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你对女性顾客有什么误解吗?


你对女性顾客有什么误解吗?



我们翻译这篇文章的理由



女性和消费之间仿佛一直有着密不可分的关系,这现象背后不无历史的助力。现代消费文化兴起于1980年前后,在经济和文化力量的共同作用下,美国的商业模式发生巨大变化,更多的女性被解放出来,社会地位得到提升。她们在新的消费产业和服务中逐渐占有一席之地,成为家庭的主力采购者。在消费产业女性的引导下,购物从一种功能性的行为转变成了娱乐行为,炫耀性消费开始出现。市场开始宣扬美丽独立女性的概念,大批女性掉入市场的陷阱,小部分女性尽管发现了市场的不平等漏洞,但依然无法摆脱市场的力量,成为被消费品。然而女性真的如此感性天真吗?


——陈玉莲


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你对女性顾客有什么误解吗?


作者:Kathy L. Peiss

译者:陈玉莲

校对:崔颖

策划:唐萧 & 刘蕊


American Women and the Making of Modern Consumer Culture 

美国女性与现代消费文化的产生


Editor’s Note: This is the electronic text of the annual Phi alpha Theta lecture delivered by Professor Kathy L. Peiss at the University at Albany, State University of New York, on March 26, 1998. 

编者的话:这是一篇一年一度的Phi Alpha Theta 组织发表的演讲的电子版本,由纽约州立大学奥尔巴尼分校的凯西•L•佩斯(Kathy L. Peiss)教授在1998年3月26日发表。

Phi Alpha Theta (ΦΑΘ): an American honor society for undergraduate and graduate students and professors of history. It publishes a quarterly historical journal entitled The Historian.”


In 1929, home economist and marketing expert Christine Frederick published Selling Mrs. Consumer, a popular book that schooled manufacturers and advertisers in the art of pitching products to American women. Seventy years later, consumer culture is part of the air we breathe, and women’s role as consumer seems almost a natural one—a role captured in the phrase, “born to shop.” Even in this age of market segmentation, when men are addressed as style-conscious buyers, the association of femininity and consumption remains nearly seamless. And these terms have been mutually reinforcing. Consumption is coded as a female pursuit, frivolous and even wasteful, a form of leisure rather than productive work. In turn, consumer identity obscures women’s important contributions to economic and political life. In such locutions as “Mrs. Consumer” and “born to shop,” women appear only on the receiving end of consumer culture. Far from being a natural or inevitable phenomenon, however, this feminized image was rooted in a specific historical development, one in which women themselves played a key role.

1929年,家政学家和营销专家克里斯汀•弗雷德里克(Christine Frederick)出版了一本名为Selling Mrs. Consumer的书,指导加工厂和广告商如何将自己的产品面向美国女性。70年后,消费文化已经成为我们呼吸的一部分,女性扮演消费者的角色看起来也是再正常不过的事情——她们就像老话说的那样,“为购物而生”。即使在这个市场细分、男性顾客也被贴上注重打扮标签的时代,女性和消费之间的联系紧密如初。她们和消费关系相辅相成:消费不再为GDP服务,而是变成了一种具有女性特色的、轻浮的、甚至浪费的休闲方式。反过来,消费者的身份掩盖了女性在经济和政治生活的重要贡献。在“女性消费者”和“为购物而生”这样的定位中,女性只是消费文化的接收者。然而这并不是一个自然的或是无法避免的现象,消费文化中的女性形象源于一段特殊的历史发展,在那个时期,女性自己也扮演了重要角色。

home economics: a field of study that deals with the relationship between individuals, families, communities, and the environment in which they live.


Defining consumer culture and its origins has become a vexing historical problem in recent years. One historian locates it in Renaissance Florence, another sees it in the tulip craze of early modern Holland, a third finds it in the purchase of crockery and clothing in eighteenth-century London. Some argue that the first North American consumer culture emerged in the earliest years of European settlement, among both the colonists who purchased goods to enhance their comfort and status, and the Native Americans who amassed decorative wares in trade. In this welter of conflicting claims, clearly we would do better to posit many consumer cultures and work toward delineating their particular characteristics—their emergence, continuities, and transformation. 

如何定义消费文化和它的起源近年来已经变成了一个令人烦恼的问题。一位历史学家认为它始于文艺复兴时期的佛罗伦萨,一位从现代荷兰早期的郁金香热潮中看到了这一点,第三位则在18世纪伦敦购买陶器和服装中发现了这种现象。还有一些人声称最初的北美消费文化出现在早期欧洲殖民时期,殖民者们购买商品提升生活品质和社会地位,美洲原住民则通过贸易积攒了大量装饰产品。显然,在这一连串相互矛盾的主张中,我们最好还是假设它们都是真的,努力阐明它们的不同特征——它们的出现、延续和转变。

tulip craze: 郁金香热潮,1637年发生在荷兰,是世界上最早的泡沫经济事件。当时由鄂图曼土耳其引进的郁金香球根异常地吸引人,引起大众抢购,导致价格疯狂飙高,在泡沫化过后,价格仅剩下泡沫时的百分之一,让荷兰各大都市陷入混乱。这个事件和英国的南海泡沫事件以及法国的密西西比公司并称为近代欧洲三大泡沫事件。

Modern American consumer culture arose after 1890, the outcome of a synergy of economic and cultural forces. In the history of goods, exchange, and consumption, it was qualitatively different from what had come before. An industrial revolution that had begun with the manufacture of cotton and woolen textiles had, by the end of the nineteenth century, transformed the production of most everyday goods. From convenience foods to clothing, appliances to automobiles, the enormous output of industrial production led businesses to coordinate methods of distribution and sales and to forge the infrastructure of our consumer culture. Sears, Avon, A & P, Macy’s: these familiar names represent an array of mail-order houses, door-to-door firms, chain stores syndicates, and department stores that transformed the landscape of commerce. As businesses sought ways to insure and enlarge consumer demand, they embraced new styles of merchandising, display, packaging, and advertising. If the nineteenth century offered a carnivalesque, chaotic promotional world of peddlers and hucksters, the modern ad agency promised to create a national market of consumers, indeed, to systematize desire. A new professional and managerial class of college-educated, white-collar men spurred the growth of the corporation’s marketing and advertising functions. For members of this new middle class, a powerful source of masculine identity lay in an orientation toward efficiency, method, and control. 

