Hollywood Goes to War, 1930–1946

Evening Wear in Louisiana, 1896–1996

Online Exhibitions


The flapper dress of the 1920s gave way to the glamorous, sensuous look of the 1930s. The big-band swing era provided a perfect backdrop for dresses that clung to the body above the hips and draped in graceful folds below. Hemlines fell and the backless evening gown gained immense popularity. In 1930 the fashion writer for the chic magazine New Orleanian recommended a $25 metallic cloth dress with Grecian lines as "very apropos for the young matron" at a Carnival ball. During the decade, Hollywood began to influence fashion. Joan Crawford's 1932 role in Letty Lynton helped narrow hips.

During World War II, the War Production Board sought to conserve fabric. Its L-85 order prohibited full skirts and knife pleats, while another order limited the use of lace and embroidery. Despite these restrictions, American designers came into their own due to the loss of communication with the French during the Nazi occupation.

The 1930s

The primary influence on the fashionable shape of the 1930s was the bias-cut dress introduced by renowned French designer Madeleine Vionnet. Dress construction and fabric emphasized the female shape, creating a streamlined effect in keeping with the Art Deco aesthetic of the period. Fabrics were draped to create soft necklines and deep backs. Evening clothes became more distinct from day wear; long gowns for women and tuxedos or tails for men were common attire for nightclubs. Fred Astaire and Ginger Rogers were paragons of style. As American designers such as Hattie Carnegie and Adele Simpson gained prominence during World War II, the silhouette became more curvaceous with a closely fitted bodice and waist.

 

Evening dress and capelet, Kay Selig, ca. 1945. Gift of Mrs. Sidney J. Besthoff, Jr., Worn by the donor's daughter. Louisiana State Museum 1971.044.11a-b.  Tuxedo, Kahn Tailoring Co., Indianapolis, ca. 1945. Gift of Mrs. Sue Turner, Worn by Louis C. Wilbert, the donor's brother. Louisiana State Museums 1994.022.2a-b.
Evening dress and capelet
Kay Selig, ca. 1945
Gift of Mrs. Sidney J. Besthoff, Jr.
Worn by the donor's daughter
Louisiana State Museum 1971.044.11a-b

The gathered skirt and accentuated waist of this velvet dress is an early form of the "New Look" adopted after World War II. The detachable capelet gave the wearer the option of going strapless, a mode first introduced by Paris-based American designer Mainbocher in 1934.

Tuxedo
Kahn Tailoring Co., Indianapolis, ca. 1945
Gift of Mrs. Sue Turner
Worn by Louis C. Wilbert, the donor's brother
Louisiana State Museums 1994.022.2a-b

Midnight blue was introduced as an alternative color for formal menswear in the early 1930s, as it was felt to look better under electric lights. Although the double-breasted jacket had been worn for a few years, it became increasingly popular in the 1940s.

Evening gown, Unknown maker, ca. 1930. Gift of the Museum of the City of New York. Louisiana State Museums 1957.052.
Evening gown,
Unknown maker, ca. 1930
Gift of the Museum of the City of New York
Louisiana State Museums 1957.052

Gabrielle "Coco" Chanel introduced the "little black dress" almost fifteen years before this dress was made, turning it into a staple of every fashionable woman's wardrobe. The Depression led to greatly subdued expressions in fashion, and black became a popular color for ladies' evening wear. This gown is an example of the complex panel construction seen in the work of such renowned couturiers as Jean Patou, Madeleine Vionnet and Jacques Heim.
Evening gown, Saks Fifth Avenue Salon Moderne, New York, ca. 1936. Gift of Mrs. Prentiss E. Furlow, Worn by the donor's aunt, Mrs. J. K. Findlay, of Shreveport, LA. Louisiana State Museums 1965.011.1a-c.
Evening gown
Saks Fifth Avenue Salon Moderne, New York, ca. 1936
Gift of Mrs. Prentiss E. Furlow
Worn by the donor's aunt, Mrs. J. K. Findlay, of Shreveport, LA
Louisiana State Museums 1965.011.1a-c

Chiffon was often used to create elegantly draped gowns that typified evening wear in the 1930s. The bias cut of this dress allows the fabric to fall vertically. Note the natural shape of the waist as compared to the cinched form at the beginning of the century. The deep V-shaped back is also characteristic of evening gowns of this period. The ornamental overstitching at the neckline and belt provide structural support as well as ornamentation.


Browse Eras

Evening Wear in Louisiana, 1896–1996
Online Exhibition

The Belle Epoque, 1896–1919

The Belle Epoque, 1895–1919

The Jazz Age, 1920–1930

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Hollywood Goes to War, 1930–1946

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The Modern Century, 1946–1964

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