The ahistorical iconography of
decorative flags.
by Ana Marie Cox
They have about as much in common with the heraldic tradition as
lawn gnomes do with English gardens. If a man's home is his castle,
why is he hanging an image of a duck with galoshes in front of
it?
"Because life is a festive occasion!" explains Millie Jones, the
owner of Festival Flags, a store and mail order business that
makes and sells the colorful, often country kitsch--inspired banners
that have put thousands of home flagpoles to permanent use. Her
Richmond, Virginia, shop is the acknowledged ground zero of what
the Wall Street Journal has called a "craze," and Jones is its
most enthusiastic representative. In addition to the aforementioned
waterproofed waterfowl--an "everyday" flag in the parlance of collectors--Jones
sells flags bearing images pertinent to holidays (jack-o'-lanterns,
bunnies, Santas), seasons (autumn leaves, a snow-covered tree),
and events. "It's a Boy!" and "It's a Girl!" are best-sellers.
These flags draw on a visual vocabulary that ranges from the vaguely
historic ("Fleur de Lis") to the clearly suburban ("Duffer").
And they are telegraphic to the point of confusion: their stylized
brightness can work against itself, dampening whatever meaning
might lie beneath a flag's nylon surface. The coloring-book outlines
of the pineapple flag, a customer favorite, only approximate its
heritage as an ornate symbol of hospitality, though the loopy
script and idealized martini glass of "Cheers" broadcast both
its intended welcome and the kind of boozy 19th-hole gathering
that might occasion it.
Less explicit are the everyday flags that emerge from some indistinct
American mythology: The "Gentleman Rabbit," the "Big Heart w/Border,"
the "Cardinal in Flight." Isolated from context, these icons are
concrete yet frustratingly meaningless. "Real icons allow us to
project meaning onto them," says Aaron Betsky, curator of architecture
and design at the San Francisco Museum of Modern Art. "These images
are more equivalent to a McDonald's arch. They deflect relationships."
It was the "It's a Boy!" flag Jones sewed in 1975--announcing her
son's entrance into the world--that gave birth to the fad. Though
she had flown a few flags in front of her home before, those attempts
at ornamentation were not very successful. "People kept asking
me why I had a pillowcase hanging from my house," she laughs.
With the birth-announcement flag Jones hit a nerve. She started
selling the flags, and history (along with more than 10,000 flags
a year) was made.
The trend has been propelled by collectors like Pat Avers, a Northern
California woman who owns some 50 flags. At any given time, she's
displaying six of them: a "house flag" with the address on it,
one over the front door depicting the house itself, one over the
tennis court ("which has a tennis ball on it, even though you
know that's what's there"), and three on her deck, "which change
according to what's going on."
What's going on, Avers explains, might be reflected in any number
of ways: besides holiday and seasonal flags, she's got a Noah's
ark, a glass of lemonade, a lighthouse, and many others. Her favorite,
though, is the flag she designed for her husband, with a log cabin,
a quail, and a deer--symbols of their rural home. The importance
Avers places on this particular flag suggests how the impersonal
images used in mass-produced banners can become genuinely meaningful
in a custom flag.
Betsky is cautiously hopeful about the pride Avers and her fellow
flag-wavers feel, however opaque the flags themselves might be.
"These flags are public displays in an era when our houses are
more and more about hiding," he says. But, he adds, flying a flag,
which "used to be a very aggressive stance," has become more about
"cats and flowers."
There's some loyalty left in displaying one's colors, though.
As the self-described "Betsy Ross of decorative flags," Millie
Jones makes sure her flags are "strictly American-made. We don't
have things shipped out to China or wherever like a lot of companies
do." Pat Avers, the collector, and Karen Hauber, who runs a flag
shop outside Philadelphia, echo Jones's nationalistic bent; neither
would buy flags made outside the U.S. Ironically, Avers doesn't
fly the Stars and Stripes on the Fourth of July ("Well, not just
a plain American flag"), and at Hauber's shop American flags make
up a rapidly diminishing percentage of sales.
Not that the impulses to display national flags and decorative
flags are opposed; rather, it's almost as if patriotism has become
a subset of an allegiance that begins much closer to home. Despite
their clip-art shallowness, decorative flags speak to people's
need not just to mark their territory, but to announce their presence.
"Technology has fragmented us to the point where everyone can
become their own country," Betsky notes, though one wonders what
kind of loyalty a sunbathing goldfish might inspire.
Compared to the panoply of pennants selling briskly at Festival
Flags, the offerings at the Flag Shop in Milpitas--located in The
Great Mall of the Bay Area--hang limply. Of course, collectors
like Avers would have difficulty finding anything for their collections
here; decorative flags (if you can call a Miller High Life flag
decorative) are outnumbered by a bewildering array of national
flags, from Guyana to Ukraine.
The Flag Shop's offerings seem out of touch with its environs,
next to a food court where hybrid snacks (Sbarro's offers a "Philly
Steak Stuffed Pizza," and Subway its "Chicken Taco Sub") rob shoppers
of even a gastronomical geography to call their own. In this environment,
as slick and uniform as the mall's concrete floor, community identity
finds little purchase, and the perky nationalism of the Flag Shop
seems more anachronistic than any booted duck or appliquéd pineapple.
Ana Marie Cox is an editor at Mother Jones. She has never let her freak flag
fly.
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