Category Archives: World War II

Ad Campaign – Jantzen, 1944

I got the above ad from Pam at after she posted it during a VFG Sportswear workshop.  Not only is it a great ad, it was important to me because I have the shorts in the illustration.  It’s always great to get a date verification for things in my collection, especially in the form of an ad or magazine copy.

The ad comes from 1944 – note the reference to War Bonds and the pun of a headline.  Even though clothes were rationed and fabric was in short supply, the American sportswear makers still managed to come up with some wonderful sportswear.  This pleated (front only, to save fabric) short style is one of the most flattering shorts ever made, and they look just as fresh in 2016 as they did in 1944.

I originally posted this in 2008, but the shorts in Sunday’s post reminded me so much of these that I thought a repost was in order.


Filed under Collecting, Sportswear, Vintage Clothing, World War II

Make and Mend for Victory

Early on in World War II, people knew that supplies of things were going to be limited.  Maybe they had seen the example of Great Britain and how the people there were suffering through shortages of food, fuel, and clothing.

This booklet was published in 1942, during the early days of the United States’ involvement in the war.  Published by the Spool Cotton Company, in fifty pages it showed consumers the types of conservation it would take to defeat Japan and Germany.  The instructions are practical, but with a touch of whimsy.

click to enlarge

There might not be enough cloth to make a new dress, but a fresh white collar of frills might serve the same purpose.  There is also a section on trimming hats and making “trifles” such as crochet pockets, necklaces, and buttons.

In a time when having extra garments was a real luxury, many men in uniform had their civilian wardrobes appropriated for other uses.  Men’s suits of the late 1930s were baggy, and so there was plenty of fabric to make over into a woman’s suit.  My booklet shows four different ways to lay out the pattern to maximize the use of the available fabric.

Here is one suggested layout.  It’s a good thing that skirts had gotten to be very narrow.  Interestingly, none of the layouts showed pants for women.

Men’s shirts weren’t safe from the scissors either.  The cotton fabric not only made good underwear and play clothes for the children, a careful cutter could get enough fabric to make a blouse for herself.

There is also a great emphasis on mending, and there are some interesting but practical solutions to wardrobe problems, everything from adding a band of contrasting fabric on the skirt hem of a growing girl to making a knitted patch.

Yes, the Consumer’s Victory Pledge was a real thing.  It was re-printed often in booklets like mine, in magazines, and on posters.

This poster is in the US Archives.  Actually, that would be a pretty good pledge to try today.


Filed under World War II

Alpine Fashion: From the 1940s to Chanel 2015

photo copyright


Once a year Chanel takes their show on the road with what they call the metiers d’art pre-fall show.  This year’s show took place in Salzburg, Austria and was a tribute to the Alpine look.  According to Karl Lagerfeld, Chanel got the idea for her 1950s jacket from the bell boy jackets at a Salzburg hotel in which she had stayed.

I’d wondered how Karl was going to make edelweiss chic, and you can see the how of it in the photo above.  By combining the trademark Chanel quilting pattern with the flowers at each point you can see how he took his bag of Chanel tricks, threw in the Alpine clichés, and came up with a collection that was uneven but interesting.  Some of the pieces were stunningly beautiful, as one would expect from Chanel.

As with all Chanel collections, the jackets and sweaters are my favorite pieces.  It has occurred to me that to replicate the look, it would be cheaper to fly to Munich for a week during Oktoberfest and do your shopping in one of the many trachten ( folkloric clothing) stores.  Or you could visit a button seller for edelweiss buttons to replace the buttons on a jacket you already have.  Either way, for less than the cost of a Chanel jacket you and a friend can enjoy one of the biggest parties in Europe.

Last week French television aired a program about Nazi collaborators who were artists and prominent people.  Coco Chanel was the star of the show.   The House of Chanel released a statement to the effect that there was nothing new in the program.  True, as Hal Vaughan published this information over two years ago.   Still, I find it a bit odd that the new collection has such a strong Germanic bent.  Perhaps Salzburg was chosen as the venue as Berlin or Munich would have made the connection clearer.

It will be interesting to see if this collection ends up sparking a trend in the way that Alpine inspired looks were a trend in the late 1930s and into the 40s.  To look at that trend, I’ve reprinted below a post I wrote four years ago about the Alpine trend during the 1940s.   I’m sorry the photos are not up to the standards here, but you can see how I’ve improved them over the years.

