THE PREP: A Curatorial Styling Exhibition on the Evolution of the Preppy Style and its Relevance in 2021
by
Sophie Wang
An Undergraduate Honors Thesis Presented to the Department of Fiber Science and Apparel Design College of Human Ecology, Cornell University April 2021
Table of Contents Introduction
2
Terminology
3
Research Questions and Objectives
4
Chapter One: How do we know a prep when we see one?
7
The Origin of American Preparatory Schools
7
The Origin of Preppy Styles
9
The Origin of Ivy League Styles
11
Chapter Two: How has the preppy style been perpetuated and disseminated?
14
Media and the 1980s Prep
14
The Official Preppy Handbook
19
Media and the 2000s Prep
21
Chapter Three: How have other subcultures adopted and adapted preppy styles?
27
The American Traditional, 1960s Japan
27
Jazz Cool, 1950’s America
28
Chapter Four: How can the curatorial experience enhance our understanding of prep?
31
Section One: The Origins
31
Section Two: A 1960s Summer
37
Section Three: A 1980s Bedroom
40
Room Four: A 2000s Study
45
Conclusion
50
Bibliography
53
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what do we need know to dis
o d to o scuss prep?
“Ew, that’s so preppy,” I muttered
school. We resented the competitive nature,
under my breath as my high school
the elitist attitude of the other schools in the
introduced our newest merchandise in 2016:
Independent School League, the lack of
Vineyard Vines x Buckingham Browne and
accountability that athletes faced versus
Nichols School. The collection featured
other students. So why did people want an
Vineyard
ties
item that so clearly showed their belonging
embroidered with the school crest. They
to the school? Why would they want to wear
sold out in a week.
something that looked preppy? Did people
Vines
bags
and
bow
I did not understand the appeal. The
want to appear as part of a community? Did
idea of wearing a crest tie reminded me of a
it make people feel part of something
preparatory uniform, of a country club, of
exclusive? Was it a status symbol? Did they
exclusivity through a status symbol that I
actually like how it looked?
did not want to be a part of. I could not
This thesis explores these questions,
pinpoint the reason why this collection
or, more broadly, where preppy originated,
elicited such negative feelings in me. I was
how it has looked and functioned over time,
both shocked and confused by the success of
and what its role is today. It argues the idea
the capsule collection. It felt outdated and
that the preppy style’s enduring appeal,
out of touch with Generation Z sensibilities.
throughout various decades and cultural
I did not think that the “preppy” aesthetic,
movements, remains tied to exclusivity and
and the identity that corresponds with it, was
the approachable unattainable.
in fashion amongst my peers. Furthermore, the students of my high school bonded and found community through dislike of our
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Terminology
Sociologist Herbert Blumer (1969) set the
What does it mean to be preppy?
stage for this definition when he wrote about
What comes to mind when people hear the
fashion as a form of collective selection.
term? Although there is a shared idea of the
Fashion items not only serve a utilitarian
style, it has a multitude of connotations and
purpose, but a societal one as well. We refer
evokes polarizing reactions. Therefore, it is
to these as dress: the material, object, or
necessary to define “preppy”, as well as
artifact used to style and convey a specific
other related terms, to understand how they
idea, trend, or message. Dress is “an
will be used in this thesis. I have developed
assemblage of modifications of the body
my definitions from the work of fashion
and/or
scholars, articles in academic journals,
(Roach-Higgins and Eicher, 1992). This
primary
definition highlights the combination of
source
materials,
and
Lisa
Birnbach’s 1980 Official Preppy Handbook.
supplements
to
the
body”
outward and inward alterations, as well as
When defining fashion, I look to the
both temporary and permanent alterations.
scholar George Sproles. In his 1979 work,
When similar modes of dress are adopted by
he describes fashion as “a way of behaving
a subgroup and made their own, it becomes
that is temporarily adopted by a discernible
a style. Style is a “durable, recognizable
proportion of members of a social group
pattern of aesthetic choices” (Godart, 2018)
because that chosen behavior is perceived to
and intimates agency. In the way that
be socially appropriate for the time and
fashion encompasses the aspects of a
situation” (Sproles, 1979). It encompasses
specific zeitgeist in a broader society, style
the clothing, beauty, accessories, home
speaks to the aspects of a specific subgroup
decor, and aesthetic ideals of a zeitgeist.
or an individual. It is the way that a
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subculture
or
group
manipulate
fashion
to
of
individuals
represent
their
of the Ivy League, expensive sports such as golf and polo, and particular brand logos
collective identity. A trend is a specific style
(Birnbach,
popular at
a specific point in time,
overlapping definitions of these terms
representing a “cultural behavioral change”
provide a starting point for the discussion of
or a short-term, temporary shift in ideals and
prep. This thesis will explore the origins, the
behavior
or
nuances, and the different interpretations —
demographic (Gomes, 2017). Fashion also
culturally and throughout time — of the
includes habitus, a term developed by
term and its corresponding fashion and
sociologist Pierre Bourdieu (1977) to refer
design aesthetics. One outcome of this thesis
to the embodied way people wear both
is the exhibit, The Prep, which will be on
clothing and culture (in other words, fashion
display mid-May to August 2021 in the Jill
is not just about what you wear, but how you
Stuart Gallery.
of
a
given
subculture
1980).
The
broad
and
wear it; the latter is habitus). Using the definitions above and
Research Questions and Objectives
referencing the Official Preppy Handbook, a
How do we know a preppy when we
satirical book that became a guide for the
see one? Through garment analysis, critical
subculture and those striving to be accepted
media
into the subculture, preppy is a style that
research, I explore what a preppy aesthetic
originated with American upper-middle
looks like and how the term and its signifiers
class preparatory schools in the early 20th
have changed over time. I will examine
century.
preparatory school uniforms and dress codes
The style
conveys education,
wealth, and exclusivity through its reflection
to
studies,
and
understand the
academic
origins and
journal
social
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connotations of the term; analyze media representations of the preppy during two time periods, the 1980s and 2000s, to better understand the emergence and reimagining of the trend and its effect on various subcultures across the world; and will convey my findings through a mounted fashion exhibition. This research sparks the larger question: Can a style rooted in exclusivity and uniformity survive in a world we are trying to push to be more inclusive, diverse, and individualized? If so, why? I address this overarching concern through the following questions that will be answered in separate, distinct chapters that will later come together into a public exhibition: 1. How do we know a prep when we see one? What design elements, styles, identities, and brands correspond with a preppy aesthetic? How are the bodies of those who identify as preppy regulated and made visible in the spaces they frequent? 2. How has the preppy style been perpetuated and disseminated? What role did the media have on prep and who was pushing the trend? Where in film and television has the preppy style appeared? How has the media driven
the idea and image of prep as an exclusive, white upper class subculture — or more broadly, how is racism and white supremacy perpetuated through media about preppies? 3. How have other subcultures adopted and adapted preppy styles? Do preppies exist outside of the white upper class? Is it possible for preppy to be an inclusive subculture or is exclusivity too rooted in its origins? Are subcultures inherently exclusive? How have cultures redefined prep against the inherent classism and racism embedded in its origins? 4. How can the curatorial experience enhance our understanding of prep? In this final chapter, I discuss how the fashion exhibition encourages the public to think critically about the preppy aesthetic. By curating private spaces of preppies throughout time, such as bedrooms and study spaces, I combine the apparent carefree and youthful side to prep with questions and research that challenges that idea with the elitism, classism, and racism embedded in the style. Visitors enter a space of exclusion — they can look but not touch, be a guest but not belong.
