Lähde - Lisää kuvia
Tarkoitus oli tutkia jotain muuta, mutta tulikin mieleen, että en ole tarkastellut vanhaa aikuisviihdettä ja varsinkin 20-luku on mielenkiintoinen, koska silloin oli naisilla muodissa poikamaisempi ulkonäkö lyhyet hiukset ja tämän päivän monille nuorille malleille tyypillisempi laiha vartalo.
En ole näihin asioihin tarkemmin perehtynyt vaan tämän voi usein laittaa kuvista merkille, että millaiset hiukset tai jotain muuta naisilla oli 20-luvulla. Wikipediassa oikein vahvistetaan tämä havainto monien naisten ulkonäöstä. Alla olevassa lainauksessa on mielenkiintoista tietoa kuinka naisille oikeuksia ajaneilla ja muotialalla olisi ollut vaikutusta tähän ulkonäköön.
Kun katselee yllä olevista linkeistä kuvia 20-luvun naisista, niin eivät heistä monet ole rumia vaan oikein kauniita vaikka tuolloin on ollut muodissa naisilla korostaa vähemmän feminiinistä ulkonäköä lantion, hiusten ja rintojen osalta, mutta siitä huolimatta naiset ovat hyvin tyylikkään näköisiä.
Undergarments began to transform after World War I to conform to the ideals of a flatter chest and more boyish figure. The women's rights movement had a strong effect on women's fashions. Most importantly, the confining corset was discarded, replaced by a chemise or camisole and bloomers, later shortened to panties or knickers. During the mid-1920s, all-in-one lingerie became popular.
For the first time in centuries, women's legs were seen with hemlines rising to the knee and dresses becoming more fitted. A more masculine look became popular, including flattened breasts and hips, short hairstyles such as the bob cut, Eton crop and the Marcel wave. The fashion was bohemian and forthcoming for its age.Lähde - Coco Chanel
One of the first women to wear trousers, cut her hair and reject the corset was Coco Chanel. Probably the most influential woman in fashion of the 20th century, Coco Chanel did much to further the emancipation and freedom of women's fashion.
Tänä päivänä monet tutkijat tuovat esille kuinka muotiala ja naistenlehdet vaikuttavat naisiin, jonka takia naiset varsinkin haluavat olla hyvin laihoja, Eipä tästä huolimatta huomattava osa länsimaiden naisista laihoja ole vaan ylipainoa tahtoo kasvavassa määrin esiintyä, josta miehet eivät enää yleisemmin tykkää.
Vaikka voidaan miestenlehtien perusteella päätellä naistenlehtien antavan osaltaan naisille vääränlaista käsitystä millaisesta ulkonäöstä miehet yleisemmin tykkäävät, joka on muistaakseni käynyt ilmi muutamissa tutkimuksissa kuinka miehet ovat keskimäärin tykänneet enemmän muodoista naisilla, kun taas naiset ovat nähneet laihemman vartalon kauniina
Seuraavaksi olisikin tarkoitus tarkastella 20-luvun kuvia alastomista naisista ja katsoa millä tavalla nämä naiset poikkeavat ulkonäöltään, että ovatko poikamaisia vartaloltaan vai naisellisia, että rinnoissa on sopivasti kokoa ja lantiossa leveyttä.
Lisätietoa - The Shining Ballscene
Eipä nämä naiset poikamaisilta näytä vaan vartalossa on myös muotoja. Mitä olen tässä jo enemmänkin katsellut kuvia naisista voi joukossa nähdä paljonkin naisia, joiden vartalo ja ulkonäkö varmasti miellyttää tämän päivän miehiä vaikka mustavalkokuvat voivat vaikuttaa omituisilta tai jotain sellaista.
Noihin yllä oleviin Ziegfeld tyttöihin liittyen tuli vastaan kuva alla olevasta Mary Nolan:sta, jonka kerrotaan olleen suosittu toimittajien keskuudessa. Tätä pitäisi enemmän tutkia, että minkä näköisiä ovat olleet eri vuosikymmeninä kauniina pidetyt tai suositut naiset, mutta kyllä tämäkin nainen on kaunis myös tänä päivänä, jos vertaa häntä tämän päivän naisiin.
