Ruth Handler Quotes

Nelson is glad to see a handler and her dog coming towards him. The recognises the woman as Jan Adams, famous in Norfolk for having won several medals for bravery. Her dog, a beautiful long-haired German Shepherd is a bit of a celebrity too. What was his name again? "Barney" says Jan in answer to his question. "What's going on?" Nelson explains about the attack. Barney looks at him, head on one side, as if her too might be about to ask a question.

To look at Mattel as a relative of the Hollywood studios is to make sense of some of its contradictions. The daughter of a Polish Jewish immigrant, Ruth Handler coded with her fashion dolls the same sort of phantasmic "America" that Louis B. Mayer had coded in his movies. Barbie was, in fact, better suited than a human actress to exemplify an impossible ideal. There was no tribal taint in her plastic flesh, no baggage to betray an immigrant past. She had no navel; no parents; no heritage.

Only Ruth Handler dared blur the line between fetish and toy, taking an object familiar to readers of Krafft-Ebing and recasting it for readers of Mother Goose.

As early as the 1940s, Mattel integrated its assembly line and hired a black foreman. "It was unheard of in those days to put a black production worker next to a white production worker and have them all share toilet facilities," Ruth Handler told me. And in recognition of its policies, Mattel was honored by the Urban League. But Mattel's most startling project, little known outside the toy world, began in 1968, when, as a response to the Watts riots, it helped set up Shindana Toys—the name means "competitor" in Swahili—a black-run, South Central Los Angeles-based company that manufactured multicultural playthings before they wrere trendy.

My whole philosophy of Barbie was that, through the doll, the little girl could be anything she wanted to be. Barbie always represented the fact that a woman has choices.