Any power whatsoever is destined to fail before fashion. If fashion says skirts are short, you will not succede in lengthening them, even with the guillotine -Benito Mussolini

World War Two Clothing Restrictions

When World War Two broke out in 1939 much of Britain's industry was given over to the war effort. Soldiers needed uniforms, causing a shortage of fabric for civillian clothes. Utility cloth, which ended up accounting for 85 percent of all fabric manufactured in Britain, was introduced in May 1941, availiable only in monochrome colours and at a fixed price. Utility clothes made from this fabric were practical and warm but very simple and functional looking. They were made using the least amount of labour and raw materials possible. When clothes rationing began a month later the government started a 'make do and mend' campaign, encouraging housewives to recycle old outfits and anything else that came to hand, even teaching them how to turn two dish cloths into a short sleeved jumper.

More restrictions were placed upon the clothes available under the utility scheme in 1942 when the Making of Clothes (Restrictions) Orders were put into effect. These were to ensure that there would be no unnecessary fabric wastage in the manufacture of clothes. There were rules governing the maximum width and length of skirts and restrictions on the number of pleats, pockets and button-holes, leading to very plain looking, almost militaristic outfits. Trimmings and decoration were kept to a bare minimum, and sequins and embroidery were banned. One dressmaker in London was arrested for embroidering flowers on womens underwear.

Most people accepted these restrictions as necessary for the war effort. There was a vogue for sportswear due to people getting use out of such things as tennis and golfing outfits that otherwise would not be used during the war. Women turned men's old overcoats into tweed skirts and matching jackets, and pillowcases became blouses and baby clothes. Even wearing pyjamas or nightgowns to bed was seen as an unpatriotic waste of the nation's resources.

When the war ended in 1945 it had bankrupted most of Europe, and industry lay in ruins. Although the war was over there were still shortages, and the quality of goods were dropping even as their prices were rising. Women's clothes were still severe, plain and boxy looking although there were some signs of a return to a softer hour-glass shape. No-one was prepared, however, for the look that Parisian designer Christian Dior was about to unleash...

There is nothing I would like better than to make every woman look and feel like a Duchess...

Born on 21 February 1905 in Normandy, Christian Dior had originally wanted to train as an architect, but his wealthy businessman father persuaded him to study politics. He soon realised that this was not the life he wanted, and in 1928 he opened an art gallery in Montmarte, then made a living selling sketches and drawings to the French national newspaper Le Figaro. He learnt his dressmaking skills in 1941 when Lucien Lelong employed him as a designer.

His life changed in 1946 when textile magnate Marcel Boussac talked to him about the possibility of Dior becoming head designer of a dressmaking firm Boussac had just bought. Dior declined and confided in Boussac his dream of a small haute couture business of his own. He explained that now the war was over the people were ready for a totally different way of dressing to inspire them. Dior wanted to make long, full skirts with numerous petticoats the hight of fashion once again.

Boussac was immediatly interested. The textile industry was struggling just like every one else, and if Dior could make volumous skirts popular it would provide a much needed boost for Boussac's businesses.

With ten million Francs backing money from Boussac, Dior registered his new haute couture firm in October 1946.

Le 'New Look'

On 12 February 1947, in a small salon on the avenue Montaign in Paris, Dior held his first fashion show. It had not been widely publicized, and the few people that did turn up were unprepared for the exotic, unfamilier sight that confronted them.

The collection was called Corolla, which means the shape of a petal or leaf before it fully opens. The dresses featured soft rounded shoulders and tight, cinched in waists, a stark contrast to the square, boxy war-time fashions. But what really caught everyones attention were the vast ankle length skirts.

Those of us living in prosperous times cannot imagine the sensation a skirt could create, but the sheer amount of fabric used in each skirt (most used over 20 meters, but the center piece, Diorama, measured 40 meters in circumference)was seen by the critics that attended that fashion show as a welcome celebration of the end of the suffering of the war years. One remarked to Dior after the show 'It's quite a revolution, dear Christian. Your dresses have such a new look.'

Not everyone was impressed, however.