Infatuation Rules
Infatuation Rules
Photo: alleksana
For about 400 years, roughly between 1500 and 1900, bodily weight and volume, for both men and women, had a strong visual appeal. There were variations according to country and century in this standard of good looks, but in general it was considered not only beautiful but natural to look physically substantial.
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Read More »The most common explanation of the 20th‐century passion to be lean stresses the discoveries of medical research. All the well‐publicized news about the connection between fat and the cardio‐vascular system has struck terror to the souls of millions. Fear of death is, of course, verj strong stuff. People who used to be afraid to be thin lest they waste away are now afraid to be fat lest they pop off. They are also afraid to sit still lest they stiffen up, and so stringent exercise, along with a disciplined diet, has often become not just a medical matter but a spiritual preoccupation, especially among relatively leisured people. There are, of course, certain absolute facts about obesity that were unknown to Rubens and his models but that today must be faced. Overweight can contribute significantly to ill health and can even kill. Yet public knowledge about the medical dangers of obesity is quite recent, in comparison with the public taste for thin looks. The fashion for slimness has actually held undisputed sway since the end of the First World War. It seems as if the authority of science were now being invoked to give a very good practical reason for what has always been, and still is, a complex esthetic matter. Many people want to be slim who are not at all worried about their health—witness millions of teen‐agers. Slimness has become a staple element in ideal physical good looks, a matter not just of health but of established visual taste, which is currently purveyed—just as it was in Rubens's time—through the idealizations of visual art. It was probably camera vision more than social change or medical knowledge that created the modern dim view of fat. Well before the end of the 19th century, photography increasingly was seen as the vessel of visual truth. Photographs were supposed to show how things really looked, not how an artist's vision edited them. But in fact, the artist‐photographer did “edit” his material. The camera became a tool with which to stylize and idealize images of reality with more insidious subtlety than ever, and that stylization conditioned and trained modern taste. The camera is committed to motion. Still photography captures the fleeting moment, as cinematography records motion itself. In both cases, the camera eye tends to fatten the figure: It seems to surround it with an aura, an expanding outline. The ideal camera figure, therefore, must be slim in reality to allow for the thickening that occurs on film. When, in the second decade of this century, the camera became licensed to idealize the whole visual dimension of ordinary life in the form of popular movies, the ideal looks of people had to adjust to camera style. The body had to create an instantaneous image, or series of images, which the eye could instantly grasp‐and admire. Sharply focused, easily understood shapes and lines had to define the figure—no fuzziness of contour, no busy extrusions of clothing, and certainly no bulges. The body had to be slim, and movie dress had to be trim, designed to look good in motion—and to look good photographed in black and white. Bones, unavoidably disclosed by the camera, gradually became requisites of the new ideal figure. The female jawbone, clavicle, rib cage, shoulder blades and pelvic ridges acquired at last their own measure of fashionable elegance and erotic charm.
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Read More »Yet, surprisingly, homage nas never ceased to be paid to the old ideals. Consider the unique career of Mae West. All her movies show how the creative camera could shape the image of mature female amplitude into something as sleek and sexy as the modern eye could possibly wish. In most of her movies, Mae West was decked in the conventional trappings of that other solid sex goddess from the theatrical past, Lillian Russell: feathers, frills, hour‐glass corseting, a big hat and a wavy blond pompadour. And in this traditional getup, her bedroom eyes wickedly at work in her plump face, she conquered the male sex with one sashay across the room. Slim as n cigarette, Hepburn embodied the st reatnlined look of 1930's fimes Mae West wasn't really very fat, but, just as in the time of Rubens, her clothes and her style of wearing them showed how she saw herself: warm and soft inside, under a gaudy, firmly but fully packed surface. Her own ample body made her easy in the world: She was like a walking Hollywood bed, luxuriating in its own pillows under a fitted satin spread. We never really lost our love for endowments like Mae's, and so we loved her for her own pleasure in them, even while we and the whole world were conscientiously thinking thin.
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