For Ivy-Style’s 200th post, I thought I’d break out something special I’ve been sitting on for awhile.
Last year, between Los Angeles and New York, I spent six months in my old environs of the Bay Area, including five weeks staying with a former flame (now married to a Hungarian who lost his baronetcy in the revolution), in Oakland on Lake Merritt.
Out for a stroll one day, I popped into Walden Pond Books, one of those massive used bookstores you can get lost in for hours, and of which so few remain today. In the back were several tables loaded with paperbacks from the ’50s, a mixture of science fiction and detective dime novels and reprints of stuff like DH Lawrence and Ovid’s “Art of Love” with lurid covers.
Of these hundreds of books stacked pell-mell, one caught my eye: a 1959 novel called “Try For Elegance” by David Loovis. The characters were described as “white-collar Beats” and included Teena, “a commuter between Park Avenue and Greenwich Village,” and Paul, “a bohemian in a Brooks Brothers suit.”
I had a feeling I’d stumbled across a real lost artifact, and rushed home with the three-dollar book to do some googling.
I found an article in The New Yorker that profiled Loovis and his debut novel. Turns out the author was an Ivy Leaguer who worked at Brooks Brothers’ Madison Avenue flagship, and “Try For Elegance” was largely based on his experience there.
I can’t describe the serotonin-rush of serendipity that flushed over me because of this fortuitous find. In my six years of style blogging, this was without a doubt the coolest find. Who else would have noticed this book and been in the position to appreciate it, put it in context, and share it with an interested readership? If fate has a hand in blogging — if fate has a hand in anything — this was it.
As for the novel, its quality is about what you’d expect from an author you’ve never heard of who’s prone to describing the weather as “warmish,” “bluish” or “fallish.” But for our purposes here, “Try For Elegance” is a fascinating document for its dramatization of what it was like at Brooks Brothers (which is never mentioned by name) during its heyday.
Like his creator, Paul Dunar is the graduate of “a small Ivy League college.” He is a 29-year-old aspiring painter who’s been working at the store for a year, and who falls for a 19-year-old spoiled rich girl from the Midwest. Paul has a taste for good clothes, is conscious of being well dressed, and delights in the pleasure of being well turned out:
The silk jacket beneath his raincoat felt good, his trousers were perfectly pressed and his linen could not have been whiter. He too liked a handkerchief in his suit coat top pocket and as his raincoat fell open, he saw that it was thrust in at a casual and jaunty angle.
Here’s the first description of the store, which ends on a killer line:
It was with great pride that the Madison Avenue store proclaimed its one hundred and thirty years of continuous service; indeed, only two things appeared on its label: the store name and the year of its establishment. It catered in men’s furnishings and clothing to what is know as the perennial taste; suits designed with a narrow shoulder, made of subdued colored materials woven in England, and cut by the store’s own tailors; furnishings distinguished by flair without ostentation. In its long history, the store numbered among its customers American presidents and European kings, as well as all the people alive in the world during the last century and one-third who agreed that this was the style that mattered.
Here’s a sense of what customer service was like 50 years ago:
Of the twenty-six salesmen on the main floor of the Madison Avenue store, fourteen had worked there over ten years, six were members of the Quarter Century Club, and one man had actually been in the employ of the company for fifty-one years.
The latter gent was “more than an old salesman. To the well-bred of the era, he was a landmark, a reminder of youth and a happy, stable world.”
Quite a contrast to Paul’s floor manager, Mr. Pardee, who wears a gaudy watch and had “come in his teens from a tiny town in one of the far midwestern states.” Here’s Mr. Pardee:
He detested to the point of vehemence the term “Ivy League” although the store was generally considered as the long-time stronghold of that type of apparel. Dunar suspected Pardee’s lack of college background and a secret envy of the well-fed, rangy type of boy and man who mostly patronized the store had something to do with it.
Loovis devotes an entire chapter to dramatizing the feeding frenzy during one of the store’s semi-annual sales, during which Paul is poised to make enough money to move into a new apartment:
Even from a distance of three blocks, Dunar could see that a number of people had gathered and were waiting outside the Madison Avenue store…
He noticed the jam of people in front of the elevators. It was as if the cars were lifeboats, and it was necessary to get into one. But it was not often that the store offered reductions, in almost all its departments. And it was not too much to say that customer response to these private sales, unadvertised in the papers (notices through the mail only), was fanatic.
