The modern girl epitomizes western beliefs. Women are attracted to the ways of the west, which they follow, disregarding their traditions. From the texts, it is evident that the white race is superior enough to influence women of color to adopt new perspectives and crave a different life. However, it comes with challenges of social rejection and fear of being overtaken by other races. Undoubtedly, the media has a pivotal role in enforcing ideals of the modern girl to females. The modern girl is influenced by western cultures, which force colored ladies to abandon their traditions, which leads to confusion and fulfillment for the ladies amidst disapproval.

The media had an influential role in creating the modern girl. Thomas, in his article, The Modern Girl and Social Respectability in 1930s South Africa, analyzes the influence that a newspaper, Bantu World, had an impact on the people. The paper targeted black South African women and highlighted the need to empower this group through education (97).Again, media cast women as advanced individuals who no longer brewed alcohol or wanted to be domesticated.Through the media, African women redefined what they regarded as beautiful. At first, having firms breasts, a glowing skin, and hips was beautiful, but they end up finding light skin and since the competitions were won by light skinned women all the time. I find that the newspaper, although starting out with interest in African women affairs, it gradually portrayed them as backward unless they had European features. White supremacy was high in South Africa, and although trying to be neutral, the newspaper was evidently telling the women that they could not compare to the white women. Gradually, black women started using powder and makeup to appear lighter, much to the dissatisfaction of Africans and whites. The Bantu World newspaper influenced black women to embrace European standards in their portrayal of beautiful women as white.

Equally, the magazines described the modern woman as able to adopt other races. In Racial Masquerade, Weinbaum states that magazines like Vogue and Vanity emphasized that the contemporary women’s racial identity could be worn on and off like a mask (122). The Vogue magazine depicts models in Asian clothes and holding Japanese and African masks. It was imperative for women to show that they were accepting of other races. If the racial masquerades overcame one, she had failed as a modern woman (143). Magazines were a powerful tool of forging racial acceptance especially at an age when outlook appearances meant everything. However, I find that the magazines focused more on the outward appearance of a woman as the basis of their racial flexibility. I believe it did little to change the perception that the women had about race. In fact, women faked how they felt because they had to show, through property acquisition, that they were tolerant. Notably, the magazines did their part to foster racial inclusion by portraying Japanese, Asian, and African styles as sophisticated and should be emulated. The Japanese women are seen smoking, a modern act. Vogue and Vanity magazines emphasized racial acceptance through outlook appearances.

The modern girl mirrored white women.These women had to abandon their cultures in favor of white women tendencies. For the South African ladies, they began putting on makeup and powder to appear paler (Thomas 106). Comparatively, Japanese women, speaking in English, seeking independence, and education, all western characters, made one a modern lady (Ito 248). In fact, even having a western name qualified one to be modern as depicted in Tanizaki’s Naomi. The narrator, Joji is smitten by Naomi because her name is European, and also looks Eurasian. Forthwith, he embarks on fully modernizing her by even teaching her English. On her part, Naomi is a willing student, who eventually entertains western men in her marital home because she prefers them to her husband. The illustrations lead me to the conclusion that a woman had to be westernized to qualify to be modern. Correspondingly, this heightened white supremacy especially among the women, who did not have to change their appearance to be accepted. It also alludes to the insecurities that the women had about themselves. It is probable that the women felt inferior because white people dominated them. Evidently, in the 20^th century, the western countries were powerful, and people craved to be just as powerful and appealing to them. Westernization created this opportunity to the women, who merely had to be assimilated. Westernization epitomized modernity, which colored people had to accept.

Inasmuch as the whites enforced their notions of being modern on others, they were not entirely pleased with being copied. Thomas (106) describes how whites complained about the use of powder on their face. It is claimed that it was hard to tell the difference between a black and a white lady because of the makeup. I find it hypocritical and unfair of the whites to want to retain their uniqueness yet they nudge other races to emulate them. Since white ladies are the poster children of modern women, they should have been more accepting of other races. Moreover, they should be proud that others would resort to artificial means to look like them. There was a fear that with physical change could come to a change in mentality. Park in the Racial Masquerade notes that whites claim that blacks, Chinese, and Japanese cannot be equal to them, and their change should only be restricted to the outward changes (Weinbaum 136). It is clear that white people fear that physical change is the first step to an overhaul by inferior races. Whites were pleased to be emulated by other races but feared that modernization would decline their superiority in the long run.

