(Pedro) With the end of the second world war and the beginning of the baby boom, consumerism and rising use of cheap plastics and synthetic alternatives to metal became more and more frequently pushed out by companies as hair itself became the most affordable accessory of the century. Times may have been tight, but ideas abounded. Recycling was now a given, and after the war years, it was considered particularly shameful to waste any scarce items such as fabric, buttons, or thread. As both wardrobes and wallets gaped empty, attention was directed to Spectacular hairstyles which became the hottest accessories of the era. (Sundh, Emma, and Sarah Wing, 2015). 

(Maria) Women were the sole target for this product for a number of reasons. Societal standards and gender roles being two of the main reasons. Gender roles in the 1960s played a huge role in who bought certain products and why, which in turn affected how and to whom products were marketed. The Samson Dominion Ten Ten Hairsetter is a great example of a product that was heavily targeted toward women, specifically women who stayed at home. “In the 1950s and early 1960s, women were largely expected to be homemakers, dedicating their lives to raising children and supporting their husbands. Sociologists and psychologists of the time told women that they were naturally suited for these roles, and neglecting them would lead to unhappiness and neuroses.” (D’clare 2025, 1) This quote does a great job of summarizing stereotypes and expectations of women in the 1960’s. The idea that women would be unhappy if they were to neglect their household duties is extremely outdated, but relevant in the context of our artefact. The ads discussed under “Mediation” prove this to be true. 

(Maria) According to the book “Women’s Magazines, 1940-1960 : Gender Roles and the Popular Press” magazines during the 60s promoted and reflected the expectations of a woman in the 1960s (Walker 1998, 2). These expectations include traditional gender norms, beauty ideals, promotion of domesticity, and consumerism. More specifically, it was stated that women were not typically encouraged to have jobs, but rather stay at home with their families. Even though they were typically the homemakers, they were still expected to look effortlessly perfect and proper. This included things such as clothing, makeup, and most relevantly, hair. In the book "Dressing for the Culture Wars: Style and the Politics of Self-Presentation" by Betty Luther Hillman, she discusses how things such as fashion choices were a reflection of cultural, political and societal standards (Hillman 2017). The advertisements touched upon under mediation were a reflection of the same things. (1969) is a good example of marketing that emphasized use of the product, likely encouraging women to buy it. Phrases such as “Less than 10 minutes” “No water, no lotion” and “Rollers cannot overheart” were used to promote the product (Eaton’s 1969, 317). These short but effective phrases made the product out to be quick, easy, safe, comfortable, and effective; all of which are highly intriguing. Since the majority of women were not particularly encouraged to work outside of the home, the independence this product allowed was also a huge selling point. Being able to style one’s hair at home with the outcome of salon quality hair was great and would also help a woman keep up with the unrealistic societal standards of the time. 

(Maria) The societal stands of women during this time, although heavily used in advertisements, as seen under mediation, were not entirely accurate. This, for the most part, was an ideal that was used to sell a product when in reality women were starting to enter the workforce. As studied by Statistics Canada, roughly one-quarter of women from ages 25-54 participated in the labor market whether they were employed or looking for employment (Statistics Canada 2024). From the 1950’s until the 1990’s, women’s presence in the workforce continued to increase as the stereotypical gender norms previously discussed began to evolve; more specifically, rising from about 24% in 1953 to 76% in 1990 (Statistics Canada 2024).  This, in some part, was due to the evolution of technology. As electrical appliances evolved, the time needed to perform household chores decreased, giving women more opportunities and time to work (Statistics Canada 2024).

(Maria) In the journal “Book Notes: Transforming Labour: Women and Work in Post-War Canada” Professor Sangster suggests that the media does not accurately portray the everyday experiences of women in the workforce (Healy-Varley 2010, 721-22). Stanger goes on to explain how important and relevant the time period is when it comes to understanding women in the workplace (Healy-Varley 2010, 721-22). This journal gave some good insight into how products, specifically those directed towards women are not necessarily an accurate portrayal of women.

(Pedro) Spectacular hairstyles became the hottest accessories of the era. In order to create such hairdos, many women grew their hair a little longer, but not too long. Within some professions, hair was not even allowed to touch the collar. Moving into the 1950’s and later the 60’s, women were no longer socially expected to be employed or save the world, but rather be stay at home “picture perfect” home-wives. This post-war new age of consumerism lended to a new ambition of looking magazine gorgeous — something clearly reflected in the fashion and growing star culture (Sundh, Emma, and Sarah Wing, 2015). "With their hair perfectly set and their nails freshly painted, they were far away from the dust and grease of the factory floors” this was the social expectation (Sundh, Emma, and Sarah Wing, 2015).

(Pedro) There was an abundance of luxury, ease, pastel colours, and rounder “feminine” shapes, all marketing the expectation for the 1950s woman to be a representative housewife, moving around the house in close proximity to a refrigerator and vacuum cleaner. A well-managed home with a wife by the stove was proof of a man's success, imagery and messaging seen throughout various magazines, catalogues, and advertisements (Sundh, Emma, and Sarah Wing, 2015).