gender: femininity

Bemoaning how Halloween has turned into an opportunity/requirement for women and girls to dress sexy is nothing new.  The trend isn’t just about Halloween, however, it reflects an everyday expectation for women.  Women are expected to dress in ways that reveal their body and please a hypothetical male gaze daily.  Men just aren’t.

University of Akron sociology graduate student Will LeSuer took some great photographs illustrating the different expectations for men and women.  The same idea for a costume is sexualized when it’s a woman in it and not-at-all sexualized when it’s a man.  Notice, too, that the sizing is different.  The costumes for women come in three sizes, while the men’s is usually just one size.  This is because women are expected to wear clothes that reveal the shape of her body, so the exact size is more important.

You might have observed, also, that the costumes aren’t called “men’s” and “women’s.”  They’re all just “adult.”  So women could, if they wanted to, buy and wear the non-sexy version of the costume, and vice versa for men.   And we might imagine a woman doing that.  But would a guy do that?  Probably only as a joke (unless they’re in a queer-safe space).

This pattern — women can dress like men, but men don’t dress like women — suggests that there is, in fact, something demeaning, ridiculous, or subordinating about presenting oneself to the male gaze.  Most men feel stupid, gross, or vulnerable when they do it.  This isn’t just about conformity to different gendered expectations.  If it were just about difference women would feel equally weird dressing in men’s clothes.  Instead, when women adopt masculine ways of dressing and moving, they often feel empowered.

So, when men do femininity they feel ridiculous and when women do masculinity they feel awesome. This is what gender inequality looks like.

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.

Christie W. sent in an idea that inspired me to revive our pointlessly gendered products post.  It’s  a fun one.  I’ve added Christie’s submission — a super-pink for-her version of a continuous positive airway pressure machine for people with sleep apnea.

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At this point, the gendering of things like phones doesn’t surprise me, such as this set, sent in by Ben C.:

But really…pink ear plugs?

We seriously need our own earplugs that are “silky soft”? Starchy G., who sent them in, says:

I’ve been told that these things have the extra-feminine side effect of dying one’s earwax pink.

Lovely.

Feminist Philosophers found this delightfully marketed pair of earplugs for, um, I’m gonna guess working class men:

Gendered tape, also from Feminist Philosophers:

Lee D.-T. found these sandwich bags for sale at a Safeway store in Melbourne, Australia. Sandwich bags, people!

Original Will sent in this image of pink computer cables, found at boing boing:

NEW! (Mar. ’10): Marjolaine N. found pink and blue chocolate Easter bunnies:

Michelle at The Red Pill Survival Guide took this photograph of gendered lollipops.  But not just any lollies: “Girls Enchanted” and “Boys Adventure” mixes.  Sigh:

Em wanted to download Style XP to customize Windows XP, but had to decide between men’s and ladies’ versions:

Em says,

The Man theme “gem” and the Lady theme “gucci” look pretty much the same. Still I’m glad it’s called “gucci” so I know it’s for me. Me and my lady friends are going to giggle about it then go online shoe shopping together. I just hope they’ve added extra-easy installation instructions to that version.

Christie W. sent in a pink version of a continuous positive airway pressure machine, and related items, for people, er women, with sleep apnea:

Over a dozen more ridiculous examples, after the jump.

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Cross-posted at The Social Complex.

Take a look at these two images.  The people in Image A and Image B are identical, save for their relative heights and the way that their heads are tilted in order to maintain eye contact.  Now how do you think each of these images would be independently perceived by the average person?  How do you perceive the events depicted in these images?

(see full sized image here)

Do one of these men seem “assertive” while the other seems “submissive” or “pushy”?  What would you imagine the woman is thinking in each of these images?  How would you rate the social esteem of each of these men?  Which one seems to have the most business acumen?  The most leadership potential?  Which man would you rate as more attractive?  What do you think these two people are talking about in each image?  Does your perception of what is happening in the conversation change from image to image?

If you are being honest with yourself here, you probably are imagining many differences in the social interactions depicted in these two images that don’t actually exist outside of our cultural framework. From the age that we become aware of our environment we are bombarded with cultural images, traditions, behaviors, and ideals (both expressly and implicitly conveyed) which foster heightist concepts within our psyche.

These heightist concepts come into play along with our perceptions of gender.  Masculinity is culturally tied to “Tall” and femininity is culturally tied to “Short.” Therefore, the negative cultural perceptions that apply to “feminine males” also apply to “short males” and the positive cultural perceptions that apply to “masculine males” also apply to “tall males.”  That is why we perceive Image A and Image B differently, even though there is no story behind the images beyond what we imagine.

Perhaps (to some extent) the negative cultural perceptions that apply to “masculine women” also apply to “tall females” and the positive cultural perceptions that apply to “feminine females” also apply to “short females”?  I do not know.  However, I have my doubts that it works this way for females.

This is because (in my humble opinion – with no evidence to back this up):

• Being a masculine woman is probably NOT considered as negative in our society as being a feminine man.  In other words, our society values masculinity more than femininity and so it is more important for a male to be masculine, but much less important for a female to be feminine.
• Additional height (or “tallness”) is considered a masculine trait and so more important for a male to have than it would be detrimental for a female.
• Tallness (for some reason) is not considered masculine on a female.  Body mass (weight) is considered more of a “masculine” trait on a female than pure height.

Any comments?  Discussion?

