Rakish Icons: The Bright Young Things
In 1930s London, a group of Bohemian and aristocratic socialites came to be known as ‘The Bright Young Things’ or ‘The Bright Young People’ by the British tabloid press. Their flamboyant parties, romantic escapades, and their interest in American jazz held the public imagination, and within their number, some of the greatest artists and commentators of their generation.
Writers Nancy Mitford, John Betjeman, Evelyn Waugh, and the famous photographer Cecil Beaton (who began his career documenting the set) were among the most influential members—and their extravagant lifestyles and sense of care-free joie de vivre still resonates with creative circles today. One only has to look at present Mayfair and Marylebone: the same members clubs and hotel bars that welcomed this pre-Jetset crowd still draw in the new socialite circles, vying to discover their magic. The Connaught, the Ritz, and the Savoy played host to their evenings of champagne-driven decadence—fuelling the public’s fascination with their exploits. One of these was their late-night treasure hunts throughout London, with a standout headline reading: ‘Chasing Clue is Latest Pass time for Young People’, followed by the snarky, ‘Society has been formed for the purpose of solving mysteries’.
The Bright Young Things were also appealingly anti-establishment, at a time when new ideas were floating in Britain’s postwar mood, peppered with socialists (among them J.B. Priestly) and homosexuals (the aesthete Harold Acton), feminist thinkers, and drug-users (Brenda Dean-Paul who was called a ‘society drug addict’ by the press was the most famous case). In their number was every facet of decadent, or unlawful, behaviour; and yet, they also produced some of the most creative masterpieces of their time: Betjeman would go on to become Poet Laureate. Cecil Beaton’s future lay as the royal photographer, as well as an Oscar winner for his costume design on My Fair Lady. Noel Coward became an iconic actor. Nancy Mitford and Evelyn Waugh’s work continues to be loved and read today. Edward Burra highlighted black communities and jazz culture through his paintings. Others, like Sheila Chisholm, were among the first to be coined an ‘It girl’, simply because she was fashionable, out at parties, and for things that, at the time, were considered scandalous (in Chisholm’s case, her numerous marriages and affairs).
Because their most publicised parties encouraged a dress code—like the Gatsby-era soirees that inspired them in New York City—the Bright Young Things relished the chance to dress in an informal and provocative manner. Fashions in England were still conservative at that time. Extravagance was considered an American pursuit or a form of dandyism. At the Bright Young Things’ parties, cross-dressing was common, as was the use of make-up on boys, and their daily clothing looked to trends in America; a land that symbolised the future, progression, the foxtrot, pop music, and skyscraper cities. Flapper-styles and brighter tailoring became a trademark, but under a more aristocratic British guise with Savile Row tailoring.
These were all related to the libertine materialism that the Bright Young Things displayed. But their decline would come in the 1930s—a period of mass unemployment—and then fizzle out altogether around the approach of the Second World War, when large shows of wealth were considered distasteful. The press notably grilled them after a ‘Red and White’ party in 1931, where all props, foods, and outfits had to be red and white; such decadent, banal fun was no longer impressive. It is a time summarised by Waugh’s semi-autobiographical book, Vile Bodies, which documents the end of the era. Nothing good (as Waugh’s story implies) lasts forever. With hindsight, the Bright Young Things were Britain’s first celebrities, shrouded in scandal, but also contributing to the arts and culture. They encouraged an epicurean life where one could pursue harmless hedonism, love whomever they wanted, and think however they chose. Their era was sandwiched between two wars, and through depressions and social upheavals in socialism and fascism, they cultivated a liberal sanctuary in the bars, hotels, and clubs; a scene that prevails in modern London. The Bright Young Things were an iconic, misunderstood group, with a legacy that continues to shine.
The Bright Young Things were Britain’s first celebrities, shrouded in scandal, but also contributing to the arts and culture. They encouraged an epicurean life where one could pursue harmless hedonism, love whomever they wanted, and think however they chose. Their era was sandwiched between two wars, and through depressions and social upheavals in socialism and fascism, they cultivated a liberal sanctuary in the bars, hotels, and clubs; a scene that prevails in modern London. Their decline would come in the 1930s—a period of mass unemployment—and then fizzle out altogether around the approach of the Second World War, when large shows of wealth were considered distasteful. The press notably grilled them after a ‘Red and White’ party in 1931, where all props, foods, and outfits had to be red and white; such decadent, banal fun was no longer impressive. It is a time summarised by Waugh’s semi-autobiographical book, Vile Bodies, which documents the end of the era. Nothing good (as Waugh’s story implies) lasts forever, not even Bright Young Things.
