Sample: Wardrobes in Wartime 1914-1918, Fashion and Fashion - Images during the First World War

Wardrobes in Wartime
1914 – 1918

Wardrobes in Wartime
Fashion and Fashion Images during the First World War
1914 – 1918
For the Kunstbibliothek, Staatliche Museen zu Berlin,
edited by Adelheid Rasche
With a foreword by Moritz Wullen
and contributions by Birgit Haase,
Adelheid Rasche
and Raffaella Sgubin
E. A. Seemann

Content
7 Foreword
Moritz Wullen
8 Introduction
Adelheid Rasche
18 Modern Ambivalence:
Women’s Fashions during the First World War from the German Perspective
Birgit Haase
38 Women and Work during the First World War:
Aspects of Clothing
Raffaella Sgubin
ILLUSTRATIONS
48 Fashion as a National Challenge
60 New Fashion Trends during the First World War
96 Viennese Fashion Prints
118 The Berlin Alfred-Marie Fashion House:
Otto Haas-Heye and Annie Offterdinger
138 The Berlin Fashion Magazine Der Kleiderkasten
148 The Gazette du Bon Ton
154 Le Style Parisien
160 La Mode par Fried
170 The Parisian Modes et Manières d’Aujourd’hui Album
184 Magazine Front Covers
204 Fashion Photography from Paris, Berlin and Vienna
222 References
224 Illustration Credits

ForeWord
Moritz Wullen
Fashion tenaciously rushes on ahead of us in search for the new and innovative. The speed of
this cultural system is possibly record-breaking. Even while we are still discovering what is
“current” in fashion, it has long set off for the future and staking its claims there. Fashion
research is also in search of the new, but unlike fashion, it travels back along the timeline into
the past. It is – like every academic discipline – driven by the spirit of discovery, the wish to
find and stake out unknown territories.
The 1910s is one example of such an uncharted territory that has previously been off our
radar screen. The decades have, at the same time, represented the great successful brands of
the 20th century: the Golden Twenties, the Swing Era of the ’30s and ’40s, the petticoats, teddy
boys and greasers of the ’50s, the forever young ’60s, the baroque ’70s, the – no adjective is
necessary here – ’80s and the “grungy” ’90s. And let us not forget the 1900s. Under the nom de
plume “Art Nouveau” these years have also advanced to become a cult decade.
But the 1910s is different. The decade bestowed the history of art with an unending series
of surprises – blue horses, supremacist squares, Dadaist collages. At first glance, however, it
seems to have contributed little to the history of fashion. Did everyone wear a uniform at that
time or – catchword “nudism” – just their birthday suit? Along with the claustrophobic nightmare
scenarios of stiff formal collars, aptly known in German as “Vätermörder” [literally
“father murderers”] and corsets, such prejudices still distort our view of that decade’s fashion
today.
The time is ripe to rediscover this period! The Lipperheide Costume Library – Fashion
Image Collection in the Kunstbibliothek, one of the world’s largest fashion archives, features
an overabundance of picture and text sources. Adelheid Rasche, the curator of the collection, is
a scholar who knows how to bring the cult decades of the 20th century to life like few others.
Based on these archival treasures, Adelheid Rasche unfolds the pictorial world of a decade
of fashion in the “Wardrobes in Wartime” exhibition that we have never seen before in this
way. It is her contribution to the commemorations marking the centennial of the First World
War, which the Art Library is participating in with various exhibitions and publications. The
present book is in itself an exhibition experience. I wish to enthusiastically express my gratitude
on behalf of all the readers.
Fig. p. 2: Book jacket (detail), Drawing by George Barbier, 11,9 x 18,2 cm, from: La Guirlande des Mois, 1919
Fig. p. 4: Summer dress by Wiener Werkstätte, Photograph by unknown artist, 21,6 x 15,5 cm, 1916
Fig. left: Silk cover, Drawing by George Barbier, 12 x 8,2 cm, from: La Guirlande des Mois, 1919

