It was founded by Hugh Hefner in 1953, and it's first issue included the 1949 photo of Marilyn Monroe by Tom Kelley. The magazine Playboy was a quintessential part of pin-up culture. Most famous war-time pin-up models were women like Marilyn Monroe, Rita Hayworth, Betty Grable, Cleo Moore, Jayne Mansfield, etc.īettie Page (left) and Bunny Yeager (right) She signed an exclusive calendar contract with Brown and Bigelow the same year that the U.S. She was a painter who often used herself as a model, equipping cameras and mirrors. Zoë Mozert was also a huge part of the early pin-up community. Pin-up wasn't just photography, as many artists also painted pin-up models, like Earl Moran. The majority of pin-up modeling in the 1940s were the innocent/playful type (this is often called Gamine). Models we're seen as more sexual and kinky, often dressing up in military-inspired costumes.įrom here, pin-up modeling went down two routes innocent, playful, and suggestive and naughty and BDSM like. When the United States entered World War Two in late 1941, pin-ups became popular to boost drafted troop morale. Although they were more sexual, they were more admired for their natural beauty than their sex appeal.ġ9-year-old Marilyn Monroe's modeling for painter Earl Moran They were much more provocative, often appearing completely nude. Similar to Gibson, his drawings were called Vargas Girls. Many famous cheesecake models were white, but bombshells like Dorothy Dandridge and Josephine Baker remastered their corners of the pin-up industry in the 1920s and 30s.Īnother artist that greatly contributed to pin-up’s devolvement was Alberto Vargas in the last 1930s. This was controversial at the time and the public branded the behavior “slutty," a word which has no real meaning in and of itself but was historically disparaging.Īn often overlooked part of pin-up history is the Black history facet. They were seen as the epitome of the modern woman not afraid to go into the workforce, owning their sexuality, and displaying themselves confidently. They wouldn't cover up in layers of shapeless gowns, preferring to wear close-fitting thin layered dresses to accentuate their curves.
#Modern day pinupgirls skin#
Unlike burlesque performers, Gibson Girls wouldn't show skin or perform for crowds. It’s characterized by Edwardian corsets and Bouffant hair on women who were always keeping up with fashion trends. Gibson Girls was a style based on Charles Dana Gibson’s art. The Gibson Girl style of the late 1800s is also apart of the pin-up past but in a different aspect. 9.1 Gibson Girl: The Origins of the Pin-UpĪdverts for burlesque shows in the 1800s were the beginning of pin-ups, even though the term wasn't developed until the 1940s.
2 Playboy era and Bettie Page's revolution.Chinese historians Tani Barlow and Madeleine Yue Dong theorized that this Asian version was an extension of a global phenomenon launched by multinational corporations and disseminated by mass media, whose effect was to emphasize Western imperial dominance. More conservatively dressed in silk cheongsams and smooth chignons, these models nonetheless radiated sensuality. Chinese pin up girls also began to appear in magazines and posters. The ‘Modern Girl’ image first appeared in the West and was notable for its bold sexuality, with scantily clad women selling everything from clothing, soap and cigarettes to army recruitment. By re-imagining iconic Chinese advertisements to critique the beauty, health and wellness industries, Modern Girl investigates how traditional gender roles, and consumer culture, have constructed and used women’s bodies to market and sell products. Inspired by advertising posters of 1930’s Shanghai, China, Dina Goldstein’s Modern Girl examines identity, gender roles, diasporic cultures, and global consumerism. MODERN GIRL (2016) Dina Goldstein’s Modern Girl extrapolates upon Dina’s past themes of identity within Western culture.
0 kommentar(er)
