Laurie Penny on Mad Men: Airbrushing the truth about women

The equalities minister, Lynne Featherstone, wants us to embrace Mad Men’s curvy secretary Joan as a role model. Wrong choice, right idea.

Lynne Featherstone MP has given the impression that young women should aspire to look like saucy secretaries with accommodating attitudes to sexual harassment. Speaking in support of the Girl Guides' call for images of airbrushed models in magazines and on posters to be labelled clearly, the new equalities minister said that Christina Hendricks, the "curvy" actress who plays the sexually performative office manager Joan in the AMC series Mad Men, is an ideal antidote to the advertising industry's impossible standards of female emaciation.

It is likely that Featherstone's decision to tout Hendricks as a body-image role model was based on asking the girls in the office who their favourite curvy celebrities were. Unfortunately, following her comments, aspirational photos of Joan in a range of tight dresses have illustrated nearly every report on the anti-airbrushing campaign, sending a clear message about the limited ambitions of women's liberation today. We don't want young girls to starve themselves to resemble a modern advertising executive's wet dream, so we'll settle for encouraging them to emulate an advertising executive's wet dream from the 1960s.

Object of fantasy

Hendricks is beautiful, with creamy skin and cascades of auburn hair - but, at the UK average dress size of 14, she has been criticised by fashion insiders for being "too heavy". In Mattel's new line of Mad Men Barbies, the Joan doll appears substantially underweight, her lollipop head wobbling on spindly plastic limbs, shrinking Hendricks's curves into a body type that the toy company claims is more in keeping with "the aesthetic" of the show. Peggy Olson, a mousy-but-talented copywriter in Mad Men, has not been made into a doll, because frumpy, difficult and demanding women never get to be Barbie, whatever their accomplishments.

This isn't the only problem with the suggestion that Hendricks and her Mad Men alter ego are feminist role models. Joan may be curvy and confident, but that confidence comes from her skill at manipulating men sexually, embracing her role as an object of fantasy and encouraging the secretaries she supervises to dress prettily, stay quiet and accept sexual bullying as part of the job. Her male bosses consistently demean her intelligence. She is a victim of rape, and marries her rapist to avoid being left "on the shelf".

Sexism has long been the stock-in-trade of the advertising industry. Since the heyday of Madison Avenue, which Mad Men seeks to recall, advertisements have defined how we understand gender and power. The theorist Marshall McLuhan wrote in the 1960s that "ads are the cave art of the 20th century . . . the richest and most faithful reflections that any society ever made of its entire range of activities". Today, the industry has an income worth roughly £16bn in the UK alone, and the average consumer in Britain and America absorbs thousands of adverts every day.

According to the activist Jean Kilbourne, who created the Killing Us Softly films to expose advertising's harmful effect on women, "Advertising tells us, just as it did 30 years ago, that the most important thing about women is our appearance. We learn from an early age that we must spend enormous amounts of time, energy and, above all, money, striving to achieve an ideal of absolute flawlessness and feeling ashamed and guilty when we fail."

The ubiquity of images of airbrushed, idealised, half-naked female bodies affects the self-esteem of women and girls. In 1991, the US-based magazine Ad Age conceded that "sexism, sexual harassment and the cultural portrayal of women in advertising are inextricably linked".

Irritated by pesky accusations of sexism and body fascism, the advertising and fashion industries are engaged in a struggle to neutralise dissent. Mad Men is part of the cultural territory on which that struggle is taking place. What makes the show compelling is its exposition of how the ugly ideology of the golden age of advertising reflected real-life misogyny, as experienced by characters such as Joan or the frustrated housewife Betty Draper.

Wrong model, right idea

Today's fashion and advertising industries have decided to glamorise this narrative. Instead of recoiling in horror from Mad Men's depiction of the objectification and abuse that defined working women's lives within living memory, young women are shopping for circle skirts, ordering vodka Martinis and swallowing the line that Joan is a sassy, inspirational character who should be applauded for being allowed to appear on prime-time television weighing more than a packet of crisps.

In her mission to encourage advertisers to label airbrushed images of idealised female beauty, Featherstone has the wrong role model but the right idea. The Joan character is the living, breathing, breast-heaving embodiment of the idea that one cannot fight misogyny in the advertising industry. This campaign offers the bold and simple notion that one can, and that if the health and happiness of young women are at stake, the government should.

If we saw little but digitally manipulated, blandly sexualised images of young men everywhere around us, this campaign would be understood as urgently political, rather than merely frivolous. If it were young men who understood that, in order to get and keep a job, they had to pummel their bodies into a sick image of perfection and shrink every aspect of their personhood, if it were men whom advertisements were complicit in erasing, it would be easier to persuade Westminster that the advertising industry is not just a harmless function of the market, but a delivery system for sexism that can and should be monitored.

