Flappers were the generation of young Western women in the 1920s who wore short skirts, flicked their hair, listened to jazz, and showed off their hatred of what was then perceived as acceptable behavior. Flapper is seen as brash for wearing excessive makeup, drinking, treating sex in the usual way, smoking, driving a car, and otherwise violating social and sexual norms. The Flapper is an icon of Roaring Twenties, social turmoil, politics, and an increase in transatlantic cultural exchanges following the end of World War I, as well as the export of American jazz to Europe.
Video Flapper
Etimologi
The term may come from slang, but there is no direct evidence of it. The term "flapper" slang may have originated from earlier use in northern England meaning "teenage girl", referring to a person whose hair is not paired and whose ponytail is tied "flap" on his back; or from an older word which means "whore". The slang word "cover" was used for young prostitutes as early as 1631. In the 1890s, the word "flapper" was used in some areas as a good slang for very young prostitutes, and, in a more general and less insulting sense, than the mid- teenagers are vibrant.
The use of non-slang standards appeared in print as early as 1903 in the United Kingdom and 1904 in the United States, when the novelist Desmond Coke used it in his story of Oxford life, Sandford of Merton: "There is an amazing flapper". In 1907, British actor George Graves described it to the Americans as a theatrical slang for a young acrobatic female stage performer. The flapper is also known as a dancer, who dances like a bird flapping his hands while performing the Charleston dance moves. This move became a fairly competitive dance during this era.
In 1908, newspapers were as serious as The Times using this term, though with careful explanation: "A 'flapper', we can explain, is a young woman who has not been promoted to a long skirt and wear her hair 'rose' ". In April 1908, the fashion section of London The Globe and Traveler contains a sketch entitled "The Dress of the Young Girl" with the following explanation:
The Americans, and the lucky British people, whose money and status permit them to enter freely for slang terms... call the subject of these sentences 'flapper.' The accuracy of this term does not move me to the heartfelt admiration for the tremendous power of enriching our language which Americans simply recognize that they have..., And in reality will hardly appreciate the honor of my moment. attention, but to the fact that I try in vain for every other phrase that is understood to signify that important young man, the girl of some sixteen years.
The sketch is a girl in a long skirt skirt, "which has a fairly high waistline and a semi-Empire,... pretty unkempt, its relieved nature with a sash tied around a skirt."
In November 1910, it was quite popular for A. E. James to begin a series of stories in London Magazine featuring the mischief of a fifteen-year-old beautiful girl and titled "Reverend Flapper." In 1911, a newspaper review showed the naughty and flirty "flapper" was an established type of stage.
In 1912, London theater impresario John Tiller, defining the word in an interview he gave to the New York Times, described the "flapper" as belonging to a slightly older age group, a girl who had "just come out ". The use of Tiller's "out" words means "making a formal entry into 'society' to reach femininity." In a polite society at the time, a teenage girl who had not been out would still be classed as a child. He will be expected to keep a low profile on social occasions and should not be the object of male concern. Although the word is still largely understood as referring to high-spirited adolescents gradually in England it is extended to describe any impatient adult woman. In late 1914, the British magazine Vanity Fair reported that the Flapper began to disappear in Britain, replaced by the so-called "Little Beings".
The Times article on job search for women made unemployed by the return of male labor is "The Flapper's Future". Under this influence, the meaning of the term is somewhat altered, to apply to "independent young women, seeking pleasure, crazy".
In his lecture in February 1920 on the surplus of young British women caused by the loss of youth in war, R. Murray-Leslie criticized "the social butterfly type... the reckless, the scantily clad, the irritating, irresponsible and undisciplined flapper, to whom a dance, a new hat, or a man with a car, is more important than fate nations ". In May of that year, Selznick Pictures released The Flapper a mute comedy starring Olive Thomas. It was the first film in the United States to describe the "flapper" lifestyle. At that time, the term has taken the full meaning of the flapper generation's style and attitude.
