Lisa Ling launches Dove's "Let's Make Girls Unstoppable" campaign to raise girls' self-esteem. Photo: Mike Windle/Getty Images.
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Laurie Penny on beauty: I don’t want to be told I’m pretty as I am. I want to live in a world where that’s irrelevant

Beauty is about class, money, power and privilege - and it always has been.

Body image is big business. This spring, the Brazilian modelling agency Star Models has launched a graphic campaign with the intention of showing young women how horrific acute anorexia is. It shows models photoshopped to the proportions of fashion sketches – spindly legs, twig-like arms, wobbling lollipop heads.

Given the high-profile deaths of two South American models from anorexia – one of whom, Luisel Ramos, dropped dead of heart failure at a catwalk show – one might interpret this as a way for the agency to detoxify its brand while drumming up a little publicity. But that would be too cynical; the global fashion industry really cares about young women’s health now. That’s why model agencies were recently discovered recruiting outside Swedish eating disorder clinics.

Elsewhere, a new campaign video by Dove uses facial composite drawing to demonstrate how women underestimate their own looks. Dove is owned by Unilever, a multibillion- pound company that seems to have little problem using sexism and body fascism to advertise other products: it also manufactures Lynx, of the “fire a bullet at a pretty girl to make her clothes fall off” campaign, the Slim-Fast fake food range, and more than one brand of the bleach sold to women of colour to burn their skin “whiter”.

The fashion, beauty and cosmetics industries have no interest in improving women’s body image. Playing on women’s insecurities to create a buzz and push products is an old trick but there’s a cynical new trend in advertising that peddles distressing stereotypes with one hand and ways to combat that distress with the other. We’re not like all the rest, it whispers. We think you’re pretty just as you are. Now buy our skin grease and smile. The message, either way, is that before we can be happy, women have to feel “beautiful”, which preferably starts with being “beautiful”.

Let’s get one thing straight: women don’t develop eating disorders, self-harm and have other issues with our body image because we’re stupid. Beauty and body fascism aren’t just in our heads – they affect our lives every day, whatever our age, whatever we look like, and not just when we happen to open a glossy magazine.

We love to talk, as a society, about beauty and body weight – indeed, many women writers are encouraged to talk about little else. What we seldom mention are the basic, punishing double standards of physical appearance that are used to keep women of all ages and backgrounds in our place. For a bloke, putting on a half-decent suit and shaving with a new razor is enough to count as “making an effort”. For women, it’s an expensive, timeconsuming and painful rigamarole of cutting, bleaching, dyeing, shaving, plucking, starving, exercising and picking out clothes that send the right message without making you look like a shop-window dress-up dolly.

Eating disorders such as anorexia and bulimia are severe mental illnesses but they exist at the extreme end of a scale of trauma in which millions of women and girls struggle for much of their lives. The fashion, diet and beauty industries exploit and exaggerate existing social prejudice, encouraging women to starve ourselves, to burn time and money and energy in a frantic, self-defeating struggle to resemble a stereotype of “beauty” that is narrowing every year.

Studies have shown that, across the pay grades, women who weigh less are paid more for the same work and have a better chance of promotion than those who are heavier. In politics, in business and in the arts, accomplished and powerful men are free to get fat and sloppy, but women can expect to be judged for their looks if they dare to have a high-profile job: we’re either too unattractive to be tolerated or too pretty to have anything worth saying. Beauty is about class, money, power and privilege – and it always has been. Women and girls are taught that being thin and pretty is the only sure way to get ahead in life, even though this is manifestly not the case.

Those few young women who have fought their way to public acclaim despite lacking the proportions of catwalk models are expected to account for themselves in interviews, from the Oscar-winning singer Adele to the only-ever-so-slightly-plump Lena Dunham.

It’s hard to feel all right about yourself in this sort of toxic beauty culture: as long as “fat” is the worst thing you can possibly call a woman, any of us who dares to speak up or out about what is happening will be called fat, whether or not we are.

“Fat” is subjective and socially situated, and it’s the slur most commonly directed at any girl or woman who asserts herself, whether physically or politically. Even the most stereotypically thin and beautiful woman will find herself dismissed as unattractive if what comes out of her mouth happens to threaten male privilege, which is why feminists of all stripes continue to be labelled “fat and ugly”. This culture would still prefer women to take up as little space as possible.

Rather than fighting for every woman’s right to feel beautiful, I would like to see the return of a kind of feminism that tells women and girls everywhere that maybe it’s all right not to be pretty and perfectly well behaved. That maybe women who are plain, or large, or old, or differently abled, or who simply don’t give a damn what they look like because they’re too busy saving the world or rearranging their sock drawer, have as much right to take up space as anyone else.

I think if we want to take care of the next generation of girls we should reassure them that power, strength and character are more important than beauty and always will be, and that even if they aren’t thin and pretty, they are still worthy of respect. That feeling is the birthright of men everywhere. It’s about time we claimed it for ourselves.

