To What Extent did the Great Depression and its Subsequent Economic Stagnation Affect Haute

To What Extent did the Great Depression and its Subsequent Economic Stagnation Affect Haute Couture, a Style of Custom, Fitted Clothing Usually Worn by the Wealthy? Meher Pandher 002904 0128 May 2014 Exam Session IB World History SL Instructor: Mr. Ross Word Count: 1,886

A: Plan of Investigation To what extent did the Great Depression and economic stagnation affect haute couture, a style of custom, fitted clothing usually worn by the wealthy? The issue at hand is the contribution of monetary problems and popular disinterest to the coveted clothing lines as it relates to the context of the 1920s 1930s. The essay evaluates how the faltering economy changed the way women were portrayed in fashion culture, and how the change in atmosphere from the impending war altered the common perception of femininity. The Historical Dictionary of the Fashion Industry written by Francesca Sterlacci and Joanne Arbuckle and Producing Fashion: Commerce, Culture, and Consumers by Regina Lee Blaszczyk are two of many sources that are employed to evaluate the origins, purposes, values, and limitations of the investigation and put into perspective the thoughts and motives behind those who bought and sold haute couture. The examination of haute couture sales, styles, and markets will be used to decipher its popularity with different social groups in the time following World War I. This topic is historically significant because the style of clothing reflects the changing concept of femininity as it transformed in the stressful economic environments. B: Summary of Evidence Great Depression as Main Contributing Factor Haute couture styles were often copied before and during World War II to make cheaper 1 knockoffs. As international market for counterfeit haute couture expanded, people sold models, designs, and instructions for construction of clothing unscrupulously. 2 1 (Baltimore: John Hopkins University Press, 2008), 118 119 2 Stewart, 119 Often, as people became desperate to scrape as much money as possible, these designs fell into the wrong hands and were eventually copied illegally.

3 Dress styles became loose fitting with straight cuts to emulate the tone of the upcoming WWII. Between 1929 and 1933, maximum price of afternoon dresses dropped from 4,200 francs to 2,000 4 francs. 5 Couture houses went out of business after the Wall Street Crash. During the Great Depression and War years, there was talk about France losing its position as the haute couture center. 6 Before the Great Depression, haute couture accounted for almost 15% of French exports. After the economic crisis, it accounted for less than 0.5%. 7 Paris and haute couture lost it s foreign clientele in 1930s. 8 American purchases of Haute Couture products from France fell 64% between 1930 and 1931. 9 The U.S. Smoot Hawley Tariff Act was enacted in 1931 and imposed a 90% ad valorem tax on imported garments decorated with embroidery, tulle, spangles, or lace. 10 European countries responded to the Smoot Hawley Tariff by raising their own tariffs. 11 In 1942, American garment manufacturers invested heavily in New York s fashion industry over 3 Stewart, 119 These simplistic styles were very easy to copy and make knockoffs of. 4 (Baltimore: John Hopkins University Press, 2008), 85 5 IBID Examples include Premet, Cheruit, Doueillet, Doucet, Nicole Groult, and Phillipe and Gaston. 6 Marie France Pochna, Christian Dior: The Man who Made the World Look New (New York: Arcade Publishing, 1996), 106 Carmel Snow, editor of noted magazines, said in her memoirs that During the war there was a lot of loose talk to the effect that Paris was finished as the center of fashion. 7 Gilles Lipovetsky, Empire de L éphémère (New Jersey: Princeton University Press, 2002), 11 8 Pochna, 83 Haute couture was mainly run off business from foreign markets. 9 Stewart, 84 10 Regina Lee Blaszyczyk, Producing Fashion: Commerce, Culture, and Consumers (Pennsylvania: University of Pennsylvania Press, 2011), 72 The tariff discouraged importation of French luxury garments in USA in an effort to keep American economy afloat. 11 Blaszyczyk, 73 This enabled a tariff war that promptly halted international trade of luxury garments.

