Fashion victims: why do glossy magazines keep glamorising violence?

Fashion has often looked to violence and brutality as a way of shocking and titillating.

The image above is from a beauty editorial in a Bulgarian magazine called 12. It depicts perfectly made up women who just happen to have also been the victims of brutal violence, probably because the photographer thought that it would provide some kind of arty counterpoint to the polished perfection of well-applied mascara. This is not the worst image in the series, not by a country mile. That dubious accolade would perhaps go to the slit throat, or the ripped open mouth, available for your perusal. The images are shocking, and desperately sad. Yet more sad is the fact than one in four Bulgarian women is a victim of domestic violence. Putting images of battered and broken women in a magazine whose readership is likely to have suffered similar horrors in reality shows a cavalier attitude to their trauma which is at best ignorant and at worst cynical.

Fashion has often looked to violence and brutality as a way of shocking and titillating. Photographer Guy Bourdin's inclination towards sexual perversity inspired images of archetypal women being subjected to violent or sexual humiliations. In an interview about Bourdin's work in the Observer, fashion photographer Nick Knight said: "Fear is something that we, despite ourselves, want to experience. And I think the violence does add glamour in a kind of perverse way." Bourdin can be credited with defining a set of tropes that have persisted long after his own demise: the use of violence and pornographic imagery to sell clothes continues. Earlier this year a photograph depicting 16 year old model Hailey Clauson being strangled for a Pop Magazine editorial surfaced. "Even Barbie bruises," wrote photographer Tyler Shields of a photoshoot of actress Heather Morris dressed up like a housewife with a black eye. Lula magazine went for a dead-looking woman sprawled next to a canal. It all makes for viewing that is charmless as an understatement. Yet no one ever seems to ask why fashion continues to find images of violence against women so compelling.

The fashion industry has often displayed a shocking lack of compassion and intelligence, and so it might be a step too far to hope for erudite analysis of their own images. Perhaps that's a strong statement, but then so are the images themselves. They speak of a world that is ugly, that still fetishises male domination even in its sickest forms, and there's no avoiding the fact that . As women, we can look at this so-called artwork and question whether or not fashion is really our friend at all.

Fashion at its best can be a joy. It can be fun; it can be frivolous; it can be a deeply entrenched part of your self-expression. But there is also a sense of trauma undermining the fashion fantasy. It is the trauma of the woman who looks to anorexic models for "thinspiration", and the trauma of the models themselves and their frequent exploitation. It is the trauma of the female body mutilated by plastic surgery, nipped and tucked and Botox-ed to within an inch of its life. It is the trauma of malnourishment and the woman who "hated every kilo on her body" until she found the latest diet plan.

And with that trauma comes contradictions that can never be entirely resolved. Women diet, diet, diet until they lose the weight, and then just "tack on" a silicone arse and some tits at the end - because their own arse and tits did not suffice, and someone else knew their ideal proportions better than their genes. It's not as though this is anything new, of course - women have always suffered for fashion. At various times in history, women have bound their feet and breasts to constrict their growth, crushed their internal organs with whale-boned corsetry, poisoned their skin with lead-based make up, ruined their feet with agonising and impractical shoes. The self-aware tone of women's fashion magazines goes some way towards trying to justify this attitude. How many times have you seen some impractical yet "must-have" piece accompanied by the words "we know it's ridiculous, but we want it anyway!" Oh, women. Aren't we silly and fluffy and frivolous? We just can't help wanting what's bad for us.

To counteract a growing cult of bruised, emaciated women and their "heroin chic" following in the early noughties, former model Isabelle Caro plastered naked images of herself across Italy in 2007. At 28 years old and 59 pounds, Caro died from the effects of anorexia after a very short lifetime in the fashion industry; shortly before her death, these "repugnant" (her words) images appeared in a final effort of Caro's to assert herself in an environment that had in part legitimised her eating disorder. Milan Fashion Week opened with this stark reminder of art and fashion at its very worst. In contrast to the violent images above, these billboards were defiantly unglamorous, unambiguous, demanding. They held a great many unrealistic expectations of women, as well as their violent undertones, to account.

However, it would be naïve to suggest that creative industries are inherently or stubbornly misogynist, because past years have definitely shown a willingness to progress towards positive change. In 2009, Alexandra Shulman, editor in chief of British Vogue, sent an open letter to designers asking them to make their sample sizes bigger, so that her magazine could hire bigger models. Vogue editors worldwide then collectively pledged not to use models with a body mass index indicative of ill health. This spoke volumes in a world of "pro-anorexia" websites and magazines filled with liposuction quotes straight from Harley Street. And the commitment needs to continue.

When painfully skinny women sprawled on waterfronts in "just got murdered" poses are mainstream sexy, we have to ask ourselves how we got here and why. Could it be an obsession with the apparently erotic appeal of vulnerability? That some men get turned on by "weakened prey"? Or is it simply art? If that's the case, then we'll proudly hang up our Arts degrees and step away from the magazine. But it's not so much art as commerce, and perhaps sick sells.