In the late 1930s and all during WWII, clothes with an Alpine (or Bavarian, or Tyrolean) flavor were very popular.  This has always struck me as being a bit odd, especially after it was clear that the US was going to war with Germany, and these clothes were so reminiscent of German folk dress.

In his book Forties Fashion, Jonathan Walford explains that in the 1930s, the Nazi German leadership actively encouraged the wearing of  Germanic Folk Costume, and the dirndl-wearing blonde German ideal commonly appeared in German propaganda images.  The use of Alpine-inspired details even appeared in Paris in 1936.

In looking at American fashion magazines, I’ve seen Alpine fashions featured as early as 1935.  Most often I’ve seen clothing from the Austrian firm, Lanz of Salzburg, used. Lanz was started as a maker of traditional Austrian folk costumes  in Austria in 1922 by Josef Lanz and Fritz Mahler.  By the mid 1930s they were exporting clothing to the  US, and in 1936 Josef Lanz opened a branch of Lanz, Lanz Originals, in New York.

As  the US moved toward war with Germany, these clothes continued to be popular.  Interesting, Lanz advertised in magazines such as Vogue and Glamour throughout the war, but in their ad copy, there is never any reference to the fact that the clothes are so similar to German folk dress.  From a 1943 ad:

Lanz faithful, classic suit of long-wearing, all-wool tweed, with warm boxy coat to match.  Colorful applique adds that gay spice for which Lanz is famous.

But why did this style continue to be so popular in the US?  I  have some theories.  First, “ethnic” fashions of all kinds were gaining in favor in the late 1930s.  Magazines did features on South American clothes, and Mexican and tropical prints were popular.  The dirndl skirt was used with lots of prints, not just with Alpine embroidery.

Also, these fashions were already in women’s and girl’s closets.  It stands to reason that in a time of shortages that a garment that would “go with” what the shopper already had would be desired.

If you want a deeper explanation, then you might consider the theory that enemies tend to copy their foes in dress, a form of cultural imperialism.

Whatever the reason, Lanz and other companies produced some really cute things.  I realized that I have a sort of mini-collection of these 1930s and 1940s Germanic fashions:

This label is from the dress at the top of the post.  Mid 1940s, made in the US

Early 1940s Jacket, with its label below

Made in Austria embroidered gloves

Unlabeled Jumper with embroidered trim.  This style jumper was very popular during the war.

Embroidered and appliqued belt, late 1930s

This vest was bought in a London department store, and is labeled Swiss Style.  Love the Edelweiss!


Filed under Designers, Viewpoint, Vintage Clothing, World War II

White Stag Function-Alls for Women Workers

I recently got a message from Juliet at SixCatsFun Vintage saying that she had found a denim jacket with an interesting label.  It was “White Stag Function-Alls.”  At first I sort of shook my head in wonder, as White Stag made clothing primarily in canvas up to the middle 1960s.  But something seemed familiar.

I pulled out a WWII era White Stag catalog I have, and there it was – a full page of denim Function-Alls.  They were produced for women who were working in wartime jobs that required sturdy work clothing.

Overall Jacket to match style No. 7844 or No. 653.  Triple-stitched 8-oz. Sanforized denim.  Copper buttons. Complete with bandana Handkerchief.  Dark Blue denim only.

You can see the triple-stitching referred to in the copy.  And if you want to see the label a bit more clearly, it is printed in the catalog.

It’s a gloved hand pulling on a lever of some sort.

Due to the faded and frayed label, you can tell that this piece was used, probably by some 1940s Rosie the Riveter.  I think the documentation from the catalog makes the piece really special.  It’s hard to find WWII era women’s work clothing, though you know it must have been made by the millions.

The great condition of this piece is typical of the type of quality that White Stag turned out.  Even under wartime restrictions and shortages, they managed to produce a product that held up beautifully.  My catalog is not dated, but the references to the war and “the duration” make me think it is probably from 1943 or 1944.

Note the stag on the button.

Thanks to Juliet for sharing this great piece of history with me, and for letting me show it off here.  For anyone interested in this historic piece, she is selling it on ebay.


