What the Dog Saw [34]
Miss Clairol gave American women the ability, for the first time, to color their hair quickly and easily at home. But there was still the stigma — the prospect of the disapproving mother-in-law. Shirley Polykoff knew immediately what she wanted to say, because if she believed that a woman had a right to be a blonde, she also believed that a woman ought to be able to exercise that right with discretion. “Does she or doesn’t she?” she wrote, translating from the Yiddish to the English. “Only her hairdresser knows for sure.” Clairol bought thirteen ad pages in Life in the fall of 1956, and Miss Clairol took off like a bird. That was the beginning. For Nice ’n Easy, Clairol’s breakthrough shampoo-in hair color, she wrote, “The closer he gets, the better you look.” For Lady Clairol, the cream-and-bleach combination that brought silver and platinum shades to Middle America, she wrote, “Is it true blondes have more fun?” and then, even more memorably, “If I’ve only one life, let me live it as a blonde!” (In the summer of 1962, just before The Feminine Mystique was published, Betty Friedan was, in the words of her biographer, so “bewitched” by that phrase that she bleached her hair.) Shirley Polykoff wrote the lines; Clairol perfected the product. And from the fifties to the seventies, when Polykoff gave up the account, the number of American women coloring their hair rose from 7 percent to more than 40 percent.
Today, when women go from brown to blond to red to black and back again without blinking, we think of hair-color products the way we think of lipstick. On drugstore shelves there are bottles and bottles of hair-color products with names like Hydrience and Excellence and Preference and Natural Instincts and Loving Care and Nice ’n Easy, and so on, each in dozens of different shades. Feria, the new, youth-oriented brand from L’Oréal, comes in Chocolate Cherry and Champagne Cocktail — colors that don’t ask “Does she or doesn’t she?” but blithely assume “Yes, she does.” Hair dye is now a billion-dollar-a-year commodity.
Yet there was a time, not so long ago — between, roughly speaking, the start of Eisenhower’s administration and the end of Carter’s — when hair color meant something. Lines like “Does she or doesn’t she?” or the famous 1973 slogan for L’Oréal’s Preference — “Because I’m worth it” — were as instantly memorable as “Winston tastes good like a cigarette should” or “Things go better with Coke.” They lingered long after advertising usually does and entered the language; they somehow managed to take on meanings well outside their stated intention. Between the fifties and the seventies, women entered the workplace, fought for social emancipation, got the Pill, and changed what they did with their hair. To examine the hair-color campaigns of the period is to see, quite unexpectedly, all these things as bound up together, the profound with the seemingly trivial. In writing the history of women in the postwar era, did we forget something important? Did we leave out hair?
2.
When the “Does she or doesn’t she?” campaign first ran, in 1956, most advertisements that were aimed at women tended to be high glamour — “cherries in the snow, fire and ice,” as Bruce Gelb puts it. But Shirley Polykoff insisted that the models for the Miss Clairol campaign be more like the girl next door — “Shirtwaist