Mary was a performer in The Ziegfeld Follies in the early 1920s, under the name Imogne “Bubbles” Wilson. Her impact as a dancer was so profound that columnist Mark Hellinger once said of her in 1922: "Only two people in America would bring every reporter in New York to the docks to see them off. One is the President. The other is Imogene "Bubbles" Wilson."Lähde - Ziegfeld Showgirls Revisited
Jos nuo aiemmin laitetut alastomat naiset näyttivät laihoilta, joista kylläkin voidaan päätellä varsinkin monen länsimaalaisen miehen tänä päivänä tykkäävän, koska esim. tuolla MyFreeCams sivustolla on monia aika laihan vartalon omaavia suosittuja naisia, mutta alla voidaan kuitenkin nähdä enemmän naisellista kurvikkuutta. Kuvan on ottanut amerikkalainen Albert Arthur Allen, joka kuvasi varsinkin 20-luvulla naisia alastomana.
Lähde - The Female Figure
Näissä Allen:in kuvissa voi nähdä monenlaisen vartalon omaavia naisia ja vaikka yllä olevalla voidaan nähdä enemmän tänä päivänä miesten tykkäämät pitkät hiukset, niin yleisemmin näissä kuvissa naisilla näyttäisi olevan lyhyemmät, kuten tuohon aikaan oli myös muodissa.
Lähde - Nude does not equal porn
Alta löytyy mielenkiintoinen video 20-luvun meikkaamisesta ja videossa voi myös nähdä tämän nätin naisen meikkaavan itseään.
Lähde - Gallery: Beauty Queens of the 1920s
Australialaiselta taitelijalta Norman Lindsay:ltä löytyy paljonkin hienoja teoksia, joista ei ole osa naisista ja taiteilijoista aikanaan tykännyt. Lindsay:n taiteessa voi havaita naisilla olevan kurvikkuutta, joka poikkeaa tuon ajan muodista.
Certain Sydney women have expressed their abhorrence of the nude in Art, and Norman Lindsay's work in particular (The Melbourne Herald), and have embodied their opinions in a resolution of protest against these pictures going to London as ''representative of Australian Art."
Artists themselves smile at such a point of view, though here and there is found a man to whom Art has a morality which is outraged by the very nude in pictures or sculpture. Said one artist: — "Who would dare to criticise Norman Lindsay as an artist?
There is no one in Australia competent to do so. Lindsay has probably the most fertile imagination of any artist in Australia today; one might even say, in the world. It would be taking a big responsibility to put chains on this genius and forbid him to move about within the orbit of his art. Compared with Felicien Rops, and other well-known and accepted artists, Lindsay is pure. The bulk of his work is unsuggestive; the technique of all is beyond cavil.
We should only be making fools of ourselves if we suggested that because he paints and draws nakedness he is to be shut out from reputable exhibitions. To take this line would be to exclude many a masterpiece. Never forget that what is morality today is discarded tomorrow. The history of civilization is full of these 'volte-faces.' What I say is, 'Be proud of Lindsay for his perfections, and don't worry yourselves about his subjects.' "
Mr. Septimus H. Power, the well known painter, was very laconic in his opinion. "It's 100 to 1," he said, "that the Academy will take him, but if the subjects are too indecent, London, he will find, is the last place in the world to which to send them." But since Rops exhibits his pictures to thousands in a London Gallery, Norman Lindsay is quite safe from scandalizing the poor English capital.Lähde - Lähde
The."Daily Express", states that Sir William Orpen, the well-known artist, when interviewed, said:-"The Australian art exhibition is good, and shows great promise for a young nation, but please ignore its black spot, Norman Lindsay. His work has no sign of art, no technique, nothing. Ignore it."Lähde - Lähde
Alla olevasta blogista ja wiki:stä löytyy lisää kuvia, mutta näistä kuvista ei aina ole varma, onko ne otettu 20-luvulla. Varmaan kuvista pystyy tunnistamaan, mutta voihan alla oleva olla vaikka 10-luvulta. Toisessa linkissä kerrotaan muutenkin näistä ranskalaisista postikorteista. Onhan tämä alla oleva nainen kaunis ja vartalossa on myöskin mukavasti muotoa varsinkin rintojen osalta.
Lähde - French postcard
Vielä noihin Ziegfeld tyttöihin liittyen, niin noiden alastonkuvien kuvaaja oli nimeltään Alfred Cheney Johnston, jolta löytyy alta kuva Hazel Forbes nimisestä naisesta, joka on myös voittanut missikilpailuja.
Lähde - Lisätietoa
Historical Ziegfeld Group sivustolta löytyy valtavasti kaikenlaisia vanhoja kuvia. Alta löytyy nähtävästi monia 20-luvun näyttelijöitä kuvanneen Edwin Bower Hesser:in ottama alastonkuva näyttelijä Jean Harlow:sta, joka on Wikipediasta löytyvän tiedon mukaan valittu kaikkien aikojen 22. merkittävimmäksi naisnäyttelijäksi.
