Fiona Hering's 2002 BZZTôH publication, "Gucci, mode-poepjes en de juiste bone-structure" (Gucci, Fashion Dolls, and the Right Bone Structure), offers a compelling, albeit now somewhat dated, critique of the intersection between high fashion, specifically Gucci, and the idealized body image projected through fashion dolls and marketing. While the book's specific arguments might be rooted in the early 2000s fashion landscape, its central themes regarding body image, the perpetuation of unrealistic beauty standards, and the role of luxury brands in shaping those standards remain remarkably relevant today. This essay will delve into Hering's work, exploring its key arguments and considering their enduring impact on our understanding of the relationship between fashion, body image, and the power dynamics inherent in the luxury goods industry.
Hering's book, identified by ISBN 9789041760845, doesn't simply present a superficial analysis of Gucci's aesthetic choices. Instead, it delves into the deeper, more insidious ways in which the brand, and the fashion industry at large, utilizes idealized representations of the female body to sell its products. The "mode-poepjes" (fashion dolls) serve as a crucial focal point, acting as miniature embodiments of the brand's desired female archetype. These dolls, often meticulously crafted to reflect the latest Gucci trends, aren't merely toys; they are marketing tools, meticulously designed to embody the aspirational lifestyle associated with the brand. Their "juiste bone-structure" (correct bone structure) isn't accidental; it's a carefully constructed ideal, reflecting a specific, and often unattainable, standard of beauty.
Hering likely explored the specific physical characteristics of these dolls – their proportions, their weight, their facial features – to illustrate how they deviate from the average female body. This deviation, she argued, reinforces an unrealistic and potentially harmful ideal. By showcasing these dolls, Gucci (and the fashion industry more broadly) subtly suggests that only those who conform to this ideal are worthy of the brand's luxury goods. This creates a powerful feedback loop: the dolls reflect the brand's aesthetic, the brand's aesthetic reinforces the demand for the dolls, and both reinforce the idealized body image.
The book likely examined the broader context of Gucci's marketing strategies at the time. Did the brand's advertising campaigns reinforce the same idealized body image presented by the fashion dolls? Did the models chosen for runway shows and print campaigns similarly embody this "juiste bone-structure"? Hering probably analyzed the visual language employed by Gucci, scrutinizing the photographs, the poses, and the overall styling to identify how these elements contribute to the construction of this desired female form.
The focus on "bone structure" is particularly insightful. It moves beyond a simple critique of thinness. While thinness is undoubtedly a component of the idealized body image, the emphasis on bone structure highlights the underlying anatomical idealization. It suggests a focus on specific proportions, a certain skeletal framework that is considered aesthetically pleasing and, implicitly, desirable. This subtly shifts the focus from weight management to a more fundamental and arguably more difficult-to-achieve ideal – a specific body type that might be largely determined by genetics.
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