Extravagant fashion à la 1920s!
What it costs to be a well-dressed…
Flapper like Clara Bow (unknown magazine, 1926)
Total cost: $346.50
Clubman like Ramón Novarro (Motion Picture Classic, October 1926)
Total cost: $430
Sheik like Rudolph Valentino (Motion Picture Classic, September 1926)
Total cost: $11,260
Has the Flapper Changed?
F. Scott Fitzgerald discusses the cinema descendants of the type he has made so well known
By Margaret Reid
From Motion Picture Magazine, no. 6, July 1927
F. Scott Fitzgerald – responsible for the word flapper itself. He defines flappers as girls with an extraordinary talent for living
The term “flapper” has become a generalization, meaning almost any femme between fifteen and twenty-five. Some five years ago it was a thing of distinction – indicating a neat bit of femininity, collegiate age, who rolled her stockings, chain-smoked, had a heavy “line,” mixed and drank a mean highball and radiated “It.”
The manner in which the title has come into such general usage is a little involved, but quite simple. A young man wrote a book. His heroine was one of the n. bits of f. referred to above. “Flapper” was her official classification. The young man’s book took the country by, as they say, storm. Girls – all the girls – read it. They read about the flapper’s department, methods and career. And with a nice simultaneousness they became, as nearly as their varied capabilities permitted, flappers. Thus the frequency of the term today. I hope you get my point.
Scotty considers Constance Talmadge the epitome of young sophistication… Fifth Avenue, diamonds, Catalya orchids and Europe every year… a flapper de luxe
The young man responsible for it all, after making clear – in his book – the folly of flappers’ ways, married the young person who had been the prototype for the character and started in to enjoy the royalties. The young man was F. Scott Fitzgerald, the book was This Side of Paradise, and the flapper’s name was Zelda. So about six years later they came to Hollywood and Mr. Fitzgerald wrote a screen story for Constance Talmadge. Only people dont call him Mr. They call him “Scotty.”
But we dont seem to be getting anywhere. The purpose of this discursion was to hear Mr. F. Scott (or Scotch) Fitzgerald’s opinion of the cinema descendants of his original brain-daughter, the Flapper.
It was with an admirable attempt to realize the seriousness of my mission that I went to his bungalow at the Ambassador. Consider, tho! By all literary standards he should have been a middle-aged gentleman with too much waist-line, too little hair and steel-rimmed spectacles. And I knew, from pictures in Vanity Fair and that instead he was probably the best-looking thing ever turned out of Princeton. Or even (in crescendo) Harvard – or Yale. Only it was Princeton. Add “It,” and the charming, vibrant, brilliant mind his work projects. My interest was perhaps a bit more than professional.
Clara Bow is the quintessence of what the term “flapper” signifies… pretty, impudent, worldly wise, briefly clad and “hard berled”
TO BE CONTINUED…
Tags: 1920s, alice white, clara bow, colleen moore, constance talmadge, f. scott fitzgerald, flappers, joan crawford, silent film, vilma banky, zelda fitzgerald
Welcome to 21st Century Flapper!
My name is Riikka and I hail from Helsinki, Finland. I'm a film researcher and a freelance journalist, a sartorial devotee of vintage fashion and endlessly fascinated by early 20th century visual culture. I write about film, fashion, design, architecture - and all things old and pretty.
Olen helsinkiläinen elokuvatutkija ja toimittaja, jonka intohimo on 1900-luvun alkupuolen visuaalinen kulttuuri. Blogi sivuaa kiinnostuksenkohteitani 1920- ja 1930-luvun elokuvista aina ajan muotiin ja designiin asti.
Don’t hesitate to say hi or contact in case of any questions at
riikka @ 21stcenturyflapper.com