BlueIsForBlondesAlexandraLange

Parents Magazine, September 1970

Carrielookedlikeoneofthelittleangel‐birdsintheBible.Herdress

andhertinysunbonnetwerewhiteandalltrimmedwithlace.Hereyeswerebigandsolemn;hergoldencurlshungbyhercheeksandpeepedfromunderthebonnetbehind.

ThenLaurasawherownpinkribbonsonMary’sbraids.Sheclappedherhandoverhermouthbeforeawordcameout.Shescroogedandlookedatherownback.Mary’sblueribbonswereonherbraids!…

Ma,inherhurry,hadmadeamistake.Theyhopedshewouldnotnotice.LaurawassotiredofpinkandMarywassotiredofblue.ButMaryhadtowearbluebecauseherhairwasgoldenandLaurahadtowearpinkbecauseherhairwasbrown.

LauraIngallsWilder,“OntheBanksofPlumCreek”

IfirstreadOntheBanksofPlumCreekwhenIwasfiveorsix,andMa’smaximstuckwithme.Asablue‐eyedblonde,Ihadbluesweaters,ablueroom,even,at16,abluecaruntilswitchingtoarchitectureschoolblack‐and‐sometimes‐gray.Then,abouttwoyearsago,bluecameback.Thefatesoffashiondecreed,afteryearsofblack,brownandcream,thatbluewasback.Indigoandchambray,Bretonsailorstripes,ikatprintsandeveryshadeofdenim.IputblueonagainandrealizedthewisdomofMaIngalls.Ididlookbetterinblue.CarolineIngallswasnotaloneinherstrictbeliefthatbluewasforblondesandpink(andred)wereforbrunettes.Etiquettebooksofthelatenineteenthcenturystressedblue’saccentuatingpowersforblondes.Inthe1980sitwasariteofpassageforAmericanfemaleadolescentstogetyourcolorsdone:aconsultantatColorMeBeautifulwouldassessyourhair,yourskintone,andyoureyecoloranddeclareyouoneofthefourseasons.MarywouldhavebeenaSummer;Laura,anAutumn.AfriendofminestillhasthefolderissuedtoherafterherconsultationatColor1,aplasticcard‐holderwithpaintchipsinshadesofbrown,sageandorange(abrunettewithfairskin,sheisaMuted,accordingtotheirsystem).Inanyoftheseschema,yournascentrelationshiptocolor,ratherthanbeinggendered,wasvisual.Blondescanwearred,buttheshadehastohavealotofblueinit.Recentresearchonthehistoryofchildrenandcolor,fromtheIndustrialRevolutionon,showsthatthegenderbinaryisofpostwarvintage.Colorhasbeenanindicator,inthepint‐sizedrealm,ofsomanyotherthings.Age,forexample,separatingthewardrobeofwhite‐dressedinfantsfromthebreechedincoloredrompersorknickers.Interests,whichmightmanifestinwallpaperswithtransportationscenesorWesternstampedes,circusballoonsorflowers.Program,withbrightcolorsspecifiedintheplayroomandsoothinghuesinthebedroom.Complexion,asabove,withredforbrunettesandblueforblondes.Hygiene,withwhitealonerepresenting

