Show Hide image Cultural Capital 26 May 2015 Polly Vernon’s Hot Feminist attacks cartoonish, bra-burning caricatures of feminism Feminists: it’s OK to be hot. But you knew that already, right? Print HTML Last week, I found myself shrinking uncomfortably in my chair as women around me chanted: “I AM HOT”. I was at the Grazia launch party for Hot Feminist, a book authored by their star columnist Polly Vernon. There was hair-braiding, and questions from the audience about why “women attack other women more than men do”. Vernon was joined by Telegraph journalist Bryony Gordon, who remarked at one point that once the book was released, “I thought the feminists would come and attack you for liking the way you look”. Both the event, and the book itself, have left me feeling confused. Because back in the Nineties, Naomi Wolf demanded from the patriarchy “the choice to do whatever we want with our faces and bodies without being punished”. And, now, a mere twenty years later, Vernon is begging the same of feminists, through a book her publishers call a “brave new perspective on feminism” which dismisses the “rules on ‘good’ feminism”. No more bra burning! No more body hair! Let us have pink back! Are you confused yet? Did you misplace your rulebook? Because I, for one, never got the memo. I’ve never thought very hard about shaving, or about wearing high heels. I don’t think anyone should be forced to wear them, but then I don’t think anyone should be forced not to, either. The collective reaction to the book among women I know was nonplussed: did we miss some feminist-wide missive about body hair? Are there anti-hotness rules we don’t know about? Vernon clearly did receive the memo, or thinks she did. She starts the book by outlining her passions for fashion and beauty, then remarks: I know this isn’t strictly in the rules. Classic feminism is a bit ‘whoa’ about all of the above. A bit ‘bleurgh’, and ‘nah’, and ‘tut’ and ‘srsly?’ about looks-oriented thinking. As you might have guessed, those quotes aren't attributed to anyone. From here on out, the book continues on this theme: it takes on a cartoonish, unattributed, bra-burning caricature of feminism and sets Vernon’s (sometimes silly, but largely commonsensical) points at odds with it. The book suffers, too, from inconsistencies in its argument. Vernon is, by her own account, trying to clear out the judginess from feminism and society; to remove the “fear of getting it wrong”. Yet she can’t seem to resist jumping on actions she doesn’t deem feminist or acceptable. Selfies, for example, are bad: “only sadness and madness can possibly result”, she remarks. In fact, almost every other chapter is laid out as a set of rules on fashion, or on what to call your partner (Vernon calls hers the “man in my flat”). She devotes several pages to poking holes in “whataboutery”, whereby people lambast your focus on Page 3 or rape culture on the basis that people are having a terrible time in Syria, or that wars exist. Yet when I saw her speak, she criticised the Everyday Sexism project for carping on about an issue she sees as unimportant – she’s a fan of catcalling, as long as the man doing it is attractive enough. Then, in the book, she frames the No More Page 3 campaign as a bit silly, compared to her own feminist priorities. Oh, the irony. At times, lending an ear to Vernon’s complaints feels charitable, a like nodding along while someone lectures you about men’s rights or the economic struggle of very rich people. Vernon is not a particularly oppressed person: she is a woman with the body, money and choices to conform to a certain stereotype of female appearance, and at some points in her life has felt victimised for it. To discount her argument on the basis that, for example, feminism’s white privilege is a more pressing problem, would be to fall into the trap of “whataboutery”. I’m happy to believe there are those out there who strongly relate to what Vernon says about feminism’s apparently anti-hot agenda. But the book seems aimed at a very niche group who feel victimised by outdated feminist ideas which are no longer widespread, if they ever were in the first place. Beyond that, the book is harmless, and occasionally funny and clever. A section on WAGs, for example, makes the good point that being interested in a group of women for their fashion and lifestyle is no less silly than watching men kicking a ball around. Vernon has a no-nonsense approach to abortion and governmental attempts to limit it, and could effectively take on politicians on issues like this with her sharp tongue. Yet the endless jibes at what Vernon calls “trad” or “classic” feminism left me exhausted. Her stance implies that we’ll forever ping-pong between Wolfs and Vernons, without ever settling on the idea that people can dress and be a feminist in whichever way they choose. Vernon and I, and, I think, most feminists, do agree on this – but you don’t sell books by agreeing with people, so it was necessary for Vernon conjure up a snaggle-toothed feminist demon as her opponent. As we all know by now, there are as many versions of feminism as there are women. But if this is Vernon’s broader point, then she contradicts it in her very form, by calling what would be better written as a straight memoir “Hot Feminist”, a title which squashes a large, amorphous idea about equality into stilettos, and then markets it. › The next mayoral election is closer than you think Barbara Speed is a technology and digital culture writer at the New Statesman and a staff writer at CityMetric. 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