抄録
This article considers the bold redesign of stewardess uniforms that designer Emilio Pucci undertook at Braniff Airways in 1965. As part of a larger marketing campaign to alleviate customer fears about the generic nature of jet travel, Braniff promised “The End of the Plain Plane” through injections of color, high-end style, and the objectification of stewardesses. The adoption of jet technology thereby significantly impacted women, at a time when the United States was experiencing the rise of a new feminist wave. What this article terms “Jet Age feminism” is quite different from the radical feminism that not only sought parity with men in careers but also demanded an end to the physical objectification of women, contesting the stringent beauty norms placed on women even at work. In contrast, “Jet Age feminism” was inspired by people like ad executive Mary Wells, who masterminded the Braniff campaign, and Cosmopolitan magazine editor Helen Gurley Brown. Braniff’s newly outfitted stewardesses embodied much of these women’s feminist vision: promoting greater public mobility for women without dismantling beauty culture. The end result was a compromised feminism that benefitted wealthy career women like Wells, without freeing Braniff’s stewardesses to attain the same access to life-long careers.
https://ror.org/05p1j8758 