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how do we know a pr when
w rep n we see one?
Fashion fosters societal change: it
challenge inequity, exclusion, and the status
both produces and reflects cultural shifts.
quo. But, when I think of the origin of prep,
We have seen it happen for centuries, as
it has always felt static and in opposition to
fashion reacts to political events and drives
progress and change. It is almost as if the
historical
and
preppy, as an aesthetic identity, stalls
individualized fashion expressions adapt and
progress. The aesthetic has come in and out
evolve with the given time. As a student,
of mainstream popularity and changed
this has always been the part of fashion that
silhouettes, but has often been seen as a
intrigues me most. I have studied the fashion
conservative style that brings us back to a
industry’s
the feminist
time we have progressed beyond. I want to
movement of the 1970s, the relationship
study this topic because I want to challenge
between
of
my own ideas and the stereotypes about
individuals identifying as transgender or
preppies that are perpetuated in film and
gender non-conforming and androgynous
media. I want to find a way that preppy can
clothing, how styles shifted after World War
be used to drive change and to rebel against
II, the correlation between the youth
the connotations I have that caused my
movement
marketing
distaste of a bag embroidered with a school
techniques of fashion companies, and the
crest — or, perhaps, discover that it already
trajectory of sustainable fashion in relation
has.
moments. The industry
influence over
the
rise
and
of
the
emerging
number
to the increase in environmentalism. A main
The word prep originated first with
reason that I am passionate about the fashion
British preparatory schools and then with
industry is because of its interconnectedness
New
with progress. To be progressive is to
expanding quickly thereafter to encompass
England
preparatory
schools,
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The
Philadelphia
Ivy League campuses. With strict uniforms
Digby
and dress codes, individuals conformed to a
Gentlemen (Glencoe: Free Press, 1958:313)
certain look to communicate the status of a
and Vance Packard in The Status Seekers
specific
on
(London: Penguin, 1959), were founded
American Preparatory Schools and Ivy
between 1778 and 1906 — with the majority
League Institutions, this chapter will identify
founded between the mid-1800s and early
the precursors and origins to prep, what it
1900s. They emerged at a time of transition
looks like, and who identifies as such.
— from private tutors for the wealthy to
school.
Through
research
Baltzell
in
public schools. With the rise of public Origins of American Preparatory Schools It is necessary to note that the schools
now classified as
education, these private institutions shifted their focus to preparing students for college
preparatory
from every angle — academically and
schools did not begin as such. Prior to the
socially (Levin, 65). They became boarding
surge of public high schools in the late
schools with rigorous control, high standards
1800s, private schools such as Andover and
for academics, and application processes
Exeter operated for white male students with
that required economic and academic means.
a variety of post-graduation plans. With few
With these changes, the ‘preparatory school
other secondary schools available, these
as we know it today was born.
institutions offered pathways to college and
Even at this time, society was
the workforce, a unique alternative to
polarized in their response to such schools,
homeschooling (Levin, 64). Twelve of
and many voiced complaints that only
America’s
heightened
leading
boarding
schools,
identified as the most prestigious by E.
throughout time. In
1902,
Educational Review described the worst
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boarding
schools
as
“ineffectual
the upper class (Levin, 64). An entirely new
reformatories” and the best as “scrupulously
system of existing formed for the elite, by
cultivated hotbeds of snobbishness and
the elite. By establishing children’s schools,
un-American class superiority (McLachlan,
parents’ country club restaurants, and family
3.)” Over 60 years later, a St. Paul’s
vacation resorts, wealthy families curated
graduate and author, E. Digby Baltzell,
entire networks separate from the public.
wrote that boarding schools were simply a means for the upper class to show their
And with this, came a separate code of dress.
wealth and assert their power, exhibiting the “reverence for British traditions of all sorts
Origins of Preppy Styles
(Baltzell, 26).”
The image of a preppy outfit that one
This time period also saw various
thinks of today is still, most likely, the dress
other social and economic shifts that enabled
code
social mobility for white men. More so than
combined traditional British boarding school
ever before, white men of modest means
uniforms
were able to work their way into higher
indicating wealth and status in America.
social
spaces
Garments of importance are outlined by
previously only available to those of an ‘old
Aldrich in his 1979 cover story for the
money’ background. With industrialization,
Atlantic Monthly:
new job opportunities created a new upper
“LL Bean boots, Top-Sider moccasins, tasseled loafers; pure wool socks, black silk socks, no socks; baggy chinos, baggy brick-red or lime or yellow or pink or Pulitzer trousers, baggy Brooks Brothers trousers, baggy boxer underpants; shirts of blue, pink, yellow, or striped Oxford, sometimes buttoned down, some made for a
positions
—
inhabiting
class of ‘new money’ families, often termed nouveau riche. Social and country clubs emerged, bringing together all members of
of
boarding
with
schools
slight
—
which
modifications
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collar pin, usually from Brooks or J. Press or The [name of town or college] Shop; jackets of tweed, corduroy, poplin, seersucker with padless shoulders, a loose fit around the waist, and (if tweed) a muddy pattern; a shapeless muddy-patterned tweed overcoat, its collar lopsidedly rolled up under one ear, a shapeless beige raincoat bleached by years of use and irresistant to rain; no hat, a cross country ski cap, a very old snap-brimmed felt hat, a very old tennis hat (Aldrich).” Further accessories essential to a preppy wardrobe are anchor bracelets, argyle
sweaters, Barbour wax jackets,
colorful belts,
boat shoes, cable knit
sweaters, tennis/cricket sweaters, Madras, Nantucket Reds, navy blazers, polo shirts, rugby shirts, bowties, and vests (Shapira). However, it is the nuanced alterations that give this look the effortlessly polished aura it is known for. Although boarding schools offered an opportunity for ‘old money’ and ‘new money’ to coexist, their distinction remained evident and set a hierarchical dress code for generations that followed. The upper class who came from ‘old money,’ born of generations of wealth with names of social power, prioritized history and family
objects over buying new trends. Their children inherited their belongings, wearing scuffed shoes and worn in jackets as a sign of privilege and prestige. According to Paul Fussell, “new or excessively neat and clean” clothing
“suggests
circumstances
are
that not
your
social
entirely secure
(Fussell, 58).” Wearing old clothes, in contrast, tells the world that you are confident in your place in society and that you have nothing you need to prove. Extending past
their
wardrobes, these
families focused on outdoor activities — harkening back to their family roots during a time of industrialization and a focus on the city. Their lifestyles became reflections of their heritage and the statement that nobody, no matter how much money they made, could enter into their world unless their ancestors were born into it. This is perhaps why the wardrobe of a preppie looks almost identical in 2021 as it did in 1900: those who live with the societal
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power of not only wealth but name (and aim
giving further advantage to those whose
to display this) ignore fashion trends and
families or high schools had access to
new fads for symbols of generational class
knowledge and information on such a
and status.