Lähde - Lisää kuvia
Eiköhän tässä ollut riittävästi kaikenlaista, että voidaan näiden 20-luvun alastonkuvien perusteella sanoa naisten olleen yleisesti kurvikkaampia kuin, mitä sen ajan muodissa naisten haluttiin olla ja tämä pätee tähänkin päivään, että monet mallialalla työskentelevät naiset eivät ole seksikkään näköisiä, koska heiltä puuttuu vartalosta muotoja. Tietenkin on miehiä, jotka tykkäävät lapsenomaisesta vartalosta naisella, jota varsinkin ilmenee paljonkin aasialaisilla naisilla. Alla lopuksi dokumentti Jean Harlow:sta, jota juontaa nätti Sharon Stone.
Lisätietoa - Most Beautiful Classic Actresses of All Time
Eipä tässä kaikki, kuten mainoksissa sanotaan vaan tuli mieleen tarkistaa Google Scholar:sta, että löytyisikö aiheeseen liittyviä tutkimuksia ja löytyi paljon mielenkiintoista, joista alla muutamia poimintoja.
Alla olevassa huomattavan suuresta 25.36Mb kokoisesta pdf-tiedostosta löytyvässä tutkimuksessa kerrotaan eri vuosikymmenten kauneusihanteista Amerikassa.
Moving into the 1920s, the feminine ideal changed only slightly from that of the previous decade. The move away from curves continued as well as the emphasis on appearing young. According to Derenne and Beresin (2006) in "Body Image, Media, and Eating Disorders," it was popular at the time to appear thin, angular, and, child-like (258). The attention moved away from the body, the torso in particular, and focused much more on the legs and the face (Thesander 1997:118). In her book, Thesander quotes Andre Duzaine Hansen, who stated "'flat-chested, narrow-hipped and no waist, that's what the ideal woman of the 1920s looked like - not attractive ... '" (117). Although this was a matter of opinion, the decade was full of new beauty trends that were never before acceptable for women to take part in. This decade was in fact quite radical in regards to the way women were allowed to act and dress.
The majority of these trends are seen in the stereotypical flapper. Flappers were the hallmark female image of this period, with short skirts and short hair (Mulvey 1998:64). This look showed more skin than ever before, and the use of makeup became much more widespread (Mulvey 74-75). In fact, according to Jones, "by the end of the 1920s, three thousand different face powders and several hundred rouges alone were being sold on the An1erican market" (2010: 1 02).
During this decade, women had a newfound control to do what they chose to do with their own bodies. The ideal body was, as stated before, thin and tall. Upkeep of this type however required many hours of exercise, as well as strict diets. Many women even starved themselves to maintain what was perceived at the time as beautiful (Mulvey 1998:76). In the United States, the pressure to appear thinner was increasing significantly, especially in regards to women (Jones 2010:99).Lähde
Alla kerrotaan kuinka Kiinassa oltaisiin 20-luvulla tykätty länsimaalaisista alastonkuvista.
After Western nudes were introduced to China during the Late Qing, they were often condemned as immoral and obscene. Their public circulation was thus strictly limited before the mid-1910s. Yet, as of the mid-1920s, the perception of Western nudes had changed: now they were considered beautiful and made into icons as the symbols of ‘Western civilization’. As a consequence, the art form flourished and formed substantial flows in Chinese print, later becoming indispensable in Chinese pictorials such as Pei-yang Pictorial News (Beiyang huabao 北洋畫報).Lähde
Alla olevassa kirjoituksessa käydään läpi alastomuutta eri kulttuureissa ja historiassa.
Many of us may be unaware that nudity is a normal condition that has prevailed throughout most of mankind's existence. Anything from complete nakedness to casual body covering was a lifestyle component from prehistoric times through the Greco-Roman civilizations and into part of the Middle Ages.
Even today, in various remote areas of the warmer climes, naked societies persist as primitive tribes whose members do not wear clothes. These societies point up, among other things, how drastically our attitudes toward nudity and social organization have changed throughout human history. Unfortunately, modern civilization's puritanical laws of decency have labeled unclothed tropical-zone cultures as offensive and inferior. Missionaries, settlers, and tradespeople have effectively forced compliance with western dress codes wherever primitive cultures are found. Due to such diligence, we are now able to travel worldwide to exotic islands, join African safaris, and explore South American jungles without having to confront the "embarrassment" of viewing tribal nakedness.
