#ESPECIALLY ones that are about men vs. women anatomically

[135-film]

every time i hear anything art-related on tiktok, i immediately get really like... upset? annoyed? idk. unpleasant feeling because it's literally always "we're making fun of this child/beginner for their anatomy or how they color" or whatever else or pretending that an artists deserve to be treated like a piece of corporate media.

i know tiktok is literally the devil and hell incarnate, but i don't think any artist deserves to be targets of mass harassment especially not people who are just starting out (and even more especially not children).

if tiktok was a thing when i was younger and i was posting my art on there, i would never fucking draw ever again. my art career would've ended after a few months of drawing "seriously," and i really do mean it lol. call me sensitive or whatever, but a 13-15 year old does not need to hear whatever criticism you think they need to hear i promise.

[that-gay-jedi]

You know, I really want more used-sounding voices in music in general, women especially bc there's definitely an element of misogyny, but like even when you look at what mostly passes for aged/smokey voices in men it's mostly just either basses who people think don't sound "youthful" because we stereotypically associate tenors with sounding fresh and young, or vocalists in genres with either growling or a lot of chest voice etc that sound just like every other singer if/when they do a song where it's relevant.

And like, I could bore you with all the anatomical details of what makes your voice either sound for lack of better terms "new" vs "used", but that's not really the point.

And sure there's a kind of self-selecting process that goes on because people whose livelihood rests on their voice are more likely to take care of their voices and can maintain their initial sound for decades if they're both lucky and really dilligent, and because successful musicians have money to pay for ways to reduce the rigours of touring and whatnot on vocal health that less popular ones I may not have heard of don't have etc etc, BUT.

Good vocalists whose voices have been noticeably altered by previous workplace/environmental factors or by cumulative years of lifestyle choices or by the ravages of TIME to which none of us are ultimately immune can bring a sense of like vulnerability/rawness/realism/rugged endurance to their performance that a mint condition voice just absolutely cannot match, and there's such an utter lack of it available both locally and commercially we're severely missing out.

This goes across genres and way beyond any question of what's "authentic" by the way. I don't require every song about striking coal miners so come from people who sound like they've worked 20+ years in the mines themselves, and in fact there's a power and beauty in the idea of someone with a relatively pampered voice who's seen entirely different kinds of hardship putting their pipes behind the words of those who struggled before. But you reach a certain age where, metaphorically, the knight in scratched and dented armour is more romantic to you than the shiny one, and yet for all the glut of music we have about romance there are not nearly enough love songs that "get" me (or they may lyrically but only lyrically) now I've reached that age- as just one example.

AND like. Singing is an art that requires a tonne of knowledge and work. Even people with the most naturally beautiful voices don't just wake up one morning knowing exactly how to breathe for which notes nor having the impressive lung capacity many genres prize nor knowing how to read music (or parse music by ear) etc etc etc. Which means there is something so powerful and aching and HUMAN about someone who can hear that their own voice doesn't sound like it could've if their life had been different or like it did when they were younger etc etc still putting in the immense amount study and practice to learn to use the voice they DO have. It adds delicious texture and depth to everything they sing.

Likewise, if someone already has put all that time and energy in and then something alters their voice AND THEY RELEARN/ADAPT AND KEEP SINGING, think about what that puts into everything they sing thereafter.

It's why we love fictional characters who grow beyond deep trauma or have prominent physical scars or who start off their story as a jaded antihero etc etc etc. The essence of what it is to be human is to live with loss and imperfection and still work toward your human desires to be heard, to create, to do, to learn. It's surviving hardship and being changed by time and experience but still reaching out and grasping the fact that YOUR ARE ALIVE with both hands. To not be able to go back to a past that no longer exists, to never again be the same person you were before X or Y thing and yet YOU ARE STILL HERE and deciding that FOR AS LONG AS YOU'RE STILL HERE YOU WILL NOT BE SILENCED.

[gastrocenternj]

The Difference Between Colon Cancer and Hemorrhoids

Hemorrhoids and colon cancer are two gastrointestinal complications that are on opposite ends of the spectrum. One is a common, curable inflammation; the other is notorious for high mortality rates in the United States. Despite the differences in the nature of the diseases, people often mistake one for the other, which can prove detrimental especially if colon cancer symptoms are treated like hemorrhoid symptoms.

So how is colon cancer different from hemorrhoids? Colon cancer is a fatal cancer that mutates from abnormal polyp growth, while a hemorrhoid is an inconvenient yet temporary inflammation around the rectum area.

