Lucia Pica photographed by Daniel Jackson
Vogue (Sept 2015)
Like many people, when I heard a couple of years ago that Italian-born, London-based Lucia Pica had been appointed creative director at Chanel cosmetics, I was very happy for her and very hopeful of what we might expect; for she is undoubtedly a makeup artist with a bold and brilliant understanding of colour and unafraid of taking risks.
Expectations were further raised when it was revealed that her first collection for the label would in part be inspired by the work of Jean Baudrillard; that we could finally delight in nail polish and lipstick that pops with hyperreal playfulness.
Expectations were further raised when it was revealed that her first collection for the label would in part be inspired by the work of Jean Baudrillard; that we could finally delight in nail polish and lipstick that pops with hyperreal playfulness.
Unfortunately, however, if you take time to read interviews with Ms Pica, you discover that she subscribes to a disappointing model of aesthetic idealism, in which beauty is something essential and makeup merely a method of enhancement that should never be allowed to mask the natural character of a face, so that the real woman can shine through.
In other words, the ultimate personal expression is that of your own true self.
In other words, the ultimate personal expression is that of your own true self.
Having resisted the urge to vomit, I'd like - at the risk of repeating what I've said elsewhere on this blog - to provide some lessons for Lucia on artifice and nature (and the nature of artifice), in relation to the question of Woman conceived in terms of style and seduction ...
1. Woman is a myth activated through a system of signs encoded, for example, in art and fashion.
2. Those things which serve to construct her femininity, such as her shoes, her makeup and her lingerie, matter more than her biology. For whilst the latter determines her as a female belonging to a species of domestic animal, it does not determine her as a woman. In other words, her being is not naturally given; she is not born a woman, as Simone de Beauvoir put it, but becomes such via culture.
3. Because of this, woman fully understands the need for illusion and defends the right to lie. She uses cosmetics not because she wishes to conceal an essence or a hidden reality beneath appearance, but because she has no inner self and only wants to make us think she does. To mistake the exceeding of nature for a crude camouflaging of the truth, is to commit a cardinal error. Makeup isn't false - it's the falser than false and so recuperates a kind of superior innocence.
2. Those things which serve to construct her femininity, such as her shoes, her makeup and her lingerie, matter more than her biology. For whilst the latter determines her as a female belonging to a species of domestic animal, it does not determine her as a woman. In other words, her being is not naturally given; she is not born a woman, as Simone de Beauvoir put it, but becomes such via culture.
3. Because of this, woman fully understands the need for illusion and defends the right to lie. She uses cosmetics not because she wishes to conceal an essence or a hidden reality beneath appearance, but because she has no inner self and only wants to make us think she does. To mistake the exceeding of nature for a crude camouflaging of the truth, is to commit a cardinal error. Makeup isn't false - it's the falser than false and so recuperates a kind of superior innocence.
4. Further, via a confident and sophisticated use of clothes and cosmetics, a woman can strike a blow against the puritanical drabness of the world with its neutral tones and sensible footwear, rediscovering the power of witchcraft known as glamour. As Baudelaire writes:
"Woman is quite within her rights, indeed she is even accomplishing a kind of duty, when she devotes herself to appearing magical and supernatural; she has to astonish and charm us; as an idol, she is obliged to adorn herself in order to be adored. [...] It matters but little that [her] artifice and trickery are known to all, so long as their success is assured and their effect always irresistible."
5. If this means that woman risks surrendering to emptiness and reification on the one hand, whilst becoming commodified and fetishized on the other, this need not necessarily be such a bad thing; models, actresses and prostitutes, for example, have all cleverly turned their object status and vacancy into an art, exploiting what Walter Benjamin termed the sex appeal of the inorganic (i.e. that pale power of seduction and stillness founded upon the ecstasy of a blank gaze and a Pan Am smile).
6. Finally, Lucia, you might like to consider how it is only at the symbolic level of appearances that systems become fragile and only via enchantment that the power and meaning of these systems becomes vulnerable. In other words, the idiosyncratic feminism of Coco Chanel - in which you profess an interest - needs to be understood as a politics of style that is all about a light manipulation of appearances, rather than a politics of desire and identity that still concerns itself with libidinal and psychological depths.
Why become fixated on true feelings and ontological foundations, when you can just add more lipstick and attack?
Why become fixated on true feelings and ontological foundations, when you can just add more lipstick and attack?
See:
Stephen Alexander, Philosophy on the Catwalk (Blind Cupid Press, 2011).
Charles Baudelaire, 'The Painter of Modern Life' in The Painter of Modern Life and Other Essays, ed. and trans. Jonathan Mayne, (Phaidon Press, 2006).
Stephen Alexander, Philosophy on the Catwalk (Blind Cupid Press, 2011).
Charles Baudelaire, 'The Painter of Modern Life' in The Painter of Modern Life and Other Essays, ed. and trans. Jonathan Mayne, (Phaidon Press, 2006).
Jean Baudrillard, Seduction, trans. Brian Singer, (St. Martin's Press, 1990).
Jacques Derrida, Spurs: Nietzsche's Styles, trans. Barbara Harlow, (University of Chicago Press, 1979).
