The Girl History: Fashion on the Ration

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Women's History by Julie Summers

Sometimes when I am asked what I write I say: ‘I write about people who get themselves into difficult situations and, by and large, get themselves out of them again.’ That usually gets a positive reaction. If, however, I say ‘I write social history about the Second World War and especially women on the Home Front’ people’s eyes tend to glaze over and they move to another part of the room. Same books, different packaging.

So today I thought I would share a little bit of what I do and why. I write because I love it. I can’t think of anything else I would rather be than a writer. I’ve always wanted to write, ever since I was a little girl. I used to make up stories and tell them to my toys and later to my friends. I even used to write stories for my boyfriend in airmail letters when I was living in Vienna and he in London. We’ve now been married for 29 years, so the stories can’t have been too bad.

However, in the end I wanted to write about real people, not ones I had made up in my head. I find that the lives people lead are fascinating. There is no such thing as a typical person or a ‘normal’ reaction and that is what began to interest me. I was working in the art world but found myself more drawn to the artists themselves than to their work. I wanted to know what made them tick. I remember interviewing the sculptor Anthony Caro and his wife, the painter Sheila Girling, about their lives together as artists. Tony told me that it was Sheila who chose the colours for his early sculptures because she had a better eye for colour than he did. I was tickled pink by that, especially as no one had ever interviewed them together before, so the question was not one he had been asked. I like titbits like that. They are just a little quirky.

Anthony Caro's Early One Morning 1962

When I am interviewing people for my non-fiction books I don’t use any type of recording device because that can be off-putting. I just ask questions and take notes. The interviews generally last about 45 minutes to an hour and in that time I get perhaps three or four sentences I can use, but those are usually gems. For example, I was talking to a lady called Jean Hammond whose story is told in Stranger in the House. Her father was in a German POW camp and when he came home, she told me, they never ate a meal indoors. They sat in the garden or, when it was raining or snowing, under the porch wrapped in blankets. She said it in a matter-of-fact way as if that was perfectly normal. But it was a new one on me. I asked her why and she said she never knew. She imagined it had something to do with his POW experience but as she was a child when he came back she just accepted it.

Jean Hammond with her two grandmothers c. 1940

In researching and writing Jambusters I constantly found women replying to my request for interviews with ‘oh, I won’t have anything interesting to tell you.’ When someone says that my ears prick up and I think: ‘oh, you don’t, do you? Well I think you’re wrong…’ And more often than not they tell me some glorious detail. A woman in an Oxfordshire WI remembered her father coming into the kitchen where members of the Produce Group were making vast quantities of jam. One of the ladies was complaining that she was wasting precious jam as she could not get every last drop from the bottom. So he took a wooden spoon outside to his tool shed and half an hour later returned with a spoon that had a flat side and a sharp point. This was ideal for scraping the jam off the bottom of the pan and everyone was delighted with the design. Needless to say it was copied. I find other gems in diaries, memoirs and in odd collections of notes in the Imperial War Museum archives. It was there that I found Mr Fagg, who worked in the Board of Trade in the war, supervising coupons and taking responsibility for the width of the gusset of women’s knickers, the amount of metal in over-sized corsets and the length of men’s socks. You literally couldn’t make it up. He is one of the key players in Fashion on the Ration.

William Buller Fagg in his Home Guard uniform

I also found one of my favourite facts of all time at the IWM. Lord Nuffield, the great car maker and generous philanthropist, supplied all the women’s services with sanitary towels for the entire Second World War. These things were new-fangled and very expensive and he knew the young women in the services would not be able to afford them or indeed get guaranteed supplies. It was an act of immense generosity and far-sightedness on his part and no one knows about it. Except you do now! They were known as Nuffield’s Nifties. Writing women’s history is not always easy. There are a few of us who do it: Jane Robinson, Janie Hampton and Midge Gilles to name three I know well. We sometimes find it hard to get taken seriously by male historians who write about grave matters like tanks and planes and battles and generals with handlebar moustaches. In a list of the top 50 historians published last year there were just four women and of those I was the only one who writes about women.

Women are at the heart of my next book, too, but this one contains explosions and secret codes, radio operators and stealth. I wonder how that will be received?

