First, here is some historical context. After the bombshell revelation of the Zimmerman Telegram on March 1, 1917, in which “German Foreign Minister Arthur Zimmermann promise[d] the return of Texas, New Mexico and Arizona to Mexico as reward for siding with Germany if the U.S. enters the war,” Americans increasingly became pro-war. Then, the breaking point occurred. Exactly a month later, a German U-boat torpedoed an American cargo ship, the S.S. Aztec, in British waters. The next day, April 2, 1917, President Woodrow Wilson addressed a Joint Session of Congress, and called for action to make the world “safe for democracy” (we’ll come back to this phrase later). Wilson’s address likely inspired one of the earliest Abe Martin cartoons about America’s impending involvement in World War I. In the April 2, 1917 issue of the Indianapolis News, Hubbard’s Abe Martin quipped: “What’s become o’ the ole-fashioned patriotic citizen who used t’ say, ‘Well, I didn’t vote for him, but he’s my President jist th’ same’? Actions speak louder’n flags.” Hubbard, through Martin, is expressing an earnest, trusting patriotism that became a common theme for his cartoons during the war.
Congress declared war on Germany four days after Wilson’s address. For the next two and half years, Hubbard’s Abe Martin routinely commented on the war and its influence on the home front. As an example, Hubbard promoted an essential war-time product in his columns, the Liberty Bond. Liberty Bonds were the brainchild of William G. McAdoo, President Wilson’s Secretary of the Treasury, and facilitated a revenue stream for the federal government to finance the war. Within his cartoons, Hubbard encouraged purchasing Liberty Bonds and connected them to patriotism. In a cartoon from May 30, 1917, Hubbard opined that “Talkin’ big an’ flyin’ a flag from your radiator cap won’t keep an army goin’. Buy a Liberty loan bond!” The very next day, the News ran an advertisement for Liberty Bonds, available for purchase from the Fletcher American National Bank, with Hubbard’s passionate call the day before. A year later, another mention of Liberty Bonds emerges in Hubbard’s column. “One o’ th’ best returns from a Liberty bond is an eased conscience,” declared the humorist through his down home alter-ego, Abe Martin.
Hubbard also criticized what he saw as empty forms of patriotism through his Abe Martin cartoons. “Patriotism,” wrote the cartoonist, “that don’t git below th’ neckband, don’t help much t’ win th’ war.” Patriotism in wartime, in Hubbard’s eyes, also manifested itself through sacrifice. “It begins t’ look like we’d all have t’ wait till [former Secretary of State William Jennings] Bryan is President before git our hair cut,” Hubbard penned. Bryan left his post at the State department in 1915 over objections with Wilson’s pro-British support in the Lusitania’s sinking. Conversely, Wilson’s response also led to growing antagonism toward Germany. Hubbard is implicitly saying that until a peace-candidate like Bryan won the presidency and the war came to a close, consumer luxuries like haircuts must be jettisoned. In another cartoon from May 2, 1917, Hubbard wrote that, “It begins t’ look like even th’ feller that kin whittle out a wooden chain will be made t’ feel th’ war.”
While liberty loans, patriotism, and sacrifice exemplified the home font, other developments were not as positive. During the war, a growing cadre of teachers, legislators, and citizens advocated against the teaching of German in Indianapolis public school system. This movement sought to undermine the culture of the state’s substantial German-American community. Many Hoosiers viewed German-Americans as disloyal, unpatriotic, or anti-American because of their ancestry, and their continued use of the German language. On May 3, 1918, Hubbard wryly commented on the situation via Abe Martin: “Now that they’ve taken German out o’ th’ schools let’s take Latin out of the seed catalogs,” mocking the taxonomic descriptions of plants. Despite his strong support for America during the war, Hubbard’s subtle critique of removing German language instruction from the schools showed his commitment to cultural diversity and his rejection the crass chauvinism of its opponents. For the benefit of . By 1919, despite Hubbard and others’ criticism, Indiana legislators (led by future Governor Warren McCray) crafted and passed legislation that eliminated the teaching of German in all Indiana schools. As a result, German language instruction, with a few exceptions, disappeared from Indiana’s schools.
Hubbard’s cartoons received national recognition from former Indiana governor, vice president, and jokester in his own right, Thomas Marshall. The News reported on December 19, 1917 that Marshall wrote to Hubbard and noted his precarious position as Vice President:
Dear Kin Hubbard—Not the least among your many admirable qualities is your memory of the needs of a Vice president [sic] to be cheered upon his lonely way. He is supposed not to talk, but the right chuckle is guaranteed to him. As a chucker in the laughter rib you never miss.
