10 Anita Baker Haircut
She was the adult ingénue, spending evenings in applesauce clubs bleared with her cigarette smoke. She cavorted, agrarian and willful, in the belief of F. Scott Fitzgerald, who summed her up as “pretty, impudent, alluringly assured, as worldly-wise, briefly-clad and ‘hard-berled’ as possible.”
The glamorous, ablaze bender in her carnal dress and beautiful bob seemed to appear into American activity out of boilerplate afterwards the First World War, but the appellation was already accustomed by then. In 1890s Britain, in fact, “flapper” declared a actual boyish prostitute, and afterwards the about-face of the century, it was acclimated on both abandon of the Atlantic for cheeky, prepubescent girls whose continued braids, the New York Times reported, “flapped in the wind.” Soon, a bender was any babe or woman who defied convention—girls who aghast at actuality chaperoned, suffragists, women ambitious to a career, and those, as the Boston Globe put it, “expert in the arts of allurement.”
Unlike their mothers and grandmothers, flappers tended to go to aerial academy and alike college, and they devoured new books featuring confident, alert boyish heroines who hiked and camped and apparent mysteries. Flappers biked, played golf and tennis, and strove to challenge the flat-chested and hipless physiques of the boyish boys whose abandon and abridgement of calm responsibilities they envied.
Predictably, these beautiful tomboys were a grave antecedent of anguish to parents, educators, physicians and clergymen, who feared that sports and college apprenticeship would be ruinous. “Without chichi ideals the changeable appearance is threatened with disintegration,” warned G. Stanley Hall, a arch analyst and drillmaster who toured the country lecturing on the subject.
Other critics focused on the freewheeling, barmy and “fast” behavior of those aforementioned girls who now backward out all night dancing, sipping booze from hip flasks (it was Prohibition, afterwards all) and cuddle in roadsters. “She is artlessly a fool,” the Globe said. “She has no ideas, no audible aims above the ever-paramount admiration to assure for herself what she is admiring to alarm ‘as acceptable a time as possible.’”
All the blame and finger-wagging, of course, alone added her appeal. Movies such as The Perfect Flapper, Dancing Mothers and Flaming Youth fabricated boyish stars of Clara Bow, Olive Thomas and Colleen Moore. (Bow so absolutely embodied the flapper’s attraction that her achievement as a adventurous shopgirl in the 1927 adventurous ball It led critics, bogus a phrase, to alarm her the “It girl.”) New cosmetics companies awash bark creams to eradicate wrinkles. Magazines advertised bender hairstyles and clothing—plus acute diets and arguable claims for the slimming furnishings of cigarettes and chewing gum. Some women resorted to a new faddy in corrective surgery, blame off an era of damaging self-scrutiny and attraction with weight, boyhood and anatomy angel accustomed to us today.
But the flapper, admitting her belled frivolity, was additionally a adaptation of the “new woman,” who fought for independence, adequation in alliance and pay and a political voice. Admitting the arresting suffragist Rheta Childe Dorr pooh-poohed the “bobbed-haired boyish female” who “does not apprehend much,” a cardinal of impressively accomplished women were flappers, including the biographer and biographer Anita Loos, the carper Dorothy Parker and the amateur Josephine Baker, who went on to become a arch civilian rights activist.
Flappers receded from American activity afterwards the Great Depression pulled the bung on all the revelry. With the acceleration of feminism in the 1960s they enjoyed a bit of a revival, but were remembered abundantly for their animated fashions, abbreviate skirts actuality a attribute of animal liberation. Feminists had an understandable, get-down-to-business ancillary that was angrily at allowance with the flappers’ adherence to a whimsical, abiding adolescence; a bender affably alleged herself a “girl,” admitting feminists disdained the chat as an insult.
Today, though, things accept angry again. Many boyish feminists embrace the flapper’s sassy, absolute spirit of appearing to comedy at adulthood, and are altogether adequate apropos to themselves as “girls”—notably, the questing boyish women on Lena Dunham’s TV appearance “Girls.” Bender styles may be relegated to apparel museums, but the bender spirit lives afresh afterwards a hundred years.
Not that today’s hipsters advertise cigarettes and ball the Charleston. But from their chic accessories to their abiding adolescence, boyish catholic women are decidedly abutting in affection to “girls” of a aeon ago. — Paul O’Donnell
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