introduCtion
Adelheid Rasche
Fig. 1: “Abschied 1914, Wiedersehen 1916”, Drawings by
Thomas Theodor Heine, 14 x 14 cm, from: Simplicissimus, 1916
The political, economic and social upheaval that shook
the very foundations of Europe and the world as a whole
between 1914 and 1918, bringing about irretrievable
changes, also affected the silhouette of women’s clothing
as well as the increasing significance of fashion as means
of individual expression and symbolic form. Upon closer
examination, the supposed gap that ensued during the
1910s and especially during the noteworthy years of the
First World War proves to have been a time of amazing
vitality and modernity. If one initially believed that the
supply and consumption of fashion was tenuous during
the war years because of low demand, decreased purchasing
power and the scarcity of available raw materials,
a more detailed analysis quickly demonstrates the decisive
role played by fashion at that time, especially in the
big cities. In her seminal 2004 study on this subject, Enrica
Morini names the various cultural factors that collectively
contributed to the massive modernisation of women’s
fashion in the first quarter of the 20th century: the growing
influence of the young; the dress reform movement
initiated by artists; the increasing importance of sports
and mobility for women in addition to the adoption of
elements from men’s clothing 1 . Many clothing details
introduced as practical innovations during the First
World War were retained after the war and they developed
further in terms of fashion. They include the hemlines
that were considerably shortened for the first time in
the history of fashion, the smaller hats, the first short haircuts
for women, washable clothing, materials like silk and
wool jersey, the preference for black as a fashion colour in
addition to simple and sporty day wear.

NEW FASHION TRENDS
DURING THE FIRST WORLD WAR
“It was to be expected that the uniform that is now at the centre of general interest would also exert its
influence on women’s fashion. And consequently field grey women’s fabrics have emerged as the first
fashion innovation for women’s clothing to be developed in the style of our soldier’s uniform for fall and
winter suits.” 1
This observation, which was published in mid November 1914 in the widely-read Berlin
journal Die Dame, makes obvious the drastic change in the colours used by fashion houses for
their wartime collections. The greenish grey colour introduced for German military uniforms
under the name field grey in 1907 had a decisive impact on the new fashion during the first
winter of the war as well as the patriotic texts by fashion journalists. Ola Olsen, fashion editor
of Elegante Welt, saw here “a lively confirmation, a powerful and strongly felt declaration of
affiliation” 2 and repeatedly emphasised this colour’s symbolic force: “The field grey colour of
our clothing speaks an energetic language; it is forceful and yet tranquil because it catches
sight of our native country’s vast and expansive fields.” 3
Restrained and shaded colours would dominate throughout the war years because “everything
loud and gaudy today would be like a jarring note, disrupting the subdued mood that
is all around us.” 4 Along with field grey, an irritating colour from today’s perspective called
“Bombenbraun” [literally bomb brown] 5 became widespread after the first winter of war, and
starting in the fall of 1915 black was propagated as a fashionable colour: “Black will undoubtedly
beat all the records this winter. Larger circles have finally recognised the consummate
effect of noble black fabric. Black tulle, black chiffon, flowing black silk materials and especially
black velvet. … The black dress offers the broadest possibilities of unfolding the elegan ce
that is striven for at the moment.” 6 It can thus be demonstrated that black, previously seen as
the colour of mourning in the bourgeois codex of the West, was already being worn in
Germa ny as a fashionable colour during the First World War. The fashion houses placed
along it “lush brown, the perennially popular navy blue, purple here and there, and some
individual white dresses for young women.” 7 The available patterns mostly included stripes
as well as detailed floral designs, large­scale or multicoloured patterns were, by contrast,
hardly being produced at the time for reasons of cost.
All the belligerent nations had to drastically restrict the production of textiles to fulfil the
clothing needs of the civilian population over the course of the war and also had to deal
with the problem of severe shortages of raw materials. 8 Wool fabrics, for example, were
rationed for the general populace starting in February 1916 because they were required by
the military. The result was an enormous increase in the production of velveteen, which
was used for coats with fur lining and for tea gowns. A new solution had to be found when

“Fräulein Feldgrau”, Field postcard, 8,6 x 13,4 cm, 1916
New Fashion Trends during the First World War 61

