Dating old photographs from clothes worn in the 1940s

Lounge suit, Trimmingham (tailors)

Lounge suit
Trimmingham (tailors)
1940
London or Bermuda
Woven wool check (Glen Urquhart or Prince of Wales check)
Museum no. T.717&A-1974
Given by the Duke of Windsor

The lounge suit dominated men's dress from the 1920s onwards. It was worn at events and in places where in previous decades more formal attire would have been required. By 1940s men were wearing lounge suits with a pullover in place of a waistcoat. Pullovers were previously worn for informal and sporting occasions but they gradually became integrated into mainstream fashion.

This suit was worn by HRH The Duke of Windsor. As Prince of Wales he had been crowned King Edward VIII in 1936, but he abdicated the same year and took the title of The Duke of Windsor. The Duke was acknowledged internationally as the leader of men's fashion. He rebelled against the stiff formality of dress and became famous for his casual style. Using the best London and New York tailors, he continued to be adventurous in his love of bright colour, strong texture and bold pattern.

The Duke gave this suit to Sir Cecil Beaton, who was then collecting fashionable dress for his 1971 exhibition, 'Fashion: An Anthology'.

Suit, Utility Scheme

Suit (trousers and jacket)
Utility Scheme
1942
London
Tailored wool
Museum no. T.242-1981

The Utility scheme was devised to share and conserve scarce resources, whilst creating practical and stylistically appealing clothing. With its double-breasted cut, peaked lapels and wide straight-legged trousers, this suit is typical of the period. The breast pocket is stay stitched rather than interlined to economise on fabric. The pocket bags and waistband facings are made in cheap quality cotton. The suit bears the CC41 label, which stands for the Civilian Clothing Act of 1941.

'New Look' jacket, Dior

'New Look' jacket
Christian Dior (1905-57)
1947
Paris
Wool flannel
Museum no. T.109-1982
Given by Mrs Haynes and Mrs Clarke

Christian Dior (1905-57) launched his couture house on 12 February 1947 and became an overnight sensation. His voluptuous first collection featured hand-span waists above enormous skirts. It was christened on the spot by Carmel Snow, editor of American Harper's Bazaar, as the 'New Look', and was the antithesis of masculine wartime fashions.

This jacket demonstrates the exaggerated New Look silhouette. The jacket is moulded into an hourglass shape, which is helped by wads of padding and horsehair around the front of the hips. The shoulders are rounded, the bust full, and the waist tiny.

Day dress, Utility Scheme

Day dress
Edward Molyneux (1891-1974, designer) for the Utility Scheme
1942
London
Rayon crepe, with matching composition buttons
Museum no. T.57-1942
Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing

This day dress is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. It may have been designed by Edward Molyneux. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. Then, both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

When offering this day dress to the Museum in August 1942, Sir Thomas Barlow explained that it conformed 'in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'.

Suit, Utility Scheme

Single-breasted suit
Utility Scheme
1945
London
Woven wool with vertical pin-stripe
Museum no. T.304&A-1982

This is a good example of a Utility suit. During the Second World War both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of fashion designers to be inventive without wasting precious fabric, there was a very limited choice.

The Utility Scheme was introduced by the Board of Trade in 1941 to ensure that low and medium quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and the rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

Suit, Utility Scheme

Suit (jacket and skirt)
Victor Stiebel (1907-76, designer), for the Utility Scheme
1942
London
Flecked wool
Museum no. T.46&A-1942
Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing

This is a good example of a Utility Suit. It is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. It may have been designed by Victor Stiebel. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. Then, both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

The bloused jacket with square, padded shoulders closely resembles the battledress top of an army uniform. It is Board of Trade pattern no. 33, and the retailers' maxiumum selling price for the suit in 13/13 1/2 oz woollen frieze was £4 2s 2d.