Despite Marshall’s kind words, Hubbard nonetheless continued his appraisals of American involvement in the war with Abe Martin as his proxy. In an April 12 1918 cartoon, Hubbard wrote that “if the United States would jest wake up an’ take t’ th’ war like it t’ belted overcoats an’ high shoes we’d git on faster.” Another column from May 28, 1918 encouraged leaders to “wait till we win th’ war an’ we’ll all have a banquet.” That doesn’t mean he was unwilling to rhetorically rough up the enemy. A May 2, 1918 piece noted how “th’ only time th’ kaiser’s [sic] six sons ever git in th’ front line is when somebuddy comes along with a camera.”
In the fall of 1918, Hubbard’s Abe Martin Publishing Company released a compendium of Abe Martin cartoons and musings under the title, On the War and Other Musings. Multiple ads for the book ran in the News, particularly during the holiday season. “Hundreds of Abe Martin’s inimitable paragraph’s touching on everything under the sun from sassafras to world peace,” read an ad from December 2, 1918. It was also fairly easy to purchase to book. For the low price of $1.06 ($15.71 in today’s dollars), readers could have their copy shipped to them as long as they were within 200 miles of Indianapolis. It’d be “return to sender” if the postage was farther.
Kin Hubbard’s “Abe Martin” earned him the respect of his readers, political leaders, and the broader general public. His cartoons during World War I showed a commitment to his community, his country, and his craft. Hubbard, through Abe Martin, gave readers a Midwestern, “crackerbarrel” embodiment of the home front: rustic, altruistic, and patriotic. While certainly idealized, Hubbard’s art represented a commonplace, earnest notion of America during the war.
“Bathing Beach,” postcard, 1904, Winona Lake Postcard Collection, Grace College & Theological Seminary, Morgan Library, accessed Indiana Memory.
Bathing suits and policing decency have often been a topic of discussion and contention, as noted in a previous Chronicles post. However, while looking through reels of newspapers from 1916-17, we became intrigued by the affect of World War One on the loosening of gendered fashion restrictions, especially as exemplified by the bathing suit. Here we look through articles, illustrations, photographs, and advertisements at the ways Hoosier women reacted to trends in the context of WWI when bathing suits had become shorter and sleeveless, but fabrics were still thick and heavy, a holdover from an older era.
“Mermaids at Brighton” by William Heath (1795 – 1840), c. 1829, in Emily Spivack, “How Bathing Suits Went From Two-pieces to Long Gowns and Back, Smithsonian Magazine.
The Victorian bathing gowns of the previous century were floor-length and made of dark heavy fabric that wouldn’t float up or become transparent. According to the Smithsonian Magazine, some women even sewed lead weights into the hems to prevent exposure of the calf. By the early 1900s bathing costumes became knee-length dresses or tunics and were paired with bloomers or tights, “all of which were made from heavy, flannel or wool fabric that would weigh down the wearer, not quite convenient for negotiation the surf,” according to the same article.
“Bathers at Bass Lake,” photograph, circa 1900, Starke County Historical Society, accessed Indiana Memory.
World War One changed fashion dramatically in large part because women’s roles changed in wartime as they took on physical jobs such as factory and farm work, in addition to nursing. Manufacturing jobs also made shorter hair more practical and the corset impossible. Gendered fashion rules relaxed in general to the point where it was even acceptable for women to wear pants for manual labor activities — though it would be decades before they were acceptable beyond certain activities, according to Nina Edwards’ Dressed for War: Uniform, Civilian Clothing & Trappings, 1914 to 1918.
“Female employees of the Jeffersonville Quartermaster Depot, New Albany, Ind.” photograph, circa 1918, New Albany – Floyd County Public Library, accessed Indiana Memory.
The rules of decorum were also relaxing in the world of sports as women took up tennis, skiing, and swimming in greater numbers. Pants were allowed on the tennis court and slopes. While bathing suits generally maintained their dress-like appearance for the average beach goer, athletic and competitive swimmers opted for suits that didn’t impede their sport. These swimsuits that allowed for actual swimming eventually infiltrated the mass market as well.
“Amateur Acrobats Performing on Bass Lake,” postcard, circa 1910, Starke County Historical Society, accessed Indiana Memory.
“Frances Owen and Marium Mueller Dressed in Bathing Suits, New Harmony, IN,” glass plate negative, 1925, University of Southern Indiana, accessed Indiana Memory.
These images accessed through Indiana Memory show how Hoosier women, following the general bathing suit trends, shifted from dresses layered over tights or bloomers to more formfitting tunics.
