Category Archives: Merchandizing and sales

Cosplay with Dennison Tissue Paper

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The young lady wearing the stunning paper headdress above might be surprised to learn that elaborate costumes made out of tissue or crepe paper is not a new phenomenon. The dress to the right from the collection of the FIDM Museum in Los Angeles, is a relic from the 1930s, when the trend was well established.  In fact its popularity increased during the Depression when people had less disposable income.

Around 1892, Dennison Manufacturing, a Massachusetts firm specializing in paper products, began importing crepe tissue paper in a delicious array of colors from England. By 1914 Dennison had established an art department to exploit the products’ uses, launching a stream of  well-illustrated ten cent pamphlets full of detailed instructions for making artificial flowers, home décor like lamp shades, holiday decorations, and fancy costumes for various occasions.  The machine-crinkled paper was surprisingly strong, easy to work with, and much more affordable than woven fabrics, making it possible to create a rather showy ensemble for pennies.  References to tissue paper party dresses begin cropping up in fiction as early as 1900, one example appearing in The Little Colonel’s House Party by the once popular author Annie Fellows Johnson.

In Dennison’s first pamphlet, Tissue Paper Entertainments, which introduced novelty crepe tissue paper to the American public in 1892, the manufacturer claimed that it was a godsend to any organization trying to mount children’s programs with very limited resources. Dennison did more than serve as the source of raw materials, it acted more like an impresario, dramaturg, and a coach. The preface assured adults that they could succeed in producing pageants if they kept the following tips in mind at all times:

  1. Opportunity for many to take part.
  2. No long speeches.
  3. No special talent required to fill the part, such as dramatic power, a powerful voice, etc.
  4. Such alternation of recitation and singing as may secure a pleasing variety.

The buyer could be confident that the product had tested: the pupils of a poor Mission Sunday School had been invited to make the costumes especially designed for the scripts contained in Dennison’s Tissue Paper Entertainments: two for girls, two for boys. The author(s) were not credited anywhere in the publication. Dennison thoughtfully estimated the size of the cast, recommended the best colors for performance in natural and artificial light, and total cost of the paper.  The locations of Dennison’s metropolitan retail outlets below, for convenience in ordering.  A section on gestures and a blocking for the concert recitation was offered to bolster the confidence of inexperienced directors…War and Peace (no connection to Tolstoy’s novel) for 48 boys divided into 8 groups of 6 was surprisingly easy to costume.  The short boys were to be cast as the minor nations in the group comprised of France, Austria, Germany, Italy, England, Russia, and the United States. “Some attention should be paid to complexion,” instructions ran, “the swarthiest for Italy, the fairest for Russia.”  Different options were given for making the military uniforms.  A scarf of cut paper could be draped over the shoulder, paper basted onto a garment, or a uniform entirely of paper lined with cheesecloth.  Stripes down the side of the trousers, epaulets, chevrons, and stripes on the sleeves could all be made with bright yellow paper.  Appropriate flags could be made of tissue paper copying the designs in Webster’s Unabridged Dictionary.  The production ended with the entire cast singing for the advent of world peace.

Dennison outdid itself with three-act The Story of Joseph.   All ten brothers of Joseph had lines to learn, but Reuben, Jacob, Judah and Joseph were given multiple speeches.  Joseph brought down the curtain with a solo. His coat of many colors could easily be fashioned from 6 different colors, so he would stand out from his older brothers in drab, dark robes.  Joseph was also the only character with a costume change–purple for his royal robes and a suitable headdress modeled on something in an illustrated Bible.  Scenery was required for acts 2 and 3: an “oriental” tent and a state apartment, both of which could be furnished with crinkled paper hangings and coverings for the throne.

How successful was this venture?  Until someone makes it their business to find out, we have to assume it never generated the revenue as the market for Halloween, which Dennison masterfully saturated.

Black Paper Dolls in Mattel’s Happy Family Brand

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The toy manufacturer Mattel joined forces in the mid-1960s with the publisher Whitman to bolster the popular Barbie and Skipper brands with sets of paper dolls, a speciality of Whitman’s since the 1930s.  Some authorities think the sheer number and variety of Mattel/Whitman paper dolls produced from the 1970s onward probably dealt the genre its death’s blow by turn of the new century.  Supposedly little girls no longer play with paper dolls: it’s up to the collectors who find them fascinating to hunt down and preserve them.

While researching the recent post on Skipper, I discovered in the stacks a set of these Mattel/Whitman paper dolls, The Happy Family.   I was surprised to see represented multi-generational Black family dressed in conservative, but mod-ish fashions of the mid-seventies instead of figures that more closely corresponded with my idea of Mattel dolls.  What exactly does Cotsen have?

The minimal publishing information on the covers was enough to trace the paper dolls back to the original product line of fashion dolls.  The Whitman logo appears in the upper right-hand corner and the actual imprint, nearly illegible against the border of coarsely woven fabric, states that this is a Whitman book and that Whitman is a subsidiary of Western, better known as the publisher of Little Golden Books.  But the pamphlet is not Whitman’s intellectual property.  Barely readable In the lower right hand corner below the cross-stitching, is a statement by the copyright holder Mattel that “The Happy Family” ®, “Hal,” “Hattie,” and “Hon” are U.S. registered trademarks used here by permission of Mattel.  One of the pages of costumes has a second, much clearer copyright statement without the information about the trademarks.

Three Black fashion dolls preceded “The Happy Family” paper dolls: “Colored Francie” in 1967, which was quickly withdrawn, Christie, Barbie’s best friend, in 1968, and in 1969, Julia, modeled on performer Diahann Carroll. .  The members, dad Hal, mom Hattie, Baby Hon, and the Happy grandparents (purchased separately from the other three), were introduced in 1974 as the friends of the Sunshine Family, Steve, Steffie, Baby Sweets, and the Sunshine grandparents.  The black and the white dolls were made with the same molds for the bodies and heads. The Happy and Sunshine families had a peripheral connection at best with the 1970s Barbie universe.

If not exactly hippies or flower children, the Sunshine Family was more counterculture than the pack Barbie ran with during the Age of Aquarius.  The Sunshines ran a hobby store for a living, maintained a very well furnished art studio in the back of their truck, rode a bicycle built for three, and probably shopped in bulk at the whole foods co-op.  Wholesome and just a little folksy, the Sunshines probably would have been comfortable spending time with the other Mattel dolls who went back to nature in the 1970s..

Promotional photographs for the two toy families suggested that the Happys hung out at the Sunshines’ house (it doesn’t look as if the Happys’ accessories included their own fold-up cardboard digs).  Like the pioneering Christie and Julia Black dolls,the Happys were designed to play supporting roles to the Sunshines.  Even though the black dolls were not equal to the white ones, the fact that they were shown in a domestic space with no apparent barriers between them perhaps reflected the naive hope that if only Black and white people would spent time together, they’d discover how much they had in common and come to like each other.

Both lines were cancelled by Mattel in 1978, but reintroduced in redesigned versions in the 1980s and the early 2000s.  I wasn’t able to figure out if the new Happys were characters in their own right or if they were still supposed to be played with in the shadow of the Sunshines.