PINK MAGAZINE

The color pink represents compassion, nurturing and love. It relates to unconditional love and understanding and the giving and recieving of nurturing.

CREDITS

Editor

MAHREEN MUNAWAR

Photographic contributors VOGUE

DIOR MEN

VALENTINO GARAVANI

MICHAEL BAILEY GATES

VALENTINO FALL/WINTER 2022

FENTY PUMA BY RHIANNA TIM WALKER/PUMA

Text contributor

PUJA BHATTACHARJEE

SOFIA CELESTE

MARIANNA CERINI

The color of frivolity lives between red and white. Pink takes all the passion and energy of red and tempers it with the purity of white, leaving us with the color of tenderness and affection.

EDITOR’S LETTER

Welcome to the vibrant world of PINK , where every page is infused with the radiant energy of pink! As we embark on this colorful journey together, I am thrilled to introduce you to an issue that celebrates the beauty, history, and versatility of the color pink like never before. Pink isn't just a color; it's a state of mind. It symbolizes joy, creativity, and the power of self-expression. From the soft blush of dawn to the bold hues of a summer sunset, pink surrounds us with its warmth and positivity, inspiring us to see the world through rose-tinted glasses.

In this special edition of PINK , we delve deep into the rich tapestry of pink, exploring its fascinating history, cultural significance, and enduring influence on art, fashion, and design. From ancient civilizations to modern-day revolutions, pink has captivated hearts and minds across the ages, leaving an indelible mark on our collective consciousness. As you flip through the pages of PINK , I invite you to embrace the spirit of pink and let its effervescent charm uplift your spirits and ignite your imagination. Let’s celebrate the power of pink together and revel in the beauty of life’s most vibrant hue.

Thank you for joining us on this colorful adventure. Here's to a world painted in shades of pink!

Warmest regards,

Mahreenmunawar

Editor-in-Chief, PINK

FEATURES

01 PINK IS FOR BOYS

The complicated gender history of pink

When did the reversal happpen?

Lack of cocensus

Making a statement

02 WHY PINK WILL ALWAYS BE THE COLOR THAT...

Shocks. Entices. Enthralls. Valentino Fall/Winter 2022

03 REFINED, REBELLIOUS & NOT JUST FOR GIRLS

A colorful history

Shifting significance

Different meanings of pink

DEPARTMENTS

01 SHADES OF PINK

Different shades of pink and what they represent.

02

MICHAEL BAILEY

Photographer for Valentino Fall 2022

03

TIM WALKER

Photographer for Fenty Puma by Rhianna 2017

SHADES OF PINK

HOT PINK

This web color is used for the pink triangle, a symbol of gay pride and gay rights since the early 1970s.

CHAMPAGNE PINK

Champagne pink symbolizes grace, femininity, and tenderness. It is a color that conveys a sense of warmth and elegance, making it ideal for creating a romantic and soothing ambiance in various settings.

FAIRY TALE PINK

This color was made to represent the typical fairy outfits in fiction.

CHERRY BLOSSOM PINK

Represents a time of renewal and optimism. The pops of pink mark the ending of winter and signify the beginning of spring. Due to their quick blooming season, cherry blossoms also symbolize the transience of life, a major theme in Buddhism.

SHOCKING PINK

This bold and intense color takes its name from the lettering on the box of the perfume called Shocking, designed by Leonor Fini for the Surrealist fashion designer Elsa Schiaparelli in 1937.

BARBIE PINK

If you couldn’t guess from the name, this shade of pink (Pantone 219C) is the color used by Mattel’s Barbie in logos, packaging, and promotional materials.

BUBBLEGUM PINK

This color is actually a deep tone of magenta.

