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Glamour: Women, History, Feminism

By Carol Dyhouse
Zed Books

The word glamour has lost a lot of its allure and power these days, bandied about by fashion writers who use glamour interchangeably with polished, chic, elegant, and sophisticated. (Hey, I've been guilty of this occasionally!) That was the conclusion I came to after reading Glamour: Women, History, Feminism by Carol Dyhouse, a scholarly and well-researched book by a social historian.

Society's attitude towards glamour has changed depending on the fashions of the time, Dyhouse argues. Although it might be easy to peg glamour as a male-manufactured concept that traps women with rigid concepts of female attractiveness and breeds a vicious consumer cycle, she sees glamour differently. Instead, glamour is a force associated with "women on the make": women who use the trappings of glamour—clothes, cosmetics, furs, feathers, and lavish jewelry—to transcend class and gender barriers and prescribed societal norms, and to escape the drudgery and burdens of everyday life.

To support her arguments, Dyhouse looks at the evolution and vilification of glamour throughout the twentieth century. Screen sirens and Hollywood films popularized it in the 1930s and '40s and inspired working class girls to emulate the styles of their favourite actresses. However, even when glamour was at its peak, conservative societal elements objected to it. Older generations deemed wearing cosmetics immodest. The editor of British Vogue encouraged young girls to sport a "natural English look" instead of the crass painted-on look of American actresses. The upper classes disapproved of working class girls dressing "above their station" in the hopes of attracting suitors who were better off.

Glamour fell out of fashion in later decades. The 1950s saw the rise of Dior's New Look and domestic femininity, which stressed demure, elegant beauty over artifice and excess—more Grace Kelly than Gloria Swanson. The '60s marked the rise of the gamine girl (e.g., Twiggy, Jean Shrimpton, Audrey Hepburn), whose mod clothes and doe-eyed innocence stood in marked contrast to the womanly aura of glamour girls. The emphasis on natural looks in the '70s meant an even more radical departure from glamour. But there were some signs of a resurgence: musicians, Motown acts, and the founding of Cosmopolitan magazine paved the way for the glamazons of the 1980s and the resurgence of full-blown glamour.

I realize I'm being glib in my summary of Glamour, but a short blog post can't do justice to the wealth of detail and research that Dyhouse presents here (with lots of illustrated examples, no less!). A scholarly book can easily slip into joyless perfunctory prose full of -isms and jargon, but she writes with a genuine enthusiasm for her subject. I really enjoyed this glamorous romp through the twentieth century, and hey, if anything, I will never take the word glamour for granted again.

Review by Lisa Wong

Cross-posted at Solo Lisa

The Trump Card: Playing to Win in Work and Life

By Ivanka Trump
Touchstone

I’ve always admired Ivanka Trump. As the Vice President of Real Estate and Acquisitions for the Trump Organization and owner of her own luxury jewelry line, I look to her as a role model. Her first foray into literature has been wildly successful, landing on the New York Times Bestseller List and garnering praise from the publishing community. Although the book starts out promising enough, with Trump refusing to apologize for the advantages she has enjoyed, her sage and learned advice begins to take a backdrop to anecdotes about her privilege.

Throughout the book, Trump attempts to prove that her success is not a product of her family name but of her hard work. This assertion, however, is undermined by constant references to her less-than-ordinary upbringing. Few if any people other than Ivanka Trump can boast that Michael Jackson attended their childhood ballet recital, nor could they brag about having a “part-time job” as a world-class fashion model while in school. Many of Trump’s youthful recollections involve some of the most influential people in the world and, while fascinating to read, discredit the notion that hard work will yield success similar to Trump’s.

Contrary to Trump’s belief, her career trajectory cannot be credited to hard work, at least not exclusively. Her refusal to acknowledge that high profile connections have played a role in her development is absurd. Prior to graduating from college, Trump was offered an internship at Vogue by Anna Wintour, the magazine’s editor-in-chief. I sincerely doubt that even the most brilliant fashion journalist with limited connections would be offered such a coveted position from the editor herself—and prior to graduation, no less.

