A bit late

Commentary on the visual world by Alexandra Lange. Can include movies, TV, books, magazines, parks, buildings, design, cooking, kids.

permalink

The Extinction of the Unisex

When I was a girl, I put away girly things. From the age of five or so, I would not wear a dress, embraced flannel shirts and overalls, knickers and vests and bowties, and shopped in the Sears boys department. I fondly remember a pair of teal corduroy knickers my mother made me, as well as a gray canvas jacket lined in plaid. Both would probably be very fashionable on the Lower East Side today. Up until the age of five, my mother had made many of my clothes, or bought them at the Carters outlet, and they were green and blue and red, Marimekko and striped. My brother wore them all when he came along 3.75 years later, because they were unisex. At five I moved into the girls department, and found it to be alien.

Now I have a toddler of my own, and we often dress alike. But he’s a boy. Striped long sleeve t-shirts and jeans, hoodies and cargo pants, down vests and sneakers in orange and blue, green and gray. We are casual. I work from home. There’s plenty of overlap between my wardrobe and the miniature version in the boys departments of the inexpensive places I shop, Target and Old Navy, Daffys and Tea Collection on sale. I have to choose carefully to avoid camouflage and truck appliques, sports teams and rock n’ roll t-shirts. I don’t like to project my interests onto my boy, and they include none of the above. He doesn’t have interests yet.

When I wander into the girls department, it is still alien. There isn’t one thing I would wear. Setting aside the question of pink (which, much like the question of Barbie, is an argument for another day), there’s little that isn’t a pastel or a bright, a version of red or blue or green that definitely isn’t for boys. If there is a navy blue dress, it comes with lavender polka dots or pink leggings. And polka dots are restrained. There is hardly anything plain: the leggings have flowers, the t-shirts have butterflies, the hoodies have sparkles. One day I saw a rack of orange and turquoise t-shirts—the boys colors, as if to compensate from the fluorescent explosion next door, tend to the muddy, navy and army green and maroon—and rushed over. They were 100 percent cotton, they had no hearts, but each tiny sleeve had been shirred. Even if I had decided my boy could wear tangerine, I knew he couldn’t wear puffed sleeves.

It must be the explosion of cheap clothes that has produced so much differentiation, so much trimming, so many colors. In Target with too many choices, I am always wishing they were fewer, and plainer. Why can’t my boy wear a teal sweatshirt, and my niece black jeans? Why can’t that red raincoat leave off the pink hood lining, the red sweatshirt come without a giant 32? I sometimes see such things in the designer labels, but I am not going to pay more for the item with less on it. (For some reason, the Appaman black down coat was popular for girls in my neighborhood, in a a way I suspect an Old Navy one never would be.) For the bargain children’s shopper, the unisex will soon be extinct.

Comments (View)
permalink

On The Moment: Plastic Fantastic

Bakelite, the 20th century’s first plastic, was invented in 1907, 60 years before “The Graduate” suggested the industry was on the cutting edge. “Bakelite in Yonkers: Pioneering the Age of Plastics,” an exhibition that opens on Saturday at the Hudson River Museum, showcases 300 objects from the 1910s to the early 21st century that exploit the unique properties of Phenol-formaldehyde: brilliant color, heat resistance and strength. Bakelite is still used today in car parts, plywood and pan handles (Revere Ware, for example), but the earliest pieces in the exhibition show its decorative side.

Read more on The Moment.

Comments (View)
permalink

Still Ugly After All These Years

What We Learned: The Yale Las Vegas Studio and the Work of Venturi Scott Brown & Associates closes tomorrow at the Yale School of Architecture, so unless you are already in New Haven, you missed it. But the exhibition provoked some excellent commentary (by Julie Iovine, among others) and made me think again about Learning from Las Vegas, the Venturis, and the question of tacky.

LLV (as I always write it in my notes, along with other architectural shorthand, C+C, LeC, FLW, DNYC, and so on) is always being misunderstood as a valorization of Las Vegas, as if Venturi and Scott Brown went out there and fell in love with the city. But they didn’t. They are no supporters of the American road, merely clinical and academic onlookers, smart enough to see there was a language of Las Vegas but not willing, except in a few cases, to use that language. Those few cases are among my favorite examples of their work: the huge flowers on the Best Products Showroom, the Nikko Kirifuri Hotel and Spa promenade. These two projects have a bigness, a brightness, and a borderline tastelessness that speaks to me of Vegas and commercialism and a willingness to go beyond modernism that is refreshing. That the latter borrows from the less fastidious idiom of Charles Moore is no surprise.

But most of the time (and in the Yale exhibition, a bombastic installation of this most of the time took up the center of the A+A Gallery, a misprision of what people were there for) I think they take the lessons of Las Vegas and turn them into flatter, mauver, cheaper versions. The Sainsbury Wing always looks to me like the ballroom in one of those decorated shed hotels turned inside-out, all applied molding and peach accents. Rather than accepting the box and freeing the plan, the interiors of many VSB projects look tortured and compressed. They think the modern architects hurt us by trying to fit life’s functions into a geometric shape; I think they hurt us (or at least Vanna Venturi) by giving her the a dismal uncomfortable living room. There has always been a huge gap for me between the humor of the writing, the erudition of the examples, and the architecture in person. This exhibition showed again how epochal and still not entirely understood LLV was, both for architects in general and for the architects of LLV themselves.

Comments (View)