Chapter 3 Shortages in Paris 1940-1945: frivolous accessories become essential needs Dominique Veill
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Contents:
Intro; PARIS FASHION AND WORLD WAR TWO; Global Diffusion and Nazi Control; PARIS FASHION AND WORLD WAR TWO Global Diffusion and Nazi Control; Table of Contents; Introduction 13 Marie McLoughlin and Lou Taylor; Chapter 1 From Berlin to Paris 25 Lou Taylor; Chapter 2 The Lyon haute nouveauté fashion textile industry during World War Two: design making, e; Chapter 3 Shortages in Paris 1940-1945: frivolous accessories become essential needs 77 Dominique; Chapter 4 'Much news from the fashion frontier': Swedish neutrality and diffusion of Paris fashion
Chapter 5 From Paris haute couture to New York: maintaining the French domination of fashion acrosChapter 6 New York and Paris fashions during World War Two: a competitive love affair 139 Sandra S; Chapter 7 Lisbon as a centre of couture fashion in World War Two and its Paris and international con; Chapter 8 Fashion in Denmark in the 'Five Dark Years' 183 Kirsten Toftegaard; Chapter 9 The diffusion, reception and use of Paris style information in Brazil and its couture sal; Chapter 10 Annexed, neutral and occupied: the worlds of couture in Austria, Switzerland and Belgium
Chapter 11 1944: London plans to become the 'meridian' of world fashion 247 Marie McLoughlinChapter 12 Paris fashion: an international product for an international clientele 271 Marie McLoughl; Chapter 13 The liberation of Paris and the state of the haute couture industry: late August 1944-19; Chapter 14 The end of the war in Europe to 1947: rejuvenating the international business of haute co; Conclusion 333 Lou Taylor and Marie McLoughlin; A Letter from Nuremberg, 1946 338 Lou Taylor; List of Illustrations 341; Index 349; Acknowledgements; Notes on Contributors; Introduction; Premise
The development of our researchThe impetus for this research; The structure of our book; Conclusion; References; Chapter 1 From Berlin to Paris Lou Taylor*; Nazi Germany; Nazi high society; Luxury goods and couture fashion in Nazi Germany; France and its couture trade in 1940; Nazi control over French culture; Otto Abetz and 'cultural cooperation'; The Paris couture trade after Occupation: June 1940; Nazi anti-Semitic legislation; The reactions of the couturiers; Wartime couture clientele; BOF women; Resistants in the world of French couture; References; Endnotes
Chapter 2 The Lyon haute nouveauté fashion textile industry during World War Two: design making, exhIntroduction; Context; Lyon at the start of World War Two; Organisation of the French textile industries under Nazi control; Lyon silk and synthetic textile design and manufacture under Nazi control: 1940-1944; Replacement textiles; Designing Lyon fabrics; Vichyist designs; The exhibition of couture and haute nouveauté textiles; Exhibitions abroad and import/export; Spain; Switzerland; The end of the war; References; Endnotes
Summary:
"In 1939, fashion became an economic and symbolic sphere of great importance in France. Invasive textile legislation, rationing and threats from German and American couturiers were pushing the design and trade of Parisian style to its limits. It is widely accepted that French fashion was severely curtailed as a result, isolated from former foreign clients and deposed of its crown as global queen of fashion. This pioneering book offers a different story. Arguing that Paris retained its hold on the international haute couture industry right throughout WWII, eminent dress historians and curators come together to show that, amid political, economic and cultural traumas, Paris fashion remained very much alive under the Nazi occupation {u2013} and on an international level"-- Provided by publisher
