In 1941, Popular Science magazine first coined the term “teenager,” and by the middle of the 1950s members of this age group viewed themselves not as prospective adults but as a distinct group with its own identity, patterns of behavior, and tastes in music and fashion- a separate youth culture. The phrase “teenager” came into common use in the mid-Forties when advertisers and manufacturers found themselves looking for a term to describe what was becoming a promising demographic with newfound financial freedom. Young peoples’ visible spending power coincided with the conceptualization of the teenage years as its own stage of life with its own rituals, rights, and demands. (http://program.dh.ucla.edu/dh101/2014/dhsubcultures/omeka/dhsubcultures.com/omeka/exhibits/show/youth-subculture/terminology.html)
Until the late Forties and early Fifties, teenagers were not considered a unique demographic group to be analyzed socio-economically. Teenagers were just a subgroup of the larger group of children. In and after the 1950s, teenagers became an important segment of society when politicians and retailers realized teenagers would very quickly become voters and consumers. “In the past when American teenagers had made money, their earnings, more often than not, had gone to help support their parents or had been saved for one … long-desired purchase, like a baseball glove or a bike.” In the new affluence, however, teenagers “were becoming a separate, defined part of the culture: As they had money, they were a market, and … they were listened to and catered to.” (Halberstam, The Fifties) “These young people with cash from paid work soon had their own fashions, own music, own cafes, own milk bars and by the end of the decade even their own transport in the form of fueled scooters.” (Id.) Teenagers suddenly dominated style in clothes, haircuts and even travel abroad. A generation gap began to emerge between parents and teen offspring. Perhaps the greatest symbol of this new youth culture was its music, a new sound called rock & roll. Rock & roll was viewed by adults in its early years as an affront not merely to aesthetic sensibilities but to morality. Because of that rock & roll was strenuously resisted by mainstream interests. But, the more the adult world resisted rock & roll, the more teenagers took to it.
Generally, there were two main styles for Fifties teenagers – “greasers” and “preppies.” Greasers followed the standard anti-authoritarian black leather jacket, white t-shirt, and denim jeans look set by Marlon Brando in “The Wild One” (1953). They raced about town on motorcycles or in hot rods and were considered dangerous. The term greaser comes from the greasy-looking hair styles that young men would wear. Usually hair was combed through with gel, pomade or even petroleum jelly until it was saturated. The pompadour, a hair style where the bangs are elevated off of the forehead and the hair is slicked back, was often seen on greasers, as was the duck’s tail (“DA”), where the hair was combed toward the back of the head and a seam was formed where the hair from the sides met in the back. Preppie qualities were neatness, tidiness and grooming. Chino pants and button down collar shirts were favored by the Preppies. The crew cut was their accepted hair style. (https://vintagedancer.com/1950s/1950s-teen-boys-clothing/)
Fifties teenage boys had to wear suits and/or sport coats with dress pants to church, school (Catholic high schools or colleges), prom, or any other semi-dressy to very dressy occasion. Sport coats were worn with either matching or mismatched pants in a solid color. The coats could be a bright solid color or more likely a pattern such as vertical stripes, plaid, check, corduroy or two-tone color blocking. A white or sometimes colored dress shirt was worn underneath with a necktie or bowtie. For formal occasions, a plain grey or blue suit was acceptable. For prom, an all-black tuxedo was worn until the late ’50s, when the trend was to wear white dinner jackets over black pants.
Formality aside, teenagers longed for after school and weekend days when they could cast off suits and sport coats and wear casual clothing. For most of the decade, that meant wearing a long sleeve button down plaid shirt with a pair of trousers and a belt. Button-down shirts could also be bright solid colors, stripes, geometric “Atomic age” prints, paisley, color block, or western-style shirts. Camp collar sport shirts and Hawaiian print shirts were alternatives to the high buttoning dress shirts. They were perfect for hot summer days at the pool or beach. Shirts could also be knitted pullovers such as round, high-neck striped T-shirts, turtle neck shirts, and button or zip polo shirts. Sweaters and cardigans were another way teen and college-age boys could dress up or down an outfit. The coolest way to show off school spirit was to wear a varsity or lettered cardigan sweater. School colors with a school or club letter on one side were what most boys wore instead of sport coats. Schools allowed it, and boys preferred the comfort of a sweater. Boys could also wear a plain V neck pullover sweater over a shirt and tie. Sleeveless sweater vests were also an option for when the weather turned warmer. In winter, it was the Nordic wintery-print or argyle print sweater and cardigan that kept them warm.
