Post-Magnum, 328 GTS It just doesn’t look as good with the federal colour-keyed bumpers and the later spec.

Oktyabrina Maximova gives me the nerdgasm

Number 16 She’s apparently one of the most beautiful women in the world, according to her Insta bio. I’m a bit out of touch with who the models are these days (and once upon a time I knew who Melania Knauss was before that Trump guy).

@oliviaedit #film #35mm @monster_mgmt @alessandraroberta.trenta @silvia.campagna @andreaceppiph @alfredo_mnstr @95timmy https://ift.tt/2KYSRfM

Olivia Edit Emanuele Ferrari shoots Olivia Aarnio.

Ranting about feminism: it’s racist for you to ask me to overlook no diversity. And I’m not fucking doing it.

I don’t know how many of you guys know about it but this new movie, “Mad Max” just came out  and has already reached critical acclaim. I haven’t seen it , but it’s supposed to be this groundbreaking masterpiece and a huge step for feminism. Which is all good and dandy In theory. But on tumblr there’s been a lot of criticism because the ALL white cast (with the minor exception of Zoe Kravitz). One of the most frustrating things about these types of movies and conversations is that there’s ALWAYS these white feminists that want to tell POC that we have to overlook lack of diversity and basically “take one for the team” (the team being feminism/woman). No. I’m not going to do it. It is fucking disrespectful and borderline racist for you, a white person, to tell minority women that we have to ignore not being represented. Since turning 18 and starting to really think about racism and the media, it is especially uncomfortable for me to watch movies and tv shows with NO people of color. This world is mostly non white and it simply doesn’t make sense for our media to not represent it. And as for feminism, this is not the first time this has happened. When Girls came out, minority women were expected to ignore the show having an all white cast because it was written and directed by Lena Dunham. And anyone who dared to not ignore this issue was considered “non progressive”. This is why I don’t identity as feminist. Because this is unacceptable. It’s unacceptable for these huge steps for feminism to not include people of color. And if you’re white and telling people to get over it, you’re a part of the fucking problem.

Okay, I don’t want to take away from some really great points you’re making about how white feminism often downplay or outright dismiss the representation of women of color, especially in discussions of mainstream media WOC are often silenced or ignored.

However, I need to point a few errors that are a common form of microaggression that I see pop up all the time in intersectional discussions of representation, specifically in regard to the recognition of indigenous women of color.

There are THREE women of color in Mad Max Fury Road. Zoe Kravitz (which you already listed), but also Courtney Eaton and Megan Gale. Eaton and Gale are biracial Maori women. The presence of Polynesian women in this film and a fictional future are incredibly important on multiple levels. 

The Mad Max films are set in a post-apocalyptic Australia. In fact, the franchise began as Australian films, George Miller the writer/director/creator of this world is Australian. This is not merely a geographic location, but an important cultural context for the films. 

What’s important about the location and the presence of Polyneisan women within this future world is how their very roles reflect the history of colonialism in the Pacific region. Polynesian people were forced to relocate, our cultures and even identities erased. Many of us are biracial and our own ethic identity are often erased due to a form of cultural genocide that was not unlike what was done to Indigenous people of the Americas. 

Polynesian women have long been viewed as tokens of exotic beauty. Taken as trophies, and forced in to sex work. Not unlike Fragile. Some, like The Valkyrie who actively fought against colonial oppressors. While Zoe/Toast is biracial black and Ashkenzai jew, she two represents an aspect of WOC’s journey through white supremacy and colonialism which was the driving force behind the trans-atlantic slave trade. 

Polynesians often are erased, or mistakenly seen as white passing often because White Western culture only teaches how to see black or white, ignoring or wholesale erasing all the many colors in between. One of the really ugly truths behind why so many indigenous people are “white passing” is because of the long legacy of us being raped by white oppressors. Many of us only being valued as “pretty” sexual objects for the enjoyment and consumption of white men.

There is a BIG difference between being white passing and having your ethnicity erase from mainstream awareness. People, even POC, default code Polynesian women as white because they only SEE the parts of our features that are stereotypically viewed to be “white.” 

I immediately recognizing Fragile and The Valkyrie as women of color, and was deeply moved about how their presence and individual roles in this film reflects the struggles of many indigenous women throughout history and to see them empowered and fighting back against their oppressors made my heart soar.

Also there ARE other people of color in the film, though by virtue of the dominate culture in the film being literally white male supremacy, the only men of color we see are in the lowest cast of society. Not uncommon in colonialism either, given how white men see MOC as a threat to their power and masculinity.

My only real complaint about race in this film is the lack of Indigenous Australians in leading roles. There are a few of them crowd shots of the Citadel’s lower class, and at the end of the film we see a disabled Indigenous Australian man become the focus of a full two second shot, acting as the face of the oppressed class as he is quite literally is lifted up to salvation by women of color.