Sometimes their symptoms may overlap, but it’s important to understand that hemorrhoid symptoms eventually recede and get better, while colon cancer only further mutates and spreads throughout the body.

What Are Hemorrhoids?

Hemorrhoids are swollen blood veins growing along the lining of the lower part of the rectum and anus. They can either grow internally, above the rectum’s “exit” point, or grow externally where it is visible during an examination.

Although common, the nature of this condition makes patients averse to discussing it openly. Roughly 1 in 20 people are diagnosed with hemorrhoids in the United States. Studies show that about half of adults 50 years of age and older are likely to be diagnosed with hemorrhoids. Pregnant women are also susceptible to hemorrhoids due to changes in the uterus (source).

Cause

There are no definite reasons why hemorrhoids exist. However, doctors believe that straining during a bowel movement, prolonged sitting (especially on the toilet), and constipation can all aggravate symptoms.

Extra pressure on the anal canal can trigger painful inflammations. The muscles along the walls of the rectum can enlarge and swell. When pressure is applied, the blood vessels inside these muscles blow up, causing hemorrhoids to swell with blood.

Here are some factors that could trigger hemorrhoid development:

A low-fiber diet can cause people to strain during a bowel movement

Any surgery done on the rectum area can also trigger hemorrhoid growth

Obesity and a sedentary lifestyle

Physical activities such as heavy lifting can also cause inflammation

Types of Hemorrhoids

1. Internal Hemorrhoids: This type of hemorrhoid grows inside the rectum and typically grows discreetly unless it gets significantly large. Usually painless, internal hemorrhoids only become apparent because of uncomfortable bowel movement. This type of hemorrhoid may block the stool from passing, which causes blood in the stool.

Internal hemorrhoids can protrude outside the anus. In this case, they become visible and painful because of the active nerves around the rectal area. Protruding internal hemorrhoids typically recede on their own. If not, they can always be nudged back into place. This condition is what is known as a prolapsed hemorrhoid.

2. External Hemorrhoids: External hemorrhoids are growths that occur outside anus. These are not to be confused with a prolapsed or protruding internal hemorrhoid. These are usually situated under the skin, and are attached in areas lower than internal hemorrhoids.

3. Thrombosed Hemorrhoids: When aggravated, hemorrhoids can develop a blood clot, causing them to become tender and painful. This development is called a thrombosed hemorrhoid.

The growth turns into a purple or blue color due to the absence of normal blood flow. Patients report greater discomfort, itching, and sometimes even pain when sitting. Hemorrhoids that no longer receive any blood flow are called strangulated hemorrhoids.

Why Are Older People Likelier to Get Hemorrhoids?

Weaker muscles and a sedentary lifestyle are the two main reasons why older people become more susceptible to hemorrhoids. We recommend even 20 minutes of low intensity exercises such as walking, as well as a high-fiber diet to promote good bowel movement.

What Is Colon Cancer?

Colon cancer (sometimes referred to as colorectal cancer) develops from polyps or growths along the lining of the colon. It is the third most diagnosed cancer in the United States. According to the American Cancer Society, about 1 in 24 women and 1 in 22 men have a lifetime risk of developing colon cancer (source).

Cause

Cells naturally divide, multiply, and die. However, cell behavior can deviate from normal, leading to an increase in their production and growth. This cellular change creates polyps along the inside of the colon. These growths are what mutate further into colon cancer.

Although the main cause for colon cancer is still unknown to scientists, there are risk factors that can increase a person’s chances of developing this type of cancer:

Colon cancer may not be hereditary, but there are certain inherited genetic syndromes that can increase your risk for colon cancer. This includes the familial adenomatous polyposis (FAP) and hereditary non-polyposis colorectal cancer (HNPCC)

Age and ethnic background can also contribute to a higher risk of developing this cancer. Adults over the age of 50 and people with Jewish or African-American backgrounds are considered above-average risk individuals

People consuming diets high in red meat and fat are also at an increased risk. Certain chemicals in food can initiate cell mutation, which promotes polyp growth along the colon. Excessive cigarette and alcohol consumption are considered equally risky

Colon Cancer VS Hemorrhoids: Signs and Symptoms

Hemorrhoids Colon Cancer Itching and irritation around the anal area Cramping or pain in the abdomen Bright red blood on the stool Dark, tar-like stool Discomfort during bowel movement Change in bowel habits: diarrhea, constipation that last Pain when sitting or walking due to lumps near the anus Lingering constipation; needing to have a bowel movement but not being relieved by having one Evident lump/swelling around the anus Rectal bleeding Unexplained weight loss In some cases, anemia

Bleeding in Colon Cancer VS Hemorrhoids

Bleeding is a common symptom of colon cancer and hemorrhoids. When people find blood in their stool, they often immediately assume it’s one or the other since this is a commonly seen symptom.

