Eyelid surgery is the third most common cosmetic procedure in the world. Some are necessary for drooping eyelids that interfere with vision, others are undertaken in order to enable people to look younger, but many people choose these surgeries to make their eyes look more Western or whiter, a characteristic often conflated with attractiveness.
Recently Julie Chen — a TV personality and news anchor — revealed that she had undergone eyelid and other surgeries almost 20 years ago in order to comply with the standards of beauty and “relatability” demanded of her bosses. She released these photos in tandem with the story:
Chen said that she was torn about whether to get the surgeries. Her entire family got involved in the conversation and they split, too, arguing about whether the surgeries represented a rejection of her Chinese ancestry.
Ultimately, though, Chen was under a lot of pressure from her bosses. One told her “you will never be on this anchor desk, because you’re Chinese.” He went on:
Let’s face it, Julie, how relatable are you to our community? How big of an Asian community do we have in Dayton? ‘On top of that, because of your heritage, because of your Asian eyes, sometimes I’ve noticed when you’re on camera and you’re interviewing someone, you look disinterested, you look bored.
Another man, a “big time agent,” told her: “I cannot represent you unless you get plastic surgery to make your eyes look bigger.”
While cosmetic surgeries are often portrayed as vanity projects, Chen’s story reveals that they are also often about looking “right” in a competitive industry. Whether it’s erotic dancers getting breast implants, waitresses getting facelifts, or aspiring news anchors getting eyelid surgery, often economic pressures — mixed with racism and sexism — drive these decisions.
Earlier this year, Barbie posed for Sports Illustrated, triggering a round of eye-rolling and exasperation among those who care about the self-esteem and overall mental health of girls and women.
Barbie replied with the hashtag #unapologetic, arguing in an — I’m gonna guess, ghostwritten — essay that posing in the notoriously sexist swimsuit issue was her way of proving that girls could do anything they wanted to do. It was a bizarre appropriation of feminist logic alongside a skewering of a feminist strawwoman that went something along the lines of “don’t hate me ’cause I’m beautiful.”
Barbie is so often condemned as the problem and Mattel, perhaps tired of playing her endless defender, finally just went with: “How dare you judge her.” It was a bold and bizarre marketing move. The company had her embrace her villain persona, while simultaneously shaming the feminists who judged her. It gave us all a little bit of whiplash and I thought it quite obnoxious.
But then I came across Tiffany Gholar’s new illustrated book, The Doll Project. Gholar’s work suggests that perhaps we’ve been too quick to portray Barbie as simply a source of young women’s self-esteem issues and disordered eating. We imagine, after all, that she gleefully flaunts her physical perfection in the face of us lesser women. In this way, Mattel may be onto something; it isn’t just her appearance, but her seemingly endless confidence and, yes, failure to apologize, that sets us off.
But, maybe we’re wrong about Barbie?
What if Barbie is just as insecure as the rest of us? This is the possibility explored in The Doll Project. Using a mini diet book and scale actually sold by Mattel in the 1960s, Gholar re-imagines fashion dolls as victims of the media imperative to be thin. What if Barbie is a victim, too?
Excerpted with permission:
Forgive me for joining Mattel and Gholar in personifying this doll, but I enjoyed thinking through this reimagining of Barbie. It reminded me that even those among us who are privileged to be able to conform to conventions of attractiveness are often suffering. Sometimes even the most “perfect” of us look in the mirror and see nothing but imperfection. We’re all in this together.
Writer and director Elena Rossini has released the first four minutes of The Illusionists. I’m really excited to see the rest. The documentary is a critique of a high standard of beauty but, unlike some that focus exclusively on the impacts of Western women, Rossini’s film looks as though it will do a great job of illustrating how Western capitalist impulses are increasingly bringing men, children, and the entire world into their destructive fold.
The first few minutes address globalization and Western white supremacy, specifically. As one interviewee says, the message that many members of non-Western societies receive is that you “join Western culture… by taking a Western body.” The body becomes a gendered, raced, national project — something that separates modern individuals from traditional ones — and corporations are all too ready to exploit these ideas.
Last month I wrote about how the revival in the popularity of beards was hurting razor sales, causing companies like Proctor & Gamble to ramp up advertising encouraging “manscaping” below the neck. Here’s another response to the trend: hair plugs for your face.
According to a facial plastic surgeon interviewed for an article at DNAinfo New York, the rate at which he is asked to do facial hair transplants has skyrocketed from ” just a handful of beard transplants each year a decade ago” to about three a week. The surgeons mention the hipster beard trend as one cause of the rise in interest, but also cite a wide array of people who might be interested in fuller facial hair:
…clients include men who have struggled since adolescence to grow a beard, those undergoing a gender transition from female to male, men with with facial scarring and Hasidic Jews who hope to achieve denser payot, or sidelocks.
