Ad Tedium

Representations and performances of casual racism on fashion runways and fashion magazines are now so commonplace that when I see them, I feel more weary than angry. (Same goes for their accompanying lines of defense – creative freedom, cutting edge, avant-gardism, blah blah blah).

But while editorials like this one in the recent issue of Numero are no longer surprising and while I’m racing to meet multiple deadlines in an ever-growing to-do list which requires me to do a quick time-cost and benefits analysis before posting anything, I did want to share this with you. The inclusion of the baby standing in front of Constance Jablonski (in blackface) and her empty carriage ratchets up the creep factor of this ad for me.

For a more thoughtful analysis of this editorial as well as additional images, see Styleite. For Threadbared commentary, see our growing number of posts dedicated to the fucked-upness and tiredness of casual racism, filed under the categories Fashioning Race and Fashioning the Human.

Here’s Jablonski without the blackface makeup:

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TIlda Swinton, The Hotness

This post’s title says it all.

Foot Fetish

Kokon to Zai orthopedic heels, as seen on I’M REVOLTING, photographs by Shop It Right Now. I am considering, among other things: the figure of the disabled body as a problematic metaphor; the eroticization of medical apparatus as well as the disabled body; phenomenological prosthetics that transform consciousness of self in the world; the blurring of the always precarious line between medical-surgical discourses of necessary utility and rehabilitation and “elective” aesthetics and beauty; clothing (and shoes) as armor against access and intimacy; Seoul’s pink parking spots designated for women in high heels; and finally, this quote from Rosemary Garland Thomson:

“Many parallels exist between the social meanings attributed to female bodies and those assigned to disabled bodies. Both the female body and the disabled body are cast within cultural discourse as deviant and inferior; both are excluded from full participation in public as well as economic life; both are defined in opposition to a valued norm which is assumed to possess natural corporeal superiority.”

–Rosemary Garland Thomson, 1997, “Feminist Theory, the Body, and the Disabled Figure,” The Disability Studies Reader, Ed. Lennard J. Davis (New York: Routledge, p. 279)

On the Seduction of Proenza Schouler’s Act Da Fool**

Somewhere in my future is a book – or at the very least a longer blog post – on the phenomenon of fashion films. I don’t mean films like Tom Ford’s A Single Man or documentaries like Seamless and The September Issue. I’m talking about the cinematic shorts that are increasingly being produced to help launch luxury fashion lines. I’ve already written about the Chanel film, Paris-Shanghai:  A Fantasy but there are many others.

In addition to Paris-Shanghai, Chanel has commissioned a number of other short films (several directed by Martin Scorcese), and so has Missoni (directed by Kenneth Anger). Both Dior and Gucci have shorts directed by David Lynch (one featuring the most fabulous Marion Cotillard); Louis Vuitton has one directed by Zoe Cassavetes; and Alexander Wang employed Craig McDean to direct his. Most are little more than extended commercials or music videos with really expensive clothes. But some, like Paris-Shanghai and Proenza Schouler’s recent video Act Da Fool (2010), strive to be something more artistic.

Act Da Fool, directed by Harmony Korine (writer of the cult classic Kids [1995]), is not overtly commercial. We might even describe it as an audiovisual lyrical poem. Its narrative isn’t quite linear but neither is it nonlinear. Instead, it’s an episodic series of vignettes about a group of young black women who represent, as Korine puts it, “the greatest living delinquents.” Like another one of his films, Trash Humpers (2009), Act Da Fool is shot and based in Korine’s hometown in Tennessee and again like Trash Humpers, the production value of the video is intentionally low and gritty.

Act Da Fool, like all good media events, is seductive. The images are visually arresting in the same way that Jamel Shabazz’s 1980s Brooklyn street photos are beautiful to me. (I wouldn’t be surprised to learn that Korine was somehow influenced by Shabazz.) The monologue is haunting and downright poetic at times, balancing on that knife’s edge between nihilism and hopefulness. Take, as just two examples, my favorite lines:

I believe that the earth is a big ball of shit – that’s why the dinosaur died out. And everyone gonna die sooner or later. That’s why I love cigarettes so much. I hope I don’t die for a long time though. I still got things I want to look at.