While true, there are slight differences in the bleeding caused by colon cancer compared to what is caused by hemorrhoids.

It is important to understand that colon cancer and hemorrhoids occur on two different areas of the gastrointestinal tract. Hemorrhoids, both internal and external, grow at the lower part of the tract, just a few inches away from the anus. Colon cancer, on the other hand, is caused by polyps found in the ascending colon (“left colon”) or descending colon (“right polyp”), in the upper part of the tract.

Some anatomical knowledge makes it easier to understand the difference between bleeding caused by either abnormalities.

Hemorrhoid Bleeding

Hemorrhoid-induced bleeding is caused by the stool rubbing against the hemorrhoid as it passes through the rectum. In some cases, the hemorrhoid itself bleeds and may make its way down the rectum.

However, it’s more common for stool to bump against obstructive growth, causing it to rupture and bleed. The bright red blood comes from how “fresh” the wound is. The bright red blood patients report is the stool rubbing against an inflamed hemorrhoid.

Colon Cancer Bleeding

Contrary to popular belief, the presence of blood in the stool is not always a sign of colon cancer. In fact, colon cancer symptoms gradually develop over the course of 10 years, and only ever begin to appear in its later stages.

Colon cancer itself doesn’t cause internal bleeding. The blood in the stool reported by patients is the polyp bleeding after it gains significant mass. Instead of bright red blood, diagnosed colon cancer patients often report dark, tar-like stool.

Blood is rarely visible to the naked eye, which is why it’s impossible to detect the cancer just by looking at the stool alone.

Are Hemorrhoids a Sign of Cancer?

The symptoms for colon cancer and hemorrhoids sometimes overlap, leading patients to believe their hemorrhoid symptoms are actually indicative of polyp growth in the colon.

Hemorrhoids and colon cancer are two separate abnormalities. As explained, hemorrhoids occur when extra pressure is introduced in the rectum area, whereas polyp growth occurs only along the colon lining.

Can Hemorrhoids Lead to Colon Cancer?

100% of colon cancers evolve from large polyps, which are mutated cells that grow along the colon tract. This means that there is zero chance for any hemorrhoid to lead to colon cancer. Again, hemorrhoids are swollen veins on the muscle of the rectum, not mutated cells along the colon.

Understand what is causing blood in your stool. Get screened today and reach a final diagnosis. Achieve your peace of mind.

The post The Difference Between Colon Cancer and Hemorrhoids appeared first on Gastro Center NJ.

from Gastro Center NJ https://gastrocenternj.com/colon-cancer-hemorrhoids-difference/ via https://gastrocenternj.com

[foxvslynch]

Fox Vs. The Elephant Man

One of the most frustrating elements of David Lynch’s visual aesthetic is his reliance on (often gross) visual shorthand for his characters. Usually, beautiful people are either beautiful to signify goodness or purity, or they are beautiful as a means of highlighting the gap between their assumed goodness and purity and their debauched, dark, or otherwise sordid insides. Much of Twin Peaks is predicated on a somewhat insulting question - how could a beautiful, innocent girl like Laura Palmer come to such a horrific end? Eventually, this question is resolved, explored, and changed into many much more powerful questions, but the visual language of the series’ cast is very intentionally loaded in ways that are both powerful and unfortunate (for a powerful example, look to the clean-cut, professional exterior of Dale Cooper and the lovable, spiritual inside, for an unfortunate example look at the myriad awful ways that Audrey gets utilized).

My first viewing of The Elephant Man was refreshing and surprising because it attempts to subvert societal prejudices about disability and deformity. This is Lynch’s second feature and a notable move away from the internality of most ‘good’ Lynch films. The Elephant Man is a collaboration with other writers (Christopher De Vore and co) and reality, or at least, 19th-century records of reality. It is an adaptation of two books, Frederick Treve’s 1923 book The Elephant Man and Other Rememberances and The Elephant Man: A Study in Human Dignity by Ashley Montagu. Lynch (mostly) steps outside of his typical surrealistic mode to deliver a straightforward period piece / biopic about Joseph Merrick (changed to John Merrick in the film) a severely deformed twenty-two year old London man in the nineteenth century who is discovered by the surgeon Frederick Treves and becomes the talk of London high-society.