Filed under Proper Clothing, Vintage Clothing, World War II

Sporty Pucci

I think most fashion lovers are well acquainted with the prints of Emilio Pucci.  Through the 1960s and into the 70s his psychedelic colorful prints were well loved by the Jet Set.  But before his brightly colored geometric prints became a must-have item for an island getaway, Pucci was also making interesting novelty prints  that he sold in his boutiques in Italy.

Emilio Pucci led an very interesting life long before he became a designer.  He was born into an aristocratic Florentine family, and was a member of the Italian ski team in the 1932 Olympics.  He made his way to the USA where he attended Reed College in Oregon on a skiing scholarship.  While there he did his first designing – the uniforms for the college ski team.

During WWII Pucci was a pilot in the Italian Air Force.  His participation in the war came to a halt in 1944 when he helped one of Mussolini’s daughters escape to Switzerland.  Her husband had been the Italian foreign minister and had been executed for his part in a plan to remove Mussolini from power.  Pucci escaped to Switzerland where he spent the rest of the war.

In 1947  some ski clothes Pucci designed for a woman friend were photographed by Harper’s Bazaar photographer Toni Frissell.  The pants were made of a stretch fabric, and Bazaar asked Pucci to design skiwear to be featured in a fashion shoot.  After the photos came out in 1948, Pucci was made offers by several big skiwear firms.  He did do a line for American company White Stag.  I’ve often wondered if the White Stag items had any special labeling.

By 1949 Pucci had opened a boutique on the Italian island of Capri.  There he first sold swimsuits and scarves, and after consulting with Stanley Marcus of Neiman-Marcus, he was convinced to turn the scarves into blouses.   He continued working with stretch fabrics, and the ski pants morphed into stretch slacks for casual wear.  They were produced in solid colors that coordinated with the colors in the print blouses and scarves.

The earliest Pucci labels read “Emilio of Capri” or “Original Emilio Sportswear.”  Pucci did not want to use the family name as it was considered to be unseemly for a noble family to be in trade.  The second label was developed when Pucci opened up in Florence, but was still also in Capri.  Both of the items I’m showing have this label.  I’ve never read exactly when this label was first used, but it did not last but a few years because the entire operation was eventually moved to Florence.


By the early 1960s Pucci was famous, and rich, and the label became “Emilio Pucci”  I guess money speaks louder than society’s expectations.

This wonderful blouse was posted on the Vintage Fashion Guild forums, and I just had to share it with you.  It is from seller Jeana at Erawear Vintage, and it has the best ever ski motif.

The colors are exactly what you would expect from a Pucci print, but the charming print makes it so much more special.

Another VFG seller, Terri of Vintage Devotion, recently found this super Pucci print that has a golf motif.  Pucci loved sports, and not just skiing.

See the “Emilio” signature in the print?  This signature continues to this day in Pucci prints.

Blouse photos copyright Erawear Vintage

Dress photos copyright Vintage Devotion


Filed under Designers, Novelty Prints, Sportswear, World War II

Ad Campaign – Cutex Nail Polish, 1943

To Wear in your Country’s Service Cutex Presents “On Duty”

Dedicated to you thousands of WAVES and WAACS, Canteen Workers and War Factory Workers, Ambulance Drivers and Nurse’s Aides who are working for your country…

Is it just me, or do those nails look like weapons?


Filed under Ad Campaign, World War II

Currently Reading: Sleeping With the Enemy, Coco Chanel’s Secret War

In preparation for making my “French Couture” jacket, I decided to reread my books about Coco Chanel, and I bought a few new ones as well.  One that I’d been meaning to read was Sleeping With the Enemy: Coco Chanel’s Secret War.

If you have read any of the hundreds of books about Chanel, then you know that she closed her couture house before the Nazi takeover of France, and that during World War II she lived in the Ritz Hotel and took a Nazi lover.  But for the most part the years between 1939 and 1954, when Chanel reopened her house, are just sort of skipped over in writings about her.

This book by Hal Vaughan attempts to fill in the blanks.  Vaughan spent years studying documents in England, France, Germany, Spain and Russia.  What emerged from his research is a pretty sorry tale.

Though the book is primarily concerned with the war years, Vaughan starts with Chanel’s birth in 1883, and follows her rise to fame.   He takes a close look at the influences of her life in an attempt to explain (but not justify) the actions she took during WWII.

