The military has long had ties to the fashion industry

In developing the ATB, the Army collaborated with professional fashion designers and sought input from female soldiers to improve the design. According to Ashley Cushon, clothing designer and project manager for ATB, feeling good in clothes not only affects an individual’s mental health, but also their “overall readiness and performance levels, allowing them to focus on their mission “.

The move to create the ATB, along with other dress code changes implemented last year, is being seen as part of an increased effort by the military to increase inclusion and adapt to the growing diversity of its personnel and the various needs of its soldiers. . This development suggests that the military, a traditionally conservative and masculine institution, has finally adopted a more enlightened perspective on the needs of women.

But, in fact, the creation of ATB is actually the latest chapter in a long-running tussle between the fashion industry and the military — one fueled by the Army’s attention to the appearance of its soldiers, especially female soldiers.

During the American Civil War, the demand for hundreds of thousands of standardized uniforms catalyzed the ready-to-wear industry and led to a revolution in men’s clothing after the war. Men’s uniform styles of the First World War brought new trends in women’s fashion and changed the silhouette until 1916, which in turn shaped the style of nurses’ uniforms – the first women’s uniforms to be issued the army.

During World War II, as part of a national mobilization effort, the War Production Board issued order L-85 that restricted the civilian use of fabrics, clothing, and accessories to preserve materials for military use. Fashion designers, following the order, found creative ways to work around it, such as using zippers instead of buttons, or introducing the now popular trend of flats modeled after ballet shoes, which were not rationed.

The Second World War also made urgent the issue of women’s uniforms and appropriate appearance for female soldiers. For the first time in history, significant numbers of women enlisted in the military, serving primarily in the Women’s Army Auxiliary Corps (WAAC) and Women Accepted for Volunteer Emergency Service (WAVES). These women needed uniforms that would fit their bodies while also allowing them to perform their duties comfortably.

At first, the Office of the Chief Master General (OQMG), which oversaw the development of women’s uniforms, simply made a few adjustments to the men’s uniforms, believing that this would be enough. It didn’t happen.

After a year of mistakes and failure to deliver satisfactory results for military women (almost 70 percent of the uniforms had to be changed), OQMG decided to recruit Dorothy Shaver—then the vice president of the Lord & Taylor department store—to serve as a consultant. . Shaver brought more than her expertise in women’s clothing and manufacturing. She also offered a feminist approach to uniform design, insisting that women’s military clothing should not imitate men’s uniforms, but instead be inspired by civilian sportswear and the “American Look” that emphasized practicality and independence .

Shaver’s perspective was most evident in her pattern of the wrap dress for the Army Nurse Corps, a garment that could be tailored to the individual figure for exact proportions with minimal alterations. She also persuaded military officials to include trousers as part of women’s official wardrobe. Beginning in 1942, the Army supplied trousers for women working in motor transport and pilot service units, and by 1944, trousers were a staple among all WAAC units.

Known as a great supporter of American fashion, Shaver engaged the best haute couture designers in the US, such as Philip Mangone, Mollie Parnis and Mainbocher, to create military uniforms. Their coveted designs became a useful recruiting tool, as every woman who joined the military knew she would have a designer outfit. Indeed, Mainbocher’s WAVES uniforms became so popular that civilian women attempted to copy them, prompting the US Navy to issue warnings and remind the public that “unthinking persons adopting the distinctive designs of any armed forces uniforms are violating federal law.”

While military uniform designers in the 1940s considered functionality, they also sought to make clothing that looked good, addressing the government’s efforts to convince the military command and the public that serving in the armed forces would not make women more masculine. To this end, the Army discouraged women in the WAAC from keeping their hair “too short” or adopting appearances that registered as “butch”, instead requiring minimum hair lengths and the application of make-up. Relatedly, the L-85 regulations did not cover red lipstick, nor did the government rationalize it – despite the lipstick containing some materials needed for military purposes. As with hair and makeup, designers and military commanders believed that a well-designed uniform could allow women to look and feel feminine while also providing enough comfort to help them do their job well.

The fashion industry also benefited from cooperation with the armed forces. As the Army worked to improve uniform production, it began a program to measure and standardize sizes, which benefited from ready production for years to come. Fashion designers were also inspired by military styles and came up with their own versions of uniforms for the runway, transforming the styles of military women and war workers into a beauty ideal. In 1944, for example, Harper’s Bazaar featured Clare Potter’s velvet jumpsuit “cut precisely like a mechanical suit” as an elegant choice for women of fashion.

While women became a permanent part of the military during the Cold War, initially as part of the Women’s Army Corps (WAC), the military maintained its emphasis on creating comfortable and practical uniforms that also enabled WAC members to maintain a beautiful and feminine look. look. However, when the WAC disbanded in 1978 and women were integrated into men’s units and later into combat roles, the focus became less on femininity and more on efficiency. In the process, the military established the special needs of military women.

If it took the military longer to realize that bras are also part of a soldier’s tactical gear, ATB’s latest design efforts show it got the memo. Like the uniforms of the 1940s, it is the civilian market that provides insight and inspiration for ATB. Like the original sports bra, a self-proclaimed feminist garment in the 1970s, the military today is using fashion to boost its image and attract recruits.

It may be a while before we see ATB ads in stores, but as the long history of the military’s involvement in our fashion trends shows, that day is probably not that far off.