thebleached,germ‐freeworldappropriatefortinyinnocentbabies.Style,asinmodernprimariesversustraditionalrichshades.Theexternalityofblueisforblonde,howeverarbitraryandfrustratingitseemedtoLauraIngalls,isfarsimplerthantheoverlappingreasonsbehindcolorchoicesforchildrenandeven,inthelatterpartofthe20thcentury,bychildren.Therestofthisessayexploresafewofthosechoices,whichoverlapandinterweave,ratherthanadvancingtowardacolor‐codedfutureinpinkandblue.The1930sturnouttobeanimportantdecade,oneinwhichthecommodificationofchildhoodbegan,andmodernismbeganitsmarchintomassculture.(Asmytitlesuggests,thetextsandimagesIexaminedseemtomean,byandlarge,"whitechildren"whentheysaychildren.Whentalkingaboutchildrenandcolor,particularlyinreferencetocomplexionandappropriatehistoricalthemes,Iexpectthereweredifferentrecommendationsfornon‐whitechildrenhistorically,andindeedseparatemerchandisingandadvertisinghistoriesintheearly20thcentury.Ididnotfindgoodreferencestosuchmaterialinthisfirstpassatthetopic,butacknowledgetheomissionandplantoresearchfurther.)WhiteInherstudyofcolorandculture,“PinkandBlue:TellingtheBoysfromtheGirlsinAmerica,”JoPaolettiwritesthatwhiteclothingforinfants,likeCarrie’shomemadewhite‐and‐lacechurch‐goingoutfitdescribedin“OntheBanksofPlumCreek,”cameintovogueinthenineteenthcentury,withinexpensive,industrially‐producedcottonandtheintroductionofbleaching.Whereoncedarkercolorswerefavoredbecausetheyhiddirtbetweenless‐frequentwashings,nowwhitewasconsideredeasiertocarefor,asitcouldbecleanedmoreoftenwithoutcolorloss,aswellassanitized.“DeathBecomesHer,”thecurrentexhibitiononmourningattireattheMetropolitanMuseumofArt,notesthatchildrencouldwearwhitewithblackedgingduringtheperiodofbereavement;fortheyoung,aninterruptiontothewhitewasallthatwasnecessarytoindicatechangedstatus,andalsoallowedthere‐useofexistingclothes.Intheearly20thcentury,asmanufacturersbeganmarketingtomothers,theyinventedthelayette,thesuiteoftinyclothingpurchasedbeforethebirth.Departmentstoresmightofferabrochureitemizingthese“essentials,”whichwouldbeofferedinunisexwhitecotton.Theexpectantmotherwasseenasavulnerable,hencedesirable,consumer,andbuyerswereadvisedondifferentstrategiestomakeherbuymoreinherinexperience.Evennow,companieslikeCarter’s,whoseclothingforolderchildrenreflectscolorandstyletrends,sellpale,radicallysimplifiedgarmentsfornewbornsinwhiteandpalecolors.“Classicbaby,”fromthecurrentseason,includesonesiesinwhite,lightaquaandpeach,withtinygiraffes.Whitewasbothliterallyandsymbolically“pure,”andusedbothforclothingandnurserydécor.Asthekeepersofthehome,womenwereputinchargeofmaintainingitscleanliness.Inthefirsthalfofthenineteenthcentury,householdmanualsstressedthemoralityandmannersofclean;inthelatenineteenthcentury

cleanlinesswastransformedintothemorescientific“hygiene,”andconnectedtodiseaseprevention.When,inthelate19thcentury,bathroomfixturesbecameincreasinglysmoothedandstandardized,whitewasconsideredtheideal,and“thehard,whiteporcelainbathroomrendereddustandgrimeimmediatelyvisible,”writeEllenLuptonandAbbottMillerin“TheBathroom,theKitchen,andtheAestheticsofWaste.”Adsfromtheinterwaryearsshowmothersbeingshamedforkeepinganunhealthyhome.InaScotTissueadfrom1939,aShirleyTemple‐lookalikeglaresbalefullyathermother.“AskYourDoctorwhathethinksaboutStandardsofCleanliness,”readsthecopy,suggestingthatbettertoiletpaperequalsstrongerandpleasanterchildren.InaNovember1930“Parents’Magazine”articleonnurseries,interiordecoratorPaulineDuffdrewalinebetweenbabiesandolderchildrenintermsofcolor.“Deepercolorsaretoostrongforuseinaninfant’sroom,”shewrote.“Wallpaperforaninfant’sroommaybeamusinglyjuvenileandthegroundmaybelightanddaintyincoloring.”Suggestionsincludedgoldstarsonapinkgroundandchildrenloftingpastelballoonsonacream‐coloredsky.Carpetshouldbedark,orthefloormaybecoveredinlinoleumwithwashablearearugs.Inanotherarticle,onplayroomsversusbedrooms,shesoundsthesametheme:“Onlyinthenurseryisitadvisabletousedelicatecoloringsindecorating.Peach‐coloredfurniturewithalinetrimofFrenchblueisasmartcolorscheme.”WhileDuffalwaysoutlinesalternatedécorforolderboysandgirls,hernurserysuggestionsaresingular:thebaby,initsyouth,hasnopreferences.Although,aswewillsee,thepostwarplayroomfrequentlyembracedcolor,earliermodernspaceslikeschoolswerediscussedinsimilartermsofhygiene,light,andlightness.Iftheywerenotwhiteperse,theywereasbrightaspossible,andfloors,wallsandfurnitureweremadeofmaterialsleftuncoveredanduncolored.Theoutdoorswastocomein,forsunlight,forexercise,forlearning;acleanarchitecturalspacecouldserveasframe.JanDuiker’sopen‐airschoolinAmsterdam(1929‐30)isessentiallytheinstitutionalversionofLeCorbusier’sMaisonDom‐ino,withconcretefloorscantileveredoncolumns,opencorners,andlargeglazedpanels.EugeneBeaudoinandMarcelLods’sone‐storyschoolinSuresnes,France(1935‐36)hadglasswallsthatfoldedbacklikeanaccordion,makingasmoothtransitionfromtheindoorstotheoutdoorclassroom.BeaudoinandLodsalsodesignedlightweightfurniturefortheschool,includingstainless‐steelcabinetsonwheelsandminiaturechaisesofbenttubularsteelandcanvasthatcouldbemovedbythechildren.MarcelBreuer’schildren’sfurnitureforThonet(1930‐31)wasalsomadeoftubularsteel,withplainwoodtopsandseats.GioPontievendesignedachild’sdeskmadeofglasswithwoodenfeetin1939.ArchitectRichardNeutra,influencedbyDuiker,importedasimilarconcepttoCaliforniaintheCoronaAvenueSchool(1935),withslidingglasswallsthatopenedontoapatioandaclerestory,ontheoppositeside,bringinglightfromtheoutsidehallwayconnectingtheclassrooms.TheCrowIslandSchool,designedbyElielandEeroSaarinenwithPerkins,WheelerandWillin1940,wasevenmoreinfluentialin

