The Ultimate Guide to 1940s Women’s Fashion

Last updated on October 19th, 2026 at 07:34 pm

• The 1940s Fashion: Elegance, Endurance & the Art of Wartime Dressing
• The 1940s Wartime Elegance: British Fashion Under Siege
• Austerity and The CC41 Utility Clothing Scheme in Britain
• My CC41 Collection: A Personal Journey Through Austerity
• The Impact of Limitation Order L-85 on 1940s American Fashion
• A Stylish Battle: New York vs. California in the 1940s
• American Patriotism in a “Pencil” Skirt
• L-85 Goes to Hollywood: Austerity Hits the Silver Screen
• Hollywood Costuming with a Conscience
• Cinema as Propaganda: Recruiting Through Glamour
• Hollywood’s Fashion Legacy Under L-85
• The End of the L-85 Order
• Popular Styles in Women’s Fashion in the 1940s
• The 1940s Skirt Suit: A Symbol of Wartime Elegance
• 1940s A-Line Skirts: A Timeless Vintage Silhouette
• 1940s Fashion ( Haute Couture) in Paris Under German Occupation
• The Survival of Parisian Haute Couture
• Who Could Afford Parisian Couture During Occupation
• Fashion as Propaganda: The Battle to Control Style
• The Extraordinary Silhouettes of Occupied Paris, 1942-1944
• Did Extravagant Fashion Defy the German Occupation?
• The Couture Houses and the People Behind Them
• My Recommended Reading: Paris Fashion and World War Two: Global Diffusion and Nazi Control
• Christian Dior and “The New Look” of 1947
• The Lilli Ann Suits: Tailoring Triumphs of the 1940s and the 1950s
• The 1940s Lipstick
• Fashion Inspired by 1940s Styles

Home » Vintage Fashion: 1930s-1950s » The Ultimate Guide to 1940s Women’s Fashion

The 1940s Fashion: Elegance, Endurance & the Art of Wartime Dressing

Darling readers,
Step with me into the formidable yet fashionable world of 1940s fashion, where elegance refused to surrender, even as the world stood at war. This extraordinary decade, often overshadowed by global conflict, birthed some of the most iconic silhouettes in fashion history—sharp-shouldered suits, nipped-in waists, straight skirts, and a grace that was anything but fleeting.

The Ultimate Guide to 1940s Women’s Fashion

As a passionate collector and wearer of vintage clothing, I invite you to explore the transformative journey of women’s fashion in the 1940s—from the strict rationing under Britain’s CC41 Utility Clothing Scheme, to the fabric-saving measures of America’s L-85 Order, and the glamorous rebellion of Hollywood wardrobes that shimmered in defiance of austerity.

Whether you’re a vintage fashion aficionado, a curious historian, or simply searching for authentic 1940s style inspiration, this guide will walk you through the decade’s most influential trends—from wartime utility suits to Christian Dior’s revolutionary New Look of 1947, which marked the triumphant return of opulence.

So slip into your finest rayon frock or Lilli Ann suit, powder your nose, and let us begin our journey into the most resiliently stylish decade of the 20th century.

If you have a predilection for learning about fashion history, in particular pertaining to the 1940s and the 1950s, don’t miss the articles listed below.

1. History of CC41-The Utility Clothing Scheme
2. What Women Wore For an Evening Out in the 1940s
3. History of the American Look
4. The 1940s DuBarry dress
5. The History of Handmacher suit

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DISCLOSURE: As of October 2021, I published this article in 2016. I’m part of an affiliate program, and I get a small commission for purchases made through some links in this post. That’s how I keep my website alive, for which I’m very grateful to you. All opinions expressed here are mine! 

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The 1940s Wartime Elegance: British Fashion Under Siege

The slogan “If you don’t need it, don’t buy it!” may well have been familiar to a woman living in 1940s wartime Britain; a time polar to the opulence of my beloved 18th Century and yet a period that still holds enormous sway over my sense of style.

Let us take a graceful step back in time to the early 1940s—a decade marked by tumult and tenacity, where fashion stood as both a silent protest and a practical necessity. In this era of wartime austerity, style did not perish; rather, it adapted with a stoic resilience, and dare I say, with a panache that only the 1940s could deliver. Welcome to The Ultimate Guide to 1940s Women’s Fashion—an immersive journey into the elegance, ingenuity, and enduring glamour of a truly extraordinary decade.