There are powerful visual moments in this film, that tell not just a story of punching down the patriarchy, but of the dismantling of colonial oppression where indigenous women play key roles in the fight and future of the world.

So please don’t steal this context from the these women. It is very important to many women of color. 

THANKYOUTHANKYOUTHANKYOU 

(emphasis mine)

Co-sign from this NZ-raised Polynesian woman.

We’re all mixed here. All of us. It’s so normal that we don’t put a freaking percentage on it and we realise that heritage and ethnicity is more than the colour of your skin, your particular shade of brown or how ‘ethnic’ your features are. It’s what you are.

One of my favourite parts of this movie was to see my people on a movie screen. It’s so rare for those of us of polynesian heritage to see ourselves reflected back in cinema and to see posts and articles that erase our culture or dismiss our heritage because we aren’t dark enough for someone of another culture is not only racist and ignorant, it’s also incredibly hurtful.

Yeeeeees, this. I’m biracial, and look full Korean, while my sister is equally biracial, and looks white-passing. It’s basically impossible to see Asian people in western pop culture at all, and biracial Asian people? We don’t even fucking exist. And then when we do, we’re ignored and erased – sometimes even especially by other POC. There’s this toxic mixture, the burden of white privilege which I will absolutely admit to having, combined with a lifetime of racism both experienced and absorbed, which is just this … incredible poisonous mass at the center of your very self, sewn into your DNA. And it’s nearly impossible to find a cohort because white people are … white people. … and then other POC say you’re not brown enough or different enough or whatever [blank] enough you need to be Enough. And it’s like a slap in the face. Yes, it sucks that a single ‘vaguely biracial’ person on an ensemble of otherwise all white people is often considered all the diversity that a given piece of entertainment needs – especially when that actor is actually just white (yes, I am looking at you, FIREFLY). But that doesn’t mean biracial people don’t count, that we’re not POC, that because we don’t match your idea of what we should look like we shouldn’t even be visible. It’s not a zero-sum game, and we are not the enemy.

Yeeeah. I saw this post and was like…yes, of course the film needed more non-white people in it. BUT there was definitely more than one non-white person in that cast, and ignoring those people isn’t all that great either.

Because she’s worth it Reblogging for the great points raised, and for the knowledge that Megan Gale has Māori blood. I have been in the fashion publishing trade for a long time, knew of Megan when she was huge in Italy, and had only ever heard her being referred to as Australian. I’m happy to have been put right about her real heritage.

Willa Holland

That look A great photo of Willa.

Gratuitous K-Gill post Because it’s been a while since we had one.

Model Bobo White adds even more elegance to an E-Type Jaguar on the cover of Motor, issue dated 9 May 1964. The photographer was Marc Dimac.

jackyan

E-type Fifty years ago at the Temple Press.

J-Al Winning in hot pink.

Amy Adams

Call the A. A. Loved her in Enchanted.

Firsts Lucire issue 33, styled by our fashion and beauty editor Sopheak Seng, photographed by Dave Richards, hair by Michael Beel, make-up by Hil Cook, and modelled by Chloé Graham from 62 Models. Order your copies here or read about why this cover has so many firsts here.

Lucire 33 I love this cover so much, it’s now the wallpaper on my phone. Chloé Graham may be the first Scot to appear on a Lucire cover.

Barbara Palvin for Harper’s Bazaar Spain by Xevi Muntane

Gratuitous Barbara Palvin post First it was Cannes. Babs is getting very noticed in mid-2014. Woman of the moment?

Happy birthday Jenna Louise Coleman!

Gratuitous J-Lou post As it’s her birthday, here’s more.

Model-Slash-Coder Shatters a Dozen Tired Stereotypes

If you have preconceived notions about models being dumb and coders being nerdy white dudes, prepare to abandon them. Lyndsey Scott has modeled for brands like DKNY, Victoria’s Secret, Gucci and Prada. But she also knows Python, Objective C, and iOS, and builds apps in her spare time.

In a profile by Carmel Diamicis on Pando Daily, Scott explains that she graduated from Amherst College in 2006 with a dual-degree in computer science — and 3 years later, found herself modeling for Calvin Klein, as “the first ever African American to get an exclusive contract with the company for New York Fashion Week.”

But up until recently, while modeling, her tech background was kept secret. She tells Diamicis:

One of Scott’s apps — available in the Apple store — is called iPort, and it’s basically a digital portfolio for models. (She tells Business Insider she started coding in middle school!) As seen in this tongue-in-cheek video, Scott is not just smart and beautiful — she’s also got a sense of humor. She also wrote a moving Quora post about going from physically unattractive to physically attractive:

The swan Lyndsey Scott’s testimony on Quora makes for good reading.

Tania Mallet par Eugene Vernier, 1960.

1960 Before she was in Goldfinger, Tania Mallet was posing with a Renault Floride.

We’ll take Manhattan (real life) The Shrimp and the Bear, by Bailey.

We’ll take Manhattan The Shrimp, by Bailey.