theUnitedStates,well‐madeinanorganicversionofmodernismstyle,withbigwindows,recessedlighting,andsmallchairsandtablesinclearbentwood.FrancesPressler,thedirectorofactivitiesfortheschool,askedthearchitectsthat“therebenoillustrativefriezedecorationasthemeansofpresentingtheplacetochildren,lestsuchillustrationbenotthefancifulpictureofthechildrenwhobeholdit.”Theaestheticofclean,andthemodernistimperativetowardtruthtomaterials,migratefromhometoschooltotoys.AsAmyOgatawrites,in“DesigningtheCreativeChild:PlaythingsandPlacesinMidcenturyAmerica,”“Amongtheeducatedmiddleandupper‐middleclasses,woodbecamethematerialsymboloftimelessness,authenticityandrefinementinthemoderneducationaltoy.”ShequotesRolandBarthes,whocharacterizedplasticandmetalas“graceless”and“chemical”inhisMythologies,andarguedthatwood“isafamiliarandpoeticsubstance,whichdoesnotseverthechildfromclosecontactwiththetree,thetable,thefloor.Wooddoesnotwoundorbreakdown;itdoesnotshatter,itwearsout,itcanlastalongtime.”Asimportantasmaterial,however,wasthebuildingblock’sabsenceofimitation.“Allthetoysonecommonlyseesareessentiallyamicrocosmoftheadultworld…Toyshererevealthelistofallthethingstheadultdoesnotfindunusual:war,bureaucracy,ugliness,Martians,etc.”Likethebleachedwhiteclothesofbabyhoodorplaincanvasupholstery,thecolorlesswoodenblockwastosuggestfreedom,creativity,health,aworldbeforeimposition,preferenceandnarrative.Inthisspirit,CreativePlaythingshiredSwisssculptorAntonioVitalitodesignthePlayforms,woodtoysofabstractedpeopleandanimalswhosesmoothunpaintedsurfacesweresupposedtoemphasizethematerialandstimulatepretendplay.FredunShapur,anotherCreativePlaythingsdesigner,createdtheWoodAcrobats(1963)incontrastingrosewoodandbeech,combiningactionfigures,puzzleandbuildingtoy.Butoverthedecades,itproveddifficultforparentsandeducatorstoleavewellenoughalone.When,in1996,HumphreyKelseydesignedachildren’splaytower,hefeltitslacqueredblondewoodsurfaceactuallyreadas“adult,”givenhowhighlycoloredtheworldofchildren’stoys,clothesandfurniturehadbecomeintheinterveningdecades.