BOYS PINK IS FOR

BOYS

THE COMPLICATED GENDER HISTORY OF

BY PUJA BHATTACHARJEE

PHOTOS VOGUE

DIOR MEN

SPRING 2020

LOOK 25

When you think about the color pink, you are probably conjuring up images of little girls in pink dresses, with pink toys like Barbie or a Disney princess in a pretty gown. The color is overwhelmingly associated with delicacy and femininity. That, however, is a recent development. “If you go back to the 18th century, little boys and little girls of the upper classes both wore pink and blue and other colors uniformly,” said Valerie Steele, director of the Museum at FIT, the Fashion Institute of Technology, in New York. In fact, pink was even considered to be a masculine color. In old catalogs and books, pink was the color for little boys, said Leatrice Eiseman, a color expert and executive director of the Pantone Color Institute. “It was related to the mother color of red, which was ardent and passionate and more active, more aggressive. Even though you reduce the shade level, it was a color that was associated with boys,” Eiseman said. An article titled “Pink or Blue,” published in the trade journal The Infants’ Department in 1918, said that the generally accepted rule is pink for boys and blue for girls. “The reason is that pink being a decided and stronger color is more suitable for the boy,” it said.

SO WHEN DID THE REVERSAL HAPPEN?

According to Steele, the gendering of pink in America is complicated.

“In America by the 1890s and the early 20th century, manufacturers attempted to sell more children’s and infants’ clothes by color-coding them,” she said. Some manufacturers branded pink for boys and blue for girls, and vice versa. In 1927, there were a lot of regional differences reported between how stores characterized the color, Steele said. Stores like Best & Co. in Manhattan and Marshall Field in Chicago branded pink as a boy’s color. Others like Macy’s in Manhattan and Wanamaker’s in Philadelphia identified pink as a girl’s color.

LACK OF COCENSUS

Steele believes that the acquisition of two 18th-century paintings by American millionaire Henry Huntington started turning the tide in favor of pink being a girls’ color. “The Blue Boy” depicted a boy dressed in blue, and “Pinkie” portrayed a girl in pink attire.

Huntington’s purchase was widely publicized in the American press, Steele said. People started thinking that for hundreds of years, blue had been for boys and pink had been for girls. But this wasn’t true, she said.

“If you look back, little boys in the 18th century wore blue and pink, and grown-up men wore blue and pink, and ladies and little girls wore blue and pink,” Steele said.

MAKING

“Today, a boy or man can’t wear pink without it being some kind of statement”

MAKING a

But things are changing. STATEMENT

Paoletti said that if a male friend of hers was wearing a pink tie or pink shirt, they would point it out. “If it was just a color, you wouldn’t have to do that. You are using a pink tie to show that ‘I am a feminist’ or that ‘I am not tied to gender roles.’ ”

Eiseman agrees that there has been a steady growth in the usage of pink for men. “But it does take a man who would look at it and say, ‘I am not threatened by wearing pink’ or ‘I don’t think I am going to be viewed by other people as being too effeminate if I wore pink,’ ” she said.

However, researchers at Pantone found that the color pink is being adapted more by men than it ever had been before, Eiseman said. Shirt makers like Pink in London and Ralph Lauren’s pink polo shirts have helped make it a popular color among men.

Eiseman said that for some men, the bias against pink comes naturally.

said Jo Paoletti, academic and author of “Pink and Blue: Telling the Girls From the Boys in America.”

Why Pink Will Always Be the Color That... Shocks

BY SOFIA CELESTE

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PHOTO VALENTINO GARAVANI

Historically, pink has proven to be one of the most emotionally evocative and controversial colors of all the spectrum. It’s most dazzling iteration, shocking pink, was popularized by the late Italian couturier Elsa Schiaparelli, who made the intense magenta her signature color in 1937.

Decades later, further socio-political movements in the west would embrace the color again, when knitted pink hats became a symbol of the 2017 Women’s March, a worldwide protest movement against US President Donald Trump.

Pink is said to have been worn in ancient India and imperial China, as well as the upper echelons of 18th century European society, where it was a symbol of social status, since the materials used to dye such lavish garments were imported from expensive expeditions to central Asia and South America.

Throughout the centuries, pink has assumed a range of guises, from Barbie’s dresses to the saris of the Indian vigilante group, the Gulabi Gang.

“For women, it signifies blush powders, vibrant skin, attractiveness. It represents the softer or wilder side of a man or woman,”

Pink does have its naysayers, though, especially among people rejecting the rigid gender-conformity still associated with it. While some parents choose not to buy their daughters any rose-colored clothing, others have spoken about being “pink shamed” for dressing them in pink instead of more gender-neutral colors. Perhaps pink will always carry the ability to shock. Roseberry considers that the prowess the color stands for has become even stronger over time. It is a hue ever related to power, creativity, and individuality –fit for the women of today.

fit for the women of today.