Hoosier women found out about these trends and where to purchase their beach attire through newspaper articles and advertisements. Indiana newspapers regularly ran illustrated articles about the newest fashions from the east coast beaches, such as this snippet from the Richmond Palladium Sun-Telegram:
Richmond Palladium and Sun-Telegram, June 7, 1916, 8.
Articles could be more extensive as well, taking up almost an entire page such as this 1917 article from the South Bend News-Times with the intriguing headline:
The article notes the relationship between sportswear trends and swim wear:
South Bend News, June 17, 1917, 23, accessed Hoosier State Chronicles.
This season sees the bathing suits carrying out the same colorful note that predominates in all sports clothes and in materials there is also a similarity, namely, in the use of one of the most favored of fabrics — wool jersey. This versatile material seems to make itself at home in any sphere. After having made its importance felt in sports clothes, one-piece frocks and semi-informal suits, the bathing suit has been lately added to its conquests.
The article continues to describe and illustrate the season’s other popular fabrics:
South Bend News, June 17, 1917, 23, accessed Hoosier State Chronicles.
Yet, other materials compare very favorably with jersey cloth at the fashionable beaches. Black satin has lost none of its usual charms; taffeta, mohair, alpaca and poplin still retain their popularity; and the rubberized cloths are likewise favored to a great extent.
In the summer of 1917, the Lion Store in Hammond, Indiana, encouraged its neighbors to “spend Sunday in the cool, refreshing waters of Lake Michigan” through this advertisement in the Hammond Times [below]. And what is more cool and refreshing on the skin than dark-colored wool? The women’s “All-Wool Bathing Suits” were available with a fitted waist, wing sleeves, and “piping and trimmings in contrasting colors” for the low price of $3.98. However, one would still need the appropriate matching rubber “Swim Kap” ($.50) and “Beach of Swim Shoes, made of sateen with canvas covered soles” ($.25). For just a bit more, however, one could purchase one of “The New ‘Liberty’ Swim Caps, made of all rubber, red crow, blue band with white stars, finished with rubber rosette. As the South Bend News-Times reported:
A complete bathing outfit by no means ends with the selection of the suit. Beach wraps, hats and caps, shoes and stockings, are quite as important.
Hammond Times, August 3, 1917, p. 3, accessed Hoosier State Chronicles.
Also in the summer of 1917, the nearby competing department store, the E. C. Minas Company, advertised that they could beat the Lion Store’s prices! As advertised also in the Hammond Times, some of their suits were only $2.00 and they offered Bathing Tights. Bathing tights were usually dark in color and meant to compensate for the shorter hemlines and sleeveless styles of the era’s new suits. They could be worn instead of the looser bloomers. If you weren’t quite ready for such a propriety-challenging costume, however, they also offered the “bathing corset.”
Hammond Times, July 2, 1917, 10, Hoosier State Chronicles.
E. C. Minas also had the gentleman bather covered. They could choose between the “all-worsted,” aka wool, one-piece suit pictured in this advertisement in the Hammond Times [also below] or a two-piece version with flannel pants. The straw hat was a must as well, apparently.
Hammond Times, July 2, 1917 p. 10, Hoosier State Chronicles.
Besides loosening rules for women (and to a lesser extent) men to keep pace with changes in work and sport, the war changed the outlook of those affected by it and, in turn, the way they dressed. The horrors of war and personal loss contributed to a greater consciousness mortality and feeling that anything could happen at any time. For some, this meant that they should live for today and in the moment, thus setting the stage for the fashions and attitudes of the Jazz Age, when fashion would “decree” much different aesthetic rules. Search Hoosier State Chronicles for more articles on bathing suits! Combine terms “beach” and “bathing” with “suit,” “outfit,” and “costume.” Let us know what you find on Twitter: @in_bureau
On Valentine’s Day, we thought it would be a great time to share a different side of Indiana culture during the tumultuous years of World War I, in the form of valentine cartoons. John T. McCutcheon was one of Indiana’s most celebrated cartoonists from the era, and his “wartime valentines” help us understand how the home front viewed this integral time in world history.
John T. McCutcheon was a Pulitzer-Prize winning cartoonist for the Chicago Tribune, where he worked for 43 years. Born in South Raub, Tippecanoe County, Indiana on May 6, 1870, McCutcheon grew up “in the rural areas surrounding Lafayette.” He attended Purdue University where he was “a founding member of the University’s first fraternity, Sigma Chi” and the “co-editor of the University’s first yearbook, the Debris.” After graduating college in 1889, he worked as a cartoonist for the Chicago Morning News andRecord-Herald until he moved to the Tribune in 1903. His artistic style mirrored his experiences growing up the Midwest; he developed a character called “A Boy in Springtime” who would appear in front-page pieces having small-town fun with friends and his dog (the dog first appeared in a William McKinley presidential campaign cartoon, and became much beloved by readers). As R. C. Harvey of the Comics Journal noted, McCutcheon’s cartoons were “the first to throw the slow ball in cartooning, to draw the human interest picture that was not produced to change votes or to amend morals but solely to amuse or to sympathize.”