The use of the term coincides with the fashion among young women in the United States in the early 1920s for wearing unbroken galoshes, and widespread false etymology claimed that they were called "flapper" because they flapped as they walked, as they wore outdoor shoes they. or galosh unbound, indicating that they are opposed to the convention in a manner similar to 21st century fashion to unbound laces. Another suggestion for the origin of the term, in relation to fashion, comes from the fashion trends of the 1920s where young women leave their coats unbuttoned to allow it to flap and advance as they walk, looking more independent and free of tight, Victorian outfit style Era.
In the mid-1930s in England, although sometimes still used, the word "flapper" has been linked to the past. In 1936, a journalist Times grouped it in terms like "blotto" as an out-of-date slang: "(blotto) evokes echoes away from cloth and flapper... It reminds the past that has not yet 'period'. "
Maps Flapper
Influences
One of the causes of change in the behavior of young women was World War I which ended in November 1918. The deaths of large numbers of youth in war, and the Spanish flu epidemic that struck in 1918 killed between 20-40 million people, inspired in young children felt that life is short and can end at any time. Therefore, young women want to spend their youth enjoying their life and freedom rather than just staying home and waiting for men to marry them.
Political change is another cause of flapper culture. World War I reduced the clutches of the class system on both sides of the Atlantic, encouraging the various classes to blend in and share their sense of freedom. Women finally won the right to vote in the United States on August 26, 1920. Women wanted to be male social equivalents and faced with the difficult realization of a greater purpose of feminism: individuality, full political participation, economic independence, and 'sex rights '. They want to be treated like men and go smoke and drink. In addition, many women have more opportunities at work and have even taken on traditional male jobs such as doctors, lawyers, engineers, and pilots. The emergence of consumerism also promotes the ideals of "fulfillment and freedom", which encourage women to think independently about their clothes, careers, and social activities.
Society changed rapidly after World War I. For example, customs, technology, and manufacturing all moved quickly into the 20th century after the disruption of war. The emergence of cars is an important factor in the flapper culture, because a car means a woman can come and go as she likes, travel to speakeasi and other entertainment venues, and use the day's great vehicles for their popular activities, caressing parties. Also, the economic boom allows more people time and money to play golf and tennis and to take vacations, which require clothing adapted to these activities; slim silhouette flapper is perfect for movement.
Evolution of images
The first appearance of the flapper style in the United States came from the popular 1920 film Frances Marion, The Flapper, starring Olive Thomas. Thomas starred in a similar role in 1917, though not until The Flapper that the term was used. In his last film, he is seen as a flapper image. Other actresses, such as Clara Bow, Louise Brooks, Colleen Moore, and Joan Crawford will soon build their careers with the same image, achieving remarkable popularity.
In the United States, popular humiliation for Prohibition is a factor in the emergence of flapper. With legal saloons and closed cabarets, the back alley of speakeasies becomes productive and popular. The discrepancy between religious and religious-based grumpy movements and actual alcohol consumption everywhere causes widespread contempt for authority. Flapper's independence was also a response to Gibson girls in the 1890s. Although these pre-war views do not resemble flapper styles, their independence may have led to persistent persistence 30 years later.
Writers in the United States such as F. Scott Fitzgerald and Anita Loos and illustrators such as Russell Patterson, John Held, Jr., Ethel Hays and Faith Burrows popularized the flapper and lifestyle look through their work, and the flapper came to be seen as fascinating, reckless, and independent. Among those who criticize the flapper's flavor are author-critic Dorothy Parker, who wrote "Flappers: A Hate Song" to make fun of the trend. The labor secretary denounced the "flippancy of smoking cigarettes, flapper drinking cocktails". A Harvard psychologist reports that flapper has "the lowest intelligence level" and is "a hopeless problem for educators".
Another author, Lynne Frame, said in her book that a large number of scientists and health experts have analyzed and reviewed the femininity levels of flapper appearance and behavior, recalling the "childish" appearance and flapper behavior. Some gynecologists argue that women are less "married" if they are less "feminine", because the husband will be unhappy in his marriage. In Frame's book, he also writes that flapper appearances, such as short hair and short dresses, divert attention from the feminine curves to the legs and body. These attributes are not only fashion trends but also the expression of a blurred gender role.
