.jpg)
“‘Take off that stiff girdle,’ your vendeuse orders sternly. ‘You can’t be fitted into that. It makes you into a tube.’” And with that came the 1930s! Just half a decade prior, the tubular look was the cat’s pyjamas, but, per Vogue’s feature “The Figure Then the Frock” in 1931, this new era was all about the glorious female form. The natural curvature the flapper tried so hard to distract from was now a woman’s prize possession.
“Vionnet started it all,” the article continues, “with her dresses that wrap and cling.” If the 1920s birthed a new art-deco movement, the 1930s was the era of the neoclassical. And the woman? She was goddess divine.
Amidst the Great Depression and with the Second World War looming, the democratic ideals of ancient Greece fuelled the escapist arts of the era. In cinema (still black-and-white but now talkies), Jean Harlow, Claudette Colbert, and Joan Crawford pierced the screen with the impact of their silken bias-cut goddess gowns.
In this decade, fashion photography made leaps and bounds. Vogue’s first-ever photographed cover arrived: a sporty image of a bathing beauty in a red suit by Edward Steichen for a 1932 issue.
Find below a breakdown of all these 1930s fashion trends and more.
Fashion Trends of the 1930s
“There is no escaping the present trend,” continues Vogue in the 1931 article “The Figure Then the Frock”. “Clothes are literally moulded to the women’s body.” For the first time in Western fashion history, dresses skimmed a body that wasn’t sheathed in a sculpting base layer. Though the 1930s woman may have used a pliable girdle to smooth things out, this was not your Victorian-esque paper-mâché-stiff waist-snatcher. Bias-cut gowns (dresses draped at the angle of the grain of the textile’s weave) rose to prominence thanks to French couturier Madeleine Vionnet and her sumptuously uncomplex dresses that appeared both Hellenically columnar and curve hugging.
In an article dedicated to Vionnet’s new look in a 1930 issue, titled “The Utter Simplicity of the Vionnet Line”, Vogue waxes poetic on the look that was adopted by every major fashion house at the time: Chanel, Schiaparelli, Lanvin, Mainbocher. “It is of the type first shown by Vionnet on mannequins wearing only a maillot beneath – an effect that is difficult to photograph successfully but that has aroused great interest throughout the fashionable world. Not static like the classic robes of the caryatids, these gowns have rhythm and movement and make the wearer look like a modern Diana or a winged Mercury.”
Backless Silhouettes Ruled
As far as milestones in fashion history go, the backless dress was a new development in the 1930s; never before had women’s bare backs been on such display. Since hemlines returned to the floor, especially for eveningwear, designers had to give the woman a new patch of flesh to flash, and it was her glorious back. Many Vogue articles were dedicated to what, exactly, women were meant to wear beneath these open dresses. But undergarment makers quickly rose to the challenge and devised foundational pieces up to the task. Before she became a renowned photographer, Lee Miller was photographed by George Hoyningen-Huene in Paris in 1930 in an evening gown by Vionnet that revealed all but a tiny T-strap of fabric on her back. The photograph epitomised the backless trend.
Pants Became Popular
In 1936, Vogue partook in the great pant debate in an article titled “What About Pants? Where? When?” It read: “On they go – discussions about where and when women can wear slacks, shorts, culottes.” The consensus? For sport and holiday, the pant was a “smart” choice. Pant proponent Toni Frissell – a Vogue caption writer turned fashion photographer who made a memorable mark capturing women in motion outdoors – often shot women in pants, whether running on the beach or fishing on the coast. Couture pyjama sets for the hostess (within the confines of her home) or linen plus fours at the beach were celebrated for their chicness, but pants at your Upper East Side café for lunch? Not just yet. Designers who offered their takes on pants included Maggy Rouff and Elsa Schiaparelli.
Fashion in Film
MGM costume designer Gilbert Adrian almost single-handedly made the world look to Hollywood for fashion inspiration. Fashion icons were born as Hollywood studios invested in leading ladies and made sure they looked the part in custom fashions. In the superb “Does Hollywood Create?” article in a 1933 issue of Vogue, Nancy Hardin scrutinised how and if fashions emanated from the screen – or were they just copies of Parisian designs? “Only yesterday – Hollywood was a law unto itself. Its fashions were born and remained in Hollywood,” she writes before declaring: “Hollywood is originating fashion. The deity that rules over clothes knows that it was not always thus.”