process — a kind of cultural capital that preparatory schools provided. Legacy status
Origins of Ivy League Styles As
the
schools
acceptance, a pattern that kept the wealthy,
suggested, they prepared students to enter
white families at the forefront of the Ivy
top universities, originally primarily the Ivy
League (Mullen, 16). These charts from
League. The Ivy League, consisting of
Mullen’s 2008 Elite Destinations: Pathways
Harvard (established 1636), Yale (1701),
to Attending an Ivy League University show
University
(1740),
this advantage, outlining college choice by
Princeton (1746), Columbia (1754), Brown
student’s family background and high school
(1764), Dartmouth (1769), and Cornell
type.
of
preparatory
also increased an applicant’s chances of
Pennsylvania
(1865). Even prior to the coined name (established in 1954 as a collegiate athletic conference), these universities were known for admitting sons of wealthy, white families, holding a level of prestige for the elite. This only continued overtime as graduates went on to hold high positions in government and politics. The application process became more rigorous and selective,
Ivy League style is a reflection of
and golf for sports; summers spent sailing
these students and of the exclusive, elite
on Cape Cod or in the Hamptons; winters in
demographic of the student body. Often seen
Palm Beach remained the same.
as a variation of the preppy style, it emerged approximately 50
years after
Key pieces in an Ivy League style
(in the
wardrobe are penny loafers, khaki pants
mid-1950s) on Ivy League campuses. Where
(also called chinos), knit ties, herringbone
preppy shows an emphasis on the casual,
jackets, two button cuff jackets, and school
outdoorsy refined, Ivy style is a more
sweaters.
refined look. It was a way for students to represent themselves and identify others of their social and academic circles, further intensifying the bubble that their families lived in. The differences between preppy and Ivy styles today are slight and in the details. Where preppies prioritize comfort first and style second, the ivy style emphasizes style with comfort second. Preppies opt for boat shoes and navy blazers over the ivy style of penny loafers and suits. One key reason that these styles are often interchangeable is that the lifestyles of those who wear them are identical. Their preference of polo, tennis,
Williams College, 1949, Getty Images
High School Student Passing Note to Classmate Sitting Behind Her, Nina Leen, LIFE Magazine Archives
how has the prep style be perpetu dissem
ppy een uated & minated?
The preppy reached its height of
Off (1986, John Hughes), and Heathers
popularity in the 1980s and again in the
(1989,
2000s, in large part due to the movie,
Lehmann).
television, and music video industries.
Daniel
With
Waters
each
and
movie,
Michael
the
main
Writers, directors, and costume designers
characters’ outfits and
created archetypes of the ‘prep’ in the
charted and group scenes were noted. The
media, influencing street style and trends. I
number of outfit changes counted reflect the
completed critical media studies of 1980s
main characters as well as some background
films and late 1990s to early 2000s music
characters, and are characterized by preppy
videos and television series as a way of
garments and accents to see, out of all
tracking all outfits. In this chapter I provide
outfits, how many pieces worn would be
a comprehensive understanding of prep
considered preppy. By selecting some of the
during its peaks, and offer an understanding
most popular movies of the 1980s, this study
of why it was so successful and who it was
explores how preppy styles were integrated
successful for.
into popular culture during this time.
lifestyles were
The results found that out of 332 Media and the 1980s Prep
outfit changes, the top five preppy pieces
To study the trends in the 1980s, I
shown were Oxford shirts (110 times),
films: Sixteen
blazers (55), Polo shirts (38), pearl jewelry
Candles (1984, John Hughes), The Breakfast
(34), and sweater vests (23). Additionally,
Club, (1985, John Hughes), St. Elmo’s Fire
the colors/patterns seen most frequently
(1985, Joel Schumacher), Pretty in Pink
were light pink (42), stripes (42), and plaid
(1986, John Hughes), Ferris Bueller’s Day
(34).
analyzed
the
following
Number of Times a Style Appeared, Out of 332 Outfit Changes
necklace) with short, blown out hair; all male students wore patterned Oxford shirts. In Heathers, attendees of a college party wore patterned button downs and many class scenes showed girls in tights matching their outfits. In St. Elmo’s Fire, all scenes on Georgetown’s quad had students wearing
Number of Times a Color/Pattern Appeared, Out of 332 Outfit Changes
sweaters under varsity jackets with jeans or khakis. In Pretty in Pink, many group scenes served to show the contrast between the preppies (or the “richies” as main character
During group scenes, a sort of
Andie calls them) and the alternatives (or
uniform existed for the characters. For
less wealthy characters) at the high school.
example, during the school dance scene in
Most notably, a scene of students walking
Sixteen Candles, all male students wore
outside in all pastel blue and white sweater
Oxford shirts or Polo shirts, which were
vests cut to a scene of Iona, the alternative
tucked into jeans or khakis; all female
manager of a record store, wearing all black
students wore knee length or shorter
leather and spiked hair. Similarly, a scene
flowy/layered skirts with matching tops. In
showed the preppy love interest Blane in all
Ferris Bueller’s Day Off, a class scene
white and light blue walking into a group of
showed all female students wearing collared
alternative students — a clear distinction
pastel shirts with an accessory (brooch or
between his look and the almost uniform
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style of black garments and mismatched
This data shows that the ‘non
jewelry. Another pair of scenes showed a
preppy’ characters in fact wore more preppy
preppy house party hosted by Steff, the
pieces/colors than the classically preppy
wealthy best friend of Blane, and a concert
characters. This is likely due to the fact that
bar frequented by Andie and her friends
Andie and Duckie layered in every look,
featuring patterns and spiked hair. At the
wearing a blazer over a waistcoat over an
house party, girls wore sweater vests and
Oxford shirt. Although their pieces were
skirts or cardigans and pants, and boys wore
often patterned and paired with non-preppy
blazers over Oxford shirts. These contrasts
accessories and shoes, this shows how even
provided the most clear distinctions between
the less wealthy and more alternative
preppy versus not preppy in these films and
characters of 1980s films used traditionally
led to conclusions.