12 Paris s as part of a larger attempt to re stimulate America s economy. American designers started simulating their own, separate styles and trends. 13 14 Fabric was the main building block of the couture business. 15 From 1930 to 1932, the number of silk fabric companies going out of business doubled. Expensive cloth was rationed and everyday clothing was used for functional purposes only. 16 Synthetic fibers made high end couture fashion available to a large variety of buyers. 17 In 1931, Chanel introduced a poor style into its set of designs because it was no longer popular to dress rich. 18 Haute couture s full skirts and corsets were no longer as coveted. 19 Haute couture was became unable to keep up with adapting changes in style after the Great Depression as women began to lead more emancipated lives and preferred elegant, but affordable 20 clothing. 12 Pochna, 83 It was incredibly difficult for the couture designers to compete with the streamlined manufacturing processes, assembly lines, a huge range of colors and design combinations, [and] standard sizing for every figure, as Pochna states. 13 Francesca Strelacci and Joanne Arbuckle, Historical Dictionary of the Fashion Industry (Maryland: Scarecrow Press, 2007), 45 Wealthy Americans could no longer look towards Paris during the Depression because of the impending war, so they started establishing new styles that were in tune with the American casual lifestyle. They were radically different from the traditional haute couture wear because they focused more on sportswear. 14 Lourdes Font, Dior before Dior. Chicago Journals 18 (2011): 35 Dior said that With the same idea and the same fabric, a dress can be a success or it can be a complete failure, according to whether or not one has known how to direct the natural movement of the textile. 15 (Baltimore: John Hopkins University Press, 2008), 87 16 Melissa Lee, Haute Couture, Fashion in the 20th Century, http://www.tufts.edu/~mlee21/couture.html (24 December 2013). 17 Strelacci and Arbuckle, 44. Examples of synthetic fibers include rayon, acetate, and latex. 18 Gilles Lipovetsky, Empire de L éphémère (New Jersey: Princeton University Press, 2002), 59. It was disapproved of to dress luxuriously during the Great Depression (not in bon ton or good taste). 19 Lee, http://www.tufts.edu/~mlee21/couture.html Haute couture styles were not as desierable because the emotional and economic consequences of World War I and the Great Depression were making androgynous dressing more popular. 20 Elisabetta Merlo and Francesca Polese, Turning Fashion into Business: The Emergence of Milan as an International Fashion Hub. The Business History Review 80 (2006): 420

Decline was due to Other Factors 21 Textiles were patented but haute couture designs were not. Unlike French law, American law did not recognize dress design as covered by copyrighted 22 legislation. World War II required many designers, like Christian Dior, to leave their jobs for mobilization. 23 24 Nazis tried to move entire business of haute couture to Berlin and Vienna. Couture Industry did not Decline 25 Haute couture was consistently recognized by brand. Christian Dior, a renowned haute couture designer, was selling to 17 couture houses in 1937. 26 Dior felt that haute couture still had a market, despite the general feeling that the industry was being overrun by people with big money made illegally. 27 Haute couture sales quintupled from 1941 to 1943. 28 C: Evaluation of Sources 21 (Baltimore: John Hopkins University Press, 2008), 122 Couture designs were rarely ever original, and instead a combination or alteration of existing designs, therefore patent laws did not cover the designs. This also left couture open to counterfeit 22 Tag Gronberg, review of Couture Culture: A Study in Modern Art and Fashion, by Nancy J. Troy. Design Issues 20 (2004): 89 23 Lourdes Font, Dior before Dior. Chicago Journals 18 (2011): 35 This was one contributing reason why Dior produced so few lines of new designs. 24 Elisabetta Merlo and Francesca Polese, Turning Fashion into Business: The Emergence of Milan as an International Fashion Hub. The Business History Review 80 (2006): 418 25 Stewart, 122 It always was a symbol of style, class and elegance, and was meant to appeal to only the elite, rich society 26 Font, 36 27 Marie France Pochna, Christian Dior: The Man who Made the World Look New (New York: Arcade Publishing, 1996), 115 28 Pochna, 79 Clients were said not to miss a single show. This was after World War II and the brunt of the Great Depression.