现代美国消费文化兴起于在1890年后,是经济和文化力量共同作用的结果。在商品、交换和消费的历史上,它在性质上不同于以往。一场始于棉花和羊毛纺织品制造的工业革命,在19世纪末改变了大多数日常用品的生产。从方便食品到服装、从电器到汽车,工业生产的巨大产出促使企业协调分销和销售方式,并形成了我们消费文化的框架。西尔斯(Sears)、雅芳(Avon)、宝洁(A & P)、梅西百货(Macy’s):这些耳熟能详的名字代表了一系列改变了商业格局的邮购公司、送货上门的公司、连锁店集团和百货公司。当企业寻找能够确保和扩大消费者需求的方法时,他们采用了新的推销、展示、包装和广告风格。如果说19世纪是一个充斥着小贩和叫卖者的狂欢式、混乱的促销世界,现代广告公司就是承诺要创造一个全国性的消费者市场,事实上也就是,将欲望系统化。一个由受过大学教育的白领男性组成的新专业和管理阶层可以推动公司营销和广告功能的增长。对于这个新中产阶级的成员来说,男性身份的一个强大来源在于对效率、方法和控制的定位。


One of the cultural products of this new infrastructure was an explicit conception of consumer identity, an identity that was simultaneously bound up in notions of the feminine. Born at the same time, the “organization man” and “Mrs. Consumer” in many ways reprised the older dichotomy of manly producers and domestic women. American women had long been consumers in a sense: they bought, bartered, and used goods. Except on the far reaches of the frontier, few eighteenth-century households were entirely self-sufficient. During the Revolution, women’s political role involved consumer boycotts of imported teas and cloth; expected to run a household well, they took an increasingly active role in purchasing decisions. By the nineteenth century, middle-class women became newly defined as “audiences” and “readers,” consuming melodramas and novels for pleasure.

这种新框架的文化产品之一是明确的消费者身份概念,这种身份同时与女性的概念相联系。“男性组织者”和“女性消费者”的概念出现在同一时间,它们在许多方面再现了旧时男性生产者和从事家政服务类工作女性的二元对立。从某种意义上说,美国妇女长期以来一直是消费者:她们购买、交换和使用商品。除了遥远的偏远地区,很少有18世纪的家庭能完全自给自足。在革命期间,女性的政治角色包括对进口茶叶和布料的消费者抵制;为了经营好自己的家庭,女性在购买决策中扮演着越来越积极的角色。到了19世纪,以情节剧和小说为乐的中产阶级女性被重新定义为“观众”和“读者”。


Nevertheless, the self-conscious identification of women with consumerism after 1890 was distinctive, linked to the growing sense that consumption involved not only the purchase of goods but an entire way of life. Thorstein Veblen’s famous critique of conspicuous consumption highlighted the social display of leisured women, who wore the signs of their familial and class status. But it was not only as passive objects of display and emulation that women became the quintessential consumer. Rather that definition emerged as women experienced and responded to the new consumer economy. 

然而,1890年后,女性对消费主义的自觉认同是与众不同的,这与一种日益增长的看法有关,即消费不仅涉及购买商品,而且涉及整个生活方式。索尔斯坦•韦布伦(Thorstein Veblen)对炫耀性消费的著名批评,突显了身上带有家庭和阶级地位标志的有闲女性的社会表现。然而女性成为典型的消费者,并不仅仅是作为被动的展示和模仿对象。相反,这一定义是在女性经历并对新的消费经济做出反应时出现的。

conspicuous consumption:the spending of money on and the acquiring of luxury goods and services to publicly display economic power—of the income or of the accumulated wealth of the buyer. The sociologist and economist Thorstein Veblen coined the term “conspicuous consumption”, and was a co-founder of the institutional economics movement.

Shopping was transformed from a functional activity of women into a form of leisure. Like attending a matinee, eating at a restaurant, or going to the beauty parlor—all new activities for women—shopping took place in a semi-public, commercial, and safe realm, an important consideration for women concerned about their respectability. One of the most well known shopping districts in New York City was a stretch of dry-goods emporia and specialty shops called “Ladies Mile,” where women would come to promenade and shop, to see and be seen. Promoting the pleasures of looking and touching, merchants encouraged women to desire goods and be seduced by them. (This sometimes backfired, and department stores found themselves battling women shoplifters—newly medicalized and diagnosed as “kleptomaniacs.”) Department stores pioneered now-familiar techniques of display using show windows, glass cabinetry, and mirrors everywhere; they offered a range of services to appeal to women, from restrooms to restaurants, package delivery to credit. 

购物从女性的一种功能性活动转变成了休闲方式。比如去参加一场日场,去餐馆吃饭,或者去美容院——所有女性的新活动——购物都是在半公开的、商业的、安全的环境中进行的,这对那些在意自己是否体面的女性来说是一个重要的考虑因素。纽约市最著名的购物区之一,是一片被称为“女士街(Ladies Mile)”的干货商场和专卖店,女人们会来到这里散步和购物,欣赏和被欣赏。为了促进视觉和触觉上的愉悦体验,商人鼓励女性渴望商品,并被商品所诱惑。(这种做法有时会适得其反,百货公司发现自己在与商店里的女扒手搏斗——用新近的医学术语来说就是“盗窃狂”。) 百货公司开创了现在人们熟悉的展示技术,运用橱窗、玻璃橱柜和随处可见的镜子;他们还提供一系列服务来吸引女性,从洗手间到餐厅,从包裹递送到信用卡。

matinee(matinée):in the performing arts, film exhibition, and other forms of entertainment, a matinée is a performance or exhibition in the afternoon (or occasionally earlier), as distinguished from the evening.
Ladies’ Mile Historic District: a prime shopping district in Manhattan, New York City at the end of the 19th century, serving the well-to-do “carriage trade” of the city.

 

New mass-circulation magazines also fostered a female culture of consumption. The “big six” women’s magazines—Ladies Home Journal, McCall’s, Delineator, Woman’s Home Companion, Pictorial Review, and Good Housekeeping—were founded in the period from 1885 to 1910. Originally dress-pattern magazines and farm journals, they became all-purpose “trade papers for women,” with a mix of fiction, general-interest news, and service departments for food preparation, fashion, and household management. Such editors as Edward Bok of the Ladies Home Journal linked womanly duties and respectability to the emergent consumer culture. Editorials urged women to buy brand-name, packaged products, in a period when most groceries, hardware, and other goods were unbranded and sold in bulk quantities. Bok banned dubious patent medicines from the publication and mounted a crusade against deceptive advertising, putting the magazine’s reputation behind the products appearing in its pages. 

新的大众流行杂志也培养了一种女性消费文化。“六大”女性杂志——《妇女家庭杂志》(Ladies Home Journal)、《麦考尔》(McCall’s)、《描绘者》(Delineator)、《女性家庭伴侣》(Woman’s Home Companion)、《画报》(Pictorial Review)和《好管家》(Good Housekeeping)——成立于1885年至1910年之间。最初是服装杂志和农业杂志,后来变成了通用的“女性贸易论文”,包括小说、大众新闻和食品准备、时尚和家政管理等不同板块。《妇女家庭杂志》的爱德华•博克等编辑将女性的职责和体面与新兴的消费文化联系起来。社论敦促女性购买名牌、包装好的产品,而当时大多数杂货、五金制品和其他商品都没有品牌,而是批量销售。博克禁止可疑的专利药品出现在杂志上,并发起了一场打击欺骗性广告的运动,用杂志的声誉来支持那些能够刊登在自家杂志上的产品。

Put sth behind sth :To provide or give something that aids, supports, or assists  something.