Laurie Penny is the contributing editor of the New Statesman

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

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Why hasn’t British Asian entertainment built on the Goodness Gracious Me golden age?

It is 20 years since the original radio series of Goodness Gracious Me aired. Over two decades, the UK media portrayal of Asians hasn’t used its success to evolve.

Save for a handful of special one-off episodes, Goodness Gracious Me hasn’t occupied a primetime TV slot for nearly two decades. Yet still it remains the measuring stick for British Asian comedy.

The sketch show, which transitioned seamlessly from radio to screen (it started as a BBC Radio 4 series in 1996), has stood the test of time and is as much a staple of modern British Asian culture as Tupperware or turning up an hour late.

What Goodness Gracious Me did so expertly was to take a set of serious issues facing first, second and now, I suppose, third generation migrants, and turn them on their heads. 

In making light of the pressures of academic expectation or family drama, Goodness Gracious Me wasn’t playing down the poignancy of such concerns; it was raising awareness and combatting their uglier side with humour.

It offered resonance and reassurance in equal measure; it was ok to have an embarrassing uncle who insisted he could get you anything much cheaper, including a new kidney, because other people like you did too.

That Goodness Gracious Me was broadcast on a mainstream channel was also a victory for minorities; it made us feel integrated and, perhaps more importantly, accepted. Against the backdrop of Brexit, what wouldn’t we give for that treatment now?

Really, though, the jewel in Goodness Gracious Me’s crown was its willingness to recognise diversity within diversity. It is a relic of a departed era when discourse on TV around Asians was different, when the broad church of that term was truly represented, rather than reduced to one catchall perception of British Muslims.

Goodness Gracious Me offered insight into the experiences and idiosyncrasies – religious or otherwise – of Indians, Pakistanis, Bangladeshis, Sri Lankans and even English people. It’s what made it so accessible and, in answering why subsequent programmes have failed to reach similar heights, this is a good starting point.

Without the flexible sketch format, the modern Asian sitcom Citizen Khan has struggled to cover multiple topics, and, by being specifically about a Muslim family, it leaves many non-Muslim Asians wondering: where’s ours?

I hasten to add that I feel plenty of sympathy for the British Muslim community, hounded by tabloid headlines that attack their faith, but it would be disingenuous to suggest that non-Muslim Asians are sitting pretty in 2016 and don’t need a similar level of support in terms of positive public perception.

The current volume of British Asian media products is fairly good. The BBC has its dedicated network, The Good Immigrant essay collection was one of the outstanding reads of the year, and we still have champions of comedy in Romesh Ranganathan and Nish Kumar.

But I think ultimately it comes down to the broadness of appeal, rather than the quantity of products. Goodness Gracious Me was not only able to engage the full spectrum of British Asia; it transcended its target audience and was on terrestrial TV.

The British Asian media on offer now is up against it, released as the country’s attitude towards foreigners completes a full circle back to the same suspicion my grandfather encountered in the Sixties.

Fewer outlets are willing to explore the stretch of what it means to be Asian, either by denying it due consideration in mainstream shows or by peddling their own monolithic observations. The BBC Asian Network, for example, is laudable in its existence, but does little to engage the young Asians who aren’t into techno spliced with Bhangra.

The mainstream representations of Asians in Western film and television that are commissioned, meanwhile, are irritatingly limited and sometimes inaccurate. In an article for the Guardian last year, Sara Abassi lamented the disproportionate appetite for “gritty post-9/11 films about conservative Pakistani families”, and that the researchers of American series Homeland failed to realise that the national language of Pakistan isn’t Arabic.

When I interviewed the actor Himesh Patel for the No Country for Brown Men podcast, he suggested that the answer to re-establishing Asians in mainstream media, both here and in America, was three-fold. The first challenge to overcome was for outlets to acknowledge that not all Asians fit the same religious or cultural profile; the second was to be open to placing Asians in non-Asian specific products to better reflect their presence in society.

Patel, who is best known for his portrayal of Tamwar Masood in the soap opera EastEnders, made his third recommendation based on this role. He felt that characters should be written with only their personality in mind, making the ethnicity of the actor who plays them incidental. Tamwar’s awkwardness but underlying kindness, Patel said, was what defined him – not his skin colour.

Goodness Gracious Me, though a primarily Asian show and a comedy at that, actually taught some salient lessons about representation. It succeeded in providing a window into a multiplicity of cultures, but at the same time wasn’t a total slave to the politics of identity – several of the 100-plus characters needn’t have been Asian at all. It was reflexive to the times we lived in and a perfect advertisement for empathy. That is why we still talk about it today.

Rohan Banerjee is a Special Projects Writer at the New Statesman. He co-hosts the No Country For Brown Men podcast.