On the (Rest of the) Net.

 

“The Evolution of April O’Neil.”

Both MamaMia & Melinda Tankard-Reist have run stories on footballers behaving badly, after the  New Zealand Warriors rugby team drafted Shaun Metcalf, who spent 18 months in jail for rallying a couple of his teammates to help him kick his pregnant teen girlfriend to cause her to miscarriage. Tankard-Reist writes:

“One of Metcalf’s key defenders and outspoken advocates is Celia Lashlie… [says]:

‘We can all get caught up in the emotional image of young men booting a young woman in the stomach to cause her to abort her baby, but these were two young people … she got pregnant, he was way out of his depth, and he did a really cruel and dumb thing.

‘He was caught in the moment, and what he did was the equivalent of a young man putting a noose around his neck because his girlfriend tossed him out. He has to be allowed to move forward and put his life together, and I think the ability of the NRL and the Warriors to take this young man in and help him do that is role modelling and something they should get credit for’…

“Oh no, we wouldn’t want to get caught up in an image of young footballers playing football with the pregnant womb of a 15-year old girl now would we?

“‘The equivalent of putting the noose around his neck’? No, it was the equivalent of putting a noose around her neck—and the neck of her child. Laslie paints the act as some kind of self-punishment. But he wasn’t assaulted. He wasn’t trying to protect the child he was carrying. It wasn’t he who might lose his life.”

“Glorified pimp” Kris Jenner VS. the “strong of character” Khloe Kardashian on her new reality show, Khloe & Lamar.

Katy Perry and Britney Spears celebrate a pop apocalypse in their new singles on Girl with a Satchel.

Also at GWAS, Erica Bartle writes in response to Mia Freedman’s take on the relevance and influence of magazines, and what that means for women.

This makes me even more upset that my body corporate won’t allow Foxtel installation: MamaMia has their own TV show on SkyNews, Tuesday nights at 8pm. Congrats to the MamaMia team; they really are showing that the blogosphere is the new media frontier.

How to make the real-life Barbie doll.

Is this what 43 looks like?

Rebecca Black’s “Friday” is more popular on—wait for it…—Fridays! Who knew?!

Hugo Schwyzer on perfection, “good guys” and respect in relationships:

“… Many young women conclude that happiness is something that you only get when you get to your goal weight. And even more troublingly, when it comes to relationships, lots of straight girls think that if their own bodies aren’t perfect, they have no right to expect too much from guys.”

Apparently, leading a sedentary, office-bound life can lead to heart disease and other health problems. Not good news for bloggers…!

Do Spanx make the world a better place?:

“… My world is a better place when I can fucking breathe. My world is a better place when someone is not trying to convince me that making myself into a human sausage will make the world a better place.”

Vintage STD-warning posters. Oh, the misogyny!

“The Public Health Problem No One Wants to Talk About”: Stillbirth.

“Stop Being ‘Shocked’ by ‘Isms’” of the rac- and sex- persuasions. And trans- and homophobia while we’re at it.

Sexualised violence is the new black.

The real-life The Wrestler: the tragic life-story of Chris Kanyon.

The perils of the unfinished book.

How to raise boys well.

Images via Jezebel, MamaMia.

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?