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Book Review: Fashion On The Ration – Julie Summers
On the back sleeve of Fashion On The Ration, Downton Abbey creator Julian Fellowes says: ‘I would not have thought a book could make me nostalgic for rationing, but Julie Summers has managed it. A marvellous read.’
From the perspective of the now, when vintage fashion is so popular and generations have been born with no direct experience of the war, it is easy to look at the fashion of this era with rose tinted spectacles.
This was a time of men in going to war, women in being called up or working in the jobs men left behind and children being evacuated.
All this happened alongside the clear and present danger of Nazi Germany finalising their advance through Europe and capturing Great Britain also.
For those not in the know, fashion rationing was a means by which central government controlled every aspect of clothes design, production, manufacture and purchase during the war years.
It was also a time of great invention. Rationing was balanced by the other central initiative – Austerity or the CC41 scheme.
Via Austerity the war years raised standards of clothes production, included famous couturiers in design and controlled prices of clothing. This ensured that quality clothes were available for all.
Summers has tackled what is an enormous subject with enough of a light touch to make it a genuinely pleasurable read – a page turner in fact.
This is an incredible achievement as the story does include its context; it was time of world conflict, danger, loss of life and huge change in the British economic, personal and cultural landscape.
That context is told in linear way throughout each of the chapters in the book. It explains how war was ongoing for many years and fashion was affected also – it wasn’t a one-off thing.
It very successfully avoids the style of stout academic texts; clothes rationing and Austerity were big ideas executed with an attention to detail from the British government that boggles the mind of even the most fervent fashion historian.
Once you delve into the detail of Limitation of Supply Orders (LIMOSO’s), for instance, you are faced with a complex wall of bureaucracy that launched a thousand letters in newspapers, confusion in shoppers minds and real personal hardship.
I was hoping that aspect to the story of clothes rationing would be tackled in a way that was interesting to read and I wasn’t disappointed.
That information is there but woven into the overall story as to make the pace quick and the depth of information delivered even quicker.
The pleasure of reading this book belies how detailed and well researched Fashion On The Ration is.
Summers has included the information that academics will need; explaining the dates that clothes rationing ceased, quoting from Mass Observation accounts and giving the fashion export figures for the war years also, but she’s written it in a way that non-academics will find enjoyable.
Quotes from the people experiencing fashion during rationing speak to the acceptance, gripes and frustration in making do and mend or not having enough rationing coupons to buy essential clothing and footwear.
Descriptions of how uniform changed fashion and designers solved problems with Austerity regulations also speaks to the creative limitations of the time.
Towards the end of the book the end of rationing and resurgance of Paris as the fashion capital of the world is told in a way that emphasises the before-and-after impact of the war and explains its lasting change.
After WW2, the US fashion scene asserted itself on the international stage and this is not forgotten – it points the reader forwards to the changes in the fashion scene that took place during the 1950s and beyond.
If you missed this exhibition, you won’t feel left out in reading the book. The illustrations and photographs are limited within it but you can do your own research and find examples readily.
Summers has very successfully balanced why fashion rationing was an extraordinary and unique period in British fashion history with the historical fact also.
Putting down the book I felt I’d lived through some of those years alongside the people quoted and reflected on why it resonates in our thinking even now.
Summers does not tackle that question explicitly but the book in its entirety explains why its reach and influence on fashion has lasted for years to come.
With the plaintive wail of air raid sirens in the air, half of the British workforce in uniform and the impact of rationing, the 1940s had a stark divide between fashion during World War 2 and fashion after the war ended.
In 1939 when the war broke out, women were wearing what we’d regard today as ultra feminine outfits – wearing trousers was frowned on and not yet accepted widely – it took the war to change that view.
In 1939 skirts were worn at knee length and dresses with fitted bodices and pretty sleeves were all the rage. Fabric was in abundance and the influence of the new synthetics like rayon and rayon silk was everywhere.
Every woman accessorised with a hat and gloves. Shoes were mid height with fancy patterns and colours, designed to be as attractive as the rest of her clothes. Young women dressed in pared down versions of clothes from their mother’s generation.
Women strove to wear outfits, not items. Women of a certain class had to factor in dressing for different occasions also. These women changed into different clothes for dinner, if they were having afternoon tea with friends or if they were going out to a restaurant, for instance.
The wealthy fashion conscious British woman did this because it was right, it was proper and it was expected.
In London the Savoy restaurant had a dress code for evening; women’s gowns had to be floor-length to gain entry. Despite the restrictions of the war, the elite found that Britain continued dressing to this expectation, keeping a stiff upper lip in the face of wartime austerity.
It was the good manners and social rules prior to the war that created a fashion industry revolving around the famous British social norms of what should be worn and when.
These were the social rules that gave The House Of Mirelle a wealthy clientele in Hull who could commission and afford the clothing that the fashion House created.
Pre-war: how women bought clothes
The average women bought mass produced clothes from catalogues, local stores or made them at home. Paper patterns were widely available, as were sewing machines that often permanently sat in the corners of living rooms draped with items in various stages of creation.
Sewing skills amongst women was considered as important as knowing how to cook and were used regularly.
It was usual for those with very little money to rework clothing, patching and mending. Hand-me-down’s were passed from person to person to get the most wear from them.
Only the wealthy could afford to have their clothes made for them by dressmakers, tailors or seamstresses.