It’s true that Trump’s successes are her own, but her book overlooks the fact that success comes from being in the right place at the right time, and is dependent upon having the opportunity to excel. Trump tries to downplay this notion, but I believe it is something that she understands intrinsically. Her book is called The Trump Card after all, undoubtedly a strategic decision to capitalize off of her family’s famous name. Branding the book as “Trump certified” probably didn’t hinder her chances of securing a publisher, either.

The Trump Card is an interesting read, but it is misleading to categorize it as “business and economics” literature. While the book offers generic career advice, it mainly serves to remind the reader that with hard work and persistence anyone can achieve extraordinary success, provided that they have a billionaire father.

Review by Cheryl Santa Maria

'Til Death

By Miasha
Touchstone Books

In 'Til Death, the third and final installment for bestselling series Secret Society, Miasha takes us on a whirlwind adventure of sex, drugs, fame, and money. 'Til Death picks up where its predecessor Never Enough left off, and now fans can follow Celess and Sienna (better know as Si-Si) as they travel the world trying to avoid police who have accused them of murder and the psychopathic murderer who wants Si-Si dead. This fast-paced story takes you to places such as Rome, Italy; Cape Town, South Africa; and Dubai as our two leading ladies live off of rich men while building up an extremely successful escort agency.

I wanted to read the other books in this series so I would have a better sense of the current plot and background. While I love the storyline for its realism and energy and how it gives women power, I can't say I enjoyed the book as much as I would have liked to. Using the style of slang commonly found in R-rated gangster movies, 'Til Death is crudely written, making it difficult for a person not completely familiar with it to read the book without having to re-read, as much of it feels as if it hasn't been edited very well.

Along with this, the descriptions could use some cutting as they drag on needlessly, such as in Rome when Celess and Si-Si have multiple outfit changes. Miasha sees fit to take us from head to toe of everything the girls change into. While I understand that Celless is a shallow, money-obsessed woman who defines a person's wealth by what they wear, descriptions of all things Gucci that are a bit much for those of us who buy Levi's jeans. A simple and quick description would do just fine. The dialog also needs to be trimmed, such as when Si-Si, Celess, and Andrew go to a Roman night club to make a business deal and when Andrew finds the girls in Dubai. The reader is subjected to needless and sloppy segments of dialog that review what the reader already knows or can be pieced together from contextual clues.

All in all, the story itself was enjoyable but the way it was laid out left much to be desired. I wouldn't recommend 'Til Death to someone who isn't familiar with the author.

Review By Nina Lopez-Ortiz

Aquila

For those familiar with women’s “lifestyle” magazines, the call to be “sexy” in some way or another is not new. We women need to have “sexy” everything: attitude, legs, skin, armpits, you name it. So pervasive is this message that I’m surprised that no one has spontaneously combusted from sexual arousal at the sight of a women’s magazine devotee.

And then we have the new Aquila magazine, whose key buzzwords are modesty and fabulousness.

As the “world’s first English fashion and lifestyle magazine for cosmopolitan Muslim women in Asia” that is based in Singapore, Aquila serves up the standard menu of any glossy: tips on make-up, shopping, book and film reviews, and some lightweight advice on career-building.

Aimed at readers from Malaysia, Indonesia, and Singapore, modesty and fabulousness are far from alien concepts: Muslim women of all ages, hijabis in particular, in Southeast Asia are intensely responsive to new faith-based sartorial trends, perhaps more so than women who do not cover their hair.

That said, Islamic consumerism, as cynical as it sounds, is a fairly new phenomenon in which women in the region form an active role. Aquila is an obvious byproduct of the purchasing power of Muslim women in Southeast Asia, but whether or not it aims to be representative of its target audience is quite another matter. So let us explore this issue by breaking it down to three parts, based on how well it’s doing for its intended readers thus far:

The good: The one thing I can generously say about Aquila is that there seems to be an intention that it offers something for everybody: from articles on face creams to an as yet developed page on “science,” which I hope will be a more informative take on scientific breakthroughs, instead of the science of eye creams and hair serum.