Fashion On The Ration - Celia Rees

I recently visited the Fashion On The Ration Exhibition at the Imperial War Museum with my daughter, Catrin. We both have an interest in 1940's fashion and the exhibition did not disappoint. It gives a comprehensive insight into not only what men and women were wearing but the constraints and changes that total warfare brought to all aspects of everyday life. We think we know a lot about life in the War but as Julie Summers warns in the accompanying volume to the Exhibition, Fashion On The Ration,

'How we see clothing in wartime Britain is shaped by our knowledge in hindsight of the whole war and the austerity that followed it ... Far from being a story of drabness and misery, it is a story of colour inventiveness and determination to carry on regardless of the shortages and constraints of the coupon culture.'

There is something important in the above quotation: for writers of historical fiction, hindsight can be a dangerous thing.

The changes to dress that occurred were dictated by necessity. Conscription meant enormous numbers of men and women in uniform. The increased demand for uniforms put huge pressure on the textile and clothing industries as raw materials and labour were directed away from civilian production. This affected fashion. Out went pleats, coats and dresses that used yards of fabric, in came close fitting suits (costumes), simple dresses and military style coats. This was not just a material saving exercise, it became part of fashion itself, the cut and style of clothes influenced by the now ubiquitous uniform.

For the Military Alliance, Vogue, London, 1941

By 1941, the pressure on materials and labour resulted in the imposition of clothes rationing. A points system was introduced: eleven coupons for a dress, two for a pair of stockings, eight coupons for a man's shirt or pair of trousers, and so on. Every adult was allocated 66 points for the year. The clothes still had to be bought however, the coupons handed over with the money, and not everyone could afford 14 & 1/2 guineas for the military style suit shown here (£657.90p in today's money - Vogue doesn't change much).

Ration Book and coupons

It soon became clear that while the rich could have well made, stylish clothing made out of good quality material, the poor would have to make do with something far shoddier but shoddy clothes would wear out quickly, replacements would have to be bought, taking up more coupons, material and labour, which was neither fair nor good for the war effort. Something had to be done. In 1942, the government introduced the Utility clothing scheme, offering a range of well-designed, quality and price-controlled clothes affordable by all. Strictly specified Utility fabrics and clothes made from these materials, guaranteed quality and value for money and coupons. The Utility clothing scheme also meant that the government could standardise production, which aided the war effort.

Utility Clothing

Not everyone could afford new clothes and clothing coupons had to be carefully hoarded. As the war went on, the number of points allocated shrank and had to be used for the whole family. The women of Britain could not be completely dependent on a hard pressed textile and clothing industry, they had to start doing it for themselves. Unlike these days, nearly all women then could sew and most had a sewing machine, or at least access to one, so one of the great contributions to the war effort was Make Do and Mend.

Skirts, dresses, coats cut in more generous pre-war times were cut up and re-modelled. Worn out clothes were patched, darned, frayed collars and cuffs turned and when repair was no longer possible, cut up and used as patchwork. Make Do and Mend allowed women to be inventive and creative in their use of what was available to them. Embroidery and appliqué, not only covered darns, but gave old garments a bright new look. New materials were pillaged. Parachute silk was used for everything from wedding dresses to camiknickers. One group of women in a village near Redditch confronted a downed German pilot with pitchforks and broom handles, intent on getting his parachute which supplied enough silk to make knickers for all the women in the village.

parachute silk knickers

The silk escape maps issued to RAF pilots were begged from boyfriends and husbands to turn into scarfs.

silk escape map scarf

Many women were in uniform themselves and wore those uniforms with pride. Wearing that uniform and doing the job that went with it, did not make women less feminine, rather it made them feel smart, independent, responsible and powerful. Equal to men. After all, they were often engaged in the same activities. Even so, there was a concern that women should not let feminine standards slip for their own morale and for the morale of the nation's men folk. Makeup was never rationed and continued to be manufactured. Coty made face powder as well as army foot powder and helpful tips were given out about how to make lipstick go further by melting stubs together, or using beetroot juice as a substitute (I can't help feeling a man might have made up the last suggestion (or even the first)).

Some of the most powerful images of the time show women in uniform, going about their duties, or dressed for the practical work that they had to do. Rather than de-feminise them, these images show just how important women were to the war effort, and how important they knew themselves to be. The images below were made by women (war artist Laura Knight, photojournalist Lee Miller). They show women in uniform and overalls, helmets and fire masks. Women who don't need lipstick and boot black mascara to bring out their beauty. These are our mothers, grandmothers and great grandmothers, who were young once and brave and powerful and to whom we owe a very great debt.