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Flappers in the 1920s Flappers Fashion

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Western women attired in a particular fashion in the 1920s

A flapper on board a ship (1929)

Flappers were a subculture of immature Western women in the 1920s who wore short skirts (knee height was considered curt during that menstruation), bobbed their hair, listened to jazz, and flaunted their disdain for what was and so considered adequate beliefs. Flappers were seen equally advised for wearing excessive makeup, drinking booze, smoking cigarettes in public, driving automobiles, treating sex in a coincidental manner, and otherwise flouting social and sexual norms.[1] As automobiles became available, flappers gained liberty of motion and privacy.[two] Flappers are icons of the Roaring Twenties, the social, political turbulence and increased transatlantic cultural commutation that followed the end of World War I, equally well as the export of American jazz culture to Europe. There was a reaction to this counterculture from more than conservative people who belonged mostly to older generations. They claimed that the flappers' dresses were 'virtually nakedness', and that flappers were 'flippant', 'reckless', and unintelligent.

Etymology [edit]

The slang term "flapper" may derive from an before use in northern England to hateful "teenage girl", referring to 1 whose hair is not still put upward and whose plaited pigtail "flapped" on her back,[iii] or from an older word pregnant "prostitute".[iv] The slang word "flap" was used for a young prostitute every bit early as 1631.[5] By the 1890s, the give-and-take "flapper" was used in some localities every bit slang both for a very immature prostitute,[six] [ page needed ] [vii] and, in a more general and less derogatory sense, of whatever lively mid-teenage daughter.[8]

The standard non-slang usage appeared in print as early as 1903 in England and 1904 in the Usa, when novelist Desmond Coke used information technology in his higher story of Oxford life, Sandford of Merton: "There's a stunning flapper".[9] In 1907 English actor George Graves explained it to Americans equally theatrical slang for acrobatic immature female phase performers.[10] The flapper was also known as a dancer, who danced similar a bird—flapping her arms while doing the Charleston move. This movement became quite a competitive trip the light fantastic during this era.[xi]

By 1908, newspapers equally serious as The Times used the term, although with careful explanation: "A 'flapper', we may explain, is a young lady who has not yet been promoted to long frocks and the wearing of her pilus 'up'".[12] In April 1908, the mode section of London'due south The Globe and Traveller contained a sketch entitled "The Apparel of the Young Daughter" with the following explanation:

Americans, and those fortunate English folk whose money and status let them to get in freely for slang terms ... phone call the subject of these lines the 'flapper.' The appropriateness of this term does not move me to such whole-hearted admiration of the astonishing powers of enriching our language which the Americans modestly acknowledge they possess ..., [and] in fact, would scarcely merit the laurels of a moment of my attention, but for the fact that I seek in vain for whatsoever other expression that is understood to signify that important young person, the maiden of some 16 years.

The sketch is of a girl in a apron with a long skirt, "which has the waistline quite high and semi-Empire, ... quite untrimmed, its plainness being relieved by a sash knotted carelessly around the skirt."[13]

Past November 1910, the word was popular enough for A. E. James to brainstorm a serial of stories in the London Magazine featuring the misadventures of a pretty xv-yr-old girl and titled "Her Majesty the Flapper".[fourteen] Past 1911, a paper review indicates the mischievous and flirtatious "flapper" was an established stage-type.[15]

By 1912, the London theatrical impresario John Tiller, defining the give-and-take in an interview he gave to The New York Times, described a "flapper" every bit belonging to a slightly older age group, a daughter who has "only come out".[xvi] Tiller'south utilize of the phrase "come out" means "to make a formal entry into 'society' on reaching womanhood".[17] In polite society at the fourth dimension, a teenage girl who had not come out would still be classed as a kid. She would be expected to keep a low profile on social occasions and ought non to be the object of male attending. Although the word was withal largely understood as referring to high-spirited teenagers,[eighteen] gradually in Britain it was being extended to depict any impetuous young woman.[a] By late 1914, the British mag Vanity Off-white was reporting that the Flapper was outset to disappear in England, beingness replaced by the so-chosen "Little Creatures."[20]

A Times article on the problem of finding jobs for women made unemployed by the return of the male workforce, following the end of World War One, was titled "The Flapper'south Hereafter".[21] Under this influence, the significant of the term changed somewhat, to utilize to "independent, pleasure-seeking, khaki-crazy immature women".[7]

In his lecture in February 1920 on Britain'due south surplus of immature women caused past the loss of young men in war, Dr. R. Murray-Leslie criticized "the social butterfly type... the frivolous, scantily-clad, jazzing flapper, irresponsible and undisciplined, to whom a trip the light fantastic, a new lid, or a human being with a car, were of more importance than the fate of nations".[22] In May of that twelvemonth, Selznick Pictures released The Flapper a silent one-act film starring Olive Thomas. It was the first movie in the United states of america to portray the "flapper" lifestyle. Past that time, the term had taken on the total significant of the flapper generation style and attitudes

The employ of the term coincided with a fashion among teenage girls in the Usa in the early 1920s for wearing unbuckled galoshes,[23] and a widespread false etymology held that they were chosen "flappers" because they flapped when they walked, every bit they wore their overshoes or galoshes unfastened, showing that they defied convention in a manner similar to the 21st century fad for untied shoelaces.[24] [ page needed ] [25] [ page needed ] Some other proposition to the origin of the term, in relation to mode, comes from a 1920s fashion trend in which immature women left their overcoat unbuttoned to allow it to flap back and along as they walked, appearing more independent and freed from the tight, Victorian Era style clothing.[26]

Past the mid-1930s in United kingdom, although nevertheless occasionally used, the word "flapper" had become associated with the past. In 1936 a Times announcer grouped information technology with terms such as "blotto" every bit outdated slang: "[blotto] evokes a distant repeat of glad rags and flappers ... It recalls a past which is not yet 'flow'."[27]

Influences [edit]

"In all countries, the First Globe War weakened former orthodoxies and authorities, and, when it was over, neither regime nor church nor schoolhouse nor family unit had the power to regulate the lives of human beings equally information technology had once washed. One upshot of this was a profound alter in manners and morals that fabricated a freer and less restrained society. Women benefited from this every bit much equally anyone else. Time-worn prescriptions apropos what was or was not proper behavior for them no longer possessed much credibility, and taboos well-nigh unaccompanied appearances in public places, or the utilize of liquor or tobacco, or even pre-marital sexual relationships had lost their forcefulness. ... [West]omen were no longer as vulnerable to the tyranny of society every bit they had been [before]."

