Fashion and Trends<\/strong><\/h3>\n\n\n\nWomen\u2019s fashion in the 1940s focused on creating an hourglass silhouette whilst incorporating masculine details. A big favourite of the time was, of course, shoulder padding. This military look often appeared in men\u2019s jackets, and after Joan Crawford wore them in Letty Lynton in 1932, women started to adopt the style, too. The large shoulders helped to bulk the frame of women, and possibly to make them seem more like their male counterparts in the workplace. Women most notably wore tailored, high-waisted tops and A-line skirts that came down to the knee.<\/p>\n\n\n\n![\"Iconic](\"https:\/\/s3.amazonaws.com\/images.wedding-dress-secret.com\/Iconicweddingdressesofthe40s\/Rosie.jpg\")
<\/figure>\n\n\n\nThe start of the war saw a strict rationing on fabric, causing dresses to\nshorten in length. Dresses of the 1930s were at mid-calf level, whereas the\n\u201940s brought them up to the knee. The war too affected the top half of dresses,\ntaking on the militant masculine form.<\/p>\n\n\n\n
The neckline of dresses came in an array of shapes: some were square, others\nslit, keyhole or v-neck. Even though hemlines were rising, dresses were always\nmodest and revealed very little skin. Evening dresses were the exception to the\nrule, showing off spaghetti straps or halter necks.<\/p>\n\n\n\n![\"Iconic](\"https:\/\/s3.amazonaws.com\/images.wedding-dress-secret.com\/Iconicweddingdressesofthe40s\/craig-whitehead-585480-unsplash.jpg\")
<\/figure>\n\n\n\nLater in the decade, as fabric came more readily available, woman embraced colourful patterns with contrasting trims. Pleats, wide A-lines and pockets were introduced. Christian Dior debuted a new line of clothing dubbed \u201cThe New Look<\/a>\u201d. The range took advantage of the wider source of fabrics and paid attention to women\u2019s forms, producing tighter waists and fuller skirts.<\/p>\n\n\n\nAccessories consisted of hats, gloves, handbags and jewellery. Jewellery\nplayed an important role, aiming to repel the sombre wartime. Most popular was\ncolourful beaded necklaces, large floral brooches and chunky earrings. The\npeep-toe heels were the favoured shoe of the decade, popular alongside loafers,\nOxfords and wedge sandals.<\/p>\n\n\n\n
Here Comes the Bride<\/strong><\/h3>\n\n\n\nBridal fashion in the 1940s can effectively be divided into two sections; wartime and post-war. Wartime rations meant that wedding dresses in the early \u201940s were simple, practical, and often borrowed, or were handmade from cheap fabrics like rayon. In fact, many dresses made soon after the war were cut from the fabric of old parachutes<\/a>!<\/p>\n\n\n\nAfter the war, although rationing was still in place, gowns gradually became\nmore detailed once again. Even Queen Elizabeth had to use ration coupons to buy\nthe fabric for her 1947 wedding dress!<\/p>\n\n\n\n![\"Iconic](\"https:\/\/s3.amazonaws.com\/images.wedding-dress-secret.com\/Iconicweddingdressesofthe40s\/weddings.jpg\")
<\/figure>\n\n\n\nThe dresses featured distinctive elements. The sleeves became statements, as\nfabric became easier to come by. For wedding dresses, big sleeves represented a\nreturn to the woman being unburdened by manual labour. The waist was often highlighted,\ncreating a focus on the \u2018v\u2019 silhouette. Colours of the gowns were\npredominantly white, off-white, ivory or beige.<\/p>\n\n\n\n
Lucille Ball, 1940 and 1949<\/strong><\/h3>\n\n\n\nThe actress and comedian met Desi Arnaz while filming in 1940. They eloped the same year, before he was drafted into the army. The pair enjoyed a second wedding in 1949, although divorced in 1960.<\/p>\n\n\n\n![\"Iconic](\"https:\/\/s3.amazonaws.com\/images.wedding-dress-secret.com\/Iconicweddingdressesofthe40s\/lucille.jpg\")
<\/figure>\n\n\n\nAt that first wedding, Lucille\u2019s white dress sat just off her shoulders with frilly lace. A short veil gathered on top of her head and she wore big jewellery. At their second wedding her dress did not touch the floor and was a starchier rayon fabric. Through their long career together, the pair wed plenty of time on screen, as well!<\/p>\n\n\n\n
Marilyn Monroe, 1942<\/strong><\/h3>\n\n\n\nThere can hardly be a person alive who has not heard of the popular icon that is Marilyn Monroe<\/a>. Four years before she adopted that moniker, Norma Jeane Mortenson walked down the aisle to meet James Dougherty in 1942. At 16 years old, the blonde bombshell was her natural brunette.<\/p>\n\n\n\n![\"Iconic](\"https:\/\/s3.amazonaws.com\/images.wedding-dress-secret.com\/Iconicweddingdressesofthe40s\/1.jpg\")
<\/figure>\n\n\n\nMonroe wore a traditional full-length lace gown and short veil. The gown had\na frilly scoop neck but was otherwise not too dissimilar to anything brides\nmight wear today. She was not yet an actress or a model, and as such she wore\nwhat any other bride of the day would have worn. She brought the dress out for\na photoshoot with Richard C Miller after she and James divorced.<\/p>\n\n\n\n