 The most easily identified ‘classic Lynch’ aspect of the film are the opening and closing impressionistic dream sequences. The opening scene is a stylized take on whatever befell John Merrick’s mother whether his severe deformations were really the result of elephant trampling or not. It opens with a photograph of a woman (John’s mother), which then dissolves into a seemingly unframed photograph, which then dissolves into a small herd of out-of-focus elephants knocking down and attacking an actress who seems to be a composite of the two photographs of Merrick’s mother. This sequence contains terrifying distorted sounds of screaming and elephant trumpeting and faux-stop motion images of a woman writhing in pain. The sequence concludes with white smoke and the crying of an infant. The metaphors on display here aren’t exactly elaborate, but they do give a hint into the pathos of Merrick, as I believe we are meant to see them as originating from his mind.

The second dream sequence is very explicitly also from Merrick’s mind, and bookends the film. Frankly, I have very little to say about it. It’s comforting, I assume it exists to give a sense of closure and peace for Merrick who dies young in bed, but there just isn’t that much in it to really latch onto.

This write up will not be a scene-by-scene of the plot. I want to speak, instead, about a few of the stylistic and thematic elements of the film that I thought were interesting and worth expounding on. 

The most important interior in this film are the corridors and chambers of the East London hospital. When Merrick is first brought to the hospital, Lynch uses the techniques of horror films to give insight into perspective of the normal characters, the hospital staff.  The ‘monster’ is jostled into the hospital with a bag over his head. Every head in the room is turned to him immediately and you can imagine them imagining what this man looks like that he should be brought in in a large coat and with a bag over his head. There is a lot of powerful imagery in the first half of the film: high-angle shots of nurses walking tensely down long hallways, long trips up flights of stairs, etc. A nurse walks in on a half-naked Merrick, there is an extremely typical jump cut to her screaming face, straight out of Hitchcockian horror, a la Psycho.  This seems to be used to evoke the visceral ‘feeling’ that these women have towards the disfigured and strange Merrick. It’s a horror film intentionally drained of all danger. Their reactions are very pointedly unwarranted – Merrick is not a threat, the man can barely walk and has to sleep sitting up to avoid suffocating. The fear, as with most fear of the other, comes more from the hangups of their culture than the reality of the situation. As the hospital staff comes to know and understand the common humanity that Merrick shares, the visual language of the interior of the hospital becomes much more conventional. Merrick is transported from a drab, clinical room to a cozy, homely apartment.

 Another interesting aspect of the film is the reactions to Merrick from the differing social classes. A somewhat underbaked question that the film presents is: does high society actually harbor the same sensibilities and biases, as the unwashed masses? Is the façade of social class simply the differences in expressing the same things? John Merrick is made an exhibit multiple times throughout the film. In the beginning, he is a fixture of a traveling freak show where he is treated as an invalid and exploited by a modern-day slave owner who parades Merrick around, exploits his misfortune, and pretends they are in a mutually beneficial partnership. After all, if Merrick cannot work – what other option is there than ritual debasement and abuse? The second form of exhibitionism is perpetrated by Dr. Treves, who uses Merrick’s deformed body to make a name for himself in London’s anatomical society. There is a scene where Merrick is displayed naked to the audience of doctors that is eerily reminiscent of the circus freak show – he is treated as a pitiful mass of flesh to be gawked at but not to be understood. Treves clinical exhibition is certainly his most unsympathetic moment in the film. He will eventually reckon with the similarities between the anatomical society and the freak-show slaver, and his efforts to give Merrick a comfortable, noble life certainly end up redeeming Treves. The third form of exhibitionism is perpetrated by London high-society socialites who install Merrick as a fashionable dinner guest. These men and women are mostly uninterested in the life or perspective of Merrick and they seem to fear his appearance as much as the impoverished freak show attendees do. There are only a few visitors who dash these expectations, and they are certainly the heroes of the film. The fourth form of exhibitionism is perpetrated by a night watch guard using John Merrick as an attraction for his crowd of seedy, deviant friends. I almost read this as a commentary on the inherent exhibitionism of freakshow horror films in general, or the zeitgeist of the counterculture who goes to see Rocky Horror or Eraserhead at drive-ins at midnight. To look forward for a moment, I could certainly imagine Dennis Hopper’s band of deviants paying Merrick a drunken visit if Blue Velvet were in The Elephant Man’s universe. These scenes are deeply unsettling: he is abused, spun around, and made an object of mockery and exoticist derision. However, it is also the most honest form of abuse. No bones are made about the point of these excursions. There is no feigned interest in his unusual anatomy from a scientific standpoint; no one (like the circus owner in the freakshow) considers there to be any form of mutual benefit. There is no rhetoric of ‘partnership’ between the security guard and Merrick. It is pure, straightforward profiteering and abuse.. Another fourth form is Merrick’s role in London high society.  