Historian Gordon A. Craig[28]

One cause of the change in immature women's behavior was World War I which ended in Nov 1918. The death of large numbers of young men in the war, and the Spanish flu pandemic which struck in 1918 killing between xx–forty million people,[29] inspired in immature people a feeling that life is short and could stop at any moment. Therefore, young women wanted to spend their youth enjoying their life and freedom rather than just staying at habitation and waiting for a homo to marry them.[30]

Political changes were some other cause of the flapper culture. World War I reduced the grip of the class organisation on both sides of the Atlantic, encouraging different classes to mingle and share their sense of freedom.[31] Women finally won the right to vote in the U.s.a. on August 26, 1920.[32] Women wanted to exist men's social equals and were faced with the difficult realization of the larger goals of feminism: individuality, full political participation, economic independence, and 'sex rights'.[33] They wanted to be treated like men and go smoking and drinking.[34] In addition, many women had more opportunities in the workplace and had even taken traditionally male person jobs such as doctors, lawyers, engineers and pilots.[35] The rising of consumerism also promoted the ideals of "fulfilment and freedom",[31] which encouraged women to remember independently nigh their garments, careers, social activities.[35]

Society changed quickly later on World War I. For case, customs, engineering, and manufacturing all moved quickly into the 20th century later on the interruption of the war.[36] The rise of the machine was an of import factor in flapper culture, every bit cars meant a adult female could come up and go as she pleased, travel to speakeasies and other amusement venues, and use the large vehicles of the twenty-four hours for their popular activity, petting parties.[37] Also, the economical boom allowed more people the time and coin to play golf and lawn tennis and to take vacations,[38] which required wear adjusted to these activities; the flapper's slender silhouette was very suitable for move.[39]

Development of the paradigm [edit]

The showtime appearance of the flapper fashion[b] in the Us came from the popular 1920 Frances Marion moving-picture show, The Flapper, starring Olive Thomas.[41] Thomas starred in a similar role in 1917, though it was not until The Flapper that the term was used. In her final movies, she was seen as the flapper image.[42] Other actresses, such every bit Clara Bow, Louise Brooks, Colleen Moore and Joan Crawford would soon build their careers on the same image, achieving smashing popularity.[41]

In the United States, popular contempt for Prohibition was a cistron in the rise of the flapper. With legal saloons and cabarets closed, back alley speakeasies became prolific and popular. This discrepancy between the constabulary-abiding, religion-based temperance movement and the bodily ubiquitous consumption of alcohol led to widespread disdain for authority. Flapper independence was also a response to the Gibson girls of the 1890s.[43] [44] Although that pre-state of war look does non resemble the flapper style, their independence may have led to the flapper wisecracking tenacity 30 years later.

Adult female depicted in typical flapper outfit in the embrace fine art for The Plastic Historic period, 1924

Writers in the U.s.a. such as F. Scott Fitzgerald and Anita Loos and illustrators such equally Russell Patterson, John Held, Jr., Ethel Hays and Faith Burrows popularized the flapper look and lifestyle through their works, and flappers came to exist seen equally bonny, reckless, and independent. Among those who criticized the flapper craze was writer-critic Dorothy Parker, who penned "Flappers: A Hate Song" to poke fun at the fad. The secretary of labor denounced the "flippancy of the cigarette smoking, cocktail-drinking flapper".[45] A Harvard psychologist reported that flappers had "the lowest caste of intelligence" and constituted "a hopeless problem for educators".[45]

Some other writer, Lynne Frame, said in her book that a large number of scientists and health professionals have analyzed and reviewed the degree of femininity of flappers' advent and beliefs, given the "boyishness" of the flapper look and behavior. Some gynecologists gave the opinion that women were less "marriageable" if they were less "feminine", as the husband would exist unhappy in his marriage. In Frame's book, she also wrote that the appearance of flappers, like the short hair and curt dress, distracted attending from feminine curves to the legs and body. These attributes were not merely a fashion trend but besides the expression of a blurring of gender roles.[46]

The Gibson Girl [edit]

The Gibson Girl was one of the origins of the flapper. The invention of Charles Dana Gibson, the Gibson Daughter changed the mode, patterns, and lifestyles of the 1920s; these were much more progressive than the traditions of women'southward styles in the past. Before the Gibson Daughter movement, women's voices as a grouping were infrequently heard. While some may run across the Gibson Girl every bit only a fashion statement, information technology was much more broadly influential than that. "She depicted the modern woman, known popularly as the 'new woman', at a time when more women gained independence, began to work outside the dwelling house, and sought the right to vote and other rights."[47] Gibson's illustrations showed feminist women of all kinds who worried more than about themselves than about pleasing the men in their lives. Information technology was the first time a woman could really concentrate on her own dreams and goals. The Gibson Girl also exemplified the importance of intelligence and learning rather than catering to men's needs

Co-ordinate to a website on Kate Chopin, "The Gibson Girl influenced guild in the early on 1900s much like Barbie influenced lodge of the late 1900s. The Gibson Girl crossed many societal lines opening the style for women to participate in things they had never washed before. She, like Barbie, portrayed women as strong individuals who could play sports while maintaining perfectly coiffed hair and dress. She was criticized by many, much like Barbie, for creating an unrealistic ideal of what women should await like: perfect proportions and long flowing hair. Despite the criticism she was a tendency setter, a model for women in both wearing apparel and action, just similar Barbie."[48]

The fashion of the Gibson Girl immune them a much more active lifestyle and so previously, in both work and recreation. "Skirts were long and flared, and dresses were tailored with high necks and close-plumbing equipment sleeves. The style was considered masculine, and this was sometimes emphasized by wearing a tie. Though women still wore the restrictive undergarments known as corsets, a new health corset came into manner that was said to be meliorate for the spine than earlier corsets. An S-shaped figure became trendy, with a large bust and large hips, separated by a tiny, corseted waist. These styles, worn with confidence and poise by mod women. ... She might be pictured at a desk in a tailored shirtwaist or at a tennis party in an informal sports apparel. She wore her long hair upswept in an elaborate mass of curls, perhaps topped by a simple straw hat. Though she was capable and independent, the Gibson girl was ever beautiful and elegant."[47] According to the Library of Congress, "Gibson'due south meticulous depiction of their hats accentuates the Gibson Girls' stylish attire and visually reinforces the impression of height, leading the eye to the mountains. ... Gibson shows off the classic Gibson Girl as a figure who embraced outdoor concrete activities."[49]

