New Britain herald., 1928-10-19
BY JULIA BLANsHARD

tIso mOot NUsUE NusS3CDUU
 BY JULIA BLANCHARD New York, Oct. 1S.-Thirteen years ago Margaret Hayden Rorke became foster-mother to . puny war baby.
 It is doubtful if any mother. foster or real, ever had . child grow 80 rapidly into . giant or take her travelling to such far corners of the earth keeping pace with it.
 For the war baby in question is the Textile Color Card Association of America. which started a an al- truistic war measure to standardise and interpret colors for American industries when we were first cut of from Europe. the inspiration and creator of colors U pto that time..
 Color Ensemble Was Her Idea
 Now the association, through its standard and seasonal color cards, designates colors for just about everything from the paint on the sun-parlor furniture to be delicate ostrich decorations on an evening gown. It is even considering the grading of certain foods by color!
 Mra Rorke was . logical choice for . group that was looking for someone to manage . precarious new color card organization with . tremendous diversity of clients. In the first place, she was an artist with . Hair for color. Next her organizing genius and her enviable gift for working with many kinds of people had received recognition in the suffrage movement, of which she was an outstanding leader.
 The fact that the American wo- man now wants and can get . complete color ensemble in her cos- tunes and accessories and even have her bath salts match her per- sonality bespeaks Mra Rork's suc- cess in building up the Color Card Associationi
 Government Recognises Value
 The growth of America's color consciousness is largely due to Mrs. Rork's organization. Moreover, the U. s. government recognizes its in- valuable aid by sending color cards to all attaches abroad. That en- ables manufacturers of stiff brocades in Shanghai, fine trimmings in Vienna, beads or other what-nots in South Africa and 30 on to have them the colors that Americans want. Twenty-seven foreign countries have clients in the association!
 One glance at Mrs. Rorke showa her color appreciation. When in- terviewed she wore svelt velour suit of soft brown with . hint of terra cotta in it. Bands of em- broidery picked out this red, ada ing to it other autumnal shadea Her little Paris hat was terra cotta, with a touch of brown on it, al- together seemingly the best foil in the world for her chestnut hair, clear skin and grey eyes.
 Just back from Europe, Mrs. Rorke is enthusiastic about the speed with which she visited ten countries, by plane. Other years 1t took twice as long to see all her clients. She consulted with all kinds of manufacturers' organiza- tions on colors for next season. The results of her summer will be seen on the 1929 color card.
 COl0rs Show Evolution
 "The Association never launches . roIor . rhifra ri1,, T~,p. %on~ A-. its reason and its relation to last season and next season. Colors on the street today are an evolution" !" Mrs. Rorke explained the way the association works.
 Take the off-whites that are stylish today. Off-white is white gone pastel! All other colors evo- luted to the soft enhancing tones White just followed suit. Pasteli are the subtle colors of . civilized world. just as gaudy tones were the colors of aborigines. Americas shows in American homes and the costumes of American women Color Is important today in prac. tically everything Americans eat, wear. ride in. work with and live among. Millions of articles manu. factured have color problems. Oul cards standardise shades and no. menclature."
 R0asantjcasm ia COl0rs Every color must have . name that means something. Nrs. Rorke insists. The new Monet shade, fol instance. is the same blue that Claude Monet used in his murals All of the 70 autumn shades have equally romantic nomenclature. The is new evening shades are dedicate