Chanel was born to poor peasant parents.  When she was twelve her mother died and her father took her and her sisters to a convent to be reared by nuns.   According to Vaughan this is where Chanel first encountered anti-Semitism, as she was taught that it was the Jews who had killed Christ.   These beliefs were strengthened through several of her relationships, including those with her lovers the Duke of Westminster and artist Paul Iribe.

She was also quite bitter about an arrangement she made with Pierre and Paul Wertheimer in 1923.  The Wertheimers were Jews who were in the perfume business.  Chanel entered into a legal relationship where she pretty much signed over the rights to make Chanel *5 in return for 10% of the profits.  Even though the arrangement made her wealthy, after a while she began to feel that she had been cheated by the brothers.

In 1936 Europe was in turmoil.  The Nazis were gaining strength, the Spanish were at war, and in France the government seemed to be moving toward Communism.  Many labor unions organized strikes, closing down industry, services, and shops.   In June all of Chanel’s employees closed down her shop and atelier.  Chanel was infuriated, and to a large extent blamed the French Prime minister, Leon Blum, who was Jewish.  After a standoff that lasted several months, Chanel gave in to the worker’s demands.

In 1939, after Germany invaded Poland and France declared war on Germany, Chanel abruptly closed her business.  She declared that war was no time for fashion, but Vaughan proposes the idea that this was Chanel’s way of getting even with her workers who had gone on strike three years earlier.  The closing of a couture house might not seem like a big deal, but the closure meant that 3000 workers lost their jobs.

As the Germans occupied Paris in 1940, Chanel took another lover, Nazi agent Gunther von Dincklage.  Vaughan suggests that Chanel first became involved with Dincklage because her nephew, Andre Palasse had been captured by the Germans.  She needed help getting his release from a German camp.  In 1941 she made a deal to obtain Andre’s release.  It involved Chanel going to Spain as an agent for Germany in return for his release.

After the occupation Chanel also tried to get back control of her perfume business, claiming that the Jewish Wertheimers could not be the legal owners under German law.  But the brothers had foreseen Chanel’s move and had signed over the company to an “Aryan”business associate.  After the war they had to fight him to regain control and were successful.

Throughout the war Chanel continued to made trips on the behalf of the Third Reich.  She was even involved in an effort of some Nazi officers to get a message to Winston Churchill, hoping to save their skin as it became obvious that Hitler’s regime was doomed.  During the years that Chanel had been the lover of the Duke of Westminster, she had become great friends with Churchill.  These officers attempted to exploit this relationship.

After the Liberation, life became quite difficult for those who had collaborated with the enemy.  Thousands of French citizens, including Chanel, were arrested.  In Chanel’s case, she was interrogated and released, possibly with the help of her old friend, Churchill.  She quickly fled Paris, going to live in Switzerland.  For a while she looked to be in the clear, but in 1946, her involvement was again questioned.  This time she denied all the charges, even though there were documents that contradicted her testimony.

For some years Chanel lived with Dincklage in Switzerland, but by 1951 she was by herself and at loose ends.  In 1953 she decided the time was right for her to return to fashion.  Her comeback show was in February, 1954, and was met with a lukewarm reception in Paris, but it was acclaimed in the Unites States.   Her company was in deep financial trouble, and an unlikely savior appeared to save it.

Pierre Wertheimer offered to buy the business, the Chanel name, and her real estate.  In return all  of Chanel’s expenses would be paid by the company and she would retain control of the couture house.  At 71 years of age, it was too good a deal to pass up.  It was a money maker for them all.  Chanel spent the rest of her life in comfort, and the Wertheimers became fabulously wealthy.  The family still owns Chanel.

This is a greatly simplified account of Vaughan’s research.  The evidence against Chanel is pretty clear – she was not just sleeping with the enemy, she was the enemy.   While Vaughan gives a convincing case for Chanel’s guilt, the writing is at times disjointed and hard to follow.  There is a lot of skipping back and forth in time, and so it helps to have a good grasp of the larger events of the 1930s and 40s.

It might be easy to say that Chanel lived a charmed life, that she escaped justice and instead of punishment, spent her later years in luxury.  But the truth seems to be that she was one unhappy individual for most of her life.   Her lovers never stayed, but instead, married others.  Her last years were spent in what she feared most, being alone.


Filed under Currently Reading, Designers, World War II