Some stories are worth unearthing, especially when they revolve around a piece of sports history as visually striking as the Houston Astros’ rainbow uniforms. Debuting in 1975, these Old Houston Astros Uniforms were more than just fabric and thread; they were a statement. Recently, a Uni Watch column shed light on little-known facts about these iconic rainbow uniforms, mentioning the Houston ad agency McCann Erickson’s design role but lamenting the loss of original project files. The designers themselves remained unknown, lost to time. With sportswriters of the era not heavily focused on uniform design, historical records offered minimal assistance. It appeared the complete narrative behind arguably MLB’s most revolutionary design might remain untold.
Fortunately, the Uni Watch column reached Derek Rollins, son of Gary Rollins, who was the Houston Astros’ point person for the rainbow uniform project in the mid-1970s. This connection opened doors to interviews with McCann Erickson’s design team members. Slowly, the story began to resurface.
The individuals interviewed for this article are recalling events from over four decades ago. Memories are understandably hazy, accounts sometimes vary, and original documents are nonexistent. However, their collective recollections provide enough detail to construct an oral history of the creation of this groundbreaking uniform.
Before delving into the details, let’s introduce the key figures:
- Gary Rollins: Former VP of the Astros’ TV and radio networks, responsible for ad sponsorships. His prior experience at McCann Erickson made him the team’s liaison for the uniform project.
- Jesse Caesar: Creative Director at McCann Erickson, leading the design team.
- Jack Amuny: Freelance graphic designer subcontracted by McCann for the uniform design.
- Don Henry: Graphic designer working in Amuny’s studio.
- Tal Smith: Former Astros General Manager and Team President.
Regrettably, Spec Richardson, former Astros GM, a significant figure in the design process, is deceased. Despite this absence, we have sufficient information to address crucial questions about the rainbow design, beginning with the initial motivation for a uniform change.
Financial Troubles and a Need for a New Image
Gary Rollins: “We were in dire financial straits, on the brink of bankruptcy. Coupled with a struggling team, [Team owner] Judge Hofheinz wanted a complete image overhaul. He envisioned something uniquely eye-catching. I approached McCann Erickson, one of our ad agencies, to explore a completely fresh on-field look. This was likely in late 1974. Jesse Caesar at McCann was our primary contact for this project.”
Jesse Caesar: “We secured the project because we handled advertising for AstroWorld, the amusement park that later became part of Six Flags. We already had an established relationship with the Astros.”
Rollins: “McCann had no prior uniform design experience. Gulf State Advertising designed the team’s previous uniforms. Unfortunately, that company and its principals are no longer around.”
Caesar: “Uniform design was new territory for me. However, the era was marked by the Oakland A’s colorful uniforms and other teams like the White Sox experimenting with bolder looks. Everyone, except perhaps the Yankees, seemed to be reassessing their uniform approach.”
The Birth of the Stripes: An Unconventional Idea
Rollins: “McCann’s task wasn’t just to create a new uniform, but a different kind of uniform. Jesse and his team conceived the idea of horizontal stripes.”
Caesar: “While I appreciate the credit, the stripe idea originated from another member of my team. We often outsourced to a local art studio for major projects, and this was one such instance. Jack Amuny, who ran that studio, was the one who actually sketched the initial designs.”
Jack Amuny: “McCann Erickson was a client of mine. I had an ongoing relationship, including AstroWorld projects. Although I hadn’t designed sports uniforms before, I was a passionate baseball and Astros fan. The team colors, various shades of orange, were already set. I proposed the stripes. Personally, I would have leaned towards something more traditional, like pinstripes, but they wanted something distinctive, hence the horizontal stripes.”
Manual Design in a Pre-Digital Era
Caesar: “Today, design work is all digital. Back then, everything was painstakingly done by hand.”
Amuny: “I had to physically cut strips of colored paper and arrange them to visualize the design. Art supply stores offered beautiful papers in diverse shades. We cut, glued, and laid them out. I had two assistants, Don Henry and Robert Paretti, who helped with this process.”
Don Henry: “The brief was to create something truly unique, something non-traditional that would stand out. Jack conceptualized the stripes – it was his vision. I remember cutting different width strips as Jack experimented for a visually pleasing arrangement over a couple of days.”
Amuny: “We explored various color sequences, testing how different yellows, oranges, and reds harmonized. The layouts were roughly 11 by 17 inches. I regret not keeping any of those original layouts.”
