By Betty Luther Hillman
Style of costume has constantly been a fashion for americans to indicate their politics, yet possibly by no means so openly as within the Sixties and Seventies. no matter if engaging in presidential campaigns or Vietnam protests, hair and get dressed supplied a strong cultural software for social activists to demonstrate their politics to the area and have become either the reason and an emblem of the rift in American tradition. a few american citizens observed stylistic freedom as a part of their higher political protests, crucial to the beliefs of self-expression, sexual freedom, and equivalent rights for ladies and minorities. Others observed adjustments fashionable because the erosion of culture and a risk to the validated social and gender norms on the middle of family members and nation.
Through the lens of style and magnificence, Dressing for the tradition Wars publications us throughout the competing political and social pursuits of the Nineteen Sixties and Nineteen Seventies. even supposing lengthy hair on males, pants and miniskirts on ladies, and different hippie sorts of self-fashioning may possibly certainly be debatable, Betty Luther Hillman illustrates how self-presentation inspired the tradition and politics of the period and carried connotations equally associated with the wider political demanding situations of the time. Luther Hillman’s new line of inquiry demonstrates how model used to be either a response to and used to be prompted via the political weather and its implications for altering norms of gender, race, and sexuality.
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Additional resources for Dressing for the Culture Wars: Style and the Politics of Self-Presentation in the 1960s and 1970s
They viewed the repression of longer hairstyles for men as a harbinger of more sinister forms of social control. ” asked one letter writer in a student newspaper. “Where is the line drawn? If they dictate to us the type of dress we should wear, how long our hair should be, what comes next? ” While school officials were worried about disorder and decorum, this student worried about restrictions to freedom of choice and personal expression. 5¹ This sentiment implied that ideals of freedom and choice were more central to American beliefs than traditional notions of order and adherence to social standards.
When some social commentators attacked these trends as tearing at the fabric of traditional American culture, the young people fought back, framing the issue as profound and political. They defended Americans’ right to dress and wear their hair as they pleased—rights, they noted, that were part of the concept of freedom of expression at the heart of American ideals. Hair and dress styles thus became battlegrounds, not only for differences of age and class, but also for concepts of American values and liberties.
5 The television performance exposed many Americans to the Beatles for the ﬁrst time, introducing them not only to their music but also to their hairstyles. A Chicago Tribune columnist described their hair the day after the live performance: “Their bowl haircuts ﬂop over their eyes in sheepdog fashion. Their haircuts, or lack of them, are somewhere between the styles of Julius Caesar and Daniel Webster. S. history to describe their hairstyles indicates just how unusual they were for the time. Although their styles, just slightly longer than the standard crew cut of the 1950s, would look tame in just a few years, the hairstyles of the Beatles attracted as much media attention as their music.