On the (Rest of the) Net.

 

Kate Upton is fat, apparently. Well, she does like phallic-shaped sugary treats… [SkinnyGossip Warning: This is a pro-ana website and may be triggering for some people]

I write about Channel 7’s bad boys at TheVine.

Sexist video gamers prove just how sexist they really are in response to a critique of sexism in video games. [Jezebel]

Menstruation and MasterChef. [The Conversation]

What an abortion at six weeks really looks like. Completely safe for work and not graphic at all. [This is My Abortion]

Stella Young on how disabled people doing normal things being touted as “inspirational” is a crock. [ABC Ramp Up]

Who knew morning sickness was so fascinating?! [Jezebel]

In the wake of another 13-year-old winning the Dolly Model Comp, Mia Freedman tells why she axed it when she was editor-in-chief. [MamaMia]

I went to the Jersey Shore and all I got was this t-shirt… [Jezebel]

Boys will now receive the HPV vaccine, Gardasil. Yay! [The Conversation]

The Katie Holmes obsession has begun: here, a countdown of her top ten Dawson’s Creek quotes that could double as life lessons for her marriage to Tom Cruise. [Refinery29]

Taiwanese photographer, Tou Chih-Kang, captures dogs in their final moments before euthanasia. Be warned: you will shed tears. [HuffPo]

Images via Por Homme, MamaMia.

On the (Rest of the) Net: Catch-Up Edition.

 

Raising awareness about breast checks, one superheroine at a time. [io9]

Ladies of the year: Taylor Swift VS. Lady Gaga. Who do you choose? [Girl with a Satchel]

Why women fear the “n” word in relationships: “needy”. [Jezebel]

“The Turned-On Woman’s Manifesto.” Amen! [Turned-On Woman’s Movement]

How to talk to women, for men. [MamaMia]

Gah! Anti-vaccination extremists. Why are people like this allowed to promote views like that? Oh right, that pesky little thing called “freedom of speech”… [MamaMia]

Are you a woman and do you love your body, damned what conventional norms say you should be feeling about it in an effort to appease other women? Then sing it, sister! [Musings of an Inappropriate Woman]

Wow. Mia Freedman offers some throwaway fashion advice to her 5-year-old daughter; shitstorm ensues. I think it’s a bit of an overreaction, but each to their own. [MamaMia, Fat Heffalump]

Male body objectification: in comparison to female body objectification, is it even a thing worth worrying about? [Lip Magazine]

Atheism = nihilism? [New York Times]

The latest trend in protesting: the Muff March. [MamaMia]

While we’re on the topic, is pubic hair making a comeback? NSFW [Jezebel]

Stop that booze-related victim-blaming. [Jezebel, via Feministe]

Who has late-term abortions? [Jezebel]

Hmm, Lego for girls? I’m not such a fan. What was wrong with the original, male-centric version, apart from the absence of female characters? We all know kids are imaginative enough to make toys whatever they want them to be. [MamaMia]

On beauty, failure and “this is the best I can do”. [Musings of an Inappropriate Woman]

The pros and cons of anal sex. [Jezebel]

Are princesses really that bad, Naomi Wolf asks. [New York Times]

The Good Men Project for boys. [Jezebel]

It’s been just over a year since the St. Kilda Schoolgirl released those photos, and I’ve only just gotten around to reading this article by Anna Krien from The Monthly’s April 2011 issue on sex and the treatment of women in the AFL. Let me say, it was well worth the wait.

Even if you’re not espousing misogynist bile to women (on the internet or IRL), not standing up to it is just as bad, says Mark Sorrell. [Beware of the Sorrell]

Alyx Gorman defends Miranda Kerr, asserting that there probably is more than meets the eye, but she just “won’t let us see it”:

“Even more problematic than its existence in the first place is the fact that Kerr’s construct is damaging to women and girls. By looking and speaking the way she does (when she has other options in terms of presentation), Kerr is intrinsically linking sensuality with stupidity. She is demonstrating that being ditzy and appearance-obsessed (albeit under the guise of being healthy) is what it takes to be one of the most desirable women in the world. By refusing to express a well reasoned opinion on anything of note, and then pushing the point of self esteem, she is sending a message that the source of girl-power, of pride in one’s womanhood, must always be grounded not in who you are, but how you look. Kerr has crafted an image that is the ultimate expression of the immanence de Beauvoir railed against, and she has done so (I suspect) knowingly.

“Instead of being brave enough to show what a beautiful, clever girl looks like, to delve into the nuances of what it means to be a wife, woman, mother and object of desire, Kerr plays to our worst stereotypes of femininity, giving an organic-almond-milk 21st century update to the image of the perfect  50s housewife.” [The Vine]

The Breaking Dawn Bechdel test. [Lip Magazine]

What’s the difference between a rapist and a men’s mag? Hmm, you tell me. [Jezebel]

On being a recluse. [MamaMia]

The allure of the May-December romance… for the December, not so much the May. [The Good Men Project]

Image via io9.

