Category: 1960s

I'm a W-O-M-A-N

7/18/2013

I've noticed a shift in the mid-1960s away from something I will call “personality dressing”, which is the common women’s magazine trope that asks, “What kind of woman are you?” and then offers style and grooming advice based on the responses. For example, in 1965 Seventeen featured “Personality types and the clothes that go with them” using the categories “dainty vs sturdy”, “dramatic vs demure”, and “dignified vs vivacious for three pairs of outfits. A fragrance ad in 1968 offers a short quiz and three choices, “romantic”, “modern”, and “feminine”. I've seen other writers describe what replaced personality dressing as “event dressing”, but I feel that the “moment dressing” is more descriptive. In the late 1960s and 1970s, there were many choices (minis, midis, maxis, pant suits, jeans, menswear, peasant, vintage...) and plenty of women opted for an extremely varied wardrobe

Which outfit came out of the closet depended not only on the event or occasion, but the woman’s mood at the moment as well. The significance of this is that mood dressing was a rejection of an essentialist view that women came in a few, easily categorized varieties. Like the W-O-M-A-N in the Enjoli perfume commercial who can “bring home the bacon, cook it up in a pan, and never let you forget you’re a man”, the woman of the 1970s could do anything, or least dress for anything.

That's my take, anyway. What's yours?

That "Tootsie" video with Dustin Hoffman

7/10/2013

I'm about to ask some messy questions. Writing about gender can get that way. In 1967, cultural critic Russell Lynes observed that the gender-bending styles of the young had a curious effect. in his opinion, the new fashion of women dressing more like boys or men helped homely girls look more attractive. Lynes gives the example of Barbra Streisand, but his comment reminds me of the recent viral video of the Dustin Hoffman interview about his cross-dressing experience in "Tootsie". Nearly 40 years later, Hoffman is reduced to tears with the recollection that the make-up people had made them as pretty as they could, and he couldn't measure up to his own standards of a woman worth spending time on.

Then I am reminded of a recent conversation with a colleague who knows a bit about the subject -- she's taught a course on the history of drag -- where she mused about the relative "success" of male-to-female gender performance, compared to women attempting to pass as men. Here's the question: Do men find otherwise plain or unattractive women look more attractive -- as women -- when they wear masculine clothing? Is feminized men's clothing more threatening than mannish styles for women in our culture because it is a challenge to the existing power structure, or because the artifice involved in performing femininity -- make-up, body shaping and elaborate hair modification -- is exposed as the trickery it really is when a man does it? What are the limits of beauty culture, and how do girls and women negotiate their own sense of self worth within those limits? Do we experience a Tootsie moment when we know we look our best and know deep in our souls that it isn't "enough"? What does it feel like?

Personally, it feels like my own personal cloak of invisibility. I can look quite presentable when I try, and I do still enjoy the effort. But I can also choose, when I feel like it, to pull on something comfortable, skip the makeup and enjoy the sensation. Oddly enough, androgynous clothing helps me do that.

P.S. Getting dragulated by RuPaul is still on my bucket list

Fashion, feminisms and femininity

7/4/2013

I turned 13 in 1962. Before I graduated from high school, three books hit the bestseller lists, each offering a completely different, competing view of what sort of woman I should try to be. Let the authors speak for themselves:

When a man thinks of a married woman, no matter how lovely she is, he must inevitably picture her greeting her husband at the door with a martini or warmer welcome, fixing little children's lunches or scrubbing them down because they've fallen into a mudhole. She is somebody else's wife and somebody else's mother.

When a man thinks of a single woman, he pictures her alone in her apartment, smooth legs sheathed in pink silk Capri pants, lying tantalizingly among dozens of satin cushions, trying to read but not very successfully, for he is in that room–filling her thoughts, her dreams, her life.

Helen Gurley Brown, Sex and the Single Girl, 1962

The problem lay buried, unspoken, for many years in the minds of American women. It was a strange starring, a sense of dissatisfaction, a yearning that women suffered in the middle of the 20th century in the United States. Each suburban wife struggled with it alone. As she made the beds, shop for groceries, match slipcover material, ate peanut butter sandwiches with her children, she furred Cub Scouts and brownies, lay beside her husband at night–she was afraid to even ask herself the silent question–“ is this all?”

Betty Friedan, The feminine mystique, 1963

Never before in history has there been a generation of women so disillusioned, disappointed, and unhappy marriage is in our times. Many feel that married life does not offer what they had hoped and dreamed it would. Some feel neglected, unappreciated, and often unlocked. When they search for answers, they feel lost in a sea of darkness. Some are resigned to this condition, but others still hope and search for answers.

There are, of course many women who have achieved a high level of happiness, but in many cases it is not the happiness of which they once dreamed, and it falls short of their goals. They feel a need for a richer, fuller life. They, too, need light and understanding.

Helen B. Andelin, Fascinating Womanhood, 1965

I hasten to say that although I didn't read any of them, the ideas each author advocated swirled around me throughout my high school and college years. (And they are all still in print fifty years later, which is telling.) Which woman should I be? Helen Gurley Brown's independent, sexy, young single girl? Betty Friedan’s liberated woman with a career and perhaps an equally liberated husband? Or Helen Andelin’s domestic goddess, realizing her power by cultivating her femininity?

Afterthought:

When faced with a multiple choice test, the young women of the 60s and 70s tried to turn it into an essay exam.

Gender Mystique Tumblr

6/26/2013

I've been collecting dozens -- no, make that hundreds -- of images as part of my research and I want to share them with you all, because they are fun, thought-provoking and even astonishing.

