ISSUE #1 – PINK 

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Vsasilik Kandiskij, in 1912 in “Concerning the spiritual in art”, wrote that “a color is a way to employ a direct influence on our soul. The color is the key. The eye is the hammer. our soul is a piano with many strings”. By acknowledging that the color can be a privileged way in the propaganda of an idea in the human soul, the immediate juxtaposition of the color pink with femininity doesn’t surprise at all. But exactly as the relationship between expression and content is entirely arbitrary in human language, the quick juxtaposition between pink and feminine is nothing but the result of an unnatural social rule long ago consolidated. As a matter of fact pink hasn’t always been a feminine color: the word stated neutrality since its first appearance in the dictionary in XVIII century, until the beginning of the Twentieth Century, when both men and women indiscriminately start making use of the color pink in their wardrobe (just think of the iconic “pink suit” Jay Gatsby had in F. S. Fitzgerald masterpiece). The very first sign of association of the color pink to a certain genus start exactly in the Twentieth century, with unexpected results. In 1918 the Earnshaw’s Infants Department magazine states that the accepted rule is that boys should wear pink, because belonging to the color palette of red, symbol of virility, strength and heroism, but with a faint shade, because it is deprived of the bellicose element. For girls the color blue is suggested, more delicate and charming. The disturbance of this duo would come during the middle of XX century: from the ’40, men start wearing darker clothes, tending to blue and women would start preferring lighter colors for their clothes. Marketing and advertisement during the ’50 contribute to freeze this chromatic communion up to our days. What further supported both the social and the media impact was the arrival of the controversial Barbie in 1959, the doll associated with pink that would have made the rules in girl toys. Pink was then in the middle of different discussions from the feminist movements of the ’60 and ’70, which contested the connection of pink with women because bounded to the infantile sphere, to an aura of affectedness and superficiality or to a displayed sickening sentimentalism (as the romance novel is often seen, intended just for women). From that moment on pink will become the two-faced Janus of colors: historically androgynous, socially forced in one single role; beloved because both captivating and placid, but also hated because witness of a sexist culture which wants to divide and feed prejudice. If what David Hume writes is a truth, “Beauty in things exists in the mind which contemplates them”, maybe its opposite is salso true: corruption exists in the eyes of who sees it, of who sees a way of enslaving, dividing, prohibiting and diminishing all in one color. Either you like pink or not, what really matters is to feel free to appreciate something without any social pressure. Without any fear of being yourself. 

Featuring:

Maria Antonia Licurgo,

Stefania Pirrone,

Elisabetta Sedda,

Sara Menetti,

Alice Socal,

Margherita Morotti,

Sara Pavan,

Alice Milani,

Margherita Tramutali,

Silvia Rocchi,

Cristiana Portolano,

Josephine Yole Signorelli,

Erin M. Miller,

Claudia Fontana,

Katharina Hingst,

Clorophilla,

Flaminia Veronesi,

Marta Blue,

Nadia Waheed,

The Trashy Collection,

Irene Spini,

Leitalienne,

Laura Magagna,

Chiara Glionna,

Ilaria Minelli,

Francesca Colombara,

Chiara Cappetta X Luca Migliaro,

Any Other,

Ginevra,

Ilaria Rastrelli,

Ordinary Girls,

Forgotten Architecture,

Bianca Felicori,

Naomi Accardi,

Francesca Quaglia,

Maria Cristina Galassi,

Stefania Pirrone

Mulieris Magazine © 2020 Design by Chiara Cognigni

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