62
New Fashion Trends during the First World War
Germany’s reserves of raw cotton were exhausted.
“The war itself favours the use of luxury fabrics” 9
wrote Norbert Stern in the fall of 1916 because only
limited amounts of all materials were available
with ration coupons or not at all. The fashion
industry now used large amounts of silk fabrics in
all qualities and weaves that were previously
regarded as much too expensive. Particularly
popular were the newly developed silk tricot, also
known as silk jersey, which was made into dresses,
blouses and leisure suits. The textile industry furthermore
manufactured its first textiles made from
synthetic fibres as well as cloth from paper weave,
but it proved not to be durable and, as a 1918 Simplicissimus
caricature convincingly demonstrated,
apparently only reservedly water-resistant.
It was not only the omnipresent grey and other
muted colours that created a close link between
the fashionable silhouette and military uniforms
but also the use of individual design elements:
Small stand-up collars in the case of blouses and
suits, sewn-on pockets, helmet-like headwear,
braided trimmings and colourfully piped seams,
capes and severely tailored suit jackets are only a
few of the most conspicuous details. The influence
of the nurses’ uniform on the cuts of simple day
dresses as well as the now oft-worn sensible combination
of blouse and skirt is furthermore unmistakable.
“Ein Familien-Ausflug”, Drawing by Thomas Theodor Heine, 29,5 x 14 cm,
from: Simplicissimus, 1918
“Praktisch” [sensible or practical] was one of the
most used adjectives in the fashion press of the war
years; its usage was consistently widespread and
was supplemented by “plain” or “modest” in the
final year of war. “Practical” could have various
meanings: Certain articles of clothing such as suits,
aprons, coat dresses and blouses were characterised
as such; easily washable and dark materials
were likewise considered practical. And finally the
new, now only calf-length skirts became standard
within a brief period of time thanks to the declaration
that they were suitable for daily use. The wide
crinoline skirts dating from 1915 were – despite the
argument of coquetry and that they represented a
waste of fabric – also deemed “practical” and rapidly
established themselves.
The living condition of most women underwent
a radical change since the outbreak of the war and
demanded a wardrobe that took this into consideration.
In everyday life, which was shaped by
one’s own gainful employment or by taking care of
errands outdoors, a well­fitting tailored suit of a
durable dark fabric that could be combined with

New Fashion Trends during the First World War 63
“Interviews Kôlôssâles sur la ‘Kriegsbluse’”, Drawings by M. Radiguet, 24,2 x 31,8 cm, from: Mode in Germany, Paris 1915
different blouses was required instead of the previously common morning dress. Along with
easy to wash colours – preferably in blue, brown, grey or black – a comfortable cut was of
importance: “But now, when practically every woman without exception is compelled more
than ever before to walk down busy streets, often weighed down with packages, it would be
grotesque if she foolishly also decided to wear a dress that would hinder her stride.” 10 Alongside
the suit, so­called coat dresses established themselves after 1917. They represent a hybrid
of high-necked dress and coat that made considerable savings of both money and fabric possible
because one item of clothing could be worn for two purposes. Apron dresses with
sewed-on pockets that could be combined with blouses were also popular. Because the dress
did not have to be changed as often, there were also savings as regards washing, which played