Strangled teenage models with wafer-thin thighs and implanted breasts undo the work that brave fashion victims such as Isabelle Caro strove to do - so can we step away from the starving and half-beaten women, please? Because whatever the changing definition of beautiful is these days, we know one thing for sure: "at death's door" is never a good look.
 

Rhiannon Lucy Cosslett and Holly Baxter are co-founders and editors of online magazine, The Vagenda.

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The 2017 Budget will force Philip Hammond to confront the Brexit effect

Rising prices and lost markets are hard to ignore. 

With the Brexit process, Donald Trump and parliamentary by-election aftermath dominating the headlines, you’d be forgiven for missing the speculation we’d normally expect ahead of a Budget next week. Philip Hammond’s demeanour suggests it will be a very low-key affair, living up to his billing as the government’s chief accounting officer. Yet we desperately need a thorough analysis of this government’s economic strategy – and some focused work from those whose job it is to supposedly keep track of government policy.

It seems to me there are four key dynamics the Budget must address:

1. British spending power

The spending power of British consumers is about to be squeezed further. Consumers have propped up the economy since 2015, but higher taxes, suppressed earnings and price inflation are all likely to weigh heavily on this driver for growth from now on. Relatively higher commodity prices and the sterling effect is starting to filter into the high street – which means that the pound in the pocket doesn’t go as far as it used to. The dwindling level of household savings is a casualty of this situation. Real incomes are softer, with poorer returns on assets, and households are substituting with loans and overdrafts. The switch away from consumer-driven growth feels well and truly underway. How will the Chancellor counteract to this?

2. Lagging productivity

Productivity remains a stubborn challenge that government policy is failing to address. Since the 2008 financial crisis, the UK’s productivity performance has lagged Germany, France and the USA, whose employees now produce in an average four days as much as British workers take to produce in five. Perhaps years of uncertainty have seen companies choose to sit on cash rather than invest in new production process technology. Perhaps the dominance of services in our economy, a sector notorious hard in which to drive new efficiencies, explains the productivity lag. But ministers have singularly failed to assess and prioritise investment in those aspects of public services which can boost productivity. These could include easing congestion and aiding commuters; boosting mobile connectivity; targeting high skills; blasting away administrative bureaucracy; helping workers back to work if they’re ill.

3. Lost markets

The Prime Minister’s decision to give up trying to salvage single market membership means we enter the "Great Unknown" trade era unsure how long (if any) our transition will be. We must also remain uncertain whether new Free Trade Agreements (FTAs) are going to go anyway to make up for those lost markets.

New FTAs may get rid of tariffs. But historically they’ve never been much good at knocking down the other barriers for services exports – which explains why the analysis by the National Institute for Economic and Social Research recently projected a 61 per cent fall in services trade with the EU. Brexit will radically transform the likely composition of economic growth in the medium term. It’s true that in the near term, sterling depreciation is likely to bring trade back into balance as exports enjoy an adrenal currency competitive stimulus. But over the medium term, "balance" is likely to come not from new export market volume, but from a withering away of consumer spending power to buy imported goods. Beyond that, the structural imbalance will probably set in again.

4. Empty public wallets

There is a looming disaster facing Britain’s public finances. It’s bad enough that the financial crisis is now pushing the level of public sector debt beyond 90 per cent of our gross domestic product (GDP).  But a quick glance at the Office for Budget Responsibility’s January Fiscal Sustainability Report is enough to make your jaw drop. The debt mountain is projected to grow for the next 50 years. All else being equal, we could end up with an incredible 234 per cent of debt/GDP by 2066 – chiefly because of the ageing population and rising healthcare costs. This isn’t a viable or serviceable level of debt and we shouldn’t take any comfort from the fact that many other economies (Japan, USA) are facing a similar fate. The interest payable on that debt mountain would severely crowd out resources for vital public services. So while some many dream of splashing public spending around on nationalising this or that, of a "universal basic income" or social security giveaways, the cold truth is that we are going to be forced to make more hard decisions on spending now, find new revenues if we want to maintain service standards, and prioritise growth-inducing policies wherever possible.

We do need to foster a new economic model that promotes social mobility, environmental and fiscal sustainability, with long-termism at its heart. But we should be wary of those on the fringes of politics pretending they have either a magic money tree, or a have-cake-and-eat-it trading model once we leap into the tariff-infested waters of WTO rules.

We shouldn’t have to smash up a common sense, balanced approach in order for our country to succeed. A credible, centre-left economic model should combine sound stewardship of taxpayer resources with a fairness agenda that ensures the wealthiest contribute most and the polluter pays. A realistic stimulus should be prioritised in productivity-oriented infrastructure investment. And Britain should reach out and gather new trading alliances in Europe and beyond as a matter of urgency.

In short, the March Budget ought to provide an economic strategy for the long-term. Instead it feels like it will be a staging-post Budget from a distracted Government, going through the motions with an accountancy exercise to get through the 12 months ahead.

Chris Leslie MP was Shadow Chancellor in 2015 and chairs Labour’s PLP Treasury Committee

 

 

 

Chris Leslie is chair of Labour’s backbench Treasury Committee and was shadow Chancellor in 2015.