See the angular shoulders of Greta Garbo’s costumes in 1931’s Mata Hari or the vampy dresses of Marlene Dietrich in 1932’s Shanghai Express. And then, of course, the frothy white organdy gown with ruffled sleeves worn by Joan Crawford in 1932’s Letty Lynton.
“Any list, however incomplete, of Hollywood-born clothes would be silly without mention of the ‘Letty Lynton’ dress,” Hardin continues. “Every little girl, all over the country, within two weeks of the release of Joan Crawford’s picture, felt she would die if she couldn’t have a dress like that.”
Rayon, Nylon, and Zippers
Lest we all forget, the 1930s started off with a disastrous stock-market crash in 1929 – the Roaring Twenties came to a screeching halt. Though fashion tends to walk on the sunny side of the street, there was no escaping the fact that incomes were limited. For those able to participate in fashion, sartorial technological developments helped democratise it – especially the fibre rayon (a cellulose-based fibre invented decades prior but only largely applied in fashion production from the 1930s onward), which was used to create blousy silk-alternative crepe de chines in day dresses and more. Nylon, dubbed artificial silk or art silk, also became a popular alternative choice for silk stockings.
Vogue would feature rayon-based fashions in articles like “Luxuries for the Limited Income” and odes to the practical fibre in “Reign of Rayon”.
Zippers would also be incorporated into high fashion for the very first time. An advert from Lightning Zips and Schiaparelli announced the use of zippers in Schiaparelli’s 1935 autumn/winter collection for a “smooth, swift fastening”.
Surrealism in Fashion
Second to the taste for neoclassicism in fashion was surrealism. Salvador Dalí became a regular contributor, blessing Vogue with otherworldly covers and several fashion illustrations in his signature not-what-it-seems storytelling. His biggest designer collaborator was Elsa Schiaparelli, whose trompe l’oeil Tears dress pattern was designed by none other than Dalí himself in 1938. Then there were others like Christian Bérard and Jean Cocteau. These cheeky fashions received mainstream media attention when, in 1937, Wallis Simpson was photographed by Cecil Beaton wearing a white Schiaparelli dress festooned with a large lobster hand-painted by Dalí.
Vogue’s First Photographed Cover
Though fashion illustration had not fallen out of favour, the 1930s embraced and pushed the limits of fashion photography. Black-and-white photography filled the pages of Vogue since Mr Condé Nast hired Baron Adolph de Meyer as a house photographer in 1913 to shoot portraits of models and aristocrats, and the medium continued to rise in popularity. Photography perfectly captured and promoted the lustre and drape of 1930s fashion, which an illustration could not convey.
In 1923, de Meyer was succeeded by Edward Steichen, who served as chief photographer for both Vogue and Vanity Fair until 1937. Steichen was responsible for the first photographic cover of Vogue in 1932. By the end of the decade, almost every other cover was a photograph. Snaps from Horst P Horst, Man Ray, Cecil Beaton, and Toni Frissell captured the easy elegance of the times.
Top Designers of the Era
Madeleine Vionnet, Elsa Schiaparelli, Coco Chanel, Edward Molyneux, Mainbocher, Jeanne Lanvin, Norman Hartnell, Valentina, Jacques Heim, Marcel Rochas, Alix (later Madame Grès), Maggy Rouff, Lucien Lelong, Robert Piguet, Jean Patou, Augusta Bernard.
In the Culture
The stock market crashed in 1929, then came the Great Depression. Culture-wise, Hollywood films allowed for a much-needed inexpensive escape. Shirley Temple warmed hearts, Fred Astaire and Ginger Rogers made films with dazzling choreography, and Nina Mae McKinney became one of the first Black stars on screen. Meanwhile, in 1936, Edward VII abdicated the throne to wed the American Mrs Wallis Simpson; both became fashion icons, though their reputations were dubious and getting more so as the Second World War approached.
Vogue World: Paris will pair select sports – cycling, gymnastics, tennis, taekwondo, fencing, and break dancing, among others – with French fashion from every decade since 1924. The show will showcase French designers, current and past, as well as houses that historically present their collections in Paris.
For front row tickets, email paris@vogueworld.com.
