Thomas Hine coined the phrase “populuxe” to describe the “popular luxury” material culture of the 1950s and 1960s. According to Hine, populuxe is “an expression of the spirit of the time and the rationale for many of the products that were produced. And, finally, Populuxe contains a thoroughly unnecessary ‘e,’ to give it class.” Populuxe items for the home included Formica dining sets. Blaszczyk mentions the kitchen as the family’s gathering spot (p203), and this room required the strength and beauty of Formica.
This first image comes from the Formica website and shows the “perfect kitchen.” The cute young girl, who smiles as she runs her fingers on the smooth Formica counter top, parallels her father, who runs his hand along the surface of the sliding glass door. Formica was sleek and shiny as glass, but strong and stylish as well, making it perfect for the new, blue-collar middle-class families whose kitchen is the central focus of the home.
This kitchen set was a result of a Google image search, and I include it because I remember a dining set that belonged to an old neighbor; it was almost identical to this, except her colors were gold and yellow, as opposed to the greys and browns seen here. These tables were ideal space savers, because not only did they have hidden leaves that lengthened the table when needed, but also drawers that held silverware and table linens. The chairs look like naugahyde, another populuxe material.
The contrast between the two images couldn’t be more severe. Everyone wanted glamorous kitchens with Formica countertops with stovetops on multi-level islands, but middle-class reality was the space-saving Formica table that could hide within itself when not in use. Comfort, style, and strength (Formica was definitely strong! My neighbor’s table was virtually indestructible.) were available, but the new, blue-collar middle-class of the post-war era also made it practical.
The carport represented the male space in the home, and became the one spot where he expressed his identity (Blaszczyk 202). The new motto of "more is better" (Blaszczyk 205) allowed blue-collar men to show their success with brightly painted cars, flashy interiors, and radios.
Look at the first image again, but focus on the image of the young girl's father. Imagine him wearing his casual weekend clothes instead of the suit, tie, and hat he wears during the work week, and imagine that he is carrying car keys instead of a neatly folded newspaper. Sitting in his brand new carport might be this:
Well, maybe not exactly that, since this picture's from the movie, "Grease," but when Blaszczyk related pink Buicks and tail fins to populuxe (p184), I immediately thought of the greasers (and their cars) in this movie. But the T-Birds come from working-class roots, and their cars were their status symbols, and Greased Lightning details everything a blue-collar worker might add to his car.
I like how you took descriptions from the readings and connected them to your own experiences and memories. Your description of the three piece table covered in Formica reminds me of the the table I used to have in my house. I did not make the connection between the carport and Grease. I never thought of it that way, but i am sure a lot of people can understand your connection.
ReplyDeleteThe readings talked about the brightly colored kitchen appliances of the time. It is funny how everything comes around in cycles as if you notice in the stores they are now featuring old time looking appliances in bright colors such as aqua which is reminiscent of the 1950s appliances.
ReplyDeleteFirst things first, kudos for your Grease reference. The first picture is interesting for the reason you said, the actions of the little girl. It would not seem usual for a child to be so mesmerized by the smoothness of the new table yet she is, as she is seen running her hands over it. It implies that everyone in America was able to recognize and yearn for new products.
ReplyDeleteI like your blog entry. Every time when I meet my grandmother at her apartment, I always see her Formica kitchen table. It is strange to say that it is still there even when my mom and uncle lived with her and my grandfather. Unfortunately, I think it is out of style now. I don’t get the connection with Grease or the other things.
ReplyDeleteAndrew Rizzo section 80
It's a reference to the hot-rod subculture, mentioned by both Blaszczyk and Moorhouse. Maybe I shouldn't have used the father in the first picture as an example, though; it might have been clearer if I had created a teenage son. I just wanted to mention that the carport was the masculine part of the home, where he could relax and "be himself."
ReplyDeleteGrease and the carport have no relation to the Formica table, other than the father.