The pink-blue gender clothing existed before the 20th century. Red was a relevant colour for male political leaders, associated with power, determination, and force; while pink, its diluted version was for young boys. Blue was considered dainty and associated with girls.
In the 1950s, birth announcements and advertising campaigns, as well as baby books changed their connotations to those that are now traditionally known. Colours and gender-coding are debated these days. Blue for boys and pink for girls-it has diverse meanings, from sweet and innocent (blush pink) to edgy and erotic (shocking pink). Besides that, what played a major role in that was the influence of personalities, and cultural icons of the 1950s and 1960s had a significant influence on public awareness and the use of pink in fashion and decoration.
A few examples are Mamie Pink, the famous nickname of Mamie Eisenhower (1896-1979), the wife of the 34th president of the United States. Lorelei Lee (Marilyn Monroe) in Gentlemen Prefer Blondes (Howard Hawks, 1953) eternised the colour's positive connotations in “Diamonds Are a Girl’s Best Friend.” The French 1950s muse, Brigitte Bardot (1934-) wore pink gingham for her wedding dress in 1959.
Societal rules have exceptions. Prestige brands like Brooks Brothers with Ivy League pink shirts. No one but Elvis Presley, the king of rock and roll, and his obsession with colour was visible in his clothes, car, and bedroom. The American boxer, Sugar Ray Robinson, owned a pink Cadillac.
This gender colour-coding became even a part of the language with expressions, such as "pink-collar jobs", which has the colour-coding sexist origins as well as being old-fashioned, as in the present day there is not such a thing, it was named due to women's repression in a not-so-distant past. Even contemporary ones, such as “pink money” which has similar sexist origins, but is also homophobic, when it associates homosexuality with femininity.
The pinkification dictatorship is a strong part of pop culture. However, it is crucial to highlight how Hollywood has demonized the colour over the past three decades. This brought the uncoherent link of the colour with futility
It originates from the wrong assumption of ultrafemininity being interconnected with the lack of substance. This misassumption is due to the second wave of feminism. On the one hand, it covered a range of achievements for white women such as sexuality, family, workplace (equal pay and maternity leave), reproductive rights (contraceptive methods), de facto inequalities, and official legal inequalities. On the other hand, it separated femininity from feminism. The feminists denounced girly things, aiming to be taken seriously, as many of these elements were tools given by men in order to women to please them. An example was the bra-burning during the Miss America protest in 1968.
This is reflected by the depiction of the not like the other girls trope, progressive or powerful women who are often shown to be tomboy characters who are considered one of the guys, and unaware of how to perform femininity. Such as Viola Hastings (Amanda Bynes) in She’s The Man (Andy Fickman, 2006), Margaret Tate (Sandra Bullock) in The Proposal (Anne Fletcher, 2009) and Hermione Granger (Emma Watson) in Harry Potter (2001-2011).
As well as the ugly duckling trope that perpetuates the stereotype to transform the tomboy into a feminine character in order to be accepted or loved. A few examples of that are Mia Thermopolis (Anne Hathaway) in The Princess Diaries (Garry Marshall, 2001). Tai Fraser (Brittany Murphy) in Clueless (Amy Heckerling, 1995). Laney Boggs (Rachael Leigh Cook) in She’s All That (Robert Iscove, 1999).
Many 1990s and 2000s productions portrayed femininity as evil through antagonists. Regina George (Rachel McAdams) in Mean Girls (Mark Waters, 2004). Sharpay Evans (Ashley Tisdale) in High School Musical (Kenny Ortega, 2006). Mia Collucci (Anahí) in Rebelde(2004-2006). Additionally, even with flawed protagonists from Jawbreaker (Darren Stein, 1999), Gossip Girl (2007-2013) and Pretty Little Liars (2010-2017).
However, there are high maintenance ultra feminine characters who subvert the media stereotype. Such as Elle Woods (Reese Witherspoon) in Legally Blonde (Robert Luketic, 2001), the protagonists from Fate: The Winx Saga (2021-2022). Live-action Daphne (Sarah Michelle Gellar) in Scooby-Doo (Raja Gosnell, 2002). Barbie (Margot Robbie) from Barbie (Greta Gerwig, 2023).
The pinkification is not limited to pop culture. It played a significant role in the punk music scene with reputed bands like Sex Pistols and Ramones. In the 1990s, the grunge scene with pink colour aesthetics from American singer Courtney Love(1964-). P!nk(1979), the American pop singer has an artistic name that is a reference to the colour and she constantly subverts the traditional femininity attributes mentioned.
The branding new pop culture rule now is to wear pink when watching the Barbie film in the theatres, as it is the favourite colour of the main character, since her birth at the 1959 New York Toy Fair. However, hopefully, it undemonises the colour becomes a part of the everyday, not exclusive to special dates like that release or on Wednesdays or in October, it returns to its old meaning associated with power. Last but not least, one thing does not invalidate the other. We can be plural, feminine feminists, and wear warm colours like red and shocking pink have their value.
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