The prevailing silhouette of the time was unmistakably influenced by the rigour and discipline of military life. Picture it: sharply tailored jackets with commanding, almost architectural shoulders à la Joan Crawford—shoulders that could slice through a room like a battleship through fog. These exaggerated lines were not merely decorative; they symbolised strength, defiance, and a woman’s newfound role in a world that was changing faster than the speed of a Spitfire.

The waist, in sharp contrast, was drawn in tightly, creating a shape that exuded femininity without ever crossing the line into vulgarity. It was elegance under pressure. The skirt? Straight, often hitting just below the knee, allowing for both practicality and a hint of flirtation with every step. This was fashion that could walk into an office, or onto a factory floor with equal poise.

Enter the iconic two-piece ensemble of the era—the Victory suit, also referred to as the Utility suit. This wasn’t merely a fashion statement; it was a sartorial salute to resourcefulness. Born from wartime rationing and necessity, these suits were tailored marvels crafted under the watchful eye of government regulation.

However, it is essential to note, mes chéries, that not all restrictions were created equal. The severity of austerity regulations in Britain differed dramatically from the limitation order L-85 introduced in the U.S.

Fashion in wartime Britain was a masterclass in making do with dignity. U.S. regulations under the War Production Board allowed slightly more creative breathing room. American designers were still able to imbue Utility clothing with a touch more flair and variety, though within the parameters of “L-85” guidelines. The result? Victory suits from opposite sides of the Atlantic often bore the same structural DNA but with subtle, telling differences in expression.

Austerity and The CC41 Utility Clothing Scheme in Britain

In Britain, the 1940s fashion saw restriction after restriction on what could be produced and yet more restraint was still needed. So, British Austerity Regulations sought to narrow fashion choices further by introducing a set of clothing rules.

As a way to help people adjust to these limitations, the British Government introduced the Utility clothing scheme, which offered to guarantee good quality, price-controlled clothes affordable for most, if not all.

In 1942, leading designers of the time established the Incorporated Society of London Fashion Designers (IncSoc) to promote British fashion abroad.

Together with the Board of Trade, the IncSoc designed CC41 suits, dresses and overcoats, following the rigid regulations which restricted designers to using very specific amounts of fabric on each garment. 

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• Readers were advised to create pretty decorative patches to cover holes in worn garments. 
• Re-knit old jumpers into chic alternatives.
• Turn men’s clothes into women’s, as well as darn, alter and protect against the ‘moth menace!’
• Women also learned from the pamphlet that stockings that were very expensive and difficult to find could be created by drawing lines at the back of the legs to look like stocking seams.

My CC41 Collection: A Personal Journey Through Austerity

Before we go any further, allow me to offer new readers a glimpse into one of my greatest sartorial obsessions: CC41. As both a vintage fashion historian (self-taught!) and an unrepentant collector, I’ve spent years hunting down the finest examples of CC 41 garments—from sharply tailored utility suits to delightfully modest knickers, all bearing the distinctive utility label that whispered wartime restraint with impeccable style.

My CC41 collection isn’t merely a wardrobe; it’s a living archive of fashion’s quiet endurance during Britain’s most austere years. In this section, I invite you to step behind the seams and into the world of rationed elegance that continues to inspire how I dress, collect, and share stories through my blog.

If you adore the drama of history stitched through fabric and crave insider glimpses of authentic vintage treasures, you simply must subscribe to my newsletter. Join me as I reveal rare finds, styling secrets, and stories behind each precious piece in my collection. Trust me, your wardrobe—and your soul—will thank you.

Dominique de Merteuil

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The Impact of Limitation Order L-85 on 1940s American Fashion

The austere glamour of wartime fashion was no accident. In April 1942, the United States War Production Board (WPB) issued Limitation Order L-85, a sweeping regulation that reshaped the very foundation of American style during the Second World War. Designed to conserve critical textiles such as wool, cotton, silk, rayon, and linen for the war effort, L-85 imposed strict limits on what women could wear—and what designers could create.