Bright

Parents Magazine, April 1940

Aspartofher1930s“Parents’Magazine”seriesonthe“Whole‐FamilyHouse,”interiordecoratorPaulineDuffdescribedtheneedfordifferentdécorinplayroomsandbedrooms.Theplayroomwastostimulatetheimagination,thebedroomtoencouragerelaxation.Thismeantthatthepalette,materialsanddetailsofthedécorneededtobedifferent.“Gay,primarycolorsareespeciallydelightfulinth[eplay]room.Scarlet,clearyellowanddeep,brightblueareusedtogether,andgreen,oratouchofblack,foraccent,maybeusedinthisscheme.”WhatDuffdescribes,thoughsheneverusestheword,isthesaturatedsurfacesandprimarycolorsofearlymodernism.WhendescribingwallpaperbyTonySarg,afavorite,shecomments,“amodernizedtreatmentofthecreaturesofthecircusisdoneintheamusingGermanmannerinbrightcolorsonagreen,tanorblackground.”“TheamusingGermanmanner”iscodefortheBauhaus,wherein1923WassilyKandinskytriedtocorrelatetriangle,circleandsquaretothethreeprimarycolors,andJohannesItten’s12‐spokecolorwheelwassupposedtocorrespondtothe12musicaltones.Distillingdesigntoitsbasicelements,theybelieved,allowedforgreaterplayofideas,sparkingcreativityindesignersandinchildren.Butoneofthosebasicelementswascolor.IntheCooperHewittcollectionthereisaSargcircustextile,dated1930,thatislikelyfromtheseriesDuffdescribes.Elephants,zebrasandgiraffesareabstractedintoblobsandblotsofcolor,withstrongmen,clownsandringmastersscatteredbetweenthem.Ballsorballoonsinblue,yellow,greenandredbreakuptheillustratedfigures.It’sfarfromBauhausmasterOskarSchlemmer’sgeometricballetcostumes,butlesstiedtonarrativethanthestorybookandhistoricalpapersalsoonthemarket.Thecolors,inDuff’splayroomsetting,areusedingreatswaths.Child‐sizepeasantchairs(woodframe,rushseats)werepaintedyellow,blue,greenandred;built‐inseatswereupholsteredinblue.Shesuggestedagreendividedtoycabinetwithyellow,blueandredpanelsthatechoesafamousearlyBauhausdesignforchildren,alsoinfourcolors.AlmaSiedhoff‐Buscher’sdesignoftoysandfurniturefortheplayroomattheHausamHorn(1923)becametheprototypeforcreative,colorfulkidsroomsfromDuff’smass‐marketideas,totheMuseumofModernArt’stwoHousesintheGarden,tohigh‐endchildren’sfurnitureliketheStokkeTripp‐Trappchairtoday.ForthatplayroomSiedhoff‐Buscherdesigned(amongotherthings)a“ship”buildingtoy,madeofshapedblocksinblue,red,yellow,whiteandgreen,andacornercabinet,nowintheBauhausMuseuminWeimar,inthesamecolors.Siedhoff‐Buscheradvocatedfortoysas“notsomethingfinished,”andindeed,boththetoyandthecupboardinwhichitisstored,canbereconfiguredbytheirowners.Thecabinethasadoorthatcanbeusedasapuppettheater,introducingtheideaoftheroomaswellasthefurnitureasastageforthechild’simagination.LaterversionsofthisideaincludeCreativePlaythings’HollowBlock,anopen‐sidedcube,usedinbothMarcelBreuerandGregoryAin’sMoMAHouses.Siedhoff‐Buscher’scabinetcollapsesthedifferencebetweenchildandarchitectinwaysessentialtotheBauhausteaching.Eversince,simplifiedshapesandprimarycolors(plusgreen,black,orwhite)havecometosignifycreative,oftenchildren‐onlyspaces.