Magazine layout itself reinforced the woman reader’s identity as a consumer. Bok began to break up stories and articles in 1895, forcing readers to turn to the back pages where most of the advertisements were placed. Ads for cornflakes or baking soda were strategically placed next to cooking columns. “When pages are properly made up,” one writer observed, advertising “is contiguous to the department to which it is most nearly akin.”One magazine placed nearly a third of its ads in this way. Even short stories rein forced consumerism by frequently mentioning brand names, describing clothing styles, and stressing the household comfort possible through the purchase of goods. 

杂志版面本身强化了女性读者作为消费者的身份。博克从1895年开始拆分故事和文章,迫使读者翻到杂志的最后一页——大多数的广告都被投放在那里。玉米片或小苏打的广告被战略性地放在烹饪栏旁边。一位作家指出:“当页面被恰当地组合起来时,广告就与它最相关的专栏紧密相连。”一家杂志以这种方式投放了近三分之一的广告。即使是小故事,通过频繁地提及品牌名称、描述服装风格,以及强调通过购买商品可能带来的家居舒适感,也一样能够强化消费主义。


By the 1910s, advertisers and manufacturers had begun to see women as the “chief purchasing agents” for their families, buying most of the household’s food, clothing, appliances, and other goods. Although at times they nodded to an ideal of the rational consumer-citizen, older assumptions about female sensibilities usually gained the upper hand. The woman consumer was considered emotional and impulsive, driven by “inarticulate longings” and “dormant desires.” If men responded to the intrinsic qualities and function of a product, women dwelled on its social and psychological effects, its style and smartness. To “cash in on women’s sphere,” advertisers embraced a new language of persuasion: “If you are selling to women, nothing succeeds like a woman’s view point.” Advertising expert Carl Naether advised copywriters to write “in woman’s own language,” using evocative words, poetic images, French phrases, and soft touches. Ads, he observed, should imitate the “intimate conversations” that “take place at the glove counters, in the drug or toilet preparations department.” Erasing the differences among women and stressing those between the sexes, advertisers touted women’s supposedly universal desire for beauty, their inherent taste, and their natural sense of duty to the family’s well-being. 

到了20世纪10年代,广告商和生产商已经开始把女性视为家庭的“首席购买代理人”,她们负责采买家里的大多数食物、衣服、器具和别的物品。尽管有时他们也认同理性消费者公民的理想,但对女性情感的昔日假设通常占上风。女性消费者被认为是情绪化和冲动的,被“无法表达的渴望”和“潜伏的欲望”所驱使。如果说男性会对产品的内在品质和功能做出反应,女性则会专注于产品的社会和心理效应、风格和是否智能。为了“从女性领域获利”,广告商们采用了一种新的说服语言:“如果你是在向女性推销,没有什么比女性的观点更成功的了。”广告专家卡尔•纳特建议广告文案“用女性自己的语言”写作,使用能唤起共鸣的词汇、富有诗意的画面、法语词组和柔和的笔触。他指出,广告应该模仿“手套柜台、药店或盥洗用品部里”的“亲密对话”。广告消除了女性之间的差异,强调了性别之间的差异,宣扬女性对美的普遍渴望、与生俱来的品味、以及她们对家庭幸福本能的责任感。


This strategy appeared most often in promotions for products long associated with women, such as food, fashion, and cosmetics. It also surfaced when companies repositioned consumer goods initially associated with men in order to expand the market. At first automobiles and radios were marketed to men in ads that stressed mechanical and technological superiority. By the late 1920s, advertisers began to direct ads at women, with striking results. One automaker produced cars in a multitude of colors and urged women to match their cars to their frocks. Radio manufacturers housed vacuum tubes and wires inside mahogany cases that would complement living room furniture. Smoking by women, once considered a sign of immorality, was encouraged in cigarette ads whose slogans—”reach for a Lucky instead of a sweet”—appealed to a slender body image. 

这种策略最常出现在与女性长期相关的产品的促销中,如食品、时装和化妆品。当公司重新定位最初与男性相关的消费品以扩大市场时,也可以发现这种策略。起初,汽车和收音机通过强调机械和技术优势的广告向男性推销。到了20世纪20年代末,广告商们开始把广告投放到女性身上,并取得了惊人的效果。一家汽车制造商生产了多种颜色的汽车,并敦促女性将自己的汽车与连衣裙搭配起来。收音机制造商把真空管和电线装在桃花心木盒子里,作为客厅家具的补充。女性吸烟曾被认为是不道德的行为,但在香烟广告中却受到了鼓励,广告中的口号——“追求好运而不是甜蜜”——呼吁苗条的身体形象。


The image of the female consumer came into prominence in a period when American society made women’s nature and appropriate roles a subject of intense debate. After all, women were increasingly visible in higher education, the professions, and the workplace. They had won the right to vote, participated in urban reform, and volunteered for war relief work. Some scientists questioned the very existence of sex differences. In an era in which traditional roles were challenged from many quarters, the mass-market’s model of the woman consumer tended to reinforce the gender divide. The growing display of female images in the mass media—which presented youth, beauty, and sexuality in ways often divorced from the realities of women’s physical bodies and social experiences—only exacerbated these tendencies. 

在那个美国社会将女人的本性和与之相关的角色当作一个激烈辩题来讨论的时期,女性消费者的形象已变得分外鲜明。毕竟,女性在高等教育、职业和职场中的地位越来越高。她们赢得了投票权,参与城市改革,并志愿参与战争救济工作。有的科学家质疑性别差异是否真的存在。在一个传统角色受到多方面挑战的时代,大众市场的女性消费者模式往往会加剧性别差异。越来越多的女性形象出现在大众媒体上,以与女性的真实身体和社会经验相脱离的方式呈现青春、美丽和性,只会加剧这些趋势。


The gendering of consumption would seem to leave little room for women as producers in the new consumer industries and services. Indeed, women composed a small minority of professionals working in advertising, magazines, and newspapers in the early twentieth century, and they rarely controlled those enterprises or held executive positions within them. In advertising agencies, the number of career women rose substantially after 1910 but still made up only about three percent of advertising professionals in the largest firms in 1930. Women were generally excluded from positions that required face-to-face interaction with manufacturers representatives, considered “contact” or “outside” jobs. A few became account executives, space buyers, and department heads, but most labored as copywriters, deemed women’s “proper sphere” in advertising. Similarly, publishers and retailers were predominantly male, although there were a handful of women who edited the top women’s magazines, managed department stores, and owned large specialty shops — Gertrude Lane of the Woman’s Home Companion and Dorothy Shaver of Lord and Taylor, for instance. 

