Hi readers. I’m updating this publication, look out for more news at houseofmirelle.uk.
There were two ‘uniforms’ during WW2; the ones that the armed forces and voluntary services wore and the second was the uniform supply and control measures the government imposed on the population of Britain.
From the outset, the government knew that clothing the people of Britain was the elephant in the room in terms of managing WW2.
Wars are expensive; they require man (and woman) power, raw materials, armaments up to the job and enough of a profit to cover costs. That wasn’t all; the armed forces must be clothed and factories must still manufacture what was required whilst their working men were unavailable and away.
The blockade of Europe and danger in the seas meant essential supplies of raw materials like wool, silk and cotton would fast run out. Fabric and clothing production, a thriving industry at the outset of the war in 1939 was also inefficient and wasteful.
Factories were needed to produce the millions of yards of material required to clothe people in uniform instead of the frilly and frivolous fashions of the late 1930s.
Wasteful of fabrics in short supply, a simple thing like adding a large hem to a skirt or embroidery to a dressing gown could save thousands of hours of man power and materials required elsewhere.
Zips were a no-no as the metal was needed for armaments, as was elastic, and silk for silk stockings were needed for parachutes.
Very quickly dressmakers and manufacturers were told that they didn’t have design freedom any longer and Austerity Regulations and Limitation Of Supply Orders – or LIMOSO’s – set out what they could and couldn’t use when designing or running up an item of clothing.
With the outbreak of war, inflation affected prices and the rarer commodities like silk started to shoot up in the shops. Inflation had to be kept under control and the economics of pricing became a hot issue; something had to give.
The government accepted it had to control all aspects of clothing supply, manufacture and retail. Initially it looked back on the lessons learned during World War 1 when a form of standard suit was devised to clothe the people of Britain.
They didn’t want to do the same, so unpopular was it, but needs must and from June 1st, 1941, Clothes Rationing was introduced across Great Britain.
Whitehall was particularly concerned about the poor and working class who were perceived to be suffering most from the materials shortages affecting clothes production and supply.
Middle and upper class women had large wardrobes that could survive rationing, they thought, but the working class didn’t.
To address this, by 1942 the Utility Scheme was fully rolled out which produced clothing with quality cloth and materials designed and manufactured to Austerity Regulations. Utility Clothing was in the shops at fixed prices to ensure affordable clothing was available for all people across the land.
It attracted none of the new and dreaded Purchase Tax which affected all non-essential items.
Utility was cheaper, of better quality and more long lasting than non-utility items. For the first time working class women could buy well designed, well made clothing to survive the war years regardless of income.
War was different for those with more money at their disposal. They were used to buying for pleasure and to dress for the right social occasions but it didn’t make any difference to the government, they restricted how many items of clothing could be bought by anyone in the country.
The press coined a phrase to describe the actions of government and “Wartime Socialism” was born.
On the Whitsun Bank Holiday Sunday of June 1941 a wireless broadcast told retailers and the British public that from opening on Tuesday morning, all clothing would be rationed. Margarine coupons were initially used but later on dedicated clothes rationing books were circulated.
Clothes had points allocated to them, usually determined by square yardage of cloth and whether the government deemed them necessary or a luxury item. Each point or half point was worth a full or half coupon.
People were told how many points they had to ‘spend’ over periods of time, 66 in the first year and less and less as the war drew onwards.
When spending on clothing people exchanged their coupons and paid cash also. When they ran out that was that, there were no more coupons to spend for anyone.
Budgeting for how many points you had was a national occupation and a source of misery for many. Although forces uniforms were not rationed, things like knickers and maternity clothes were. The government adopted a form of market research to respond to national need and changes were made regularly, filling the columns of newspapers and fashion magazines.
It was no good moaning; the government was entirely in control.
Many people commented that Mrs Sew and Sew’s advice in the famous Make Do and Mend campaign had been part of working class life forever and wearing second hand clothes and hand-me-downs was no different during the war than beforehand.
The wealthy who did have money to spend regardless of rationing tried other methods and the black market thrived on those with cash to spare.
Purchase Tax was implemented to prevent the buying of luxury goods; fur coats, a common staple of many a woman’s wardrobe, attracted 100% Purchase Tax for instance. That meant you paid the retail price to the shopkeeper then exactly the same amount again went to the government – very pricey.
