FLappers in The 1920's

"Flapper" in the 1920s was a term applied to a "new breed" of young Western women who wore short skirts, bobbed their hair, listened to jazz, and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles and otherwise flouting social and sexual norms.

Flappers had their origins in the period of liberalism, social and political turbulence and increased transatlantic cultural exchange that followed the end of the First World War, as well as the export of American jazz culture to Europe.

The slang word "flapper", used to mean a young woman, is commonly supposed to be a reference to a young bird flapping its wings while learning to fly. It may however derive from an earlier use in northern England to mean "teenage girl" (that is, one whose hair is not yet put up and whose plaited pigtail "flapped" on her back); or from an older word meaning "prostitute". The slang word flap was used for a young prostitute as far back as 1631. By the late 19th century the word "flapper" was emerging in England as popular slang general and less derogatory sense of any lively mid-teenage girl.

The word appeared in print in the United Kingdom as early as 1903, when novelist Desmond Coke used it in his college story of Oxford life, Sandford of Merton: "There's a stunning flapper". By 1908, newspapers as serious as The Times used it, although with careful explanation: "A 'flapper', we may explain, is a young lady who has not yet been promoted to long frocks and the wearing of her hair 'up'". By November 1910, the word was popular enough for the author A.E.James to begin a series of stories in the London Magazine featuring the misadventures of a pretty fifteen-year-old girl and titled 'Her Majesty the Flapper'. By 1911 a newspaper review indicates the mischievous and flirtatious ‘flapper’ was an established stage-type.

Clara Bow in 1921, before she became a star

Some have suggested that the flapper concept as a stage of life particular to young women was imported to England from Germany, where it originated "as a sexual reaction against the over-fed, under-exercised monumental woman, and as a compromise between pederasty and normal sex". In Germany flappers were called "backfisch", which meant a young fish not yet big enough to be sold in the market.The concept of 'backfisch' was known in England by the late 1880s, though it seems to have been understood to mean a more demure social type compared with the English flapper, who was typically rebellious and defiant of convention.

By 1912, the London theatrical impresario John Tiller, defining the word in an interview he gave to the New York Times, described a 'flapper' as belonging to a slightly older age group, a girl who has "just come out". Although the word was still largely understood as referring to high-spirited teenagers gradually in Britain it was being extended to describe any impetuous immature woman. Usage increased during World War I, perhaps due to the visible emergence of young women into the workforce to supply the place of absent men: a Times article on the problem of finding jobs for women made unemployed by the return of the male workforce is headed "The Flapper's Future". By 1918, the word could also be used teasingly of a "pleasure-loving" older woman: a Dr. Whatley, accused of adultery with the wife of Major Sydney George Everitt of Knowle Hall, Knowle, was asked in court why he had begun a verse to her with the words "There once was a flapper named Mary"

By 1920, the term had taken on the full meaning of the flapper generation style and attitudes. In his lecture that year on Britain's surplus of young women caused by the loss of young men in war, Dr. R. Murray-Leslie criticized "the social butterfly type… the frivolous, scantily-clad, jazzing flapper, irresponsible and undisciplined, to whom a dance, a new hat, or a man with a car, were of more importance than the fate of nations.

The first appearance of the word and image in the United States came from the popular 1920 Frances Marion film, The Flapper, starring Olive Thomas. Thomas starred in a similar role in 1917, though it was not until The Flapper that the term was used. In her final movies, she was seen as the flapper image. Other actresses, such as Clara Bow, Louise Brooks, Colleen Moore and Joan Crawford would soon build their careers on the same image, achieving great popularity.

In the United States, popular contempt for Prohibition was a factor in the rise of the flapper. With legal saloons and cabarets closed, back alley speakeasies became prolific and popular. This discrepancy between the law-abiding, religion-based temperance movement and the actual ubiquitous consumption of alcohol led to widespread disdain for authority. Flapper independence may also have origins in the Gibson girls of the 1890s. Although that pre-war look does not resemble the flapper style, their independence may have led to the flapper wise-cracking tenacity 30 years later.

Writers in the United States such as F. Scott Fitzgerald and Anita Loos and illustrators such as Russell Patterson, John Held Jr., Ethel Hays and Faith Burrowspopularized the flapper look and lifestyle through their works, and flappers came to be seen as attractive, reckless, and independent. Among those who criticized the flapper craze was writer-critic Dorothy Parker, who penned "Flappers: A Hate Song" to poke fun at the fad. The secretary of labor denounced the "flippancy of the cigarette smoking, cocktail-drinking flapper." A Harvard psychologist reported that flappers had "the lowest degree of intelligence" and constituted "a hopeless problem for educators."

A related but alternative use of the word "flapper" in the late 1920s was as a media catch word that referred to adult women voters and how they might vote differently than men their age. While the term "flapper" had multiple uses, flappers as a social group were distinct from other 1920s fads.

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