
celebrations included luncheons, teas, and tea dances. Attire for these
events was as fanciful and decadent as evening attire. Other opportunities
to socialize and show off included horse races, dog races, and scavenger
hunts, along with the regular cacophony of cotillions, and society parties
provided ample opportunities to display the latest fashions (Keenan
1978). The informal cocktail party also came into vogue, in some instan-
ces replacing the traditional luncheon, tea dance, and formal dinner part y.
Other society parties were frequent during the early years of the
1920s. French couturier Paul Poiret was known for his extravagant Pari-
sian fetes, which were theme based. His most famous was ‘‘The Thousand
and Second Night,’’ a fantasy based on the tales of The Arabian Nights.
The Flapper. Fashion in the twenties
was epitomized by the iconic image of
the flapper. A flapper was a new,
modern woman whose interests included
being independent, liberal, healthy, and
outgoing. She was slender, with bobbed
hair, and was the antithesis of the ideal
of womanhood from the previous gener-
ation. The look was often referred to as
La Gar
conne, a term coined in 1922,
when Victor Margueritte wrote the
novel La Gar
conne, which told the story
of a young woman who leaves home to
explore an independent life.
The flapper appears prominently in
other forms of mass media, notably mov-
ies and cartoons. The 1923 production
Flaming Youth starred act ress Colleen
Moore, who offered the new flapper
image to the masses. A continual stream
of movies followed this example, most
notably It, starring Clara Bow. John Held
Jr., a well-known cartoonis t for Life and
The New Yorker in the twenties, depicted
the flapper and her love interests, who
were frequently described as ‘‘Held’s
Hellions.’’
The term ‘‘flapper’ ’ ’ has strange roots.
According to researchers, these young in-
dependent women often wore their rain
boots, known as galoshes, unfastened, caus-
ing them to flap as they walked, but there
was much more to the flapper appearance
than this. Most strikingly, the new silhou-
ette of the flapper demanded flat lines and
no curves, with an almost prepubescent or
childlike appearance. Described as sleek or
svelte, the look was both youthful and an-
drogynous. Women of this era cut their
hair to emulate Colleen Moore’s Dutch
bob, dieted to keep their hips narrow, and
flattened their chests. P ointed shoes and
rolled hose completed the picture.
Conflicting reports describe the flap-
pers’ demise. The New Republic suggested
that, as early as 1925, the appeal of the
flapper was already passe. By 1926, the
look had reached its international peak,
and The New York Times reported the
death of the flapper era in 1928.
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DAILY LIFE