The bad: The beating heart of any self-respecting popular publication is the opinion piece. Often brief and pseudo-philosophical, the op-ed is, for me, what makes fashion magazines human and less banal. But that was what I thought before I came across the first opinion piece on Aquila. Entitled “Leap of Faith,” it reveals the thoughts of a Muslim man whose moral dilemma about his daughter dating a non-Muslim seems to completely eclipse his social drinking habits, at his favorite drinking hole no less! The piece ended on a cryptic note that suggested a sense hypocrisy that plagues the urban, middle-class and the selectively liberal Muslim communities in Southeast Asia, but lacked any insight or depth in what is a serious issue that very much concerns the intended reader.

The could-be-better: Though brand-spanking-new with the impressive accolade of being a kind of landmark magazine for Southeast Asian Muslim women, Aquila looks more like a half-built project with little pizazz. The graphics leave plenty to be desired, but then that wouldn’t be such an issue if it had more substantial content. I get the feeling that Aquila isn’t really targeted at parents, as it lists “kids” as a “lifestyle” issue that sits at the bottom of the drop down list. But I shouldn’t really be asking for the moon here, as most fashion and beauty magazines rarely figure parenthood as a particularly “trendy” subject.

In sum, Aquila is far from divinely inspired. It is a bland derivative of many beaten dead horses called women’s fashion magazines, except with less exposed flesh. It reminds me why I’ve stopped reading such things for good. I’m also not entirely convinced that it is trying hard to be representative of the young, upwardly mobile Muslim women who are taking Singapore, Indonesia, and Malaysia by storm. If the magazine’s not so modest vision of being “the world’s most trusted authority on the intelligence of affluent Muslims” is anything to go by, I would suggest Asian Muslim women to read elsewhere for fabulous inspiration.

Review by Alicia Izharuddin

Cross-posted at Muslimah Media Watch and Cycads

Bad Shoes and the Women Who Love Them

By Leora Tanenbaum
Seven Stories Press

With my feet encased in a pair of red Mary Jane pumps, I sat at my desk reading Bad Shoes and the Women Who Love Them. As a self-described “shoe girl” and vehement hypochondriac I nervously turned the pages, bracing for bad news.

In her book, author Leora Tanenbaum outlines some of the extreme practices women have undergone in the name of footwear—like the practice of foot binding in tenth century China—and gives anecdotal evidence about the serious foot, knee, and back injuries that can arise from wearing modern-day heels. There is a section of the book dedicated to foot maladies. I squirmed through it. Another section discusses cosmetic surgery of the foot, followed by accounts of surgery “horror stories.” Throughout, women discuss the pain their high heels have caused them. All of this is coupled with inconvenient, scientific facts that all confirm high heels can, over time, cause physical pain and deformity.

According to Tanenbaum, shoes are not supposed to hurt, a fact I had never considered. Truth be told, even my “comfortable” office shoes—a beautiful pair of open-toed ballet flats—squish my toes together and dig into my heels as I walk. This, according to Tanenbaum, is neither normal nor healthy for the foot. I’ve never taken the time to find a pair of shoes that are both comfortable and beautiful—mostly because I didn’t believe that such a pair existed.

Tut, tut, Tanenbaum would say. There are countless brands of foot-friendly shoes, some of which are provided in the book. One that I have recently become enamored with, thanks to Tanenbaum’s recommendation, is the Born shoe brand. A recent shopping trip yielded me a stunning (and comfortable!) pair of silver gladiator sandals that leave me feeling as though I am walking on air.

Generally speaking, I love my shoes very much. Any book that will try to scare me away from them will only temporarily divert my attention, and Tanenbaum is aware of this fact. Although she concedes that there are social pressures encouraging women to wear pumps, she does not believe that high heels are “unfeminist.” Bad Shoes and the Women Who Love Them does not attempt to stop women from wearing the shoes they love; it simply suggests that the indulgence be limited to a few hours a week and that comfortable shoes with orthopedic inserts are worn when possible.

Bad Shoes and the Women Who Love Them should be a prerequisite for all shoe-enthusiasts. The book offers practical advice that can easily be incorporated into even the most fashionable of wardrobes. As I type this I am wearing a great pair of black bootie pumps. Although once uncomfortable, I’ve made them substantially more wearable, thanks to the over-the-counter orthopedic inserts I picked up as per Tanenbaum’s suggestion. With a little practical planning, it appears—to borrow from a tired cliché—that women can have their shoes and wear them too, so long as they are smart about it.