The store feeds the salesmen milk and sandwiches during the day to keep up their stamina, and at the end of the grueling day, during which the elderly salesman had collapsed from exhaustion, Dunar faces two and a half hours of writing up his sales book.
Here’s what The New Yorker had to say in its profile of July 11, 1959, after dispatching a writer to track down Loovis at Brooks:
We found him deep in wash-and-wear suits, on the second floor, and begged the privilege of an interview. Slender, dark-haired, and dapper, he said he’d be glad to give us a word or two between customers. To break the ice we remarked that he was the best-dressed author we’d encountered in many years.
Loovis later tells the magazine:
“The ‘elegance’ of the title doesn’t refer solely to physical surroundings, by the way. An elegant person is a gentleman, one who knows how to handle himself. He cares for his life, and intends to live it in association with others who care and with things that are beautiful and fine. In my novel, I deal sympathetically with a middle-class hero who wishes to play the game but is ill-equipped to do so.”
You’ll dig the vintage Brooks lingo here:
Mr. Loovis was called away to wait on somebody, and upon returning he told us that Brooks Brothers salesmen take customers in rotation and that, by bad luck, the customer who just had fallen to him had proved an egg, which is a BB term for a customer who takes a lot of time and then doesn’t buy anything. The opposite of an egg, Mr. Loovis told us, is a wrapup — a customer who knows exactly what he’s after and wastes no time getting it — while a sea bass is a big buyer, and a huckleberry is a pleasant fellow who moseys around the store for an hour or so, making no trouble, and eventually buys a necktie or some other small article.
Loovis closes by telling the New Yorker:
“The job gives me a good income and I believe in what I’m selling; there’s an undeniable integrity, a psychological validity, here at Brooks that I mightn’t find anywhere else.”
— CHRISTIAN CHENSVOLD
The following article is actually the first one The Rake assigned me, but it was held for several issues while they waited for new spring clothes to photograph.
It’s out now in the current issue, and was great fun to research, as I got to talk not only to Bruce Boyer and Paul Winston, who’ve since become friends and colleagues, but also Alan Flusser, Denis Black, Ethan Huber and Lisa Birnbach.
The complete text is below, or you can click here for a PDF with the accompanying fashion shoot.
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Damned Dapper: The origins, philosophy and specifics of the “go-to-hell” aesthetic — the conservative WASP’s colorful, critter-filled creative outlet
By Christian Chensvold
The Rake, Issue 8
Thomas Watson Jr. was president of IBM during the years when it was a punchline for sartorial conformity. Throughout the ’50s and ’60s, gray suits for employees were standard, white shirts required.
It may seem an odd non sequitur, then, that Watson once ordered a custom sport coat whimsically embroidered with dozens of little skiers, to wear during cocktail hour at the lodge after a long day on the slopes.
Since the time of Martin Luther, the Protestant nations of the Western world have been known for a sober palette compared to the scarlet and purple of their Catholic neighbors. Perhaps this repressed sense of color ironically accounts for the riotous display of blinding pastels that characterize the preppy look of the WASP, or White Anglo Saxon Protestant, a term popularized in 1964 by sociologist E. Digby Baltzell to describe the small caste of elites that ran American business and politics.
While WASPs have largely lost their power stranglehold on American society, their influence on the world of fashion is stronger than ever. And despite their notorious character flaws (bigotry, emotional impotence, fondness for peanut butter), they’ve long led America with sterling examples of virtue and self-sacrifice.
And for that they have as good a chance for getting into heaven as anybody else — unless, of course, St. Peter guards the “pearly gates” like a nightclub bouncer enforcing a dress code. In that case, WASPs will surely have their trousers damned to the netherworld.