a significant role as soap and laundry detergent were likewise rationed.

64
New Fashion Trends during the First World War
The loosely falling blouse to supplement skirt and suit
was described as something special in the German fashion
press after 1915; particularly the “Viennese blouse”
enjoyed a great deal of popularity: “The so-called ‘simple’
blouses that Vienna also supplies in large numbers might
appear the most attractive to some tastes. Elegant simplicity
is expressed in all the shirt blouses decorated with
hemstitches, fine embroideries and attractive buttons.” 11
From the winter of 1916, striking caracos, which were
worn over the skirt, conveying a very eye-catching and
modern impression, came as an innovation onto the market:
“It also falls freely and is sometimes only slightly
girded; the body is never constrained, receiving that
swaying poise that we so appreciate in modern woman.” 12
Although fashion magazines from various countries
prove that the overly practical combination of skirt and
blouse was commonly worn elsewhere as well, the blouse
fashion, seen from a contemporary perspective, appears
to be a typically German phenomenon. How else could
we explain the fact that the satirical album Mode in
Germa ny, which was probably published in 1915 in Paris,
focuses on the German blouse in its Interviews Kôlôssâles
sur la ‘Kriegsbluse’? In five drawings and accompanying
verses, the German emperor, the crown prince, General
Eulenburg and the Austrian emperor are questioned
about the “Kriegsbluse” [war blouse], a caraco with light
sleeves and collar. None of them are capable of explaining
what is so special about it until the end when a French
soldier (Pioupiou) reveals it to be a mere adaptation of a
uniform jacket, “à deux couleurs, avec pattes, parements,
et bouton de métal”. 13
“Sur le Costume Tailleur”, Drawing by Georges Lepape, 24,5 x 19 cm,
Short and wide is the motto of modern dresses. Very from: Gazette du Bon Ton, 1914
wide and very short. “If they [the skirts] are to be considerably
shortened any further, then it is probably not due
to coquetry but solely as a result of practical considerations. … The waist remains narrow
despite the wide skirt, which is why the petticoat clings here without folds so that it can
widen downwards in a bell or umbrella cut.” 14 This is how the Elegante Welt explained the
wide skirt form in May 1915 that had become fashionable earlier in the year, the silhouette
of which recalled the hoop skirts of the 18th or 19th centuries and promised a nostalgic look
back at happier days. 15
Although it seemingly contradicts the daily hardships with the start of the rationing of
fabric accompanying the war, there were soon numerous arguments in its favour that resulted
in this form of skirt becoming widely accepted. On the one hand, one repeatedly read about
the practical aspects of the wide skirt that was simultaneously shortened to calf-length, which
offered women a never-before known freedom of movement that was greatly appreciated in
everyday life. On the other hand, it was also argued that the additional fabric required to
make such wider skirts, which would later be called “war crinoline”, meant supplemental
earnings for a troubled textile industry and consequently a direct form of promoting the
econo my. However, despite explanations targeted at expediency, symbolic as well as emotional
factors also played an important role because it was precisely this very graceful silhouette
that made it possible for women to set themselves off against the omnipresent image of the
uniformed man. As the Elegante Welt wrote in September 1915: “That women’s tastes have