Refined Rebellious & NOT just for girls

BY MARIANNA CERINI, CNN

PHOTO

FENTY PUMA BY RIHANNA, SPRING/SUMMER 2017. TIM WALKER/PUMA

In the West, pink first became fashionable in the mid-1700s, when European aristocrats – both men and women – wore faint, powdery variants as a symbol of luxury and class. Madame de Pompadour, the chief mistress of Louis XV, loved the color so much that, in 1757, French porcelain manufacturer Sèvres named its exquisite new shade of pink, Rose Pompadour, after her. Pink was not then considered a “girls” color – infants of both sexes were dressed in white. The tint was, in fact, often considered more appropriate for little boys because it was seen as a paler shade or red, which had “masculine,” military undertones.

The more recent association with women and femininity started around the mid-19th century when, according to Steele, “men in the Western world increasingly wore dark, sober colors,” leaving brighter and pastel options to their female counterparts.“The feminization of pink really began around there,” she explained. “Pink became an expression of delicacy, as well as froth.”

Pink also, as Steele’s book notes, developed its first erotic connotations around this time, because it hinted at nakedness. Lingerie in shades of pink became increasingly common, as did references to the color’s sexual allure in literature and art – always in relation to the female body. By the turn of century, pink had entered the mainstream – and its status shifted in the process. The advent of industrialization and mass-production led to the growing cheap dyes like magenta, which resulted in bright, garish versions of the color. Pink went from luxury to working-class and, as a color often worn by prostitutes at the time, from sophisticated to vulgar.

Its guises continued changing through the 1900s. In the first two decades of the 20th century, French couturier Paul Poiret created dresses in pale and pastel pinks, as well as bolder cherry, coral and fuchsia, propelling the shade back into the realm of high fashion. By the 1950s, pink had become more gender-coded than ever, thanks to branding and marketing in postwar America that used it as a symbol of hyper-femininity, cementing a pervasive “pink for girls, blue for boys” stereotype.

A COLORFUL HISTORY

SHIFTING SIGNIFICANCE

Pink regained some its allure around the 1960s, when public figures such as Jackie Kennedy and Marilyn Monroe adopted it as mark of luxury. Punk bands like The Ramones and The Clash made it edgier in the 1980s, while in more recent decades, pop, celebrity and hip-hop cultures have embraced the color in different ways – from Madonna performing in a Jean Paul Gaultier soft pink cone-cupped bustier in 1990, to rapper Cam’ron attending New York Fashion Week in a pink mink coat and matching hat in 2002, helping to show that pink could again be considered a men’s color.

Nonetheless, Europeans and Americans repeatedly describe it as one of their least favorite colors in polls.

“All colors have complications.” Steele said. “But I do think that pink is one of the most controversial ones –and one of the most divisive, too. It arouses very strong emotions, whether good or bad.”

Pink continues to be be received in wildly different ways around the world. Steele believes that Asian cultures are often more partial to pink than Western ones, with her book pointing to Japan in particular, where cosplay and the notion of a “youth-oriented, feminized cuteness” have made pink the color of choice for a whole sub-culture of urban “Lolitas” sporting doll-like styles.

“

feminine - erotic sophisticated -

In India, pink has long been understood as a hue for both sexes, with men commonly wearing pink clothing, adornments and turbans – particularly in the north Indian state of Rajasthan.

Pink has also been embraced as a color of protest and awareness for various other communities. Pink triangles, once used in concentration camps by the Nazis to identify homosexuals, became a symbol of gay activism in the 1970s. The shade has been increasingly associated with the LGBTQ community, with Steele’s book noting how, in France, AIDS was sometimes referred to as “the pink plague.”

Elsewhere, it has become internationally synonymous with the fight against breast cancer, in the form of a pink ribbon. In the US, meanwhile, female protesters have been wearing pink to signify ownership of their sexual, reproductive and social rights.