preppy styles to achieve their looks. It also
In setting up these contrasts and
supports Herbert Blumer’s (1969) theory of
speaking about the distinction between the
collective selection — that is, despite
two sides of the school, the similarities
differences related to class, gender, age,
between the garments each wore proves
social group, etc., people who share time
fascinating. This table shows the difference
and place will adopt similar styles.
in number of times a style was worn between Andie/Duckie and Blane/Steff:
This leads to a significant question: Did, in the 1980s, preppy styles extend beyond
the
foundation,
exclusive or
did
the
elite
of
their
media
show
characters outside of the traditional preppy demographic in such styles to add an
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element of exclusivity to them? Could the
Preppy Handbook changed her life. At age
“non-preppy” prep exist in reality or was it a
10 years old, when the book came out, she
myth told by directors such as John Hughes?
was “not quite old enough to get all the jokes but impressionable enough to take
The Official Preppy Handbook
very seriously the idea that lacrosse was
First published in 1980, The Official
more respectable than soccer and that
Preppy Handbook by Lisa Birnbach sold 1.3
nothing went better with a pink (ideally
million
an
Lacoste) shirt than a green (definitely L.L.
interview with Ivy Style, Birnbach spoke of
Bean) sweater (Daum, 2010).” The book
her initial intention in writing the cultural
increased sales at L.L. Bean, influenced the
icon: “The intention going in was a loving
founding of J.Crew (Bourne), and spread the
irreverence, and I don’t think it could have
style across America.
copies
(Daum,
2010).
In
worked another way. If it had been too
Prior to the 1980s, the preppy style
straight it would have been obnoxious, and
was mostly worn by the demographic who
if it had been too irreverent it would have
founded it. As fashion trends emerged and
been sophomoric (Ivy Style, 2019).” The
died down, this style stayed relatively the
result was a captivating duality that sparked
same as it had been since the early 1900s. In
both an obsession and repulsion of the
the 1980s, however, it started to expand into
preppy lifestyle in its audience — grabbing
the wardrobes of others. Lilly Pulitzer, in her
society’s attention.
foreword for the book Preppy: Cultivating
One example of this influence can be
Ivy Style by Jeffrey Banks, called the fashion
seen through the author Meghan Daum, who
of this time prep-on-steroids: “Intrinsically
stated matter of factly that The Official
American, preppy has indeed progressed,
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reflecting, in its way, the social and
anglophilia, specific color blindness, the
educational
has
sporting look, and androgyny. For females,
achieved. What started out as an exclusive,
this means wearing men’s clothes, navy
white-Protestant, male, clubby way of
blue, no black, other people’s clothes,
dressing for the Elite Few has morphed into
jewelry but not too much of it, and multiple
an
layers. For males, this means staying well
progress
inclusive,
multi-religious,
our
country
multi-racial, multi-ethnic, meritocratic
groomed and wearing no socks, rarely any
for the Elite New.
jewelry, outdoor clothing indoors, boxer
Aspirational preppy is the American dream,
shorts, and — like females — multiple
and it speaks eloquently for us all over the
layers. These attributes can be seen in the
globe (Pulitzer, 2012).”
films studied, in both the traditionally
way
pan-gender,
of dressing
This shift is often attributed to The
preppy and non-preppy characters.
Official Preppy Handbook, which outlined precisely the dress codes — as well as
Media and the 2000s Prep
nicknames, schools, dress codes, home
Growing up in the 2000s and 2010s,
decor, family structure, pets, finances,
I perhaps had a similar reaction as Meghan
vacations, sports, sex, music, going-out
Daum did, though to a new era and slightly
scene, weddings, country clubs, charities,
altered definition of prep. Between Britney
and cars — of the cohort. According to
Spears music videos, movies such as Mean
Birnbach, the ten “fashion fundamentals” or
Girls (2004, Mark Waters and Tina Fey) and
“principles” for preppy men and women
John
were: conservatism, neatness, attention to
Thomas), and television series such as Pretty
detail, practicality, quality, natural fibers,
Little Liars (2010-2017, Marlene King), I
Tucker
Must Die
(2006, Betty
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was indoctrinated by the media with the
fun of — that the audience both recognized
rules of the prep — and even found myself
as ridiculous/unrealistic and incorporated
on occasion wishing I had a school uniform
into their own styles.
just so I could tweak it in my own style. In
Costume Designer Eric Daman is
my opinion, no piece of media at this time
credited with the popularity of headbands
did this quite as well as the television show
for girls and scarves for boys at this time,
Gossip Girl (2007-2012, Josh Shwartz and
but most notably, the visual component of
Stephanie Savage).
the aspirational image of the prep school
Gossip Girl, which ran from 2007 to
student. Following the script of The Official
2012, told the story of white, wealthy Upper
Preppy Handbook, these students regularly
East
navigating
faced the threat of expulsion, played field
friendship troubles, relationships and sex,
hockey and lacrosse, attended Ivy League
college applications, cotillions, alcohol and
institutions, spent winters skiing in Vail,
drugs, teenage emotions, mental health
Colorado and summers in the Hamptons,
struggles, and family problems while a
traveled frequently, and dressed within a
mysterious source broadcasts all of their
certain code. Each outfit the characters wore
secrets to the internet. The introduction of
to school held the balance of ease and
each episode states, “Gossip Girl here, your
prestige — the school uniform with one
one and only source into the scandalous
casual or unpolished accent such as a low
lives of Manhattan’s elite.” In a similar way
buttoned Oxford shirt or a skirt hemmed
to The Official Preppy Handbook and
shorter. The boys paired their school
movies of the 1980s, this show highlighted a
uniforms with marijuana (new to the preppy
lifestyle that was both aspirational and made
aesthetic) and alcohol. This combination of
Side
prep
schoolers
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rebellion and adherence to society in dress
book and in her own society, causing her to
created
reevaluate her entire being.
a
complexity
that
made
the
characters alluring, and which viewers tried
There is also a noticeable double
to imitate themselves. It reinforced the
standard between how men and women were
complicated idea of sex for a female preppy,
allowed to act while remaining respected.
to be experienced and break the rules but not
As early as the pilot episode, Chuck Bass
enough to make you imperfect for your
attempted to force himself onto multiple
future husband (Birbach, 1980).
women and stated that “there’s something
This is seen primarily through Blair
wrong with that level of perfection — it
Waldorf — main character and “Queen B”
needs
of the prep school — who, after finding out
redeemed himself, however, in both the
her boyfriend since kindergarten lost his
society he lived in on screen and in viewers’
virginity to her best friend, lost hers to his
eyes, through his sincere love for Blair and
best friend and the “bad boy” of the group,
good deeds later on. In a Teen Vogue article
Chuck Bass. The entire school slut-shamed
on the similarities between Chuck Bass and
her and Chuck declared he no longer wanted
Brett Kavanaugh, Veronica Walsingham
her because she “held a certain fascination”
states that Gossip Girl “reinforces rape
when she was “untouched.” While The
culture by romanticizing a character who
Official Preppy Handbook did not explicitly
moved
tell preppies it is okay to slut-shame, it
consequences,
almost
reinforced the idea that a girl must be
argument
the alleged actions of
rebellious without tainting her reputation.
