1950s Women's Magazines

Women of the 1950’s through the 1960’s are ridden with male oppression and self-esteem issues. The book Revolutionary Road by Richard Yates and an episode of Mad Men titled The Shoot have a lot in common. The differences and similarities between the leading women in both of these stories from the 1950’s show that times are different today. The women of the 1950’s had a dream for the future and their dream has finally become a reality for American women. From Mad Men, Betty Draper’s dream of becoming a model and in Revolutionary Road, April Wheeler’s dream of traveling the world are actual realities for women today. Their dreams show similarities, differences and the “American Dream” that every woman has.

Furthermore, in spite of women gaining independence they started to shock society by their rebellious fashion styles and attitudes. Their rebellious attitudes were shown mainly through fashion choices: hemlines got raised, more jewelry became worn, makeup got heavier and hair became shorter.1 According to the 1920’s Vanity Fair, these magazines allowed people to stay updated on Women’s Suffrage and fashion ideas. In the light of, 1920’s Vanity Fair, many of the images shown were of women’s fashion which consisted of ‘Flappers’ who were the progressive, sexually liberated woman of the 1920’s.45

The most prevalent and popular stereotype of the post World war II era in America is one filled with women abandoning their wartimes jobs and retreating into the home to fulfill their womanly duties. In Joanne Meyerowitz’s Beyond the Feminine Mystique: A reassessment of Postwar Mass Culture, she shows how far women departed from this one dimensional image. While Betty Friedan’s The Feminine Mystique is reflexive and focused on the mainstream, Meyerowitz’s analysis is a broader and more inclusive exploration of media, as she draws upon multiple sources. Although Friedan effectively unveiled the thought process and reasoning behind society's belief that the message of media was to make women think that their place was to be the happy housewife, Meyerowitz expanded her media archives and found a differing message in analyzing both female responses to media and exploring their stories.

Kenon Breazeale’s argument in his text begins by touching on how Esquire would place certain articles in their magazine in hopes of attracting the male consumer. In order to do this, Breazeale claims that the magazine did so by the “simultaneous exploitation and denial of the feminine” (Breazeale 72). In that way, the magazine

The chapter, From Rosie to Lucy, by James West Davidson and Mark Hamilton Lytle, is about how the feminine mystique changed drastically from the era of WWII to the era of the baby boom. The shift was attributed to men’s influence on the women through fashion trends, magazines, and TV shows. The main purpose of the chapter is to show that the propaganda through TV and society affected individuals, and more specifically the feminine mystique.

In the 1960’s, women had been placed in stereotypical roles for years. But women were tired of these roles and were done with being complacent. They felt like something was missing in their lives, and they desired something more. The typical American

the house becoming the homemaker once the war was over. The 1950s has also been

The idea of television began since the 1820s but it was until 1927 when the 21- year old Philo T. Farnsworth produce the first electronic television picture. Experimental broadcast began, featuring music, wrestling, and dance; however, it was until the 1950s that TV really became the new form of mass entertainment. Nevertheless, in all the shows that were produced women was denigrated and producers focused mainly on their physical appearance and not their intellect capacity. Ward and Harrison stated, “TV has depicted females by focusing on their physical characteristics, sexual appeal, and romantic success, whether they are housewives, mothers, or objects of desire.” Women did not have a choice, they were placed on TV shows with a certain stereotype needed to be fulfilled by them, and because they wanted to work they did not deny the job, therefore, they encouraged the stereotype.

3) What role did mass media play during the 1950s and 1960s in regard to supporting or undermining the “feminine mystique”?

Frederick Lewis Allen, in his famous chronicle of the 1920s Only Yesterday, contended that women’s “growing independence” had accelerated a “revolution in manners and morals” in American society (95). The 1920s did bring significant changes to the lives of American women. World War I, industrialization, suffrage, urbanization, and birth control increased women’s economic, political, and sexual freedom. However, with these advances came pressure to conform to powerful but contradictory archetypes. Women were expected to be both flapper and wife, sex object and mother. Furthermore, Hollywood and the emerging “science” of advertising increasingly tied conceptions of femininity to

The sixties were a time of social and political change in America, and the art world was not left untouched. Early in the decade a new movement focused on popular culture and national icons began to develop. It was aptly named Pop art. "Many critics were alarmed by Pop, uncertain whether it was embracing or parodying popular culture and fearful that it threatened the survival of both modernist art and high culture..." (Stokstad 1101) Pop artists were not the first to make cultural statements with their work, however controversial art always draws criticism and attention. One of the most well known artists of the Pop movement was Andy Warhol, a young commerial illustrator from manhattan. Warhol's use of popular icons and brands as the focus

The 1940s saw illustrators change the way in which they depicted men and women within their illustrations. Women were painted to look fair, pretty and porcelain (like a typical housewife); and men were painted to look rough, hairy, and dark skinned. There was also the debut of film noir, a style of cinema that used stronger lighting and darker shadows. It inspired illustrators (Edwin Georgi) to create pieces that gave off a sense of mystery, intrigue, deceit and murder (www.illustrationhistory.org). Other art styles that were introduced in the decade included Abstract Expressionism and Color Field Painting (www.theartstory.org).

He continued his education at the Carnegie Institute in Pennsylvania graduating with a BA in Fine Art. Warhol moved to New York in 1948-49 where he started work as a graphic designer, creating adverts for fashion magazines such as Glamour, Vogue and Harper’s Bazaar. Andy Warhol shot to fame and soon became highly respected as a commercial artist. ”Tina Fredrick, then art director of Glamour” says “She was thrilled by Andy’s drawings but could not find a commercial use for them. She told him his drawings were good, but Glamour could only use drawings of shoes at the moment. The next day Warhol came back with 50 drawings of shoes” footwear being an important part of his advertising career until the mid 1960s.

The three main categories were women’s magazines, men’s magazines, and magazines that appealed to the general interest. Döring and Pöschl (2006) found that 54.8% of pictures of women in the general interest magazines were depicted. Generally, magazines either advertised certain products using people, or have a page for certain celebrities. It was rare to read a magazine that does not have a picture of a woman in it. Pictures of women can be interpreted more thoroughly by not only judging the sexuality of the ladies, but the overall condition the women were

In the 1950s, postwar we saw a huge effort for the reconstruction of families. The roles of each person in the family had a purpose. The roles were specific and to stray from it would not have been good for the family image. Women were the homemakers who waited on their families every need. While this trend was growing another trend opposing it grew as well. We lived in a conservative time but many women did not always fall into the homemaker category. Not all women were married. Not all women had the family so new trends started to pop up. Beauty pageants, Barbie’s and Marilyn Monroe were some of the biggest and or sexiest trends to come about. The sex appeal of women changed during this era but icons made a huge difference. They have molded what we are today and what women have evolved into. Doris Day was what an independent woman was supposed to be like. She gave that image but she was not married and she did have a sex appeal to her that was not common. The other three icons broke that mold but Doris Day created the gateway for these icons.