在新的消费产业和服务中,消费的性别划分似乎没给女性生产者留下多少位置。事实上,在20世纪早期的广告、杂志和新闻的专业领域中,女性只占了很小一部分,并且她们中只有极少数可以掌控整个公司或者担任主管职位。在广告公司中,职业女性的数量在1910年后大幅上升,但在1930年的大公司中,职业女性只占广告专业人员的3%左右。妇女一般被排除在需要与制造商代表面对面交流的职位之外,这些职位被认为是“接触”或“外部”工作。少数人成为了客户经理、广告位买手和部门主管,但大多数人从事文案工作,这一职位被视为广告业女性的“合适领域”。同样,尽管也有少数女性编辑顶级女性杂志,管理百货公司,并拥有大型专卖店——例如,《女性的家庭伴侣》的格特鲁德•莱恩(Gertrude Lane),管理百货公司罗德与泰勒(Lord and Taylor)的多萝西•谢弗(Dorothy Shaver),但出版商和零售商主要是男性。


Ironically, the promotion of the female consumer did open up opportunities for women, albeit circumscribed, in the new mass consumer culture. Exploiting the gap between male manufacturers and female consumers—gender differences men in industry had indeed reinforced—business and professional women promoted the “woman’s viewpoint” to advance their own standing. As one woman copywriter observed, “If the last word and the most important word is always going to be a man’s word, I think on a woman’s account that could be damaging.” “Men can and do write very successful copy aimed at women,” stated another, “but they have a harder job and more to overcome than women.”

具有讽刺意味的是,在新的大众消费文化中,尽管有限,但促进妇女消费的确为妇女创造了机会。利用男性制造商和女性消费者之间的差距——男性在行业中的性别差异被加剧了——商业和职业女性通过宣扬“女性视角”来提升自己的地位。正如一位女性广告文案所言,“如果最后一个词和最重要的一个词总是关于男性的话,我认为这对女性来说可能是有害的。”“男性可以也确实可以针对女性写出非常成功的作品,”另一个人说,“但他们的工作比女性更艰巨,有更多需要克服的东西。


Thus businesswomen entered a particular niche as information brokers, interlocutors, and taste-makers who claimed to understand and communicate with women consumers effectively. The early advertising women, described by one of them as “keen, brilliant . . . pioneers of their sex,” found assignments in the large agencies on so-called “women’s accounts,” such as beauty products, soap, fashion, food, and housewares. Others worked in local ad agencies, mail order firms, and the advertising staffs of small businesses. In department store merchandising, over forty percent of buyers were women by 1924; known for their independence, fashionability and world travel, they identified style trends and determined how to translate them for popular taste. Home economists like Christine Frederick also played a role in encouraging consumption as part of women’s concerns with nutrition, health, and household efficiency. A number worked for manufacturers and magazines to promote standardized goods, sanitary packaging, and brand-names, under the guise of good domestic practices. The Good Housekeeping Seal of Approval—assuring consumers of the quality and safety of products—was one familiar result of such collaboration. 

因此,作为信息经纪人、对话者和时尚引领者女商人们进入了一个独特的职业圈层,她们宣称自己可以和女性消费者更高效地沟通。早期的广告女性,被其中一位描述为“敏锐、聪明……女性的先驱者,”她们在大型机构中找到了所谓的“女性业务”,比如美容产品、肥皂、时尚、食品和家庭用品。其他人则在当地的广告公司、邮购公司和小型企业的广告人员中工作。到1924年,百货公司的商品促销中,超过40%的购买者是女性;她们因独立、时尚和环球旅行而闻名,她们定义时尚潮流,并决定如何将其转化为大众品味。出于女性对于营养、健康和家庭效率的些许担忧,克莉丝汀•弗雷德里克等家政学家也在鼓励消费方面发挥了作用。还有一些人在国内良好生产实践的伪装下,为制造商和杂志宣传标准化商品、卫生的包装和品牌。这种合作的一个常见结果就是产品质量许可证——向消费者保证产品的质量和安全。


Many women worked in the lower rungs of magazine publishing. Editors of magazine “service departments” played a pivotal role in fostering modern consumer culture: they promoted new inventions and styles, cooperated with advertisers, mentioned brands in recipes and advice columns, conducted market research, and even put their own names on products. For instance, Antoinette Donnelly, who wrote a syndicated newspaper column called “Beauty Hints,” sold her name to a manufacturer of facial soap, who capitalized on her “brand identity.” The trade press applauded this marketing move, noting that consumers “have acquired a confidence in her judgment through years of familiarity with her writings.” 

许多妇女在杂志出版业做低层工作。杂志“服务部门”的编辑在培育现代消费文化方面发挥了关键作用:他们推广新发明和新风格,与广告商合作,在菜谱和咨询专栏中提到品牌,进行市场调查,甚至在产品上署上自己的名字。例如,安托万内特•唐纳利(Antoinette Donnelly)为辛迪加报纸专栏为中的“美丽秘诀”专栏写作,她把自己的名字卖给了一家利用她的“品牌身份”的香皂生产商。行业媒体对这一营销举措表示欢迎,指出消费者“通过多年熟悉她的作品,对她的判断有信心”。

辛迪加报纸专栏:辛迪加专栏作家受雇于特别的新闻企业,或者是拥有多家报纸的报系,或者是实力雄厚的通讯社、大报特稿社等。他们将专栏文章像通讯社为订户传送新闻稿那样提供给付钱购买的报纸,所以一般是一篇专栏同时为国内乃至国外的多家报刊采用。专栏作家在选题、评论观点和写作内容诸方面的自由度更大,专栏影响力也因其覆盖面而超过其他报纸社论。

Businesswomen also organized associations in the fashion trade, advertising, and merchandising. Some of these originated defensively: women began advertising clubs in response to their exclusion from men’s organizations. Others perceived a niche within style marketing specifically for women and actively cultivated it. In a period when garment manufacturers, fashion consultants, department store merchandisers, and women’s magazines were increasingly coordinating their efforts, women created the Fashion Group in 1931 to report on trends in art, design, and popular culture. 

女商人还组织了在时装贸易、广告和商品销售方面的协会。其中一些是出于自卫:女性开始为俱乐部做广告,以回应她们被排除在男性组织之外。另一些人则在时尚营销中发现了专门针对女性的小商圈,并积极培育它。在这个服装制造商、时装顾问、百货商店的采购员和女性杂志日益协调努力的时期,女性在1931年创建了时装集团,报道艺术、设计和流行文化的趋势。

The Fashion Group International (FGI) :a global, non-profit, professional organization founded in 1930 in New York City to benefit the fashion industry. FGI currently has over 5000 members in the fashion industry including apparel, accessories, beauty and home. FGI is divided into chapters in cities all over the world (Canada, Colombia, England, México, Dominican Republic Seoul), with the major chapter in New York City.