Kavanaugh’s youth shouldn’t affect his
Blair fell from this standard outlined in the
adulthood” (Walsingham, 2018). While the
to be violated.” He seemingly
through
that
his
life…
free
supporting
of the
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women of the show spend years building up
social rank, with Blair at the top of the
a fallen reputation over a sex scandal, the
Metropolitan Museum of Art steps and the
men carry on with ease. While the privilege
rest of the girls below her. There was an
of the white wealthy men of the preppy
unapologetic
subculture was not new in the 2000s, it was
hierarchy. While the 1980s may have made
arguably more obvious and less apologetic
the preppy style more mainstream, the 2000s
than the 1980s.
re-established its position as unattainable
The
main
style
and
fashion
and
unashamed
social
and toxic.
difference between this era of prep and its
A 2021 article by Sirin Kale in the
earlier iterations was the focus on the new.
Guardian touches upon the toxicity for
While characters still wore their family
young women at this time. After the release
heirlooms, the show emphasised again and
of Framing Britney Spears (2021, Samantha
again how important current fashion was to
Stark), Kale reflected on the media’s
them. In one scene, Blair goes through
treatment of female celebrities in the early
binders of potential candidates to invite into
2000s and the resulting treatment that
her small, exclusive group of friends. She
women
asks the girls where they spend vacations
magazines and blogs such as TMZ and
and what their parents do, looks at their
PerezHilton.com profited off of Britney
grades, and studies their outfits. When a girl
Spears’ mental breakdowns as the internet
wore “last season’s Tory Burch flats,” Blair
created a new level of access into the private
called her out on it and shuddered in horror
lives of celebrities. This accessibility was
as the girl exclaimed that she got them on
mixed with a post 9/11 need for lighthearted
sale. The girls would also eat lunch in a
news updates and a revolt against the third
everywhere
faced.
Gossip
Wang 7
wave of feminism in the 1990s — and the
origins?
result was an obsession with female stars’
exclusive?
Are
subcultures
inherently
personal lives. Tara Joshi and Simran Hans, co-hosts of a 2000s popular culture podcast Twenty Twenty, describe this decade as having a “market of shame when it came to women,” focused on the “reclaiming of being a ‘boy’s girl’ (Kale, 2021).” These standards are evident in the depiction of the preppy elite in Gossip Girl — as the female characters side-step public humiliation, are sexualized by the male characters but are not allowed to be sexual, and feel pressured to reach high standards put in place by society — and further trickled down into Kale’s own life experiences as a freshman in college being ranked on appearance by the upperclassmen male students (Kale, 2021). So
the media can change the
perception of the prep, but will it always return to the exclusivity it was born from? Is it possible for preppy to be an inclusive subculture or is exclusivity too rooted in its
Wang 8
The Official Preppy Handbook Cover, 1980, Lisa Birnbach
how hav subc ad
preppy
ve other cultures dopted & adapted y styles?
While there is an inherent classism
Coast, classic, elite clothing” with “Ivy style
and racism embedded in the origins of the
as well as British items like fisherman’s
preppy style, various cultures have redefined
sweaters” was coined everywhere — often
prep throughout its evolution, adopting
referred to as American Traditional style or
styles and changing the narrative.
“Ametora (Woolf, 2016).” W. David Marx, author of Ametora:
The American Traditional, 1960s Japan
How Japan Saved American Style, credits
The most prominent example of this
Take Ivy and the influence of American
dates back to 1965, when the book Take Ivy
fashion on menswear as the beginning of the
by Teruyoshi Hayashida, Shosuke Ishizu,
revived men’s style in Japan. He notes,
Toshiyuki
Hajime (Paul)
however, that this American Traditional
Hasegawa was released in Japan. Take Ivy
style was born less out of a reality and more
showed
American
out of a romanticized version or “fantasy of
colleges, and at a time when overseas travel
some lost aristocratic John F. Kennedy
was expensive and difficult, it was able to
America and the Ivy League of the late ‘50s
bring new silhouettes, garments, color
and early ‘60s” (Christian, 2018). What
palettes, and ideas to Japan — sparking an
started out as an attempt of imitation quickly
interest in American preppy styles among
transformed into its entirely own entity with
Japanese men (Richardson, 2019). From
Japanese designers such as Kensuke Ishizu
this, Japanese brands began designing their
of VAN Jacket, Blue Blue Japan, United
takes on the style and selling them at a price
Arrows, Ships, Beams, and Tomorrowland.
more affordable for the target market, and
It has become a combination of classic
by the 1980’s, this style of “American East
preppy pieces such as oxford shirts and
Kurosu,
and
photography
from
Wang 21
loafers with playful details such as a “strap
aspects of their communities, cultures, and
from a cowboy hat as a loop tie” and vintage
ancestry. The most notable of jazz artists to
pins — as seen on Mr. Hiroto Koseki, shop
dress as such was Miles Davis.
manager,
Hollywood
Ranch
Market
Miles Davis is credited with bringing
(Christian, 2018). The American Traditional,
preppy styles into the Black jazz world in
though rooted in its namesake, is a far more
the 1950’s, shopping at The Andover Shop
fashion-focused and trend-conscious style
in Cambridge, Massachusetts which was
than that of the preppy.
frequented by Harvard students (Gadke, 2021). His style soon helped define the “jazz
Jazz Cool, 1950s America
cool” look as he became known for wearing
Around the release of Take Ivy, the
traditionally preppy garments in fresh ways:
United States also saw a rejection of preppy
drop-shoulder seersucker sports jackets,
styles as solely for the WASP. In the 1950s
casual patch pockets on double-breasted
and 1960s, many civil rights activists began
suits,
using fashion to disassemble long-standing
button-downs (Sims, 2020). This merge of a
stereotypes of Black people. Dressing in
traditionally white elite style with the Black
ways that were deemed “well-dressed” made
jazz
a “public statement about the race,” and
exclusivity and unwritten rules of preppy —
what was seen as “well-dressed” was that of
who could wear the styles and how the
preppy (Martin, 2020). Among and with
styles could be worn was, for the first time,
these activists was the jazz community. Jazz
broken.
and
artist
knotted neckerchiefs under
community
disrupted
the
artists became known for adapting classic
Today, aspects of the preppy style
Ivy League styles, combining them with
can be seen in various iterations and across
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Mr. Hiroto Koseki, Kenta Iriguchi, Shutterstock Custom.
