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This paper revisits two early rubble films from 1946 and 1947 against the background of the contemporary fashion and women’s press in Berlin in order to reconstruct a historic female experience of the immediate postwar period that goes beyond the cliched images of the German woman as Trummerfrau , Amiflitt-chen , or a victim of rape. By taking a closer look at the presentations of clothes and various sartorial practices in these two films, this article delineates a wider range of subjective positions associated with female characters and a broader array of attractive identities offered to a predominantly female spectatorship.