Cocktail dress, Dior

'Maxim' cocktail dress
Christian Dior (1905-57)
1947
Paris
Silk velvet and wool, with ribbed silk petticoat, and zip and buttons
Museum no. T.116toB-1974
Worn and given by Evangeline Bruce

The spring 1947 collection of Christian Dior (1905-1957) caused a sensation and was christened 'The New Look' by Carmel Snow of Harper's Bazaar. Dior offered the glamour and romance of full skirts and nipped-in waists to women who were tired of utilitarian clothes with boxy silhouettes, mannish square shoulders and practical short skirts. This intricately cut afternoon dress of black wool, named 'Maxim's', was worn with a black tulle cartwheel hat, long black gloves and simple black court shoes. To emphasise the bust, a large silk velvet bow was set into the low, square neckline and the waist was compressed by a cummerbund-style lower bodice. A heavy ribbed silk petticoat supports and defines the skirt. The dress fastens with a zip down the back .

Suit and coat, Utility Scheme

Suit (jacket and skirt) and coat
Worth London (designer) for the Incorporated Society of London Fashion Designers (collection), for the Utility Scheme
1942
London
Scottish woollen tweed
Museum no. T.42&A-1942
Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing

This is a good example of a Utility Suit. It is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. Then, both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

When offering this jacket and skirt to the Museum in August 1942, Sir Thomas Barlow explained that 'they conform in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'.

Suit, Hardy Amies

Suit (skirt and jacket)
Hardy Amies (1909-2003)
1947
London
Tailored worsted
Museum no. T.38&A-1966
Given by Mrs Benita Armstrong

This curvaceous suit has the small waist and wide, padded hips inspired by Christian Dior's instantly popular 1947 'New Look' collection. Though, the square shoulders recall earlier styles and show that this lady may have resisted a complete change in style. 

Hardy Amies skilfully overcame the continuing shortages and regulations governing the availability and use of materials in the early post-war period. This superbly tailored double-breasted jacket has a nipped-in waist and pockets with deep flaps which curve over and accentuate the hips. The long bias-cut skirt has soft pleats at the front right and the back left, which creates a flattering garment that also economises on fabric.

Pair of shoes, Shaftesbury Shoes Ltd

Pair of shoes
Shaftesbury Shoes Ltd (manufacturers)
1940s
Great Britain
Plaited leather straps, leather-covered platform sole with circular inset layers and leather-covered heel
Museum no. T.33&A-1988
Given by Mrs M. Bagel

This pair of shoes is typical of the mid 1940s, during which time it was fashionable to wear tall platform shoes.  Because of war-time shortages, the platform soles were often made out of cork.  In keeping with the fashion for height, hair was worn piled high on top of the head, and clothing was narrow with exaggerated padded shoulder.

Suit, Lachasse

Suit
Lachasse
1948-9
London
Wool, silk crepe de chine, and silk jersey
Museum no. T.214-1976
Worn by Mrs Ralph Dent and given by Mrs M. Webster

This suit is typical of the 1940s post-war 'New Look'.  The skirt is straight and slightly below the knee in length, while the jacket features a nipped in waist, padded hips, and sloping shoulders inspired by Christian Dior's 'New Look' collection of 1947, which moved fashion away from the boxy, military look of the war years.

A meticulously tailored but perfectly plain suit is transformed by carefully engineered details. The focus on this jacket is the double-flared panels which draw attention to the hips. The long straight skirt has a central block of kick pleats at the back, which allow ease of movement. The suit is completed by a matching turban-style hat in claret and black, and a hand-embroidered silk blouse in delicate blue-grey.

Housedress, Utility Scheme

Housedress
Utility Scheme
1942
London
Printed cotton
Museum no. T.55-1979
Given by Miss Pennie Smith

In 1942, the British Government established the Utility Scheme to ration materials and regulate the production of civilian clothing during the war.  Utility Scheme clothes bear a printed stamp reading 'CC41', an abbreviation of the Civilian Clothing Act of 1941.