Japanese Youth in Ivy Style, Basic Books / Ametora: How Japan Saved American Style
socioeconomic class and race, from runways to street style to classrooms. Over various decades, it transformed from the exclusive subculture
of
the
first
Ivy
League
institutions. Whether that connotation can ever
truly dissipate, however, remains
unclear.
Miles Davis, Columbia Records.
how can the curat experience our under of prep?
torial e enhance rstanding
The topics discussed in this paper are
CornellOne: University Library: Online Section The Origins
explored through the fashion and lifestyle
Exhibitions. As the exhibit is open The first section upon entryfrom tells the
exhibition, The Prep, mounted in the Jill
May 2021 to August 2021, of while COVID-19 viewer about the origins prep. As this
Stuart gallery in the Human Ecology
university and state restrictions in as covers a range of decades, it is are not still set up
Building at Cornell University, mid-May to
increases aplace, room,this butvirtual ratherformat as a timeline. From left to
August 2021. As the viewer walks through
accessibility andCornell allows for people toreunion view right, there are University
the gallery, they move through time — from
The Prep even1918 if they do well so in as two jackets from to cannot 1937, as
the onset of the preppy style to current day.
person. looks that show the lifestyle of a prep at this
Each section of the exhibit is structured as a
time.
bedroom or living space to highlight the preppy subculture’s emphasis on lifestyle as well as fashion. The exhibition design allows the viewer to experience the world of a prep. By creating spaces that the viewer can see but not truly enter, The Prep reinforces the exclusivity of its namesake and the complicated dynamic between the style’s effortless ease and privileged elitism it lives in. Through garment analysis, the following pieces were chosen for The Prep. The Prep is available to visit in person in the Jill Stuart Gallery as well as online through a Matterport format at
C.U. Appoints Wm. Farnham Faculty Dean, Cornell Daily Sun Archives.
Cornell Reunion Jacket, 1918
Cornell Reunion Jacket, 1925
CF+TC ID: 2002.17.001
CF+TC ID: 2002.37.004
Demographic: Man
Demographic: Men
The 1918 Cornell Reunion Jacket is red with
The 1925 Cornell Reunion Jacket was worn
white trim and gold buttons. It features the
by Howard Hale Clark and donated by
number 18 on the front left pocket,
Margaret C. Hampson. Made in the United
signifying the class of 1918. It was worn by
States, it is a white duck blazer with maroon
William Farnham for class reunions, and
trim and features the Cornell emblem with
later purchased at a rummage sale in
the year 1926 on the breast pocket. It was
Trumansburg in 1991 by Margaret Huckle,
worn up until the 1986 reunion.
who donated it to the Cornell Fashion and Textile Collection. William Farnham, who entered with the class of 1918 but graduated in 1920, was featured in the Cornell Daily Sun on September 22, 1952 when appointed Faculty Dean.
Cornell Reunion Jacket, 1931
Cornell Reunion Jacket, 1937
CF+TC ID: 2012.39.013
CF+TC ID: 2015.01.001
Demographic: Men
Demographic: Woman
The 1931 Cornell Reunion Jacket is a stiff
The 1937 Cornell Reunion Jacket is a gray
red and white striped jacket made in the
wool blazer with a classic lapel and two
United States. It has three buttons on the
silver plastic buttons on the front. There is a
left, two patch pockets on the hips, and one
pocket on the left breast with maroon piping
on the left chest. The inside label reads the
and the Cornell logo embroidered on top. It
donor’s name, T. James Gilligan, along with
also has two large pockets at the hip, three
“Made exclusively by Van Horn & Son
buttons on each sleeve, and gathers at the
Theatrical Costumers Phila. For Cast No.
waist on the back. Made by Sport Shop,
Sketch No. Name Size” and “5373 Ithaca,
Ithaca, NY, the jacket was worn by Winifred
NY Jacket James Gilligan Short 37 - 32.”
Drake Sayer and donated by her daughter Mary Sayer — who noted that “Cornell was one of the happiest times in her life.”
Ski Suit, 1938 CF+TC ID: 2593ab Demographic: Woman The 1938 ski suit is a Lanz Original matching navy blue wool ski jacket and pants. The set, donated by Frances E. Young, highlights the lifestyle of the preppy subculture at its origins. The sport was very popular among preppies, and was exclusive due to its high costs (wardrobe, gear) and inaccessibility (travel to a ski mountain).
Section Two: A 1960s Summer
The 1960s Man: Linen Trousers; Polo Shirt;
The second section of The Prep
Shawl Collar Cardigan
focuses on the preppy style as it existed in
This menswear look shows a typical preppy
the 1960s. Set up as an outdoor space, it is
look of the 1960s, based heavily on images
based heavily on images of President John F.
of JFK, who popularized several preppy
Kennedy
designers. Over the summers, JFK spent his
and
Jackie
Kennedy,
who
popularized several preppy designers.
free
time
on
his
sailboat
and
was
photographed regularly wearing dark gray or The 1960s Woman: “The Lilly” Dress
navy bulky knit cardigans with shawl
This mid-1960s Lilly Pulitzer yellow dress
collars, white khaki shorts/slacks, white or
has lion heads patterned all over, white
blue cotton polos, and off-white canvas
embroidered trim down the front and by the
sneakers. The Sears Sportswear tan linen
hem, and a metal zipper down the back.
trousers from the 1960s reflect the preppy
Known as the “Queen of Prep” in the
style of pants popular at the time. The 1960s
1960’s, Lilly Pulitzer was most well known
Grand
for her shift dresses. A friend of the
short-sleeved polo shirt is made of pique
designer, Jackie Kennedy was frequently
cotton. It has a white embroidered penguin
photographed in her pieces and helped
logo on the chest pocket, a thin yellow and
popularize the brand.
white stripe along the edge of the collar, and
Slam
Munsingwear
light
blue
underarm gussets. The 1960s Sears Campus gray
wool-knit
shawl
collar
cardigan
sweater has two grey satin trimmed pockets and a rib construction.
Wang 5
JFK, August 1963, Sourced from Vanity Fair
Jackie Kennedy wearing Lilly Pulitzer, Hyannisport, Massachusetts, 1960, The Estate of Jacques Lowe/Getty.