The reason I consider the preceding theme to be somewhat undercooked is how little water it holds. While you can, certainly, notice the parallels between tea and biscuits and a traveling circus, it is obvious which one is preferable to Merrick. In one, he is abused, gawked at, and cheated. In the other, he gets to keep the company of the most exclusive Londoners, pursue his artistic ambitions, and experience art and culture – all at the cost of a few trendy tea parties.  

It has also been mentioned to me, and I should point out, that this film almost certainly contains some of the best ‘naturalistic’ performances in Lynch’s career. Now, before I get into this, I should explain what I mean. Last week, I wrote about Lynch’s unique perspective on the medium of film and his intuitive understanding of the artifice: we are watching a dream projected onto a two-dimensional canvas. This perspective extends into the performances he gets from his actors. Since the mid-1950s, and especially since the 1970s, big-budget American filmmaking has been very explicitly linked to naturalistic acting. Most of the time, American directors are trying to get performances that feel real, or at least internally consistent, and there are plenty of incredible examples of this: Orson Welles in Citizen Kane, Al Pacino in The Godfather, Elizabeth Taylor in Who’s Afraid of Virginia Woolf, Daniel Day-Lewis in There Will Be Blood etc. These performances are about the creation, sustaining, and dramatic deviation from a ‘center’, a realistic voice and perspective. David Lynch is not, in my opinion, a great ‘naturalistic’ character writer or director. That simply isn’t his usual focus, though the emotions he does wish to conjure are real and powerful. He will often take actors to cheesy or unconvincing places (think of the glassy eyed women of Blue Velvet or Patricia Arquette in Lost Highway) in service of a broader point or narrative aesthetic.  

The Elephant Man feels notable for both being a good David Lynch film and featuring naturalistic, centralized characters.Anthony Hopkins is, by virtue of being Anthony Hopkins in a well-made film, fabulous. The character of Frederick Treves is absurdly well defined for how little we tangibly learn about him. You can watch the film and see his reservation, his deep self-awareness and sense of morality, his goodness, and his conflict. However, the real runaway of the film is certainly John Hurt as John Merrick. Despite the fact that he is an insane prosthetic getup the whole time (or because of it?) he is able to give Merrick depth and pathos. The first third of the film is spent with Merrick in silence. Joseph Treves believes that Merrick can mostly only vocalize as a parrot, and when it is revealed that Merrick has his own mind and knows how to express it – it’s just beautiful. One of my favorite aspects of this film is just to watch John Hurt walk. So much physical pain and exhaustion is in every step. It’s a beautiful, thoughtful performance.

To wrap this film up, I want to get a little more personal. I have Moebius Syndrome, a neurological condition that is most visibly present in my face. My face is mostly paralyzed. I can’t smile, my speech (though much better than it was as a kid) is always going to be hard for some people to understand, my eyes don’t really close in the traditional sense, I have virtually no lateral eye movement, etc. As a result, I have an eternal poker face that I spoil by also being uncontrollably expressive with my body. I find it reassuring that Lynch, who is often kind of gross to me with how he uses deformity and disability as a shorthand for deviousness or immorality, made a film where we are supposed to cheer for and believe in the ‘monster’. The most accurate part of the film, to my experience as a disabled person, was John Merrick’s socialization process by Treves and the hospital staff, and the natural downsides he still has with communication. Something that people who cannot express themselves ‘normally’ can’t understand is how much of their internality they can make external unconsciously. Without concerted effort, I cannot present the full spectrum of my thoughts with my face, or even the surface level ones like happiness or anger, and so what exists inside of me is able to simply stay there, if I don’t act on it. There is a sort of solace and superpower to being able to choose what you will show, and I love that we always have a sense that Merrick has a deeper internality than he lets on. There are a few examples, like knowing the 23rd Psalm, recognizing his impending death, and his attempts to explain to others his feelings. I love that there is a film that tries to take seriously the experience of forced internality. I also love that this film believes in the goodness of the helpers, the people who know there is value inside of every person and who work to bring it out.

Next week, we meet Kyle MacLachlan for the first time in this series – IN SPACE! That’s right, it’s nearing time to take on David Lynch’s 1984 adaptation of Dune, the 1965 Frank Herbert novel.

[lindyhunt]

Céline vs Celine: Does the Gender of a Designer Influence Their Vision?