Paralleling his more personable cartoons, McCutcheon partnered with another Hoosier author, George Ade, to create a series of valentines for charity during World War I. The idea originated from the Indianapolis Branch of the American Fund for French Wounded and its contributors were a who’s who of Indiana arts, including Ade and McCutcheon as well as Meredith Nicholson, Kin Hubbard, and William Herschell. As reported in the South Bend News-Times on January 28, 1918, “Prominent Indiana artists and authors this year have been making comic valentines . . . and are guaranteed by those who have seen them to send grins and cheer to soldiers at home and abroad.” The article also outlined the American Fund for French Wounded, noting that “the proceeds will go for furthering the work in France among wounded soldiers and destitute families, which is the committee looking after the funds is carrying on.” Ads even ran in the Indianapolis News to promote the Valentines, published by Charles Mayer & Company, once they were available.
The first valentine in the digital collection, entitled “From Her Mother”, shows a concerned mother writing to a “Mr. Soldier Man” while a variant of McCutcheon’s iconic dog looks on in the background. The photos on and above the desk in the cartoon are important to context, as the photos of the mother’s daughter and her soldier beau face each other longingly, while a portrait of the mother sternly oversees over both of the photos. In the cartoon, the mother’s letter reads:
Mr. Soldier Man.
Dear Sir:
I can not send what my daughter wrote,
It might set fire to the darned old boat.
Yours truly,
– The Night Watch.
The mother’s face shows a concern not only for her daughter’s overly passionate words. McCutcheon’s style of strong lines and warm, humane features also comes through in this valentine.
George Ade and John T. McCutcheon, “Her Choice This Year.” IMCPL/Digital Indy.
Another great valentine in the collection entitled, “Her Choice This Year”, ties the romantic love normally associated with Valentine’s Day with love of country. Ade’s poem reads:
Columbia wants you to know,
That you’re her particular beau.
She’s likewise “particular.” So
That’s why you’ve been picked as her beau.
The young woman, aptly named Columbia, holds the hand of her uniformed soldier as he looks at her lovingly. She’s also dressed in a shirt and skirt of the red, white, and blue with a pair of roman sandals. And of course, McCutcheon’s iconic dog looks up at them in the foreground. This valentine exhibits the strong patriotic fervor during the period, but in a charming, homespun way.
George Ade and John T. McCutcheon, “Some One Has Not Forgotten.” IMCPL/Digital Indy.
The next valentine captures a woman’s longing for her partner who is off at war. Named “Some One Has Not Forgotten,” it depicts a young woman knitting in a chair while thinking of her partner trekking across Europe in a snowstorm. Here’s Ade’s text with the valentine:
My heart to-day
Is far away
Across the rolling brine.
So while I sit
And knit and knit
You’re still my valentine.
This depiction of men and women evokes a more traditional assumption of gender during the period than say “Columbia” and her beau above. The woman’s thoughts of her partner, floating above her head and colorless, attempt to convey the arduous and grim task of war. In contrast, McCutcheon’s drawing of the young woman is clear and with beautiful coloring. Ade and McCutcheon’s valentine cleverly renders the feelings of many young women while their partners were at war.
The final valentine in the digital collection is called, “To You Somewhere,” and it depicts one of Valentine’s Day’s most enduring symbols, Cupid. In this version, a nude Cupid braves the cold weather to deliver a valentine to a soldier in the snow. The message reads:
I don’t know just where you are to-day,
I don’t know how many miles away;
Whether you’re out where the bullets fly,
Or safe and sounds at the good old “Y.” [Y.M.C.A]
I have no message from o’er the sea
To let me know that you think of me,
But I’ll make an oath and my name I’ll sign,
That you are my only Valentine.
The soldier’s delight at receiving the message from a saluting cupid is evident. He even has his gun down and his hands up, perhaps in surprise that the symbol of love is in a war zone, or perhaps the soldier is in the act of accepting the valentine from Cupid. Of the four digitized valentines, this is the only one without a female main subject, despite the text being from the soldier’s love. It shows the perspective of the soldier receiving a valentine, rather than a woman creating or imagining one.
