Word: flappering
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...That prissy wrap-up about see-through blouses "dulling the senses" [April 19] seems vaguely familiar. Hasn't that same broken record been grinding away ever since legs first emerged from the hobble skirt? In the time from flapper fringe to miniskirt, legs may indeed have lost their shock value, but a well-turned leg still turns heads. What short skirts have done for the leg man, see-through blouses may yet do for the more high-minded girl watcher...
...dictators of style and brought into power a new group of designers, plugged in to the here-and-now tastes of youth bold, irreverent, geared high, full of jokes and independence. Fashion feeds on change, and what is In one moment is often Out the next. The flapper dresses of the 1920s, for instance, skimmed the top of the knee for only two years (1926-27) before hemlines began falling. Dior's New Look, which sent skirts plummeting in the post-World War II years, began in 1947; three years later, hemlines were on the rise. But there are also...
...stand as changing symbols for the largely unchanging multitude. They are those who ride with the spirit of the times, those who are under the circumstances the most vocal and aggressive and, also, those who are seized upon by the public as "typical." The coon-skin coat and the flapper were as rare on the campuses in the 1920's as the beard and black stockings in the 1960's, and yet each of these visions came to stand as symbols for a whole generation...
...fairy-tale format, this song-and-dance film tells the story of Millie (Julie Andrews), a fresh-faced flapper in mad Manhattan circa 1922. As she sets out for her "adventures," Millie bobs her hair, raises her hemline and buys a string of beads. After peering down at her torso, she flutters her eyelids at the camera, whereupon the screen flashes a title, silent-movie style: "Gee, I wish my fronts weren't so big. They sure ruin the line of your beads." It is the first of many slices of cutesie-pie proffered by Director George Roy Hill...
...Dolly than as an overgrown Jazz Baby. The picture's basic problem, however, lies not with its talent but with its target. Satire is never any stronger than the host it feeds upon; by lampooning an overdone era, the creators of the film have made Millie an aging flapper, hoofing and puffing with jazz and razzmatazz, pretty and polished. But beneath the powder, the mascara and the bee-stung lips, she is wan and rather tired...