Whilethepalenurseriesofthenineteenthcenturyhadbeensimplyfurnishedwithhand‐me‐downs,theplayroomdevelopedasacentralnodeofinter‐andpostwarAmericanhouses.In“RaisingConsumers,”LisaJacobsonarguesthattheplayroom,alongwithbackyardclimbingstructuresandeducationaltoys,wassupposedtobringchildrenclosertotheirparentsbygivingthemadelightful,stimulatingspacewithinthedomesticrealm.Thisspace,stockedandcontrolledbytheparents,wastocounteractmassculture,seenbysomeasluringchildrenawayfromparentalcontrolandmakingthemoldbeforetheirtime.Thus,descriptionsofplayrooms(likeDuff’s)fromthe1920sonemphasizetheanti‐commercial,anti‐brandaestheticrepresentedbybrightcolors,basicshapes,andperennial,evennostalgicthemes.Theplayroomwasthechild’sdomain,butintheservantlessinter‐andpostwarworld,materialsalsohadtodothejobofkeepingtheroomclean(hygiene,again)andneat.Inmodelpostwarhouseplans,theplayroomistypicallyshownadjacenttothekitchen,juxtaposingthespheresofwomen’sworkandchildren’splay‐as‐work.Linoleum,dividedcupboardsandtoysthatdoubledasstorageunits,built‐inseatsandsmallchairsandtablesallmadearoomthatwassupposedtobebothacanvasfortheimaginationandindestructible.Creativity,fortheAmericanhousewife,couldmoreeasilybeencouragedinroomswithwipe‐cleansurfaces.MarianBachrachwrotein“ArtsandDecoration”:“Toooften,this‘children’sroomistheirsinnameonly…Nurserywallpaperandpermanentpictures…showthegrown‐upfingerinthepie.”Bettertohavearoom,however“draborbare,”thatwould“withstandthefrequentonslaughtofthumb‐tacks.”Primarycoloredwalls,andablacklinoleumfloorreadyforchalkdrawingwereherrecommendations.WhenJosephAronsondesignedplayroomsfortheToyManufactuersoftheUSAinthelate1940sandearly1950s,hesubscribedtothesamemodel:yellowwalls,blueceiling,redlinoleumfloors,andminimaldecoration.“Whateverpatternachildseeseverydayhewilltendtocopy–tothedetrimentofhisowncreativedevelopment.Ifyoumusthavesomedecorativedesign,letitbestrictlyabstract,orsomethingthechildhasdrawnhimself.”Oneconstantintheseschemes,fromthe1930son,istheuseoflinoleum,whetherblack,bright,orcutintoadecorativemotif.Inthe1940s,ArmstrongLinoleumfrequentlypaidthecoloradvertisementacrossfromthedécorandfashionsectionof“Parents’Magazine,”wheretheirproductswerefrequentlyfeatured.InApril1940therewasafeatureonasun‐porchnursery,inorange,blue,andwood‐grain,withArmstongfloorsinaMalevich‐likerepeat.Thenextmonththesamephotowasusedinanadwiththetagline,“Butmother,whyshouldIkeepthemoffthefloor?It’sArmstrongLinoleum.”AMarch1940advertisementinthesamepositionshowsanIndian‐themeboysbedroominshadesofbrownandblack–moremonochromethanthesunporch‐‐withaNavaho‐blanketmotifinlaidintothelinoleum.“AtlastI’vefoundawaytomakemytwoIndiansbehave,”saysthemotherintheupperleft‐handcorner,“and,thankgoodness,awaytomakemyfloorsbehaveaswell.”Cleanliness,bythe1940s,couldcomeincolor,andsocouldthetoys.

CreativePlaythingsfounderFrankCaplanwasdismayedbythefloodoftinandplastictoysonthepostwarmarket:“Manyofthemaredevoidofrealtoyvalue.Youngchildrendon’tneedgadgets.Theirimaginationsareenough.”Siedhoff‐Buscher’sshiptoywasmadeupofshapes,andcouldeasilybetransformedintohouse,train,ortotem.Nostoriesonthewallpaper,nodecalsonthecupboard,nobrandsonthetoys.Butwhereelementalandabstractwent,forthehomemarket,theprimarycolorswouldfollow.Playskool’sJuniorFloorTrain(1950),describedapprovinglybyDr.Spockinhisbestselling“BabyandChildCare,”wasmadeofwoodenpiecesthatcouldbeslottedtogetherinred,blue,greenandyellow.TheWalkerArtCentersponsoredthedevelopmentoftheMagnetMaster(1948),whichpackagedsteelplates,incircles,triangles,rectanglesandsquares,withrodsandmagnets,allwithinayellowbox.Evenlatereducationaltoys,whichembracetheproliferatingworldofplastics,stucktothepalette.APlayskoolPostalStation,advertisedintheMay1970“Parents’Magazine,”combinesredplasticwithabluewoodbase;kidscoulduseitto“post”orthreadasetofwoodenblock,includingyellowcircles,redsquaresandbluetriangles.ColorformswerecreatedbyHarryandPatriciaKislevitzin1951outofrollsofred,yellowandbluevinyl.Hepickedthecolors,shecutouttheshapes,templatingthemfromhouseholditemslikeathimbleandabottlecap.“Ijuststucktoreallybasicshapes,whichprovedtobeadvantageousbecauseitallowedkidstobeverycreative.TheoriginaldesignwiththegeometricformsisintheMuseumofModernArt,”Patriciarecentlytoldaninterviewer.“Istillthinkit’sthemostversatile.”Harry,shesays,comingfullcircle,wasinfluencedbyKandinsky.

