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An Article: The Price of Beauty

I found this article in Marie Claire magazine (May 2010, South Africa), I’m not a magazine buyer so this probably got left at my house by a visitor or I tore it surreptitiously out of a magazine in a waiting room. The article is written by Zed Nelson about his then new book “Love Me” (Thames & Hudson).

LOVE-ME-by-Zed-Nelson---an-article-in-Marie-Claire---1

Over a five year period this photographer visited 17 countries while documenting this project on society’s obsession with beauty and youth. The article published in Marie Claire was an intriguing read with some quite radical reportage style images… Here are my best bits with images taken from the article as well as from his website which had  a wider range of the images published in the book:

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I began Love Me when I was in my mid-thirties. I’m sure that was no coincidence. Like many long-term fascinations, I don’t know exactly when the idea seeded itself. Perhaps it began quite simply, one day, when I looked in the mirror and realised I would not live forever.
I’m sure I’m not alone in being surprised by that revelation. And I’m sure it comes at the age when you realise that the body you inhabit has been loaned to you, that it is not fully yours, not fully under your control. I realised, too, that the way I perceived myself was increasingly being influenced by others.

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We live in a society that celebrates and iconizes youth. Beauty is a R1.1-trillion-a-year worldwide industry and the pursuit of body improvement has become like a new religion. The promise of bodily improvement is fuelled by advertising campaigns and commercially driven Western media, reflecting an increasingly narrow palette of beauty.

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The modern Caucasian beauty ideal has been packaged and exported globally, and just as surgical operations to “Westernize” oriental eyes have become increasingly popular, so the beauty standard has become equally prescriptive. In Africa the use of skin-lightening and hair-straightening products is widespread. In South America, women have operations that bring them eerily close to the Barbie doll ideal, and blonde-haired models appear on the covers of most magazines. Anorexia is on the increase in Japan and, in China, beauty pageants – once banned as “spiritual pollution” – are now held across the country. “westernizing” the human body has become a new form of globalisation, and the homogenisation of appearance has made “Beauty” into a crude universal brand.

"Kill me, but make me beautiful" - Ancient Iranian Proverb
“Kill me, but make me beautiful” – Ancient Iranian Proverb

The more rigorously our vision is trained to appreciate the artificial, the more the beauty industry benefits. But who creates this culture? However much we may confidently point the finger at sinister commercial forces, we can’t deny our own tacit involvement. Like it or not, we have created a world in which there are enormous social, psychological and economic rewards and penalties attached to the way we look.

Vaginal tissue. Removed during ‘designer vaginal rejuvenation’ surgery, to ‘tighten and neaten appearance’. Los Angeles, USA.
Vaginal tissue. Removed during ‘designer vaginal rejuvenation’ surgery, to ‘tighten and neaten appearance’.
Los Angeles, USA.

Few of us can deny we want to be attractive. Don’t we all won’t to be loved? But have we been brainwashed into believing that in order to be loved, to be loveable, we need smaller noses, bigger breasts, tighter skin, longer legs, flatter stomachs and to remain forever youthful? Banks now offer loans for plastic surgery in Europe, and families in the USA with annual incomes under $25 000 (R185 487) account for 30% of all cosmetic surgery patients. Americans now spend more each year on beauty than they do on education.
As our role models become ever younger and more idealized, we are so afraid of ageing that the quest for youthful preservation generates an obsession with our bodies. As we align our sense of self-worth with self-image, the psychological and emotional consequences are tortuous….

Hair Extensions, London, UK. From Zed Nelsons book Love Me
This is one of the key topics I’m fascinated with myself. And questions like “what kind of beautifying is ok and what is extreme or over-the-top and who is the judge?” often come up.
At what point of effort or interference, with how your body appears naturally, is it too much, when do we go too far? Where is the line between a normal need for good presentation of ourselves and an excess of it fed by media? Is a needle and a blade the tipping point or not? Teeth bleaching or whitening tooth paste? Liposuction or excessive dieting? Eyeliner, mascara and eye brow tweezing? Labiaplasty? GHD’s? I suppose ones answers are derived from ones individual context and history…

I consider myself reasonably tom-boyish or maybe I just don’t have the inclination to maintain a certain kind of “up-keep” I see in many women around me. Although even I am happy to have laser hair removal and gelish re-applied bi-monthly (if I get around to doing it)… Its also ridiculously expensive to maintain some of the basic beauty standards without spending in excess of a couple of thousand a month which is obviously exactly the spending the beauty industry is punting. But apart from spending money and time (wasted?) “beautifying” or maintaining, we are basically self-made slaves to exactly this industry Zed discusses and looks at so well in his book.

I enjoyed these this comment about the book on his site:

“From sexed up teenage club-hoppers, to prison beauty queens,  to a brilliantly curated Alain de Botton quote, the book is a cover-to-cover gem that explores, with superb creative direction and a merciless confrontation with superficiality, the most uncomfortable fringes of cultural anthropology.”
-Maria Popova

More here on the book.

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On other Photographers

A book: Archive One | David Bailey
by Thames & Hudson

Vogues-Eye-View-Close-up-1967

Bought on a sale by my Mom and given as a gift during my first year of photography studies this book is a pretty special keeper.

Archive One David Bailey

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Jane-Birkin-1969---Goodbye-Baby-Amen

On the inside cover leaf Martin Harrison writes about David Bailey:

No photographer ever had a greater impact on the 1960s than David Bailey. The best new breed of fashion photographers who catapulted into the scene in the early years of that decade, he himself would become as well known as all the famous faces on which he trained his camera. After Bailey, photography would never be the same again.