This was how L-85 changed the American wardrobe:

• Excess was excised: Decorative patch pockets, balloon sleeves, dolman sleeves, pleats, and tucks were outlawed. Anything that used more fabric than deemed necessary was swiftly banned.
• Coordinated elegance curtailed: Garments could no longer be sold with matching accessories—no more dresses accompanied by capes, shawls, or boleros. Even purses and hats had to be sold separately.
• Silhouettes streamlined: Skirts shrank and narrowed. The standard became a 28-inch length, a 2-inch hem, and a 78-inch sweep—a slender silhouette that hinted at femininity without extravagance.
• Simplification by design: Trousers lost their cuffs and belts. Designers had to strip away ornamentation, creating garments that were stylish, yes, but above all, practical.
• Necklines lowered, morale lifted: With restrictions placed elsewhere, décolleté dresses rose in popularity, adding a dash of allure within patriotic bounds.

L-85, first and foremost, restricted the production of all pieces of “feminine apparel”—including coats, skirts, slacks, and blouses—in all size categories, from junior misses to stout women. It achieved this through three decisive methods:

1. Outright bans on high-fabric-consuming features such as pleats, tucks, and voluminous sleeves.
2. Mandated maximum measurements for key garment components like sleeve length and skirt width, reducing fabric use and allowing more garments to be produced from limited resources.
3. Prohibition of ensemble sales: Coats and dresses could no longer be sold with matching accessories, forcing retailers to separate out these items.

The intention was twofold: to ensure the military’s uninterrupted access to vital raw materials and to maintain civilian morale by allowing fashion to continue—albeit in a simplified form. Accepting clothing restrictions was seen as a patriotic act; flaunting excess was not only unfashionable, it bordered on the treasonous.

A Stylish Battle: New York vs. California in the 1940s

While New York designers adjusted swiftly to the wartime code, California, particularly the fashion-forward world of Los Angeles, used the order as a springboard for innovation. Hollywood’s costume designers and West Coast sportswear manufacturers merged glamour with utility, crafting garments that reflected both the sun-drenched outdoor lifestyle and the practical demands of wartime.

• In April 1942, Sylva Weaver unveiled a new suit by Gilbert Adrian, calling it “a handsome example of war-influenced streamlined style”—a sentiment echoed from coast to coast.
• In August 1943, she presented photographs of Hollywood’s leading ladies wearing Adrian’s designs, hoping to inspire women to adopt similar looks from local manufacturers.
• California’s sportswear designers marketed stylish workwear to both middle-class women entering the workforce for the first time and working-class women who, for the first time, had disposable income to spend on fashion.

The Result? A fierce rivalry between East and West. New York clung to its status as the nation’s fashion capital, but California, armed with Hollywood glamour and wartime practicality, made a compelling claim.

American Patriotism in a “Pencil” Skirt

Back in Washington, the WPB sought industry cooperation. They enlisted Industry Advisory Committees (IACs) to assist with regulation design and implementation. In doing so, they allowed designers some creative autonomy while still meeting government goals.

Executive vice president of Neiman Marcus H. Stanley Marcus, who joined the War Production Board ¹, summed it up with clarity and conviction:

Take the materials available and add to them ideas so fresh and so original that the new products will have merit in their own right.

He emphasised that the role of fashion was not to disappear, but to evolve—creatively, respectfully, and within reason. In his words,

Any tendency toward longer and fuller skirts, or extravagant use of materials would be about the worst fashion from an economic and patriotic point of view.

L-85 Goes to Hollywood: Austerity Hits the Silver Screen

In the spring of 1942, Limitation Order L-85 extended its reach beyond department stores and sewing rooms to the glittering soundstages of Hollywood. Though originally intended to conserve fabric for the war effort, the decision to apply L-85 to contemporary film costume had little to do with textiles and everything to do with public relations.

Hollywood Costuming with a Conscience

On April 20, 1942, the War Production Board (WPB) informally amended L-85 to apply to modern film wardrobes. Historical costumes, however, were explicitly exempt, revealing the true motivation behind this move: optics, not austerity.

• Contemporary film costumes had to follow L-85 guidelines, even though their fabric use was negligible in the grand scheme.
• A WPB pamphlet titled Control Without Regimentation clarified:
• “Stage and film costumes are required by L-85 to create all modern clothing in keeping with the provisions of the order.” ²
• The aim? To set a patriotic example for American women watching from the audience.

Cinema as Propaganda: Recruiting Through Glamour

The U.S. government called upon Hollywood to support its messaging. Films like Keep Your Powder Dry weren’t just entertainment—they were recruitment tools, subtly encouraging women to enlist and embrace evolving wartime roles.

