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"Exploring my feminine side": Jack Vidgen's new look

<p>Jack Vidgen has shared the reasoning behind his new look, as he explores his "feminine side" with a radical new style. </p> <p>The former <em>Australia’s Got Talent</em> star has been turning heads with his last few red carpet appearances, stepping out with a full face of perfectly crafted makeup, a selection of hyper-feminine outfits, and towering high heels. </p> <p>In a recent post on Instagram, Vidgen explained that he still uses he/him pronouns, and is "just having fun" breaking down the gender binary rules of fashion. </p> <p>“Just wanted to say a major thank you to everyone who’s been hyping me up/cheering me on while I’ve been glamming it up lately and exploring my feminine side,” he began.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CpzVViJJLXy/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CpzVViJJLXy/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by jack vidgen (@jack.vidgen)</a></p> </div> </blockquote> <p>“For everyone wondering I still identify as He/Him. I’m literally just having fun. We as a society have gendered fashion and the more I’m dressing like this, the more I’m uncovering and releasing myself of my own internalised homophobia as a gay man.”</p> <p>While most of his fans have been supportive of his fashion journey, Vidgen admitted he has also copped a lot of negativity online – mostly via his TikTok account – and posted a screenshot showing a selection of the vile comments.</p> <p>“You’re a bloke … stop kidding yourself,” reads one. “FFS this is what’s wrong with this world,” said another. </p> <p>But the singer, who shot to fame at the age of 14 after winning <em>Australia’s Got Talent</em> and appeared on other reality singing shows, said comments about his looks “really don’t phase me at all anymore.”</p> <p>“The media were so vicious about how I looked when I was on <em>The Voice</em> a few years ago, I’ve become almost completely desensitised to it but I think of all the young queer people who see it and that makes me sad.”</p> <p>Vidgen told his followers he would “continue to push the boundaries and break the mould” with how he dresses, not bothering about his public perception. </p> <p>“No one should have to tone themselves down to make the rest feel comfortable. We don’t belong in their boxes!”</p> <p><em>Image credits: Getty Images / Instagram</em></p>

Beauty & Style

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British Museum unveils female spiritual beings exhibit

<p dir="ltr">A unique exhibition is set to open at the British Museum later this year that celebrates how femininity has been perceived across the globe through history. </p> <p dir="ltr">The exhibit, titled <em>Feminine power: the divine to the demonic</em>, is the first of its kind to be showcased in the British museum. </p> <p dir="ltr">The figures on display range from a Hindu goddess considered the master of death, to a magical Greek enchantress, as the exhibit explores women in both world belief and mythological traditions. </p> <p dir="ltr">The exhibition includes representations of Lilieth, a character from Jewish mythology thought to be the first wife of Adam and later the consort of Satan, as well as Guanyin, the Chinese goddess of mercy.  </p> <p dir="ltr">The idea behind the exhibit is to bring together ancient sculptures, sacred artefacts and contemporary art from six continents to explore how femininity has been portrayed, and how it influenced the way we view women and their power today. </p> <p dir="ltr">For the first time, the British Museum has invited special guest contributors to respond to the themes in the exhibition, sharing their personal and professional viewpoints.</p> <p dir="ltr">The special guests include doctors, professors, activists, authors, lawyers and former members of the British Army, who will share their own stories of feminism, and how they have fought for the rights of women. </p> <p dir="ltr">Muriel Gray, Deputy Chair of Trustees of the British Museum, said, “The Citi exhibition <em>Feminine power: the divine to the demonic</em> is brimming with magic, wisdom, fury and passion.”</p> <p dir="ltr">“I am very proud that through the breadth and depth of the British Museum's collection, alongside special loans, we can tell such powerful and universal stories of faith and femininity from the most ancient cultures to living traditions around the world.</p> <p dir="ltr">Following the display at the British Museum, the exhibition will be seen internationally, starting at the National Museum of Australia in Canberra.</p> <p dir="ltr"><em>Image credits: The Trustees of the British Museum</em></p>

