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Flappers were a generation of young Western women in the s who wore short skirts, bobbed their hair, listened to jazz , and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking , treating sex in a casual manner , smoking, driving automobiles, and otherwise flouting social and sexual norms.
The term possibly originated in slang, but there is no direct evidence of that. The slang term "flapper" may derive from an earlier use in northern England to mean "teenage girl", referring to one whose hair is not yet put up and whose plaited pigtail "flapped" on her back;  or from an older word meaning "prostitute".
The standard non-slang usage appeared in print as early as in England and in the United States, when novelist Desmond Coke used it in his college story of Oxford life, Sandford of Merton: This move became quite a competitive dance during this era.
By , newspapers as serious as The Times used the term, although with careful explanation: Americans, and those fortunate English folk whose money and status permit them to go in freely for slang terms The sketch is of a girl in a frock with a long skirt,"which has the waistline quite high and semi-Empire, By November , the word was popular enough for A.
James to begin a series of stories in the London Magazine featuring the misadventures of a pretty fifteen-year-old girl and titled "Her Majesty the Flapper". By , the London theatrical impresario John Tiller , defining the word in an interview he gave to the New York Times , described a "flapper" as belonging to a slightly older age group, a girl who has "just come out".
She would be expected to keep a low profile on social occasions and ought not to be the object of male attention. Although the word was still largely understood as referring to high-spirited teenagers  gradually in Britain it was being extended to describe any impetuous immature woman. A Times article on the problem of finding jobs for women made unemployed by the return of the male workforce is headed "The Flapper's Future".
In his lecture in February on Britain's surplus of young women caused by the loss of young men in war, Dr. Murray-Leslie criticized "the social butterfly type It was the first film in the United States to portray the "flapper" lifestyle. By that time, the term had taken on the full meaning of the flapper generation style and attitudes. The use of the term coincided with a fashion among teenage girls in the United States in the early s for wearing unbuckled galoshes ,  and a widespread false etymology held that they were called "flappers" because they flapped when they walked, as they wore their overshoes or galoshes unfastened, showing that they defied convention in a manner similar to the 21st century fad for untied shoelaces.
By the mids in Britain, although still occasionally used, the word "flapper" had become associated with the past. In a Times journalist grouped it with terms such as "blotto" as out-dated slang: It recalls a past which is not yet 'period'. One cause of the change in young women's behavior was World War I which ended in November Therefore, young women wanted to spend their youth enjoying their life and freedom rather than just staying at home and waiting for a man to marry them.
Political changes were another cause of the flapper culture. World War I reduced the grip of the class system on both sides of the Atlantic, encouraging different classes to mingle and share their sense of freedom. Society changed quickly after World War I. For example, customs, technology, and manufacturing all moved quickly into the 20th century after the interruption of the war. The first appearance of the flapper style [b] in the United States came from the popular Frances Marion film, The Flapper , starring Olive Thomas.
In her final movies, she was seen as the flapper image. In the United States, popular contempt for Prohibition was a factor in the rise of the flapper. With legal saloons and cabarets closed, back alley speakeasies became prolific and popular. This discrepancy between the law-abiding, religion-based temperance movement and the actual ubiquitous consumption of alcohol led to widespread disdain for authority.
Flapper independence was also a response to the Gibson girls of the s. Writers in the United States such as F.
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". Another 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' appearance and behavior, 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 be unhappy in his marriage.
In Frame's book, she also wrote that the appearance of flappers, like the short hair and short dress, distracted attention from feminine curves to the legs and body. These attributes were not only a fashion trend but also the expression of a blurring of gender roles.
The Gibson Girl was one of the origins of the flapper. The invention of Charles Dana Gibson , the Gibson Girl changed the fashion, patterns, and lifestyles of the s; these were much more progressive than the traditions of women's styles in the past. Before the Gibson Girl movement, women's voices as a group were infrequently heard.
While some may see the Gibson Girl as just a fashion statement, it was much more broadly influential than that. It was the first time a woman could actually 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. According to Kate Chopin, "The Gibson Girl influenced society in the early s much like Barbie influenced society of the late s. The Gibson Girl crossed many societal lines opening the way for women to participate in things they had never done 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 look like: Despite the criticism she was a trend setter, a model for women in both dress and action, just like Barbie. The fashion of the Gibson Girl allowed them a much more active lifestyle then previously, in both work and recreation.
The style was considered masculine, and this was sometimes emphasized by wearing a necktie. Though women still wore the restrictive undergarments known as corsets, a new health corset came into style that was said to be better 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 modern women. She might be pictured at a desk in a tailored shirtwaist or at a tennis party in an informal sports dress.
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 always beautiful and elegant. Gibson shows off the classic Gibson Girl as a figure who embraced outdoor physical activities. The Gibson Girl was uniquely American compared to European standards of style. She was an ideal: Gibson emphasized that any women can be represented as a Gibson Girl, both those in the middle and the upper class.
Minnie Clark, known as "the original Gibson Girl", was a model for Gibson and could portray any type of women needed for his illustration. Gibson drew with characteristic grace women all of races and classes so that any woman could feel that they, too, could be a graceful Gibson Girl. In , a small-circulation magazine — The Flapper , located in Chicago — celebrated the flapper's appeal. On the opening page of its first issue, it proudly declared flappers' break 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 even acknowledge that the previous generation of female activists had made the flappers' freedom possible. In the s, new magazines appealed to young German women with a sensuous image and advertisements for the appropriate clothes and accessories they would want to purchase.
She was young and fashionable, financially independent, and was an eager consumer of the latest fashions. The magazines kept her up to date on fashion, arts, sports, and modern technology such as automobiles and telephones. Even though many young women in the s saw flappers as the symbol of a brighter future, some also questioned the flappers' more extreme behavior. Therefore, in , the magazine began asking for true stories from its readers for a new column called "Confessions of a Flapper".
Some of these were lighthearted stories of girls getting the better of those who underestimated them, but others described girls betraying their own standards of behavior in order to live up to the image of flappers. There were several examples, a newlywed confessed to having cheated on her husband, a college student described being told by a boyfriend that she was not "the marrying kind" because of the sexual liberties she had permitted him, and a minister's 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 too far in their quest for adventure. One year-old "ex-vamp" declared: So, among the readers of The Flapper , parts of them were celebrated 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 ethics so as to live up to all the hype.
According to a report in , some banks across the United States started to regulate the dress and deportment of young female employees who were considered to be "flappers". It began with a complaint of a mother in New 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 dress for female employees. Those rules included that the dress should not have a pattern, it should be bought from a specific store, it must be worn in either black, blue or brown, its sleeves must not be shortened above the elbow, and its hem must not be worn higher than twelve inches from the ground. 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.
The flapper stands as one of the most enduring images of youth and new women in the twentieth century, and is viewed by modern-day Americans as something of a cultural heroine.
However, back in the s, many Americans regarded flappers as threatening to conventional society, representing a new moral order. Although most of them were the daughters of the middle class, they flouted middle-class values. They shrugged off their chaperones, danced suggestively, and openly flirted with boys.
Can I See You Tonight? Before the s, for a woman to call a man to suggest a date would be impossible. But in the s, many girls seemed to play a leading role in relationships, actively asking boys out or even coming to their homes. Flappers' behavior was considered outlandish at the time and redefined women's roles. In the English media they were stereotyped as pleasure-loving, reckless and prone to defy convention by initiating sexual relationships.
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 active, sporting, rode bicycles , drove cars, and openly drank alcohol, a defiant act in the American period of Prohibition.
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