Carole Landis, 1943 <\/strong><\/h3>\n\n\n\nCarole Landis was an American actress nicknamed \u201cPing Girl\u201d and \u201cThe Chest\u201d\ndue to her figure. In 1943 she married husband number three at wedding number\nfour at just 24 years old. She and Thomas Wallace, a US army air forces captain,\nwed in London<\/a>, wearing a gorgeous cream-coloured silk gown. As she\nwas a world-famous actress, she was able to afford this luxurious fabric.<\/p>\n\n\n\n
<\/figure>\n\n\n\nThe start of the war saw a strict rationing on fabric, causing dresses to\nshorten in length. Dresses of the 1930s were at mid-calf level, whereas the\n\u201940s brought them up to the knee. The war too affected the top half of dresses,\ntaking on the militant masculine form.<\/p>\n\n\n\n
The neckline of dresses came in an array of shapes: some were square, others\nslit, keyhole or v-neck. Even though hemlines were rising, dresses were always\nmodest and revealed very little skin. Evening dresses were the exception to the\nrule, showing off spaghetti straps or halter necks.<\/p>\n\n\n\n Later in the decade, as fabric came more readily available, woman embraced colourful patterns with contrasting trims. Pleats, wide A-lines and pockets were introduced. Christian Dior debuted a new line of clothing dubbed \u201cThe New Look<\/a>\u201d. The range took advantage of the wider source of fabrics and paid attention to women\u2019s forms, producing tighter waists and fuller skirts.<\/p>\n\n\n\n Accessories consisted of hats, gloves, handbags and jewellery. Jewellery\nplayed an important role, aiming to repel the sombre wartime. Most popular was\ncolourful beaded necklaces, large floral brooches and chunky earrings. The\npeep-toe heels were the favoured shoe of the decade, popular alongside loafers,\nOxfords and wedge sandals.<\/p>\n\n\n\n Bridal fashion in the 1940s can effectively be divided into two sections; wartime and post-war. Wartime rations meant that wedding dresses in the early \u201940s were simple, practical, and often borrowed, or were handmade from cheap fabrics like rayon. In fact, many dresses made soon after the war were cut from the fabric of old parachutes<\/a>!<\/p>\n\n\n\n After the war, although rationing was still in place, gowns gradually became\nmore detailed once again. Even Queen Elizabeth had to use ration coupons to buy\nthe fabric for her 1947 wedding dress!<\/p>\n\n\n\n The dresses featured distinctive elements. The sleeves became statements, as\nfabric became easier to come by. For wedding dresses, big sleeves represented a\nreturn to the woman being unburdened by manual labour. The waist was often highlighted,\ncreating a focus on the \u2018v\u2019 silhouette. Colours of the gowns were\npredominantly white, off-white, ivory or beige.<\/p>\n\n\n\n The actress and comedian met Desi Arnaz while filming in 1940. They eloped the same year, before he was drafted into the army. The pair enjoyed a second wedding in 1949, although divorced in 1960.<\/p>\n\n\n\n At that first wedding, Lucille\u2019s white dress sat just off her shoulders with frilly lace. A short veil gathered on top of her head and she wore big jewellery. At their second wedding her dress did not touch the floor and was a starchier rayon fabric. Through their long career together, the pair wed plenty of time on screen, as well!<\/p>\n\n\n\n There can hardly be a person alive who has not heard of the popular icon that is Marilyn Monroe<\/a>. Four years before she adopted that moniker, Norma Jeane Mortenson walked down the aisle to meet James Dougherty in 1942. At 16 years old, the blonde bombshell was her natural brunette.<\/p>\n\n\n\n Monroe wore a traditional full-length lace gown and short veil. The gown had\na frilly scoop neck but was otherwise not too dissimilar to anything brides\nmight wear today. She was not yet an actress or a model, and as such she wore\nwhat any other bride of the day would have worn. She brought the dress out for\na photoshoot with Richard C Miller after she and James divorced.<\/p>\n\n\n\n Carole Landis was an American actress nicknamed \u201cPing Girl\u201d and \u201cThe Chest\u201d\ndue to her figure. In 1943 she married husband number three at wedding number\nfour at just 24 years old. She and Thomas Wallace, a US army air forces captain,\nwed in London<\/a>, wearing a gorgeous cream-coloured silk gown. As she\nwas a world-famous actress, she was able to afford this luxurious fabric.<\/p>\n\n\n\n<\/figure>\n\n\n\nHere Comes the Bride<\/strong><\/h3>\n\n\n\n
<\/figure>\n\n\n\nLucille Ball, 1940 and 1949<\/strong><\/h3>\n\n\n\n
<\/figure>\n\n\n\nMarilyn Monroe, 1942<\/strong><\/h3>\n\n\n\n
<\/figure>\n\n\n\nCarole Landis, 1943 <\/strong><\/h3>\n\n\n\n