling silver, and they
collected charms for every occasion. Necklaces, bracelets, and rings were
decorated with bells, horseshoes, wishbones, and four-leaf clovers. Heart-
shaped lockets were popular among young girls. Lapel pins came in a
variety of motifs, including Disney characters and jitterbuggers.
Teen to College
Young women wore costume jewelry such as necklaces, bracelets, and ce-
ramic pins. Many young women had a single strand of pearls that could
336
CHILDREN’S FASHIONS
be worn with everything from a sweater set at the soda shop to a more
formal affair.
Hand bags were necessary to carry a lipstick, handkerchief, comb, mir-
ror, and a dime to make a phone call. Shoulder strap bags with a flap and
Zoot-Suit Riots. On May 31, 1943, a
in Los Angeles. Often indulging in
clash between white sailors and Los
alcohol, women, and violence, service-
Angeles Hispanics left one sailor, Joe
men roamed the streets and clashed
Dacy Coleman, injured and sparked a
with the local youths, who often
series of riots. The racial tensions in the
rebelled against the servicemen and
city had been rising. The explosive pop-
sought them out to teach them a lesson.
ulation growth of the city included large
The incident between the sailors
Midwestern populations, poor Ameri-
and Hispanics in May of 1943 led to a
cans fleeing from the Dust Bowl, Afri-
series of riots. Almost immediately, a
can Americans from the south, and
group of white sailors headed into the
Mexican refugees escaping from the
Hispanic neighborhoods looking for
Mexican Revolution. Because California
retaliation. Police intervened by arrest-
was seen as a possible target of Japanese
ing Hispanics for disturbing the peace.
attack during WWII, southern Califor-
Most police were unwilling to repri-
nia became a key military location. Also,
mand the servicemen, because they had
civilian residents had taken to patrolling
often served in the military themselves.
the streets.
Thousands of servicemen joined the
The young Mexican-American pop-
attacks and began pursuing African
ulation was tied to the bold image of
Americans also. They raided movie the-
the zoot suit. The oversized suits were
aters, pulling Mexican Americans from
worn to dressier occasions such as par-
their seats. Streetcars were stopped
ties and dances. The broad-shouldered,
while Hispanics and African Americans
long jackets had wide lapels. They were
were pushed from the cars and beaten
worn with baggy pants that had ‘ ankle
(Castillo 2000). Mexican Americans
choker’
hems.
They
were
usually
began to organize and retaliate by luring
brightly colored and presented a very
the servicemen and beating them. In
distinctive silhouette. The young men
some cases, the Los Angeles press
who wore these suits usually wore their
lauded the attacks against people it con-
hair in a unique ‘ ducktail comb’ hair
sidered ‘ hoodlums,’’ but after a week
style.
the police and the military stepped in
Tensions between servicemen and
and began treating servicemen who par-
civilians intensified as thousands of
ticipated in the attacks more harshly,
servicemen were stationed or on leave
which ended the attacks.
1940s, World War II
337
snap made of leather or artificial leather were worn by most girls. Gloves
were worn out in public. Short gloves were appropriate for most daily occa-
sions. Elbow-length gloves were pushed down, giving them a scrunched,
crushed appearance.
Young men wore slender bow ties and four-in-hand neckties with
suits, although bow ties were gradually losing favor. Neckties of silk,
rayon, cotton, or wool were produced with repeated geometric patterns or
stripes. Toward the end of the decade, ties were hand painted with depic-
tions of tropical flowers, cityscapes, landscapes, and even pinup girls.
ALTERNATIVE MOVEMENTS
Born in the early thirties in Harlem’s nightclubs, the zoot suit was the
height of fashion for bold young men until the War Department re-
stricted the amount of fabric that could be used in clothing. The zoot suit
was an exaggerated look comprising an oversized jacket that extended
almost to the knee, sporting wide lapels, exaggerated shoulders, and a
contrasting lining. The t
rousers had a three-inch waistband and a baggy,
low crotch. It was full at the knees and tapered at the ankle. Considered
flamboyant and unpatriotic because of the amount of fabric used, zoot
suits were thought of as contraband during the war. They were worn with
wide-brimmed hats, brightly patterned ties, and two-toned shoes.
R E F E R E N C E S
Baker, P. 1992. Fashions of a Decade: The 1940s. New York: Facts on File.
Bevans, G. H. July 6, 1930. ‘Assembling the Layette.’’ Chicago Daily Tribune, D4.
Bevans, G. H. June 19, 1936. ‘‘Fashions in Baby’s Clothes Are Stationary.’’
Chicago Daily Tribune, 25.
Bevans, G. H. 1936. ‘‘Baby Clothes Should Add to His Comfort.’’ Chicago Daily
Tribune, June 20, 16.