Blue jeans were adopted by teen boys in the 1940s and became essential clothing for teens in the 1950s. Not allowed at school, boys quickly changed into them after hours and on weekends. They were styled after western wear or work wear denim in a dark wash with thick rolled-up cuffs. A western style belt was paired with them, although in the city, a plain belt was preferred. Blue jeans and white T-shirts became a symbol of delinquent youth who were depicted in movies such as Rebel Without a Cause and The Wild One. To avoid the stereotype, most teens wore jeans with casual button-down shirts and striped T-shirts.
Male teenagers sometimes wore black and white saddle shoes; but, they wore other shoes more often. The lace up Oxford shoe was going out of style, and in its place were lace-less slip on shoes. Loafers or penny loafers were still popular from the 1940s in black, grey, or blue colors. The moccasin top lace-up or slip-on shoe was also trendy. When the “Shu-lok” design came about in the late 1950s, every teen had to have one. The tongue snapped down into place; they were fun to snap on and off! For sports, it was the high top canvas shoe with a rubber sole, aka the “Converse” or “Chuck Taylors,” that had boys playing basketball with friends or on the school team. There were low top versions for outdoor grass top sports too. Rebel boys didn’t wear any of the typical teenage shoes. Instead, they wore black leather motorcycle boots, even if they didn’t have a bike. They also liked black and white high top Converse shoes as a cheaper option.
Teen girls’ wardrobe consisted of full dirndl or circular “poodle” skirts with large appliqués on their clothing. Pleated skirts that were made from a then new fabric called TERYLENE (polyester) which helped maintain razor sharp sunray pleating were also popular. The skirts were supported by bouffant paper nylon or net petticoats. Pencil skirts were also favored. The skirt had to be long, mid-calf in the early years and rising higher and higher, but never showing the knee by the end of the decade. One reason poodle skirts were so popular is they were very good for dancing to the Fifties rock & roll songs. They were easy to move in leaving lots of room to swing. The full skirt with the petticoats under emphasized the dance moves as they spun around. Also, it was a statement of freedom symbolized in the skirt (loosening and free), a movement by teens to express themselves. A poodle emblem was the most know addition to the poodle skirt. However, teen girls could express rock & roll, though other emblems, such as 45 rpm records, musical notes, dances, etc. (https://vintagedancer.com/1950s/1950s-teenager-fashions-girls-fashion-trends-and-clothing-styles/)
On top, teen girls wore scoop neck blouses, back to front cardigans, tight polo necks or three quarter sleeve, white fitting shirts often with a scarf knotted cowboy fashion at the side neck. With skirts, teen girls wore button-down blouses that had to be perfectly pressed every night. During the day, blouses had to be kept tucked in neatly into the skirt band, which was a constant battle. White blouses were the best to wear because they matched everything. Brand names like Ship ‘N Shore were the most coveted, although pricey. Blouses had a variety of collar types, but the most popular was the rounded Peter Pan collar. It could be plain or trimmed in lace as well as the sleeves. Some had contrasting decorative stitching while others were embellished with small ruffles, pin tucks, contrasting buttons, and bows. Long sleeve blouses were usually not white but small prints of flowers, dots, or repetitive geometric designs. The plaid long sleeve blouse looked like one of dad’s casual shirts, although these were usually reserved for the weekends. All blouses buttoned up to the top of the neck- no room for immodesty in the ’50s.