• WACS and WAVEs (Women’s Army Corps and Women Accepted for Volunteer Emergency Service) became fashionably idealised icons.
• Posters and films depicted them with rouge, lipstick, and polished hair, reinforcing the notion that femininity and patriotism could coexist.
• Mainbocher, the celebrated couturier, was even commissioned to design WAVE’s uniforms—further fusing fashion with function.

Hollywood’s Fashion Legacy Under L-85

Film studios masterfully turned regulation into opportunity by positioning themselves as both supporters of the war effort and arbiters of style. Costumes obeyed the rules of L-85, yet sparkled just enough to maintain allure. These wartime wardrobes became the blueprint for ready-to-wear fashion, permitting American women to desire, to shop, and to dress patriotically—all in the name of victory.

The End of the L-85 Order

After over four years of rationed creativity and resourceful design, Limitation Order L-85 was officially revoked on October 20, 1946. Fashion, no longer constrained by wartime restrictions, was free once more to flutter, flare, and flourish. But the legacy of L-85 endured: it had proven that necessity could indeed be the mother of invention, and that glamour, even in times of great hardship, need not be sacrificed.

Popular Styles in Women’s Fashion in the 1940s

Fashion in the 1940s was defined by discipline and dignity, and yet—oh, how gloriously inventive it remained. Despite the war’s austerity measures and restrictions, women’s style did not merely survive; it adapted, evolved, and in many ways, flourished. Each stitch from the era tells a story of quiet rebellion, societal shifts, and the eternal pursuit of elegance, even in the darkest of times. Here is the ultimate guide to 1940s women’s fashion.

As noted by fashion historian Jayne Shrimpton, the 1940s were “an era of profound transformation in female dress,” where clothing became both a practical necessity and a form of subtle self-expression. This was not a decade of fashion whimsy—it was one of sartorial strategy.

The Tailored Suit, for example, reigned supreme. With strong shoulders, nipped waists, and knee-length skirts, it became the uniform of the capable, modern woman. These suits were not merely imitations of men’s attire—they were empowered reinterpretations. And as you may know, dear reader, I consider the 1940s and 1950s skirt suit to be the very pinnacle of my vintage wardrobe. I am utterly helpless in the presence of their structured sophistication.

In the picture, I’m wearing a 1940s skirt suit that I paired with my precious saddle shoes from SPITZ.

Example of one of my many 1940s Handmacher suits. Learn about the fascinating history of the Handmacher brand!

Beyond the tailored suit and Utility restrictions already discussed, 1940s fashion branched into a host of distinctive silhouettes and ingenious styling solutions. Dresses designed for daily wear embraced lean, uninterrupted lines, with clever details like softly gathered shoulders or asymmetrical fastenings to draw the eye and elevate otherwise conservative cuts.

Wartime dress became an act of performance—women dressed not only for themselves, but to project normalcy, capability, and morale.

Dr. Deirdre Clemente

Dresses of the era followed a similar formula: modest necklines, defined waists, and practical sleeves. Prints were often small and delicate—florals, polka dots, and geometric motifs—chosen not just for charm but also for their efficiency. Darker colours and economical cuts were common during the war years, but post-1945, one begins to see a return to softness, both in colour and line.

This is my favourite 1940s shirtwaist dress, perfect for the casual look.

Daywear was designed for function and respectability. Think of shirtwaist dresses with belt details and pockets—pieces that allowed a woman to move, work, and be seen as respectable. These garments were, as the V&A Museum notes, “a response to women’s expanded roles in wartime society.”

While daywear may have leaned toward the practical, evening fashions—especially in America—remained surprisingly daring. Lightweight rayons and satins were artfully draped to create glamour without excess. Illusion necklines, open backs, and Grecian folds allowed women to channel old Hollywood allure, even if the gown was fashioned from repurposed textiles.

Fashion was an escape as much as an expression.

Elizabeth Ewing’s History of Twentieth Century Fashion

As we shift into the late 1940s, the silhouette begins to soften. Dior’s revolutionary 1947 “New Look” marked the dramatic return of ultra-femininity: padded hips, cinched waists, and full, luxurious skirts—a vision of fashion liberated from war. Yet not all women embraced it instantly. As fashion theorist Rebecca Arnold has argued, the New Look was not merely a style shift but a cultural debate about femininity and modern identity.