New Fashion Trends during the First World War 65
“Sur le Costume Tailleur”, Drawings by Georges Lepape, 24,5 x 38 cm, from: Gazette du Bon Ton, 1914
changed to such an extent, that charm and unconditional expediency merged is surely a good
sign for the inner value of the woman in this year of war.” 16
The war was only a few weeks old when the fashion journals took up the topic of appropriate
mourning clothing for the first time, a subject that would be controversially discussed
on a regular basis. Margarethe von Suttner wrote in Elegante Welt: “The suggestion
has come … from various sides that those affected by a death in the family should now not
express their mourning outwardly through their clothing. Personally, I can only share this
opinion at the very least with one reservation, and this consists of omitting the long crepe
veil during this exceptional period in the interest of the public at large … Dark clothing,
dark furs, dark hats, beautiful fabrics and a fashionable cut …, that is how elegance will be
shown during this memorable winter.” 17 More radical positions demanded a clear differentiation
between private mourning and mourning for a soldier who was killed in action
because “the soldier who fought for the general public has also fallen for the general public.” 18
One should therefore forego official mourning clothes in order to spare other women the
disheartening view and to save the cities from such sombre street scenes. Savings as far as
fabric and material are concerned were listed as further reasons for doing without especially
purchased mourning clothes.

REFERENCES
[Historical articles from magazines are quoted in the notes and do not appear here]
Alatri / Gagliardo 2013
Alatri, Giovanna; Gagliardo, Francesca: Cappelli e Fornelli. Moda
e ricette per le maestre d’inizio ’900. Rome 2013, pp. 52 f.
Alligo / Ercoli 2011
Alligo, Santo; Ercoli, Giuliano: Modes et manières d’aujourd’hui.
Quando l’illustrazione di moda diventa grande arte. Torino 2011.
Brachet-Champsaur 2004
Brachet-Champsaur, Florence: De l’odalisque de Poiret à la femme
nouvelle de Chanel: Une victoire de la femme? In: Évelyne Morin-
Rotureau: Combats de femmes 1914 –1918. Paris 2004, pp. 200 –226.
Breward / Evans 2005
Breward, Christopher; Evans, Caroline (Ed.): Fashion and Modernity.
Oxford etc. 2005.
Bücherlust 1998
Bücherlust: Buchkunst und Bücherluxus im 20. Jahrhundert, Beispiele
aus einer Stuttgarter Sammlung. Stuttgart 1998.
Chaumette et al. 1992
Chaumette, Xavier; Montet, Emmanuelle; Fauque, Claude: Le Tailleur.
Un vêtement-message. Paris 1992.
Daniel 2004
Daniel, Ute: Frauen. In: Gerhard Hirschfeld; Gerd Krumreich;
Irina Renz (Ed.): Enzyklopädie Erster Weltkrieg. 2 nd , revised ed.,
Paderborn et al. 2004, pp. 116 –134.
David 2009
David, Alison Matthews: Fashion’s Chamelions. Camouflage,
‘Conspicuousness’, and Gendered Display During World War I.
In: John Potvin (Ed.): The Places and Spaces of Fashion, 1800 –2007.
New York 2009, pp. 89–107.
Davis 2006
Davis, Mary: Classic Chic. Music, Fashion and Modernism. Berkeley
2006.
Demornex 2007
Demornex, Jacqueline: Lucien Lelong, l’intemporel. Paris 2007.
Deslandres 1986
Deslandres, Yvonne: Poiret. Paul Poiret, 1879–1944. Paris 1986.
Deslandres / Müller 1986
Deslandres, Yvonne; Müller, Florence: Histoire de la mode au XXe
siècle. Paris 1986.
Donne nella grande guerra 2012
Donne nella grande guerra. Exh. cat. Musei Provinciali di Gorizia.
Gorizia 2012.
Field 2001
Field, Jacqueline: Dyes, Chemistry and Clothing: The Influence of
World War I on Fabrics, Fashions and Silk. In: Dress, Vol. 28 (2001),
pp. 77– 91.
Gaudriault 1983
Gaudriault, Raymond: La gravure de mode féminine en France.
Paris 1983.
Gundlach / Richter 1993
Gundlach, Franz C.; Richter, Uli (Ed.): Berlin en Vogue: Berliner
Mode in der Photographie. Tübingen 1993.
Haas-Heye 1916
Haas-Heye, Otto (Ed.): Graphische Modeblätter. Berlin 1916.
Haase 2008
Haase, Birgit: “Metamorphose des Girl” – Tendenzen der Damenmode
in der späten Weimarer Republik. In: Verena Dollenmaier;
Ursel Berger (Ed.): Glamour! Das Girl wird feine Dame – Frauendarstellungen
in der späten Weimarer Republik. Exh. cat. Georg
Kolbe Museum Berlin. Leipzig 2008, pp. 28 – 44.
Haase 2013
Haase, Birgit: Mustergültig – Die Farbe Schwarz à la mode moderne.
In: Katrin Lindemann; Iris Kolhoff-Kahl (Ed.): Muster in Mode-
Textil-Design. Festschrift for Prof. Dr. Jutta Beder. Berlin 2013,
pp. 82 – 92.
Hall-Duncan 1979
Hall-Duncan, Nancy: The history of fashion photography. New
York 1979.
Hansen 1984
Hansen, Traude: Wiener Werkstätte – Mode, Stoffe, Schmuck,
Accessoires. Vienna 1984.
Haye 2011
Haye, Amy de la: Chanel. Couture and Industry. London 2011.
Hirschfeld 1929
Hirschfeld, Magnus; Gaspar, Andreas (Ed.): Sittengeschichte des
Ersten Weltkrieges. Reprint of the 2 nd ., revised ed. [Frechen c. 1981].
(1st ed. 1929)
Hirschfeld et al. 2004
Hirschfeld, Gerhard; Krumreich, Gerd; Renz, Irina (Ed.): Enzyklopädie
Erster Weltkrieg. 2 nd , revised ed. Paderborn et al. 2004.
Horbas 1994
Horbas, Claudia: Frühe Modefotografie Pariser Ateliers. Berlin
1994.