Besides blouses, for girls knit short-sleeve sweater tops were equally popular alternatives to light blouses. They came in pretty pastel colors in spring, decorated with beading or embroidery around the high round necks. The length was very short, just enough to tuck into a skirt or layered over the skirt band for a slightly more casual look. In winter, long sleeve sweaters were worn over blouses or by themselves. There were also false blouses that were only the collar part. “We called the white collars worn with sweaters ‘dickies.’ I had one that had both a round and a pointed collar to choose from.” (The Way We Were.) The sweater could be a pullover or button-down cardigan style. Many cardigan sweaters were sold with matching short sleeve sweaters, making a “twin set.” The cardigan was often decorated with beading along the edges, neckline or shoulders. Wearing a neck scarf tied to one side of the neck with a sweater or cardigan was also very trendy. White, pink or yellow scarves were the most common colors – just enough to add a splash of color.
Saddle shoes, loafers, bucks, and ballet flats were the four most common teenage girl shoes. Saddle shoes, named after the black saddle across the center of a white Oxford shoe, were the most iconic of the decade. They came in other colors too, but black with a white sole was the best. Care had to be taken to keep them perfectly clean and shiny. “We wore dresses or skirts with socks & saddle shoes or penny loafers! Dirty saddles were not cool. My penny loafers shined…but saddles were really popular…the white bucks too. At our school, saddles were part of our uniform…if you didn’t keep them polished you were in detention! We all had a bottle of white shoe polish in our lockers. While it sounds petty, it made us take pride in our appearance for sure.” (The Way We Were) Penny loafers were the next most popular teenage shoe. They easily slipped on and were very comfortable. They were dressy enough for school, yet could also be casual with jeans on the weekends. They were neutral in color (black, white, brown) until the late ’50s, when bold colors like red, teal, pink, and tan added options to match outfits. “Loafers were called penny loafers but you always put a dime in them so you could call home. Dimes for the black loafers, pennies (shined up) for the brown. These are what I wore instead of saddle shoes. My mom worked so hard to pay for my Bass Weejuns.” (Id.)
Here are several popular rock & roll songs from the Fifties that relate to teen clothing:
“Blue Suede Shoes,” written and sung by Carl Perkins (1995) https://youtu.be/LAa8BW_sR_c (Elvis Presley covered this song and made it a hit, but Carl Perkins put it out first.)
Well, it’s one for the money
Two for the show
Three to get ready
Now go, cat, goBut don’t you
Step on my blue suede shoes
You can do anything
But stay off of my blue suede shoesWell, you can knock me down
Step in my face
Slander my name
All over the placeWell, do anything that you want to do
But uh-uh, honey
Lay off of them shoes
Don’t you step on my blue suede shoes
Well, you can do anything
But stay off of my blue suede shoesLet’s go, cat
Ah, walk the dogYou can burn my house
Steal my car
Drink my liquor
From an old fruit jarWell, do anything that you want to do
But uh-uh, honey
Lay off of my shoes
And don’t you
Step on my blue suede shoes
Well, you can do anything
But stay off of my blue suede shoesAh, get
YeahWell, it’s one for the money
Two for the show…
“A White Sport Coat and A Pink Carnation,” Marty Robbins (1957) https://youtu.be/zD8MnvyAi6I
A white sports coat and a pink carnation
I’m all dressed up for the dance
A white sports coat and a pink carnation
I’m all alone in romanceOnce you told me long ago
To the prom with me you’d go
Now you’ve changed your mind, it seems
Someone else will hold my dreamsA white sports coat and a pink carnation
I’m in a blue, blue moodI’m all dressed up for the dance
I’m all alone in romanceOnce you told me long ago
To the prom with me you’d go
Now you’ve changed your mind it seems
Someone else will hold my dreamsA white sports coat and a pink carnation
I’m in a blue, blue mood
“Tan Shoes and Pink Shoelaces,” Dodie Stevens (1959) (Dodie Stevens’ heartthrob was neither a preppie nor a greaser.) https://youtu.be/mXk5E-NgMzM
Now I’ve got a guy and his name is Dooley
He’s my guy and I love him truly
He’s not good lookin’, heaven knows
But I’m wild about his crazy clothesHe wears tan shoes with pink shoelaces
A polka dot vest and man, oh, man
Tan shoes with pink shoelaces
And a big Panama with a purple hat bandOoh-ooh, ooh, ooh
Ooh-ooh, ooh, oohHe takes me deep-sea fishing in a submarine
We got to drive-in movies in a limousine
He’s got a whirly-birdy and a 12-foot yacht
Ah, but thats-a not all he’s gotHe’s got tan shoes with pink shoelaces
A polka dot vest and man, oh, man
Tan shoes with pink shoelaces
And a big Panama with a purple hat bandNow Dooley had a feelin’ we were goin’ to war
So he went out and enlisted in a fightin’ corps
But he landed in the brig for raisin’ such a storm
When they tried to put ’em in a uniformHe wanted tan shoes with pink shoelaces
A polka dot vest and man, oh, man
He wanted tan shoes with pink shoelaces
And a big Panama with a purple hat bandOoh-ooh, ooh, ooh
Ooh-ooh, ooh, oohNow one day Dooley started feelin’ sick
And he decided that he better make his will out quick
He said
“Just before the angels come to carry me
I want it down in writin’ how to bury me.”A’wearin tan shoes with pink shoelaces
A polka dot vest and man, oh, man
Give me tan shoes with pink shoelaces
And a big Panama with a purple hat bandOoh-ooh, ooh, ooh
Ooh-ooh, ooh, ooh
Ooh-ooh, ooh, oohAnd a big Panama with a purple hat band!!
