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 hide in their favourite journal to thumb via pages packed with tidings and suggestion approximately type, attractiveness, intercourse, relationships, eating plan, health and wellbeing, and way of life. yet do women’s magazines provide necessary details, or do they simply peddle fluff and fantasy—and in both case, do girls 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 sturdy and undesirable. Nelson delves deep into the area of glossies, explaining the ways that those magazines were optimistic for ladies, highlighting the ways that their agendas were inaccurate, and asking the questions that experience gone 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 niknaks? Do the unrealistic advertisements, pictures, and beliefs that permeate glossies harm women’s vainness . . . and is it intentional?
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Extra info for Airbrushed Nation: The Lure and Loathing of Women's Magazines
It is as mercurial and unpredictable as the weather. ” Recent changes in technology have intensified the speed and range of these breezes into a perfect storm, recurring practically every fashion cycle. With the Internet now tracking reactions to events in real time, tracing geographical preferences in movie rentals, YouTube hits, and click-throughs on political websites, the flow of affect is more easily traced and, some argue, manipulated. These technologies help visualize the waves of affect that ripple through populations, leaving moods, feelings, and shifts in things as nebulous as, say, the consumer confidence index, in their wake.
Photo by Peter Lindbergh. Klench, Behind the Velvet Ropes, with Lauren Ezersky, and MTV’s House of Style, hosted by the supermodel Cindy Crawford, brought fashion and modeling into everyone’s living rooms. As Ezersky pointed out in a phone interview, Before the 1980s, the collections were small. Once they [were] televised, they were seen by hundreds of people. The shows themselves got bigger, too. Now five hundred, eight hundred people might attend a show. In 38 | Supermodels of the World the 1970s, when it was smaller, people still cared about it, but there were fewer outlets.
Models were everywhere. The reign of the supermodels was in full swing, and the public interest in models had reached a fever pitch, with the journalist Michael Gross’s sensational pop history of modeling, provocatively titled Model: The Ugly Business of Beautiful Women, on the best-seller list. The world seemed to be on a first-name basis with Linda, Christy, Naomi, and Cindy. ” They could be seen cavorting in George Michael’s “Freedom” music video, telling us about fashion on MTV’s series House of Style, or on the arms of rock stars, prizefighters, and movie stars who were only too willing to be their escorts.