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"Beauty, Personal Social aspects United States History 20th century."
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Young Originals : Emily Wilkens and the teen sophisticate
\"In the early 1940s, American designer Emily Wilkens went beyond her previous experience in children's wear to create costumes for two teenage characters in a Broadway play. Recognizing the growing importance of the teenager in American culture, she soon launched Emily Wilkens Young Originals, the first designer label specializing in upscale, fashionable clothing for teenage girls. Within the space of a few years, Wilkens skyrocketed from obscurity to national recognition, yet even today many fashion insiders would not recognize her name. Fashion historian Rebecca Jumper Matheson explores intertwining stories of female agency through the history of Wilkens and her teenage clientele. Wilkens retained both artistic and business control over her label in an era when most American ready-to-wear designers were anonymous employees of manufacturers. Wilkens parleyed her relative youth into a big-sister image which, like her dresses themselves, allowed her to mediate between the concerns of her teenage clients and their parents. Contrary to popular wisdom, Wilkens's designs declared that even a teenager could be fashionable. In doing so, Wilkens laid the foundation for the seismic shift that would occur later in the twentieth century, when youth became the fashionable ideal. Young Originals traces Wilkens's career from fashion illustrator in the 1930s to spa and beauty expert in the 1980s, emphasizing her consistent ideal of healthy, youthful beauty\"-- Provided by publisher.
Book
Zoot Suit
ZOOT SUIT (n.): the ultimate in clothes. The only totally and truly American civilian suit. -Cab Calloway,The Hepster's Dictionary, 1944 Before the fashion statements of hippies, punks, or hip-hop, there was the zoot suit, a striking urban look of the World War II era that captivated the imagination. Created by poor African American men and obscure tailors, the \"drape shape\" was embraced by Mexican American pachucos, working-class youth, entertainers, and swing dancers, yet condemned by the U.S. government as wasteful and unpatriotic in a time of war. The fashion became notorious when it appeared to trigger violence and disorder in Los Angeles in 1943-events forever known as the \"zoot suit riot.\" In its wake, social scientists, psychiatrists, journalists, and politicians all tried to explain the riddle of the zoot suit, transforming it into a multifaceted symbol: to some, a sign of social deviance and psychological disturbance, to others, a gesture of resistance against racial prejudice and discrimination. As controversy swirled at home, young men in other places-French zazous, South African tsotsi, Trinidadian saga boys, and Russian stiliagi-made the American zoot suit their own. InZoot Suit, historian Kathy Peiss explores this extreme fashion and its mysterious career during World War II and after, as it spread from Harlem across the United States and around the world. She traces the unfolding history of this style and its importance to the youth who adopted it as their uniform, and at the same time considers the way public figures, experts, political activists, and historians have interpreted it. This outré style was a turning point in the way we understand the meaning of clothing as an expression of social conditions and power relations. Zoot Suit offers a new perspective on youth culture and the politics of style, tracing the seam between fashion and social action.
eBook
Hope in a Jar
How did powder and paint, once scorned as immoral, become indispensable to millions of respectable women? How did a \"kitchen physic,\" as homemade cosmetics were once called, become a multibillion-dollar industry? And how did men finally take over that rarest of institutions, a woman's business? InHope in a Jar, historian Kathy Peiss gives us the first full-scale social history of America's beauty culture, from the buttermilk and rice powder recommended by Victorian recipe books to the mass-produced products of our contemporary consumer age. She shows how women, far from being pawns and victims, used makeup to declare their freedom, identity, and sexual allure as they flocked to enter public life. And she highlights the leading role of white and black women-Helena Rubenstein and Annie Turnbo Malone, Elizabeth Arden and Madame C. J. Walker-in shaping a unique industry that relied less on advertising than on women's customs of visiting and conversation. Replete with the voices and experiences of ordinary women,Hope in a Jaris a richly textured account of the ways women created the cosmetics industry and cosmetics created the modern woman.
eBook
Buttoned Up
In Buttoned Up, based on interviews with dozens of men in three U.S. cities with distinct local dress cultures--New York, San Francisco, and Cincinnati--Erynn Masi de Casanova asks what it means to wear the white collar now.
eBook
Dressing for the Culture Wars
Style of dress has always been a way for Americans to signify their politics, but perhaps never so overtly as in the 1960s and 1970s. Whether participating in presidential campaigns or Vietnam protests, hair and dress provided a powerful cultural tool for social activists to display their politics to the world and became both the cause and a symbol of the rift in American culture. Some Americans saw stylistic freedom as part of their larger political protests, integral to the ideals of self-expression, sexual freedom, and equal rights for women and minorities. Others saw changes in style as the erosion of tradition and a threat to the established social and gender norms at the heart of family and nation.
Through the lens of fashion and style,Dressing for the Culture Warsguides us through the competing political and social movements of the 1960s and 1970s. Although long hair on men, pants and miniskirts on women, and other hippie styles of self-fashioning could indeed be controversial, Betty Luther Hillman illustrates how self-presentation influenced the culture and politics of the era and carried connotations similarly linked to the broader political challenges of the time. Luther Hillman's new line of inquiry demonstrates how fashion was both a reaction to and was influenced by the political climate and its implications for changing norms of gender, race, and sexuality.
eBook
Ain't I a Beauty Queen?
This book is a study of black women as symbols, and as participants, in the reshaping of the meaning of black racial identity. The meanings and practices of racial identity are continually reshaped as a result of the interplay of actions taken at the individual and institutional levels. In chapters that detail the history of pre-Civil Rights Movement black beauty pageants, later efforts to integrate beauty contests, and the transformation in beliefs and practices relating to black beauty in the 1960s, the book develops a model for understanding social processes of racial change. It places changing black hair practices and standards of beauty in historical context and shows the powerful role social movements have had in reshaping the texture of everyday life. The Civil Rights and Black Power Movements led a generation to question hair straightening and to establish a new standard of beauty that was summed up in the words “black is beautiful.” Through oral history interviews with Civil Rights and Black Power Movement activists and ordinary women, the book documents the meaning of these changes in black women's lives.
eBook