“Pink is going through a generational shift,” Steele said. “Society is increasingly moving away from the idea of it as a childish, over-sexualized hue. There’s a shared recognition that pink can be pretty and powerful, feminine and feminist. Men are turning to it, too – as (they did) in the 18th century. We’re re-framing pink.”

erotic - kitsch- trangressive”

SPOTLIGHT

MICHAEL BAILEY GATES

Photographer

VALENTINO FALL/WINTER

2022 CAMPAIGN

Clients

Valentino

Armani

AMI

Lancome

Gucci

Editorials

Vogue France

Rolling Stone

Purple Magazine

i-D Magazine

Beauty Papers

Modern Weekly China

Re-Edition

The Travel Almanac

Photographer Michael Bailey-Gates graduated from the School of Visual Arts in 2015, the same year they won the Robert Mapplethorpe Foundation Award, launching them into the professional art world. The work Bailey-Gates is focused on most is portraiture, influenced by classical studio photography. Working with a close circle of collaborators and subjects, there is often a subversive edge to their photography. Gender roles are interrogated and norms transgressed, and the result is a body of work that is transformative, emotional and focused keenly on the self.

Bailey-Gates has collaborated with commercial fashion brands such as Valentino, Armani and Ami. They also contribute to publications including Vogue US, the New York Times and Rolling Stone. Their monograph titled A Glint in the Kindling was published in 2021.

Exhibitions

A Glint In The Kindling, The Ravestijn Gallery, Amsterdam (2021)

Unseen Photo Festival, Amsterdam (2021)

Printed Matter, LA Art Book Fair (2019)

All Fine Figures, Osmos, NY (2017)

Watermill Benefit Auction, NY (2016)

New Bohemia, Czech Center, NY (2016)

Newstand at MOMA, NY (2016)

Baker's Dozen, CK2 Gallery, NY (2016)

Auto Body x Booklub, Bellport, NY (2015)

Publications

A Glint In The Kindling (2021)

SPOTLIGHT

TIM WALKER

Photographer

GERON MCKINLEY FOR PUMA X FENTY

SS17 CAMPAIGN

Clients

Fenty

Puma

Gucci

Viktor & Rolf

Valentino

Christian Dior

Editorials

Vogue

British Vogue

W Magazine

World of interiors

Love Magazine

ES Magazine

Tim Walker's photographs are nostalgic for an era of innocence and exuberance; youthful imagination and a uniquely British aesthetic. At once modern yet familiar, his world is reminiscent of a childhood spent dressing up in ancient couture, dragging family heirlooms down to the bottom of the garden to furnish tree-lined ballrooms. These memories are retold with a sublimely reminiscent matured eye for drama and intrigue. Walker painstakingly stages each picture in camera, which reinforces the home-spun magic and texture shown in each image.

Born in England in 1970 Walker’s interest in photographs began at the Condé Nast library in London, where he worked on the Cecil Beaton archive before taking up a place at Exeter College of Art to study photography. After graduating, he became assistant to Richard Avedon in New York before returning to England, where he initially concentrated on portrait and documentary work for UK newspapers.

At the age of twenty-five, he shot his first fashion story for Vogue, and has photographed for the British, Italian and American editions ever since. He has and continues to contribute to Harper’s Bazaar, W, i-D and Vanity Fair magazines,

and has worked on advertising campaigns for brands such as Yohji Yamamoto, Guerlain and Dior Parfums. His first major show was held at the Design Museum in London in 2008, coinciding with the publication of his first monograph Pictures. In November 2008, Walker received the Isabella Blow Award for Fashion Creator from The British Fashion Council and, in May 2009, he received an Infinity Award from the International Center of Photography, New York, in recognition for his work as a fashion photographer. In 2012, Walker opened a major mid-career retrospective at Somerset House in London. This incredible exhibition also marked the launch of his second book Story Teller, published by Thames and Hudson. Walker’s latest major retrospective, Wonderful Things, opened at the Victoria and Albert Museum in 2019, and will be opening at the J. Paul Getty Museum in May 2023.

Walker’s work is held in the permanent collections two of London’s most prestigious institutions, the Victoria and Albert Museum and the National Portrait Gallery. More recently, the J. Paul Getty Museum in Los Angeles have acquired several works for their collection.

Exhibitions

Pictures (2008)

Story Teller (2012)

Wonderful Things, Victoria and Albert Museum, London (2019)

Tim Walker: Wonderful Things, National Gallery of Victoria, Melbourne (2019)

Tim Walker: Wonderful Things, Museo de la Moda, Santiago, Chile (2021)

Publications Shoot for the moon