The very wealthy like the British royal family, upper classes or those on the debutante circuit could afford clothes designed and made by couturiers – a French term loosely meaning “sewers.”
Couture meant exceptional service. It was hands-on, expensive and labour intensive. It meant that clothes were designed, cut and made to fit your specific measurements by expert craftspeople. Expense wasn’t spared and outfits cost a lot of money.
At the outbreak of war, buying couture was a concern for the upper classes, one that the average person might know something about but not have direct contact with.
Clothing had been rationed in World War 1 and it was a terribly unpopular move. When Winston Churchill became British PM, he didn’t want to do the same again.
The influence of Parisian fashion and couture
Up to the war, Paris ruled the western world’s fashion industry. It was considered the most innovative and cutting edge in terms of technique and design. Paris set the styles and shapes and the world always followed.
Then war broke out in Europe. Within a year Paris, the center of fashion and couture, fell to the Nazi’s. The industry and its influence on fashion temporarily eradicated as a result.
It fast became apparent to the manufacturers of clothing and the government that there were problems with sourcing materials and selling clothing as they had done pre-war.
Although Great Britain was an island nation and to a limited extent was self sufficient in terms of materials and manufacture, the fall of Europe created problems with the scope of design, supply and manufacture of clothing.
At the start of war, UK textile and clothing manufacturing was a healthy industry with many factories operating across the country – particularly in the North. Clothes factories and British couturiers like Hardy Amies often used locally sourced and woven fabrics such as British wool and cotton. However there was also a necessary market for imported cloth or textiles from outside the UK.
Long established trade routes no longer existed due to the Nazi blockade of Europe, silks were unavailable due to the same destruction of trade routes with China and Japan.
Shortage of materials, problems on the horizon
The government saw problems on the horizon.
Problem 1 – you can’t make clothing without textiles.
Problem 2 – those very same factories and the personnel in them were needed for the war effort.
Very soon after the war began the import textile market was suffering from the global crisis. The influence of Paris had also crumbled and the lack of spare cash in the pockets of the everyday person meant the fashion economy was heading for a crash.
In 1939, writing for Mass Observation in the first months after war was announced, Pam Ashford from Glasgow said:” Miss Bousie bought a battery in a tailor’s shop. It is the only thing they are doing. No one wants clothes.” The rich were still able to afford their clothing, but the poor could not.
Something had to be done.
Clothes rationing came into being in June 1941 by an act of parliament called the Limitation of Cloth Supplies and Apparel Order. It wasn’t the only commodity that was controlled by the government but in our thinking, the CC41 scheme relates strongly with the fashions of the war era.
The scheme was called CC41, it started in 1941 – hence its name and design found on the Utility labels from the time. Some people think that the ‘CC’ in CC41 stands for “Controlled Commodity,” however this isn’t accurate and it has come about my misreporting of the time.
The idea behind CC41 was to control the fabrics, the designs and the manufacturing processes used to produce clothes.
Clothing designed under CC41 rules was called ‘Utility Clothing’ by the British government.
The Utility Scheme directly influenced clothes rationing. It was a way by which designers and customers could survive the limited supply of materials and protect what was needed for production in the war effort.
There was another element to the Utility scheme, however. Churchill expressed a view that he specifically wanted to avoid the British public being dressed in: “rags and tatters.“ He saw it as patriotic to remain as well turned out as possible with clothing enhancing the morale of women and men during war.
The two cheeses
The CC41 logo designed by Reginald Shipp is affectionately known as The Two Cheeses. When it was introduced, clothing ration books hadn’t been printed and people used spare margarine coupons to buy their clothes instead.
By freeing up fabrics and materials and the factories that made them, it focused more resources on the war effort and kept fashion standards for everyone in Britain too. Historians argue that Utility clothing changed fashion, democratising quality clothing for all.
The government devised a set of penalties and incentives for manufacturers to support the initiative.
Manufacturers who made 85% Utility Designs were then allowed to make the rest of their items in non-utility cloth but the 15% of these “other” designs still had to follow the same restrictions and regulations. Non Utility clothing was taxed heavily, regarded as luxury items.
Times were hard and people railed against the restrictions that rationing created. The government asked British Pathe to help inform the public about the new rules.
People watched these films in cinemas which were hugely popular – the time of having a television in the home was a speck on the future sight line of mass entertainment.
CC41 – an enduring legacy
CC41 and Utility Clothing has become iconic and legendary and its influence has been felt throughout the fashion industry. A CC41 label indicates that it is a valuable and historic item of clothing.
In 1942 regulations were tightened by the introduction of The Making Of Civilian Clothing (Restriction Orders) but relaxed at the end of the war where a new “double lines” Utility label emerged to indicate that the fabric used was of a higher quality than that found in clothes with the CC41 label or Utility designs.
The double lines label indicated that it was a more luxurious item than earlier items. Frocks could use a better quality of fabric and be designed with more flair.
The public felt that the frivolities of fashion may be heading back into the public consciousness again.
In reality, it was a long way off.
In this You Tube video, Imperial War Museum curator Laura Clouting talks about the Fashion On The Ration exhibition, 2015:
Fashion rationing didn’t end in Britain until 1949 long after the end of the war, but the legacy was felt deeply. It was in this period that the powerful idea of making quality fashions accessible to all was born and from it, women’s fashions changed permanently.