May 15, 2025 | 1970s, 2020s, Week 7
Reading Summary/Takeaway
In “A World of Colour and Bright Shining Surfaces: Experiences of Plastics after the Second World War” the author Tom Fisher explores how plastics became a huge impact for modernity in the era after WWII. Fisher talks about how the colorful and almost glowing surfaces of plastic products represented a change from the darker past as plastic was brighter, more hygienic, and advanced as a material. The shiny finish of plastic items were connected to cleanliness and newness which made society excited to move away from the industrial finishes that were essentially a symbol of the past. Fisher also talks about how the addition of plastic changed domestic environments and consumer behavior. Because of how affordable and versatile plastic was, domestic interiors massively changed as they were now much brighter. Because of this, plastics refined taste and status as plastic became a symbol of progress from the past.
Application
Figure 1 shows the Louis Ghost Chair in multiple colors to choose from
Philippe Starck
One current case that connects to “A World of Colour and Bright Shining Surfaces: Experiences of Plastics after the Second World War” is the comeback of colorful and glossy plastic furniture in contemporary design from brands like Kartell. Kartell is home to the Louis Ghost Chair which is designed by Philippe Starck. The chair helps showcase how shiny and translucent plastic is able to represent modernity and luxury while maintaining its affordability. The Louis Ghost Chair connects to the fascination of brightness and cleanliness that Fisher had talked about from the post war era. Similar to the plastic items that fisher had discussed, the Louis Ghost Chair’s success also stemmed from its accessibility and easy maintenance once again connecting to the association between plastic and modernity and progress.
Figure 2 & 3 show the 1970 House Beautiful article that discusses how color shapes mood, personality, and the home environment
House Beautiful, April 1970, vol. 112 pt 1, pg. 122-123
Decorators Talk Color
This House Beautiful case from April 1970, titled “Decorators Talk Color” connects to Tom Fisher’s article “A World of Colour and Bright Shining Surfaces” by illustrating how color became a central aspect to postwar domestic life and emotional expression especially with plastic and other synthetic material. Fisher argues that the glossy and colorful qualities of post war plastics represented progress and optimism which this article relates to. The article shows how color not only provides an aesthetic appeal, but can also be used to provide certain emotions to those who experience it. Because of this, color became a unique form of therapy, identity, and creativity. Many decorators in the article also discuss how there shouldn’t be any colors “in fashion” as people should use color for self identity and expression instead.
Comparison
The April 1970 House Beautiful article and the Louis Ghost Chair by Kartell both demonstrate how color and synthetic materials like plastic become powerful tools for expression of identity and emotion. In the 1970s decorators emphasized color as a form of therapy and asked people to use the colors that they love rather than what colors are “in fashion” hoping that people will get the most amount of enjoyment from their choices. This allows for them to shape their comfort and identity within the home. The Louis Ghost Chair, on the other hand, reflects a current take on similar ideas. The chair continues the idea of shiny surfaces and affordable materials maintaining a distance from dull, gray items. The transparency of the chair provides a sense of lightness and flexibility from a typical chair rather than using color to provide a certain emotion. The 1970s encouraged using color to provide a sense of personality and emotion while today’s design values clarity and versatility instead. Even though these cases differ in why the plastic is used, both cases show how plastic and color have the ability to positively change domestic space and identity.
May 15, 2025 | 1940s, 1950s, 1960s, 1970s, 2000s, reaction paper, Week 7
Fisher’s article details the history of plastic products in a household setting and the shift in public perception of those products in Britain following World War II. Plastics were originally viewed as an imitative product, as it was frequently used as the cheap alternative to other products. That perception later shifted to be viewed as a futuristic product that is easy to clean with seemingly endless potential applications. Plastics were marketed as hygienic and durable early after the war. However, by the 1960s, that perception shifted again. Plastics became associated with chemicals and gained a negative connotation of unhealthiness. By the 1970s, the public came to accept two understandings of plastic household products. They have potential to be harmful, but also provide an ease of use and maintenance that other products cannot provide for the same price.