[...]
The women's suffragette movement had begun to challenge the status quo prior to World War One, but it wasn't until after the war that the tight reign of repressive morality began to shake loose. When their men were sent off to war, women took charge of managing their familie. and worked at jobs never before available to them. By the 1920s women had emancipated themselves from restricting dresses and were showing off their bodies in abbreviated blouses and short skirts. Women even discarded the crown of femininity by "bobbing" their hair. Furtive curiosity about nakedness was replaced by the openness of nudity in entertainment. Burlesque striptease, Ziegfeld's Follies, Earl Carroll's Vanities, and George White's Scandals were spectacular and sensual displays of the joy and beauty of the female body. On the bolder Parisian stage, musical productions included full nudity.Lähde
Lähde
Oliko se antropologi Earnest Hooton, joka muistaakseni 40-luvulla joutui jonkun amerikkalaisen lehden mielipidepalstalla kommentoimaan muutamien muiden tunnettujen antropologien ja tutkijoiden kritiikkiä siitä, että käytti kirjassaan mustista alastomia kuvia, kun taas eurooppalaiset olivat vaatteet päällä. Ainakin natseille elokuvia tehnyt Leni Riefenstahl kuvasi vielä 60-luvulla Sudanissa eläviä alastomia nuba heimoon kuuluvia ja eläähän tuolla Namibiassa himbat, joiden naiset ovat yleensä rinnat paljaana.
Concluding remarks: the African beauty myth
In many cases, it simply depends on who is looking and who is doing the interpretation. Anim (1997) has pointed to the cultural aspects he believes are neglected when refereeing to the beauty of African women. Ansariyah-Grace (1995) refers again to the stereotypes of what the beauty is from her own experience, while Khan (1996) describes examples of African women actually disfiguring themselves (lightening the color of their skin) in order to be regarded as “beautiful.” While all these studies point to the colonial legacy and stereotypes (“white” as beautiful, “black” as ugly), an important aspect that they lack is understanding of how it is that women themselves construct certain images and how then feel bounded by them. In a study conducted during 2000 in England, it turned out that the great majority of interviewed women (70 per cent) were unhappy with how they look. On the other hand, in the same study, it turned out that their primary concern was how did they look to other women – not to men! This is an important aspect of self-representation that has so far been completely neglected in studies referring to African women.
But there is much more in the images of beauty and the subsequent instrumentalization of them. Barnard (2000) shows how the Miss South Africa pageants since 1991 were in the function of nation-building, noting that all the beauties since 1993, while ethnically quite diverse (as one would expect from the country like South Africa) actually conformed to the global (standardized) images of beauty (Barnard 2000: 357). What became most important was what are the ideals of beauty dictated from “the world,” from outside. As these ideals change (although quite frequently conforming to the images of the supermodels gracing catwalks during glamorous fashion shows), so do the ideals of beauty. In the 18th century, Edmund Burke remarked in his A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful that
“The sable Africans view with pity and contempt the marked deformity of the Europeans, whose mouths are compressed, their noses pinched, their cheeks shrunk, their hair rendered lank and flimsy, their bodies lengthened and emaciated, and their skin unnaturally bleached by shade and seclusion, and the baneful influence of a cold humid climate… Who shall decide which party is right, or which is wrong; whether the black or white model be, according to the laws of nature, the most perfect specimen of a woman?” (quoted in Barnard 2000: 344)Lähde
Tässä tutkimuksessa tarkastellaan noita Ziegfeld:in tyttöjä kuinka Ziegfeld:lle oli naisissa tärkeämpää kauneus kuin muut kyvyt.
Ziegfeld gave interviews regularly on how he selected beautiful girls and what specifically he looked for when auditioning potential stars. The examples that follow show the high value that Ziegfeld placed on beauty and are vital to the argument that he was using beauty standards to define an ideal woman. Through these interviews Ziegfeld marketed himself as an expert on the ideal image of female beauty and was selling his image and the female image to consumers. Of the girls he chose to glorify he said:
They must attract men. You cannot define the quality. In one word, I would say it was promise; a promise of romance and excitement – all the things a man dreams about when he thinks the word ‘girl.’ A pretty girl is like a melody that haunts you night and day; that’s it, the haunting quality. Some plain women have it, only when they have it they’re not plain anymore. (Farnsworth 81)
The first sentence in Ziegfeld’s quote says a lot about how he felt about chorus girls. “They must attract men.” He never mentions ability as a dancer, singer, actress or even stage presence and movement ability.
