MAGAZINE

April 2015

DENIM NOT JUST WORKING WEAR

MAGAZINE

The overalls, From the Swedish workwear brand “Melka” 1940s

Hi. This magazine is for the Parsons School of Design Design Studion Spring 2014 Proj-ect, which is designed, edited, published by Hyemin Summer Park. Sophomore year in Parsons Fahion Design BFA pro-gram. She created the magazine, which is inspired by 1940s’ fashion. The writer developed the subject in to working wear collections, and specified the concept. How culture effected fashin style at that time, how people were wearing garments for certian purposes, utility, showing so-cial status, new technology, etc. I would like to show how 1940s fashion became developed in to my 2015 collection, and which specific elements were added in to the project. Magazine Inc. 2015. April

PROLO GUE HyeMin created the magazine, which is in-

spired by 1940s’ fashion. The writer developed

the subject in to working wear collections, and

specified the concept. This shows the process

of how she transforemed her first inspiration

of womens wear into menswear collections.

During the research, As kept looking for the

resources and images, more brilliant ideas are

coming out, as background information is be-

ing stacked. Following researches narrowed

writer’s idea in to denim and workwear, which

has have a deep relationships since 1900s. This

magazine narrates her first inspirations, re-

search resources, process, and final collections

with supplemental detail cuts. Hope you enjoy!

U.S. AT WAR

U.S. AT WAR The end of the Second World War marked the beginning of a new era, not only for the United States, but also the entire world. In America, the end of the war was met with much celebration and hope for the future, even as the threat of conflict with the Soviet Union loomed like a dark cloud. The imme-diate postwar era was a time of uncertainty. Emerging from World War II as a victorious superpower, America’s future appeared bright, even as complex geopolitical concerns spilled over into everyday life, affecting society at its most basic levels. Prosperity and social conservatism came to define the early post-war era, amid Cold War-related anxiety. Thousands of young American men had spent years away from their wives and girlfriends because of World War II. You can imagine the joy they experienced upon being reunited. Not surprisingly, marriage rates soared in the postwar era. With the war over and the promise of American prosperity on the horizon, many couples decided this was the ideal time to begin a family, and an unusually high number of children were born. This trend is called the ‘baby-boom’. The ‘baby-boom’ lasted between 1946-1964. People born between during this time are now commonly called ‘baby-boomers.’With the dramatic increase in new families, suburbs emerged as a popular place to live. These pre-fabricated homes placed just outside city limits became all the rage. One of the most famous examples of the postwar idealized suburb was Levittown, New York. In many ways, the early postwar era was a socially conservative time. Gender roles for men and women were more often than not traditional and very clearly defined. When World War II ended, many women who had worked in factories during the war returned to home and the domestic way of life. The feminism so characteristic of the 1920s to early 1940s was noticeably lacking throughout the 1950s. While there were exceptions, and while we must be careful about over-generalizing, the traditional nuclear family as typified in the popular television show ‘Leave it to Beaver’ was very much the cultural norm. During the Second World War Paris produced restrained clothing to match the economic atmosphere. The general wartime scene was one of drab-ness and uniformity, continuing well after the war finished in 1945. There was an austere atmosphere and people were encouraged to ‘make do and mend.’Uniforms were seen at all civilian social occasions from cinemas, weddings, restaurants to gala events. It was impossible to go anywhere without being aware of war as uniformed men and women in auxiliary services were an every-day fact.

War is a contagion, whether it declared or undeclared

HER, TROUSER GOING ON

Lauren Bacall, the tough-talking

femme fatale who taught Hum-

phrey Bogart how to whistle,

died on Tuesday at the age of 89,

according to a statement from

Bogart’s estate.

“With deep sorrow, yet with great

gratitude for her amazing life, we

confirm the passing of Lauren Ba-

call,” read the brief but elegant

line, posted to Twitter with a

picture of Bacall accepting an

honorary Oscar in 2009.

Born Betty Joan Perske in New

York, Bacall initially worked as

an usherette and a Vogue model

before moving to Hollywood at

the age of 19. Director Howard

Hawks paid her $125 a week for

what would prove to be her break-

through role in the 1944 thriller

To Have and Have Not. “You know

how to whistle, don’t you?” she

purred at co-star Humphrey Bogart.

“You just put your lips together and

blow.”

She leaves behind a legacy of style

and glamor: those seductive cat

eyes, that sultry swagger, that voice.

Called “The Look,” for the way she

gazed at her future husband, Hum-

phrey Bogart, in her debut film To

Have and Have Not, Bacall certainly

had “the look” in spades—and not

just on screen. Her style was simply,

effortlessly glamorous—silk blouses,

blazers, pencil skirts, sharply creased

trousers—and continues to inspire

today.

“ I THINK YOUR WHOLE LIFE SHOWS IN YOUR FACE

AND YOU SHOULD BE PROUD OF THAT.”

Before the 1940s, women simply did not wear pants as a normal part of their wardrobe. It wasn’t until wom-en began working in factories, doing traditionally men’s work, that safety reasons required women to start wearing pants. At first they just had to make do with wearing men’s pants but with a growing all-women workforce in the early 1940’s pants had to be designed for women. Pants were much easier to work in than a skirt or dress, especially in manufacturing jobs, where skirts could get caught in machinery and sitting in them proved to be less than modest. At first, pants were only publicity worn while working, but as the ’40s wore on women began to wear pants as everyday attire for home and public day-wear. These were usually made of blue denim or heavyweight cotton canvas in brown, tan or blue. The coveralls buttoned down the front middle to get in and out of and were loose-fitting throughout. They often had breast pockets to keep pens and small tools in. They either featured a bib front, much like today’s over-alls, or two suspender like straps that held up the pants which were called pinafore style pants.

