The deans who presided over LITERARY DIGEST made this article their lead piece, so urgent was the sensation that an onslaught of vengeful modernist women, so fleet of foot and irreverently unhampered by hanging hems and confining corsets, were approaching their New York offices as their first act in disassembling the patriarchy.
from Amazon: Flappers 2 Rappers: American Youth Slang
"If one judges by appearances, I suppose I am a flapper. I am within the age limit, I wear bobbed hair, the badge of flapperhood. I powder my nose. I wear fringed skirts and bright colored sweaters, and scarves and waists with Peter Pan collars and low-heeled 'finale hopper' shoes. I adore to dance... But then there are many degrees of a flapper. There is the semi-flapper, the flapper, the super-flapper. Each of these three main general divisions has its degrees of variation. I might possibly be placed somewhere in the middle of the first class".
When the skirt hems began to rise in the Twenties, it was widely understood that the vision of a woman's leg was a rare treat for both man and boy; a spectacle that had not been enjoyed since the days of Adam (married men excluded). The flappers certainly knew this, and they generally believed that suffering the dizzying enthusiasm of the male of the species was a small price to pay in order to secure some element of liberty. The flappers liked their hem-lengths just where they were and, thank you very much, they were not about to drop them.
Attached are some verses by an anonymous flapper who expressed her reaction regarding all that undeserved male attention her knees were generating.
Speaking about why she loved the Twenties, Diana Vreeland (1903 – 1989) - observant fashion editor and unique fashion phenomenon, once remarked on a chat show that "there's never been a woman with her clothes chopped off at the knee in history". Indeed - Vreeland would find the attached article about flappers to be spot-on.
Unearthed by a team of underpaid urban anthropologists digging all hours in the skankiest and most vile of magazine repositories was this single page of feminine poesy representative of an obscure, forgotten genre of Twentieth Century prosody that celebrated a brash cast of woman that was once known as a 'Flapper'.
Alas, the name of the poet is lost to time.
Originally writing for the FORREST PARK REVIEW, Flapper advocate Myrtle Heilman (1895 - 1973) opined that the Flapper was the one and only topic of the day worth thinking about:
"Analyze her dress. It's the most sensible thing since Eve. She wears rolled socks and why shouldn't she? They are extremely cool and comfortable. Her toddle pumps are fairly low-heeled and she doesn't try to squeeze into a Cinderella. Her skirts are short because it's the fashion. Her bobbed hair is cool, sensible and sanitary. There is a twinkle in her eye and she has a saucy cock-sureness. And why shouldn't she?"
"She does respect her parents and she obeys them, just as well as her grandmother did hers, but she has common sense and she knows when it's time to use her own judgment and exercise her own authority".