Feminism Means Business: Business Feminism,Sisterhood and Visibility

ABSTRACT

By interviewing self-proclaimed feminists with small-scale businesses who sell feminist commodities, the aim of this article is to understand why and how the market has become an arena for doing feminism and what this can tell us about contemporary feminism. Using theories of postfeminism and popular feminism in combination with Lacanian discourse theory, the analysis shows that feminism is renegotiated into ownership by reshaping the feminist discourse of sisterhood into business support and advice. Furthermore, competition is reshaped into a positive value of expanding the feminist community, and making profit is reshaped into a feminist discourse of equal pay. Business feminism produces an individual, visible, affluent and entrepreneurial feminist subject who does not challenge economic structures or ownership conditions.     

Feminism,activism and academe: a personal reflection

How the political project of feminism entered academe and how it became an educational project is the subject of this article. It is based upon personal reflection about undertaking the study for a book, Feminism, Gender and Universities: politics, passion and pedagogies. In the book, three successive generations or cohorts of feminists in academia are discussed, starting with those who are now considered ‘second-wave feminists’. In this article the notion of ‘second-wave feminism’ is examined and also how successive cohorts see feminist knowledge in relation to their own education through doctorates or wider forms of learning.     

Cindy Sherman in a New Millennium: Fashion,Feminism, Art and Ageing

ABSTRACT

If feminism and the fashion industry were once seen as adversaries, given how the strictures of Simone de Beauvoir in The Second Sex (1949) permeated so much of second wave feminism, a consideration of ‘fashion’ is now central to contemporary feminist scholarship. But just as the earlier critique of fashion seemed finally to have been supplanted, certain basic arguments around dress and makeup nevertheless resurfaced within contemporary feminism. The current neoliberal climate has led to the ever-increasing consumption of ‘fashionable’ goods, provoking unease and encouraging the contested ‘protectionist discourse’ within feminism to shield young women from just such excesses. Meanwhile, the fashion world itself, arguably more powerful than ever, has across the last twenty years continued a process of legitimising itself through its various modes of alliance with the art world; it has even hijacked elements of feminist practice in the pursuit of publicity. This article suggests that the fashion industry and contemporary feminism are nonetheless alike in one significant respect: neither have properly engaged with the needs of an ageing population. It is an omission that this article will seek to examine through a discussion of the recent ‘portraits‘ of Cindy Sherman, an artist of great interest to feminist scholars, in whose earlier work there was a discernible ‘anti-fashion’ element. Now ‘fashionable’ herself, a leading figure in the global art world, she has collaborated with the fashion industry in rather different ways. Her ‘portraits’ of 2012, in which she reconfigured herself as imaginary Manhattan socialites in or beyond middle age, and a later series, exhibited in 2016, where she appears as a series of ageing, anonymous ‘movie stars’, reveal more general ideological tensions surrounding the representation of women, the ageing process and the fashionable ideal. It is the dissection of these tensions that underpin this article, for while Sherman’s work has been the subject of academic debate across a forty year period, her use and critique of the ‘fashionable ‘ image has not been examined alongside an exploration of the expanding activities of the fashion industry itself; nor have her recent images of ageing women been examined within this more general context.     

Tanya Serisier: Speaking Out: Feminism,Rape and Narrative Politics

Feminist Legal Studies -     

Beyond Liberalism: Marxist Feminism,Migrant Sex Work,and Labour Unfreedom

In this article, I use a Marxist feminist methodology to map the organisation of migrant sex workers’ socially reproductive paid and unpaid labour in one city and country of arrival, London, UK. I argue that unfree and ‘free’ (sexual) labour exists on a continuum of capitalist relations of (re)production, which are gendered, racialised, and legal. It is within these relations that various actors implement, and migrant sex workers contest, unfree labour practices not limited to the most extreme forms. My analysis reveals that many migrant sex workers have very limited ‘freedom’. This is in stark contrast to the classical liberal claim of sex worker rights activists and academics that the vast majority of migrant sex workers are free, and therefore not coerced, exploited or trafficked. I then consider whether the emerging labour approach to trafficking could help achieve ‘freedom’ for migrant sex workers. Advocates argue that anti-trafficking efforts must, and can, be refocused on extending minimum labour and social protections to all vulnerable workers. I argue that this approach is disconnected from material interests and history. Rather, migrant sex workers, sex worker rights activists, and all migrant and citizen workers and activists globally must collectively organise against ‘labour unfreedom’ and hence for meaningful control over their labour and lives.