The 1940s Styles in a Nutshell

• Strong shoulders a la Joan Crawford
• Knee-length skirts
• Sleeves ending above the elbow or full-length
• Military-inspired skirt-suit
• In the 1940s, slacks worn for comfort were the favourite garment amongst movie stars such as Marlene Dietrich and Katharine Hepburn
• Button-down dress
• Wrap dress- hugely popular in 1945
• Shirtwaist dress with buttons covered in the same fabric as the dress

The 1940s Skirt Suit: A Symbol of Wartime Elegance

A vintage skirt suit from the 1940s or 1950s is one of the key pieces in the wardrobe of any vintage aficionado and is a perfect acquisition choice for those just starting their adventure in building that dream vintage wardrobe.

Of all the vintage garments in my extensive collection—and believe me, it’s a carefully curated affair—none hold quite the same allure as the impeccably tailored skirt suit. Whether from the 1940s or the decadently feminine 1950s, I find myself powerless to resist their sculpted waists, structured shoulders, and refined silhouettes. If I had to choose one style to wear for the rest of my life, the skirt suit would reign supreme—no question.

The 1940s iteration, in particular, possesses a certain restrained elegance. Born of necessity yet brimming with character, these suits whisper sophistication without ever shouting. With just the right accessories—a veiled hat, gloves, perhaps a brooch with a hint of defiance—they become a quiet declaration of taste and tenacity.
Far more than wartime utility, the skirt suit is, to my mind, the very embodiment of poised power and enduring style. It’s no wonder I continue to fall under its spell, time and time again.

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1940s A-Line Skirts: A Timeless Vintage Silhouette

There is something sublimely poetic about the A-line silhouette of the 1940s. Practical yet profoundly elegant, it was a shape that moved with women as they stepped into a rapidly changing world. Neither frivolous nor austere, the A-line skirt was the very embodiment of intelligent design—modest in volume, subtle in flair, and forever flattering to the feminine form.

Unlike the fullness that would come later with Dior’s New Look, the 1940s A-line was reserved, controlled even, but always with just enough movement to suggest grace. Fashion historian Dr. Valerie Steele has noted that wartime style “relied on the strength of line over excess,” and nowhere is this more evident than in the measured precision of the A-line skirt. It was style without spectacle, restraint without rigidity.

Designers on both sides of the Atlantic adopted this clean, architectural shape as a way to balance utility with quiet elegance. American designers like Claire McCardell used it in practical separates that women could mix, match, and live in. Across Europe, couturiers managed to hint at femininity despite the limitations they faced, using impeccable tailoring to give the illusion of volume where fabric simply didn’t allow it.

What fascinates me most is how enduring this silhouette remains. In my own wardrobe, I return time and again to 1940s skirts with gently flared hems and razor-sharp seaming. There is strength in their simplicity, and a certain sensuality that asks nothing of you other than that you walk with purpose.

The 1940s A-line shape wasn’t about spectacle—it was about silhouette. And in that quiet elegance lies its true power.

1940s Fashion ( Haute Couture) in Paris Under German Occupation

When we think of fashion in the 1940s, we often picture wartime austerity, rationing, utility clothing and women finding ingenious ways to make do with what they already owned. And while this was certainly the reality for many, dare I say most women, the story of 1940s fashion in Paris is considerably more complicated, fascinating and rather extraordinary.

Paris fell under German occupation on the 14th of June 1940, yet its legendary haute couture industry did not simply disappear. Behind the restrictions, shortages and political oppression, many of the great couture houses continued to operate, although under complete control of Germans, and fight to preserve Paris’s position as  the world’s fashion capital.

As someone who has spent more than two decades researching British and American fashion from the 1930s to the 1950s, I find this period particularly compelling. The surviving garments, accessories and fashion publications reveal a world in which fashion was not merely about looking pretty. It was also about business, politics, survival, cultural identity and, in some instances, in Particular Poland and France, quiet defiance through fashion, in particular accessories. 

Much information in this chapter comes from one of my favourite books on Parisian haute couture during WWII. It is an an absolute fashion history bible, and I wholeheartedly recommend it to anyone who wants to understand this subject in real depth. Rather than repeating the familiar story of wartime fashion as a straightforward tale of decline and deprivation, it examines the couture industry’s remarkable continuity and the extraordinary circumstances in which Parisian designers continued to create.

If you want to discover what was really happening behind the doors of Paris’s couture salons during Occupation, this is a book I cannot recommend highly enough,

Paris Fashion and World War Two: Global Diffusion and Nazi Control, edited by Lou Taylor and Marie McLoughlin. 