Pattern

Parents Magazine, March 1940Theadvocatesofwhiteandlightandtheadvocatesofthebrightandcolorfulhaveonethingincommon:theybothfeartheimpositionofadultnarrativeonchild’splay.FromtherefusalofnarrativemuralsattheCrowIslandSchool,toadvocacyfortrainsthatlooklikepuzzlesinsteadofrealtrains,thesimplifyingnarrativefordécorandtoyswantscolortostimulateandnotlabel.Bothwhiteandtheprimaries(plus

green)basecolorforchildrennotoncomplexionorgender,butonideasaboutdevelopmentandhealth.ItisonlyintheIndian‐themebedroomabovethatgenderstartstocreepbackin.Evenwhile“Parents’Magazine”describedbrightandunisexplayrooms,boyandgirlparadigmsstarttobeexpressedthroughthemeratherthan(necessarily)color.In“TheCommodificationofChildhood:TheChildren’sClothingIndustryandtheRiseoftheChildConsumer,”DanielThomasCookidentifiestheinterwarperiodaskeytothedevelopmentofdifferentiatedmarketsforchildren’sclothing,separatingthesexes,andthensubdividingthemintodifferentdepartmentsinthestore.Thesameprocesshappenedinthehomedecorationaisles,beginningtheproliferationofprints,patternsandaccessoriesaimedatchildren.Pinkisoneofmanycolorsincludedinthesuggestedpalettesforgirls’rooms,butbynomeanstheonlyone.Redandbluecontinuetobeoptionsforboysorgirls.Instead,genderandfuturecareersareprojectedthroughnarrative,justasthemodernistsfeared.InDuff’s“WholeHouse”series,shesuggestedColonialprintsoramapofCapeCodfortheboy’sroom“instructiveaswellasdecorative,”alongwithwallpapersshowingtheconstellations,airplanesandzeppelins,ortheshockinglyracist“scenesofgailybandannaedmammies[sic]pickingcottoninthefieldsoftheSouth.”SearchingonlineforavisualexampleofsuchawallpaperturnedupaswitchplateonEtsymadefroma1940spaperthatappearstoshowawomaninaheadscarfnexttoabasketfullofcotton,aswellasachildwithahaloofshortblackbraids.Thecolorpaletteissoft,red,greenandtaupewithwhitehighlightsthatlookasiftheywerepaintedon.AllthecolorpalettesforolderboysaremutedinDuff’sdescription:greenandyellowzeppelins,mapsinblackon“parchment”withtouchesofredandgreen,shipsinnauticalblues,greensorgrays.Thepaletteforboysseemswiderandmoresophisticatedthantheteamcolorsthatdominatetoday:navy,orange,armygreen.“Butperhapsyourdaughterwouldprefermoredaintiness,”Duffwrote,suggestingFrenchpastoraltoilesinred,green,blueandsepia,achintzpatternedtolooklikecross‐stitch,oranimalscavortinginblackwithyellowandgreenorturquoisewithyellowandblack.Evenanundersea‐themepaperemploysacolorrangethatgoesfarbeyondtheprimariestoapricotaswellasaqueoushues.Anarticleinasubsequentissueonroomsforteenagersmentionswallpaperinasmallfloralprintofroseandblue,andfashionplatesonthewallfrom“Godey’sLady’sBook,”whichstarttotipthehandoftheparenttoward“appropriate”interests.Thesamearticlesays,ofyouradolescentboy’sroom,he“willprobablywantplentyofroomforascufflewithnoaccessoriestotoppleover.”Ogataquotesa1949articleintheNewYorkTimesthatpromoteshavingadressingtableinyourgirl’sroom(asallofthesepatternedexamplesdo)asa“psychologicalantidoteforpronouncedsymptomsoftomboyism.”Unlikethecolors(ornon‐colors)ofthebabyroomandplayroom,theroomforanolderchildwasaprojectionofinterestsandactivities.Whetherornottheinterestswereareflectionofchildorparentseemsdebatable,butthecolorswerenotwhatreinforcedgenderidentityinthe1930sand1940s.