When I asked Toronto stylists Lea-Anne Baxter and Alex Gosse about the difference between the female gaze and the male gaze, they looked at me blankly. It took some time before we figured out that the confusion was a matter of homophones: They thought I’d asked about the difference between female “gays” and male “gays.”

But after we’d cleared things up and got into talking about the difference between how men design clothes for women and how women design clothes for women, things were as murky as ever—our homophone mix-up turned out to be a telling detour around the man-woman question. Because any talk about the difference between how men and women look at things is meaningless if you don’t append how their particular sexual identity (gay, straight, bi, questioning, asexual and so on) affects that gaze, and then you tumble into the absurdity of even trying to catalogue and ascribe a certain universal way that men look at and make things and that women look at and make things.

Celine Spring 2019 Photography via Imaxtree

When the term “male gaze” came into being in the mid-’70s, things were, seemingly anyway, simpler between men and women. Men were rubberneckers and women were rubberneckees, the targets of cartoon 360-degree head swivels. In film, which is where the term comes from, rubbernecking takes the form of tracking shots that linger creepily over the hills and dales of the female figurescape. The corollary to the male camera, of course, is the female one.

Cinematographers like Rachel Morrison of Mudbound and Maryse Alberti of Creed and The Wrestler portray women as something substantially other than sexual prey. But is lechery all that differentiates the male gaze from the female gaze? Can’t a woman photographer or fashion designer lust after a woman in her work? Can’t a man portray a woman as other than a sexually desirable being? Gender seems to be a fusty and not very satisfying way of thinking about gaze. And yet if the alternative is falling down the rabbit hole of identity, the sheer variety of it makes any gaze a matter of individuality: not male, female, cisgender, transgender, gay or straight but simply “my.”

Celine Spring 2019 Photography via Imaxtree

But then you look at what Hedi Slimane has produced at Celine, wiping clean the Phoebe Philo slate, and it seems there might just be something to the male gaze versus the female gaze. In an interview he did after the Spring 2019 show, Slimane asked, “Is a man drawing women’s collections an issue?”

The woman drawing a women’s collection at Céline produced assertive clothes for women who work, run board meetings, seduce people, go grocery shopping and take their children to karate class, while the man drawing a women’s collection at Celine produced micro party frocks for indie-rock princesses.

It might be: The woman drawing a women’s collection at Céline produced assertive clothes for women who work, run board meetings, seduce people, go grocery shopping and take their children to karate class, while the man drawing a women’s collection at Celine produced micro party frocks for indie-rock princesses. He also side-swiped the French language while he was at it. No doubt the Académie française is as outraged by Slimane’s banishing of the accent aigu at Celine as Philo’s feminists are of his disregard for credible daywear—unless, that is, you count the men’s suits.

Céline Spring 2019 Photography via Imaxtree

The difference between Slimane and Philo is stark. Could it be that women (of any gender persuasion) design for living, breathing 24/7 women while men (ditto) design for the imaginary woman in their heads—a concept, a twilight ideal? But surely Slimane is producing as much for the flesh-and-blood rock babes he hangs out with as Philo did for corporate A-types. And what about Dries Van Noten, the fly in the ointment to any theory that men solely design for the female figment of their imagination?

Could it be that women (of any gender persuasion) design for living, breathing 24/7 women while men (ditto) design for the imaginary woman in their heads—a concept, a twilight ideal?

What’s more, the fantasy women who float in the inspirational ether that clouds men’s imagination—in the fashion world anyway—are not passive sex toys either; they often lean more to the predator side. Alexander McQueen’s muses were all women warriors; he armoured them with corsets and knife-sharp tailoring. So were Thierry Mugler’s and Claude Montana’s women with their projectile shoulder pads. They were monumental, they were Amazonian, but were they real women? No, but that wasn’t the point—at least back then.

Dior Spring 2019 Photography via Imaxtree

Fashion this spring, however, is full of real and feminine clothing. There is ruffly froth at Marc Jacobs and Rodarte, lots of gauzy netting at places like Dior and the boho thing at Chloé and Loewe with their cosmopolitan ’70s vibe.

The latter especially is stuff that’s second nature to Vanessa Seward. The French-Argentinian designer who, until recently, was backed by A.P.C. is the Frenchwoman’s go-to for clothes one actually wears. “I have a very instinctive approach to fashion,” she says. “I see what the other designers are doing, what’s going on in the street, what my friends are wearing, and it unconsciously goes through my brain and then, voila, the collection comes out.”