Left Katherine Hapburn 1940s Trouser.

MENs IN 40sAs the Great Depression came to an end and war descended on

Europe, fashion for both men and women was dictated by economics more strongly than it had been during the first world

war and the 1930s.

“Everyone needed

practical, sturdy clothing, and no

one wanted to be accused of a lack of patriotism by wearing some-

thing too flashy”

Even today you can see shades of the suits that were popular in mid to late 1940s. During the war, civilian men generally wore plain, functional suits in solid, plain colors like navy or black, with plain white shirts, and very little embellishments. After the war ended, the working man could go to the office in the elegant suits usually associated with the 1940s emerged. The most notable new design was the Esquire jacket which featured a loose fit and broad shoulders com-mon in many men’s suits today. Men also wore double-breasted jackets that featured center vests and peaked lapels. Single-breasted suits with notched lapels also emerged post-war. Men favored wide, short ties in Windsor’s knots that came in colorful patterns and accessorized with decorative tie pins. No fashion trend dominated more after the war than the casual shirt. Hawaiian shirts escaped their roots from the shores of California beaches, and expanded to men all over the country in the 40s. Men’s dress suits also became liberated after the war, as single-breasted jackets with pronounced shoulders, three buttons and notched lapels were all the rage for office and formal menswear. While drab conformity would define much of men’s fashion in the 1950s, younger men were adopting sportswear for daytime or after work.

GLOURIOUS DENIM ERA

Women’s pants of the 1940s were not exactly figure-flattering. The design was basically the same as for a man’s pant, tailored and not meant for the female form. Pants sat at the natural waistline, well above the belly button. They were tight around the waist, with a wide waistband of about 2 inches. A thin leather belt was often worn in the middle of the wide waistband. From there they had straight, wide legs that fit very loose-ly around the body. A single pressed line down the front was common, just like on men’s trousers. Pant legs were usually un-cuffed with large slit pockets on the sides only. Extra large pockets often called Kangaroo pockets, appeared on some trousers. The size of the pocket meant women could put more things in them quickly and have their hands free to carry children to safety or hold tools on the job. A multitasking women in the 1940s was more important than fashion. They were made of wool blends, cotton denim, cotton twill, wool flannel, gabardine, cotton corduroy and seersucker in colors of black, blues, greys and browns. Some later 40’s pants came in wide stripes, plaids and checks such as the hound-stooth pants Marilyn Monore is wearing. Unlike men’s trousers which button up the front fly, women’s pants were fixed at the sides with several buttons and in the late 1940’s with a side zipper. The reason for this was that a front fly on women was seen as too “manly” too “vulgar” for a woman. Since women were already buttoning up skirts and dresses on the side making pants do the same was no issue.

More Americans were waking up to denim.. However, denim was not some newfangled wartime invention; American teenagers began

wearing jeans, but it was W.W. II that created a market for women’s jeans the course of American sportswear was forever altered.

“ Few items of a man’s ward-robe are as essential as a pair of jeans. This series offers up style tips and history lessons

about America’s greatest contribution to the world of

fashion. ”

Jeans fulfilled a different perceieved need for each each decade from the 1940s on. In the 1870s through the 1940s Jeans were originally intended for the poor/middle working class to use as a pair of working pants that would be du-rable and washable. There was a short-age of of good working pants and jeans filled this need during the the times when most Americans were working very hard for very little.

RightVisvim Indigo washed

Denim Jacket details

ㅍ

Logos in 1940s were highly rec-ogniable with vivid colors and bold typography, which allowed people to be reaweakened and encouraged. Since the two wars, and economic depressions, people needed to get revitalized. It was interesting to look all adorable pin-up styled logos and slogan in 1940s, with vintage fonts, and layouts.

LOOK3DENIM JUMPSUIT WITH PLEATED POCKETS ON THE CHEST, WITH EXPOSED SHAPED PATCH POCKETS

LOOK1DENIM JACKET WITH STITCHED PLEATS AND PATCHWORKS ON ARMDETACHABLE SUSPEND-ERS

LOOK2OVERSIZED PLEATEDDENIM JACKET WITH PATCHWORK DENIM JEANS

LOOK4DENIM JUMPSUIT WITH OVERLAPPED SHORTS AND SUSPENDERS, WITH SOME PATCHWORKS

LOOK5 JUMPSUIT WITH JACKET LAPELLED DETAIL, PATCH-WORKS AT THE BOTTOM

LOOK6WOMEN’S DENIM JUMPSUIT, WITH GUNFLAP JACKET DETAILS, SUSPENDER, PATCH POCKETS

LOOK7DENIM WORKEAR JUMPSUIT

LOOK 8DUNGAREES STYLE PLEATED TROUSERSDENIM BLOUSE SHIRTWOVEN LONG COLOR CUTOUT COAT

LOOK 9STRIPE SHIRTS PATCHWORK DENIM JEANSWOOL COAT WITH ATTACHED SUSPENDER

LOOK10CASUAL LONG WOOL COATSHIRT WITH NAVY&RED SWEATERPATCHWORK DENIM TROUSERS

- http://www.fashion-era.com/utility_clothing.htm

- www.elle.com/fashion/celebrity-style/news/g7906/photos-lauren-ba-

call-best-fashion-looks/

- http://www.vintagedancer.com/1940s/womens-1940s-pants-styles/

- http://mens-fashion.lovetoknow.com/Mens_Fashion_in_the_1940%27s

-http://bluejeans.umwblogs.org/bibliography/