The Survival of Parisian Haute Couture

Im June 1940s, as German troops approached Paris, millions of people fled the city in what became known as the Exodus. The French government departed and many prominent couturiers also escaped. Nevertheless, the future of Parisian fashion was far from settled. Leading couturiers, including Elsa Schiaparelli, Lucien Lelong, Cristobal Balenciaga, Jacques Heim and Jean Patou, collectively agreed their business should remain open despite the circumstances. Edward Molyneux, who ha connections to other Paris and London also played a role in efforts to maintain international business. We must remember that Parisian haute couture was not simply a collection of glamorous salons. It was an extensive industry of designers, dressmakers, embroiderers, milliners, textile suppliers and skilled artisans, supported by an international network of clients and commercial contact. Very small precent of French could actually afford haute couture.

The couture houses therefore continued to operate under German occupation, although their survival depended on navigating a system of restrictions and political pressures that could threaten their business at any moment.

According to the historical research discussed in my recommended book, the couture houses continued producing seasonal collections throughout the war. Their international business networks were damaged, but they were not completely severed. 

This is one of the most important things to understand about Paris fashion during the Occupation: the industry did not simply stop. It adapted, negotiated and continued to create.

Who Could Afford Parisian Couture During Occupation

Of course, the continued existence of haute couture did not mean that ordinary French women could shop as they did before the war.

The German occupation brought severe shortages of textile and other essential materials. Large quantities of French wool, cotton, linen silk and leather were requisitioned, the polite way of saying it was stollen, while imports of raw materials restricted and later banned.

For most women, buying a new garment became increasingly difficult, if not impossible. Making existing clothes last was a necessity, not a fashionable lifestyle choice.

Women with considerable means, however, could still purchase couture garments. Pars’s most prestigious salons continued to serve an elite clientele, even as the majority of the population faced severe material hardship.

The clientele of the couture houses included wealthy French women, Nazi officers and their wives and lovers, as well as women associated with the Parisian demi-monde. Some French clients were also profiteers or people who collaborated with, or otherwise benefited from, the German occupation. It is important, however, not to assume that every wealthy French client had the same political allegiances or motivations.

The contrast was striking: while most women struggled to obtain basic clothing, a privileged minority could still access the world of luxury fashion.

Fashion as Propaganda: The Battle to Control Style

Nazi Germany wanted to establish its own fashion industry as a serious competitor to Paris. The German National Fashion Institute, established in 1933 and subsequently developed into the Deutsches Mode Institute, was intended to promote German designs, train designers, organise fashion shows and encourage the production of German fashion goods for domestic consumption and export.

Paris, meanwhile, represented an established international system of couture, craftsmanship and prestige that was difficult to dislodge.

The struggle extended to fashion publications, The Germans sought to control French fashion magazines and use them to promote the supremacy of German fashion on the international stage.

Yet fashion news continued to circulate beyond occupied France. Publications in other countries reported on Parisian collections. One particularly interesting example is l’Album du Figaro, associated with Michel de Brunhoff, who sought to preserve Parision Fashion’s international standing outside Nazi press control. His efforts illustrate the complexities of publishing fashion under the risks involved in maintaining cultural independence.

On a side note, I found that someone sold a lot of the Figaro Album dating from 1942 to 1949 and it sold for 1,625 EUR.

From abroad, however, the situation was not always understood. British observers sometimes questioned whether images of extravagant Parisian fashions could possibly reflect reality in a city experiencing shortages and occupation. This suspicion is understandable when viewed from distance, but it overlooks and important distinction: the continued production of couture for a privileged clientele did not mean that ordinary Parisians enjoyed the same access to clothing,

American press wasn’t favourable either. Some though that the news were a German propaganda and some couldn’t understand why couturiers would collaborate with the occupiers. 

The Extraordinary Silhouettes of Occupied Paris, 1942-1944

Perhaps one of the most surprising aspects of Parisian fashion during the Occupation is the direction in which couture style developed. Rather than becoming uniformly restrained, Parisian haute couture increasingly embraced exaggerated femininity. From approximately 1942 onwards, fashionable silhouettes featured narrow waists, fuller skirts, dramatic sleeves and enormous hats. The New Look before Dior’s New Look. Some of the designs looked almost defiantly extravagant when set against the conditions in which they were created.

