En Eski Beauty and Misogyny: Harmful Cultural Practices in the West Gönderileri
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The symbiotic relationship between fashion photography and pornography is becoming so close that it does seem likely that the arty fashion magazines which already display fashion on women who are almost naked and in just raped poses, will soon expect models to engage in actual sexual acts for fashion shots. Such a development is presaged in the work of one of the most famous fashion photographers of the moment, Terry Richardson, who is compared to Helmut Newton in his status but recognized to be even more sexually explicit in his approach. Richardson gained fame for sexualized fashion spreads in the 1990s and for epitomizing porn chic. His fashion shots for the label Katherine Hamnett, for instance, included ones ``where the models' pubic hair was visible beneath their short skirts'', and Sisley, where, memorably, ``the model Josie Moran squeezed milk from a cow's udder into her mouth'' and he has ``made Kate Moss, minus her knickers, look like a world-weary call girl”
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The pornographizing of fashion photography in its most extreme forms may not have much effect on what women wear since not many will choose to be half-naked in their social or professional lives. However, there are ways in which it has a negative impact on women in general. It popularizes the ``slut'' and prostitute look, very short skirt, boots, piercings for young women. It makes looking as if you are in the sex industry chic and thereby helps sex industrialists by normalizing their business of the international traffic in women. The sex industry sells clothes and the fashion industry sells prostitution and pornography.
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The result of the normalization of pornography in the 1980s and 1990s, through the cult of Madonna and the Internet, is that the image of what is beautiful for young women and girls has become inextricably intertwined with the sex industry. Looking like Madonna has morphed in the twenty-first century into looking like Britney Spears but the impulse, to represent prostitution, is the same. On the catwalk the values and practices of prostitution and pornography now dominate. Male designers are selling the look of sadomasochist prostitution in particular, to the rich and fashionable. In the next chapter I take a critical look at what passes for fashion and the men who create it.
One of the great powers of feminism is that it goes so far in making the experiences and lives of women intelligible. Trying to make sense of one's own feelings, motivations, desires, ambitions, actions and reactions without taking into account the forces which maintain the subordination of women to men is like trying to explain why a marble stops rolling without taking friction into account. What feminist theory is about, to a great extent, is just identifying those forces . . . and displaying the mechanics of their applications to women as a group (or caste) and to individual women. The measure of the success of the theory is just how much sense it makes of what did not make sense before.
In our culture, not one part of a woman's body is left untouched, unaltered. No feature or extremity is spared the art, or pain, of improvement. Hair is dyed, lacquered, straightened, permanented; eyebrows are plucked, penciled, dyed; eyes are lined, mascaraed, shadowed; lashes are curled, or false - from head to toe, every feature of a woman's face, every section of her body, is subject to modification, alteration. (Dworkin, 1974, p. 112)
Wolf's analysis does not suggest that there is a problem with the fact that women, and not men, have to do beauty practices at all, only that they are not free to choose to do so. It is this failure to ask the fundamental questions of why beauty practices are connected with women and why any women would want to continue with them after the revolution, that makes The Beauty Myth a liberal feminist book rather than a radical feminist one.