“Short Shorts” –The Royal Teens (1958) https://youtu.be/UcvjXAtzaMU
Ooh, man, dig that crazy chick.
Who wears short shorts
We wear short shorts
They’re such short shorts
We like short shorts
Who wears short shorts
We wear short shorts.Who wears short shorts
We wear short shorts
They’re such short shorts
We like short shorts
Who wears short shorts
We wear short shorts.Who wears short shorts
We wear short shorts
They’re such short shorts
We like short shorts
Who wears short shorts
We wear short shorts.
“Bobby Sox to Stockings,” Frankie Avalon (1959) https://youtu.be/Jd5lX_FESlw
When a girl changes from bobby sox to stockings
And she starts trading her baby toys for boys
When that once-shy little sleepyhead
Learns about love and its lilt
You can bet that the change
Is more than from cotton to silkIf a miss wants to be kissed instead of cuddled
And to this you are in doubt as what to say
When a girl changes from bobby sox to stockings
Then she’s old enough to give her heart awayWhen a girl changes from bobby sox to stockings
And she starts trading her baby toys for boys
When that once-shy little sleepyhead
Learns about love and its lilt
You can bet that the change
Is more than from cotton to silkIf a miss wants to be kissed instead of cuddled
And to this you are in doubt as what to say
When a girl changes from bobby sox to stockings
Then she’s old enough to give her heart awayYes, she’s old enough to give her heart away
“Drive-in,” The Beach Boys (1964) (This version of the drive-in is not the same as the drive-in visited by the Fifties housewife. As reflected in the lyrics, you can have all kinds of fun at the Drive-In. https://youtu.be/wgncvjY-d2w
Ooh wah
Ooh wahEvery time I have a date there’s only one place to go
That’s to the drive in
It’s such a groovy place to talk and maybe watch a show
Down at the drive inForget about the plot, it’ll do very well
But make sure you see enough so you’re prepared to tell
About the drive in
(Ooh wah)
I love the drive in
(We love the drive in, we love the drive in)If the windows get fogged you’ll have to take a breath
(Ooh waah ooh)
Down at the drive in
(Wah wah ooh)
Or the cat dressed in white will scare you both to death
Down at the drive inA big buttered popcorn and an extra large coke
A few chili dogs and man I’m goin’ broke
Down at the drive in
(Ooh wah)
Yeah at the drive in
(We love the drive in, we love the drive in)Don’t sneak your buddies in the trunk ’cause they might get caught
By the drive in
(Wah wah wah ooh)
And they’d look kinda stupid gettin’ chased through the lot
(Wah ooh)
Around the drive inIf you say you watch the movie you’re a couple o’ liars
And “Remember only you can prevent forest fires”
Down at the drive in
(Ooh wah)
I love the drive in
(We love the drive in, we love the drive in)
Down at the drive in
(Ooh wah)
I love the drive in
(We love the drive in, we love the drive in)
Down at the drive in
(Ooh wah)
I love the drive in
(We love the drive in, we love the drive in)