Tasha Fierce writes an incredible blog called Red Vinyl Shoes. Oh yeah, she’s also the creative director at I Fry Mine In Butter. This is a round up of the best of Tasha Fierce over the past week or so.
Why are mainstream fashion mags so reluctant to include black plus size models in their spreads, and why do the “high fat fashion” retailers use all white faces as their representatives? It definitely has something to do with the aversion to using black straight size models on runways and in fashion spreads. Unless you’re Alex Wek and the photographer needs the color of the clothes to “pop” against your dark skin. If thin blackness is unwelcome, imagine a double-whammy of fat blackness. Since black women’s bodies tend to have an exaggeratedly feminine shape, it could be the tendency of fashion designers to pick androgynous shapes to model their clothes. Plus size white models don’t usually have a very exaggerated sexualized shape. So this goes back to society’s issues with black women’s bodies in general. Since black women are stereotyped so often as being loose or hypersexual, any emphasis placed on sexualized body parts due to their size compounds the problem. Better to leave that can of worms alone and just work with the non-black models.
Total gratuitous violence, served fresh with a tired plot. In other words, classic. Arnold is a highly skilled special forces type named Matrix who is done with that shit and trying to just live life with his daughter and not be bothered with all that killing. But one of his former enemies, a warlord type with a bunch of mercenaries under his control, done goes and kidnaps his daughter to make him do some killing for him. His arch enemy in this movie, besides the warlord, is this flabby muscle dude who always wears sleeveless chain mail, a dog choke chain and fingerless gloves with spikes. He also has a serious Freddy Mercury ’stache. Apparently he’s got some beef with Matrix dating back to when they were in the special forces together, so he’s helping the warlord in exchange for getting to kill Matrix. This leads to an instructive end battle in which chain mail dude gets impaled by a giant pipe. I guess chain mail doesn’t hold up against that kind of thing. Anyway, Matrix is supposed to get on a plane to some foreign country with one of the henchmen, and if he’s not getting off the plane on time at the destination, they’re going to kill his daughter. So he gets on the plane, then quietly kills the dude he’s with and puts a pillow under his head like he’s just sleeping. Jumps off the plane as it’s taking off and goes to find his daughter on his own terms (of course). Along the way he picks up Rae Dawn Chong, and much violence ensues. Specifically, one of the most awesome acts of violence I’ve seen: pitchfork to the head, ax to the crotch. The rest of the movie pretty much goes as you’d expect: he kills a bunch of bad guys including the warlord, gets his daughter back, gets asked to come back to the special forces but refuses, and rides off into the sunset with Rae Dawn in tow.
If the profile featured in The September Issue of Anna Wintour, editor-in-chief of Vogue, is supposed to frame her as a cold-hearted, semi-sadistic bitch similar to the character Miranda Priestly in The Devil Wears Prada, it doesn’t do a very good job. In fact, I found myself admiring and even liking Ms. Wintour. She is very good at her job, very honest and direct, and clear about what her expectations are from her employees. Vogue is the premier fashion magazine; all other fashion rags are playing catch-up on the regular. So of course she’s going to expect excellence from the people who work for her. It’s the big time, and if you’re lucky enough to work there, you shouldn’t be surprised that she’s not holding your hand and giving you a cookie when you do a good job.