Thus, the most influential uniform design in modern baseball history was born from an unassuming subcontractor using colored paper strips. However, a key question remains unanswered: What was the inspiration behind the stripes? What did they symbolize?
Symbolism or Serendipity? The Meaning Behind the Stripes
Caesar: “I believe the stripes were meant to represent the colors of the Southwest, perhaps a Texas sunset, something along those lines. But the primary goal was simply to inject color.”
Amuny: “The stripes didn’t symbolize anything specific. I had recently completed another project involving freehand stripes for a large wall, so I suppose I was in a ‘stripe phase’. At that time, I was fascinated by the interplay of line weights and bars, and color sequences. That was essentially it.”
Henry: “I don’t recall any symbolic meaning behind the stripes. I think it was intended to be more of an abstract design element.”
Rollins: “The initial rainbow stripes began on the right side, near the back, extending under the right arm, across the chest, and terminating at a white star on the left chest. This created an illusion of movement from right to left, suggesting the stripes were contrails left by the star in motion.”
Rollins’ description aligns with a prototype uniform captured in photos during the design phase. This prototype featured a white star (later changed to blue, supposedly due to MLB concerns about hiding the baseball) and a white cap, with a logo similar to the “A” on the jersey lettering. The stripes indeed stopped at the star, not wrapping around the back.
A side-by-side comparison showcasing the initial prototype of the old Houston Astros rainbow uniform design (left) alongside the final version that was eventually produced.
Evolution from Prototype to Final Design: Spec Richardson’s Influence
How did the prototype evolve into the final version? Were there other modifications along the way?
Amuny: “I value symmetry; alignment is crucial in my work. I centered the Astros’ team name and placed the star directly beneath it. The primary alteration, as far as I recall, was shifting the star to one side.”
Henry: “I don’t think there were significant revisions. Once Jack refined the design, it remained largely unchanged. The process was smooth, and people seemed to like it.”
Rollins: “Looking back, it’s almost comical how Spec Richardson, piece by piece, managed to dismantle McCann’s excellent work. First, he eliminated the white star. Then, supposedly consulting with uniform manufacturers, he decided wrapping the stripes around the entire body would simplify production. This destroyed the intended sense of motion. Sleeve stripes were then added, further detracting from the design, followed by stripes on the originally white pants. Seeing these changes was disheartening. It transformed a clean, sharp look into something garish.”
Amuny: “A white star and cap? I don’t recall those details. However, I do remember presenting a fabric sample to, I believe, Spec Richardson at the Astrodome, showing how the colors would meet. His approval was immediate – in and out in moments.”
Rollins: “The original concept included a white cap with an orange bill. There was a country club in Atascocita, just outside Houston, that had recently adopted a logo – an ‘A’ with a star – that was quite striking. I approached them about purchasing the logo for the uniform. They were happy to give it in exchange for tickets. But Spec vetoed it, stating, ‘No, Gary, we can’t do that. We have over 1,000 orange caps already purchased for next season.’ That’s how we ended up sticking with the existing orange cap.”
A reproduction of the cap that was originally envisioned for the old Houston Astros rainbow uniform prototype, showcasing its unique design elements.
Typeface Choices: A Blend of Old and New, Then Compromise
Caesar: “Legibility was key. We wanted everything to be easily readable, so we opted for a sans serif typeface.”
Rollins: “The uniform numbers used a typeface dating back to the year baseball was invented. Player names above the number were in what was then considered a modern ‘computer’ typeface. This contrast between old and new created a jazzy aesthetic. However, Spec deemed the computer typeface too difficult to read, leading to a switch to a more conventional typeface. Another element of the exceptional design was diluted.”
Innovative Elements: Pant Numbers and a Single Uniform Set
The rainbow uniform also featured unique elements like player numbers on the right pant leg and the absence of separate home and away uniforms. Where did these ideas originate?
Caesar: “The pant number was for visibility when a player was batting. Back numbers and names are obscured in that stance, but the pant number would remain visible. I believe that was the rationale.”
Rollins: “That was Jesse’s idea. The jersey stripes occupied considerable space, making number placement difficult. We thought, ‘Why not try the right leg?’ It was unconventional, so we went with it.”
Caesar: “I don’t precisely recall the reason for eliminating separate home and away uniforms, except that we likely asked, ‘Has this been done before?’ To our knowledge, no. So, let’s try it. As an ad agency, we knew clients appreciated novel ideas.”
Rollins: “Initially, home pants were intended to be white, and away pants orange, possibly for special occasions like Sundays or holidays. But that didn’t materialize. I forget the reason why.”