Jennifer Hawkins VS. Miranda Kerr.

Following on from last week’s post reflecting on Jennifer Hawkins’ nude cover for Marie Claire, I started thinking about the flak Hawkins received for it.

Why was Hawkins vilified for daring to bare her unairbrushed body, knowing full well the potential criticisms that could come with it? Just because she’s a hot model doesn’t make her any less qualified to comment on the body image debate.

Another prominent Australian model who gets her kit off, but at a far more frequent rate than Hawkins, is David Jones ambassador Miranda Kerr.

While Hawkins’ employer Myer may have come out on top in the wake of the David Jones sexual harassment case, Kerr seems to be the model who came out on top, continuing to bare her baby belly in all the publications.

Demi Moore, Christina Aguilera et al. have proved that the pregnant female is a creature of beauty; one that should be celebrated on all the glossies. The same is true for Kerr, whose bump has spent a great deal of time in the limelight: she announced her pregnancy in Spanish Vogue in September, paraded down the Balenciaga runway at five months along, and was the first pregnant cover model for Vogue Australia. In addition, she shunned Demi and Christina’s cover-ups and went completely starkers for W’s December issue.

Frankly, I’m a bit sick of Kerr, her baby bump and her bits. It seems you can’t open a magazine or blog post without seeing her naked body plastered all over it, even before she got knocked up. Sure, she’s nice to look at, but if you’ve seen her once, you’ve seen her a million times.

So why is it that Kerr can get her kit off every second week and be celebrated for it, while Jennifer Hawkins, who posed for Marie Claire for charity, and whose private bits we are yet to see, was chastised and her star somewhat faded since the incident?

Can someone answer that for me?

Related: One Year On: The Jennifer Hawkins/Marie Claire Scandal.

The Changing Face of Beauty.

I’ve been meaning to visit Modelinia for a while now, and their History of Models timeline got me thinking about beauty norms across the ages since models became mainstream. Modelinia’s timeline begins in 1928 and follows the top faces (and bodieshello, Elle “The Body” McPherson), such as Twiggy, Iman and Lauren Hutton, through to today’s most famous faces.

Modelinia’s timeline begins with society girls like Dorian Leigh, who was perhaps the “world’s first supermodel” and appeared on the cover of Vogue seven times in 1944 and earned $300,000, “an amount that was unheard of during that time”. Leigh’s partnership with famed photographer Richard Avedon paved the way for future “model as muse” photographer-model dynamics. Leigh was also one of the models who inspired the classic, Breakfast at Tiffany’s.

The late 1940s and ’50s ushered in the age of “Hollywood glamour”, when Leigh appeared on Broadway in The Fifth Season, and “Million Dollar Baby” Lisa Fonssagrives married photographer Irving Penn. These women also proved there was life after modelling, with Fonssagrives “designing a line of leisurewear for Lord & Taylor”, and Leigh opening her own modelling school in Paris, much like Tyra Banks and Heidi Klum today.

The period beginning in 1960 was known as the “awakening” and spawned the births of McPherson, Linda Evangelista, Paulina Porizkova, Cindy Crawford, Stephanie Seymour, Christie Turlington, and Naomi Campbell, the women who would later become known as the über-models of the ’90s.

The ’60s were the years of Twiggy, whose picture was discovered hanging in a hairdresser’s window, and in 1965 she appeared on the cover of Vogue in three separate countries, landing the American edition thrice. She was also the subject of three separate documentaries that year, following on from her radio debut, with the single “Beautiful Dream” in 1964.

Around this time, Hutton refused to close the gap in her teeth, paving the way for the gap-toothed everywhere, like Madonna and Aussie model Jessica Hart.

It was a period of firsts for Hutton, which carried over into the ’70s, who was the first model to front a fragrance campaign, the first to sign an “exclusive cosmetics contract” and the first to reach $1 million in earnings.

The days of disco saw the birth days of the second wave of ü ber-models, like Klum, Shalom Harlow, Banks, Kate Moss, and Laetitia Casta, and the juxtapositioning of the all-American girl next door, Christie Brinkley, with the exotic beauty of Iman. In 1974, Brinkley signed a cosmetics contract with Covergirl, which resulted in a 20-year partnership. Iman served as muse for Yves Saint Laurent, who released his African Queen collection in 1978. While Brinkley appeared on the cover of Sports Illustrated Swimsuit Edition three years in a row (19771979), Iman proved she has commercial appeal, fronting “the June cover of Italian Cosmopolitan” in 1978.

