Introductory Note
The three portraits of London-born supermodel Naomi Campbell that I wish to discuss were all taken by David LaChapelle for an issue of Playboy magazine (1 Dec 1999). As one might expect, all are visually stunning and typical in terms of composition and content of LaChapelle's aesthetico-erotic obsessions at this period. Unfortunately, these obsessions - such as his very obvious black girl fetish - rest upon rather questionable sexual and racial politics ...
The three portraits of London-born supermodel Naomi Campbell that I wish to discuss were all taken by David LaChapelle for an issue of Playboy magazine (1 Dec 1999). As one might expect, all are visually stunning and typical in terms of composition and content of LaChapelle's aesthetico-erotic obsessions at this period. Unfortunately, these obsessions - such as his very obvious black girl fetish - rest upon rather questionable sexual and racial politics ...
Naomi Campbell: Playmate (1999)
By David LaChapelle
By David LaChapelle
In the first portrait, we see a bikini-clad Campbell astride a huge Playboy rabbit, the iconic corporate logo chosen by Hugh Hefner on the grounds that the image was frisky and playful and had a humorous sexual connotation. Hefner is referring here, of course, to the fact that people who enjoy engaging in frequent and vigorous acts of coition - particularly young women - are said to fuck like rabbits.
The picture is thus immediately telling us that here is a promiscuous playmate who likes to be on top. In other words, Naomi is a bunny girl. And, as crudely indicated by the fact that the rabbit she straddles is made of chocolate, she's also a black bunny, guaranteeing her sexual willingness as a given.
For if the history of racial mythology has taught us anything, it's that women of colour are real bitches in the bedroom; they can't get enough and they like it rough. This is commonly known as the Jezebel stereotype, one which originally stemmed from European explorers equating the semi-nakedness of the tribal women whom they encountered with a lewd and lascivious nature (so very different to the modest and morally upright girls back home dressed in their corsets and stays).
Amongst other things, such a belief not only established a framework that allowed for the crude objectification of black women, their bodies and their sexuality, but it also conveniently legitimized their sexual assault by white men; the former were always insatiable in their desires and the latter always innocent souls, led astray by these immoral and manipulative Jezebels.
It's disappointing, to say the least, that LaChapelle should reinforce this enduring racist stereotype and artistic convention of representing women of African origin as fuck-bunnies and bad girls. I don't for one moment think he's exploiting Ms Campbell, who's clearly complicit; as happy to pose nude for Playboy as she had been to accept blood diamonds from Charles Taylor two years earlier. But, as my friends in the Black Feminist Network rightly point out, he's not doing other young women of colour any favours with this portrait of Naomi ...
Note: those interested in knowing more about the Jezebel stereotype can click here to read an essay on the topic by Dr David Pilgrim, Professor of Sociology, Ferris State University, Michigan (founder and curator of the Jim Crow Museum of Racist Memorabilia).
To read part two of this post - Naomi in the Cat House - click here.
To read part three of this post - Naomi's Fruit Passion - click here.
The picture is thus immediately telling us that here is a promiscuous playmate who likes to be on top. In other words, Naomi is a bunny girl. And, as crudely indicated by the fact that the rabbit she straddles is made of chocolate, she's also a black bunny, guaranteeing her sexual willingness as a given.
For if the history of racial mythology has taught us anything, it's that women of colour are real bitches in the bedroom; they can't get enough and they like it rough. This is commonly known as the Jezebel stereotype, one which originally stemmed from European explorers equating the semi-nakedness of the tribal women whom they encountered with a lewd and lascivious nature (so very different to the modest and morally upright girls back home dressed in their corsets and stays).
Amongst other things, such a belief not only established a framework that allowed for the crude objectification of black women, their bodies and their sexuality, but it also conveniently legitimized their sexual assault by white men; the former were always insatiable in their desires and the latter always innocent souls, led astray by these immoral and manipulative Jezebels.
It's disappointing, to say the least, that LaChapelle should reinforce this enduring racist stereotype and artistic convention of representing women of African origin as fuck-bunnies and bad girls. I don't for one moment think he's exploiting Ms Campbell, who's clearly complicit; as happy to pose nude for Playboy as she had been to accept blood diamonds from Charles Taylor two years earlier. But, as my friends in the Black Feminist Network rightly point out, he's not doing other young women of colour any favours with this portrait of Naomi ...
Note: those interested in knowing more about the Jezebel stereotype can click here to read an essay on the topic by Dr David Pilgrim, Professor of Sociology, Ferris State University, Michigan (founder and curator of the Jim Crow Museum of Racist Memorabilia).
To read part two of this post - Naomi in the Cat House - click here.
To read part three of this post - Naomi's Fruit Passion - click here.