Buying luxury was expensive and prevented excessive spending on items that weren’t necessary – after all if everyone bought unnecessary items, factories would have to produce them to demand and they were focused on war.
Eventually the country learned to knuckle down and see it out. Whether you were rich or poor, the regulations applied and everyone did their patriotic bit to adapt.
Southsea, near Portsmouth was no different from anywhere else in the country in what it had to endure.
It is appropriate that the museum is situated there as The Solent holds a long military and naval history. The castle looking across to The Isle Of Wight has existed in one form or another since Tudor times.
The Mary Rose, Henry V111’ths ship which sunk in 1545 resides in its low lit museum in the Portsmouth Dockyard.
The D Day Museum itself houses The Overlord Tapestry, a modern interpretation of the Bayeux which stitches together scenes from that day in a long piece of embroidery circling the main room.
The impact of the government’s measures in respect of clothing and apparel in WW2 was an enormous undertaking both for Whitehall administratively and for the people of Britain to comprehend and live through. Everyone but everyone was affected; women, men and children did not escape and those in the forces also.
When all rationing ended in 1952, the war years had seen a massive change to clothing and fashion.
The change was both attitudinal and practical; the efficiencies that the government implemented were strong enough to bear any national dislike and the influence of them affects fashions and expert consideration of those restrictions even today.
Throughout the D Day museum, the exhibits show how wartime fashion worked on the ground; for those in uniform, getting married, knitting for the forces or wearing Utility designs.
It is an extraordinary museum which isn’t only about the conflict – the presence of the Overlord Tapestry emphasises the great importance of the needle trades to Britain and the creativity, craft, ingenuity and adaptation that the British public made overall.
© Carrie Henderson 2016
Since The Great British Sewing Bee hit our TV screens, evening classes, fashion degree and pattern cutting courses have been inundated with a resurgence of interest from applicants who want to learn the skills required.
The influence of the GBSB shouldn’t be underestimated – since it’s aired sewing skills have exploded into the nation’s consciousness with a fervour last seen in the late 1940s and 1950s.
You Tube is brimming with tutorials taught by gifted amateurs and professionals alike and home sewers watch Sewing Bee with stitching fingers twitching as we follow contestants’ efforts.
These days we are used to looking at the efforts of the GBSB contestants in glorious technicolour in the hour-long slots on telly.
But how did women learn the skills for sewing in the old days, long before TV was invented?
The answer can be found in Helen Reynolds’ book Trade Or Couture, An Early Pictorial History Of The London College Of Fashion.
When Reynolds uses the word ‘early’ in the title of her book she means very early; 100 years ago until the final days of the great training colleges of London in the 1950s.
The majority of this book focuses on the 1920s and 1930s though and it isn’t only factual description – the book is beautifully illustrated with photos.
In those days London was Great Britain’s go-to-place for all things fashion. It was a vastly important industry and it was necessary to staff it with women and men who had developed the not inconsiderable skills that were required.
At the turn of 19th to 20th Century the London fashion industry was suffering from a shortage in supply of people with the correct skills. Trade and staff were being lost to Paris, the acknowledged global capital of fashion as a result.
Recognising this, 3 trade schools were established in London. Eventually these schools became subsumed into creating The London College of Fashion. Then though, girls joined at primary or secondary level and spent their time learning the essential skills for employment in the London fashion houses when they graduated.
Now you may think of industrial sewing machines, large mechanical cloth cutters or computers and clever graphics packages like you’d find in the courses taught these days, but you’d be wrong!
The clothing industry was very different in the early days described in Reynolds’ book. Everything but everything was done by hand.
Measuring, designing, drafting, stitching, embroidering, cutting and finishing – the essential skills – must be done well and by hand or not at all.
In one section she describes how a lone sewing machine exists in a classroom but that it is barely used. Embroiderers used more machinery than tailors but the intricate, meticulous and highly expert skills we associate with Haute Couture these days were what was required.
For educators this book is a fascinating wander through the relationship between industry and education that existed at the time.
There was such an explicit correspondence between the output of skilled labour from these trade schools and the London industry that the two could not be separated.
Teachers were often skilled tailors with no formal teaching qualifications and as many of the large black and white photos show, from mannequin parade to classroom the schools were set up for one reason only – to staff the London fashion houses, full stop.