GOING TO HELL
Tom Wolfe may seem an odd springboard for a story about color. But while the dandy author’s wardrobe may be all white, his prose is pure purple. He’s also a keen sartorial observer, and in 1976, in an article for Esquire entitled “Mauve Gloves & Madmen, Clutter & Vine,” Wolfe uses the catchy phrase “go to hell” to describe the garish pants worn by elite Bostonians vacationing on the island retreat of Martha’s Vineyard. The phrase continues to enjoy limited usage, and the passage that birthed it is worth quoting in full:
[Bostonians on Martha’s Vineyard] had on their own tribal colors. The jackets were mostly navy blazers, and the ties were mostly striped ties or ties with little jacquard emblems on them, but the pants had a go-to-hell air: checks and plaids of the loudest possible sort, madras plaids, yellow-on-orange windowpane checks, crazy-quilt plaids, giant houndstooth checks, or else they were a solid airmail red or taxi yellow or some other implausible go-to-hell color. They finished that off with loafers and white crew socks or no socks at all. The pants were their note of Haitian abandon… at the same time the jackets and ties showed they had not forgotten for a moment where the power came from. (Continue)
The first Japanese to adopt elements of the Ivy League Look were a youth tribe called the Miyuki-zoku, who suddenly appeared in the summer of 1964. The group’s name came from their storefront loitering on Miyuki Street in the upscale Ginza shopping neighborhood (the suffix “zoku” means subculture or social group). The Miyuki-zoku were mostly in their late teens, a mix of guys and girls, likely numbering around 700 at the trend’s peak. Since they were students, they would arrive in Ginza wearing school uniforms and have to change in to their trendy duds in cramped café bathrooms.
And what duds they were. The Miyuki-zoku were devotees of classic American collegiate style. The uniform was button-down oxford cloth shirts, madras plaid, high-water trousers in khaki and white, penny loafers, and three-button suit jackets. Everything was extremely slim. The guys wore their hair in an exact seven-three part, which was new for Japan. They were also famous for carrying around their school uniforms inside of rolled-up brown paper grocery bags.
What lead to the sudden arrival of the Miyuki-zoku? Although Japanese teens had been looking to America since 1945 for style inspiration, these particular youth were not copying Princeton or Columbia students directly. In fact, Japanese kids at this time rarely got a chance to see Americans other than the ever-present US soldiers.
The Miyuki-zoku had found the Ivy look through a new magazine called Heibon Punch. The periodical was targeted to Japan’s growing number of wealthy urban youth, and part of its editorial mission was to tell kids how to dress. The editors advocated the Ivy League Look, which at the time was basically only available in the form of domestic brand VAN. Kensuke Ishizu of VAN had discovered the look in the 1950s and pushed it as an alternative to the slightly thuggish big-shouldered, high-waisted, mismatched jacket-and-pants look that dominated Japanese men’s style throughout the 1950s. As an imported look, Ivy League fashion felt cutting-edge and sophisticated to Tokyo teens, and this fit perfectly with Heibon Punch‘s mission of giving Baby Boomers a style of their own.
When the magazine arrived in the spring 1964, readers all went out and became Ivy adherents. Parents and authorities, however, were hardly thrilled with a youth tribe of American style enthusiasts. The first strike against the Miyuki-zoku is that the guys — gasp! — would blow dry their hair. This was seen as a patently feminine thing to do.
More critically, the Miyuki-zoku picked the wrong summer to hang out in Ginza. Japan was preparing for the 1964 Olympics, which would commence in October. Tokyo was in the process of removing every last eyesore — wooden garbage cans, street trolleys, the homeless — anything that would possibly be offending to foreign visitors. The Olympics was not just a sports event, but would be Japan’s return into the global community after its ignoble defeat of World War II, and nothing could go wrong.
So authorities lay awake at night with the fear that foreigners would come to Japan and see kids in tight high-water pants hanging out in front of prestigious Ginza stores. Neighborhood leaders desperately wanted to eradicate the Miyuki-zoku before October, so they went to Ishizu of VAN and asked him to intervene. VAN organized a “Big Ivy Style Meet-up” at Yamaha Hall, and cops helped put 200 posters across Ginza to make sure the Miyuki-zoku showed up. Anyone who came to the event got a free VAN bag — which was the bag for storing your normal clothing during loitering hours. They expected 300 kids, but 2,000 showed up. Ishizu gave the keynote address, where he told everyone to knock it off with the lounging in Ginza. Most acquiesced, but not all.
So on September 19, 1964, a huge police force stormed Ginza and hauled off 200 kids in madras plaid and penny loafers. Eighty-five were processed at nearby Tsukiji jail. The kids got the message and never came back, and that was the end of the Miyuki-zoku.
Starting in 1945, Japanese authorities generally viewed all Western youth fashion as a delinquent subculture. Despite looking relatively conservative in style compared to the other biker gangs and greasy-haired rebels, the Miyuki-zoku were still caught up in this delinquent narrative. In fact, they were actually the first middle-class youth consumers buying things under the direction of the mainstream media. It was Japanese society that was simply not ready for the idea that youth fashion could be part of the marketplace.