This overall, or housedress, was designed to Utility standards. It has no more than two pockets, five buttons, six seams, 160 inches of stitching and no superfluous decoration. It is made of a floral printed fabric, an area of textile production in which Britain has long excelled.  It is typical of the 1940s, when shoulder pads and full puffed sleeves were fashionable.  Skirts were typically narrow, giving dresses a rather top-heavy look.

Afternoon dress, Molyneux

Afternoon dress
Edward Molyneux (1891-1974)
1946
London
Silk crepe, with buttons
Museum no. T.92-1982
Worn by Mrs Opal Holt and given by Mrs D. M. Haynes and Mrs M. Clark

A black afternoon dress with a good label was both a chic choice and a sensible one. Edward Molyneux (1891-1974) could be relied on to provide streamlined distinction. This dress has a schoolmistress-like authority and propriety; its covered-up look features a demure high neck, long sleeves and a safe, calf-length skirt. However, Molyneux transformed it into a little black dress with attitude by cutting the matt crepe to skim sensuously over the body's curves and by introducing pleats at salient points. A wide sash arranged in folds below the waist emphasised the slenderness of the wearer. The dress buttons down the back.

Design for an evening dress, Marjorie Field

Design for an evening dress
Field Rhoades (Marjorie Field)
1940s
London
Pencil and bodycolour on paper
Museum no. E.479-2005
Given by Paul Williamson

This is a fashion design depicting a woman in an ice-blue evening dress, designed by Marjorie Field in the 1940s for the haute couture firm Field Rhoades of 77, South Audley Street, London. The dress is typical of the mid to late 1940s, when full skirts and padded or paniered hips were very fashionable. This style was fashionable into the early 1950s, but the hairstyle marks it out as a particularly 1940s model. Here the hair is shown piled high, in curls, on top of the head. In the 1950s hair was worn in chignons towards the back of the head or at the nape of the neck, or cropped short in a gamine style.

The design is signed with the firm's name and probably would have been used as a presentation drawing, for the client to decide which model they wanted to have made. The design is titled 'Model: "Mazurka" ', and a small area of text in pencil describes the colour and fabric of the dress: 'Ice-blue slipper satin braided in white.'

Design for a suit, Marjorie Field

Design for a suit
Field Rhoades Ltd (Marjorie Field)
1940s
London
Pencil and bodycolour on paper
Museum no. E.476-2005
Given by Paul Williamson

This is a fashion design for a day suit, designed by Marjorie Field in the 1940s for the couture firm Field Rhoades of London. It depicts a typical mid 1940s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt. The woman wears her hair piled fashionably high on top of her head.

The design would probably have been used as a presentation drawing, for clients to decide which model they wanted to have made.

Shoe, designer unknown

Shoe
Designer unknown
1940s
England
Leather, punched and stitched
Museum no. T.21&A-1983

This is a pair of men's brogue shoes, made of leather. The traditional brogue employs circles and dots born along the lines of the shoe's construction, emphasising the stitching, and as a prominent field pattern on the toecap.

Dress, Utility Scheme

Dress
Charles Creed (1909-66, designer), for the Utility Scheme
1942
London
Rayon crepe, with buttons
Museum no. T.60-1942
Given by the President of the Board of Trade

In 1942 the British Board of Trade commissioned ten members of the recently formed Incorporated Society of London Designers to create a collection of regulation day wear under the auspices of the Utility scheme, an austerity measure introduced by the Board of Trade during the Second World War, when clothes were rationed. Smart yet practical, this shirtwaister - a kind of tailored shirt-dress - was the only black garment in the designer Utility collection.

The rayon crepe dress has all the characteristics of wartime clothing - broad shoulders (shaped by heavy flock pads), a skirt length just below the knee and a square silhouette, but it also has also eye-catching details, such as bold lapels and a roomy pocket set diagonally on the left hip.