References 223
Jenß 2001
Jenß, Heike: Retro-Looks in Modedesign und Jugendkultur –
Tom Ford (Gucci), Anna Sui und die Mods. In: Gabriele Mentges;
Heide Nixdorff: Textil – Körper – Mode. Dortmunder Reihe zu
kulturanthropologischen Studien, no. 1: zeit.schnitte. Berlin 2001,
pp. 225 – 301.
Kaufhold 1993
Enno Kaufhold: Fixierte Eleganz. Photographien der Berliner
Mode. In: F.C. Gundlach; Uli Richter (Ed.): Berlin en Vogue: Berliner
Mode in der Photographie. Tübingen 1993, pp. 13 – 46.
Kleider machen Politik 2002
Kleider machen Politik. Zur Repräsentation von Nationalstaat und
Politik durch Kleidung in Europa vom 18. bis 20. Jahrhundert. Cat.
Landesmuseum Oldenburg, Vol. 19. Oldenburg 2002.
Koda / Bolton 2007
Koda, Harold; Bolton, Andrew: Poiret. Exh. cat. The Metropolitan
Museum of Art. New York et al. 2007.
Les arts français 1918
Les arts français, no. 19 (1918). Special edition: Le costume et la
mode de 1914 à 1918.
Mackrell 1992
Mackrell, Alice: Coco Chanel. London 1992.
Martin / Koda 1989
Martin, Richard; Koda, Harold: The Historical Mode. Fashion and
Art in the 1980s. Exh. cat. Fashion Institute of Technology. New
York 1989.
Metropolen machen Mode 1989
Metropolen machen Mode. Haute Couture der Zwanziger Jahre.
Cat. Kunstgewerbemuseum Berlin, Staatliche Museen Preußischer
Kulturbesitz, 3 rd , revised ed. Berlin 1989.
Morin-Rotineau 2004
Morin-Rotineau, Evelyne (Ed.): 1914 –1918: Combats de femmes.
Les femmes, pilier de l‘effort de guerre. Paris 2004.
Morini / Rosina 2003
Morini, Enrica; Rosina, Margherita (Ed.): Le donne, la moda, la
guerra. Emancipazione femminile e moda durante la Prima guerra
mondiale. Exh. cat. Museo Storico Italiano della Guerra Rovereto.
Rovereto 2003.
Radiguet / Arnac [1915]
Radiguet, Maurice; Arnac, Marcel: Mode in Germany. Paris [1915].
Rasche 1995
Rasche, Adelheid: Peter Jessen, der Berliner Verein Moden-
Museum und der Verband der deutschen Mode-Industrie, 1916 bis
1925. In: Waffen- und Kostümkunde. Zeitschrift der Gesellschaft
für Historische Waffen- und Kostümkunde, Vol. 37, no. 1 and 2
(1995), pp. 65 – 92.
Rasche 1998
Rasche, Adelheid: Wiener Mode in Berlin, 1907 bis 1932. In: Intermezzo
Berlin. Wiener in Berlin 1890 –1933. Cat. Kunstbibliothek
Berlin, Berlin 1998, pp. 29– 36.
Rothstein 1992
Rothstein, Natalie (Ed.): Four Hundred Years of Fashion. Cat.
Victoria and Albert Museum London, 2. ed. London 1992.
Rücker 1984
Rücker, Elisabeth: Wiener Charme. Mode 1914/15, Graphiken und
Accessoires. Exh. cat. Germanisches Nationalmuseum. Nuremberg
1984.
Runde 1986
Runde, Sabine: Welt ohne Alltag: Modegraphik der 20er Jahre von
Annie Offterdinger. Frankfurt 1986.
Sander 1915
Sander, Klara: Die Mode im Spiegel des Krieges. Essen 1915.
Stahl 1915
Stahl, Fritz (i. e. Siegfried Lilienthal): Deutsche Form. Die Eigenwerdung
der deutschen Modeindustrie, eine nationale und wirtschaftliche
Notwendigkeit. (Flugschrift des Deutschen Werkbundes)
Berlin 1915.
Stern 1915a
Stern, Norbert: Die Weltpolitik der Weltmode. In: Der Deutsche
Krieg. Politische Flugschriften. Ed. by Ernst Jäckh. No. 30/341
(1915), pp. 7– 59.
Stern 1915b/c
Stern, Norbert: Mode und Kultur. 2 Vol., Dresden 1915 (Vol. 1:
Psychologisch-ästhetischer Teil; Vol. 2: Wirtschaftlich-politischer
Teil).
The 1915 Mode as shown by Paris. [1915]
The 1915 Mode as shown by Paris. Panama Pacific International
Exposition. New York [1915].
Troy 2002
Troy, Nancy: Paul Poiret’s Minaret Style: Originality, Reproduction
and Art in Fashion. In: Fashion Theory. The Journal of Dress,
Body and Culture. Vol. 6, no. 2 (June 2002), pp. 117–144.
Völker 1984
Völker, Angela: Wiener Mode + Modefotografie. Die Modeabteilung
der Wiener Werkstätte 1911–1932. Cat. Österreichisches
Museum für angewandte Kunst, Munich 1984.
Wagner 1999
Wagner, Gretel: Otto Haas-Heye. Die Zeit in Berlin 1914 –1925.
In: Waffen- und Kostümkunde. Zeitschrift der Gesellschaft für
Historische Waffen- und Kostümkunde, Vol. 41, no. 1 (1999),
pp. 41– 66.
Wilson 2005
Wilson, Elizabeth: Fashion and Modernity. In: Christopher Breward;
Caroline Evans (Ed.): Fashion and Modernity. Oxford 2005,
pp. 9 –14.
Zika 2006
Zika, Anna: Ist alles eitel? Zur Kulturgeschichte deutschsprachiger
Modejournale zwischen Aufklärung und Zerstreuung, 1750 –1950.
Weimar 2006.
Raydt 1917
Raydt, Elsa: Deutsche Modebestrebungen. (Das Reich der Frau
XXXIX) In: Westermanns Monatshefte. Illustr. Zeitschrift fürs
deutsche Haus, Vol. 61, no. 9 (May 1917), pp. 356 – 362.

