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Toni Swanger Papers, 1951-1998

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Toni Swanger Papers, 1951-1998 18 Pretty colo!; easyfa611ion TOGETHER .AGAIN! t N 1 • Katherine is beautiful. She has a small, fine face with a Emmanuel's legs look awkward; Katherine moves her Black and Blue, the billboard showed a woman looking full mouth painted dark red and dramatic brown eyes mouth too much and forgets to look at Emmanuel-but the properly sensual (tumbled hair, pouty mouth) and wearing made larger and more dramatic with thick eye shadow­ real problem is Katherine's feet. an artfully torn, minimal garment that once may well have Brown, curly hair blows away from her face in a triangular "You must bring the feet forward, Katherine;" the . been a dress. She was also bruised and bound, hanging cloud. Her shoulders look surprisingly broad, perhaps photographer says. "I must see the heel. Aim for his left from her wrists with legs wide apart and crotch resting on because, like her breasts, they're accentuated by the nipple, that's right. Now dig in a little." Katherine the record album cover; the copy read "I'm 'Black and strapless dress she's wearing. The dress, which sells for hesitates-what if she hurts him? For the first time that Blue' from the Rolling Stones and .I love it!" $1100, is made of a clinging, purple, jerseylike material. It afternoon, the .photographer permits himself some exas­ Others didn't love it. A few days after the billboard went tucks and curves and swaddles close around her body, peration. "C'mon," he pleads, "you're both with Zoli ... up, a spray-painted message appeared on it in large sarong-style. At the top of her thighs, the skirt splits open for the money you make, you guys." He smiles and shakes letters: "This is a crime against women!" Shortly after and flows smoothly away from her long legs. his head. that, a Los Angeles based organization called Woman And then the stylist has an idea. Taking a large cloth Against Violence Against Women (W AVA W) had a meet­ Katherine sits on a banquette in an earnestly chic Village napkin off a nearby table, she folds it into a thick pad and ing with Atlantic Records to protest the billboard as well as restaurant. Her long arms extend along the top of the arranges it under Emman\,lel's shirt. The problem is magazine and radio campaigns on the same theme (the banquette. On her feet are gold, open-toed evening shoes. solved. Looking relieved, Katherine plants her heels radio ads, .according to WAVA Wcoordinator Julia London, Their four-inch heels rest lightly on Emmanuel's chest. firmly on Emmanuel's chest, more or less in the vicinity of consisted of whipping sounds and a woman's voice saying, Emmanuel is funny-looking, as short as Katherine is tall, his left nipple, and the models resume their pose. "Make me black and blue, I love it"). Atlantic took the with the collapsible, silly-putty face of a French character "More more to him to him don't relax just .push him billboard poster down-a few hours before WAVA W was actor. His eyes twinkle when he talks. At the moment down little bit vicious good good perfect perfect." scheduled to hold a press conference in front of it. The Emmanuel isn't talking. He's lying at Katherine's feet, radio campaign was never aired. dressed in a waiter's costume, straining to hold up a tray The photographer Playboy chose for this shooting is What were the Stones up to? When I interviewed Mick containing a heavy jug of wine and a partially filled glass. Chris von Wangenheim, 35, born in Germany, married to a Jagger during their last American tour, he was surpris­ His position hurts; although he's flat on his back, for the French-American model named Regine Jeffrey, one son. ingly touchy about the barid's macho image. It wasn't fair sake of the picture he must rise up slightly, using the Von Wangenheim is primarily a fashion photographer, to call their songs macho or sexist, he said, that was their muscles of his shoulders and neck, so that he can look very successful, and he shoots in many styles. He 's done old stuff, 1966, the days of "Under My Thumb" and " Stupid appreciatively at Katherine as she takes the glass of dreamily romantic Revlon ads, for example, and the Girl"- nothing they'd done since then deserved to be wine. funniest picture he ever took, which has been exhibited in criticized for its sexual politics. That was June, 1975. A While the photographer shoots he talks very fast, firing shows, is of a mock-aristocratic couple who look like the year later, the billboard appears, and we're back to square