Review by Cheryl Santa Maria

Visibly Muslim: Fashion, Politics, Faith

By Emma Tarlo
Berg Publishers

In her new book, entitled Visibly Muslim: Fashion, Politics, Faith, Emma Tarlo captures the diversity in the way that Islam is practiced against the backdrop of multicultural Britain. Refreshingly, the book did not aim to answer whether or not covering was a part of Islam, and neither did it represent the views of Muslim women as a monolithic body.

In her book, Tarlo shows a snapshot of the way in which the veil has manifested itself within the Muslim population of Britain. In focusing on the way that different Muslim women struggle to find common ground between various identities, and the reactions of those around them, Tarlo looks at the veil as a part of the changing dynamics of members of a newer community, rather than an exposé that aims to penetrate the “secret world of Muslim women.”

Within the book, Tarlo moves from discussing high-profile Muslim women, to fashion, the hijab as a part of politics, and the fluid relationship between culture and religion. She does not gloss over the difficulties in finding a bridge between identities. When I saw the words “fashion” and “veil” together, I was worried that I would be confronted with a piece that would merely wax poetic about the intricate embroidery of hijab and the wonderful colors and trends that are starting to rival the Western fashion industry. Tarlo does depict changing fashions for Muslim women, but rather as a part of personal journeys. Furthermore, she analyzes the discourse surrounding the emerging market for “modest fashion.”

The most hard-hitting theme of the book was that of integration. In writing about some of the challenges faced by Muslim women within British communities, I could definitely relate. While Tarlo introduced a great deal of personal narratives from a wide range of women, she also brought into play some of the debate surrounding the hijab within the Muslim community itself. Finding a sense of identity and purpose is a concept which most people–not just Muslims–can relate to.

What was refreshing was that she did not glorify or vilify groups that were more “modern” than others, but simply left the reader to try to understand the realities of grasping for a sense of identity. In showing this theme of integration as a part of juggling different identities, rather than a poisonous and foreign part of society, it forced me to really reflect on how difficult it is for anyone to try to fit in on any level. Rather than trying to promote an “acceptable” level of integration, Tarlo merely provides a picture of the realities of the Muslim community in Britain. This is significant because she does not depict it as a threat, but rather as important debate that shows that the face of Islam is changing and growing, as with many immigrant communities.

What I felt was monumentally missing from Tarlo’s work was the voice of Muslim women who have either been forced to veil or took it off. While she did a great job in showing the diversity of religious views and coming to the veil, I think that in analyzing the world of hijab, it is important to understand why women may reject it entirely. Also, I felt that she could have analyzed the role of socioeconomic status a bit more within the book. While the role of fashion is very significant in trying to understand the identities of Muslim women, I felt that fashion may have a different place and even the hijab itself may play a different role for someone that may not be able to afford the diversity in dress.

Despite being left with these questions, overall I was impressed with the book’s fluid style, beautiful pictures, and honest stories. Furthermore, I enjoyed Tarlo’s dedication to trying to capture not only a snapshot of the Muslim community within Britain, but also in trying to introduce the difficulties within the Islamic community itself. She does not glorify the hijab or Islam, but rather highlights the realities faced by Muslim women.

Review by Sara Yasin

Cross-posted from Muslimah Media Watch

SCARLETT JOHANSSON - Dolce & Gabbana -2010

THE NILES LESH PROJECT - All Rights Reserved 2009
Join the network of NILES LESH / MIENFOKS pseudo-friends !

ANA BEATRIZ BARROS - DT Magazine

ALESSANDRA AMBROSIO & ANA BEATRIZ BARROS - GQ UK Victoria's Secret Shoot

Body Art Fashion Festival

A model displays body art on Body Art Fashion Festival 2007 in Kiev, Feb. 10, 2007.

A model displays body art on Body Art Fashion Festival 2007 in Kiev, Feb. 10, 2007.

source : http://english.people.com.cn/200702/12/eng20070212_349385.html