These women, working in large firms and corporations as mid-level managers, executives, or salaried staff, carved out “female” sectors and specialties within mass consumer industries overwhelmingly dominated by men. To a certain extent, they exploited gender differences to promote their own careers and standing. But fashion, beauty, and domesticity were not static concepts linked to the feminine. Some women actively sought to negotiate and even redefine what it meant to be a modern woman in a consumer society.

这些在大公司担任中层管理人员、高管或领薪水的女性员工,在男性占绝对优势的大众消费行业中开辟出“女性”领域和专业。在一定程度上,她们利用性别差异来提升自己的事业和地位。但是时尚、美和家庭生活并不是与女性联系在一起的一成不变的概念。一些女性积极寻求谈判,甚至重新定义现代女性在消费社会中的意义。


The career of Helen Landsdowne Resor illustrates both the opportunities and limitations women encountered in this effort. Born in 1886, Helen Landsdowne had only a high school education when she took a job as a secretary in a Cincinnati advertising agency in 1904. She worked her way up to copywriter, creating ads that appeared in newspapers and magazines and on streetcars in the early 1900s. When her boss, Stanley Resor, left the firm to open a branch of the J. Walter Thompson Company in 1908, she went along as a copywriter; they transferred together to the New York office in 1911. Resor took control of the firm in 1916, and the two of them married in 1917. Stanley Resor was a very visible executive officer, but Helen was not. She largely worked behind the scenes and did not take public credit for her accomplishments. 

海伦•兰德斯唐•雷索尔(Helen Landsdowne Resor)的职业生涯展现了女性在这一努力中遇到的机遇和限制。海伦•兰德斯唐出生于1886年。1904年,在辛辛那提一家广告公司担任秘书时,她只有高中学历。她通过自己的努力成为了一名广告撰稿人,在20世纪初,她的广告出现在报纸、杂志和有轨电车上。1908年,她的老板斯坦利•雷索尔(Stanley Resor)离开公司,为智威汤逊公司(J. Walter Thompson Company)开了一家分公司,作为广告撰稿人,她也一并被带去了。1911年,他们一起被调到纽约的办公室。雷索尔于1916年控制了这家公司,两人于1917年结婚。斯坦利•雷索尔是个很显眼的高管,但海伦不是。她大部分时间在幕后工作,并没有因为自己的成就而受到公众的赞扬。


Yet there is no doubt that she was the driving, creative force at the company. She devised ad campaigns that are still striking today. Woodbury’s facial soap, for instance, had long been advertised as a patent medicine that could rid the skin of blemishes, sores, and ailments. Helen Resor created a new campaign that identified the product with facial beauty, not skin disease. She hired illustrators to draw attractive young women and men in romantic, intimate settings, and came up with a slogan—”a skin you love to touch”—that was catchy and slightly racy for its time. The campaign transformed Woodbury’s fortunes, turning a harsh, stinging soap into a popular beauty aid. Resor’s ads often told a story that encouraged the reader to identify with developing romance or a social dilemma; she put little “feminine” touches in the ads, such as a note urging women to tear out a picture of the soap as a reminder when shopping. 

然而毫无疑问,她是公司的驱动力和创造力。她设计的广告活动至今仍引人注目。例如,伍德伯里的面部香皂长期以来一直被宣传为一种专利药物,可以去除皮肤上的瑕疵、疮和各种小毛病。海伦•雷索尔发起了一项新活动,将该产品与面部美容而非皮肤病联系起来。她聘请了插画师,画出在浪漫、亲密的情境中,年轻男女迷人的形象,同时加入一句朗朗上口而又略带挑逗性的广告语——“你爱不释手的皮肤”。这场活动改变了伍德伯里的命运,把一种粗糙刺鼻的肥皂变成了一种广受欢迎的美容产品。雷索尔的广告经常通过故事的形式,鼓励读者认同正在发展的爱情或社会困境;她在广告中很少加入一些“女性化”的元素,比如一张便条,敦促女性在购物时撕下肥皂的照片作为提醒。


It may come as a surprise, then, that Helen Landsdowne Resor called herself an ardent feminist. During the mass suffrage parades in New York in 1915 and 1916, she led a contingent of advertising women. Resor, her secretary recalled, “got us all big campaign hats to wear of various colors—green, purple, white.” In keeping with her politics, she aggressively hired and promoted women at the agency. Believing that women would advance further in a single-sex environment, she created a “Woman’s Copy Department” separate from men. As one executive emphasized, “the women were terrifically powerful.”

然而,当海伦•兰德斯唐•莱索自称是一位热情的女权主义者,无疑让人感到意外。1915年和1916年,在纽约举行的普选游行中,她带领了一支女性广告队。她的秘书回忆说,雷索尔“让我们所有人都戴上了各种颜色的竞选大帽子——绿色、紫色、白色。”为了与自己的政治立场保持一致,她在该机构积极聘用和提拔女性。她相信女性会在单一性别的环境中取得更大的进步,因此创建了一个与男性分开的“女性编辑部”。正如一位高管所强调的,“这些女性非常强大。


The firm’s personnel records reveal the social background and work experience of these early women in advertising. Typical of professional women in these years, most graduated from women’s colleges or coeducational universities. Still, the firm was suspicious of English majors who displayed “literary aspirations” but had little knowledge of business. Successful recruits usually had already gained indispensable experience in the world of commerce. Many had been department store merchandisers, publicists, mail-order and local advertisers, and magazine writers. Others had previously worked for manufacturers in product testing, market research, or sales. 

公司的人事记录揭示了这些早期广告业女性的社会背景和工作经验。典型的职业女性在这几年,大多数毕业于女子学院或男女同校的大学。尽管如此,该公司对那些表现出“文学抱负”但对商业知之甚少的英语专业学生持怀疑态度。成功的新人通常已经在商界获得了不可或缺的经验。其中许多人是百货公司的采购员、公关人员、邮购和当地广告商,以及杂志撰稿人。还有些人之前曾在制造商的产品测试、市场研究或销售部门工作。


At the same time, a significant number of women at J. Walter Thompson came directly from the suffrage campaign and women’s reform. Helen Resor hired activists newly unemployed after passage of the women’s suffrage amendment, among them Terese Olzendam, circulation manager of The Suffragist magazine, and Frances Maule, formerly head of the publication department of the National American Women’s Suffrage Association. Ruth Waldo, J. Walter Thompson’s first woman vice president, worked for the Russell Sage Foundation and the New York Charity Organization Society before joining the firm in 1915. As one of her co-workers recalled, “When Waldo went back to tell the Social Work people, they were scandalized. You see, they thought it was fine to be helping people, but not to work to make money.” She added: “Miss Waldo felt a bit that way herself.”