Section Three: A 1980s Bedroom
tuxedo style, with pintucks and lace insets
The third section of The Prep is set
on the yoke. Made by Haberdasher, it has a
up as a 1980’s bedroom, reminiscent of the
narrow collar and long sleeves. The cardigan
bedrooms in the classic 1980’s films
is a 1980’s Ralph Lauren cable sweater. It is
analyzed. The looks are primarily based on
pink with a green Fair Isle design around the
Molly Ringwald’s style in Pretty in Pink as
collar and at the bottom of each sleeve. It
well as Sixteen Candles, and Andrew
has five buttons down the front and two
McCarthy’s style in Pretty in Pink and St.
front pockets. The skirt is a Henri Bendel
Elmo’s Fire.
wrap skirt from 1987, donated by Dorothy Schefer. It is navy and white plaid and midi
The 1980s Woman: Plaid Skirt (CF+TC ID:
in length.
1994.13.009); Oxford Shirt; Cardigan This womenswear look shows a typical preppy look of the 1980s, based on research from films of the decade. It is primarily based on Molly Ringwald’s style in Pretty in Pink and Sixteen Candles. Despite not being part of the typical preppy crowd, Andie in Pretty in Pink incorporated many preppy pieces into her style. This took preppy out of its exclusivity and into mainstream media, introducing the styles to a wider audience. The 1980’s oxford shirt is pink and of a
Wang 6
Andie Walsh, Pretty in Pink, Paramount Pictures.
Blane McDonagh, Pretty in Pink, Paramount Pictures.
The 1980s Man: Polo Shirt; Linen Blazer;
Bruce Oldfield Dress, 1980s
Pants (CF+TC ID: 2019.40.009)
CF+TC ID: 2000.06.053
This look shows a typical preppy look of the
Demographic: Woman
1980s, based on research from films of the
The Bruce Oldfield dress is from the 1980s.
decade.
Andrew
It is reminiscent of the dresses worn during
McCarthy’s style in Pretty in Pink and St.
school dance scenes in many John Hughs
Elmo’s Fire. In contrast to Andie, Blane
films — made of a peach colored floral print
from Pretty in Pink is a classically preppy
fabric with tiered poufs and no straps.
It
primarily
reflects
character, part of the wealthy, preppy group of high school students. He wears classic
Polka Dot Blazer
pieces, a lot of which overlap with Andie’s
CF+TC ID: 2002.05.064
pieces, but in more traditional ways. The
Demographic: Woman
Lacoste polo shirt from the 1980s is light
The Yves Saint Laurent Rive Gauche polka
blue and short sleeved, with the logo on a
dot blazer is a style seen most prominently
front breast pocket. It has buttons all down
in Heathers. It is from 1990, one year after
the front and was purchased from a thrift
the 1989 release of the movie, which creates
shop in Spain around the year 2000. The
a unique possibility — that the high end
1980s
blazer
designer took hints from the film. While the
sportcoat has two buttons and is beige in
style was already heavily in existence prior
color. The Club Room pants are linen and
to 1989, it can be inferred that its popularity
cotton, made in Sri Lanka in the 1980s.
remained through the next year because of
They are high waisted and pleated and
the film’s success. It was donated by
donated by David Crandell.
Dorothy Schefer.
Brooks
Brothers
linen
Wang 7
Sixteen Candles Bedroom, Sourced from IMDB.com.
Stetson Fedora, 1950s/1980s CF+TC ID: 2005.13.002 Demographic: Woman The grey Stetson fedora, with a slightly shaped brim and black grosgrain ribbon, is a 1950s hat worn again in the 1980s. It originally belonged to Charlotte A. Jirousek (1938-2014),
who
was
an
Associate
Professor of Textiles and Apparel in the Department of Fiber Science and Apparel Design within the College of Human Ecology at Cornell — as well as Curator of the Cornell Costume and Textile Collection from 1992 to 2014. Furthermore, this exhibit is
under
the
Charlotte
A.
Jirousek
fellowship. The hat is not only an example of a style worn frequently by Molly Ringwald’s characters, but also another example of preppy styles that originated with the early iterations of prep and came back into style in the 1980’s.
Section Four: A 2000s Study
featured on Gossip Girl in Season 2 (2008).
This section is set up as a study
The blouse is 100% silk with a collar and
space to reflect the re-integration of the
intricate detailing down the front. The cape
schoolgirl and schoolboy narrative into the
version of this blouse was worn in episode
preppy style. Influenced mainly by the show
2x04 The Ex Files by Blair Waldorf. The
Gossip Girl, it depicts how prep shifted back
pleated skirt is blue and purple in color, and
into the exclusivity it was born of. The looks
Blair Waldorf wore the same one in pink in
are primarily based on protagonists Blair
episode 2x10: Bonfire of the Vanity. The
Waldorf and Chuck Bass, whose prep school
blazer is dark ivory plaid with satin along
uniform-inspired styles brought preppy to a
the collar, double rows of buttons, and
new generation watching the show.
gatherings on the sleeves. It is from the Fall 2005 Jill Stuart collection.
The 2000s Woman: Blouse; Tweed Skirt; Blazer (CF+TC ID: 2015.14.19A) This womenswear look shows a typical preppy look of the 2000s, based primarily on Leighton Meester’s style as Blair Waldorf on Gossip Girl. Blair Waldorf is credited with bringing headbands into fashion within the first season of Gossip Girl, and became known for her blunt opinions on others’ styles. This look depicts how prep shifted back into the exclusivity it was born of. Both the Marc Jacobs blouse and skirt were
Blair Waldorf, The CW.
Wang 9
The 2000s Man: Yellow Slacks; Purple
main character, Chuck made the following
Sweater; Scarf; Burberry Button Down
statement: “Don’t mock the scarf, Nathaniel.
This look shows a typical preppy look of the
It’s my signature.” The scarf is red, navy,
2000s.
based primarily on Ed
and off-white with polka dots. The Burberry
Westwick’s style as Chuck Bass on Gossip
button down is light pink with a contrast
Girl, who was known for his ultra-preppy,
collar that features the signature Burberry
often feminine, fashion sense and his sexist,
check on the lining. Well-constructed, light
masculine behaviors. This combination of
pink, and designer, it is another style
reinforcing gender roles while defying them
frequently seen on Chuck Bass.
It
is
in his wardrobe also redirected the preppy narrative back to the preppy man as one with money, privilege, and power. He often wore bright color combinations, such as purple and yellow, and was always seen with his signature patchwork silk scarf. The yellow Brooks Brothers slacks and the purple LL Bean cotton V-neck cardigan are direct reflections of a look worn by Chuck Bass in Season 1 (2007). The scarf is a replica of the
Chuck Bass, The CW.
scarf Chuck Bass frequently wore and defined as his signature on the second episode of the series (1x02 The Wild Brunch). While talking to Nate, another
Wang 10
Chuck Bass and Nate Archibald, The CW.