The Gibson Girl
The Gibson Girl is one of the origins of the flapper. The discovery of Charles Dana Gibson, The Gibson Girl changed the fashion, patterns, and lifestyle of the 1920s; this is much more progressive than the tradition of women's style in the past. Before the Gibson Girl movement, women's voices as a group were rarely heard. While some may see Gibson Girls just as a fashion statement, it is much more influential than that. "He described the modern woman, known popularly as the 'new woman', as more women gained independence, started working outdoors, and sought the right to vote and other rights." Gibson illustrations show feminist women of all kinds who are more worried about themselves than about pleasing men in their lives. This is the first time a woman can really concentrate on her own dreams and goals. The Gibson Girl also exemplifies the importance of intelligence and learning rather than serving the needs of men.
According to Kate Chopin, "The Gibson Girl influenced people in the early 1900s as Barbie influenced people in the late 1900s.Gibson girls cross many lines of society paving the way for women to participate in things they have never done before, such as Barbie, describes women as powerful individuals who can play sports while maintaining their hair and well-ordered clothes. He is criticized by many, such as Barbie, for creating an unrealistic ideal of what women should look like: perfect proportions and hair long stretches of flow.Criticism is a trend setter, a model for women in clothing and action, just like Barbie. "
Gibson Girl mode allows them to live a lifestyle that is much more active than before, both in work and leisure. "A long, flared skirt, and a dress tailored to a high neck and a fit arm.This style is considered masculine, and this is sometimes emphasized by wearing a tie.Although women still wear tight clothes known as corsets, new health, corsets come to style that is said to be better for the spine than the previous corset. The S-shaped figure becomes trendy, with large breasts and large hips, separated by a small corset waist, this style, worn with confidence and tranquility by a modern woman.... He may be depicted in a table in a customized shirt uniform or at a tennis party with informal sportswear. She wore her long hair up in an elaborate curl, perhaps topped with a simple straw hat, she is capable and independent, the Gibson girl is always beautiful and elegant. "According to the Library of Congress , "Gibson's meticulous portrayal of their hats features Gibson Girls-style outfits and visually reinforces san high, pointing his eyes to the mountains...... Gibson showcased the classic Gibson Girl as a figure who embraced outside physical activity. "
The Gibson Girl is uniquely American compared to European style standards. She is the ideal: young, feminist, strong and really modern woman. Gibson stressed that every woman can be represented as a Gibson Girl, both in the middle and upper classes. Minnie Clark, known as the "original Gibson Girl", is a model for Gibson and can describe all types of women needed for his illustrations. Gibson draws with the characteristics of women the grace of all races and classes so that every woman can feel that they too can become the elegant Gibson Girl.
Magazines
In 1922, a small circulation magazine -
In the 1920s, new magazines appealed to young German women with sensual images and advertisements for the appropriate clothes and accessories they wanted to buy. The glossy pages of Die Dame and Das Blatt der Hausfrau feature "Girl" - flapper. He is young and fashionable, financially independent, and is a vibrant consumer of the latest fashions. The magazines are constantly updating modes, art, sports, and modern technologies like cars and telephones.
Behavior
Although many young women in 1920 saw flapper as a symbol of a brighter future, some also questioned the behavior of more extreme flappers. Therefore, in 1923, the magazine began to ask the true story of its readers for a new column called "Confessions of a Flapper". Some of them are light stories about girls who get better than those who belittle them, but others describe girls who betray their own standard of behavior to live up to the flapper's image. There are some examples, a newlywed admits to having betrayed her husband, a student telling a story about being told by a girlfriend that she is not a "married person" because of the sexual freedom that she allows, and a daughter of ministers describing the insult. for being trapped in a lie pretending he is older and more sophisticated than he is. Many readers think that the flapper is too far away in their quest for adventure. One 23-year-old former vamp said: "In my opinion, the average flapper of 15 to 19 has no brains, no attention to others, and is easy to get into serious trouble."
So, among the readers of The Flapper, part of them is celebrated for the spirit of flappers and the deprivation of male privileges, while part of them recognizes the dangers of imitating flappers too faithfully, with some even claiming to violate their own codes of ethics to animate all the hype.