Blaszczyk, Regina Lee. Producing fashion: commerce, culture, and consumers. Philadelphia: University of Pennsylvania Press, 2008. This book is an example of a secondary source that outlines the history of fashion from various perspectives and questions the origins of different fashion trends. Blaszczyk has a PhD in Innovative Histories and joined the School of History as the Chair in the History of Business and Society. Blaszczyk wrote the book to examine how the role of business and commerce affected the international fashion system by looking at examples of the impact of economic situations in Europe and North America on the global fashion industry. This work was utilized in the paper because it provided an important viewpoint that addressed how couture responded to the upcoming Depression and the mimicry of clothing designs by portraying its clothes with a high culture, refined image. The source is limited because it focuses solely on economic factors of fashion trends, such as marketing and licensing trends, and fails to take into account other possible reasons for the decline of haute couture. Sterlacci, Francesca, and Joanne Arbuckle. Historical dictionary of the fashion industry. Lanham, Md.: Scarecrow Press, 2008. The Historical Dictionary of the Fashion Industry is another secondary source that evaluates all historical aspects of the fashion business. Sterlacci and Arbuckle are both noted New York City based fashion designers and Joanne Arbuckle is the dean of the Fashion Institute of Technology. This book examines the origins and history of this multi billion dollar industry through a multitude of cross referenced entries and essays. The entries play an important role in this essay because they offer a different viewpoint that claims that there were still many prolific designers that profited during the Great Depression. It also states that, unlike what Blaszczyk claims, the Great Depression and the increased

focused on American fashion actually lead to the production of an American version of couture. Although the authors agree that many couture houses were closed during the 1920s 30s, the source emphasizes that haute couture did not decline; it merely changed its style to match the time period. This source is limited in the sense that it covers a wide range of topics in fashion, and therefore does not give a detailed account of the topic of interest: haute couture. D: Analysis Haute Couture was a faltering style during the rough economic times of the Great Depression for many reasons. First and foremost, the style of women s dress changed to accommodate straight cuts that 29 reflected the mood of the post World War I time period. Haute couture was previously associated with exorbitant amounts of lace, embroidery, and other luxuries, but with the onset of the war, taste began to change. Women looked down on those who flaunted their wealth by buying gaudy clothes, 30 31 and so haute couture came out with new lines of clothing that emulated a simpler, looser fit style. Although this 32 style was chic and classy, it was also easier to make knockoffs. Women who did not have the money to necessarily buy the original haute couture brands had the opportunity to replicate the design with household materials. Since haute couture was and is based on the concept of exclusivity where only the elite few were able to buy and wear its clothes, this new influx of women now readily able to copy their styles left a huge blemish on the haute couture name. Similarly, after World War I came the production of synthetic fibers like latex and rayon so that 33 more clothing could be produced at a cheaper rate. The innovation of synthetic fibers helped clothe 29 (Baltimore: John Hopkins University Press, 2008), 119 30 Gilles Lipovetsky, Empire de L éphémère (New Jersey: Princeton University Press, 2002), 59 31 Stewart, 304 32 Stewart, 119 33 Francesca Strelacci and Joanne Arbuckle, Historical Dictionary of the Fashion Industry (Maryland: Scarecrow Press, 2007), 44

