“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
During his 50 year career, Norman Norell crafted beautiful costumes, worked under war-time limitations, resisted pressure to substitute quality for quantity, and worked to bring the NYC fashion houses on Seventh Avenue on par with those of Paris. During his time in the industry, Norell managed to escape the pomp and circumstance of New York City and is remembered for leading a simple, “moral” life in the often cutthroat world of high-class fashion design.
Norman Norell was born Norman David Levinson on April 20, 1900 in Noblesville, Indiana. His father, Harry, owned and operated a men’s clothing store in the town and this is undoubtedly where he developed an eye for fashion. Harry soon opened a men’s hat store in Indianapolis, and in 1905 moved the family to the city once the business experienced success. Norman completed high school in Indianapolis then moved to New York to begin his fashion education at Parsons Institute. At 19, he began attending the Pratt Institute, where he studied drawing and fashion illustration. It was here that he combined the first syllable of his first name with the “l” sound of the beginning of his last name and adopted the name Norell.
Gloria Swanson in “Zaza.” Norman Norell designed the costumes for Swanson in this 1939 silent film. Photo courtesy of “Glorious Gloria Swanson.”
His early years in the fashion industry were spent designing costumes. He designed for a variety of projects, including silent film, burlesque, vaudeville, and nightclub acts. Norell costumed Rudolph Valentino in The Sainted Devil and Gloria Swanson in Zaza, but soon shifted his focus to women’s apparel. In 1928 he began a 12 year stint working for Hattie Carnegie. While a “fierce perfectionist . . . brilliant in her own way,” her process was considered fairly unoriginal – she bought pieces from Parisian couturiers, pulled them apart in New York, and turned them into more affordable clothes for her American clientele. Original or not, working with Carnegie gave Norell invaluable experience by visiting the Paris fashion houses and allowed him to fully understand the construction of women’s clothing. After a falling out with Carnegie over his designs for the Broadway production Lady in the Dark, Norell left and joined forces with Anthony Traina to form Traina-Norell in 1941.
Although he was a salaried employee of Traina, Norell was the designer of the company and as such was making waves in the fashion world. Bonwit Teller said of the new fashion house in the October 1941 edition of VOGUE, “The House of Traina-Norell comes on the season like an electrical storm. Its designer, young Mr. Norell, creates a collection so alive that everyone’s talking.” Just two months after that article ran, the United States’ entry into World War II changed nearly every industry in America, including fashion.
Cover of January 1942 edition of VOGUE. This, their first issue after US entry into WWII, addressed the changes fashion experienced due to the war. Image: Mason, Meghann, “The impact of World War II on women’s fashion in the United States and Britain” master’s thesis, University of Nevada, Las Vegas, 2011.
Up until this point in the 20th century, women’s clothing styles changed at a faster pace than ever before. Silhouettes changed entirely about every 10 years, much more quickly than in previous eras. Wartime restrictions stopped this fast progress in its tracks. On March 8, 1942 the War Production Board issued limitation order number 85, or L-85, which set rules for the production of women’s clothing. Manufacturers were banned from making blouses with hoods, blouses with more than one pocket, coats with epaulets, coats with sleeve circumference larger than 16 ½ inches, and reversible skirts. All of these measures reduced the use of material used for clothing production. Hems, which for the previous years had been widening from the sleek, narrow skirts of the 1920s, were reduced from 81 inches to 78 inches. These restrictions challenged American fashion designers, one which Norman Norell met.
Norman Norell design “Subway” from the 1942 Traina-Norell collection. This piece is an example of Norell’s war time work, with the simple neck and sleek, waist-less design he helped popularize. Image courtesy of Metropolitan Museum of Art.
Drawing inspiration from his favorite era of fashion, the 1920s, Norell introduced the chemise dress, or shirt dress in 1942. This design featured a simple round neckline, a departure from the “fussy” necklines of the time. The simplicity of this trend worked well within the restrictions imposed by L-85, and chemise dresses, along with a fur-trimmed trench coat, became the staple of the Traina-Norell label.
World War II cut American designers off from their long time inspirational lifeline of the Paris fashion houses. Until this point, American designers took their lead almost exclusively from Paris (recall Hattie Carnegie’s method of deconstructing Parisian pieces previously discussed). In 1942, Coty, Inc. introduced the Coty American Fashion Critic’s Awards to address this issue by promoting original American fashion design during the war. Fashion editor Bernadine Morris later wrote, “What Norman Norell had accomplished in the first collection was to give American fashion – producers and wearers alike – a freedom from dependence on foreign sources of inspiration. The American industry felt it could set its own directions, its own styles.”
Norell never compromised on quality; oftentimes, a single suit jacket would take a week to stitch. This quality came with a price tag, though. One article said, “Women purchasing a Traina-Norell garment were buying, at great cost, an American-made status symbol that would likely remain in their closets for decades.” The prices for a Traina-Norell piece ranged from $500 for a simple jersey dress to upwards of $4,000 for an evening gown.
The Traina-Norell brand continued to set trends throughout it’s nearly twenty year existence. Oftentimes, competitors would copy his designs and sell them for much less. This was so common that the year before he introduced his revolutionary wool culottes suit, he offered the pattern to any manufacturer who wanted it in order to prevent the manufacture of inferior versions of the design. One of his signature evening looks, the “mermaid dress” would not look out-of-place at a gala today. Other signature designs of Norell included the 1961 wide-flaring skirt, impeccably designed coats, the evening jumpsuit, and sweater topped dresses.
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In 1960, Anthony Traina retired, and Norell began his solo career with the Norell fashion house. Although the name of the brand had changed, the reputation for high quality, long-lasting clothing stayed the same. During his career, Norell won the Coty award three times and was inducted into the Coty Hall of Fame. When the Coty Awards were discontinued in 1985, Coty’s parent company said it was because they had achieved their goal of bringing American fashion houses to the same level of those in Paris, and there’s little doubt that Norell played a big role in that.
Former First Lady, Michelle Obama, wearing a Norman Norell dress in 2010.
Norman Norell became known as the dean of American Fashion and was active in the industry up until his death on October 25, 1972, just before a retrospective exhibit of his work was to open at The Metropolitan Museum of Art in New York City. Even today, Norell pieces are highly sought after and sell for high prices in vintage clothing shops. In December 2010, former First Lady Michelle Obama wore a vintage Norell dress at a White House Christmas party, one of the few times a first lady has worn a vintage piece at an official White House event.
View over 200 Traina-Norell and Norell pieces on the Metropolitan Museum of Art’s website.
