Originally Posted by M. Lopez
These designers say women's power, confidence or intelligence inspire their work, then they send bony zombies down the runway
Grimly, there is nothing paradoxical about the above circumstance at all. It has everything to do with how these individuals define so-called "power" and "confidence."
Another passage in the article provides the clue:
One model who has received a great deal of runway time recently is Vlada Roslyakova. When she first started appearing in shows of well-known designers, she stood out because of her awkward, robotic gait. She had a rigid posture and a tendency not to move her arms. Over seasons, she has learned how to simultaneously move both her arms and her legs when she walks. But she remains alarmingly thin, without curves or affect.
The machine-like nature of this model, and of all androgynous catwalk automatons, is symbolically fitting and revealing. She is the brutalist International style of architecture in (semi-)human form, an embodiment of what modernist political ideologues have tried to turn women into, since the proliferation of feminism, socialism, and other related ideologies, in the past century.
Frustrated by the fact that human nature stymies their agenda of gender-neutralization, the proponents of these alien ideologies have tried to dupe women into shedding every trace of their essential femininity. To achieve this, they have favoured models who physically represent the worker-drones that they wish all women would become--and that women increasingly are becoming, in modern society.
This is an example of how the modern aesthetic is both an embodiment of the ideology that supports it, and a tool for the propagation of said ideology.
It is hard to know which is more monstrous: the fact that anyone could conceive of such ideologies in the first place--which are bent on removing joy and pleasure and delight and desire from the world, leaving it a uniformly egalitarian dystopia, in which everything and everyone has been stripped of all beauty, and reduced, literally and figuratively, to bare bones--or the fact that the proponents of such beliefs have dominated our common culture and imposed their aesthetic tyranny for so long.
But the oppressiveness of this anti-life formula is becoming too acute for the silenced majority to bear. In our time, we are witnessing the first attempts to end the aesthetic hegemony of androgynous modernism, and to restore the timeless ideals of beauty that enriched human existence for millennia.
The warm, soft, human fullness of singer Chloe Agnew--in praise of whose luscious beauty the angels themselves might sing:
(Screen capture from a recent Celtic Woman PBS special.)