34 many more people, but also caused the steady decrease of the silk industry. Soon, there was less of a demand for silk and other luxury materials and a larger demand for synthetic fibers as the clientele demanded less costly material. Haute couture was having a hard time catching up with the sudden shift of 35 desire in the women as they began to look for new styles in their clothing. Since good quality fabric is 36 the main component of good quality haute couture, the shift to man made, less elite fabrics diminished the reputation and culture of haute couture. The transition in fabric made the Parisian style increasingly mainstream, curtailing its exclusionary reputation. Trade rules that were direct results of the Great Depression also played a large role in haute couture s sudden recession. The United States ordered taxes on all luxuries, increasing the rate of haute 37 couture clothing by a significant amount. As a response to these trade laws, other countries also raised their tariffs, resulting in a stagnant trading ground. 38 Because many countries refused to engage in trade in order to contain all work inside their borders to boost their own economy, haute couture lost much of its foreign clientele. Since this escalation in rate deterred many American buyers, American designers used this opportunity to create their own fashion hub in New York City. 39 Paris s and haute couture s prestigious notoriety was slowly losing influence as other cities developed their own fashion bubbles. Although these points all argue that haute couture suffered grievously during the Great Depression, there are some sources that state otherwise. Despite the fact that haute couture no longer had its previous rich, elite clientele, it had new customers. Those who made money on the black market soon 34 (Baltimore: John Hopkins University Press, 2008), 87 35 Elisabetta Merlo and Francesca Polese, Turning Fashion into Business: The Emergence of Milan as an International Fashion Hub. The Business History Review 80 (2006): 420 36 Lourdes Font, Dior before Dior. Chicago Journals 18 (2011): 35 37 Regina Lee Blaszyczyk, Producing Fashion: Commerce, Culture, and Consumers (Pennsylvania: University of Pennsylvania Press, 2011), 72 38 Blaszyczyk, 73 39 Marie France Pochna, Christian Dior: The Man who Made the World Look New (New York: Arcade Publishing, 1996), 83

40 became able to afford the elect clothing they were refused before. Additionally, all aspects of the world wide economy were impacted after World War I, and it can be said that haute couture was just hit a little harder because it was considered an unnecessary luxury. However, unlike some fashion trends that disappeared forever after the end of the Great Depression, haute couture came back with a vengeance after Christian Dior introduced a new line of clothing called The New Look that revolutionized the style 41 of haute couture and revived it from its slump. The New Look brushed away all the frugal, utilitarian styles present during the Great Depression and brought fashion to a new stage. Christian Dior was an important catalyst of postwar fashion who revived French luxury industries by creating dress styles that lauded luxury, abundance, and the fortunes of French Haute Couture. E: Conclusion Haute couture suffered a series of economic ups and downs, yet in the end it managed to come out on top. The Great Depression was a period of economic downfall in which nearly every company and person suffered greatly. Haute couture was no different. Haute couture was impacted more heavily than others because it catered solely to those with money to spare, and in the depression there was no money to spare, it suffered alongside every other business. The haute couture industry was affected by changing consumer demand, and the inability of factors like the silk business to keep up ahead of the economic downfall. Despite its drawbacks, haute couture recovered from its slump by reviving itself with Christian Dior s New Look, sparking an era of new fashion and design. Dior was one of the catalysts who redefined haute couture to match the time period and bring back brand names. This signifies that haute couture did not experience a permanent downfall, as indicated by the research question, but rather a momentary decline in sales and popularity as the fashion trend shifted elsewhere during the frugal periods of the Great 40 Marie France Pochna, Christian Dior: The Man who Made the World Look New (New York: Arcade Publishing, 1996), 115 41 Lourdes Font, Dior before Dior. Chicago Journals 18 (2011): 36

Depression. Total Word Count : 1,886 F: Sources and Word Limit Blaszyczyk, Regina Lee. Producing Fashion: Commerce, Culture, and Consumers. Pennsylvania: University of Pennsylvania Press, 2011. Font, Lourdes. Dior before Dior. Chicago Journals 18 (2011): 26 48 Gronberg, Tag. Review of Couture Culture: A Study in Modern Art and Fashion, by Nancy J. Troy. Design Issues 20 (2004): 88 90 Lee, Melissa. Haute Couture. Fashion in the 20th Century, http://www.tufts.edu/~mlee21/couture.htm (24 December 2013). Lipovetsky, Gilles. Empire de L éphémère. New Jersey: Princeton University Press, 2002. Merlo, Elisabetta, and Polese, Francesca. Turning Fashion into Business: The Emergence of Milan as an International Fashion Hub. The Business History Review 80 (2006): 415 447 Pochna, Marie France. Christian Dior: The Man who Made the World Look New. New York: Arcade Publishing, 1996. Steward, Mary Lynn. Dressing Modern Frenchwomen: Marketing Haute Couture, 1919 1939. Baltimore: John Hopkins University Press, 2008. Strelacci, Francesca and Arbuckle, Joanne. Historical Dictionary of the Fashion Industry. Maryland: Scarecrow Press, 2007.