US banks and employees "flapper"
According to a report in 1922, several banks across the United States began to organize the clothes and deportation of young female employees who were considered "flappers". It begins with a complaining mother in New Jersey who is dissatisfied that her son is doing business only with a young woman, whom she considers illegally attractive. The incident should be reported to bank officials, and the rules adopted regarding the dressing requirements for female employees. The rules include that the dress should not have a pattern, it must be purchased from a particular store, it must be worn either black, blue or brown, its arm should not be shortened above the elbow, and the tip should not be used higher than twelve inches from soil. After that, the anti-flapper code soon spread to the Federal Reserve, where female employees were firmly told that there was no time for them to beautify themselves during office hours.
Image of the young
Flapper stands out as one of the most enduring images of young and new women in the 20th century, and is seen by modern Americans as cultural heroes. However, in the 1920s, many Americans regarded flappers as a threat to conventional societies, representing a new moral order. Although most of them are middle-class daughters, they scoff at middle-class values. They ignore their companions, dance with suggestive, and openly flirt with boys. "Flappers appreciate style over substance, novelty of tradition, and pleasure over virtue." Ruth Gillettes, a 1920s singer, has a song called "Oh Say! Can I See You Tonight?" which expresses the new behavior of women in the 1920s. Before the 1920s, a woman called a man to suggest an impossible date. But in the 1920s, many girls seemed to play a major role in relationships, actively asking children out or even coming to their homes.
Flapper behavior is considered strange at the time and redefines the role of women. In the British media they are stereotyped as pleasure-love, reckless and tend to oppose conventions by starting sexual relationships. Some argue that the concept of flapper as a special stage of life for young women was imported into Britain from Germany, where it originated "as a sexual reaction to monumental women eating too much, less exercise, and as a compromise between pederasti and normal sex". In Germany, teenage girls are called " Backfisch ", meaning young fish not yet big enough to be sold in the market. Although the concept of "Backfisch " was known in Britain in the late 1880s, the term was conceived as a very polite social type unlike the flapper, who usually rebelled and opposed the convention. The flapper image that evolved was an independent young woman who went to night to a jazz club like in Harlem, which was seen as erotic and dangerous, where they danced provocatively, smoked cigarettes and dated freely, perhaps indiscriminately. They are active, sporting, riding bicycles, driving cars, and drinking alcohol openly, a challenging act in the American Prohibition period. Over time the development of dance styles such as Charleston, Shimmy, Bunny Hug, and Black Bottom, which is considered surprising, but is a symbol of flapper rejection of the traditional standard.
Overturns Victorian role
Flapper also began working outdoors and challenged the traditional social role of women and the historical idea of ​​a helpless female monolithic throughout social history.
They are regarded as a significant challenge to Victoria's traditional gender role, devotion to simple living, hard work and religion. Increasingly, women discard rigid old ideas about roles and embrace consumerism and personal choice, and are often described as representations of the old versus new "culture war". Flapper also advocates for the voice and rights of women.
In this way, the flapper is the result of greater social change - women can vote in the United States in 1920, and the religious community has been shaken by the Scopes trial.
For all the worries about women stepping out of their traditional role, however, many flappers are not involved in politics. In fact, older voting rights, which champion the right of women to vote, view the flapper as unclear and in some ways unfit for the freedom they have worked hard to win. Dorothy Dunbar Bromley, a well-known liberal writer of the time, summed up this dichotomy by describing flappers as "New Style" feminists, "New Styles" who "recognize that full life calls for marriage and children" as well as "driven by encouragement inward mind to become individuals in their own right ".
Petting party
Petting became more common than in the Victorian era. "Petting parties", where petting ("making out" or foreplay) is the main attraction, becoming popular. In the young imagination, it gives a lie to the old cliches about "the only man" and "the only woman". It's typical on college campuses, where young people "spend a lot of time unattended in mixed companies".