While this article was an interesting read, Fisher does not specify socioeconomic status in regards to public perception. I have strong doubts that the income of the average person would not play a part in their perception of an inexpensive product. For the wealthy, plastics were never really a necessity for them. If they wanted a glass table, they could afford one. It makes more sense to me that the public became accepting of plastics again in the 1970s. The average income of middle class families generally began to plateau around 1971, and then taking a dive comparatively in the 1980s. For the average person, plastic products serve as an affordable alternative to products that may have been out of reach for them. Due to this, I would argue that the upper class perception of plastics became even more negative as lower class consumers started to buy more of it.
As House Beautiful is a magazine that is clearly targeting middle to upper class members of society, there are very few plastic products marketed in the magazine following the 1950s. The exact opposite appears to be the case, as many advertisements attempt to highlight the natural characteristics of their products. Ceramic, wood, and glass products take center stage as high quality, respectable products to use in the home. As shown by the image below, plastic products gained a poor reputation in the eyes of the wealthy by the early 2000s. Plastic products became associated with kitsch, low-brow, and tasteless design.
House Beautiful, July 2002, page 96.
May 15, 2025 | 2000s, 2020s, reaction paper, Week 7
Like many newly discovered materials, plastic rapidly gained popularity after its introduction and significantly changed the world of interior design. Celebrated for its smooth surfaces and ability to be produced in bright colors, plastic symbolized a new beginning post-World War II. Interior spaces became bright and colorful with unique forms that were now so easily produced with the help of plastic. Plastic was seen as a novelty and encouraged American consumerism.
However, there were several factors that put a dampener on plastic consumerism – the growing awareness of unhealthy chemicals in products and beliefs that it was a “fake” material. During the plastic consumption craze, some avoided it because they saw it as an inauthentic material that would negatively affect their health.
Figure 1: Plastic chairs used in schools today.
Amazon, Schooled
Today, plastic is viewed as a cheap, low-quality, mass-produced material. The majority of plastic furniture is used in schools and public spaces that do not require a high-quality material. High-end furniture is almost strictly made of natural materials with a few exceptions.
Figure 2: The front cover of a 2005 issue of House Beautiful displaying bright colored plastic vases.
House Beautiful Magazine, March 2005, Cover
“Color everything. How to use it, Hot New Paints, Advice from the Experts”
This is a cover of a House Beautiful magazine, encouraging its readers to incorporate more color into their interior spaces. The products that helped reproduce this were likely plastic and paint. Even thirty years after the introduction of plastic, it was still a prominent material for use.
May 15, 2025 | 1950s, Week 7
In the article, “A World of Colour and Bright Shining Surfaces: Experiences of Plastics after the Second World War,” Tom Fisher examines the transformation of plastics, ranging from wartime necessities to symbols of modernity in postwar Britain. At one point in time, plastics were associated with utility and scarcity during World War II, and plastics then became emblematic of a new era that was characterized by innovation, aesthetic appeal, and abundance. It was not only a technological shift though, it was also a cultural shift, when plastics came to represent progress, there was also a break from prewar traditions. The diverse uses of materials played a crucial role when redefining consumer expectations and experiences in the mid-20th century.
The first supporting point is the aesthetic transformation of plastics immediately following the postwar period. In the past plastics had just been valued for their functionality but then they began to be appreciated for their visual qualities such as vibrant colors, sleek forms, and glossy finishes. This change perfectly aligned with the rise of the public’s desire for optimism and modernity after the challenges of war. The people that capitalized on these qualities were designers and manufacturers, they produced household items and consumer goods that served both practical purposes and appealed to contemporary tastes for futuristic and stylish designs.
The second supporting point is how plastics served as symbols of social progress. Further than just aesthetics, plastics became a symbol of broader economic and social progress. Because plastics were so affordable and adaptable, it was very accessible for a wide range of consumers. The ease of accessibility was significant, especially in a society that was recovering from wartime challenges, it allowed for mass production of goods previously known as luxuries.
Figure 1. Molded Plastic Dinnerware
House Beautiful, October 1951, no 93 pt. 2, pg 299
This is an ad in the House Beautiful magazine for molded plastic dinnerware that is sold in a big set and in multiple different colors. This shows that these are obviously mass produced because of the range of options. This is just one example of how plastic was used for a range of purposes and how it helped many people.
Figure 2. Eames Molded Plastic Chair https://www.hermanmiller.com/products/seating/side-chairs/eames-molded-plastic-chairs/
This is the Eames molded plastic chair that is very well known and currently being sold by Herman Miller. The chair was designed after the fiberglass chair and with the intention of being comfortable for every user and it had the ability to be mass produced.
