A new authority had taken over—that of the street, constituting a further threat to the dictatorship of couture. Many fashion houses closed during the occupation of Paris during World War II, including the Maison Vionnet and the Maison Chanel. Several designers, including Mainbocher, permanently relocated to New York. In the enormous moral and intellectual re-education program undertaken by the French state, couture was not spared. In contrast to the stylish, liberated Parisienne, the Vichy regime promoted the model of the wife and mother—a robust, athletic young woman—a figure much more consistent with the new regime's political agenda. Meanwhile, Germany was taking possession of over half of what France produced, including high fashion, and was considering relocating French haute couture to Berlin and Vienna. The archives of the Chambre Syndicale de la Couture were seized, including, most consequentially, the client list. The point of all this was to break up a monopoly that supposedly threatened the dominance of the Third Reich. Due to difficult times, hemlines crept upward in both evening wear and day wear, the latter of which was made using substitute materials whenever possible. From 1940 onward, fabric was needed for military personnel; to everyone else, it was rationed, with an allowance of no more than four meters (thirteen feet) of cloth was permitted to be used for a coat and a little over one meter (three feet) for a blouse. No belt could be over 3 centimetres (one and a half inches) wide. Everyone, from housewives to designers, were forced to re-use of old fabric or create new styles out of old garments. Haute couture did its best to keep its flag flying. Humor and frivolity became a popstar way of defying the occupying powers and couture survived. Although some have argued that the reason it endured was due to the patronage of the wives of wealthy Nazis, records reveal that, aside from the usual wealthy Parisiennes, it was an eclectic mix of the wives of foreign ambassadors, clients from the black market, and miscellaneous other patrons of the salons (among whom German women were but a minority) that kept the doors open at fashion houses such as Jacques Fath, Maggy Rouff, Marcel Rochas, Jeanne Lafaurie, Nina Ricci, and Madeleine Vramant. Permed hairstyles remained standard, although during the '40s, this evolved into a bobbed roll along the lower part of the hairline.