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Rural Representations in Fashion and Television: Co-Optation and Cancellation FSPC 1 (1) pp. 97–117 Intellect Limited 2014 Fashion, Style & Popular Culture Volume 1 Number 1 © 2014 Intellect Ltd Article. English language. doi: 10.1386/fspc.1.1.97_1 Susan B. Kaiser AND SARA TATYANA BERNSTEIN University of California, Davis Rural representations in fashion and television: Co-optation and cancellation Abstract Keywords In the late 1960s and early 1970s, Colombia Broadcasting System (CBS), a major rural US television network, cancelled all of its popular rural programming (e.g. The television Beverly Hillbillies [Paul Henning, CBS, 1962–71], Green Acres [Jay Sommers, sitcom CBS, 1965–71]). Known as the ‘rural purge’, the cancellations made way for more fashion urban-themed shows and strove to cater to higher ‘quality’ (presumably urban) Vogue viewers. At the same time, US Vogue Magazine featured the peasant look: a space decidedly rural style, but one co-opted from ‘other’ places and times. In this article, we analyse contradictory and ambivalent representations of ‘rurality’, which we describe as the construction and appropriation of non-urban life as a kind of cultural authenticity that is alternately disparaged and celebrated. Using Fred Davis’s (1992) concept of identity ambivalences and Henri Lefebvre’s (1991 [1974]) theories on the production of space, we explore cultural discourse in the late 1960s and early 1970s to interpret the complex rural-urban dynamics in fashion and television. Introduction ‘Fashion: Don’t be confused; this is the look […] Your dress can be a printed peasanty dirndl.’ (Anon 1970a: 48, 55) 97 FSPC_1.1_Kaiser_Bernstein_97-117.indd 97 9/12/13 6:02:32 PM Susan B. Kaiser | Sara Tatyana Bernstein ‘CBS canceled every show with a tree.’ (Pat Buttram, actor who played Mr Haney on Green Acres, cited in Harkins 2004: 203) As hegemonic systems, fashion and television share a need for popular consent in order to thrive. Yet they operate differently in their attempts to exercise their power, as the above epigraphs suggest. In the history of the United States, including fashion and television history, the late 1960s and early 1970s is a period that is particularly compelling as a time of rapid cultural change, following the civil rights, feminist and anti-war social movements. Challenges to authority were abundant, and so were dramatic attempts to impose authority. Two conflicting examples of such attempts, taken together, represent cultural ambivalence regarding ‘rurality’: a term we use here to suggest a kind of construction and appropriation of rural (non-urban) life as a sign of cultural authenticity that is alternately dispar- aged and celebrated. In August 1970, Vogue editors’ voices came through loud and clear in their declaration of Bill Blass’s red peasant-inspired dirndl dress in the new ‘midi’ hem length (mid-calf) as an example of the ‘right’ choice. Famously, Vogue’s dictate did not work; women roundly rejected the midi length in what has become a textbook example of consumer demand in action. Fashion design- ers’ co-optation of the rural-inspired European/Russian peasant concept, however, did resonate with consumers – having already been one of the looks adopted by the hippie counterculture. Six years later, Yves Saint Laurent (YSL) went further in his appropriation of Tyrolean, Romanian and Balkan peas- ant styles through his romantic, folkloric line described by Pierre Schneider (1976), an art/fashion critic in Vogue, as ‘farmland elegance’ (172) and as ‘over- whelmingly rural’ (235). Schneider argues that rural peasant cultures relate to nature and seasonality rather than a tempo of change, as one would find in a city. ‘Closer to the gods’ in their authenticity, Schneider (1976: 235) declares that Saint Laurent’s 106 folkloric garments are ‘good prophets […] for a new revolution: the end of modernity [and fashion]’ and a return to ‘costume’. Saint Laurent’s rural look was not ‘nostalgia for the past, but for the eternal present’ (Schneider 1976: 235). Striking in Schneider’s analysis is his blurring of time and place: Saint Laurent captures it all in an eternal present with rural- ity as a major theme. Notably, however, the romanticization of rurality occurs through the co-optation of styles from a timeless (presumably unchanging) elsewhere: other, non-urban places. By the spring of 1970, the institution of television had taken a very different approach to the exercise of power in relation to rurality. CBS cancelled any ‘show with a tree’ (e.g. The Beverly Hillbillies [Paul Henning, CBS, 1962–71], Green Acres [Jay Sommers, CBS, 1965–71], Petticoat Junction [Paul Henning, CBS, 1963–70], Hee Haw [John Aylesworth and Frank Peppiatt, CBS, 1969–71]) to make way for more ‘urban-centred’ or ‘progressive’ comedies (e.g. All in the Family [Norman Lear, CBS, 1971–79], M*A*S*H [Larry Gelbart, CBS, 1972–83]). Known in media circles as the ‘rural purge’ (Harkins 2004), CBS’s cancellations were in part a response