The era of the “poster girl” (commencing with Brinkley’s aforementioned Sports Illustrated cover in 1987 and culminating in the permeation of models in the mainstream) sees models on the covers of all major magazines, from Life to Cosmo to Vogue to Playboy.

And if the saturation of popular culture in the ’80s seemed extreme, the ’90s sought to solidify this with “the rise of the supermodel”, coinciding with “the waif” ideal popularised by Moss’s “heroin chic” look (or as we would find out in 2005, cocaine chic), which was perhaps named for Calvin Klein’s Heroin Kids campaign, which Moss fronted in 1994 .

George Michael’s classic Freedom ’90 featured a bevy of supermodels, including Crawford, Turlington, Campbell, Evangelista, and Tatjana Patitz, in 1988. To accompany this, said models appeared on the cover of British Vogue, followed by the iconic group runway walk for Versace in 1989.

The rapid rise of Seymour began in 1989, when she appeared nude in Playboy, began dating Axl Rose of Guns N’ Roses and appeared in their “Don’t Cry” video clip, followed by “November Rain”. She became the first major model to sign with lingerie empire Victoria’s Secret in 1990, followed by her runway debut for Valentino.

It is interesting to note that the über-models of this time worked primarily in beauty campaigns and magazines before debuting on the runway, whereas now it’s the other way around. There are a lot of nameless and faceless models who walk on the runways and act solely as “clothes hangers” for the garments. It is rare that a model will move beyond that tag and permeate the zeitgeist, but those who have include Gisele Bündchen, Agyness Deyn, Daria Werbowy and Miranda Kerr.

Crawford’s star also rose even higher during this period, with her marriage to Richard Gere and her constant presence on magazines cover of all kinds, including a sexy 1991 cover of Vanity Fair, in which a bathing suit-clad Crawford shaves k.d. lang in a barbers chair.

But Crawford had some competition rapidly rising alongside her: Moss. In 1991, Moss fronted the Calvin Klein Obsession for Men campaign, as well as the Calvin Klein jeans ad together with Mark Wahlberg.

1992 was also a year for sexy magazine covers, with Seymour gracing Playboy for a second time, and McPherson making her debut for the magazine.

In other mag news, Crawford was asked to posed for the cover of the groundbreaking first edition of John F. Kennedy Jr.’s publication, George, aswho else?George Washington.

19941995 was surely Harlow’s time, as she added to her resume of film roles in In & Out, as well as gracing the cover of February W, March’s Paris Vogue, and June Harper’s Bazaar US in 1994, and March W, and December Vogue with fellow model-turned-actress, Amber Valetta.

That year Banks appeared on the cover of Sports Illustrated Swimsuit Edition, the first black model to do so solo.

With Bündchen’s appointment to Vogue cover girl in July 1997 the “heroin chic” era allegedly ended, and the championing of healthy bodies like Bündchen’s began. Maybe in the modelling world, but the “heroin chic” movement has wrecked havoc on the notions of beauty, body image and popular culture.

On a side note, recently Playboy.com profiled the changing of women’s breasts over the years, and Jezebel was quick to counter that its not our breasts that have changed, but the media’sie. Playboybelief of what they should look like (NSFW). It is not dissimilar in the case of beauty magazines aimed at women.

By the turn of the millennium, the age of the supermodel subsided, which was noticeable on magazine covers across the world, which began to, and still do, feature actresses and singers on their covers.

With the retirement of the most beautiful faces and bodies in the business, models almost ceased to be relevant, and women who made achievements for something other than their looks were championed. Obviously, there is still a large gap between women on magazines and television and in advertising campaigns and movies in correspondence to how they look rather than what they do, but looking back on the dominance of beauty in the ’80s and ’90s, we are slowly starting to celebrate diversity.

In addition, there’s the whirlwind surrounding plus-sized model Crystal Renn (is she plus-sized, isn’t she plus-sized?), and the model as somewhat of a prop for photographers, magazine editors and designers making a statement, as seen on Evangelista’s November 2009 cover for W magazine’s “The Art Issue”, or Claudia Schiffer (who, interestingly, was not featured in Modelinia’s timeline) and Karl Lagerfeld’s collaboration.

While it’s always nice to look a somethingone beautiful, it’s also nice to realise that there should be more to a model than what she looks like, and in a lot of cases, there is.

You only need to look at the aforementioned Banks and Klum’s careers in television (America’s Next Top Model and The Tyra Banks Show, and Project Runway and Germany’s Next Top Model, respectively), Erin Wasson’s foray into designing, and Kerr’s championing of a healthier life to see this in practice.

But I guess the question is, is this timeline representative of the success of certain types of models in response to our changing attitudes, or are our changing attitudes representative of the success of certain types of models?