与此同时,很大一部分智威汤逊公司的女性员工都是直接从选举权运动和妇女改革中被选拔出来的。海伦•雷索尔在《妇女参政修正案》(women ‘s suffrage amendment)通过后,聘用了一些新近失业的活动人士,其中包括《妇女参政论者》(the Suffragist)杂志的发行经理特雷西•奥赞达姆(Terese Olzendam)和全美妇女参政协会(National American women ‘s suffrage Association)出版部前负责人弗朗西丝•莫尔(Frances Maule)。露丝•沃尔多(Ruth Waldo)是智威汤逊公司的第一位女性副总裁,1915年加入该公司之前,她曾在罗素•塞奇基金会(Russell Sage Foundation)和纽约慈善组织协会(New York Charity Organization Society)工作。正如她的一位同事回忆的那样,“当沃尔多回去告诉社会工作人员时,他们感到非常震惊。如你所见,他们认为帮助别人很好,但为了赚钱而工作则不是。”她补充说:“沃尔多小姐自己也有这种感觉。


The Woman’s Copy Department at J. Walter Thompson reveals the underlying tensions in the social definition of women as consumers. Those who embraced the “woman’s viewpoint” argued that their own buying habits as women gave them special insight into consumer motivations. On cosmetics, food, and fashion accounts, said one, a woman copywriter “naturally falls into the vocabulary—those little phrases and intimate ways of talking that strike a house wife as ringing true.” They knew their place in an industry dominated by men rested on their authority with and service to female consumers. Yet advertising women were also disturbed by this argument, because it implied they secured their position not through professional training, but by virtue of their “natural” feminine qualities. One worried that the “women’s viewpoint” was “really an old story” and stressed that professional women had other capacities as managers and workers that belied female stereotypes. Thus some actually distanced themselves from consumers, emphasizing their intelligence, training, and the importance of scientific market research rather than intuition in gaining insight into housewives “unformulated ideas—impulses, prejudices, desires. Yet their approach, as those words suggest, ultimately reinforced the stereotype of the female consumer. 

智威汤逊的女性编辑部揭示了女性在作为消费者的社会定义中潜在的紧张。那些支持“女性视角”的人认为,她们作为女性的购物习惯让她们对消费者的动机有了特别的了解。其中一位说,在化妆品、食品和时尚方面,女性文案“很自然地就会使用这些词汇——那些让家庭主妇觉得很真实的小短语和亲密的谈话方式。”她们知道,在一个由男性主导的行业中,她们的地位取决于她们对女性消费者的权威和服务。然而,广告女性也受到了这一论点的困扰,因为这意味着她们不是通过专业培训,而是凭借自己“天生的”女性特质才获得了职位。一个人担心“女性视角”是“古老的往事”,并强调职业女性作为管理者和工人,具备与女性的刻板印象不符的其他能力。因此,有些人实际上与消费者拉开了距离,强调她们的智慧、培训和科学的市场研究的重要性,而不是凭直觉来洞察家庭主妇的“未形成的想法——冲动、偏见和欲望”。然而,正如这句话所暗示的那样,她们的做法最终强化了女性消费者的刻板印象。


A few challenged that stereotype, however. Feminist Frances Maule argued that advertisers relied too much on “the good old conventional angel-idiot conception of women” rather than seeing them in the concrete terms of their daily lives. She found that the woman consumer was more motivated by the price and merits of the product, “bent on getting real value for her money and possessing a good deal of capacity for judging whether she was doing it or not,” and less by “the atmosphere, the sentiment, the prestige that we throw around our copy.” Maule urged copywriters to remember the “old suffrage slogan—that Women Are People.” She observed, “It is just as impossible to pick out a single feminine type and call it woman, as it is to pick out a single masculine type and call it man.”

然而,也有一些人对这种刻板印象提出了质疑。女权主义者弗朗西丝•莫尔(Frances Maule)认为,广告过多地依赖于“旧时美好天真的女性形象”,而不是从她们日常生活的具体角度来看待她们。她发现女性消费者更容易被价格和产品的优点所吸引,“致力于得到值得她们所花费的钱的东西,拥有足够的能力来判断买与不买“,而更少通过”氛围,情绪和商品信誉。”莫尔敦促文案们牢记“旧的选举权口号——妇女是人”。她观察到,“选择一个单一的女性类型并称之为女性,就像选择一个单一的男性类型并称之为男性一样不可能。


Yet it was profoundly difficult to present a more complex appeal to the woman consumer. An instructive example is an advertising campaign for Pond’s skin creams in 1924. These inexpensive products were losing sales to the higher-status brands like Elizabeth Arden and Helena Rubinstein. Helen Landsdowne Resor and the Woman’s Copy Department decided to revive and upgrade an old advertising technique, the testimonial. “Distinguished” women would be interviewed and asked to endorse the product. Significantly, the first Pond’s testimonial featured Alva Belmont, a wealthy society woman and militant feminist; Belmont had been active in the suffrage campaign, supported working women’s causes, and bankrolled the National Woman’s Party. The ad agency secured Belmont’s cooperation by exploiting their copywriters ties to feminism: Frances Maule persuaded another veteran of the suffrage movement, Katherine Leckie, to act as a go-between and approach Belmont; the agency offered each woman a one-thousand-dollar contribution to the National Woman’s Party as an incentive. 

然而,要向女性消费者提出更复杂的诉求却极其困难。一个很有启发性的例子是1924年旁氏的护肤霜的广告宣传活动。这些廉价产品的销量正被伊丽莎白•雅顿(Elizabeth Arden)和赫莲娜•鲁宾斯坦(Helena Rubinstein)等地位较高的品牌抢走。海伦•兰德斯唐•雷索尔和女性文案部门决定重振并升级一项古老的广告技术——推荐。“杰出”女性将接受采访,并被要求为该产品背书。值得注意的是,旁氏的第一位推荐人是阿尔瓦•贝尔蒙特(Alva Belmont),一位富有的社会女性和激进的女权主义者;贝尔蒙特一直积极参与争取选举权的运动,支持劳动妇女的事业,并资助全国妇女党。这家广告公司利用文案与女权主义的联系,确保了贝尔蒙特的合作:弗朗西丝•莫尔说服了另一位投票权运动的资深人士凯瑟琳•莱基(Katherine Leckie)充当中间人,与贝尔蒙特接触;作为激励,这家机构向每位妇女提供1000美元的捐款给全国妇女党。


The full-page advertisement for Pond’s, mainly text in tiny print accompanied by a small illustration, ran in the leading women’s magazines. It began with a narrator saying: “I was excited and eager for the interview because I knew that Mrs. Belmont not only has given lavishly to women’s causes from her colossal fortune, has been and is a tremendous worker, but also is particularly interested in woman’s special problem of how to keep her force and her charm through middle life and later.”