The Gibson Girl was uniquely American compared to European standards of manner. She was an ideal: youthful, feminist, strong and a truly modern woman. Gibson emphasized that any women tin can exist represented as a Gibson Girl, both those in the middle and the upper course. Minnie Clark, known as "the original Gibson Girl", was a model for Gibson and could portray whatsoever type of women needed for his illustration. Gibson drew with feature grace women of all races and classes so that any adult female could feel that they, too, could be a graceful Gibson

Magazines [edit]

The Flapper Magazine inner page

In 1922, a small-scale-circulation magazine – The Flapper, located in Chicago – celebrated the flapper's entreatment. On the opening page of its outset issue, it proudly declared flappers' pause with traditional values. Also, flappers defended them by contrasting themselves with earlier generations of women whom they called "clinging vines". They mocked the confining fashions and demure passivity of older women and reveled in their own freedom. They did not fifty-fifty acknowledge that the previous generation of female activists had made the flappers' freedom possible.[50]

In the 1920s, new magazines appealed to immature German language women with a sensuous image and advertisements for the advisable dress and accessories they would want to purchase. The glossy pages of Die Dame and Das Blatt der Hausfrau displayed the "Daughter"—the flapper. She was immature and fashionable, financially independent, and was an eager consumer of the latest fashions. The magazines kept her upwardly to date on fashion, arts, sports, and modern applied science such every bit automobiles and telephones.[51]

Behavior [edit]

Although many young women in the 1920s saw flappers as the symbol of a brighter time to come, some also questioned the flappers' more than farthermost behavior. Therefore, in 1923, the magazine began asking for truthful stories from its readers for a new column called "Confessions of a Flapper". Some of these were lighthearted stories of girls getting the meliorate of those who underestimated them, but others described girls betraying their ain standards of behavior in club to live upwardly to the image of flappers. There were several examples: a newlywed confessed to having cheated on her husband, a college student described being told past a boyfriend that she was non "the marrying kind" because of the sexual liberties she had permitted him, and a minister'due south daughter recounted the humiliation of being caught in the lie of pretending she was older and more sophisticated than she was. Many readers thought that flappers had gone also far in their quest for gamble. One 23-year-old "ex-vamp" declared: "In my opinion, the average flappers from fifteen to 19 were dotterel, inconsiderate of others, and easy to go into serious trouble."[50]

So, among the readers of The Flapper, parts of them were historic for flappers' spirit and appropriation of male privilege, while parts of them acknowledged the dangers of emulating flappers too faithfully, with some even confessing to violating their own codes of ideals so equally to alive up to all the hype.[50]

American banks and "flapper" employees [edit]

According to a report in 1922, some banks across the Usa started to regulate the dress and deportment of young female person employees who were considered to be "flappers". Information technology began with a complaint of a female parent in New Bailiwick of jersey who felt dissatisfied because her son did business only with a young female employee, whom she considered illegally attractive. The incident was duly reported to the officials of the bank, and rules adopted regarding requirements in wearing apparel for female employees. Those rules included that the dress should not have a pattern, information technology should exist bought from a specific store, it must be worn in either black, bluish or brown, its sleeves must non be shortened above the elbow, and its hem must not exist worn higher than 12 inches from the ground. After that, the anti-flapper code shortly spread to the Federal Reserve, where female person employees were firmly told that at that place was no time for them to beautify themselves during function hours.[31]

Image of youth [edit]

The terminal Empress of China pictured equally a young adult female in flapper-mode clothing, 1929

The flapper stands equally i of the more than enduring images of youth and new women in the 20th century and is viewed by modern-day Americans as something of a cultural heroine. However, back in the 1920s, many Americans regarded flappers as threatening to conventional society, representing a new moral club. Although virtually of them were the daughters of the center class, they flouted middle-class values. Lots of women in the United States were drawn to the thought of being a flapper. There were rival organizations of flappers- the National Flapper Flock and the Majestic Order of the Flapper.[52] Flappers shrugged off their chaperones, danced suggestively, and openly flirted with boys. "Flappers prized mode over substance, novelty over tradition, and pleasance over virtue."[50] Ruth Gillettes, a 1920s singer, had a song titled "Oh Say! Can I See You Tonight?" which expresses the new beliefs of girls in the 1920s. Earlier the 1920s, for a woman to phone call a man to suggest a date would exist incommunicable. However, in the 1920s, many girls seemed to play a leading role in relationships, actively request boys out or even coming to their homes.[53]

Flappers' behavior was considered outlandish at the time and redefined women's roles. In the English media, they were stereotyped equally pleasure-loving, reckless and decumbent to defying convention by initiating sexual relationships.[54] Some[55] have suggested that the flapper concept as a stage of life particular to young women was imported to England from Germany, where it originated "as a sexual reaction against the over-fed, under-exercised monumental woman, and as a compromise between pederasty and normal sexual practice".[55] In Frg, teenage girls were called "Backfisch", which meant a young fish not however large enough to exist sold in the market place.[56] [57] Although the concept of "Backfisch" was known in England by the belatedly 1880s, the term was understood to mean a very demure social type[58] unlike the flapper, who was typically rebellious and defiant of convention. The evolving image of flappers was of independent young women who went by night to jazz clubs such as those in Harlem, which were viewed as erotic and dangerous, where they danced provocatively, smoked cigarettes and dated freely, perhaps indiscriminately. They were agile, sporting, rode bicycles, collection cars, and openly drank alcohol, a defiant act in the American period of Prohibition.[59] With fourth dimension, came the development of dance styles such as the Charleston, the Shimmy, the Bunny Hug, and the Black Lesser, which were considered shocking, only were a symbolic badge of the flapper'due south rejection of traditional standards.[sixty]

Overturning of Victorian roles [edit]

Billie Pigeon on "Not for Old Fogies". The Flapper (encompass). November 1922.