The narrow waist became particularly prominent. In 1942, the so-called amphora line drew attention to the waist and shaped silhouette, often involving corsetry. By 1943, the development of new sleeve shapes was also attracting attention in fashion publications.

These designs, I wish I had images to show you, remind us that 1940s cannot be reduced to one single wartime silhouette. The familiar image of shoulder-padded utility clothing popular in the US and Britain, tells only part of the story. Within the world of Parisian couture, designers were exploring a more elaborate aesthetic, with volume and carefully constructed shapes playing a central role.

Fashion historian Dominique Veillon interpreted this extravagance as a possible form of resistance: an insistence on maintaining elegance and the will to carry on despite the presence of the occupier. The contrast between material scarcity and exaggerated couture silhouettes is striking.

Did Extravagant Fashion Defy the German Occupation?

It is very tempting, indeed, to see every enormous hat, full skirt o tightly defined waist as a deliberate act of rebellion, but the reality was more complicated. The Germans didn’t necessarily want to destroy the French fashion industry. In fact, Parisian couture remained economically valuable, and the continued existence of its business served interests that were not always consistent with the ideological ambitions of the Nazi regime. Their hypocrisy was blatant. 

At the same time the spectacle of French women maintaining their elegance could be interpreted as an assertion of cultural identity. Even when the materials were scarce, the image of the fashionable Parisienne persisted.

We should also remember that the ability to participate in this world was profoundly unequal. The extravagant creations of the couture salons were not representative of what most French women could afford or obtain. The elegance of a privileged few existed alongside shortages, hardship and persecution.

The Couture Houses and the People Behind Them

The story of Parisian haute couture during the Occupation is also a story of individual designers and the many people who worked for them. Among the leading houses were Schiaparelli, Lelong, Patou, Molynoeux, Heim, Fath and Meggy Rouff. 

Their circumstances differed considerably. Some designers left France but arranged their couture houses to remain open, others continued working in Paris under restrictions imposed by the German authorities. The industry was also compromised by its relationship with the occupiers, Some designers participated in Franco-German propaganda exhibitions, while others faced difficult moral choices about their clients and professional relationships. The experiences of Jewish designers, artisans and business owners were particular tragic as Nazi antisemitic policies led to exclusion from commercial activity, they seizure or forced administration of Jewish business and ultimately the killing of many skilled workers. 

My Recommended Reading: Paris Fashion and World War Two: Global Diffusion and Nazi Control

Paris Fashion and World War Two: Global Diffusion and Nazi Control is quite simply, one of my favourite books on the subject and an absolute history bible. If you are serious about learning 1940s fashion beyond the familiar silhouettes I often discuss in my articles, I can’t recommend it highly enough.

What makes this book so exceptional is that it challenges the widely repeated assumption that Parisian fashion effectively came to a standstill under German occupation, Drawing on the work of leading dress historians and curators, it reveals how the great couture houses continued to operate, how Paris maintained its international influence and how fashion became entangled with politics, propaganda, business and national identity.

The research goes far beyond the couture houses exploring the complicated international trade networks, fashion journalism, surviving garments and the complicated relationship between extravagant Parisian couture and the everyday reality of wartime deprivation. It also examines the competition between Paris, London and New York for supremacy in the international fashion industry.

For me, this is precisely what makes the book so valuable. Fashion history is so much more that identifying a particular sleeve, skirt length or silhouette. It is about understanding why clothes looked the way they did, who could afford them, how they were made and circumstances in which people wore them.

I have drawn extensively on this book while researching and writing this chapter because it offers the depth, detail and historical context that this fascinating subject deserves, I would encourage anyone who wants to explore Parisian fashion during the Occupation in the greater detail to read it for themselves. 

Christian Dior and “The New Look” of 1947

The seemingly endless rationing didn’t end with the war but was gradually eased, women were increasingly desiring a return to fashion that accentuated their femininity, and it comes as no surprise to learn that “The New Look” of 1947 was a huge success, although not everywhere, firmly placing designer Christian Dior at the forefront of the next fashion revolution with his use of sumptuous fabrics, fuller skirts that hung just below the calves and fitted jacket which emphasised a woman’s sexuality.

To quote fashion historian Jonathan Walford

Feminine luxury and elegance became a symbol of post-war prosperity and defined the silhouette of the coming decade.

FASHION FACT

Dior’s New Look wasn’t entirely new, and he wasn’t the first 1940s designer to introduce a wasp waist and full skirt.