Nonetheless, Seward, who used to design glam gowns for Azzaro, rebels against the idea that women designers are only good at making practical wear, that they are insensible to flights of fancy. “It’s the idea that women know only how to do everyday cooking and men do grande cuisine,” she says. “It’s like that in fashion: Men do couture. But it’s not true. At the beginning of the [last] century, it was women like Vionnet and Grès.”

“It’s the idea that women know only how to do everyday cooking and men do grande cuisine. It’s like that in fashion: Men do couture.”

As does Donatella Versace, who handily produces both ready-to-wear and couture. The Versace woman whom her brother Gianni dreamed up and Donatella has nurtured has never been a stranger to sexiness, but Ms. Versace’s stewardship of the house is a case study in the slow triumph of the female gaze over the male gaze. The hallmark gold/black colour scheme, slit skirts, plunging necklines and goddess gowns still hover closely, but they have given way lately to something bordering on Prada-like. Donatella’s women are not Gianni’s sex Barbies; they are slow burns and very much in keeping with her faithful though fatalistic feminism.

Versace Spring 2019 Photography via Imaxtree

So what does all this leave us with? Some watered-down notion that men tend to start the design process with an idea whereas women tend to start it with a person. But are we really going to fall for that? Because regardless of whether fashion houses are led by men or women, the runway image they project of women is extraordinarily similar.

The models all look like implausible long-limbed, androgynous unicorns. A friend of mine who has headed up tailoring for many top houses (and who wishes to remain anonymous) told me that before they begin the fitting and draping work on Stockman mannequins, they have to prepare them. They plaster wet gloves over the mannequin’s bosom and leave it overnight to soften up. The next day, they pound the breasts down, like Milanese cutlets, and then proceed to drape and pin around the newly violated shape. My friend says that all the top fashion houses work the same way, making and transmitting images of anatomically fictive women.

Ms. Versace’s stewardship of the house is a case study in the slow triumph of the female gaze over the male gaze.

By the time the clothes arrive at the stores, what we get has been relatively adapted for real bodies—they have to sell, of course—but there is a powerful unisex ideal operating that has little to do with the way many of us are shaped. And who is shoehorning us into this? Fashion. And it’s coming from men and women.

[jessicakehoe]

Céline vs Celine: Does the Gender of a Designer Influence Their Vision?

When I asked Toronto stylists Lea-Anne Baxter and Alex Gosse about the difference between the female gaze and the male gaze, they looked at me blankly. It took some time before we figured out that the confusion was a matter of homophones: They thought I’d asked about the difference between female “gays” and male “gays.”

But after we’d cleared things up and got into talking about the difference between how men design clothes for women and how women design clothes for women, things were as murky as ever—our homophone mix-up turned out to be a telling detour around the man-woman question. Because any talk about the difference between how men and women look at things is meaningless if you don’t append how their particular sexual identity (gay, straight, bi, questioning, asexual and so on) affects that gaze, and then you tumble into the absurdity of even trying to catalogue and ascribe a certain universal way that men look at and make things and that women look at and make things.

Celine Spring 2019 Photography via Imaxtree

When the term “male gaze” came into being in the mid-’70s, things were, seemingly anyway, simpler between men and women. Men were rubberneckers and women were rubberneckees, the targets of cartoon 360-degree head swivels. In film, which is where the term comes from, rubbernecking takes the form of tracking shots that linger creepily over the hills and dales of the female figurescape. The corollary to the male camera, of course, is the female one.

Cinematographers like Rachel Morrison of Mudbound and Maryse Alberti of Creed and The Wrestler portray women as something substantially other than sexual prey. But is lechery all that differentiates the male gaze from the female gaze? Can’t a woman photographer or fashion designer lust after a woman in her work? Can’t a man portray a woman as other than a sexually desirable being? Gender seems to be a fusty and not very satisfying way of thinking about gaze. And yet if the alternative is falling down the rabbit hole of identity, the sheer variety of it makes any gaze a matter of individuality: not male, female, cisgender, transgender, gay or straight but simply “my.”

Celine Spring 2019 Photography via Imaxtree

But then you look at what Hedi Slimane has produced at Celine, wiping clean the Phoebe Philo slate, and it seems there might just be something to the male gaze versus the female gaze. In an interview he did after the Spring 2019 show, Slimane asked, “Is a man drawing women’s collections an issue?”

The woman drawing a women’s collection at Céline produced assertive clothes for women who work, run board meetings, seduce people, go grocery shopping and take their children to karate class, while the man drawing a women’s collection at Celine produced micro party frocks for indie-rock princesses.

