A strange and unlikely ally
For those of you who didn't know (and I'm one of them), "Moby" is the name of a post-hippy-ish modern pop musician. He's probably best known for being lampooned in some of Eminen's rap songs.
He runs a Web log, and in it, he recently posted a significant critique of the fashion industry.
To be more precise, his critique is significant more because of who he is, not the content. His criticisms, although daring, are not at all different from what visitors to this forum have been pointing out for years.
What is different is that this person is a far-out Leftist, and even a vegan, for goodness' sakes. I suspect that when most men make the kinds of critiques that he does here, they are dismissed as Neanderthals, or "typical guys." But since this person's "progressive" leanings are so glaring, and his world-view so similar to that of the clique that he is critiquing, perhaps his words might make an impression, where others' do not.
I disagree with this person about every other topic in the world, but in this case, I find myself in unlikely agreement with him.
The sad thing is, as we all know, critique of the fashion industry never works. Like willful children, fashion insiders simply become more stubborn in their determination to cling to their toxic aesthetic, whenever they are criticized. But the disgust with their inhuman "standard" is becoming ever-more widespread, and someday, external pressure will be brought to bear on them. And it can't happen too soon.
Re: A strange and unlikely ally
I'm a long-time reader and admirer of this Forum. The simple recognition that curvaceous females are healthy and BEAUTIFUL is a universal and natural truth that crosses all boundaries, all brainwashing.
Re: A strange and unlikely ally
Of all of this topics that have come up on this forum over the past year, this is one of the most controversial--and yet, it is central to comprehending the predicament of modern culture.
One must applaud Moby for addressing this issue, as it is the modern media's "elephant in the room"--i.e., a reality that no one dares to discuss, even though it directly or indirectly influences virtually every aspect the fashion industry, from its collective "taste," to the nature of its trends, to the size of its models.
Any time an entertainment reporter attacks a celebrity for developing a fuller appearance, or any time a designer creates women's wear that is hostile to the well-fed female figure, or any time a fashion editor complains that curves "ruin the line" of an outfit, one needs to question the source, and ask: are these aesthetic pronouncements objectively valid, or are they simply made by individuals with a genetically-programmed antipathy to natural female contours? And if the latter is the case, then why should their particular opinions be taken seriously at all, let alone be culturally dominant?
If the aesthetic taste of such self-appointed fashion gurus is biologically engineered in a certain direction, and if that direction runs contrary to women's natural appearance, then this becomes a recipe for needless misery and suffering, if that marginal taste becomes artificially imposed on society as a cultural standard (as is the case today).
The solution to this dilemma is difficult, to say the least, but as a helpful first step, one would hope that these fashion insiders would reconsider the basis of their own tastes, and ask themselves by what justification they consider their aesthetic leanings superior to anyone else's. What makes their curve-o-phobia superior to, say, the curve-adoration of individuals who do not share their essential predispositions?
Having, engaged in such self-scrutiny, one would hope that the next time these fashion arbiters see a woman who looks voluptuous in a way that jars with their particular preferences, their impulse will not be to reflexively condemn her appearance, but to question their own aesthetic impulses, and to acknowledge that perhaps the full-figured woman in question is actually radiantly beautiful, and that their own aesthetic perceptions, not her appearance, may be at fault.
Beyond that, let us hope that in the future, our culture witnesses the restoration of the aesthetic of timeless beauty (suppressed over the past century), which developed naturally, over the ages, in accordance with the natural human inclinations of the majority of the populace.
Leon Herbo, Dolce Far Niente, 1898:
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