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• 1 media/CGEHairDryer_MagazineAd3.jpg 2025-03-17T20:20:50-04:00 The Ideal Woman: Beauty, Femininity, and Domesticity in the 60s 15 image_header 2025-04-04T20:45:00-04:00

  During the mid-20th century, societal norms in North America predominantly emphasized traditional gender roles; Women were typically perceived as the “homemakers”, primarily responsible for domestic duties (Eidinger 2020). Psychological discourse in postwar Canada promoted the idealized nuclear family structure where women were expected to stay at home and focus on raising well-adjusted children, closely linking women's identities to their roles as wives and mothers (Gleason 1997, 444). Alongside these domestic responsibilities, women faced societal pressures to maintain their appearances, with beauty standards emphasizing elegance, femininity and meticulous personal grooming. These standards were reinforced by the media and popular culture of the time.

  Music and television played a significant role in perpetuating traditional ideals. Jack Jones’s 1963 song “Wives and Lovers” explicitly conveyed the expectation that women should strive to appear attractive to their husbands. Lyrics such as,

  “Hey! Little Girl / Comb your hair, fix your makeup / Soon he will open the door / Don't think because there's a ring on your finger / You needn't try anymore,” (Jones 1963)

  
  highlighted how beauty maintenance was framed as a woman’s duty to her relationship. Similarly, television shows like The Donna Reed Show (1958–1966) often portrayed the ideal housewife as well dressed and groomed, even while performing everyday domestic tasks in the privacy of their homes. Although some films strayed from these conventional portrayals of women in domestic contexts, exploring more “rebellious” themes, such as Valley of the Dolls (1967), the expectations for women to maintain their appearances were still upheld, with female characters consistently portrayed with perfectly styled hair and makeup regardless of their circumstances or environment. 
  

  Given the high beauty standards imposed on women at the time, it is unsurprising that at-home beauty devices like the GE Bonnet Hair Dryer became, or were at least marketed as, essential tools for women striving to meet societal expectations. The post-World War II era also played a significant role in this shift, as women returned to the household after participating in the wartime workforce. This transition fueled a growing demand for convenience and efficiency, particularly in household and beauty routines. As a result, companies like GE expanded into beauty products such as hairdryers, catering to women who sought practical ways to maintain their personal care at home. These products not only streamlined beauty routines but also aligned with the broader cultural emphasis on beauty, self-care, and modernity.

  Beyond its practical function, the GE Bonnet Hair Dryer held deeper cultural significance. While feminist critiques of gendered beauty norms gained traction in the 1960s (Rhode, 2016), the widespread adoption of these hairdryers contributed to shifting perceptions of women’s independence. By allowing women greater control over their beauty routines, these devices enabled them to redefine beauty standards within their own homes. The rise of portable hair dryers, such as GE’s Bonnet model, symbolized both convenience and a broader societal transformation, highlighting how technological innovations were reshaping women’s roles in both domestic and public spheres. 

  The GE Bonnet Hair Dryer of the 1960s stood at the intersection of technological advancement, beauty culture, and societal change. More than just a household appliance, it reflected the increasing independence of women and the rising demand for at-home beauty solutions. By offering an affordable and efficient way to maintain fashionable hairstyles, GE’s bonnet model became both a practical necessity and a symbol of evolving gender roles in mid-century society.