Expense for the procedure ranges from $3,o00 for partial transplants to $7,000 for a full beard.
What a fascinating example of the intersection of race, gender, religion, technology, and capitalism. Which men’s faces have more power to determine appearance norms for men? Or, what does masculinity look like? Men with Asian, American Indian, and African backgrounds are less likely to be able to grow full beards, but a society centered on whiteness can make their faces seem inadequate. If the situation were reversed, would we see white men, disproportionately, going in for laser hair removal? Would transmen feel less pressure to be able to grow a beard to feel fully masculine? Would they feel more if they were part of a Hasidic Jewish community?
Also, is this really about hipsters? How much power does a young, monied demographic have to set fashion trends? To send a wide range of people to surgeons — for goodness sake — in the hopes of living up to a more or less fleeting trend? How do such trends gain purchase across such a wide range of people? What other forces are at work here?
I’ve written extensively — not here, but professionally — on the ways in which Americans talk about the female genital cutting practices (FGCs) that are common in parts of Africa. I’ve focused on the frames for the practice (common ones include women’s oppression, child abuse, a violation of bodily integrity, and cultural depravity), who has had the most power to shape American perceptions (e.g., journalists, activists, or scientists), and the implications of this discourse for thinking about and building gender egalitarian, multicultural democracies.
Ultimately, whatever opinion one wants to hold about the wide range of practices we typically refer to as “female genital mutilation,” it is very clear that the negative opinions of most Westerners are heavily based on misinformation and have been strongly shaped by racism, ethnocentrism, and a disgust or pity for an imagined Africa. That doesn’t mean that Americans or Europeans aren’t allowed to oppose (some of) the practices (some of the time), but it does mean that we need to think carefully about how and why we do so.
One of the most powerful voices challenging Western thinking about FGCs is Fuambai Sia Ahmadu, a Sierra Leonan-American anthropologist who chose, at 21 years old, to undergo the genital cutting practice typical for girls in her ethnic group, Kono.
She has written about this experience and how it relates to the academic literature on genital cutting. She has also joined other scholars — both African and Western — in arguing against the zero tolerance position on FGCs and in favor of a more fair and nuanced understanding of why people choose these procedures for themselves or their children and the positive and negative consequences of doing so. To that end, she is the co-founder of African Women are Free to Choose and SiA Magazine, dedicated to “empowering circumcised women and girls in Africa and worldwide.”
You can hear Ahmadu discuss her perspective in this program:
Many people reading this may object to the idea of re-thinking zero tolerance approaches to FGCs. I understand this reaction, but I urge such readers to do so anyway. If we care enough about African women to be concerned about the state of their genitals, we must also be willing to pay attention to their hearts and their minds. Even, or especially, if they say things we don’t like.
Sociologists like to say that gender identities are socially constructed. That just means that what it is, and what it means, to be male or female is at least partly the outcome of social interaction between people – visible through the rules, attitudes, media, or ideals in the social world.
And that process sometimes involves constructing people’s bodies physically as well. And in today’s high-intensity parenting, in which gender plays a big part, this includes constructing – or at least tinkering with – the bodies of children.
Today’s example: braces. In my Google image search for “child with braces,” the first 100 images yielded about 75 girls.
Why so many girls braced for beauty? More girls than boys want braces, and more parents of girls want their kids to have them, even though girls’ teeth are no more crooked or misplaced than boys’. This is just one manifestation of the greater tendency to value appearance for girls and women more than for boys and men. But because braces are expensive, this is also tied up with social class, so that richer people are more likely to get their kids’ teeth straightened, and as a result richer girls are more likely to meet (and set) beauty standards.
Hard numbers on how many kids get braces are surprisingly hard to come by. However, the government’s medical expenditure survey shows that 17 percent of children ages 11-17 saw an orthodontist in the last year, which means the number getting braces at some point in their lives is higher than that. The numbers are rising, and girls are wearing most of hardware.
A study of Michigan public school students showed that although boys and girls had equal treatment needs (orthodontists have developed sophisticated tools for measuring this need, which everyone agrees is usually aesthetic), girls’ attitudes about their own teeth were quite different:
Clearly, braces are popular among American kids, with about half in this study saying they want them, but that sentiment is more common among girls, who are twice as likely as boys to say they don’t like their teeth.
The same pattern is found in Germany, where 38 percent of girls versus 30 percent of boys ages 11-14 have braces, and in Britain – both countries where braces are covered by state health insurance if they are needed, but parents can pay for them if they aren’t.
Among American adults, women are also more likely to get braces, leading the way in the adult orthodontic trend. (Google “mother daughter braces” and you get mothers and daughters getting braces together; “father son braces” brings you to orthodontic practices run by father-son teams.)
Teeth and consequences
Caption: The teeth of TV anchors Anderson Cooper, Soledad O’Brien, Robin Roberts, Suzanne Malveaux, Don Lemon, George Stephanopolous, David Gregory, Ashley Banfield, and Diane Sawyer.