Cornell Tartan Ensemble CF+TC ID: 2010.06.003abc Demographic: Woman The ensemble is made by Feedbak for the 2009 Cornell Design League Show and shows the influence of Gossip Girl on Cornell students. It consists of a gathered Cornell tartan skirt, a cotton jersey tee with Cornell tartan cuffs and a choker necklace made of Cornell tartan. This schoolgirl preppy style shows the influence of the Gossip Girl school uniform style and brings the viewer right back where they started — with preppy styles correlated with the Ivy League. The
viewer
then approaches
a
section on prep today and is given the opportunity to reflect on their own identity, on their thoughts of prep, and the question that began it all: can a style rooted in exclusivity ever become accessible to all and fit in today’s fashion industry, or will it always cycle back to its origins?
what concl can be ab
lusions made bout prep?
The exhibition The Prep helps us consider
the
the
try to conform to the subculture (or peers all
introduction, tracking the themes and trends
borrowing ideas of prep). On one hand, it
that run through the style from its origins to
can be seen as empowering for teenagers of
today. It narrates visually the central, and
lower social or economic status to put on
dynamic, ideas: exclusivity, nostalgia, and
pieces traditionally worn by Ivy League men
youth.
and Kennedys From
questions
Cornell
posed
University
in
puts on the garments to send a message or
(redefining wealth and
class
bringing them into a world that is in all other
jackets to Lilly Pulitzer dresses made
ways closed off to them). However, on the
famous by Jackie Kennedy, the exclusivity
other hand, it is still perpetuating the very
and influence by the upper class is apparent
ideas of conformity and exclusivity that the
from the prep’s origins through the 1960s.
preppy style was born of.
As the viewer enters into the 1980s bedroom
The latter idea brings a potential
space, however, these themes are muddled
answer to the question of why the preppy
and combined with an energy of youth and
style turned from a seemingly inclusive way
accessibility to the styles. It is here that the
of dress in the 1980s to an exclusive and
preppy style becomes both more rigid in its
unattainable way of living in the 2000s. It
rules (with The Preppy Handbook) and less
never stopped representing its origins. While
so (as seen through the films).
characters such as Andie were meant to
Preppy style utilizes clothing and
portray a less affluent high school student,
home decor as signifiers of social and
not “in” with the preppy rich crowd, she was
economic
still
status,
whether
the
wearer
embodies the traditional role of the prep or
aspirational
to
the
viewer.
She
seemingly had her own style, was confident
Wang 33
in what she wanted, had loyal friends, and
fleeting energy captured in the spaces from
worked a cool job.
decade to decade, one that reminds the
This is the dilemma: in creating
viewer of their youth and sparks nostalgia.
characters meant to be “relatable,” or “down
That is what preppy is about. It is a
to Earth,” writers and directors often create
nostalgia for a time that is carefree, whether
characters that feel attainable, yet are still
that is in one’s own life or in a life they see
curated to a point that nobody can truly
in the media or read about in history
emulate. It is therefore unsurprising to the
textbooks. It is an idealized world of limited
viewer when they enter the 2000s study
responsibilities,
space to find a return to the origins of the
excitement — where every tiny detail
preppy style — an exclusive, curated
matters but nothing is actually of grave
lifestyle with high barriers of entry.
importance. This is a feeling that people
privilege,
youth,
and
While the majority of this thesis
cling to, particularly in times of distress. We
focuses on the exclusivity of prep as one of
long for a time when everything was “easy”
socioeconomic status, race, and birth,
or “simple,” one we may or may not have
walking through the exhibit brings out
even ever experienced.
another strong element that defines who
Growing up, it was a cliché to state
preppy exists for. The life stages we see
that you felt you were born in the “wrong
depicted in the exhibit are high school,
generation.” My friends and I would sit
college, and — at the very latest — one’s
around a table in our school’s cafeteria and
early marriage and young children. In the
romanticize 1950’s diners and days without
pinks, greens, blues, and yellows, and the
cellphones. Particularly when stressed over
patterns of flowers and polka dots, there is a
tests or college admissions or social drama,
Wang 34
imagine living in a different era — one not
the idea tha
known to us firsthand,” in large part due to
control — and
popular culture representations from and of that time. “Nostalgia has much less to do with the past than with the present” and craving an escape from current reality (Davis, 1979, page 135). Janelle L. Wilson we would momentarily ignore any injustices
speaks to this further Nostalgia: does not seem to make them in less significant
or political events of a time period and
Sanctuary of(Wilson, Meaning:2005, “Nostalgia for a time or powerful. page 115).”
fantasize about what it would be like to
that weThedidsame not ourselves experiencethat is preppy subculture
dress in the styles of the era or wear our hair
largely a product of our that imagination. The represents an exclusivity feels outdated
as they did. This world we created out of a
nostalgic visions may bea fiction. this in 2021 also represents simpler Yet, lifestyle
we wouldfor momentarily ignoreknew any injustices nostalgia a past we never was one
does to make that not is seem yearned for them in less this significant time of
or political youthful events of a time—period of carefree, privilege one of and the
or powerful.It(Wilson, pageease, 115).” uncertainty. is one of2005, financial strong
fantasize about what would bedisplaced like to prep. A common kind ofit nostalgia,
same preppy subculture that family The relationships, outdoor adventures,
dress in thespeaks stylesto of this the era or phenomenon. wear our hair nostalgia, exact
represents an exclusivity that feels outdated social networks, and a perfectly coordinated
as they did.nostalgia This world we to created out oftoa Displaced refers a “desire
in 2021from alsoclothing represents a simpler image to home decor.lifestyle It sells
nostalgia for a past never era knew imagine living in a we different —was one one not
that is yearned this timeunder of the idea that one for has ineverything
of carefree, privilege — part one due of the known to usyouthful firsthand,” in large to
uncertainty. It ispeople one ofwant financial control — and to buyease, intostrong that.
prep. A common kind of nostalgia, displaced popular culture representations from and of
family relationships, outdoor adventures,
nostalgia, to thishas exact phenomenon. that time. speaks “Nostalgia much less to do
social networks, and a perfectly coordinated
Displaced nostalgia refersthe to present” a “desireand to with the past than with
image from clothing to home decor. It sells
imagine in a different era — one not craving living an escape from current reality
the idea that one has everything under
known us firsthand,” large part due to (Davis, to 1979, page 135).inJanelle L. Wilson
control — and people want to buy into that.
popular representations and of speaks culture to this further in from Nostalgia: that time. of “Nostalgia much less do Sanctuary Meaning:has “Nostalgia for atotime with the did past not thanourselves with the experience present” and that we is craving escapeof from current reality largely a an product our imagination. The (Davis, pagemay 135). Wilson nostalgic1979, visions be Janelle fiction.L.Yet, this speaks
to
this
further
in
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BIBLIOGRAPHY BIBLIOGRAPHY
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