 

 

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 16 August 2010 issue of the New Statesman, The war against science

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Labour’s best general election bet is Keir Starmer

The shadow secretary for Brexit has the heart of a Remainer - but head of a pragmatic politician in Brexit Britain. 

In a different election, the shadow Brexit secretary Keir Starmer might have been written off as too quiet a man. Instead - as he set out his plans to scrap the Brexit white paper and offer EU citizens reassurance on “Day One” in the grand hall of the Institute of Civil Engineers - the audience burst into spontaneous applause. 

For voters now torn between their loyalty to Labour and Remain, Starmer is a reassuring figure. Although he says he respects the Brexit vote, the former director of public prosecutions is instinctively in favour of collaborating with Europe. He even wedges phrases like “regulatory alignment” into his speeches. When a journalist asked about the practicality of giving EU citizens right to remain before UK citizens abroad have received similar promises, he retorted: “The way you just described it is to use people as bargaining chips… We would not do that.”

He is also clear about the need for Parliament to vote on a Brexit deal in the autumn of 2018, for a transitional agreement to replace the cliff edge, and for membership of the single market and customs union to be back on the table. When pressed on the option of a second referendum, he said: “The whole point of trying to involve Parliament in the process is that when we get to the final vote, Parliament has had its say.” His main argument against a second referendum idea is that it doesn’t compare like with like, if a transitional deal is already in place. For Remainers, that doesn't sound like a blanket veto of #EUref2. 

Could Leave voters in the provinces warm to the London MP for Holborn and St Pancras? The answer seems to be no – The Daily Express, voice of the blue passport brigade, branded his speech “a plot”. But Starmer is at least respectful of the Brexit vote, as it stands. His speech was introduced by Jenny Chapman, MP for Darlington, who berated Westminster for their attitude to Leave voters, and declared: “I would not be standing here if the Labour Party were in anyway attempting to block Brexit.” Yes, Labour supporters who voted Leave may prefer a Brexiteer like Kate Hoey to Starmer,  but he's in the shadow Cabinet and she's on a boat with Nigel Farage. 

Then there’s the fact Starmer has done his homework. His argument is coherent. His speech was peppered with references to “businesses I spoke to”. He has travelled around the country. He accepts that Brexit means changing freedom of movement rules. Unlike Clive Lewis, often talked about as another leadership contender, he did not resign but voted for the Article 50 Bill. He is one of the rare shadow cabinet members before June 2016 who rejoined the front bench. This also matters as far as Labour members are concerned – a March poll found they disapproved of the way Labour has handled Brexit, but remain loyal to Jeremy Corbyn. 

Finally, for those voters who, like Brenda, reacted to news of a general election by complaining "Not ANOTHER one", Starmer has some of the same appeal as Theresa May - he seems competent and grown-up. While EU regulation may be intensely fascinating to Brexiteers and Brussels correspondents, I suspect that by 2019 most of the British public's overwhelming reaction to Brexit will be boredom. Starmer's willingness to step up to the job matters. 

Starmer may not have the grassroots touch of the Labour leader, nor the charisma of backbench dissidents like Chuka Umunna, but the party should make him the de facto face of the campaign.  In the hysterics of a Brexit election, a quiet man may be just what Labour needs.

What did Keir Starmer say? The key points of his speech

  • An immediate guarantee that all EU nationals currently living in the UK will see no change in their legal status as a result of Brexit, while seeking reciprocal measures for UK citizens in the EU. 
  • Replacing the Tories’ Great Repeal Bill with an EU Rights and Protections Bill which fully protects consumer, worker and environmental rights.
  • A replacement White Paper with a strong emphasis on retaining the benefits of the single market and the customs union. 
  • The devolution of any new powers that are transferred back from Brussels should go straight to the relevant devolved body, whether regional government in England or the devolved administrations in Scotland, Wales and Northern Ireland.
  • Parliament should be fully involved in the Brexit deal, and MPs should be able to vote on the deal in autumn 2018.
  • A commitment to seek to negotiate strong transitional arrangements when leaving the EU and to ensure there is no cliff-edge for the UK economy. 
  • An acceptance that freedom of movement will end with leaving the EU, but a commitment to prioritise jobs and economy in the negotiations.

Julia Rampen is the digital news editor of the New Statesman (previously editor of The Staggers, The New Statesman's online rolling politics blog). She has also been deputy editor at Mirror Money Online and has worked as a financial journalist for several trade magazines. 

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