Flappers likewise began working outside the home and challenging women'south traditional societal roles and the monolithic historical idea of women being powerless throughout social history.[61]

They were considered a significant claiming to traditional Victorian gender roles, devotion to plainly-living, hard work and faith. Increasingly, women discarded old, rigid ideas about roles and embraced consumerism and personal choice, and were often described in terms of representing a "culture war" of old versus new. Flappers also advocated voting and women's rights.

In this mode, flappers were a consequence of larger social changes – women were able to vote in the United states in 1920, and religious society had been rocked by the Scopes trial.[62]

For all the concern about women stepping out of their traditional roles, however, many flappers were non engaged in politics. In fact, older suffragettes, who fought for the right for women to vote, viewed flappers as vapid and in some ways unworthy of the enfranchisement they had worked then hard to win.[63] Dorothy Dunbar Bromley, a noted liberal writer at the time, summed upward this dichotomy by describing flappers as "truly modern", "New Style" feminists who "admit that a total life calls for marriage and children" and as well "are moved by an inescapable inner compulsion to be individuals in their own right".[64]

Petting parties [edit]

"Petting" ("making out" or foreplay) became more than mutual than in the Victorian era, for example, with the rise in popularity of "petting parties".[65] [66] At these parties, promiscuity became more than commonplace, breaking from the traditions of monogamy or courtship with their expectations of eventual marriage.[67] This was typical on college campuses, where young people "spent a smashing deal of unsupervised time in mixed company".[68] [69] [lxx]

Carolyn Van Wyck wrote a column for Photoplay, an upmarket magazine that featured articles on pop civilization, advice on style, and even articles on helping readers channel their inner celebrity. In March 1926 an anonymous young woman wrote in describing petting as a problem, explaining "The boys all seem to practise it and don't seem to come back if you lot don't do information technology also. We girls are at our wits' end to know what to exercise. ... I'm sure that I don't want to ally anyone who is too wearisome to want to pet. But I want to detect what is correct. Please help me." Van Wyck sympathized with the problem the writer faced and added, "It seems to me much better to be known as a flat tire and keep romance in i's mind than to exist chosen a hot appointment and take fear in one'south heart."[71]

In the 1950s, Life magazine depicted petting parties every bit "that famed and shocking institution of the '20s", and commenting on the 'Kinsey Report', said that they have been "very much with usa e'er since".[72] In the Kinsey Report of 1950, there was an indicated increase in premarital intercourse for the generation of the 1920s. Kinsey institute that of women built-in before 1900, 14 per centum acknowledged premarital sexual practice earlier the age of 25, while those born after 1900 were two and a half times more likely (36 percent) to have premarital intercourse and experience an orgasm.[73]

Slang [edit]

Flappers were associated with the use of a number of slang words, including "junk", "necker", "heavy petting", and "necking parties",[74] although these words existed before the 1920s.[75] Flappers also used the give-and-take "jazz" in the sense of anything exciting or fun. Their language sometimes reflected their feelings about dating, marriage and drinking habits: "I have to meet a man almost a dog" at this period often meant going to buy whiskey; and a "handcuff" or "manacle" was an date or wedding ring. Moreover, flappers invented slang terms like "hush money," which meant the allowance from a male parent or "dropping the airplane pilot," which meant getting a divorce.[76] Also reflective of their preoccupations were phrases to limited approval, such every bit "That's so Jake",[c] (okay); "That's the bee's knees", (a superb person); "Block-eater," (a ladies' man); and the popular: "the cat'due south meow," (anything wonderful).[78]

At that place were two more slangs that reflected flapper'due south behaviors or lifestyles, which were "treating" and "charity girls". "Treating" was a culture or addiction mainly for the working-class flappers. Although they earned money from piece of work, they still wanted to earn some more for them to live. Women were willingly invited to dance, for drinks, for entrances up to jewelry and clothing. For the "return service", women granted any kind of erotic or sexual interaction from flirting to sexual intercourse. However, this practice was easily mistaken for prostitution. So, some people would call them "charity girls" to differentiate them from prostitutes as the girls claimed that they did non take money in their sexual encounters with men.[79]

Appearance [edit]

In addition to their irreverent behavior, flappers were known for their style, which largely emerged as a result of French fashions,[fourscore] peculiarly those pioneered by Coco Chanel, the effect on clothes of the rapid spread of American jazz, and the popularization of dancing that accompanied it.[81] Chosen garçonne in French ("boy" with a feminine suffix), flapper way made girls await immature and boyish: short pilus, flattened breasts, and direct waists accentuated it. By at least 1913, the clan between slim adolescence and a certain characteristic look became stock-still in the public'south listen. Lillian Nordica, commenting on New York fashions that year, referred to

a thin little flapper of a girl donning a brim in which she can inappreciably accept a step, extinguishing all but her little white teeth with a dumpy bucket of a chapeau, and tripping downwardly Fifth Avenue.[82]

At this early appointment, it seems that the style associated with a flapper already included the adolescent physique[83] and close-fitting hat, but a hobble skirt rather than ane with a high hemline.[80]

Although the advent typically associated now with flappers (directly waists, short hair and a hemline above the genu) did non fully emerge until 1926,[81] in that location was an early on association in the public mind betwixt unconventional appearance, outrageous behavior, and the word "flapper". A report in The Times of a 1915 Christmas entertainment for troops stationed in France described a soldier in elevate burlesquing feminine flirtatiousness while wearing "curt skirts, a chapeau of Parisian type[84] and flapper-like hair".[85]

Despite the scandal flappers generated, their await became fashionable in a toned-downwards grade among respectable older women.[86] Significantly, the flappers removed the corset from female fashion, raised skirt and gown hemlines, and popularized curt hair for women. Amid actresses closely identified with the style were Tallulah Bankhead,[87] Olive Borden, Clara Bow, Louise Brooks, Joan Crawford, Bebe Daniels, Billie Pigeon, Leatrice Joy, Helen Kane, Laura La Plante, Dorothy Mackaill, Colleen Moore, Norma Shearer, Norma Talmadge, Olive Thomas, and Alice White.

Beginning in the early 1920s, flappers began appearing in newspaper comic strips; Blondie Boopadoop and Fritzi Ritz – later depicted more domestically, as the married woman of Dagwood Bumstead and aunt of Nancy, respectively – were introduced as flappers.[88]

Apparel [edit]

"Where there's fume there's fire" by Russell Patterson, showing a fashionably dressed flapper in the 1920s.