They are all here on my new Tumblr, Gender Mystique. Enjoy!

Kids getting older younger, 1970 edition

6/22/2013

The concept of age compression, or kids getting older younger (KGOY), has been controversial for years. I just caught an example of this from the Sears catalogs in the late 1960s and early 1970s. On the left, you see an image of the Junior section of their spring 1967 catalog, which features popular model Colleen Corby (born in1947) in an outfit that in style and sizing is aimed at young women in the high school-college age range. In short, for younger women about her age. In 1970 Sears introduced their young teens line called "The Lemon Frog Shop", sizes 6J to 18J, and described as perfect for girls from 11 to 14 years of age. Who do we see? Why, there's Colleen Corby at the far left, now in her early 20s. Colby was a popular model for girls about her age in the 1960s. What effect does her appearance have, when she is modeling clothing for girls 10 years younger?

Sears goes all King's Road (1960s and 70s)

6/10/2013

Everyone who knows fashion has heard of Carnaby Street, the crucible of youth style during the "Youth Quake" of the 1960s. But how about King's Road in Chelsea, which Rodney Bennett-England dubbed "the perfect microcosm of contemporary British male fashion"?

In 1968, that bastion of American middle-brow style, debuted its King's Road collection for young men. It's not Chelsea, but it will do. The King's Road fashions are pretty much the high water mark of the flood of "peacock styles" in mainstream fashion. These examples of "total color harmony" are from the spring, 1970 catalog. More to come, I promise!

And here is a TV ad from 1973. Football stars wear them, so you know they are manly!

Need to get your own? There's Ebay.

Escapism in men's fashion, 1968

6/4/2013

Men's fashions of the late sixties are a fascinating mix of dandyism and exotic cultural appropriation. (Think of the Sgt. Pepper album cover.) How wonderful for posterity that fashion journalist Rodney Bennett-England decided to capture the moment in Dress Optional: The Revolution in Menswear (Dufour, 1968, now lamentably out of print). Sir Mark Palmer, who dropped out of the upper class to travel in a caravan with various pop stars and dress in Druid robes, offers a succinct explanation of the appeal of the hippie culture:

"It is not escapism leaving a bad scene to start a new one."

It strikes me that the vivid, revolutionary nature of men's clothing in this period is evidence that the time was ripe for a rejection of the "masculine mystique" along the same lines of second wave feminism. Instead, men got a brief escape into an alternate life before John T. Molloy rang the closing bell with Dress for Success in 1975. I think this parallels the short history of the "American costume" (aka the Bloomer costume) for women at the very beginning of the feminist movement. Which means there's always hope for men's liberation.

211 images of babies from Sears, 1962-1979

5/27/2013

I'm working on a careful description and analysis of the children's styles fro the Sears catalogs, and decided to get reactions from my readers. These images (211 of them!!!) are arranged in chronological order, by year and then season (Spring-Summer, then Fall-Winter). You can view them as a slide show and add comments here or on Flickr.
What do you see? (patterns, trends, surprises, memories)

Here’s what I detect in the pages of the Sears catalogs from 1962 to 1979:

Consistent rules:

dressier clothes are more gendered
girls looking boyish=ok

Fading rules:

babies are not toddlers are not children (toddler images to come)
pants are for casual wear only, for girls
flowers are ok for all babies

Before unisex, there was ...

5/24/2013

... protounisex? In every Sears catalog from the 1950s and early 1960s, there were several pages of neutral play clothes for boys and girls in the size 2-6X range. They are pretty much boys' clothes in a variety of colors, but they are modeled by girls as well as boys with not a peep of comment in the catalog copy. This example is from fall, 1964, but typical of styles worn by children for years before "unisex" fashion was invented.

Before you start thinking how awesomely gender-free we were back then, keep in mind that this is also the "Mad Men" era and the year after The Feminine Mystique rocked the domestic scene. So why was boyish clothing for girls ok? And why did unisex clothing for adults seem so revolutionary?

Re-visiting the 1960s

2/1/2013

“You’re a liberal or a conservative in America if you think the ’60s were a good thing or not. If the ’60s was a good thing, you’re left. If you think it was a bad thing, you’re right. And the confusing thing for a lot of people that gets a lot of Americans is, when they think of the ’60s, they don’t think of just the sexual revolution. But somehow or other — and they’ve been very, very, clever at doing this — they’ve been able to link, I think absolutely incorrectly, the sexual revolution with civil rights.”
source: Rick Santorum and repealing the 1960s (Charles Blow for the New York Times)

Girls' swimsuits, Sears 1963

One of the reasons I wanted to write about unisex fashions is that they seem emblematic of a very complicated -- and unfinished -- conversation about sex, gender and sexuality. Rick Santorum's comment from last year is one expression of that conversation, and I thank him for being so honest in putting it out there. Many of us who grew up in the 1960s have mixed feelings about that era, though mine are more positive than Mr. Santorum's. Unlike him, I feel that family planning is good, abortion should be safe, legal and accessible regardless of income and that biological sex is an interesting category but not my be-all and end -all.

But here's the catch: something happens in the coding for feminine clothing in the 1960s that essentially conflates femininity, youth and sexual attractiveness, and it shows up in girls’ clothing. Six-year-olds in bikinis -- thank the 1960s.

More to come, as I am deep in writing mode for the next nine months. This site will also be changing to reflect the widening scope of my work. In my ample free tie, as they say.

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