So what would your day in a needle trades school be like?
It depended on what age you were and what speciality or stream you were studying.
You could specialise in embroidery for instance or pattern cutting. You had dedicated classes in these subjects but you also spent time learning skills in fashion illustration which meant drawing gowns and outfits in a life drawing class. Your uniform denoted which ‘stream’ you’d chosen.
Health and safety was not neglected either. The schools knew that the industry brought risks in terms of workers’ health and so PE lessons and games were as vital a part of preparation for the workforce as the needle skills themselves.
The schools were essential for career progression as well. Once employed by the London fashion houses, many women found themselves stuck in one position and on-the-job training was not available to them or ineffectual.
As a result the schools ran evening classes to update and expand on tradespeople’s skills. This, in turn, increased female expertise in the workplace which had a knock-on effect of increasing the earning power of women also.
Throughout the book there are large black and white photos either to advertise the schools or advertise the students’ work at the time.
For non-academics or people simply interested in getting an insight into fashion history it is in poring over the photos that you’ll get enjoyment from this book.
They show moments in the learning process frozen in time.
Most of these photos have been set up with a camera in mind. Pupils are posed with hands poised like Greek statues, modelling their finished creations.
Classrooms are quiet and static, quite unlike how they would have been in reality.
It’s as if the reader is the school inspector coming for a visit or an employer seeking out their next staff member by examining each pupil’s work.
They are a joy to examine. You can see how hand embroidered dresses fell straight to the floor in perfectly crafted folds or how gowns were drawn, drafted, cut, made and modelled with the essential plumes expected at Court.
In many ways though this book shows you that the basic skills are still the same. You still have to know how to fit a dress to make one from scratch whether you are a tailor or a home dressmaker.
You still have to know how to finish seams whether you hand baste them or use a foot on your sewing machine.
It’s the transferable skills over time that make the book more than scenes from fashion history – most dressmakers and tailors will immediately be able to put themselves into these photos as they recognise themselves in the rooms.
There is a covert message in the book however and it’s that these skills can take years to develop properly. It makes the 3 – year fashion degree courses of today seem almost a breath in comparison.
It’s a book for academics, educators and fashion lovers alike but for those of you into the 1920s and 1930s, I’d say it was essential reading.
© Carrie Henderson 2016
The jiffy envelope from the second hand book seller arrived in time for Christmas.
When I reached in to pull out the book I discovered that it wasn’t the size I’d expected – it was much smaller and lighter in my hands.
I ran my fingers over the textured leather cover feeling the dips of the gold picture and the white lettering before I opened it up and saw the face of Kay Pearson looking back at me. She was pictured at a piano surrounded by friends.
I am lucky to own a copy of Life In Hull From Then Till Now, it is a book long out of print.
It was published in 1978 after a story about Kay Pearson’s life was featured in the Hull Daily Mail’s Jane Humber section.
The publisher, Bradley Publications and Co, was as tickled by her story as the ivories that Kay played from childhood.
I’m also lucky to have this book because Kay’s story spans over 70 years of history in Hull from the turn of the 19th to the 20th Century until the 1970s.
This was a time of enormous social change for women, people in Hull and the UK generally.
Her story is told without artifice, flourish or it seems, that much conscious editing and it’s good for it. It’s retained a feel of someone sitting down at an old-fashioned typewriter to recount their life from start to the point when it was written.
At one point at the outbreak of the Boer War, the typeface even changes, as if the moment was a rift in time that could never be breached.
Kay’s voice speaks clearly from the pages. It reads as if she is talking out loud to an audience that she obviously enjoys.
Her life story is extraordinary. This is a spoiler free blog except to say that it’s the details of her life as a women that makes this book so fascinating.
It is at times a brutal account of female life: cleaning The Article, evidently an essential part of post-birth kit in the early part of the century, turned her 14 year old stomach and ours as reader also.
Her story has many up’s, down’s, dips and turns and at the same time charts the social history of women and the changes that the 20th century brought too.
Her stories of clothing make for fascinating reading.
By the time she’s in receipt of a widow’s pension in the 1950s she notes that one criteria of the pension is: “I must dress decently.”
This was given to her after the state stepped in and democratised fashion throughout the war years through the CC41 scheme, something that historians talk about benefiting the working classes of Britain more than those with money.
