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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You may call me a monster – but I'm glad that girl's lemonade stall got shut down

What's wrong with hard-working public servants enforcing perfectly sensible regulations?

Who could fail to be moved by the widely shared tears of a five year old whose innocent lemonade stall was brutally shut down by evil bureaucrats? What sort of monster would not have their heartstrings tugged by the plaintive “I've done a bad thing” from a girl whose father tells us she “just wanted to put a smile on people's faces”?

Well me, actually.

There are half a million cases of food poisoning each year in the UK, and one of the reasons we have stringent controls on who can sell food and drink, especially in unsealed containers, is to try to cut those figures down. And street stalls in general are regulated because we have a system of taxation, rights and responsibilities in this country which underpins our functioning society. Regulation is a social and economic good.

It’s also pretty unfair to criticise the hard-working public servants who acted in this case for doing the job they are no doubt underpaid to do. For the council to say “we expect our enforcement officers to show common sense” as they cancelled the fine is all very well, but I’m willing to bet they are given precious little leeway in their training when it comes to who gets fined and who doesn’t. If the council is handing out apologies, it likely should be issuing one to its officers as well.

“But these are decent folk being persecuted by a nanny state,” I hear you cry. And I stand impervious, I’m afraid. Because I’ve heard that line a lot recently and it’s beginning to grate.

It’s the same argument used against speed cameras and parking fines. How often have you heard those caught out proclaim themselves as “law-abiding citizens” and bemoan the infringement of their freedom? I have news for you: if you break the speed limit, or park illegally, or indeed break health and safety or trading regulations, you are not a law-abiding citizen. You’re actually the one who’s in the wrong.

And rarely is ignorance an excuse. Speed limits and parking regulations are posted clearly. In the case of the now famous lemonade stand, the father in question is even quoted as saying “I thought that they would just tell us to pack up and go home.” So he knew he was breaking the rules. He just didn’t think the consequences should apply to him.

A culture of entitlement, and a belief that rules are for other people but not us, is a disease gripping middle Britain. It is demonstrated in many different ways, from the driver telling the cyclist that she has no right to be on the road because she doesn’t pay road tax (I know), to the father holding up his daughter’s tears to get out of a fine.

I know, I’m a monster. But hooray for the enforcers, I say.

Duncan Hothersall is the editor of Labour Hame