By Jennifer Nelson
Glamour. Cosmo. SELF. Ladies’ domestic magazine. Vogue. In an that has been in a downward spiral for years, those magazines—and different women—focused magazines like them—have not just retained their readership, they’ve elevated it. each month, 5 million-plus girls peel again the slick conceal in their favourite journal to thumb via pages jam-packed with tidings and recommendation approximately model, attractiveness, intercourse, relationships, food plan, well-being, and way of life. yet do women’s magazines provide priceless info, or do they in simple terms peddle fluff and fantasy—and in both case, do ladies take their messages to heart?
In Airbrushed Nation, Jennifer Nelson—a longtime insider—exposes the bare fact in the back of the modern pages of women’s magazines, either stable and undesirable. Nelson delves deep into the area of glossies, explaining the ways that those magazines were confident for ladies, highlighting the ways that their agendas were inaccurate, and asking the questions that experience long past unasked: What do ladies imagine and think in regards to the retouched images, the ever present intercourse recommendation, the consistent offensive on getting older, and the delusion style spreads that includes unaffordable clothes and accessories? Do the unrealistic advertisements, pictures, and beliefs that permeate glossies harm women’s vanity . . . and is it intentional?
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There were far fewer ‘important’ couturiers, and these were more in agreement when it came to such matters as cut, shades and length of skirts for the season in question. Naturally, competition among couturiers about setting a standard ensured that there were also variations, but their collections were much more similar than is the case in more recent haute couture. It could be said that there was a centre (Paris) that defined one norm and that only those who wore clothes that conformed to this norm were ‘fashionable’.
In the 1990s, for example, ‘Dress Down Friday’ became popular, with the suit left in the wardrobe back home and people turning up to work in ‘leisurewear’. The interesting thing, however, was that the norm for this presumptively relaxed garb was just as strict as the clothes regulations on the other days. Everyone was ‘off work’ in the same way, with the same type of trousers, shirt 59 60 and jacket. It would not have been tolerated to turn up in body-hugging latex, or a washed-out sweatsuit, even though these were actually the clothes normally worn at weekends.
Instead they 45 46 became incorporated in a differentiation system. Initially, jeans were an ‘egalitarian’ item of clothing. Andy Warhol praised Coca-Cola for being an egalitarian product: A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. 32 He could have said the same about jeans, although the emergence of designer jeans – Yves Saint-Laurent was probably the first to include jeans in his collections in 1966 – changed all this: once jeans had an appeal apparent regardless of people’s age and class, something had to be added to the item of clothing, partly by means of design and partly by attaching a brand label to the jeans.