Flapper (48 page)

⁹
“The corset-curse”:
Jenna Weissman Joselit,
A Perfect Fit: Clothes, Character and the Promise of America
(New York: Metropolitan Books, 2001), 49–50.

¹⁰
Stanton put the matter:
Paula Welch, “The Relationship of the Women’s Rights Movement to Women’s Sport and Physical Education in the United States, 1848–1920,”
Proteus
3, no. 1 (1986): 36.

¹¹
“We only wore it”:
Joselit,
A Perfect Fit
, 46.

¹²
“ladies of irreproachable character”:
Welch, “The Relationship of the Women’s Rights Movement to Women’s Sport,” 36.

¹³
“popular rise of sports”:
John Higham, “The Reorientation of American Culture
in the 1890s,” in John Weiss, ed.,
The Origins of Modern Consciousness
(Detroit: Wayne State University Press, 1965), 25–28.

¹⁴
“athletic kind of girl!”:
Higham, “The Reorientation of American Culture,” 30–31.

¹⁵
“To men, rich and poor”:
Welch, “The Relationship of the Women’s Rights Movement to Women’s Sport,” 37.

¹⁶
Dr. Edward Clarke:
Margaret A. Lowe,
Looking Good: College Women and Body Image, 1875–1930
(Baltimore: Johns Hopkins University Press, 2003), 2.

¹⁷
“day’s tramp”:
Lowe,
Looking Good
, 47–49.

¹⁸
“the biggest day”:
Lowe,
Looking Good
, 49.

¹⁹
“no skirts at all”:
Lowe,
Looking Good
, 48.

C
HAPTER
15: L
ET
G
O OF THE
W
AISTLINE

¹
“King of Fashion”:
Paul Poiret,
My First Fifty Years
(London: V. Gollancz, 1931), 285.

²
“Parisian of Paris”:
Poiret,
My First Fifty Years
, 11–12.

³
“Women and their toilettes”:
Poiret,
My First Fifty Years
, 19.

⁴
“smash my pride”:
Poiret,
My First Fifty Years
, 25.

⁵
Four hundred copies:
Poiret,
My First Fifty Years
, 27, 36.

⁶
“The women wore them”:
Poiret,
My First Fifty Years
, 43.

⁷
“Young man, you know”:
Poiret,
My First Fifty Years
, 61.

⁸
“You call that a dress?”:
Poiret,
My First Fifty Years
, 63.

⁹
clothing for the New Woman:
Amy De La Haye and Shelley Tobin,
Chanel: The Couturiere at Work
(Woodstock, N.Y.: The Overlook Press, 1996), 13; Sandra Ley,
Fashion for Everyone: The Story of Ready-to-Wear
(New York: Scribner, 1975), 53–55.

¹⁰
“I waged war upon it”:
Poiret,
My First Fifty Years
, 73.

¹¹
“shackled the legs”:
Poiret,
My First Fifty Years
, 73.

¹²
“despotism of fashion”:
Poiret,
My First Fifty Years
, 290.

¹³
supreme derision:
Poiret,
My First Fifty Years
, 146–47.

¹⁴
“made for each other”:
Axel Masden,
Chanel: A Woman of Her Own
(New York: Henry Holt, 1990), 55.

¹⁵
“Chanel frock was born”:
Masden,
Chanel: A Woman of Her Own
, 69; Marcel Hadrich,
Coco Chanel: Her Life, Her Secrets
(Boston: Little, Brown, 1971), 90.

¹⁶
“let go of the waistline”:
Masden,
Chanel
, 78.

¹⁷
Harper’s Bazaar: De La Haye and Tobin,
Chanel
, 20.

¹⁸
“leading the way”: New York Times
, April 23, 1916, X2.

¹⁹
Marie Louise-Deray:
Masden,
Chanel
, 80.

²⁰
“Let them take lovers”:
De La Haye and Tobin,
Chanel
, 19.

²¹
“flapper uniform”:
Bruce Bliven, “Flapper Jane,”
New Republic
, September 9, 1925.

²²
“feminized tweeds”: New Yorker
, November 7, 1925, 28.

²³
masculine influences:
De La Haye and Tobin,
Chanel
, 42.

²⁴
“misérabilisme de luxe”: Masden,
Chanel
, 116–17.

²⁵
Parisian law student:
Valerie Steele,
Paris Fashion: A Cultural History
(New York: Berg Publishers, 1998), 256.

²⁶
“Oriental” or “primitive” themes:
Elaine Porter, “Women’s Fashions in 1920s America,” unpublished BA dissertation, Cambridge University, Spring 2005, 9–16.

²⁷
“hemline moveth slowly”: Washington Post
, July 12, 1925, SM4.

²⁸
DISPLAY OF SPRING FASHIONS:
New York Times
, January 22, 1927, 15.