In“PinkandBlue,”Paolettidatesthestrongidentificationofpinkwithgirlstothe1950s,noting,“theconnectionwasneitheruniversalnorrigid.”Itwasn’tuntilthe1980s,infact,thatpinkbegantodominateclothes,décorandtoysforgirls,fueledinpart(shetheorizes)bytheincreasingpopularityofgenetictesting,whichallowedexpectantmotherstobuytheirlayetteforachildofapredeterminedsex.Inthe1950s,womenstillsewedfortheirchildren,expandingtherangeofpossibility.Inthe1950sclothesandtoyswerealsomoreexpensive,andmorelikelytobehandeddown,makingneutralchoicesmorepragmatic.Genderingofclothesandenvironmentsreliesoncheap,mass‐marketgoodsnotdesignedtolastlongerthanagrowthspurtoraphaseofchildhood.Indecoration,onestillseespinkcombinedwithpattern,doublingdownonsymbolicfemininitywithflowers,ruffles,fashionorsweets(asthenurseryrhymegoes).Forboys,historyandtransportationremainpopular.InFormica’s1964World’sFairHouse,builtinQueens,thegirl’sroomandboys’roomarestrictlygenderedbycolor,themeandactivity.Herroomispaneledinpalepinklaminate,withaconcealedfull‐heightvanity“includingawardrobemirrorandswing‐awayshelvesimpervioustocosmetics.”(AllquotesarefromLeoJiranek,designer,inthecommemorativebookletonthefairhouse.)Asewingmachineisshownontheblushlaminatecollapsibledesk,andaPrincessphonesitsbelowafolded‐paperlampshade.Herbedisupholsteredinraspberryruffles,withatrundleforsleepovers,andthewallsandcurtainshaveapatternofAlexanderGirard‐inspiredflowersinpinksandyellows.Theboys’room(clearlyforherpeskylittlebrothers),isallfauxwoodgrainandIndian‐themed.Thestoragecompartmentinthebed“isclosedwithminiaturebrassspears,abitofintriguewhichbeginsbyinspiringprideofownershipinthelittlefellows.Picturesofbravesareonthewoodlaminatewalls,andaprintinspiredbyNavajogeometryisusedinbrownonthecabinetsanddrawerfronts,inblueonthecurtainsandupholstery.Theboys’desklooksreadyforbusiness,as“todayintheSpaceAgewearerediscoveringthesternnecessityforhomework.”Contrasttheseperiodrooms,attractiveintheirthoroughnessifnottheirthemes,withtheofferingsfromLandofNodtoday.Under“GirlsBedding”youcanbuyaFrenchmacaronprintinpastelsandgold,“SurpriseParty”withpinkballoonsandabow,and“Fashionista”withpinkstripes,polkadotsandillustrationsofminifashionplates.Thethemeswithoutpinkare“Equestrian,”inblue,brassandHermesorange,and“GreatWhiteNorth,”aflannelwithpolarbears“thatfitswellinaboy’sroomorgirl’sroom.”Ontheboyside(mostlyblue):thesolarsystem,thejungle,transportation,knightsofold.ThemessageisthatgirlsliketogotoParis;boysliketoexplore.

AnythingButPink

Parents Magazine, July 1970

ThemostinterestingchapterofPaoletti’sbookformewasChapter6,“UnisexChild‐RearingandGender‐FreeFashion.”Whileshetracesahistoryof“increasinglygenderizedfashions,”theyearsbetween1965and1985serveasanabstract,bright,androgynousinterregnum.Mychildhoodembraceofthesimplestofcolordicta,blueisforblondes,pinkisforbrunettes,maycomefromgrowingupinthe1970ssurroundedbyorangeandbrown,redandgreenandyellowandpurple.Somewomenmyagereactbylookingforpink,Ifindgreatestappealintheimagesofchildrenandtheirroomsfromthisera,anditisshockinghowdifferenttheyarefrommostAmericankidmerchandizingtoday.“Parents’Magazine”FamilyFashionsection,July1970:thecoverimageisofasmallgirlwithablondebob,standinginfrontofabluelaminatetoadstooltablethatwouldnothavelookedoutofplaceintheMuseumofModernArt’s“Italy:TheNewDomesticLandscape”exhibitionofthatyear.Shewearsanorangetunicdressandaturtleneckstripedinnavy,yellowandorange.Herbrotherbehindherwearsthesameshirtoveranorangezip‐frontcoverall.Nozeppelinsorjetsorfootballs,nobutterfliesorfashionplatesorflowers.Justcolor.