Today’s rich and famous people – at least the one whose faces we see a lot – usually have straight white teeth, and most people don’t get that way without some intervention. And lots of people get that.
Girls are held to a higher beauty standard and feel the pressure – from media, peers or parents – to get their teeth straightened. They want braces, and for good reason. Unfortunately, this subjects them to needless medical procedures and reinforces the over-valuing of appearance. However, it also shows one way that parents invest more in their girls, perhaps thinking they need to prepare them for successful careers and relationships by spending more on their looks.
When they’re grown up, of course, women get a lot more cosmetic surgery than men do – 87 percent of all surgical procedures, and 94% of Botox-type procedures – and that gap is growing over time.
As is the case with lots of cosmetic procedures, people from wealthier families generally are less likely to need braces but more likely to get them. But add this to the gender pattern, and what emerges is a system in which richer girls (voluntarily or not) and their parents set the standard for beauty – and then reap the rewards (as well as harms) of reaching it.
If the past few months in the music industry have left you demoralized — what with the white supremacist capitalist patriarchy and all — Lily Allen might make you feel better, emphasis on might. Her single, with the sarcastic refrain “It’s hard out here for a bitch,” satirizes all of it and takes some ugly missteps along the way. In doing so, she reinvigorates an important conversation about satire, race politics, and feminism.
2. She points to the extreme standards of beauty for pop stars, singing the lyrics “You should probably lose some weight/’Cause we can’t see your bones” and beginning the video in surgery alongside a discussion about her “terrifying” post-baby body:
Don’t you want to have somebody who objectifies you? Have you thought about your butt? Who’s gonna tear it in two?
This is a retort to Thicke’s line, “I’ll give you something to tear your ass in two.”
4. She refers to the Sinead O’Connor/Amanda Palmer debate about whether women in the music industry have agency. Breaking the fourth wall, the video features a middle-aged, white male executive in a suit telling her to treat a banana like a penis and showing her and her dancers how to twerk.
5. Finally, she goes after materialism and product placement:
Her final lines:
Inequality promises that it’s here to stay Always trust injustice/in justice ’cause it’s not goin’ away
Interestingly, I’m not sure if the lyric is “injustice” or “in justice.” Or both!
What to Make of It All?
Not everyone is loving this video. Some are arguing that she is using her race and class privilege to take advantage of the debate; her use of women of color as props, for example, is no different than Cyrus’. Even if the frame is satire, the visual is the same.
Some of her lyrics mock rap and hip hop generally, making it a racialized scapegoat for everything that’s wrong in the world, which happens. She sings, “I won’t be bragging about my cars/Or talking about my chains.” In one scene she washes rims surrounded by champagne, in another she mocks the car culture associated with hip hop.
Even if her satire were straight on, there’s always the risk that people won’t get it, despite the fact that she refers to it directly. This is a serious risk as indicated by the fact that a significant proportion of politically conservative viewers of The Colbert Reportdon’ t know he’s kidding.
I’ll be interested to see the conversation about the song and video as it plays out. In the meantime, I’m pleased for the reminder that the music industry isn’t monolithic.
First, there are people in the industry that object to racism, sexism, and materialism: Lily Allen, I think, but also likely many of the people who worked with her to make this song and video happen.
Second, there’s money in fighting back. This highly produced single and video would not be here if executives didn’t think it would be profitable. They think there are people out there who are sick of exploitation in the music industry… and they’re right.
Alternatively, this is just a modified version of the same exploitation that Cyrus is guilty of: a feminism that serves white women well, but continues to marginalize women of color.
The International Society of Aesthetic Plastic Surgeons has released new data on the incidence of invasive and non-invasive cosmetic procedures. The U.S. leads in sheer numbers of procedures but, accounting for population, we fall into 4th place. South Korea leads for the number of procedures per person, followed by Greece and Italy.
By far the most common kinds of surgical cosmetic procedures are lipoplasty and breast augmentation. Along with fat, breasts seem to be a particular concern: breast lifts and breast reductions for both men and women are also in the top ten. Abdominoplasty, nose jobs, eyelid surgeries, and facelifts are as well.
Likewise, we’ve posted about surgeries that create an epithelial fold, a fold of skin in the eyelid more common in people with White than Asian ethnic backgrounds. This surgery is a trend among Asians and Asian-Americans, as colonization has left us with an association between Whiteness, attractiveness, and power.
Breast augmentation, the second biggest surgical procedure, is most commonly performed in America and Brazil. Buttock implants are also a Brazilian specialty, as is vaginal rejuvenation. Asia is keen on nose jobs: China, Japan and South Korea are among the top five nations for rhinoplasty.
More on where and how many procedures are being performed, but nothing on why, at the ISAPS report.