旁氏的整版广告,主要是采用小字印刷,配以小插图,刊登在主要的妇女杂志上。由旁白的话展开:“我很兴奋并渴望着面试,因为我知道贝尔蒙特夫人不仅很慷慨地致力于女性事业——在这方面她是一名伟大的工作者,同时她也对女性如何在中年及之后的生活中继续保持力量和魅力十分有兴趣。


In light of this text, the illustration was incongruous, even incomprehensible. It was not an image of the forceful, charming Alva Belmont, but rather a photograph of her library. Belmont had refused to allow her picture to run, concerned that her prestige and reputation would diminish if she was seen as a shill. Other early testimonials featured such women as Alice Roosevelt Longworth and Mary McConnell Borah, daughters and wives of powerful men, visible in the world of politics but on its periphery. These ads were intended to show case distinguished women not only or primarily because they were beautiful, but because they had accomplished something newsworthy and of significance to women. At the same time, the campaign had been created to impart an “image of status and prestige” to skin cream, and the advertisers increasingly engaged beautiful socialites and attractive aristocrats to accomplish this goal. When the agency researched consumers responses to the various Pond’s endorsers in 1925, they found that Princess Marie de Bourbon was most popular because “she is young and pretty and the photographs were romantic and sentimental.”

根据这篇文章的内容来看,这幅插图不协调,甚至令人费解。这不是阿尔瓦•贝尔蒙特本人有力而迷人的形象,而是她图书馆的一张照片。贝尔蒙特拒绝刊登她的照片,担心如果她被视为一个骗子,她的声望和声誉将会下降。其他早期的感言则以爱丽丝•罗斯福•朗沃斯(Alice Roosevelt Longworth)和玛丽•麦康奈尔•博拉(Mary McConnell Borah)等女性为特色,她们都是有权势的男人的女儿和妻子,在政界可见,但处于边缘。这些广告的目的是展示给大众,杰出的女性之所以杰出,不仅因为她们美丽,而且因为她们完成了一些有新闻价值和对女性意义的事情。与此同时,该活动的目的是展示护肤霜一种“地位和威望的形象”,广告商越来越多地利用漂亮的社会名流和迷人的贵族来实现这一目标。1925年,该机构调查了消费者对各种旁氏代言人的反应,发现波旁公主(Princess Marie de Bourbon)最受欢迎,因为“她年轻漂亮,那些照片浪漫而伤感。


The Pond’s campaign suggests how difficult it was not only to create an alternative conception of female beauty in advertising but also to address women consumers in complex ways. Even women who identified themselves as feminists found themselves caught in contradictory impulses. They recognized the variations in women’s experiences in modern society and celebrated women’s achievements. And in these ads they maintained that beautifying and achievement need not be mutually exclusive: caring for appearance could be seen as an aspect of women’s self-expression and dignity. But this was a subtle and difficult argument to make, easily submerged in the celebration of female beauty as an end in itself. Women advertisers were unable to reconcile these tensions, and conventional notions of women—in terms of beauty, frivolity, and romance—resurfaced. Even with a background in feminism and reform, many women found themselves actively reinforcing conventional notions of gender difference. 

旁氏的活动表明,在广告中,不仅创造出一种女性美的另类概念很难,而且以复杂的方式来吸引女性消费者也很难。甚至那些自称女权主义者的女性也发现自己陷入了矛盾的冲动之中。他们认识到现代社会中妇女经历的变化,并庆祝妇女的成就。在这些广告中,他们坚持认为,变美打扮和成就不一定是相互排斥的:关注外表可以被视为女性自我表达和尊严的一个方面。但这是一个微妙而困难的论点,很容易就淹没在对女性美的赞美作为最终目的本身之中。女性广告商无法调和这些矛盾,传统的女性观念——如美貌、轻浮和浪漫——又重新浮出水面。即使有女权主义和改革的背景,许多女性发现自己依然在积极强化性别差异的传统观念。


The mass consumer culture that arose in the early twentieth century seems resistant to more complicated definitions of consumer identity. However, at different moments in our history, alternative, collective, and politicized concepts of consumption have come to the fore. The identity of “woman consumer” was not only a creation of retailers, manufacturers, and magazines that had an economic interest in this ideal. At the turn of the century, educators, home economists, and reformers all advanced an uplifted version of the female consumer as citizen, rational and oriented toward social goals. The National Consumers League, founded in 1890 in New York, mobilized middle- and upper-class women to use their purchasing power for social change. The League urged women to boycott department stores whose poor wages and working conditions harmed saleswomen, and it publicized the labels of clothing made in sweatshops. Other women became active in the Progressive Era movement for pure food and drugs. This politicized notion of the consumer, promoted especially by white middle-class women, started from the insight, propounded by late-nineteenth-century economists, that consumption was a kind of work and consumers were economic actors. The National Consumers League had an inkling of what feminists in the 1960s and 1970s would later argue: consumption was necessary if unpaid labor that required time, energy, and skill; it transformed purchases into usable goods; and it ensured the social reproduction of the family. Nor were these perceptions limited to affluent women: in some class-conscious cities, like Seattle after World War I, working-class women organized consumer boycotts and union label campaigns to support union activism in the workplace. 

20世纪初兴起的大众消费文化似乎对更为复杂的消费者身份定义产生了抵触。然而,在我们历史上的不同时刻,另类、集体和政治化的消费概念处于重要地位。“女性消费者”的身份不仅仅是零售商、制造商和杂志的创造,它们对这一理念有经济利益。在世纪之交,教育家、家政学家和改革家都提出了女性消费者作为公民的一种提升版,理性且面向社会目标。1890年在纽约成立的全国消费者联盟(National consumer League)动员中,上层阶级的女性利用她们的购买力推动社会变革。该联盟敦促女性抵制百货公司,因为百货公司的低工资和恶劣的工作条件损害了女销售员的利益,并公布了血汗工厂生产的服装的标签。其他妇女在争取纯素食品和毒药品的进步时代运动中变得活跃起来。这种政治化的消费者概念,尤其是由白人中产阶级女性所倡导的,始于19世纪末经济学家提出的一种见解,即消费是一种工作,消费者是经济行为者。美国全国消费者联盟(National consumer League)对上世纪六七十年代女权主义者后来会说的话略知一二:如果需要时间、精力和技能的无偿劳动,消费是必要的;它将购买转化为可用的商品;它保证了家庭的社会繁殖。这些观念并不局限于富裕女性:在一些有阶级意识的城市,比如一战后的西雅图,工人阶级女性组织了消费者抵制活动和工会标签运动,以支持工会在工作场所的抗议。


Just as striking are the businesses created and run by women that offered an alternative vision of consumer culture. The remarkable careers of Annie Turnbo Malone and Madam C. J. Walker, leaders of the early African-American beauty industry, are illuminating. Born after the Civil War, they grew up in a world of poverty, racial discrimination, and hard manual labor. Walker, for example, had worked nearly two decades as a domestic and laundress before she became an entrepreneur. In the 1890s Walker and Malone independently became interested in the difficulties African-American women faced in caring for their hair. Each woman claimed to have invented her own formulas: Malone cited the influence of an aunt who was a herb doctor schooled in traditional medicinal lore, while Walker declared she had discovered the formula in a dream, when God answered her prayer for a way to save her hair. It is likely that they modified hair tonics and combs already on the market, adjusting them for the condition and texture of black women’s hair. They offered hair treatments and free demonstrations, showing women how to care for the scalp, apply hair grower, and use a pressing comb. 