Blackford, Marion. ‘‘Miss Temple’s Best Bib and Tucker.’’ Screen Play, August
1936.
Blum, S. 1981. Everyday Fashions of the Twenties as Pictured in Sears and Other
Catalogs. New York: Dover Publications.
Blum, S. 1986. Everyday Fashions of the Thirties as Pictured in Sears Catalogs. New
York: Dover Publications.
Christian Science Monitor. April 11, 1924. ‘‘Knitted Layettes,’’ 13.
Cook, B. M. 1921. ‘ Variations of Time-Tried Themes,’’ The Washington Post,
July 17.
Dare. 1931. ‘‘Style Tips for Co-Eds,’’ Washington Post, August 23, A1.
338
CHILDREN’S FASHIONS
Ewing, E. 1977. History of Children’s Costume. London: Batsford.
Laubner, E. 1996. Fashions of the Roaring ’20s. Atglen, PA: Schiffer Publishing.
Laubner, E. 2000. Collectible Fashions of the Turbulent 1930s. Atglen, PA: Schiffer
Publishing.
Lee-Potter, C. 1984. Sportswear in Vogue since 1910. London: Thames and
Hudson.
MacPhail, A. 1999. The Well Dressed Child. Atglen, PA: Schiffer Publishing.
Marling, K. A. 2004. Debutante: Rites and Regalia of American Debdom. Lawrence,
KS: University Press of Kansas.
Martin, Sally. ‘‘Hollywood’s Charm School: Shirley’s Personal Wardrobe.’’ Holly-
wood. November 1936.
Mendes, V. D., and De La Haye, A. 1999. 20th Century Fashion. London:
Thames and Hudson.
Modell, J. 1989. Into One’s Own: From Youth to Adulthood in the United States,
1920–1975. Berkeley, CA: University of California Press.
Los Angeles Times. September 10, 1934. ‘‘New College Clothes Look Both Cheer-
ful and Casual,’’ A8.
New York Times. 1924. ‘‘Pretty Materials in Endless Variety,’’ May 11, X10.
New York Times. 1924. ‘‘Choosing the First Party Dress,’’ December 7, X13.
New York Times. 1926. ‘‘Styles for Young Charm,’’ December 5, X17.
New York Times. 1928. ‘‘Modernistic Dress in the Nursery,’’ December 16, X14.
Nolan, C. Ladies fashion of the 1940s. http://www.murrayonhawaii.com/nolan/
fashionhistory 1940ladies.html.
Olian, J., ed. 1990. Authentic French Fashions of the Twenties: 413 Costume Designs
from ‘‘L’Art et la Mode.’’ Toronto: Dover Publications.
Olian, J., ed. 1992. Everyday Fashions of the Forties: As Pictured in Sears Catalogs.
New York: Dover Publications.
Olian, J. 1995. Everyday Fashions 1909–1920: As Pictured in Sears Catalogs. New
York: Dover Publications.
Olian, J., ed. 1998. Victorian and Edwardian Fashions from ‘‘La Mode Illustree.’’
Mineola, NY: Dover Publications.
Olian, J., ed. 2003. Children’s Fashions 1900–1950: As Pictured in Sears Catalogs.
Mineola, NY: Dover Publications.
Parrish, A. 1934. ‘‘Clothes for Spring Baby in Traditional Style: Timely Advice
on His Attire Given to Mothers,’’ Washington Post, February 6, 12.
Peacock, J. 1998. Fashion Sourcebooks: The 1940s. New York: Thames and Hudson.
Pointer, S. 2005. The Artifice of Beauty: A History and Practical Guide to Perfumes
and Cosmetics. Gloucestershire, UK: Sutton Publishing Limited.
Probert, C. 1981a. Hats in Vogue since 1910. New York: Abbeville Press.
Probert, C. 1981b. Swimwear in Vogue since 1910. London: Thames and Hudson.
Richardson, D. E., ed. 1982. Vanity Fair: Photographs of an Age, 1914–1936. New
York: Clarkson N. Potter.
Rittenhouse, A. 1910. ‘ What the Well Dressed Women Are Wearing,’’ New York
Times, April 10.
1940s, World War II
339
Schrum, K. 2004. Some Wore Bobby Sox: The Emergence of Teenage Girls’ Culture
1920–1945. New York: Palgrave Macmillan.
Seeger, R. 1932. ‘‘Lovely Colors Enhance New Things for Baby,’’ Chicago Daily
Tribune, June 20, 13.
Seeger, R. 1932. ‘‘Juniors Help Freshman by Their Clothes,’’ Chicago Daily Trib-
une, August 19, 15.
