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Quote by Colombe Schneck

“Mine was the kind of apartment filled with scented candles, where every piece of furniture has been carefully selected to be camera-ready at all times, in case a representative of the taste police from an interiors magazine were to show up unannounced; I always wanted to get top marks.”

Quote by Colombe Schneck

Book:The Paris Trilogy: a Life in Three Stories
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The Paris Trilogy: a Life in Three Stories

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Colombe Schneck

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“What is objectification? From Simone de Beauvoir to Martha Nussbaum to Catharine MacKinnon, feminist philosophers have long been interested in analysing the concept. Broadly speaking, to objectify a woman is to treat or represent her as a partly or wholly dehumanised, de-mentalised object. There are various ways to do that. Fashion and advertising offer several possibilities for doing so visually. You can represent her as a dazed, passive thing to be fucked, with a vacant expression and glazed eyes, as in many high-end fashion advertising campaigns. Extending this, you can represent her as sexually dominated, with her personal autonomy diminished or removed: bound or gagged, for instance. You can dress her up in animal skins or leopard print and represent her as a kind of wild, highly sexualised animal, something the fashion industry has been particularly fond of doing to black women over the years. You can dress and pose her as a stereotype: the Capable Housewife (in domestic setting, comfortable clothes, tolerant rueful smile), the Brainy Scientist (white coat, stern expression, glasses on end of nose), the Little Girl (kneesocks, pigtails, blowing bubblegum), the Sexy Vamp (cleavage, tongue on front teeth, wink). You can place her in a row with other similarly shaped, similarly adorned women, visually emphasising what they all have in common in looks and dress, so that individuality is rhetorically diminished, and one woman looks replaceable with any other. You can make her just a pair of legs, or breasts, or an arse, focusing the camera on body parts and even omitting the head and face. In all such cases, the thinking mind, personality, autonomy or particular individuality of the woman in the image is downplayed, diminished and ignored, to a greater or lesser extent. She’s ‘objectified’ in the sense she’s made more like an object and less like a fully individuated human being: less rational, less individual, less present, less important for who she actually is. In extreme cases, she can even be used as if or pictured as an inanimate object: a ‘table’ for men’s feet, or as a ‘plate’ for food– as in the Japanese practice of Nyotaimori, using a woman’s naked body as a receptacle for sushi in restaurants.”

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Book:Material Girls: Why Reality Matters for Feminism
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