²⁹
A Baptist pastor:
Jenna Weissman Joselit,
A Perfect Fit: Clothes, Character and the Promise of America
(New York: Metropolitan Books, 2001), 66.

³⁰
“adjust length to becomingness”:
Joselit,
A Perfect Fit
, 60.

³¹
“yearly cry”: New Yorker
, October 10, 1925, 32.

C
HAPTER
16: I
NTO THE
S
TREETS

¹
“The whole position”:
Eleanor Goodman and Jean Nerenberg, “Everywoman’s Jewelry: Early Plastics and Equality in Fashion,”
Journal of Popular Culture
13, no. 4 (Spring 1980): 632–33.

²
Alexander Hamilton:
Stewart and Elizabeth Ewen,
Channels of Desire: Mass Images and the Shaping of American Consciousness
(New York: McGraw Hill Publishers, 1982), 160.

³
status quo changed slowly:
Ewen and Ewen,
Channels of Desire
, 166–67.

⁴
Ellen Curtis Demorest:
Milbank,
New York Fashion: The Evolution of American Style
(New York: Abrams, 1989), 18.

⁵
“A sketch is given”:
Rob Schorman,
Selling Style: Clothing and Social Change at the Turn of the Century
(Philadelphia: University of Pennsylvania Press, 2003), 53–54.

⁶
over six yards of forty-eight-inch fabric:
Jane Farrell-Beck and Joyce Starr-Johnson, “Remodeling and Renovating Clothes, 1870–1933,”
Dress
19 (1992): 39.

⁷
under three yards of fifty-four-inch wool:
Farrell-Beck and Starr-Johnson, “Remodeling and Renovating Clothes,” 43. Between 1870 and 1929, annual sales of factory-made women’s clothes jumped from $12.9 million to $1.6 billion—roughly equivalent to $17.5 billion in current-day money.

⁸
“The winter openings”: New Yorker
, August 28, 1926, 44–46.

⁹
“Fashion does not exist”:
Amy De La Haye and Shelley Tobin,
Chanel: The Couturiere at Work
(New York: Overlook Press, 1994), 54.

¹⁰
Madame Doret:
De La Haye and Tobin,
Chanel
, 54–55.

¹¹
“ ‘Chanel’ Rhinestone Bags”: New York Times
, December 23, 1927, 7.

¹²
“copies of Patou”: New York Times
, November 28, 1926, 15.

¹³
“Paris hats … so exact”: New Yorker
, March 12, 1927, 7.

¹⁴
even farm girls:
Jenna Weissman Joselit,
A Perfect Fit: Clothes, Character and the Promise of America
(New York: Metropolitan Books, 2001), 22.

¹⁵
Rural free delivery and parcel post:
Thomas Schlereth, “Country Stores, County Fairs and Mail-Order Catalogues: Consumption in Rural America,” in Simon J. Bronner, ed.,
Consuming Visions: Accumulation and Display
of Goods in America, 1880–1920
(New York: Norton, 1989), 342–45, 349.

¹⁶
“on time”:
Ewen and Ewen,
Channels of Desire
, 65.

¹⁷
as little as $8.98:
Stella Blum, ed.,
Everyday Fashions of the Twenties: As Pictures in Sears and Other Catalogs
(New York: Dover Publications, 1981).

¹⁸
cheap imitation jewelry:
Eleanor Gordon and Jean Nerenberg, “Everywoman’s Jewelry: Early Plastics and Equality in Fashion,”
Journal of Popular Culture
(Spring 1980): 629–44.

¹⁹
“Heinz pickle jars”: New Yorker
, March 6, 1926, 41.

²⁰
parlor maid and the debutante:
Goodman and Nerenberg, “Everywoman’s Jewelry,” 633.

²¹
“one big shop exclusively”: New Yorker
, September 18, 1926, 54.

²²
“It is most annoying”: New Yorker
, April 3, 1926, 34.

²³
“a second clue”:
Robert S. Lynd and Helen Merrell Lynd,
Middletown: A Study in Modern American Culture
(New York: Harcourt, Brace and Company, 1929), 161.

²⁴
“Only a connoisseur”:
Ewen and Ewen,
Channels of Desire
, 177.

²⁵
“Riverside Drive or East 4th Street”:
Ewen and Ewen,
Channels of Desire
, 181.

²⁶
Jane Addams:
Joselit,
A Perfect Fit
, 39.

²⁷
“Let them copy”:
Joseph Barry, “ ‘I Am on the Side of Women,’ Said My Friend Chanel,”
Smithsonian
(1971) 2, no. 2: 30.

²⁸
“Thanks to me”:
Marcel Hadrich,
Coco Chanel: Her Life, Her Secrets
(Boston: Little, Brown, 1971), 119.