by Guest Contributor Alex Jung, originally published at Fashion Mole
Fashion is having a Lara Stone moment – again. She is the face for Tom Ford’s new beauty line, meaning her exclusive for Calvin Klein has come to an end . No matter – she is still the face of Calvin Klein’s Fall/Winter campaign and its new underwear line, Naked Glamour. Stone is a unique face in fashion. While she can look pretty and soft, she has granite cheekbones, a protruding brow and a gap between her front teeth that give her a harder, more masculine edge. She also has breasts (a no-no in high fashion) and a clumsy walk. Still, her uniqueness has catapulted her to the top of fashion. In 2009, W called her the “most-wanted face” in fashion. In Interview magazine, Marc Jacobs writes that she brims with “feral attitude and personality and sexuality.” Stone, on the cover of August’s French Vogue, is an editorial favorite. That marked her seventh cover; former French Vogue editor, Carine Roitfeld put Stone on six covers, and even dedicated an entire issue to her. It’s easy to see why. Stone epitomizes the Roitfeld woman: tough, sexy, and a little freaky.
Lara Stone is part of an increasingly visible portion of high fashion – odd, gawky, and sometimes, downright busted. In a post entitled, “What is Beauty?” Photographer Garance Doré was taken by Nina Porter, then the face of Burberry. Porter’s grey eyes, short hair, and scrunched features look more appropriate in Middle Earth than on a catwalk. Doré believes that Porter, and other models like her, are an indication of evolving fashion standards. Others include Daphne Groeneveld, Lindsey Wixson, and Saskia de Brauw. They have awesomely odd features that makes them look distinctive, interesting, and alluring.
Nevertheless, the “blank canvases” – like Anja Rubik and Angela Lindvall – still exist. It is also true that any skilled Photoshopper can turn any of these eccentric beauties into a blank canvas. Compare the two images above: de Brauw’s Versace ad with her March cover of French Vogue. Still, the band of weird, tattooed, sometimes androgynous, sometimes masculine models are pushing the boundaries of fashion. They are moving fashion more towards the idea of individual beauty, and often, designers and editors use them to give their images personality and edge.
While fashion’s expanding idea of beauty is something to celebrate, it’s important to ask: why all of these “pretty-ugly” models white?
The current top models of color are, by contrast, very beautiful. Flawless, really. Jourdan Dunn, Joan Smalls, Liu Wen, et. al. all have the features of a classically beautiful model: small face, high nose bridge, symmetrical proportions. They don’t have jutting facial bones or bug eyes. And while it may sound contrarian to lament their fresh and clean looks, it is to point out that standards of beauty for models of color have remained almost static since the days of Beverly Johnson.
How can beauty standards for models of color evolve when it is a struggle to simply put one on the cover of a magazine? Fashion has a schizophrenic relationship with race. Either there are few to no models on the runway (as is often the case at Calvin Klein, Versace, and Jil Sander) or fashion wants to make a dramatic point about using models of color, as when Lanvin sent black models down the runway en masse to close its Spring 2011 show, or Vogue Italia’s now infamous “black issue” or V magazine’s recent “Asian” issue. They want you to know that they are celebrating diversity. Simply put, being of color is enough to set a model apart. So while funky features can be a boon to a white model, they become a hindrance for a model of color. Their ethnicity is enough personality. Why add gapped teeth?
Similar standards seem to apply to “plus size” models. Representative “plus-size” model, Crystal Renn has a conventionally beautiful face. She is also the only one who has really broken into the higher echelons of fashion – a rise that coincided with a noticeable weight loss. As for the other “plus size” models, they, too, are never allowed to forget that fashion deems them big. Fashion editorials enjoy undressing them to remind people of just how big they are while slapping a bad pun like “A Life in Full” (Kate Dillon in American Vogue) or “Curves Ahead” (V Magazine) over their photos. It’s important to note that most of these women, too, are generally white. For a model of color, having a busty figure, would be yet another hurdle to overcome.
The one exception to this standard was probably Alek Wek – the Sudanese-born model – who rose in the nineties with a shaved head and full cheeks. Wek has since moved on to charity work, but her look has created the “exotic, dark-skinned African with a shaved head” type. Two rising African models – Ajak Deng and Grace Bol – fit the look (so much so that the latter says people sometimes confuse her with Wek); they also just so happen to also be Sudanese in origin. Perhaps it is only through these problematic “categories” that models of color will begin to achieve the diversity that their white counterparts so enjoy.