After the Miyuki-zoku, however, Ivy became the de facto look for fashionable Japanese men, and the “Ivy Tribe” that followed faced little of the harassment seen by its predecessor. The Miyuki-zoku may have lost the battle of Ginza, but they won the war for Ivy League style. — W. DAVID MARX
W. David Marx is a writer living in Tokyo whose work has appeared in GQ, Brutus, Nylon, and Best Music Writing 2009, among other publications. He is currently Tokyo City Editor of CNNGo and Chief Editor of web journal Néojaponisme.
Special thanks to Valetmag.com, Kempt, Selectism, ModCulture and the many other sites that linked to this post.
Paul Winston’s bold suit linings are so famous, many clients select the fabric for the lining before the fabric for the suit itself.
Vivid linings are just one of the signature styles of Winston, the renowned tailor who began working for his father Sidney’s New York-based clothing company Chipp in 1961. Chipp soon became renowned for inventing the patching of madras and tweed, and for dressing President Kennedy.
Winston stayed with Chipp until the company’s dissolution in the early ’80s, and currently operates Chipp2/Winston Tailors out of a fifth-floor office in Midtown Manhattan.
Sidney Winston founded Chipp in 1947 following many years with J. Press, where he began working after high school. Previously located near 44th and Madison — among the cluster of traditional clothiers Brooks Brothers, J. Press and Paul Stuart — Chipp at its peak employed 30 tailors and a sales force of 10, and offered both custom and ready-to-wear clothing.
Paul Winston, now 70, attended Hopkins Grammar School, a small prep school in New Haven that is one of the nation’s oldest. He went on to study at Union College in Schenectady, New York. After joining Chipp, he commuted by train from Stamford for 37 years.
Winston currently resides in Wayne, NJ, where he boards a bus every morning at 6 to get to the office around 7. As further evidence of his dedication to the art of tailoring, he often works at home until midnight. “I figure the older I get the less time I have,” he says, “so I ought to be doing something other than sleeping.”
Winston recently spoke with Ivy-Style founder Christian Chensvold about Chipp’s heyday, his current clientele, personal tastes, and his dislike of any kind of dressing orthodoxy.
* * *
IS: When your father left J. Press to start Chipp, what was his vision for the company?
PW: It’s just the American Dream to want to have your own thing rather than work for somebody else. My father was a natural salesman. His first job at J. Press was going to all the prep schools. He was just a kid out of high school himself, and he met a lot of people who became really important, but he met them when they were contemporaries of his, and there’s a big difference in the relationship you have with someone you meet when you’re both 18 years old. He met Thomas Watson Jr. of IBM and Cyrus Vance and that caliber, and had a relationship with them for the rest of his life that was much warmer than if he’d just met them later.
IS: When would this have been?
PW: He was born in 1912, so it would have been about 1930. At that time Brooks and Press traveled all over the country doing trunk shows. They also went to certain prep schools and colleges. My father knew a lot of people who went on to work in New York after they finished school. He started Chipp with a man named Lou Praeger, who also worked for Press as manager of the store in Princeton.
IS: When were the company’s golden years?
PW: I’d say the ’70s.
IS: The Ivy League Look went into fairly rapid decline sometime after 1965. What allowed you to thrive in the ’70s?
PW: We had a niche that continued, even though the Ivy League Look in general was declining and was probably bigger in Japan. But our customers wanted it, and many still want it today. Certain people object to calling it “Ivy League,” but however you want to call it, we still have that niche we’re filling with more completeness now than ever because there’s really nobody doing it anymore. (Continue)
Over the past several decades, G. Bruce Boyer has distinguished himself as one of the most erudite writers ever to tackle the subject of menswear.
Born in 1941, he came of age at the Ivy League Look’s height in popularity. A graduate of Moravian, the fifth-oldest college in the US, Boyer went on to do graduate work at Lehigh University and taught literature for eight years at Moravian and DeSales University. He has lived most of his life in Bethlehem, Pennsylvania.
Boyer’s writing career began in 1973 with an article about the Duke of Windsor, penned shortly after the British royal’s death. Boyer submitted the story to Town & Country, and soon became the magazine’s men’s fashion writer. He has since written numerous books, most recently “Fred Astaire Style” and the forthcoming “Black Tie.”
