New York

“Louise Brooks and the ‘New Woman’ in Weimar Cinema”

International Center of Photography Museum (ICP)

It seems that the Bubikopf is experiencing a kind of Renaissance. The only English words that describe the oh-so-particular haircut (equal parts naughty schoolgirl and punishing schoolmarm) are pageboy and bob, but the connotations aren’t quite right. One had only to visit the Metropolitan Museum of Art’s recent, breathtaking exhibition “Glitter and Doom” in order to understand just how historically “German” the style is. In canvas after canvas, there was hardly a prostitute or absinthe drinker whose hair wasn’t clipped into a Bubikopf helmet. And while there were certainly other incarnations of the liberated “New Woman” (including sports stars, flappers, and post-suffragettes) proliferating throughout Europe and America in the interwar period, none embodies the heady mix of social and political concern and possibility, new liberations and new dangers, as much as does the German variety.

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