Guess What I Found?–A Purchase from the Yard Goods Store




You’re rummaging through an old tub of clothes from your childhood that your parents had stored away in their attic. As you search, you find one particular piece that you remember as your favourite. When you hold it in your hands, you’re magically transported back to the moment remembering that particular time and space when someone bought a few yards of fabric to make something.

Michael Rikley-Lancaster– curator of the Mississppi Valley Textile Museum showed me a piece of fabric from the Mississippi Valley Textile Museum collection a few days ago–and well— I went way back in time. Even though I was born in 1951– this fabric still brought back memories. (Photo at the bottom of the page)

The 1920’s and 30’s saw change in the design of children’s clothing and it became increasingly more casual by the 1950’s. This was partially due to the introduction of synthetic fabrics but also fabric design had become more cheerful.


Fashion in the 30s and 40s

By the time the United States emerged from the Depression, Europe and much of Asia were already at war. Paris under Nazi occupation was a disaster for Haute Couture and one that gave great opportunity to the growing fashion industry in the United States.

Women who were deprived of the latest fashions from Paris began to look to homegrown talent. Designers such as Norman Norell and Claire McCardell soon built a following. Mainbocher and Molyneux fled Europe and set up shop in the United States. This development profoundly changed America’s fashion profile and the market continued to gain momentum after the war ended.


Wartime regulations such as L-85, which regulated how much fabric and what garment types could be manufactured, were applied to both men’s and women’s clothing. Materials that were needed for military purposes were restricted for civilian use. Though the restrictions were not difficult to heed, manufacturers over-complied in support of the war effort. Utility and practicality became more fashionable and “Rosie the Riveter” was created as a role model. Frivolity and extravagance were put on hold. The emblematic wide-shouldered, slim-waisted, narrow-hipped silhouette of the 1940s was established.

The war also brought social and cultural change as greater numbers of women entered the workplace. Slacks, once considered scandalous and fit only for the boudoir, gained popularity. For many years however, even into the 1960s, it was to be a subject of debate as to whether they were appropriate in the workplace or not!


February 1947 brought one of fashion history’s most dramatic events – Christian Dior’s explosive first collection hit the runway. He called it the Corolle line but the American press, which referred to the collection as “New Look”, ignored this. The media’s chosen name stuck and so did the fashion.

The New Look called for rounded shoulders, exaggerated bust lines, wasp waists and padded hips and long, often extravagantly full skirts that required an exorbitant amount of fabric. This was a strident comment on the end of wartime asceticism.



While fashion writers loved the New Look, initially it met with public resistance. Many viewed it as frivolous and wasteful after the rationing and deprivation of World War II – especially when the economic hardships of war were still very much a reality in Europe. But ultimately, the New Look became a symbol of the return of prosperity, femininity, and glamour. Women who had for years worn the more austere fashions of the 1940s (and were fatigued at reading endless articles on how to extend the life of old garments) began to see a distinct appeal in the swish of long skirts and the allure of curvaceous shapes. The “New Look” was essential in restoring the French couture industry and was the cornerstone of the following decade’s predominant fashion aesthetic.

The Vintage Fashion Guild


And here is what I saw and marvelled at the Mississppi Valley Textile Museum— Thanks Michael!!



1940s fabric from the Mississppi Valley Textile Museum Almonte Ontario


Want to see more? Come and visit the Lanark County Genealogical Society Facebook page– what’s there? Cool old photos–and lots of things interesting to read.

Information where you can buy all Linda Seccaspina’s books-You can also read Linda in Hometown News

Related Reading:

Was Working in One of Our Local Mills Like Working in a Coal Mine?

Babies in the Textile Mills

Rosamonds – The One Carleton Place Let Get Away

The Rosamond Woolen Company’s Constipation Blues

Tears of a Home -The Archibald Rosamond House

The Exact Reason Rosamond Left Carleton Place

About lindaseccaspina

Before she laid her fingers to a keyboard, Linda was a fashion designer, and then owned the eclectic store Flash Cadilac and Savannah Devilles in Ottawa on Rideau Street from 1976-1996. She also did clothing for various media and worked on “You Can’t do that on Television”. After writing for years about things that she cared about or pissed her off on American media she finally found her calling. She is a weekly columnist for the Sherbrooke Record and documents history every single day and has over 6500 blogs about Lanark County and Ottawa and an enormous weekly readership. Linda has published six books and is in her 4th year as a town councillor for Carleton Place. She believes in community and promoting business owners because she believes she can, so she does.

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