‘ The Family Page.’’ 1924. The Youth’s Companion, June 19, 98:25.
Tortora, P. G., and Eubank, K. 2005. Survey of Historic Costume: A History of
Western Dress, 4th Edition. New York: Fairchild Publications.
Warren, V. L. 1934. ‘‘Girls Seek a Certain Distinctive Sloppiness in Clothes for
the Campus,’’ Washington Post, August 19, S7.
Washington Post. 1931. ‘‘Clothing for the Young Baby,’’ March 1, MF12.
Washington Post. 1932. ‘‘College Girls’ Wardrobe Is on Display,’’ September 4, S5.
Washington Post. 1934. ‘‘Plaids Brighten Campus Styles,’’ Washington Post, Sep-
tember 7, 14.
Watson, L. 2004. 20th Century Fashion. Buffalo, NY: Firefly Books.
Glossary, 1900–1949
A-line: A garment silhouette whereby a garment gradually flares out from the
narrowest part of the body, either the shoulders or waist, to the hem.
ascot (also known as a stock neckline): A high neckline with a scarf or ties that
wrap around the neck and tie in a loop at the center front neck with the ends
left hanging loose.
balloon sleeve (also known as a bouffant sleeve): A sleeve that is gathered at the
armscye (armhole) and wrist with voluminous fullness in between.
band collar: A narrow collar attached to the neckline and standing straight on
the neck.
bandeau: A narrow bra worn to flatten the bust or a narrow ribbon worn around
the head to hold hair in place.
Barbour coat (also known as a barn coat): A coat made of cotton that has been
weather proofed with oil; typically worn for outdoor work.
barn coat: See Barbour coat.
basque: A tight-fitting bodice.
bateau neckline (also known as a boat or Sabrina neckline): A neckline with a
shallow curve from shoulder to shoulder.
batiste: A soft, lightweight, finely woven cotton fabric.
Bermuda shorts: A style of men’s and women’s shorts, either cuffed or uncuffed,
with the hem approximately one inch above the knee. Bermuda shorts were
first developed for the British Army for tropical and desert uniforms.
bias cut: A technique of cutting garments to use the diagonal direction of the cloth.
It is used to achieve stretch, better draping, and to accentuate body lines.
bishop sleeve: A sleeve style that used pleats at the shoulder to create fullness
that gathered into a cuff at the wrist.
boat neckline: See bateau neckline.
boater: A hat with a low, hard, flat-topped crown; narrow, straight brim; and a
&nbs
p; ribbon band and bow.
bolero: A waist- or rib-length jacket.
bouffant sleeve: See balloon sleeve.
brim: The rim projecting out from a hat.
341
342
Glossary, 1900–1949
brocade: A fabric with a woven satin design on a plain satin or rib-weave
background.
buckram: A cotton or linen fabric that has been stiffened to provide support and
shaping under other fabrics.
bustier (also known as a merry widow): A corset-style garment, typically strap-
less, that combines the support of a waist cincher and brassiere ending at the
waist or hips.
camisole: A sleeveless undergarment worn beneath the bodice.
chambray: A lightweight fabric with colored warp and white filling yarns.
charmeuse: A lustrous, lightweight fabric made from cotton or silk.
cheviot: A twill wool fabric with a close nap and a rough surface that is generally
used for suits and coats.
chevron (also known as herringbone): A broken twill weave structure whose
interlacing pattern results in a fabric that appears to have a series of inter-
locking Vs for a zigzag effect, or any pattern derived from interlocking Vs.
chignon: Hair that is twisted into a bun and worn at the back of the head.
Chinese collar (also known as a mandarin or Mao collar): A stand collar approx-
imately one inch tall with a slight gap between the right and left edges at the
center front. The Chinese collar is similar to the Nehru collar, but the Chi-
nese collar has square corners, whereas the Nehru collar typically has rounded
corners.
chino: A plain or twill weave cotton fabric often used to make men’s pants.
cloche: A hat with a bell-shaped crown.
combination: An undergarment that combines a chemise and petticoat or a che-
mise and pantaloons.
cowl neckline: A neckline, either in the front or back of a bodice, with fullness
draped from shoulder to shoulder.
cr^epe de Chine: A finely woven silk crepe.
crinoline: A stiffened underskirt or either buckram or tulle worn to support full
skirts.
crown: The top part of a hat.
Cuban heel: A medium high, thick heel with a slight curve.
culottes: See skort.
cut-away shoe: See open-toe shoe.
decollete: A neckline cut very low to reveal the shoulders, neck, and bustline
cleavage. Decollete may also be cut very low across the back, revealing the
lower back or derriere.
derby: A hat with a stiff, bowl-shaped crown and a narrow brim. These hats were