Throughout, Kay describes shopping, clothes, fabric and fashion in a way that reminds me that fashion as we know it these days has such a connotation to consumerism, extravagance and luxury.
There is an accompanying recognition of how, in comparison with ‘then,’ the ‘now’ is easy.
True poverty was part of Kay’s life.
At the turn of the century, her mother made a hearthrug from old bits of coats and trousers. Sometimes she’d “buy a soldiers old red uniform from the ragman that she’d cut into 2 inch strips and it made a splendid splash of colour on the ‘clipped mat’ as it was called.”
But she was an opportunist. She earned pennies on Sunday afternoons in the early 1900’s running errands because “men and woman enjoyed parading the whole length of Queen Street down to the pier and dress was not complete without a rose, gardenia or carnation to wear.”
Luckily her sisters were good needlewomen and helped her mother make a “new dress …in a delicate pink or grey,” so that she could wear it with rag dolled hair in a childhood performance.
She was still using this dress as a costume in 1978, it survived so well over the years.
To us these days, we’d think that it was a rare skill but Kay said that she wasn’t a skilled seamstress – despite this she handmade the outfits for her two daughter’s wedding days in 1941 and 1942.
It took her 16 weeks to prepare for the 1941 wedding: “there was materials to decide upon and purchase for the bride and bridesmaids. My daughter’s choice of wedding ensemble was plain, but choice, taking me exactly 10 weeks to complete.”
She adds detail that describes how precious this was in the horrors of the Hull Blitz:” I dread to think how many occasions I had to dismantle the gown from the hangers and store in numerous travel cases for safety, as air raids occurred.”
In 1942 her second daughter got married quickly, as was the trend at the time. Kay again made a wedding outfit from scratch after her daughter and her decided on “materials, styles and colours”.
By 1949, towards the end of rationing she looked back and recorded her thoughts: “All gowns, including my own, were complete for the great day, were really something, so much that I marvelled at my capabilities of dressmaking and a four tiered wedding cake into the bargain!”
We are left with this description to imagine the clothes she made.
And what of her own wardrobe?
“From the time I reached 15 years, I had saved up enough money to purchase mustard serge to have a costume made.** I purchased this from a shop called Sultans in Great Passage Street, the cost 3 shillings and 6d.
“A girl, apprentice to the trade, who did odd jobs of work on the side, made up the material at a charge of 5- and very nicely too – I felt a proper “swank” in it.”
And of her own wedding in 1915?
“Finances in our household were down to zero..to obtain a bridal gown was out of the question, however, material was purchased at a store Willis and Co, on the corner of Waterhouse and Carr Lane.
“Five yards of pale blue ninon*** at a sale, price 9 3/4 per yard. It cost 4 – 8 1/2 d.
“My eldest sister concocted a dress and jacket for me, and the left over pieces were made into two small head bonnets for the bridesmaids who were arrayed in white.
“My ensemble was made up of a straw hat trimmed with forget-me-nots, and a pair of my younger sisters shoes, I carried a bunch of flowers.”
Kay doesn’t include any photos of these family occasions, choosing instead to show pictures of Hull which are often faded and hard to make out on the page.
They are interspersed with snippets of programmes from performances she took part in or produced, and photos of herself performing in her later years also.
But one photo of her youngest daughter Betty, exists. It is the final photo in the book. Standing in her back garden, she is dancing for her mother as she took the photo.
She is smiling and holding the skirt of her dancing outfit which has the signs of being hand made also.
I’d ordered Life In Hull From Then Till Now, because I’m interested in Hull’s social history through oral history telling. That’s a phrase that means collecting and studying history through listening to people talking about the past.
Kay started to write aged 81 and that’s exactly what oral history is all about – talking about it and writing it all down. It’s part of the method I’m using in researching the House of Mirelle also.
As Kay said: “people always feature in any walk of life, some times fictitious, however every word you are about to read is fact and has needed no research.”
She was absolutely right.
Kay Pearson was a musician, mother and without realising it, a pure social historian of Hull.
© Carrie Henderson 2016
** ‘Costume’ in this context describes a skirt suit.
*** ‘Ninon’ is an artificial fabric similar to Rayon.
All images here are reproduced from the book. Although the publishers are no longer active in Hull, acknowledgement goes out to them for the copyright and to Kay Pearson also.