Carolyn Van Wyck writes columns for Photoplay , an upscale magazine featuring articles on pop culture, fashion advice, and even articles about helping readers funnel their celebrities. In March 1926 an anonymous young woman wrote in describing petting as a problem, explaining "All the boys seem to do it and do not seem to be coming back if you do not do it too.We, girls, are at a loss, know what to do.... I'm sure that I do not want to marry anyone who's too slow to want a pet but I want to find out what's right.Please help me. "Van Wyck sympathizes with the writer's problem and adds," Looks like I'm much more good to be known as a flat tire and save romance in one's mind rather than being called hot dates and having fear in one's heart. "
In the 1950s, Life magazine described the nagging parties as "famous and surprising institutions in the 20s," and commented on the 'Kinsey Report', saying that they've been "very much with us ever since "In the Kinee Report of 1950, there was an increase shown in premarital sex for the 1920s, Kinsey found that women born before 1900, 14 percent admitted pre-marital sex before the age of 25, whereas those born after 1900 two and a half times more likely (36 percent) to have premarital sex and to have an orgasm.
Slang
Flapper is associated with the use of a number of slang words, including "junk", "necker", "heavy petting", and "necking parties", even though these words existed before the 1920s. Flapper also uses the word "jazz" in whatever sense is interesting or fun. Their language sometimes reflects their feelings about dating, marriage and drinking: "I have to see a man about a dog" in this period often means buying whiskey; and "handcuffs" or "manacle" are engagements or wedding rings. Also reflecting their preoccupation is the phrase to declare consent, such as "It's very Jake", (okay); "It is the bee's knee," (an extraordinary person); "Cake-eater," (male woman); and the popular: "meow cat," (something extraordinary).
There are two more tubes that reflect flapper behavior or lifestyle, the "treat" and the "charity girls". "Treating" is culture or custom especially for the working class flapper. Even though they earn money from work, they still want to get more for their lives. The women are happily invited to dance, to drink, to get into jewelry and clothing. For "return services", women are given all kinds of erotic or sexual interactions from seductive to sexual intercourse. However, this practice is easily misunderstood as prostitution. So, some people will call them "charity girls" to distinguish them from prostitutes because the girls claim that they do not accept money in their sexual relationship with men.
Appearance
In addition to their disrespectful behavior, the flapper is known for their style, largely emerging as a result of the French fashion, especially pioneered by Coco Chanel, the effects on clothing from the rapid spread of American jazz, and the popularization of the dances that accompany me. Called garÃÆ'§onne in French ("boy" with a feminine suffix), the flapper style makes the girl look young and childish: short hair, flat breasts, and straight waist features. At least in 1913, the relationship between adolescence is slim and certain distinctive appearance to be fixated in the public mind. Lillian Nordica, commenting on the New York fashion that year, called
a skinny little flapper from a girl in a skirt in which she could barely move, doused all but her tiny white teeth with a little bucket of hats, and tripped on Fifth Avenue.
At this early date, it seems that the style associated with the flapper includes a childlike body and a matching hat, but a skewed skirt rather than a high hemline.
Although the appearance usually associated now with flappers (straight waist, short hair and hemline above the knee) did not fully appear until around 1926, there was an initial connection in the public mind between the unusual appearance, the embarrassing behavior, and the word "flapper". "A report in The Times about 1915's Christmas entertainment for troops stationed in France depicts a soldier in dragging a feminine thuggery while wearing" short skirts, Parisian-type hats and flapper-like hair ".
Despite the resulting flappers scandal, their appearance became fashionable in tight form among older, respected women. Significantly, the flapper removes the corset from the female fashion, lifts the skirt and hemline dress, and popularizes short hair for women. Among the actresses that are very close to this style are Tallulah Bankhead, Olive Borden, Clara Bow, Louise Brooks, Joan Crawford, Bebe Daniels, Billie Dove, 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 to appear on newspaper comic strips; Blondie Boopadoop and Fritzi Ritz - later depicted more domestically, as the wife of Dagwood Bumstead and Nancy's aunt, respectively - were introduced as flapper.