It can be gathered that Ziegfeld was setting a physical standard for beauty and also declaring behavior standards for women as well. One can deduce that not only does a woman have to be born beautiful by Ziegfeld’s standard but she has to behave in a certain manner as well. According to Naomi Wolf beauty not only prescribes appearance but behavior, keeping women vulnerable to outside approval (14). A woman is not free to be herself and still be considered an ideal beauty. Ziegfeld later gave specific measurements for beauty:
Beauty’s Yardstick: The eyes should be the length of one eye apart. The nose should divide the face into two equal parts. A line drawn through the middle of the eyes and one drawn through the bottom of the nose should divide the face into thirds. The mouth should be one half as long as the eye. The face should be four times as wide as the eye is long. (“The Role” ReadEx 1).
There were many interviews throughout the years including the precise measurements (bust 36”, waist 26” and hips 38”) for a beautiful girl (Mizejewski 112). One thing Ziegfeld never mentioned in any of these interviews was skill. These women were singers, dancers and/or actresses and yet stage presence or ability was never brought up in any interview with Ziegfeld and did not appear to the general public to be part of his audition process in casting Follies. To Ziegfeld beauty was the only thing that mattered and the reason the public kept coming back to see the show because of his positive experiences promoting Sandow and Held. Ziegfeld had great success using beauty and sensationalism as marketing techniques, the consumers bought his product. Ziegfeld’s public relations office regularly announced the high costs and authenticity of jewels, fabrics and furs onstage. If one wanted to see the most expensive sets and costumes to date on a Broadway stage they bought a ticket for Follies.Lähde
Ei liity varsinaisesti aiheeseen, mutta alla on mielenkiintoisia näkemyksiä Leonardo Da Vinci:lta, mutta myös suun alueen ulkonäöstä, josta olen itsekin epäkorrektina paljonkin kertonut.
The significance of facial beauty is immense, with psychological, sociological, philosophical, moral and scientific conceptions, often intertwined. Beauty is a multidimensional concept that undoubtedly has a strong influence on human life. In Western literature beauty has been described as everything from a 'social necessity' to a gift from God' (Aristotle). The poet John Milton refers to the 'strange power' of beauty, describing beauty as Nature's brag'. The French philosopher Blaise Pascal commented, 'Cleopatra's nose, had it been shorter, the whole face of the world would have been changed!' From Homer’s Helen of Troy, who the poet Christopher Marlowe described as having the 'face that launched a thousand ships', to Queen Nefertiti, whose name literally means the 'Beautiful One' , to modern-day models and actors, facial beauty has perhaps always been the most valued aspect of human beauty. Facial beauty is an important factor in an individual's self-image and in relation to outsiders' perceptions.
[...]
It is suggested that people tend to stereotype others based on their facial appearance. For example, individuals with significant Class II malocclusions and mandibular retrognathia/retrogenia may be seen as weak and possibly idle, whereas individuals with significant Class III malocclusions and mandibular prognathism may be seen as aggressive personality types. Children in the school environment can be unsympathetic and hostile to those with visible differences, with teasing and bullying being everyday occurrences. The frequency of teasing directed at those with visible dentofacial differences is significant.
[...]
It is from Leonardo's notebooks and associated sketches that his theories and ideas regarding human proportions, and his quest for the ideal facial proportions may be gleaned. Leonardo defined proportion as the ratio between the respective parts and the whole. Leonardo advised that beautiful faces and figures should be chosen and measured in order to find the ideal proportions - but he stresses:
'make an effort to collect the good features from many beautiful faces, but let their beauty be confirmed rather by public renown than by your own judgement'. This advice forms the foundation of modern research into perceptions of facial attractiveness.Lähde
Pitkän lukemisen jälkeen on taas mukava katsella kuvia tai videoita 20-luvun naisista.
Broadway-tuottaja ja teatterinjohtaja Florenz Ziegfeld:lle esikuvana omille esityksilleen oli ranskalainen varieteeteatteri Folies Bergère, johon liittyen löysin paljon mielenkiintoisia kuvia. Näissä monissa kuvissa voi havaita naisten omaavan pienet rinnat tai samankaltaiset rinnat. Tietääkseni edelleenkin monissa kabareissa on samalla tavalla, että naiset ovat vartaloltaan alla olevia ja käytännössä naisten tulee olla lähes kopioita toisistaan, joten hyvin monella naisella ei ole mahdollisuutta päästä esiintyjäksi ellei sitten johonkin yksittäiseen esitykseen oteta kurvikkaampaa naista.
Lähde