to the network’s growing reputation as the ‘Country Broadcasting System’ that catered to older, rural and less affluent viewers. Here, there was no discourse about ‘farmland elegance’, godliness or an ‘eternal present’. Rather, rural programming was ridiculed as ‘country corn’ that appealed 98 FSPC_1.1_Kaiser_Bernstein_97-117.indd 98 9/12/13 11:01:58 AM Rural representations in fashion and television to the lowest denominator in US society. Rurality in the ‘here and now’, according to CBS executives, was no laughing matter, and it was certainly not romantic. Despite the ongoing popularity of rural situation comedies and the variety show Hee Haw – and their continuation as re-runs in syndi- cated programming – they did not represent the urban, culturally sophisti- cated image CBS strove to project. Within a few years, some dramatic rural-themed programmes emerged: Little House on the Prairie (Edwin Friendly Jr, National Broadcasting Company [NBC], 1974–83) and The Waltons (Earl Hammer Jr, CBS, 1972–81). Both of these shows, however, were safely framed in the past and were not comedic. A notable exception to the rule against rural humor- ous programming was CBS’s later show, The Dukes of Hazzard (Gy Waldron and Rod Amateau, CBS, 1979–85), set in Georgia. Overall, however, rural life was rarely represented in the world of television until the twenty-first century proliferation of reality shows such as Fox’s The Simple Life (Mary- Ellis Bunim and Jonathan Murray, Fox, 2003–07), The Learning Channel’s (TLC’s) Here Comes Honey Boo Boo (Howard Lee, TLC, 2013) and Music Television’s (MTV’s) Buckwild (JP Williams MTV, 2013). In 2003, CBS – in a marked change of heart from 1970 policies – attempted to create a reality show called The Real Beverly Hillbillies, featuring a poor Appalachian family living in an actual mansion in Beverly Hills. The network’s ‘hillbilly hunt’ for a family was cancelled after rounds of protestation from southern politi- cians and the Center for Rural Strategy (Simon 2003; James 2003a, 2003b; Johnson 2003; Harkins 2004). Taken together as case studies, Vogue’s embracement of peasanty, folkloric looks and CBS’s purge of country-based comedies – both in 1970 – offer possibilities for understanding how hegemony works through the production of space/place. The contrast between television’s move towards urbanity and fashion’s simultaneous appropriation of rurality ulti- mately breaks down; neither hegemonic move – the cancellation nor the co-optation – was ultimately able to prevail as intended with the consum- ing public. That is, women soundly rejected the midi version of the dirndl (although the peasanty concept resonated, as did long [maxi] prairie-style dresses); they were not ‘confused’ about the ‘proper’ hem length. And, by popular demand, the rural television programmes became syndicated and played for years as re-runs. Using these 1970 television and fashion case studies as a starting point, we proceed to explore their implications for understanding popu- lar cultural representations of rural places/spaces. Both the rural sitcoms and Vogue peasant-fashion spreads of 1970 generated impact through out-of-context, ‘fish out of water’ narratives: for example, southern hillbil- lies in Beverly Hills, or the ironic appropriation of peasant style in a high- fashion context, respectively. We argue that they did so through different relations to time and place/space. Rurality, that is, seemed to be acceptable so long as it was framed in the past or in an exotic ‘other’ place. Both tele- vision’s and fashion’s hegemonic moves, however, relied on a rural-urban tension or dynamic, brought into specific, ironic relief through ‘fish out of water’ scenarios. Throughout the article, we interpret these scenarios and the he gemonic attempts to manage them through the combined use of Fred Davis’s (1992) concept of fashioned identity ambivalences and Henri Lefebvre’s (1991 [1974]) space theory. 99 FSPC_1.1_Kaiser_Bernstein_97-117.indd 99 9/12/13 11:01:58 AM Susan B. Kaiser | Sara Tatyana Bernstein Urban-rural ambivalences In his book Fashion, Culture and Identity, Fred Davis (1992) argued that culturally coded identity ambivalences provide fashion with fuel for change. Davis focused on the unresolved (and unresolvable) tensions involved in fashion’s ongoing play with gender oppositions, class struggles and sexual dynamics. He argued that fashion’s dialectical play with cultural imagery results in ambiguous visual appropriations, juxtapositions and negotiations. The interplay between masculinity and femininity, for example, articulates struggles over cultural codes: struggles that are not on a level playing field in terms of gender dynamics. We propose that Davis’s framework can be applied to urban-rural power relations and tensions, as well. As we write this, summer fashions featured in shop windows in the United States and Europe include ‘pieces of rural’, in the form of red-and-white gingham in clothing design (see Figure 1).
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