Clothing
The flapper dress is straight and loose, leaving the bare arm (sometimes no rope at all) and dropping the waist to hips. Silk or rayon stockings are held by garter. The skirt climbed to just below the knee in 1927, allowing a flash of legs to be seen when a girl danced or walked through the breeze, though the way they danced made a long skirt loose skirt to show their feet. To improve the look, some flapper apply rouge to his knee. The popular dress styles include the style of robes. High heels also became a trend of the moment, reaching a high 2-3 inches (5-8 cm). The preferred shoe styles are Mary Janes and T-straps in classic black, gold, silver, or nude colors.
Lingerie
Flapper throw corsets and pantalons for "step-in" pants. Without the old tight corsets, flappers wear a simple bust bust to hold the chest while dancing. They also wore new, softer and more fertile corsets that reached their hips, smoothed out the entire frame, giving women a straight up and down look, compared to an old corset that streamlined the waist and gave an accent to the hips and breasts.
The lack of a corset curve promotes a childish appearance. Adding a more childish look, the Symington Side Lacer was created and became very popular as a everyday bra. This type of bra is made to pull the back to flatten the chest. Other women envied their flapper and bought the Symington Side Lacer to enhance the look of the same; Large breasts are generally considered to be the hallmark of unsophistication. Therefore, flat chest becomes attractive to women, although flappers are the most common to wear such bras.
Hair and accessories
Cutting the boys in vogue and releasing the heavy tradition of women who are asked to grow their long hair, through popular pieces such as bob pieces, Eton plants, and shingle bob. Finger waving is used as a means of styling. The hats are still needed wear and popular styles including a newspaper cap and a hat cloche.
Jewelery usually consists of art deco pieces, especially many layers of beaded necklaces. Pins, rings, and brooches are stylish. Horn-horned glasses are also popular.
Cosmetics
As far back as the 1890s, French actress Polaire pioneered a display that included short hair, disheveled, firm mouth and large eyes outlined in kohl. The growing flapper view requires "heavy makeup" compared to what was previously received outside of professional use in the theater. With the invention of metal lipstick containers as well as compact mirrors, bee lips sting into a trend. Dark eyes, especially kohl-rimmed, are his style. Blush is becoming popular now because it's no longer a messy app process. Women make their eyebrows thin and draw pencils in the dark, imitating actresses like Clara Bow.
Initially, pale skin is considered the most attractive. However, tanned skin becomes more popular after Coco Chanel showcased chocolate after the holidays - it suggests a pleasant life, without the need to work hard. Women want to look fit, sporty, and, most importantly, healthy.
Semiotics flapper
Free of tight clothing, from ropes that interfere with breathing, and from the circles needed to manage the suggested release of other types. The newfound freedom to breathe and walk pushed the movement out of the house, and the flapper took full advantage. Flapper is an extreme manifestation of the lifestyle changes of American women seen through clothing.
Changes in fashion are interpreted as signs of deeper change in American feminine ideals. Short skirts and bob hair may be used as a symbol of emancipation. Signs of moral revolution consist of premarital sex, birth control, drinking, and contempt for older values. Before the War, a woman did not set foot in the saloon; After the War of a woman, though no more "a woman", entering a casual speakeasy she will go to the train station. Women start swearing and smoking in public, using contraceptives, lifting their skirts over their knees, and rolling the hose underneath. Women now compete with men in the business world and gain financial independence and, therefore, another type of independence from men.
New Women push the boundaries of gender roles, representing sexual and economic freedom. She cut her hair short and took a loose dress and a low cut dress. No longer limited by the tight waist and long trailing skirts, the modern lady of the 1920s was an independent thinker, who no longer followed the conventions of the people before her. Flapper is an example of a prevailing female conception and their role during 1920 Roaring. Flappers' ideal is motion with the characteristics of intensity, energy, and volatility. He rejects the traditional moral code. The modesty, holiness, morality, and traditional concepts of masculinity and femininity seem to be ignored. The flapper is appealing to the authorities and attached to the "demoralization" of the country to come.
The American conception of sexuality and the role of men and women in society and each other are challenged. Modern clothing is lighter and more flexible, more suited to modern women like flapper who want to engage in active sports. Women are now becoming more assertive and less willing to burn houses. The flapper costume 'is seen as sexual and raises deeper questions of the behavior and values ​​it symbolizes.