I ain’t going to church no more. Church can suck it. I think the stars hold the secrets.

Enough already with the telling, here’s the show:

Act Da Fool is seductive. (I know I already said that.) It’s an infomercial dressed in avant-garde cinema aesthetics (among Korine’s influences and fans are auteurs Jean-Luc Godard and Werner Herzog) and swathed in the luxury fashions of Proenza Schouler. It’s the turducken of fashion films. Its individual parts are good yet the sum of these parts is indigestible.

As a short film, I’m absolutely for Act Da Fool. But no cultural object exists in a vacuum. The cultural economy from which this film emerges is one in which the clothes worn by the young black women in the film, the very fashions around which this film revolves (Proenza Schouler’s Fall 2010 RTW collection), is in fact not available to the characters represented in the film. The working class black women whose life experiences and life chances are such that the narrator is forced to wonder, “How come God gotta be so violent?” could not afford the clothes displayed here – the high-waisted skinny paint-splattered jean that is the star of the film retails for $550. And if the characters lack the financial capital to wear these clothes, then the actual actor-models lack the social capital. It is important to point out that the models in the film the do not actually embody the ideal Proenza Schouler fashion subject on the runway. Of the 33 looks in the Fall 2010 collection, all but three were modeled by white models – two looks by Chinese-born models Liu Wen and Shu Pei Qin, and one by Lais Ribeiro, who is Afro-Brazilian not African American like the characters in the film. As we know by now, the fashion modeling world is a glaringly white one. The reality is that without playing the roles of “delinquents” in Act Da Fool, Michelrica Hughes, Elizabeth Smith, Kiara Smith, Miileah Morrison, and Rashaani Wilson – all models – would not have jobs modeling Proenza Schouler fashions.

(L) Lindsay Hoover; (R) Kate Kosushkina

The film reveals nothing about the lives of these characters. Their significance lies only in the difference they represent: the exoticism of their racially classed nihilism, the contradiction of their gendered optimism which serves to assure the viewer poverty is actually not too bad, and perhaps most importantly, their spatial and social distance from the luxury fashion world that excludes them even as they wear the clothes in the film.

The Korine-Proenza Schouler film invents in order to fetishize a subculture that is far removed from the elite white world that Proenza Schouler (the label and the designers) inhabit. Yet, the production of this racial spectacle enables Korine, Proenza Schouler, and their supporters to culturally tour without actually engaging with the racially classed experiences of these young black women. Their bodies, unlike the bodies of white models, do not represent a cultural standard of beauty but serve instead as screens onto which romantic and racist ideas about working class black women (“greatest living delinquents”) are projected and appropriated to symbolize and sell a brand.  The lives of these characters matter less than the fetish they activate.

In criticizing the film, I don’t mean to negate my own pleasures with regard to the film. In fact, its aesthetic beauty and its ideological problems are deeply interconnected – the former seducing us to forget or deny the latter. But as I’ve already said, cultural objects do not exist in vacuums – not even beautiful ones, and certainly not “avant-garde” ones.

**A huge thank you to one of our favorite tipsters, Jennifer Ayres, for cluing us to Act Da Fool!

LINKAGE: “Asian Americans Climb Fashion Industry Ladder”

I’ve been looking forward  . . . no, I’ve been dying to post about this article in the New York Times on the rise of Asian Americans in fashion. This topic as you will no doubt recall, dear reader, is the subject of our bestest friend and most favorite scholar of all things having to do with Asian Americans and the cultural economy of fashion, Thuy Linh Nguyen Tu’s forthcoming book The Beautiful Generation. While the article doesn’t mention Thuy Linh or her book, her scholarly thumbprint is everywhere on the article (e.g., “from the factory to the catwalk” is how Thuy Linh describes the professionalization of Asian Americans in fashion). Indeed, Eric Wilson’s article was greatly aided by an exclusive interview he had with her just about one week ago. (Thuy Linh made me wait until the article was published to tell you about the interview otherwise I probably would have found a way to liveblog it!)

Remember, we’ll be profiling the book – as well as giving away a couple copies of the book to lucky Threadbared readers (courtesy of Duke University Press) – closer to the book’s actual publication date. Congratulations again (and again!) to Thuy Linh for her fabulous and so clearly relevant book!