The modern girl was in a limbo between her old and new life. The girl is not sure that her community or contemporary society will accept her. In many cases, she is rejected by both. Alluding to South African women, they faced condemnation from their community for embracing western ideas. The women were accused of being plastic (Thomas 108) and traitors to their race. There is an emphasis on being natural, even if it meant rejection and being disempowered. Parks also laments that it would be difficult for a Japanese woman to be assimilated into European society even if she behaved like a European (Weinbaum 136). Worse still, it was impossible to shake off one’s former existence. Park notes that certain qualities about a race could not be changed, like Japanese eyes and lips. Weinbaum (139) also highlights the plague of Helga, a character in Nella Larsen’s Quicksand to demonstrate the limbo. Helga does not fit in with the African-American crowd nor whites because she is a mulatto, a term meaning the offspring of blacks and whites. Although she has little control over her lineage, her mixed identity leaves her confused and feeling rejected by both groups. I find that the modern woman has to contend with uncertainties that come with their desire to change.

The modern girl seeks independence and personal fulfillment. Part of this freedom is disregarding tradition. Silverberg’s After the grand Tour states that the new woman as a modern girl wants to be seen, heard, and read (358). Modern women want an active role in running affairs within the home and state. Instead of protecting them, modern girls wanted to explore the world, engage in writing, and still be perfect mothers. In Japan, modern girls drank and hung around modern boys, flaunting out the traditions (354). Naomi also discards her Confucian beliefs and attains multiple lovers, none who are Japanese. Educated Japanese women also seek freedom to love and marry whomever they choose (Ito 248). Independence is an achievement that the modern seeks especially in repressive cultures. The women also want to fulfill oppressed desires like having intimate relations with men from different races. These desires would require going against the norm, which excited and frightened the ladies. Evidently, the women were oppressed by their cultures regardless of their race. Even western women sought recognition and equality in their society. It is clear that women have long struggled for independence and the modern girl seems to have finally attained it. Through westernization, the women embrace their nature and lead lives without any inhibition. I find that independence increases fulfillment among the populous since they are in more control of their fate. It also makes them feel equal to men, who are given more freedom by their traditions. Independence, a product of westernization, is craved by women who eventually achieve it.

The modern girl is driven by consumerism and appearance. Clothes, hair, and the latest trends dominate the modern girl’s lifestyle. Silverberg (357) is convinced that clothes can make the modern girl. Magazines and newspapers stress the value of being hygienic and fashionable. Most of these ideals are crafted from the western description of a modern lady. Thus, the women, like the Japanese adopt different hairstyles like the bob, to appear sophisticated. In German and US advertisements, women are sexualized in commercials like Khasanain which a naked woman is examining perfumes given to her by a naked black servant on his knees. The woman’s physique fits the profile of what is considered beautiful by society (Poiger 325). Flashy advertisements in magazines stressed that women should wear extravagant clothes, perfume, and jewelry to be cosmopolitan. I find that outward perfection is the mask that the women and society used to illustrate modernization among women. It is a mask that shows progress among women even though they may have lingering internal issues. In masquerade, fashion and consumerism are used to hide racial disquiets among ladies. For liberated women, purchasing the latest trends was necessary to keep up with modern appearances. Interestingly, these ideals are created by men. At the time, most publications were owned and operated by men. Unsurprisingly, they would influence women to embrace habits that would please them regarding outward appearances. The modern girl is a consumer of fashion, which she uses to conceal her worries or demonstrate her freedom.

The modern girl is influenced by western cultures, which force colored ladies to abandon their traditions, which leads to confusion and fulfillment for the ladies amidst disapproval. From the texts, it is evident that the women owe their habit to western culture. Race is a driving force as white supremacy influences the minor female population. The girl wants to be as powerful as a white woman. Being westernized makes the women brave enough to leave their culture behind and relish materialism. However, I have noted that the activities of the modern girl widen the racial disparity in the community. Since white ideals take precedence, it puts other races at a disadvantage as they feel inferior. These effects are also notable today because blacks, Asians, and other races still find the western ideals the best even though their culture is just as good. While modern ladies embrace development, they do so at the expense of their identity, which they obliterate. The modern girl achieves independence, changes her perception of beauty but loses her identity in the process.

Works Cited

Ito, Ruri. The Modern Girl: Question in the periphery of empire: Colonial modernity and mobility among Okinawan women in the 1920s and 1930s. London: Duke University Press, 2008.

Poger, Uta. Fantasies of Universality? Race and Nation in Nazi Germany. London: Duke University Press, 2008.

Silverberg, Miriam. After the Grand Tour: The Modern Girl, the new woman, and the colonial maiden. London: Duke University Press, 2008.

Tanizaki, Junichiro. Naomi. New York: Alfred A. Knope, 1985.

Thomas, Lynn. The Modern girl and racial respectability in 1930s South Africa. Research Gate, 2006.

Weinbaum, Alys Eve. Racial Masquerade: Consumption and Contestation of American Modernity. London: Duke University Press, 2008.

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