clothes/fashion

A while back, Lisa drew on work by Ashley Mears to post about different preferred aesthetics in editorial vs. commercial modeling — that is, modeling for fashion magazines and runways as opposed to modeling clothing in catalogs and other venues specifically meant to lead to sales of products. Mears (whose forthcoming book, Pricing Beauty: Value in the Fashion Modeling World I eagerly await) points out that while models earn more prestige doing editorial work, they generally earn significantly more money if they can get commercial jobs (though, since the two types of modeling require different looks, models have little control over which type of modeling they’ll be considered for).

Jezebel posted an article about a lawsuit brought by three models against the modeling agency Next that clearly shows the low compensation models receive for doing some of the most prestigious modeling. This statement of model Anna Jagodzinska’s account (including payments that are still outstanding as well as deductions from her account for agency fees and services) with Next includes both editorial work (the second two items are her pay for a day of shooting with two different versions of Vogue) and commercial work (J. Crew, H&M, and large sums from agencies that put together advertising materials, such as Laird and Partners). The pay for a day’s shoot for French Vogue? $125. For the U.S. version of Vogue, the dominant fashion magazine, it’s $250:

The daily pay rates for catalogs, by contrast, are in the thousands.

It’s a perfect example of Mears’s argument that models often face a situation where prestigious jobs actually pay very little; so many models want to be in Vogue that the magazine doesn’t have to pay much, and the same is true for a lot of editorial work. Also notice that this statement, from April 2010, shows that the French Vogue has owed the $125 daily fee since May of 2009, and one of Vogue‘s payments has been due since October 2009 and another since December 2009. The end result is that in return for the status that comes with these types of editorial modeling jobs, models have to accept low pay compared to the commercial market, and may have to wait a long time to get even that.

The Jezebel article I linked to above includes an excellent explanation of the various charges on the account statement and the reason modeling agencies don’t aggressively pursue overdue accounts. Notice how it says “unavailable balance” at the bottom of the statement? That means the clients haven’t paid the modeling agency, so she has that much coming but hasn’t actually been paid yet, since the agencies treat the models like independent contractors and only pay them when the agency gets the money from the client.

Alex W. sent in a 1972 ad for Weyenberg Massagic shoes (a version of which was reprinted in Ms. magazine in 1974, after appearing in Playboy). The ad uses subtle imagery and text to imply that if men buy the right footwear, women will be so entranced that they will remain in their natural habitat, the floor (more specifically, as reader Jamie points out, at your feet), just for the chance to gaze at the beautiful product:

Both Linda Jay and a colleague of mine, Dr. Caroline Heldman, drew my attention to the new Minnie Mouse-themed line at Forever 21. The line is a collaboration between Disney and the fashion outlet and the mouse has been re-modeled, so to speak.

What must one do to Minnie to make her an acceptable fashion icon? Starve her down to a stick figure, apparently.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Hope and Kristi P. sent in another example of the way the idea of a “curvy” shape is associated with non-White bodies. This Levi’s ad for their Curve ID jeans shows models whose skin color gets progressively darker as they move from less to more curvy styles:

Notice also that curvy here means primarily having a larger butt. All three models are show in size 27 jeans, which generally are equivalent to about a size 4 (though of course, sizes vary greatly) — certainly larger than the average runway model, but still very small.

Question: does anyone have examples of non-White men depicted as uniquely or systematically “curvy,” or is this applied only to women?

An anonymous frequent reader sent in this Calvin Klein jeans ad that has been removed from billboards in Australia after the Advertising Standards Bureau banned its display on the grounds that it implies sexual assault. I’m putting it after the jump because it might be triggering for some people.

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Anita Sarkeesian, at Feminist Frequency, starts from the beginning.  How is contemporary advertising to children gendered today?  And why does it matter?  With a special discussion of girls and technology.  Enjoy:

(Transcript after the jump.)

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Lauren McGuire sent along a BoingBoing link to this page from a booklet called Hint Hunt (1940s).  It advises mothers to “inspire” their sons to tuck in their shirts by sewing (hideously embarrassing) lace along the bottom:

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

In an old post on the idea of cool, I summarized Susan Bordo’s observations in Twilight Zones:

…the art of being cool is appearing not to care… what marked someone as cool was their complete disinterest in you, everything you stand for and, especially, what you thought of them. Being cool is not being needy.

I was reminded of this idea when Ali S., M., Hishaam S., Dmitriy T.M., and Alian K. passed along a set of ads for a Dutch clothing company, Suit Supply.  Lauri Apple at Jezebel writes that they’re “creepy and porno-like” and I think it is the cool factor that makes them so.  Notice how disinterested most of the characters, especially the men, appear to be.  He lounges on the couch, entirely unaffected by the imminent humping behind him.  They screw on the kitchen counter, like it’s their same ol’ boring routine.  He casually lifts up her skirt, like it’s no big thing.

More (some not safe for work) after the jump:

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