May 15, 2025 | 1930s, 1950s, reaction paper, Week 7
Tom Fisher in, A world of Colour and Bright Shining Surfaces: Experiences of Plastics after the Second World War, claims plastics live an interesting double life in the eye of the consumer. Plastics not only represent modern technology at the time, but begin to stir discussion about its properties and even its affects on the environment. During war-time, plastics provided a new outlook on the technology of modern life in the 50s, but even when this product began to take off in popularity, there was still hesitation revolving around the chemical nature of plastic. Even then there was concern of what plastic represented in peoples lives, and worry rose about what the repercussions of living a plastic life in the plastic age might be. Though there was hesitation revolving around the material by the general population, plastic was advertised for its hygienic properties of seamless surfaces that are easy to clean. Plastics shining surfaces and bright colors contrasted the post-World-War II life of rebuilding, recovery, and resource shortages.
Tom Fisher highlights interesting points of the general interpretation of plastic, and the hesitation surrounding it as a safe product in a time of chemical fear. The product was able to be leveraged as advertisers as the product of tomorrow, a product which is universal. I would argue plastic in the design world represented the material of tomorrow, a material which could take any hue, sheen, and shape; Truly a non-material, material. The inherent mass production capabilities of this material made it extremely attractive to modernists, as it had the ability to take any form with ease. Eames furniture for example was a huge advocate for the abilities of plastic, creating brand new, pure forms which were not possible to the same affect as they were with the use of plastic. I would go as far to argue people were not nearly as afraid of plastic as Fisher is claiming, as plastic is still used to an outrageous degree today. In fact, in Plastic Pollution, an article by Hannah Ritchie claims an alarming 0.5% of all plastic waste today ends up in the ocean. Between the two advertisements I have chosen, there is an interesting attitude shift surrounding plastic objects. The 1934 HouseBeauiful advertisement features many types of products made from a variety of materials, none of which include plastic objects, but the 1950s advertisement of Herman Miller features plastic and its amazing capabilities as a daily use, household object.
Figure 1. Eames Chair advertisement, Plastic Chairs by Charles Eames, 1950
https://eames.com/en/library/document/HMB-8
A Herman Miller pamphlet from 1950 advertising Charles Eames’ arm chairs mentions its haptic qualities, “…a plastic reinforced Fiberglas that is plesant to the touch, light, stain-resistant, washable and virtually indestructible.”
Figure 2. Advertised household products in HouseBeautiful Magazine
House Beautiful 1934-02: Vol 75 Iss 2 pg. 60
Caption: “February Notes on Housewares”
A pre-World-War II HouseBeautiful (1934) advertises a series of household objects made from glass, ceramics, metal, and wood, but notably there is a lack of plastic objects.
May 15, 2025 | 1960s, 2010s, Uncategorized, Week 7
SUMMARY:
This journal highlights how the public’s general understanding of plastic has changed since the early 50’s. In the 50s, plastic would be described as colorful, hygienic, shiny, durable, and, less positively, unnatural and suspiciously chemical. The only positive thing people have to say about plastic today is that it’s cheap. Plastic is no longer valued for its shiny, colorful quality but rather criticized for filling our planet with enormous amounts of waste.
APPLICATION:
Figure 1. Promotional advertisement for Tupperware, showing of its tight seal, light weight and space-saving adaptability
House Beautiful 1960 August Issue, pg. 22
Even though people were a little concerned about the chemical quality of plastic, they received it quite positively. Its durability and clean look were unbeatable at the time. At the time, it seemed like an incredibly useful invention.
Fig. 2, House Beautiful 2018, “Say goodbye to your favorite plastic IKEA products.”, https://www.housebeautiful.com/shopping/a21600719/ikea-bans-plastic/
Today, the general perception of plastic has declined so far that major furniture stores such as IKEA advertise their removal of the material. If plastic is being promoted today, it’s promoted as a recycled product, and there is rarely discussion about the surface quality of the products. In general, plastic is understood to be an environmentally destructive product.
To summarize, in the 50’s, plastic was bright,shiny, clean, and durable but chemically mysterious and unnatural. Today, plastic is perceived as cheap and killing the planet.