Flapper dresses were straight and loose, leaving the artillery bare (sometimes no straps at all) and dropping the waistline to the hips. Silk or rayon stockings were held up past garters. Skirts rose to simply beneath the articulatio genus past 1927, allowing flashes of leg to exist seen when a girl danced or walked through a cakewalk, although the way they danced fabricated any long loose skirt flap upward to bear witness their legs. To enhance the view, some flappers practical rouge to their knees.[89] [90] Popular dress styles included the Robe de style. High heels also came into vogue at the time, reaching ii–3 inches (5–eight cm) high.[80] Favored shoe styles were Mary Janes and T-straps in classic black, aureate, silver, or nude shades.[91]

Lingerie [edit]

Flappers did away with corsets and pantaloons in favor of "footstep-in" panties. Without the old restrictive corsets, flappers wore uncomplicated bosom bodices to restrain their chest when dancing. They also wore new, softer and suppler corsets that reached to their hips, smoothing the whole frame, giving women a straight up and downwards appearance as opposed to the onetime corsets that slenderized the waist and absolute the hips and bust.[80]

The lack of curves of a corset promoted a adolescent look. Calculation an even more than boyish await, the Symington Side Lacer was invented and became a popular essential as an everyday bra. This type of bra was made to pull in the back to flatten the breast.[80] Other women envied flappers for their apartment chests and bought the Symington Side Lacer to enhance the same look; large breasts were usually regarded equally a trait of unsophistication. Hence, flat chests became appealing to women, although flappers were the nearly common to article of clothing such bras.

Hair and accessories [edit]

Adolescent cuts were in faddy and released the weight of the tradition of women beingness required to grow their hair long, through popular cuts such as the bob cutting, Eton crop, and shingle bob. Finger waving was used as a means of styling. Hats were yet required vesture and popular styles included the newsboy cap and cloche hat.

Jewelry usually consisted of art deco pieces, especially many layers of beaded necklaces. Pins, rings, and brooches came into fashion. Horn-rimmed spectacles were likewise popular.

Cosmetics [edit]

As far back as the 1890s, French extra Polaire pioneered a expect which included brusque, disheveled hair, emphatic oral fissure and huge optics heavily outlined in kohl.[92] [93] The evolving flapper await required "heavy makeup" in comparison to what had previously been acceptable exterior of professional usage in the theater. With the invention of the metallic lipstick container every bit well as compact mirrors, bee stung lips came into vogue. Night eyes, specially kohl-rimmed, were the mode. Chroma came into vogue now that it was no longer a messy awarding procedure. Women shaped their eyebrows needle-thin and penciled them in dark, emulating such actresses as Clara Bow.[94] [95]

Originally, pale skin was considered most attractive. However, tanned skin became increasingly popular after Coco Chanel showed off a tan after a holiday – it suggested a life of leisure, without the onerous need to work. Women wanted to await fit, sporty, and, higher up all, good for you.

Semiotics of the flapper [edit]

Existence liberated from restrictive wearing apparel, from laces that interfered with breathing, and from hoops that needed managing suggested liberation of some other sort. The new-found freedom to breathe and walk encouraged motility out of the house, and the flapper took full advantage.[96] The flapper was an extreme manifestation of changes in the lifestyles of American women fabricated visible through clothes.[97]

Changes in fashion were interpreted as signs of deeper changes in the American feminine ideal.[98] The brusk skirt and bobbed hair were likely to be used every bit a symbol of emancipation.[99] Signs of the moral revolution consisted of premarital sex, birth command, drinking, and contempt for older values. Before the State of war, a lady did not set up pes in a saloon; after the War a woman, though no more "a lady", entered a speakeasy as casually as she would get into a railroad station. Women had started swearing and smoking publicly, using contraceptives, raising their skirts to a higher place the human knee and rolling their hose below information technology. Women were now competing with men in the concern world and obtaining fiscal independence and, therefore, other kinds of independence from men.[97]

The New Woman was pushing the boundaries of gender roles, representing sexual and economical freedom. She cut her hair short and took to loose-fitting clothing and depression cut dresses. No longer restrained by a tight waist and long trailing skirts, the modern woman of the 1920s was an contained thinker, who no longer followed the conventions of those earlier her.[96] The flapper was an case of the prevailing conceptions of women and their roles during the Roaring 1920s. The flappers' ideal was motion with characteristics of intensity, free energy, and volatility. She refused the traditional moral code. Modesty, guiltlessness, morality, and traditional concepts of masculinity and femininity were seemingly ignored. The flapper was making an appeal to authority and was being fastened to the impending "demoralization" of the country.[97]

The Victorian American conception of sexuality and other roles of men and women in society and to one some other were being challenged. Modern clothing was lighter and more than flexible, better suiting the modern woman such every bit the flapper who wanted to engage in active sport. Women were now becoming more assertive and less willing to keep the home fires burning. The flappers' costume was seen as sexual and raised deeper questions of the beliefs and values it symbolized.[97]

Cease of the flapper era [edit]

The flapper lifestyle and look disappeared and the roaring '20s era of glitz and glamour came to an end in America later the Wall Street Crash of 1929[100] Unable to afford the latest trends and lifestyle, the once-vibrant flapper women returned to their dropped hemlines, and the flapper dress disappeared. A sudden serious tone washed over the public with the appearance of the Corking Depression. The high-spirited mental attitude and hedonism were less acceptable during the economic hardships of the 1930s. When hemlines began to ascension again, numerous states took action, making laws that restricted women to habiliment skirts with hemlines no shorter than three inches (7.5 centimeters) above the ankle. The ever-popular bobbed haircut was the cause for some women being fired from their jobs.[101] [ better source needed ]

Transitioning into the 1930s was no easy job. Campaigns such as the "Make Do and Mend" slogan were becoming prevalent to ensure there was no overconsumption throughout society.[102] Fabric choices were amid the many items to be cut dorsum during this poverty-stricken time. Artificial fabrics were used instead of elegant fabrics such as silk, which were and so popular in the early 1900s. No longer were party dresses adorned with decorative embellishments or made brightly colored. Instead, women headed to work to take over roles of men at state of war. The physically demanding jobs called for the creation and social acceptance of women's pants in gild.

