Occasionally the clubs exhibited nascent hints of feminism, or at least signs of independent thinking. In 1910, for example, the Siegel-Cooper Bachelor Girl Social Club organized a celebration of Washington’s Birthday “without even inviting men.” Instantly they were denounced by male employees as man haters. Replied the bachelor girls: “No, we are not married, neither are we men haters, but we believe in women’s rights and we enjoy our independence and our freedom. Notwithstanding that if a fair offer came our way we might not [sic] consider it.”
Wealthy matrons found such beings coarse and undesirable in all ways, but their daughters were often intrigued. Trapped in a life of calling cards, formal teas, and chaperoned balls, young society girls craved some small measure of freedom before the inevitable wedding. Not that one would be so low as to actually work, but they had heard of these dances—the rackets—and there was something, why, it went without saying, monstrous in it all, yet still compelling.
“Slumming” even then had its magnetic lure, but it was rare to stumble upon the ideal circumstances for actually doing it. Rackets presented the perfect opportunity to anonymously and briefly indulge in—or at least watch—rowdy downtown behavior. Of course the girls under investigation were very “low,” headed for a life one could not begin to contemplate. Yet in the heat of a spiel, they seemed powerful—daring girls, brave, and perhaps even the tiniest bit enviable. Some of these same well-bred young ladies felt a secret fascination with stage stars. They would not, even for a laugh, stand among the “matinee girls,” the back-door fixtures who waited every day for their current idols to exit. But they were drawn to actresses, who throughout the nineteenth century had set the leading fashion trends. (Serious dramatic actresses were expected to supply their own costumes, and part of the thrill of theatergoing lay in the anticipation of seeing what they wore.) Actresses were also considered somewhat disreputable.
Out on her own, slumming with her beaux, the upper-class girl went to the shows. Actresses were interesting, but more immediately thrilling were the sequined chorus girls and the showgirls, curvaceous balletic things who appeared entr’acte to show new fashions. And everyone had a secret fascination with the Ziegfeld Follies girls and, most important, with Ziegfeld’s famed Floradora sextette. All six of these special stars, supermodels of their day, would marry millionaires.
In part, the allure of the working girl—like that of a low actress—derived from how much the mere idea of such a person upset one’s mother. Whether a shop girl or a showgirl, she was the exemplar of everything a daughter should not be—and should not even be exposed to. A great many mothers found these young working women personally threatening. If factory girls were thought to be whores with day jobs, then shoppies were believed to be mistresses in waiting. They spent their days surrounded by beautiful things and were encouraged to have men buy them clothes. If the girl was pretty, smart, and ambitious, she might walk out after work with a man, a husband, she’d sold a hat to. They would very likely “treat” each other in all sorts of ways.
One of the era’s most popular plays was called Only a Shopgirl (1902) by Claire Wellesley Sterling. Posters show a wealthy fur-clad wife bursting into a dim boardinghouse room. She points one manicured finger at a shirtwaisted girl named Hulda. Hulda stares back defiantly, her smaller siblings gathered around her in terror. “YOU,” shouts the woman, “are nothing but a low shop girl!” Says Hulda: “Better a low shop girl than a fashionable idler as heaven is above hell!” The play was produced throughout the teens and the themes reworked in several silent films until its class love triangle gradually entered the standard melodramatic lexicon.
For all their efforts, the fairy days, dances, and clubs, shop girls were unable to resolve their most basic problem: They were shop girls. And no matter what they did on weekends, the workdays were still long and depressing, and once or twice a month they took department inventory, at no extra pay. One plant observer, or investigator, captured the unavoidable results during a 1909 study of twenty stores. Here is his report on one set of counter girls:
I have been watching three misses… for three days now. The first is most instructive…. she wears a fixed smile on her made-up-face, and it never varies, no matter to whom she speaks… [First] she is either frowning or her face, like that of the others, is devoid of any expression. When a customer approaches, she immediately assumes her hard forced smile…. As they leave, it amazes how quickly it departs… I’ve never seen such calculation given to the timing of a smile…. The others make less drastic of an effort….
I have had the impression that one or both is lost in thought or asleep while standing.
But occasionally one read of a shoppie who, despite the physical rigors of work, the snotty clients, the pimpish bosses, seems to have done more than plot fantastic diversions; she’d made for herself a good life. One 1905 magazine story, “After Shop Hours—What?” follows “Bess,” an admirable, organized shop girl, as she describes what she does with her free time, each activity accompanied by small, if unfortunately blurry, engravings. As Bess was only too happy to explain:
MONDAY: Dine out or have chafing dish supper with one of the girls. To bed at 9:30.
TUESDAY: Read with one of my men friends (in parlour), novel or any book we choose. I do my week’s mending or fancy work while he reads. Sometimes we sing duets. To bed at 9:30.
WEDNESDAY: Dancing class. To bed at 10.
THURSDAY: Have someone to dinner. Sew or read or play games. To bed at 9:30.
FRIDAY: Two of my girlfriends and I have our fairy tale readings for settlement children every other Friday. Other Fridays we go out to a lecture or to something of the sort. To bed at 10.
SATURDAY: To theater or opera or dance and to bed any old time.
SUNDAY: Sleep. Every other Sunday is the Good Time Friendly Club. We have cake and tea and a sociable time. Others, I go for a walk with some of the men and the girls. To bed early.
The editors of this story made it clear that Bess was lucky. Most working girls were so anxious or so tired they did not get much from their time off, not even much-needed sleep. As more young women took jobs—nearly 60 percent of all New York City women, aged sixteen to twenty, worked during the early 1900s—a new set of reformers stepped in to help the workplace advocates. If Mary Gay Humphreys was concerned with underage cash runners, rest facilities, and horny floorwalkers, others now wondered how this girl might organize a “meaningful well thought out and rounded” life.
These were the words of Grace Dodge, a wealthy, socially conscious woman who “for them alone” opened the first YWCA, on Fifteenth Street. (She meant well, but given the time and place, “them” meant only white non-Jewish women with references and provably good reputations.) She also inaugurated a more inclusive network of clubs meant, and I quote from the cover of her popular book, A Bundle of Letters to Busy Girls (1887): “[to help] those girls who have not time or inclination to think and study about the many important things which make up life and living.” Dodge feared girls “had not time for the higher things.” She seems also to have believed they had not time for lower things. At weekly meetings, many held in her downtown apartment, she covered everything, for example: attending work with one’s menstrual period and “the disposal of rags.” Another: the importance of bowel movements and whether it was acceptable to move one’s bowels at work. She discussed clothing, hair, correspondence, and she expressed her belief that far more enjoyable than a racket, a wild dance, was a pleasant tea or reading party. Not all present agreed.