Caesar: “Orange pants? That detail escapes me.”
Amuny: “Orange uniform pants? I’m unsure about that. But we did design travel sports coats and slacks in blue and orange – quite bold. You’d instantly recognize them as the Astros.”
Caesar: “The presentation extended beyond uniforms. I recall designing blazers with an emblem for team travel.”
Reception: Polarizing and Attention-Grabbing
When unveiled in 1975, the rainbow uniform instantly became baseball’s most divisive design. Loved by some, loathed by others, it was impossible to ignore.
Rollins: “Fans were generally excited. Players, in that era, were less vocal about uniform preferences. They accepted it as the team’s direction. Player input on uniforms wasn’t common then.”
Caesar: “If memory serves, sportscasters were largely critical, finding it ridiculous.”
Amuny: “Many in the graphic arts community are sports enthusiasts. When they saw my design, some wanted to ‘kill’ me. For a while, I kept my involvement quiet, omitting it from my resume, unsure of the reception. I was an outsider entering a specialized realm and doing something unconventional. I feared backlash.”
Henry: “Upon release, there was negative feedback, people expressing dislike. But I think over time, opinions shifted more favorably.”
Amuny: “Fan reaction? Vague recollection. I was probably hiding! I believe I heard some players weren’t fond of it.”
Rollins: “Personally, I prefer classic uniforms, like the Detroit Tigers, Cardinals, or Dodgers. But that was irrelevant. We had a struggling team, and my job was to sell sponsorships. The uniforms were a fantastic attention-grabbing tool. That year, network ad slots sold out earlier than ever. It was about entertainment.”
Tal Smith: “Joining the Astros as GM in August 1975 after working for the Yankees, the contrast between the Yankees’ pinstripes and the rainbow uniforms was stark. But I liked the design – distinctive and embraced by Houston fans by then. Frankly, it was the Astros’ worst era, so marketing was crucial, and the uniform was key. My only dislike was the circle on the jersey back. It resembled a bullseye, undesirable for a struggling team. I strongly advocated for its removal for the following season.”
A visual highlighting the evolution of the back-jersey design of the old Houston Astros rainbow uniform over the years, suggesting the original 1975 version was the most aesthetically pleasing.
Rainbow Renaissance: A Legacy Endures
The Astros ceased wearing the rainbow uniform after 1986. By then, it seemed dated, a quintessential 1970s look. However, a surprising rainbow renaissance has occurred recently. It’s become a top-selling throwback jersey, numerous college and high school teams wear variations, and the Astros have incorporated elements into their current branding.
A small collection showcasing various college, high school, and recreational league teams sporting uniform designs inspired by the old Houston Astros rainbow uniforms.
Imagery demonstrating the lasting influence of the old Houston Astros rainbow uniform, evident in the team’s Sunday jerseys and vendor uniforms.
Rollins: “I follow the College World Series, and Louisville had a version of that uniform. It’s not surprising, really.”
Caesar: “I am proud of it, absolutely. Many people seeing the uniform today weren’t even alive when it debuted. It predates their time. But they recognize it now.”
Amuny: “I didn’t see it as revolutionary, just a job done to the best of my ability. But proud? Definitely. Even now, it’s a top retro jersey seller, and many schools have created knockoffs. Seeing teams do that is gratifying. As a designer, you aim for lasting impact, and that’s what happened.”
Smith: “Watching Astros road games, you can spot Astros fans by the rainbow jerseys. You always see a few in any ballpark.”
Caesar: “Watching the Astros on TV recently, vendors in the aisles were wearing the same uniform! And young fans, as young as 6 or 8, wearing it. It’s surprising it has endured so long, as trends are fickle. Today’s in is tomorrow’s out. But sometimes, things circle back.”
Over 40 years later, Rollins, Caesar, Amuny, Henry, and Smith still reside in Houston. Smith consults, and Amuny continues graphic design work. (Post-interview, Amuny recreated his original rainbow jersey concept with the centered star, using colored paper strips.) The others are retired. None designed another uniform.
The Astros organization was unaware of the McCann design team members. However, they are excited to reconnect with this history.
“We’d love to collaborate with them, perhaps when we next wear that uniform,” said Anita Sehgal, the team’s SVP of Marketing and Communications. “The rainbow pattern provides continuity in our Sunday uniforms, vendor uniforms, and more. It has endured across generations. Meeting these individuals would be a great experience.”
A reunion, over four decades in the making, is on the horizon.