同样引人注目的是,由女性创建和经营的企业提供了另一种消费文化视角。早期非洲裔美国人美容业的领导者安妮•特恩博•马龙(Annie Turnbo Malone)和C•J•沃克女士(mrs . C. J. Walker)的卓越职业生涯具有启发性。她们出生于南北战争之后,在一个贫穷、种族歧视和体力劳动的世界里长大。以沃克为例,在成为企业家之前,她在家政和洗衣行业工作了近20年。19世纪90年代,沃克和马龙各自对非洲裔美国女性在打理头发方面面临的困难产生了兴趣。每个女人都声称自己发明了自己的配方:马龙提到了一位接受传统医学教育的草药医生阿姨的影响,而沃克则宣称自己是在梦中发现了配方,当时上帝回应了她的祈求,让她想办法保住自己的头发。很可能她们改良的头发营养液和发梳已经在市场上,但她们调整这些产品的条件和质地以适应黑人妇女的头发。她们提供头发护理和免费演示,向女性展示如何护理头皮、如何涂抹生发液和使用直发器。


Malone and Walker also created systems of training, distribution, and marketing that proved enormously successful in the early 1900s. As black women, they were not welcomed by drugstore retailers, so they started out by selling door to door. As they became more successful locally, each developed a regional trade. They traveled across the Midwest and even the South in a period of growing racial violence and segregation. At each stop, they gave speeches in women’s clubs and black churches, demonstrated products, and taught women to be sales agents and hairdressers. Their recruits in turn trained other agents, eventually widening distribution throughout the nation. The businesses were incredibly successful: Walker supposedly started out with a dollar and a half in her pocket in 1905; in 1919, the year she died, the company did $500,000 in sales. 

马龙和沃克还创建了培训、分销和营销体系,并在20世纪初取得了巨大成功。作为黑人女性,她们不受药店零售商的欢迎,所以她们开始挨家挨户地推销。随着她们在当地越来越成功,每个人都发展了一种区域贸易。在种族暴力和种族隔离不断加剧的时期,她们穿越了中西部,甚至南方。每到一站,她们都会在女性俱乐部和黑人教堂发表演讲,展示产品,并教女性成为销售代理和美发师。她们的新成员反过来又训练其他特工,最终扩大了在全国的分布。生意异常成功:1905年,沃克的口袋里大概有1.5美元;1919年,也就是她去世的那年,公司实现了50万美元的销售额。


These African-American businesswomen did not divide production and consumption, but fused them in a vision of racial advancement and women’s freedom. They believed that improving appearance would open economic opportunities for women and ensure their self-respect. Their clients were not simply consumers of beauty products, but potential trainees, salon workers, and even proprietors. Nor did they view the consumer solely through the lens of the profit motive, but committed themselves to African-American community building, social welfare, and politics. Malone built an immense complex called Poro College, which housed not only the manufacturing plant, sales operations, and school for training agent-operators, but also a gymnasium, chapel, and hall for theater, music, and lectures; it served as a community center for black residents of St. Louis. Walker organized agent-operator clubs similar in function to working-class benevolent societies. Walker Clubs provided mutual aid, insurance and death benefits, and offered opportunities for leisure and charitable work. Walker also encouraged women’s political involvement: her agents condemned lynching and racism at their first national convention. One woman who heard Walker speak offered a typical reaction: “Your talk inspired me so that I was determined to see what good I could do in this world and for my people.”

这些非洲裔美国女商人没有把生产和消费分开,而是把它们融合在种族进步和妇女自由的愿景中。她们认为,改善外貌将为女性创造经济机会,并确保她们的自尊。她们的客户不仅仅是美容产品的消费者,还是潜在的培训生、美容院工作人员,甚至是业主。她们也不只是从利润动机的角度来看待消费者,而是致力于非洲裔美国人社区的建设、社会福利和政治。马龙建造了一个巨大的综合体,叫做Poro College,它不仅包含了制造工厂、销售运营和培训代理运营商的学校,还包括体育馆、礼拜堂和剧院、音乐和演讲厅;它是圣路易斯黑人居民的社区中心。沃克组织了类似于工人阶级慈善团体的代理运营俱乐部。沃克俱乐部提供互助、保险和死亡补偿,并提供休闲和慈善工作的机会。沃克还鼓励妇女参与政治:她的代理人在第一次全国代表大会上谴责私刑和种族主义。一位听到沃克演讲的女士给出了一个典型的反应:“你的演讲激励了我,让我下定决心,看看我能为这个世界和我的人民做些什么。


These women’s enterprises charted a distinct path in the development of mass-consumer goods and service industries. And they give evidence that alternative conceptions of consumer culture could emerge at different historical moments, among different populations of women. Not the one-dimensional Mrs. Consumer, then: women played a more complex role in the formation of modern consumer culture. Professional and managerial women, carving out a niche for themselves in mass-market industry, often reinforced dominant ideologies of gender and consumption despite their best intentions. Other women, however, including middle-class reformers, working-class activists, and African-American businesswomen, offered collective and politicized challenges to those ideologies. Behind the compelling image of the woman consumer projected by national advertising and mass media, women engaged in a myriad of commercial and social practices that gave shape and substance to modern consumer culture.

这些妇女企业在发展大众消费品和服务业方面走出了一条独特的道路。她们还证明,在不同的历史时刻,在不同的女性群体中,可能会出现不同的消费文化概念。而不是一维的消费夫人,相反:女性在现代消费文化的形成中扮演着更为复杂的角色。职业妇女和管理职位的妇女在大众市场工业中为自己开辟了商机,尽管她们的本意很好,但她们往往加强了性别和消费的主导意识形态。然而,包括中产阶级改革家、工人阶级活动家和非洲裔美国女商人在内的其他女性对这些意识形态提出了集体和政治化的挑战。在国家广告和大众传媒所塑造的引人注目的女性消费者形象背后,女性参与了无数的商业和社会实践,为现代消费文化提供了形态和实质。


原文链接:https://www.albany.edu/jmmh/vol1no1/peiss-text.html




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