Twiggy---Vogue---1966

Grace-Coddington-Twiggy-Vogue-1967

A-Modern-Joan-of-Arc---Daily-Mirror-1968

David Bailey Archive One basically follows the career of Englands most famous photographic practitioner, the book brings the Swinging Sixties , in all its monochrome glory, back to life.

The-Rio-Club---East-End-Faces--Sunday-Times-Magazine-1968

Bailey worked extensively with Jean Shrimpton, Penelope Tree and Catherine Deneuve as well as Grace Coddington, Twiggy, The Rolling Stones, The Beatles, the list goes on. His name I believe is synonymous  with 60s fashion and pop music icons. I’ve chosen a selection of some of my favourite portraits and fashion images of women from his book.

Brigitte-Bardot-1967

Sue-Murray---Vogue---1965

Mia-Farrow---Vogue---1967

Donyale-Luna---Vogue-1966

Jean-Srimpton---Young-Ide-Goes-West---NYC--Vogue-1962

Jean-Shrimpton---Vogue---1964

I found this quote on Interview-Review while reading up a bit more about his work,- I thought it an interesting comment about how he saw models/women:

I think most talent is inborn. So Jean (Shrimpton) had an advantage because she was beautiful. She didn’t scare people, she was attractive to everybody, from dogs to intellectuals.  She had one of those democratic beauties that everyone could appreciate. Some women are so beautiful that you can’t believe they could live next door; they live in some fantasy world.

Jean-Shrimpton---Glamour-1963

Jean-Shrimpton---American-Vogue-1964

While he is not a favorite, I appreciate his approach to portrait photography, the way he uses simple expressions or compositions of the body ( the way the fingers are positioned on the mouth, the parallel of limbs in a square format, how he translates a mood or a feeling to an image…) to make up the story in his shots.

His pictures certainly are iconic, his portraits and lighting style, and format epitomise the era for me. And ending with a quote by Bailey I couldn’t agree with more:

It is not the camera that takes the picture, it is the person.

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On other Photographers

Cecil Beaton’s Portraits of The Royals:
Queens & Princesses

The Royals by Cecil Beaton

While writing my graduate thesis in 2005 I came across a book of portraits taken by Cecil Beaton of the British royal family. The images are magical, whimsical, perfectly lit and just pure fantasy really. He seems to have captured the fairytale ideal that the monarchy have created in the minds of many and I fell in love with many of the images.
Here is a collection of some of the images of the queens, princesses and duchesses which I found again in an image search (since the original copies I had were just photostats from the Michaelis Library).

The Royals by Cecil Beaton

The Royals by Cecil Beaton

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The Victoria and Albert Museum, who exhibited many of these works wrote about the photographer:

The photographs of the British royal family by Sir Cecil Beaton (1904-1980) were central to shaping the monarchy’s public image in the mid-20th century. Her Majesty Queen Elizabeth II was still a young princess when she first sat for Beaton in 1942. Over the next three decades he would be invited to photograph the Queen on many significant occasions, including her Coronation Day in 1953.

The most memorable of Beaton’s images combine the splendour of historic royal portrait painting with an intimacy that only photography and film can convey. His detailed diary accounts reveal the complexities of each sitting, from the intense planning and excitement beforehand to the pressures of achieving the perfect shot.
Photographs, diaries, personal letters and press cuttings combine to tell the fascinating story of a magnificent collaboration between crown and camera.

‘The telephone rang. ‘This is the lady-in-waiting speaking. The Queen wants to know if you will photograph her tomorrow afternoon’ … In choosing me to take her photographs, the Queen made a daring innovation. It is inconceivable that her predecessor would have summoned me – my work was still considered revolutionary and unconventional.’
Cecil Beaton’s diary, July 1939

The opportunity to photograph Queen Elizabeth,  was the high point of Beaton’s career to date. Published two months after the outbreak of the Second World War, his images presented a sense of continuity with a magnificent pre-war Britain. Several wartime sittings of the Queen and her family would reinforce his vision of a seemingly unshakable monarchy and witness the transformation of her daughter Princess Elizabeth from girl to young woman.

The flowers that appear in many of Beaton’s portraits were often picked from his own garden. Cascading arrangements of roses, carnations, lilies and hydrangeas filled the space between a photographic backdrop and the sitter, and were an essential prop in the creation of his idealised Arcadian scenes.

The Royals by Cecil Beaton

The Royals by Cecil Beaton

His sense of composition, staged scenario and the styling of the subjects appeals to my aesthetic. And my all-time favourite of which I can’t find an online version…

IMG_0962The Royals by Cecil Beaton

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On other Photographers Projects

Self Portrait Project: #3

Day 3 of the self portraiture project.

I asked my younger sister to stand behind me with her arms out stretched. I wanted to see little snippets of her behind me; her hair, her hip, the cotton undies, etc. I think the elements in the image are simple responses to previous image references I’ve seen, maybe the controversial ad campaign created by American Apparel and Richard Kern with red stockings. It was at a time the company was getting a lot of flak (understatement) about showing provocative images of under age girls and porn stars; they were strong advertising images which caused a lot of outrage and Kern, who I believe shot many of the images, had the perfectly edgy/seedy style to pull it off.

The portrait is strong and protective, I created it intuitively on the day and now when I look at it I’m surprised by these element. I like the corresponding colour in the lips/stockings and towel/background, I like the boldness and strangeness too.

Self Portrait Project 003 Leah Hawker 2014