See also [edit]

  • Betty Boop
  • Hawksian woman
  • Jazz Age
  • Modern girl
  • 1929 United Kingdom full general election, "the flapper election"
  • Zelda Fitzgerald

References [edit]

Informational notes

  1. ^ In a 1913 letter a man addressed his 21-twelvemonth-old girlfriend as his "flapper".[xix]
  2. ^ The discussion itself was introduced before.[x] [40]
  3. ^ First occurring as American criminal slang before 1914.[77]

Citations

  1. ^ Rosenberg, Jennifer. "Flappers in the Roaring Twenties". Near.com. Retrieved April iv, 2010.
  2. ^ "Flappers". HISTORY . Retrieved Apr twenty, 2020.
  3. ^ Evans, Ivan H. Brewer's Dictionary of Phrase and Fable (rev. ed.) New York: Harper & Row, 1981 ISBN 0-06-014903-5
  4. ^ "flapper". Online Etymology Lexicon. April 26, 2007. .
  5. ^ Mabbe, James. Celestina IX. 110 "Fall to your flap, my Masters, kisse and clip"; 112 "Come up hither, you foule flappes."
  6. ^ Barrere; Leland (1889). Dictionary of Slang. Flippers, flappers, very young girls trained to vice .
  7. ^ a b Vicious, Jon. Teenage: The Creation of Youth Culture. New York: Viking, 2007. p. 202. ISBN 978-0-670-03837-4
  8. ^ Lowsley, Barzillai. A glossary of Berkshire words and phrases 1888 (E.D.S.): "Vlapper, .. applied in joke to a girl of the breadstuff-and-butter historic period."
  9. ^ Oxford English Dictionary. 1989. [ full citation needed ]
  10. ^ a b "The Comedy One-time Human and His Troubles". The New York Times (interview with English comedy histrion George Graves). Feb 3, 1907. What are 'flappers'? Why, they are the immature girls with their hair still hanging down their backs. They are the sort that can climb up ropes hand over hand and pose at the superlative.
  11. ^ The Jazz Historic period. The 20s. Alexandria, Virginia.: Editors of the Fourth dimension-Life Books. 1997. p. 38.
  12. ^ The Times. No. 38574. February 20, 1908. folio 15, col F. [ total citation needed ]
  13. ^ "The Dress of the Immature Girl". The Globe and Traveller. April 11, 1908.
  14. ^ James, A. E. "Her Majesty the Flapper" Archived December 4, 2009, at the Wayback Machine. London Mag (November, 1910)
  15. ^ "Review of the 1911 comedy Lady Patricia". The Times. No. 39540. March 23, 1911. p 10, col C. At present the 'flapper' is Miss Clare Lesley, the Dean's tomboy daughter... In the play a mature married couple, Patricia and Michael, vainly pursue slang-talking teenagers Billy and Clare, and and so "Clare, out of the clemency of youth for enamoured maturity, indulges Michael with a little mild amour" earlier at the stop finding real beloved with Billy, who is her own age. The actress playing the flapper is characterized every bit "full of youth and 'become'".
  16. ^ "Some facts virtually the ballet". The New York Times. March 31, 1912. Mr. Tiller explained the divergence betwixt a "pony" and a "flapper". A pony, he said, is a minor dancer who may be of any historic period. A flapper is a girl who has just "come out". She is at an awkward age, neither a child nor a woman, and she is just as probable to develop into a show girl as a pony.
  17. ^ Oxford English language Dictionary
  18. ^ The Times. No. 40576. July 15, 1914. page i, col B. The male parent of a young lady, aged 15 – a typical "FLAPPER" – with all the self assurance of a woman of xxx would be grateful for the recommendation of a seminary (not a convent) where she might be placed for a year or two with the object of taming her. It is non EDUCATION she requires, she has too much of that already... [ full citation needed ]
  19. ^ "£600 Amercement For Alienation of Hope". The Times. No. 40344. October 16, 1913. p 15, col D. I cannot bear to think of my flapper without an appointment ring.
  20. ^ Anonymous (Dec 1914) "The Melancholy Passing of the Flapper" Vanity Fair
  21. ^ The Times. No. 42232. October 16, 1919. page vii, col B.
  22. ^ The Times. No. 42326. February v, 1920. folio 9, col A. .
  23. ^ "Flappers flaunt fads in footwear" (PDF). The New York Times. January 29, 1922. Retrieved July xviii, 2021. But you lot have perhaps heard that there is a moving-picture show play, The Three Musketeers, in which Douglas Fairbanks is the D'Artagnan. Yous may remember having seen, in the long agone, illustrated editions of Mr. Dumas'due south novel showing D'Artagnan in his musketeer costume. And you may possibly remember that he wore boots, with turned downwards tops, which flopped every bit he walked. Information technology is merely that nosotros girls are following the manner set by D'Artagnan.
  24. ^ Basinger, Jeanne (2000). Silent Stars. Wesleyan. .
  25. ^ Strong, Marion in Brady, Kathleen (2001). Lucille: The life of Lucille Brawl. Billboard. The more noise the buckles made, the meliorate they flapped, that's why we were called flappers .
  26. ^ Corrigan, Jim. The 1920s Decade in photos: The Roaring Twenties. Berkeley Heights, New Bailiwick of jersey: Enslow Publishers, Inc, 2009, p. xix
  27. ^ The Times (London, England): "Delivering Drunkards", December ii, 1936, p. xv
  28. ^ Craig, Gordon A. (1991) The Germans New York: Merdian. p.161. ISBN 9780452010857
  29. ^ Sagert, Kelly Boyer (2010). Flappers: A Guide to an American Subculture . Santa Barbara CA: Greenwood Press. pp. 1. ISBN9780313376900.
  30. ^ Cellania, M. (2013, March 25). The Ascension of the Flapper - Sociological Images. Retrieved April 26, 2016, from https://thesocietypages.org/socimages/2013/03/25/guest-post-the-rising-of-the-flapper/
  31. ^ a b c McGlinchey, S. (2014) "History of Women's Fashion: 1920 to 1929" Glamour Daze Retrieved Apr 12, 2016.
  32. ^ Langley, Due south. (2005) "Jazz" in Roaring '20s Fashions. Atglen, Pennsylvania: Schiffer Publishing. p.16 ISBN 0764323199
  33. ^ Latham, Angela J. (2000). Posing a Threat: Flappers, Chorus Girls, and other Brazen Performers of the American 1920s. Hanover NH: University Printing of New England. p. 9. ISBN9780819564016.
  34. ^ Langley, S. (2005) "Jazz" in Roaring '20s Fashions. Atglen, Pennsylvania: Schiffer Publishing. p.xviii ISBN 0764323199
  35. ^ a b Langley, S. (2005) "Jazz" in Roaring '20s Fashions. Atglen, Pennsylvania: Schiffer Publishing. p.17 ISBN 0764323199
  36. ^ Boland, J. (Apr 15, 2012) "1920s Way & Music". Retrieved April 12, 2016.
  37. ^ Cellania, M. (March 25, 2013) 6, "The Rise of the Flapper - Sociological Images". Retrieved April 26, 2016.
  38. ^ Bramlett, 50. A. (2010) "Vintage Sportswear" Fuzzylizzie Vintage Retrieved April 12, 2016.
  39. ^ Stevenson, Due north. J. (2012) Way: A visual history from regency & romance to retro & revolution: A complete illustrated chronology of fashion from the 1800s to the present day (1st ed.). New York: The Ivy Press Limited. p.92-93
  40. ^ Staff (Feb 24, 1910). New Brunswick Times. And over in England, every bit I learned, they telephone call a girl of near fifteen a "flapper."...
  41. ^ a b "Olive Thomas". Memories of Olive. Assumption. Archived from the original on April 12, 2013. .
  42. ^ Long, Bruce (ed.). "Taylorology: A Continuing Exploration of the Life and Death of William Desmond Taylor". Arizona State University. .
  43. ^ De Castelbajac 1995, p. 35.
  44. ^ Conor, Liz. The Spectacular Modern Woman: Feminine Visibility in The 1920s 2004. p. 301
  45. ^ a b Zeitz 2007, p. 6.
  46. ^ Reinsch, O. (2013). "Gender and Consumerism" [ permanent dead link ] Gender Forum Retrieved April 26, 2016.
  47. ^ a b Staff (ndg) "The Gibson Girl" Encyclopedia of Fashion website. Retrieved October 11, 2016.
  48. ^ Chopin, Kate (ndg) "The Gibson Girl" Retrieved October 25, 2016
  49. ^ Staff (ndg) "The Gibson Girl as the 'New Woman'" The Gibson Girl's America: Drawings by Charles Dana Gibson Library of Congress website