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Geoffrey Arnold is an associate with a mid-sized corporate law firm’s Business Litigation Practice Group.  When Geoffrey isn’t chasing Billable Hours in the defense of white-collar criminals, he is most likely writing about social justice with a special emphasis on height discrimination at his blog: The Social Complex.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

A new submission is a nice addition to this old post.  The newest iteration of this gender-bending game — men in pin-up poses — can be found in the middle of this collection.

Dmitriy T.M. sent in this month’s cover of GQ featuring Sasha Baron Cohen, in Bruno character.  Cohen adopts a pose often used to showcase women’s bodies.  The contrast between the meaning of the pose (sexy and feminine) with the fact that he’s male draws attention to how powerfully gendered the pose is.  His facial expression highlights the ridiculousness of such a powerful gender binary (women look sexy when they pose like this, men look stupid when they do).

Consider:

Commenter MB noted that GQ has some news stands have decided to cover the cover (as if it were porn):

The interesting question might be: When we pose women like men, does it look ridiculous or badass?  And, if it looks badass, what does that say about the way we expect women to look and move?

For a similar project, see Yolanda Dominquez’s photos of “regular” women in “fashion” poses.

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.

A recent Tide commercial featuring gender non-conformity by a girl has really struck a chord, judging by the ten submissions we got of it. In the ad, a mother wearing a pink sweater, sitting in a room accented in pink, nervously bemoans the fact that her daughter, who is wearing a camouflage hoodie and playing with wooden blocks, doesn’t like the trappings of femininity — specifically, she doesn’t like pink and she does like cargo shorts:

The commercial clearly illustrates the emphasis on gender conformity and the way parents may feel discomfort if their child won’t conform. The mother is clearly distressed that the “pink thing” didn’t work with her daughter, and we’re to assume that she worked hard to try to convince her to act more traditionally feminine but has slowly given up in the face of her daughter’s disinterest. The little girl eschews femininity at the cost of disappointing her mom. As someone who absolutely hated dresses as a kid myself, I remember that feeling that hopeful look on my mom’s face when she’d hold up a dress, hoping that somehow this one would win me over, and the knowledge I was somehow hurting her by rejecting it.

Yet as several of the submitters point out, the commercial also undermines this emphasis on gender conformity, even while presenting having an unfeminine girl as an exasperating situation for a mom. Unlike some ads we’ve seen that present the product as helping you raise a child who meets gender norms, here, the product does just the opposite: it saves the little girl’s clothes, which the mother kind of wishes had been ruined. In the end, the mother, though clearly less than thrilled, praises her daughter’s parking garage. As Melissa M. says,

On one hand, we see a child neither conforming nor being forced to conform to styles attributed to their gender role, though on the other hand we see a mother obsessively sticking to her role and being painted in the light of a harrowed mother, desperately trying to help her child fit in.

Thanks to Miss B., George McHenry Jr. (a doctoral candidate at the University of Utah), Tiffany D., Ulysses H., Leiana S., Sarah R., Melissa M., Felice S., Allison C., and Mary Ann C. for the tip!

Transcript after the jump, thanks to Ulysses.

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Post under “No comment” by Sarah Richardson at Ms.:

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.

Bare Escentuals, a cosmetics company specializing in mineral makeup, has a new ad campaign that hinges upon how it found “the world’s most beautiful women…without ever seeing their faces.” Models and actresses showed up at the casting call and filled out questionnaires about themselves, which were given to Bare Escentuals. The company then cast the campaign solely on the basis of the questionnaires, choosing models not for their looks but for their “inner beauty,” posting a series of videos about the women on their website:

The campaign uses its selection process as a touchstone for all its taglines, pitting “pretty” against “beauty”: “Pretty can turn heads…beauty can change the whole world.” The commercials and print ads showcase the selected models in their daily lives: We see Lauren, a volunteer firefighter, hoisting a water hose from the ladder truck; we learn that Keri enjoys skateboarding and learned Farsi to communicate with her in-laws. This is meant to let us see the model meeting the company’s definition of beautiful by being themselves.

On its face this seems a logical, even praise-worthy, response to the constant barrage of unrealistic messages hurled at women every day about what appearance they should aspire to. But in so doing, the campaign commodifies women’s inner lives in addition to their beauty. Viewers are asked to reward the company for putting the models’ personalities on display; we’re expected to judge the models, albeit positively, for going above and beyond the model call of duty — she’s a volunteer firefigher! she has a sword collection! she blogs! By parading the inner (and formerly private) lives of the models for profit, the company appears to be showing us “real” women instead of the professional beauties that they are.

The customer takeaway is supposed to be that Bare Escentuals, more than other companies, recognizes that beauty comes from within. But the net effect is that we are shown how “being oneself” is now subject to standards of beauty. The same labor that has always gone into looking attractive — the labor that models have professionalized and monetized (smiling, appearing natural in front of the camera, speaking the company line) — is now applied to “being yourself,” which has been turned into a field of commodified emotional labor.

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Autumn Whitefield-Madrano writes at The Beheld, a blog exploring the role of beauty and personal appearance in our lives through essays, cultural analysis, long-form interviews, and more.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

Nicola R. sent in an image of the ad that is on the back cover of the September 2011 issue of Desktop, an Australian magazine aimed at graphic designers. The ad, for Olympus cameras and their art filters, presents four identical images of a woman with different effects applied. The tagline, in small print under the photos, is “Never get bored of how your girlfriend looks again”:

As Nicola says, the message here is that woman are eternally on display to an objectifying male gaze, “not just in public but often also in our personal lives,” and can never stop manipulating their physical appearance lest they risk losing their male partner’s interest.