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Well, for one thing, it’s a job in an economic climate that makes landing even a low-paying retail job harder and harder to come by. And, lots of young things are attracted to the very idea of working for a company that has such picky hiring standards. If you’re hired, well, that must mean you’re special and super hot.
In fact, that is exactly the reason a former employee started working for Dov’s retail porn palace and, in the end, the reason I received this letter chronicling the dirty details so many employees have come forth with lately. The details of the following letter aren’t a novelty (see letter after the jump). In fact, stories like these have become commonplace for American Apparel and Charney which is why this letter is worth posting.
After multiple sexualharassment suits and similar exposes, what is striking about this letter is the fact that nothing has changed. Charney is so arrogant and confident in himself and his “politically progressive,” “hipster” brand image that the public masturbation, bedding of employees and controversial hiring, firing and at-work practices continue blatantly and without apology.
My post, Sexist Meat Market:Pamela Anderson’s Newest Campaign for PETA, which was posted here and at Elephant Journal has garnered some interesting and thought-provoking feedback. Much of it has been insightful and extremely intelligent and some of it has been an affirmation of the reasons why we need to continue deconstructing images and creating dialogue.
The comments from the post at Elephant Journal, a journal catering to the “enlightened,” “conscious,” and “progressive,” proves that sexism is still en vogue, should not be taken seriously and enlightenment ends when it comes to women’s issues.
The list of comments below has been compiled from Elephant Journal’s facebook page and the post located on their blog. Critics accused me of being “too serious,” “too sensitive,” “selfish,” “whiny,” “prudish” and, get this, sexist.
Here’s another sexist, degrading ad featuring a nearly nude woman (in this case, Pamela Anderson). This time she is “carved” up like any other hunk of meat. Thanks to Diahann for sending this my way.
After posting the latest disturbing images from Marc Jacobs the other day and connecting it to the larger array of images in advertising in the ad-round up, I have found a few of the images from his 2005 ad campaign. The series of images below are not complete. They are the only 3 I have found (so far) in my mammoth private collection of ads over the last decade. The image in the middle is from the January 2005 issue of Vogue. I did not accurately label the other two images but they were also found in mainstream fashion magazines from the same time period.
What’s particularly interesting and disturbing about these images is how much they resemble the work of photographer Melanie Pullen. In 2005, I went to see Pullen’s exhibit High Fashion Crime Scenes at the ACE Gallery in Beverly Hills. Pullen recreated from files obtained from the Los Angeles and New York Police Department’s and various coroner’s offices, crimes that took place at the beginning of the last century. She recreated these crime scenes by outfitting models in high-fashion clothing (Prada and Gucci) and shoes (Jimmy Choos and Marc Jacobs, ironically). Her work is coupled with an artist’s statement that indicates her intention in critically examining the glamorization of violence and the distraction of that violence through the use of beautiful women in beautiful clothes. The fashion industry barrages us with seemingly normative images of violence against women in mainstream magazines advertising everything from clothing to perfume. These instances are exactly what Pullen is attempting to examine.
The difference between Jacobs and Pullen? Pullen’s work is accompanied with an artist’s statement and takes a critical eye at this rather gruesome trend and asks that we become aware of our tendency to focus on the beauty of the images while ignoring their brutality (they are images of actual crime scenes, after all). Jacobs’ work does not come with an artist’s statement. Instead, he is on the other side of the issue.