Ivy-Style founder Christian Chensvold recently spoke with Boyer about the heyday of the Ivy League Look, its abrupt end, the sprezzatura of the WASP establishment, and why he doesn’t spend much time in online forums.
IS: You entered college in 1959. What were the typical items of clothing you wore at the time?
BB: A button-down shirt in the traditional colors: white, blue, pink, yellow or striped, a shetland crewneck, khakis and Weejuns. The other thing was argyle socks, and in the summer madras everything. For tailored clothing, the ideal would have been a navy single-breasted blazer, a Harris Tweed jacket, a gray flannel suit, and a tan poplin suit or seersucker. That was the standard stuff.
IS: Madras quickly leads us to what’s known as the Go-To-Hell look. How much of that do you remember?
BB: I remember that stuff from the early ’60s. I started to go to New York for shopping and my favorite store was Chipp. That’s where I saw the patch madras and tweed, even before Brooks. Because Chipp is gone now, people tend to forget them. But they were probably the most interesting and most important and the best of Ivy League clothing stores. They were always a little more expensive, too. If Brooks introduced the shetland to this country, it was Chipp that promoted the wild colors like coral, hot pink and lemon yellow. I think I had a cable-knit shetland in bright raspberry in the ’60s. Chipp also did all of the wonderful, wild tweeds: You’d get a tan herringbone with a lilac windowplane overplaid.
I also remember going to Langrock in Princeton, which was for me the greatest campus shop that ever existed. By the late ’60s, the whole town of Princeton was divided into two kinds of people: It was either tweedy professors or freaky kids. It was either guys in Harris Tweed suits, tortoiseshell glasses and bow ties, or kids in tie-dye and jeans. Yet everyone got along.
IS: The OCBD-shetland-khakis-Weejuns-argyles look is considered a uniform today, as apparently it was then. In hindsight we seem to have conflicting images of the style: On the one hand everyone wore the same basic things, but on the other hand, as you pointed out with Chipp, there was tremendous variety.
BB: I think the variety came not so much from the items within the genre, but from color. It depended on how out-there you wanted to be. On the one hand there was a big interest in drab colors. Olive green was a huge color. I remember having an olive tweed three-piece suit. A lot of guys wore olive or gray flannel and brightened it up with a rep tie, a pink button-down and argyles. But then there were more guys of a more dandyish bent who were really out-there with the lime-green shetlands and animal corduroy trousers in bright orange, and bright plaid sport jackets. You got a beat on a guy from his sense of color more than anything. Some guys were more quiet and conservative, and others were more out-there. Some guys looked more like bankers, and others like they spent their lives on the golf course, but they were wearing the same clothing. (Continue)
Though Ivy style during its heyday was broad and multifaceted (at least compared to what survives of it today), its core components were so fixed and predictable that by 1957 the look could be easily parodied with a few rhyming verses.
Even more telling, just such a parody came directly from the campus most credited with setting fashions: Princeton.
“The Ivy League Look” is a musical number created by The Triangle Club, Princeton’s theater troupe. The lyrics are by Clark Gesner, who would later go on to pen the musical “You’re a Good Man, Charlie Brown.”
The Triangle Club, whose past members include F. Scott Fitzgerald, Booth Tarkington and Jimmy Stewart, has graciously granted Ivy-Style permission to present the lyrics for the first time on the web, though reading them is surely not the same as seeing the song performed.
The idea of lifestyle marketing, so entwined with selecting clothing today, is already deeply present in these lyrics from 52 years ago. Credit is given to magazines for dictating dress; Ivy style is presented as both modern and American compared to lower forms of dress, such as that worn by greasers or Midwesterners; Brooks Brothers is held up as the can’t-go-wrong standard; and by simply following a few sartorial shibboleths, any man can look the part, even if he’s never set foot on campus in his life.
The Triangle Club is still in operation and occasionally performs the number, though the lyrics probably don’t resonate the way they used to. — CC
Ivy League Look
by Clark Gesner
From the Princeton Triangle Show After A Fashion 1957
© The Triangle Club of Princeton University
Corduroy slacks disgust me
Black leather jackets are vile
Long greasy hair and blue suede shoes
Transform my blood to bile.