Evening dress, Schiaparelli

Evening dress
Elsa Schiaparelli, (1890-1973)
1940, Paris
Black silk crepe, embroidered with pearls, sequins and metallic strip, and fastened with a plastic zip
Museum no. T.48-1965
Worn and given by the designer

Elsa Schiaparelli (1890-1973) enjoyed the enormous publicity that her more bizarre creations generated, but her less provocative designs rarely caused a furore and have been somewhat neglected. She often referred to her simple black dresses and their versatility, and regularly wore black herself. Schiaparelli gave this dress to the V&A after her retirement.

Here she composed a short-sleeved dress in matt black crepe. The extremely simple, fluid shape is relieved by a slashed neckline and a bold embroidered spray of lilies (by the specialist embroidery company Lesage) in various sizes of pearls, sequins and metallic strip. The dress fastens with a black plastic zip on the left-hand side.

Suit, Utility Scheme

Suit (jacket and skirt)
Digby Morton (1906-83, designer), for the Utility Scheme
1942
London
Grey herringbone wool, fastened with metal buttons, trimmed with a grosgrain bow
Museum no. T.45 to B-1942
Given by the Board of Trade

The buttons on this tailored ensemble bear a wartime message. They are stamped with the Utility symbol CC41, which stands for Civilian Clothing and 1941. The Utility Scheme was introduced in 1941 to ensure that consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label. Reginald Schipp designed the symbol. He was asked to disguise the 'CC' so that the public would not recognise the letters as such. This stylised motif became known as 'the cheeses' and was also printed on to clothing labels.

The Board of Trade commissioned the design for this jacket, skirt and blouse from the Incorporated Society of London Fashion Designers. It was one of 32 stylish yet economical outfits intended for general production. In October 1942 Vogue magazine published the following description of the collection: 'All the designs are, of course, within the New Austerity specifications: only so many buttons, this much cuff and that much skirt...but they are an object lesson in the power of pure style over mere elegance'.

Although the designers of individual pieces were not publicised, this suit has Digby Morton's initials inked on a paper tag. The label also identified it as 'No 16 Original DM 92/10' with a maximum price tag of just under £5.00. There is a Morton label inside the blouse, making it one of only two Utility prototype garments labelled by the original designer. The other piece is a Bianca Mosca blouse.

Suit, Utility Scheme

Suit
Edward Molyneux (1891-1974, designer), for the Utility Scheme
1942
London
Tailored tweed check
Museum no. T.43-1942
Given by the Board of Trade, through Sir Thomas Barlow, Director-General of Civilian Clothing

This is a good example of a Utility Suit. It is from the Utility Collection by the Incorporated Society of London Fashion Designers for the Board of Trade. The simplification and economy of material match the conditions laid down by the Board in relation to the manufacture of civilian clothing during the Second World War of 1939-1945. Then, both hand-crafted and mass-produced tailoring was as important as it is today. But, despite the best efforts of the fashion designers to be inventive without wasting precious fabric, there was a very limited choice. The Utility Scheme was introduced by the Board in 1941 to ensure that low- and medium-quality consumer goods were produced to the highest possible standards at 'reasonable' prices. These standards complied with restrictions and rationing of raw materials. The word 'Utility' was applied to garments made from Utility cloth, which was defined in terms of minimum weight and fibre content per yard. Utility clothes were usually identified by a distinctive double crescent CC41 (Civilian Clothing) label.

When offering this jacket and skirt to the Museum in August 1942, Sir Thomas Barlow explained that 'they conform in simplification and economy of material to the conditions laid down by the Board of Trade in relation to the manufacture of civilian clothing'.

Design for a suit, Marjorie Field

Design for a suit
Field Rhoades Ltd (Marjorie Field)
1940s
London
Pencil and bodycolour on paper
Museum no. E.477-2005
Given by Paul Williamson

This is a fashion design for a black suit, designed by Marjorie Field in the 1940s for the couture firm Field Rhoades of London. It depicts a typical mid 1940s day suit, with very wide shoulder, a nipped in waist and a straight, knee-length skirt.

The design is signed with the name of the firm, and would probably have been used as a presentation drawing, for clients to decide which model they wanted to have made.