  50. ^ a b c d Ferentinos, S. (due north.d.). Not for Old Fogies: The Flapper. Retrieved May 18, 2016, from http://www.ultimatehistoryproject.com/flapper.html
  51. ^ Nina Sylvester, "Earlier Cosmopolitan: The Daughter in German language women's magazines in the 1920s". Journalism Studies viii#4 (2007): 550–54.
  52. ^ Dalzell, Tom (2010). Flappers 2 Rappers. Mineola, New York: Dover Publications Inc. p. 9. ISBN978-0-486-47587-5.
  53. ^ Langley, S. (2006). Roaring '20s fashions: Deco. Atglen, PA: Schiffer Publishing, p. 16
  54. ^ Praga, Mrs. Alfred (July 29, 1917). ""Sporting" girls and the risks they run. An open letter of the alphabet to "The Flappers" of England". The Weekly Dispatch. p. 7. My dear "Flappers" – I wonder if any of you in your gay youthfulness ever realise what a lot of impairment you are doing to your future happiness by the way you sometimes cheapen yourselves in the eyes of your men "pals", equally you lot honey to telephone call them ... The article goes on to describe flappers haunting public venues in gild to "get off" with men.
  55. ^ a b Graves, Robert; Hodge, Alan (1994). The Long Week End: a Social History of Britain, 1918–1939. pp. 33–34. .
  56. ^ Backfisch. In: Sigi Kube: Wie kommt die Katze in den Sack und was weiß der Kuckuck davon?: Tierische Redewendungen und ihre Bedeutung. Heyne, 2011, ISBN 978-3-641-05361-ane (High german)
  57. ^ Staff (February 24, 1910). New Brunswick Times. ... a typical German girl of the well to do class between the ages of fifteen and seventeen. Before she gets to be xv she is simply a 'child' as we say in this country. But for those two years she is a backfisch pure and simple. The article implies the girl is so designated to prevent someone no longer a child attempting to assume the airs of an adult adult female: "These German frauleins dare not do so, considering they know they are mere backfisches." The commodity concludes "And over in England, as I learned, they telephone call a girl of well-nigh fifteen a 'flapper'. If I were yet simply fifteen I am sure I would adopt being a backfisch."
  58. ^ Drape Mall Gazette. Vol. 3, no. 2. August 29, 1891. Let united states introduce the word 'Backfisch', for nosotros have the Backfisch ever with united states of america. She ranges from xv to eighteen years of age, keeps a diary, climbs trees secretly, blushes on the smallest provocation, and has no conversation. , in the Oxford English Dictionary (2nd ed.). 1989. [ full commendation needed ]
  59. ^ President of the League of American Pen Women, Mrs William Atherton du Puy (Oct fifteen, 1921). "Let Girls Smoke, Mrs Dupuy's Plea". The New York Times. Aye, girls do smoke, and there is no harm if they don't go to backlog. It is non similar the rush of girls to the cafés to drinkable which happened 20 years agone. It was that which brought about prohibition. .
  60. ^ Dumenil (1995)
  61. ^ Latham, Angela J. (2000). Posing a Threat: Flappers, Chorus Girls, and other Brazen Performers of the American 1920s. Hanover, NH: Academy Press of New England. pp. 7–8. ISBN9780819564016.
  62. ^ Zeitz, 2007. "Here was where the modern culture could prove threatening to the Victorians. The ethos of the consumer market glorified not only self-indulgence and satisfaction, just also personal liberty and pick. Information technology invited relativism in all matters ranging from color schemes and bath soap to faith, politics, sexual practice and morality."
  63. ^ Zeitz, 2007. "Others argued, though, that flappers' laissez-faire attitude was merely a natural progression of feminine liberation, the right having already been won."; p.107: "T[he Jazz Age flapper ... [was] [d]isengaged from politics..."
  64. ^ Zeitz 2007, p. 117.
  65. ^ Weeks, Linton (June 26, 2015). "When 'Petting Parties' Scandalized The Nation". NPR . Retrieved Dec 18, 2020.
  66. ^ Staff (February 17, 1922). "Mothers Complain that Modernistic Girls 'Vamp' Their Sons at Petting Parties". The New York Times. .
    An earlier article in the same newspaper rebutted an attack on the behaviour of American girls made recently in the Cosmopolitan by Elinor Glyn. Information technology admitted the beingness of petting parties but considered the activities were no worse than those which had gone on in earlier times nether the guise of "kissing games", adding that tales of what occurred at such events were probable to be exaggerated past an older generation influenced by traditional misogyny
    Dupuy, Mrs William Atherton (Oct xv, 1921). "Let Girls Smoke, Mrs. Dupuy'south Plea; Penwomen's President Rises in Defense force of Young Affair Who 'Parks Corsets' Earlier Dance. MRS.GLYN Wrong, SHE SAYS Declares Brusque-Skirt Girl of Today Who Goes to "Petting Parties" Is All She Should Exist". The New York Times. .
  67. ^ McArthur, Judith N; Smith, Harold Fifty (2010). Texas Through Women's Eyes: The Twentieth-Century Experience. pp. 104–05. ISBN9780292778351. The spirit of the petting party is light and frivolous. Its object is not marriage – only a momentary thrill. It completely gives the prevarication to those sugariness, erstwhile phrases, "the only man" and "the just girl". For where there used to be only ane daughter there may exist a score of them now.
  68. ^ Drowne, Kathleen Morgan; Huber, Patrick (2004). The 1920s. p. 45. ISBN9780313320132.
  69. ^ Nelson, Lawrence J (2003). Rumors of Indiscretion. p. 39. ISBN9780826262905. .
  70. ^ Bragdon, Claude (2007). Delphic Adult female. pp. 45–46. ISBN9781596054301. .
  71. ^ Dubois, Ellen Carol; Dumenil, Lynn (2012). Through Women's Eyes (Tertiary ed.). Boston, MA: Bedford/St. Martin's. p. 561.
  72. ^ Havemann, Ernest. "The Kinsey Report on Women" Life magazine (August 24, 1953)
  73. ^ Duenil, Lynn (1995). The Modernistic Temper:American Culture and Society in the 1920s. New York, NY: Hill and Wang. p. 136.
  74. ^ "Shifters No Longer Entreatment to Slackers". The New York Times. March 26, 1922. The epithets she has evolved from her own lexicon are "junk", "necker" and "heavy necker". "Junk" is anything she considers unimportant or unworthy of consideration. A "necker" is a "petter" who puts her artillery around a male child'due south neck. A "heavy necker" is a "petter" who hangs heavily on said neck. "Necking parties" have superseded "petting parties. .
  75. ^ Oxford English language Lexicon, online ed., March 2012.
  76. ^ November 5; 2019. "Flapper Slang: Talk the 1920s talk". KCTS ix . Retrieved October thirteen, 2020. {{cite web}}: CS1 maint: numeric names: authors list (link)
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  82. ^ "Mme Nordica Buys No Paris Gowns". The New York Times. January 1, 1913. .
  83. ^ "Mme Nordica Buys No Paris Gowns". The New York Times. January 1, 1913. ...when a lady of uncertain age and very certain development attempts the same picayune costume because information technology looks well on the thin little girl, well – " And Mme. Nordica left the issue to the interviewer'southward imagination.
  84. ^ The Times. December 23, 1915. p. xi. ...the jaunty petty toque
  85. ^ "Pantomime At The Front, Soldier "Heroines"". The Times. No. 41050. December 30, 1915. p 7, col E. There was, for instance, a Maid Marian in the cast, who was described as a "nice dam'sell" considering she was a sergeant. There was something ridiculously fascinating about that sergeant, for he was in bluish short skirts, a chapeau of Parisian type and flapper-like pilus; and when she was instructing Ferdinand, a Bad Lad... in the use of the "glad middle", the great audition shouted with laughter.
  86. ^ Smith, Merril D. (2014). Cultural Encyclopedia of the Breast. Rowman & Littlefield. p. 114. ISBN9780759123328.
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Bibliography