If you want everyone to accept you
As a modern American male
You must dress the way the magazines say
They dress at Harvard and Yale
Though you’ve never been to college in your live long life
Never looked beyond the cover of a book
You can convince every chap that
You’re a Phi Beta Kappa
If you’ve gone and got that Ivy League Look
When the weather gets too chilly for Bermuda shorts
Take those red flannel longies off the hook
Just be sure that that trap
Has a button down flap
You’ve got to have that Ivy League Look
Alexander they say tried to conquer the world
With a helmet and a shield to boot
He should have known he would fail
With all that armor and mail
When all he needed was a Brooks Brothers suit
(They’re very stunning!)
If you’ve lost your shirt and everything at poker games
And a burlap bag is all that ain’t been took
Just be sure that that sack has a buckle in back
You’ve got to have that Ivy League Look
With this dashing new style you’ll be tapered and trim
Just a slender as a blushing bride
You’ll be the picture of grace
When you are viewed face to face
And quite invisible when seen from the side
(You’re almost nothing!)
It is crucial that the well dressed man be most precise
And should always dress exactly by the book
For with a two button coat, you’re just a Midwestern goat
With three you’ve got that Ivy League Look
(Won’t play the Rose Bowl)
Just dress the discreet way, the smart Rogers Peet way
You’ve got to have that Ivy League Look
(Just call me tweedy)
I’ve gone and got that Ivy League Look
Almost two years before “The Official Preppy Handbook” made preppy affectation accessible to all, Nelson W. Aldrich Jr. had already caught wind of the zeitgeist.
His January 1979 cover story for the Atlantic Monthly, “Preppies: The Last Upper Class?” is a seminal work of exposition on the manners and mores of the WASP establishment. It is also helpful in filling out the dark years between the fall of the Ivy League Look circa 1965, and the revival of what remained of it, combined with new styles and attitudes picked up during an intense period of social change, in November 1980 with the publication of “The Official Preppy Handbook.”
In honor of the article’s 30th anniversary, Ivy-Style herein presents this largely forgotten historic document now digitized for the Internet.
In the article, Aldrich — who authored the book “Old Money” and edited the oral history of George Plimpton Ivy-Style wrote about a while back — attempts to outline the behavioral characteristics of the prep-school set, their likes and dislikes, values and revulsions. Aldrich links the ideology of the preppy to his forbearer, the WASP, to whom the preppy owes his austerity, deference, and attitude toward money.
Aldrich devotes only a few paragraphs to preppy clothing; in his view the term “preppie” designates a group of people, not simply a style of dress. When he does mention clothes, he does so to illustrate the insularity of preppy society, in which the tiniest modifications of attire can carry great significance.
Worth noting is the passage in which Alrich argues that the distinguishing sartorial details of preppy style — presumably things like hooked vents, lapped seams and two-button cuffs, or perhaps embroidered whale belts — are relished by outsiders once they’ve figured out the secret code, but viewed as “oppressive” by the preppies expected to follow the code.
Along those lines, the famous preppy nonchalance envied by all may not come as easily as it appears. Writes Aldrich:
For the Preppie, on the other hand, gracefulness is less a gift than a standard, something to measure up to, a performance. The delight of the thing comes from the knowledge that it’s all contrived, that the effect of effortlessness requires a good deal of strain, that negligence requires attention, that indifference requires concentration, that simplicity and naturalness require affectation. The most delicious “in” joke of Preppiedom is the anxiety everyone feels about being carefree.
Aldrich’s attitude toward preppy culture is ambivalent. At times the article parodies the anxieties of preppies, yet Aldrich also seems to exalt their modesty and discretion. Although preppies may be the target of his satirical tone, he finds redeeming qualities in them which he suggests may be growing rare.
Ultimately his article is less the lampooning of a social class and more the taxonomy of an odd breed. Less than two years later, this taxonomy would reappear as a New York Times best-selling handbook.
The article is long and sometimes tedious, and so we’ve opted to present it in an excerpted format. This also presumably reduces our culpability in any copyright infringement accusation.
In addition to “Preppies,” Aldrich uses the terms Archies (from the Archie comic books) to denote the suburban middle class, and City Kids for the urban working class. — ZACHARY DELUCA & CC
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“Preppies: The Last Upper Class?”
By Nelson W. Aldrich, Jr.
Atlantic Monthly, January 1979 (excerpts)
“Preppie” is a catchall epithet to take the pace of words too worn or elaborate for everyday use, words such as privileged, ruling class, aristocrat, society woman, gentleman, and the rich. Ideological struggle is too shaming to talk about these days. Lifestyle rivalry is the new engine of history. In this sort of society, Preppies pass for an upper class. (Continue)