Vivien Leigh models a blouse made in “66 Coupons” fabric by Arnold Lever for Jacqmar, in British Vogue, April 1942
Many years ago I visited an exhibition on propaganda at the British Library, and became fascinated by the concept of propaganda and patriotism in fashion - in particular Jacqmar’s playful scarves and prints depicting elements of war-time life such as air raids and rationing.
Incorporation of politics, patriotism and propaganda into dress was already well established by the 1940s. The Suffragette movement in the 1900s-1910s understood the propaganda potential of clothing and uniform, and its members wore white, green and purple. In eastern Europe in the 1920s, the Soviet state commissioned textile designs decorated with symbols of collectivisation and industrialisation – such as tractors and trains, rich harvests and electrification – intended to communicate the state’s utopian dream.
Even war-related propaganda prints had precedent - US manufacturer Mallinson had produced a fascinating (and shockingly modern-looking) collection of “Victoire” printed silks back in 1918.
During World War II, wearable propaganda came into its own as a fashion staple in the West, adopted by a civilian public eager to demonstrate their patriotism and support the war effort. Propaganda textiles featured familiar slogans such as "V for Victory"; red, white & blue; and patriotic and military symbols such as flags, stars, nautical motifs, and planes. The Textile Colour Card Association also reflected the patriotic mood in its 1942 shade card of “United Victory Colours”, with colour names that pay tribute to Allied nations or reference themes of patriotism, militarism, and theatres of war.
1942 Fall Season Woollen Color Card of America, issued by the Textile Color Card Association of the United States
Image source: The Design Centre
Many of the British and American propaganda textiles which survive today are in the form of women’s headscarves. Thanks to the efforts of Health & Safety committees, fashion editors, celebrity trend-setters and clever textile designers, the scarf became an essential part of women’s daily uniform, emerging as an item with symbolic, patriotic and propagandistic meanings during a time of war.
Arnold Lever’s designs for Jacqmar, most famously sold as scarves, were also available as yardage for clothing (with an eye - somewhat surprisingly, given their Britain-centric themes and humour - to the export market), as celebrated in British Vogue, April 1942:
“See the give-and-take between fashion and the world around: a world at war. Scribbled slogans, narrative pictures, are a print trend: so Arnold Lever of Jacqmar employs the slogans and stories of wartime England.” The double-page spread features many iconic Jaqmar designs including London Wall, Dig for Victory, Happy Landings, and 66 Coupons - modelled by an eclectic mix of celebrities (including Vivien Leigh at the height of her fame), ministerial secretaries, and wives of military commanders.
If, like me, you are fascinated by this concept of wearable propaganda, stay tuned for my new print collection, to be announced very soon!