I have been following American fashion pages pretty closely and they read like foreign language now. They are all talking about wasp waists and corsets, and this season is supposed to be striking for its glitter and masses of jewellery and bustles and things. It’s supposed to be the most extrabagant season for a long time. While here you don’t even get people bothering about cheap frocks-factory girls go to work in slacks.

A Mass Observation report for 1939-1940

The Lilli Ann Suits: Tailoring Triumphs of the 1940s and the 1950s

One of my favourite brands of the 1940s and 1950s that created the most mind-blowing skirt suits is Lilli Ann, which, to those already passionate about vintage, needs no introduction. For newbies, I recommend an article written on the subject matter by the fabulous Jessica Parker of No Accounting For Taste!

I must confess, I’m positively besotted with Lilli Ann. My collection has grown embarrassingly large over the years, and yet I find myself unable to walk away from a particularly well-cut example—especially if it features one of those exquisite novelty buttons or a touch of soutache embroidery. There is something about slipping into a Lilli Ann suit that transforms one’s bearing. The back straightens, the chin lifts ever so slightly, and one walks with the quiet confidence of a screen siren in a noir film.

No discussion of mid-century sophistication would be complete without a reverent nod to Lilli Ann—the label that transformed the skirt suit into a masterpiece of feminine architecture. Founded in San Francisco by Adolph Schuman and named in honour of his wife, Lilli Ann suits were the answer for women who longed for Old World glamour in a New World setting.

What sets a Lilli Ann suit apart is immediately evident to the trained eye: exceptional tailoring, luxurious fabrics often imported from France and Italy, and dramatic silhouettes that flatter the figure without compromising elegance. Think sculpted peplums, elegantly curved sleeves, and collars that sit just so. These were not garments for shrinking violets. They were made for women who knew the power of a perfect silhouette—and weren’t afraid to wield it.

If you’re fortunate enough to find an original Lilli Ann in your size—and good condition—consider it an heirloom. These suits were made not only to dazzle, but to endure. Much like the women who wore them.

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The 1940s Lipstick

But of course, darling. One cannot possibly discuss 1940s fashion without paying homage to the pièce de résistance of every well-curated vintage look—the red lipstick.

More than mere adornment, red lipstick in the 1940s was a declaration. It was worn with purpose, with pride, and with an understanding that glamour is, in fact, a form of resilience. Women painted their lips in defiance of the dreariness of wartime restrictions, a crimson emblem of strength and femininity. No ensemble from the era—whether a tailored skirt suit or a floral day dress—felt complete without a swipe of scarlet.

If you’re wondering which shade of red will best complement your vintage aspirations, I invite you to indulge in my carefully curated guide: The Best Red Lipsticks for Creating a Glamorous Vintage Look. From historically accurate hues to modern formulations with Old-Hollywood charm, I share the colours no vintage vixen should be without.

After all, a red lip is never just makeup—it’s a signature.

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Fashion Inspired by 1940s Styles

If you’re not quite prepared to invest in an original 1940s garment—though I must caution you, once you do, there’s no turning back from the allure of a perfectly tailored vintage silhouette—you needn’t resign yourself to modern fashion mediocrity. There is an abundance of exquisitely designed reproduction pieces that echo the elegance of the era. From cinched-waist dresses to sharp-shouldered blazers, these vintage-inspired styles allow one to channel 1940s glamour without the pressure of hunting down museum-worthy originals.

And should you feel a spark of curiosity—perhaps even the first flicker of obsession—I recommend exploring The Ultimate Guide to Buying Vintage Clothing for Beginners. In it, I share everything one needs to begin curating a wardrobe with true vintage savoir-faire. Consider it your first step toward a beautifully dressed past.

For the late 1940s-inspired fashion look No.2, I opted for;

What makes 1940s fashion so endlessly captivating—at least to those of us with an incurable vintage affliction—is the graceful tension it embodies. Every hemline, every dart, every restrained flourish tells a tale not just of design, but of defiance and dignity. It’s fashion that honours the wearer—clever, composed, and utterly chic.

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1. Association, Texas State Historical. “Marcus, Harold Stanley.” Texas State Historical Association, https://www.tshaonline.org/handbook/entries/marcus-harold-stanley. ↩︎
2. Hannon. L. The “Stylish Battle” World War II and Clothing Design Restrictions in Los Angeles [Doctoral dissertation]. University of California, Riverside; 2012 ↩︎