ILLUSTRATION CREDITS / IMPRINT
Illustration Credits
Images and copyright clearance have been kindly supplied as listed below. Unless otherwise stated below or in the captions, images are
© Staatliche Museen zu Berlin, Kunstbibliothek
p. 22: © Germanisches Nationalmuseum, Nürnberg; pp. 24, 36: © 2014 Museum Associates/LACMA Los Angeles County Museum of Art;
pp. 24, 94: © Universitätsbibliothek Heidelberg; p. 30: © Victoria and Albert Museum, London; pp. 30, 32, 33: Museum für Kunst und
Gewerbe Hamburg; p. 31: Museum für Hamburgische Geschichte, Hamburg Museum; pp. 31, 35: © The Museum at FIT, Fashion Institute
of Technology New York; pp. 32, 37: Les Arts décoratifs – Musée de la Mode et du Textile, Paris; pp. 34, 37, 38: © The Metropolitan Museum
of Art, New York. Image source: Art Resource, NY; p. 36: © Musei Provinciali di Gorizia, Museo della Moda e delle Arti Applicate; p. 67:
© Staatliche Museen zu Berlin, Museum Europäischer Kulturen, photo: Ute Franz-Scarciglia
Every effort has been made to trace and contact copyright holders. If there are any inadvertent omissions we apologise to those concerned,
and ask that you contact us so that we can correct any oversight as soon as possible.
Imprint
This volume is published in conjunction with the exhibition:
Wardrobes in Wartime – Fashion Images during the First World War
Kunstbibliothek, Staatliche Museen zu Berlin
Kulturforum Potsdamer Platz
25 th September 2014 to 18 th January 2015
www.smb.museum
Project management, book editor and exhibition curator: Adelheid Rasche
Texts: Birgit Haase, Adelheid Rasche, Raffaella Sgubin, Moritz Wullen
Text Editing: Adelheid Rasche
Reproduction photographs: Anna Russ
Picture Editing: Daniela Kratz-Grönwald
Translation: Michael Wolfson
Copy-editing: Aaron Shoichet
Publishing coordination: Caroline Keller
Graphic design and cover design: Gisela Kirschberg, Berlin
Cover illustration: Coat and Ensemble, Photograph by Wilhelm Willinger, c. 1914
Production: Sabine Artner
Reproductions: Medien Profis GmbH, Leipzig
Printed and bound by: Salzland Druck GmbH & Co. KG, Staßfurt
Publication management and coordination for the Staatliche Museen zu Berlin: Sigrid Wollmeiner
Bibliographic information published by the Deutsche Nationalbibliothek
The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie;
detailed bibliographic data are available in the Internet at http://dnb.dnb.de.
All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system or transmitted in any form or by
any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the holder of rights.
© 2014 Staatliche Museen zu Berlin – Preußischer Kulturbesitz, the authors and E. A. Seemann Verlag in the Seemann Henschel
GmbH & Co. KG, Leipzig
www.seemann-verlag.de
ISBN 978-3-86502-339-1
Printed in Germany
The editor wishes to thank for assistance:
Jennifer Belt, New York; Christine Binroth, Berlin; Rachel Brishoual, Paris; Jessica Glasscock, New York; Martin Gosewisch, Berlin; Birgit
Haase, Hamburg; Gudrun Hildebrandt, Hamburg; Joachim Hiltmann, Hamburg; Harold Koda, New York; Daniela Kratz-Grönwald, Berlin;
Melissa Marra, New York; Dagmar Neuland-Kitzerow, Berlin; Angelika Riley, Hamburg; Hildegard Ringena, Berlin; Piper Severance, Los
Angeles; Raffaella Sgubin, Gorizia; Kaye Spilker, Los Angeles