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Ziegfeld himself appears to have thought of
Ziegfeld Girls with specific regard to the chorus. In 1921 he published a series of newspaper articles in which he promised to reveal "the real truth about the American chorus beauty." The articles outlined "where the chorus beauties come from, how they are
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Ziegfeld was credited as the "arbiter of beauty in
America" and the "one man in America who knows better than any other what makes a girl beautiful. . . Out of America’s vast garden of girls, Ziegfeld picks the perfect blossoms. He knows beauty. If he did not the name of the Follies Girl would not
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One contemporary critic declared that
Ziegfeld "must glorify the American Girl to the limit, but he must know in advance exactly where that limit is. . . As a barometer of New York, it cannot be excelled" and that audiences went to the shows "to worship--and to discover where the exact limit of
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Modern scholars have pointed out the racial, ethnic, and other limitations to
Ziegfeld's ideas of beauty. "His 'system' was a curious 'racism of beauty' . . . The Follies registered not simply the exclusion of color but the protection of whiteness--he forbade a suntan on any of his girls."
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began in 1907, advertisements for the show noted the "Ziegfeld Beauty Girls," along with other groups, including the "Gibson
Bathing Girls," "Bewitching Peacock Girls," and many others. By 1912, Ziegfeld Girls were described as "ever-changing from widows to pink ladies, to cafe spirits, to
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troubadours, to drummers, to hockey girls, Purity League girls, and whatever girls—always shimmering, diverting and disappearing with the carefree abandon of butterflies," suggesting that the term referred generally to the women in the chorus.
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is a 1945 film in which imagines
Ziegfeld creating a new show from his perch in heaven. Such portrayals "emblazoned the term Ziegfeld Girl in popular culture as a shorthand for female glory, beauty, and glamour."
102:. Described as atop this hierarchy were the showgirls, tall women who modeled extravagant costumes; below them were the chorus girls, also known as "ponies" or "chickens," who danced and sang in group numbers.
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referred to in 2011 as a
Ziegfeld Follies Girl. despite Brice not conforming "to the prevailing notion of female beauty and, more specifically, to the Ziegfeldian definition of it."
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starring
William Powell and Myrna Loy is a fictionalized and sanitized tribute to Florenz Ziegfeld, Jr., and his Follies. 1941 saw release of the film
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The term "Ziegfeld Girl" (or "Ziegfeld
Follies Girl") is used broadly to describe the "singers, showgirls, comediennes, dancers" who appeared in
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Ziegfeld Girl (or Girls) can also refer to the hierarchy of performers in
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selected for their jobs, how they keep beautiful and the secrets of their fascination for the tired businessman."
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stand, as it does today throughout the world, as the synonym for sheer loveliness, daintiness, charm, allure."
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This article is about the Ziegfeld Follies Broadway showgirls. For the film, see
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Ziegfeld and His Follies A Biography of Broadway's Greatest Producer
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Singers, showgirls, comediennes, and dancers in the Ziegfeld Follies
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Broad use of the term has continued to the present, with
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Ziegfeld as promoter and tastemaker of female beauty
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Ziegfeld Girl: Image and Icon in Culture and Cinema
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409:"How Ziegfeld Follies Girls Insure Their Beauty"
173:"Ziegfeld Girls Recalling the Glitter of an Era"
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361:. Duke University Press. p. 44.
438:. Universe Publishing. p. 27.
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329:"Behind the Scenes in Beauty Land"
284:. Cincinnati, OH. November 3, 2011
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231:. Rushville, IN. November 15, 1912
171:Klemesrud, Judy (April 25, 1975).
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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