End of era flapper
The flapper lifestyle and looks disappears in America after the Wall Street Crash and the Great Depression follows. A high spirited attitude and hedonism were not accepted during the economic difficulties of the 1930s. While hemlines are increasing, many countries take action, making laws that restrict women to wear skirts with hemlines no shorter than three inches above the ankle. The always-popular bob haircut is the cause of some women being fired from their jobs.
It was not until the Wall Street stock market crash of 1929 that the glamorous and glamorous era of the roaring 20s ended, and with it, the flapper dress. Unable to afford the latest trends and lifestyles, the once-excited flapper lady returned to her borders. A serious tone that suddenly sweeps the public with the appearance of The Great Depression. The transition to your thirties is not an easy task. Campaigns such as the slogan "Make do and Mend" become prevalent to ensure there is no excessive consumption in the community. The choice of fabric is among the many items to be reduced during this time of poverty. Artificial fabrics are used instead of elegant fabrics, such as silk, which were very popular in the early 1900s. No more decorated party dress ornaments or brightly colored. Instead, women go to work to take over the role of men when they are at war. Work demands physical calling for the creation and acceptance of social pants of women in society. Although the flapper era has disappeared almost overnight, its symbol for the liberation of women will continue to live. No longer a woman should be a housewife. The freedom to choose his role in society has been created. Although many oppose the radical era, one can see how flapper dresses help to bridge the gap between the sexes in society, which ultimately leads to women's rights.
In 1934, the appearance of short short-haired flapper has completely disappeared and what we now regard as the typical style of the 1930s has taken over.
See also
- Betty Boop
- Hawksian Women
- Jazz Age
- Modern girl
- United Kingdom Elections, 1929, "flapper selection"
- Zelda Fitzgerald
References
Information notes
Quotes
Bibliography
- Abra, Allison. (September 2016) "Going to palais: the social and cultural history of the dance hall in England, 1918-1960." Contemporary English History 30 # 3 pp.Ã, 432-433.
- Chadwick, Whitney (2003), Modern Woman Revisited: Paris Between the Wars , ISBN 978-0-8135-3292-9 .
- De Castelbajac, Kate (1995), The face of the Century: 100 Years of Makeup and Style , Rizzoli, ISBNÃ, 0-8478 -1895- 0 .
- Dumenil, Lynn (1995) The Modern Temper: American Culture and Society in the 1920s . New York: Hill and Wang. ISBN 978-0-8090-1566-5
- Fass, Paula S. (2007) The Damned and the Beautiful: American youth in the 1920s . 2007. ISBNÃ, 978-0-19-502492-0
- Gourley, Kathleen (2007) Flappers and New American Women: Women's Perceptions from 1918 Until the 1920s (Images and/or Women in the 20th Century) . ISBN: 978-0-8225-6060-9
- Hudovernik, Robert (2006) Jazz Age Beauties: Lost Collection from Ziegfeld Photographer Alfred Cheney Johnston . ISBN 978-0-7893-1381-2
- Latham, Angela J. (2000) Causes Threats: Flappers, Chorus Girls, and Other Brazen Players from the American 1920s . ISBN: 978-0-8195-6401-6
- Lauber, Ellie (2000) Fashions of the Roaring '20s . ISBN 978-0-7643-0017-2
- Sagert, Kelly Boyer. Flappers: Guide to American Subculture . Santa Barbara, CA: Ã, Greenwood Press, 2010. ISBNÃ, 978-0-313-37690-0
- Zeitz, Joshua (2007), Flapper: a reckless story about sex, style, celebrity, and woman who made modern America , Random House , ISBN 978-1-4000-8054-0 .
Further reading
- Mackrell, Judith (2013) Flapper: Six Women from Dangerous Generation . ISBN 978-0-330-52952-5
External links
- "Flapper 1920: Young Women in the Modern World", clothing & amp; the 1920s. music .
- Slang of the 1920s , AACA, archived from the original on June 18, 2010 .
- "Flapper and mode", Rambova
- Thousands of flapper photos can be viewed at Louise Brooks Fan Club on Facebook > Ã, .
Source of the article : Wikipedia
0 Comments