Fashion, world war ii, civilian clothing, patriotism, dissidence, Great Britain, France
In April 1991, the Metropolitan Museum of Art showed the American photojournalist Lee Miller's photography of the Gervais salon, as part of its exposition on women in France during World War II. The Parisian hairdresser had bypassed electricity shortages in an ingenious manner: hot air was pumped up to the salon's hair dryers by the sole pedal power of men on bicycles. Katell le Bourhis, the exhibition curator, declared that she was afraid that Miller's photography, taken out of context, would inaccurately depict French civilians as frivolous. During the Second World War, civilian clothing shaped the war experience on both sides of the English Channel. Fashion was a strong marker of patriotism in Great Britain and a symbolic tool of dissidence in France.
[...] Several maisons closed, limited raw materials and rationing restricted the amount of material allowed in collections but haute couture did not disappear. Designers managed to present new collections twice a year. Lucien Lelong also urged houses to sell to German customers, rather than let the industry die. Nazi officials, visiting or on duty in Paris, frequented the better fashion salons for purchases for their wives or mistresses. (de Marly 1986, 195-9; Lynam 1992, 40- 138-40; Train 1991, 87-102; Veillon 1990). Under the Occupation, dressing-up became an act of "psychological resistance". [...]
[...] Personal grooming and a proper attire were described as linked to resilience, therefore a lack of interest in personal appearance could have a detrimental impact on the war effort. In the home front civilian women's morale was of the utmost importance for the government and the main reason behind the decision to continue the manufacture of cosmetics, though in much reduced quantities. Contrary to clothing, makeup and cosmetics were never rationed, but were subject to high taxes and became extremely expensive. [...]
[...] During the second World War civilian clothing shaped the war experience on both sides of the English Channel. Fashion was a strong marker of patriotism in Great Britain and a symbolic tool of dissidence in France. The war disrupted Britain's entire economy and the fashion industry was not spared. Under the war economy most of the raw materials were allocated to the army and resources for civilian clothing were severely limited. For instance, silk, a staple in both women's and men's fashion before the war was no longer available. [...]
[...] Vichy supporters and newspapers by linked the Zazous and the Jews, thus turning them into a political movement and set them aside of the society. The Zazous can be considered a subculture as they shared values and norms that were distinct from those held by the majority. In Subculture: The Meaning of Style, the British sociologist Dick Hebdige studies the evolution of youth subcultures. The dominant society often sees these groups as radical, leading to fear, skepticism, in their response. [...]
[...] Demobilized women leaving the military services were given an allocation of coupons which gave them more freedom. In France, being fashionable was an act of rebellion. The Nazi regime deterred German women from using makeup and wearing "non-Aryan" clothes, from foreign or Jews designers. The emphasis was on fitness, health and uniformity. Upholding this view, women in the SS Lebensborn were not permitted to use lipstick, paint their nails, or pluck their eyebrows (Stephenson 1975, 191). Ironically, Reichsmarschall Hermann Göring, who was well known for dressing extravagantly, wore a white suit with an elegant bow tie and white hat to anything he dubbed festive occasion" (Jancsy and Sultano 1993, 62). [...]
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