  • Abra, Allison. (September 2016) "Going to the palais: a social and cultural history of dancing and trip the light fantastic halls in Britain, 1918–1960." Contemporary British History thirty#iii pp. 432–433.
  • Chadwick, Whitney (2003). The Modern Woman Revisited: Paris Between the Wars. ISBN978-0-8135-3292-9. .
  • De Castelbajac, Kate (1995). The Confront of the Century: 100 Years of Makeup and Way. Rizzoli. ISBN978-0-8478-1895-ii. .
  • Dumenil, Lynn (1995) The Mod Atmosphere: American Culture and Society in the 1920s. New York: Colina and Wang. ISBN 978-0-8090-1566-v
  • Fass, Paula Southward. (2007) The Damned and the Beautiful: American Youth in the 1920s. 2007. ISBN 978-0-19-502492-0
  • Gourley, Kathleen (2007) Flappers and the New American Adult female: Perceptions of Women from 1918 Through the 1920s (Images and or of Women in the Twentieth Century). ISBN 978-0-8225-6060-9
  • Hudovernik, Robert (2006) Jazz Age Beauties: The Lost Drove of Ziegfeld Photographer Alfred Cheney Johnston. ISBN 978-0-7893-1381-2
  • Latham, Angela J. (2000) Posing a Threat: Flappers, Chorus Girls, and other Brazen Performers of the American 1920s. ISBN 978-0-8195-6401-six
  • Lauber, Ellie (2000) Fashions of the Roaring '20s. ISBN 978-0-7643-0017-2
  • Sagert, Kelly Boyer. Flappers: A Guide to an American Subculture. Santa Barbara, CA:   Greenwood Press, 2010. ISBN 978-0-313-37690-0
  • Zeitz, Joshua (2007). Flapper: a madcap story of sex, manner, celebrity, and the women who made America mod. Random House. ISBN978-1-4000-8054-0. .

Farther reading

  • Mackrell, Judith (2013) Flappers: Vi Women of a Dangerous Generation. ISBN 978-0-330-52952-five

External links [edit]

  • "1920s fashion & music". 1920s Flapper: Young Women in a Modern World. .
  • "Slang of the 1920s". AACA. Archived from the original on June eighteen, 2010. .
  • "Flappers and fashion". Rambova.
  • "Thousands of photos of flappers tin exist viewed at Louise Brooks Fan Club on Facebook". .

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