It might be: The woman drawing a women’s collection at Céline produced assertive clothes for women who work, run board meetings, seduce people, go grocery shopping and take their children to karate class, while the man drawing a women’s collection at Celine produced micro party frocks for indie-rock princesses. He also side-swiped the French language while he was at it. No doubt the Académie française is as outraged by Slimane’s banishing of the accent aigu at Celine as Philo’s feminists are of his disregard for credible daywear—unless, that is, you count the men’s suits.

Céline Spring 2019 Photography via Imaxtree

The difference between Slimane and Philo is stark. Could it be that women (of any gender persuasion) design for living, breathing 24/7 women while men (ditto) design for the imaginary woman in their heads—a concept, a twilight ideal? But surely Slimane is producing as much for the flesh-and-blood rock babes he hangs out with as Philo did for corporate A-types. And what about Dries Van Noten, the fly in the ointment to any theory that men solely design for the female figment of their imagination?

Could it be that women (of any gender persuasion) design for living, breathing 24/7 women while men (ditto) design for the imaginary woman in their heads—a concept, a twilight ideal?

What’s more, the fantasy women who float in the inspirational ether that clouds men’s imagination—in the fashion world anyway—are not passive sex toys either; they often lean more to the predator side. Alexander McQueen’s muses were all women warriors; he armoured them with corsets and knife-sharp tailoring. So were Thierry Mugler’s and Claude Montana’s women with their projectile shoulder pads. They were monumental, they were Amazonian, but were they real women? No, but that wasn’t the point—at least back then.

Dior Spring 2019 Photography via Imaxtree

Fashion this spring, however, is full of real and feminine clothing. There is ruffly froth at Marc Jacobs and Rodarte, lots of gauzy netting at places like Dior and the boho thing at Chloé and Loewe with their cosmopolitan ’70s vibe.

The latter especially is stuff that’s second nature to Vanessa Seward. The French-Argentinian designer who, until recently, was backed by A.P.C. is the Frenchwoman’s go-to for clothes one actually wears. “I have a very instinctive approach to fashion,” she says. “I see what the other designers are doing, what’s going on in the street, what my friends are wearing, and it unconsciously goes through my brain and then, voila, the collection comes out.”

Nonetheless, Seward, who used to design glam gowns for Azzaro, rebels against the idea that women designers are only good at making practical wear, that they are insensible to flights of fancy. “It’s the idea that women know only how to do everyday cooking and men do grande cuisine,” she says. “It’s like that in fashion: Men do couture. But it’s not true. At the beginning of the [last] century, it was women like Vionnet and Grès.”

“It’s the idea that women know only how to do everyday cooking and men do grande cuisine. It’s like that in fashion: Men do couture.”

As does Donatella Versace, who handily produces both ready-to-wear and couture. The Versace woman whom her brother Gianni dreamed up and Donatella has nurtured has never been a stranger to sexiness, but Ms. Versace’s stewardship of the house is a case study in the slow triumph of the female gaze over the male gaze. The hallmark gold/black colour scheme, slit skirts, plunging necklines and goddess gowns still hover closely, but they have given way lately to something bordering on Prada-like. Donatella’s women are not Gianni’s sex Barbies; they are slow burns and very much in keeping with her faithful though fatalistic feminism.

Versace Spring 2019 Photography via Imaxtree

So what does all this leave us with? Some watered-down notion that men tend to start the design process with an idea whereas women tend to start it with a person. But are we really going to fall for that? Because regardless of whether fashion houses are led by men or women, the runway image they project of women is extraordinarily similar.

The models all look like implausible long-limbed, androgynous unicorns. A friend of mine who has headed up tailoring for many top houses (and who wishes to remain anonymous) told me that before they begin the fitting and draping work on Stockman mannequins, they have to prepare them. They plaster wet gloves over the mannequin’s bosom and leave it overnight to soften up. The next day, they pound the breasts down, like Milanese cutlets, and then proceed to drape and pin around the newly violated shape. My friend says that all the top fashion houses work the same way, making and transmitting images of anatomically fictive women.

Ms. Versace’s stewardship of the house is a case study in the slow triumph of the female gaze over the male gaze.

By the time the clothes arrive at the stores, what we get has been relatively adapted for real bodies—they have to sell, of course—but there is a powerful unisex ideal operating that has little to do with the way many of us are shaped. And who is shoehorning us into this? Fashion. And it’s coming from men and women.

The post Céline vs Celine: Does the Gender of a Designer Influence Their Vision? appeared first on FASHION Magazine.

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