staccato instructions and encouragement at Katherine and duke and duchess of Windsor 30 years ago; they pose one. Emmanuel, creating an air of tension and excitement, stiffly, with prissy arrogant faces, the woman sitting Jagger controls the Stones' image-he oversees every­ helping them sustain their pos~. "Stay stay that's it that's ~ngerly on the back of a la~ge, stuffed d~g. thing from advertising campaigns to stage sets for their it beautiful terrific stay stay no pinky no pinky good .good But the style for which von Wangenheim is known, the tours. And Jagger isn't dumb. He's alert to political and too much mouth look at him look at him stay stay good style Playboy had in mind when they asked him to do their cultural trends, and he's smart about business. When he good." feature on wine drinking, is, like the man says, a little bit . chose the image of the bruised, bound woman to sell Black "Moment," says Emmanuel, and collapses back to the vicious. It's an increasingly popular style, with touches of and Blue, I think he understood its political implications, floor to rest his neck. sadism and bondage, hints of sexual tension and hostility, all right; he was just being hip, picking up on~and, as it Katherine leans over Emmanuel and asks anxiously, the occasional eruption of outright violence. In the past few turned out, making highly visible-a trend that was "Am I hurting you?" Emmanuel assures her she's not, for years it's been turning up all over the place, most already there. The Ohio Players, for example, a popular perhaps the sixth time since the shooting began; it's his frequently and most elegantly in fashion magazines and in black disco group, had already acquired a reputation for neck that's the problem, he says. The shooting, which ends the work of high-fashion photographers, more crudely on their outre cover designs featuring women in chains. up taking three and a half hours, will eventually produce a pop-record album covers and in record advertising. And in 1974, they released Climax, which shows a man two-page spread in Playboy illustrating the pleasures of Last June, a h1,1ge billboard went up over Sunset embracing a woman whose head has been shaved; they drinking wine. A lot of little things go wrong-Katherine's Boulevard. Designed by fashion stylist and photographer . both appear to be naked. As he nuzzles her tenderly, we see hair blows t.oo much so the fan must be adjusted; Ara Gallant to advertise the new Rolling Stones album that she's plunging a knife into his back. - ' \ At left, the vogue at "Vogue": Helmut Newton started it in 1975 with an ambigllolm shot of a man seizing a woman; later &ba& year, Avedon followed more fiercely. Above, a dance you can beai to: Ohio Players albums feature a woman first chained, then mnr­ derous; Nelson Slater's music is harmless, but his covel" art isn't. ~art-=----=-='-----c::=-aare · To call images like these sexist is to Widerstate the case· tives were asked why they didn't do something about the something more is. happening here than the old advertis~ sexual violence in album covers and ads, they said that, To call images like these ing ploy of woman-as-Sex-object. The women on these contractually, they couldn't interfere with the performers' record albums aren't simply the objects of lust or desire; independence and artistic integrity. Nonsense. In most sexist is to understate they're also the objects-and sometimes the embodi­ instances-powerful groups like the Stones are an excep­ the case. These women inent'--Of sexual sadism, hostility, and fear. WA VA W has tion-record companies can and will interfere in such put together a slide show of record-ablum covers and ads matters as album design and promotion-for "marketing ·aren't simply the objects that they've singled out a8 'sexually vidlent. More often reasons." The gratuitous sexual violence is a come-on, an than not, the women portrayed are vamps and bitch invitation to fantasy, fantasies of power, and revenge. goddesses-sleek, severe creatures with long, sharp nails of lust; they're also the The sexually violent sales pitch reached a veritable peak and red mouths. But they're victim-vamps, tamed shrews, literally bound and gagged. of gratuitousness with Richard Avedon's 12-page fashion objects· of sadism and fear. spread in the December 1975 issue of Vogue. Called And no wonder. If they were let loose, they just might do "Together Again!" it features two models-he's curly­ to men what the Ohio Players' backstabber did, right? haired, a macho pretty boy ; she's tall, strong-boned, Wrong.
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