Art

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How steak became manly and salads became feminine

<p>When was it decided that <a href="https://www.theatlantic.com/business/archive/2015/09/food-gender-marketers-yogurt-women-chicken-men/405703/">women prefer some types of food</a> – yogurt with fruit, salads and white wine – while men are supposed to gravitate to chili, steak and bacon?</p> <p>In my new book, “<a href="https://www.goodreads.com/book/show/43726541-american-cuisine">American Cuisine: And How It Got This Way</a>,” I show how the idea that women don’t want red meat and prefer salads and sweets didn’t just spring up spontaneously.</p> <p>Beginning in the late 19th century, a steady stream of dietary advice, corporate advertising and magazine articles created a division between male and female tastes that, for more than a century, has shaped everything from dinner plans to menu designs.</p> <p><strong>A separate market for women surfaces</strong></p> <p>Before the Civil War, the whole family ate the same things together. The era’s best-selling household manuals and cookbooks never indicated that husbands had special tastes that women should indulge.</p> <p>Even though “<a href="https://academic.oup.com/jsh/article-abstract/48/1/1/947457">women’s restaurants</a>” – spaces set apart for ladies to dine unaccompanied by men – were commonplace, they nonetheless served the same dishes as the men’s dining room: offal, calf’s heads, turtles and roast meat.</p> <p>Beginning in the 1870s, shifting social norms – like the entry of women into the workplace – <a href="https://theconversation.com/in-americas-sandwiches-the-story-of-a-nation-86649">gave women more opportunities to dine without men</a> and in the company of female friends or co-workers.</p> <p>As more women spent time outside of the home, however, they were still expected to congregate in gender-specific places.</p> <p>Chain restaurants geared toward women, such as <a href="https://restaurant-ingthroughhistory.com/2008/08/27/when-ladies-lunched-schraffts/">Schrafft’s</a>, proliferated. They created alcohol-free safe spaces for women to lunch without experiencing the rowdiness of workingmen’s cafés or <a href="https://restaurant-ingthroughhistory.com/2011/09/06/lunch-and-a-beer/">free-lunch bars</a>, where patrons could get a free midday meal as long as they bought a beer (or two or three).</p> <p>It was during this period that the notion that some foods were more appropriate for women started to emerge. Magazines and newspaper advice columns identified fish and white meat with minimal sauce, as well as new products like packaged cottage cheese, as “female foods.” And of course, there were desserts and sweets, which women, supposedly, couldn’t resist.</p> <p>You could see this shift reflected in old Schrafft’s menus: a list of light main courses, accompanied by elaborate desserts with ice cream, cake or whipped cream. Many menus <a href="https://restaurant-ingthroughhistory.com/2008/08/27/when-ladies-lunched-schraffts/">featured more desserts than entrees</a>.</p> <p>By the early 20th century, women’s food was commonly described as “<a href="https://books.google.com/books?id=nzN3bRRIH-gC&amp;pg=PA56&amp;lpg=PA56&amp;dq=dainty+women%27s+food&amp;source=bl&amp;ots=CL96BjXjf6&amp;sig=ACfU3U3Li5Ts_UqW3lKpI3C90kJxniiJzw&amp;hl=en&amp;sa=X&amp;ved=2ahUKEwis0q3O2LLlAhWsmeAKHanXBRcQ6AEwDHoECAcQAQ#v=onepage&amp;q=dainty%20women's%20food&amp;f=false">dainty</a>,” meaning fanciful but not filling. Women’s magazines included <a href="https://c8.alamy.com/comp/HNM1A7/1928-british-advertisement-for-my-lady-tinned-fruit-salad-HNM1A7.jpg">advertisements</a> for typical female foodstuffs: salads, colorful and shimmering Jell-O mold creations, or fruit salads decorated with marshmallows, shredded coconut and maraschino cherries.</p> <p>At the same time, self-appointed men’s advocates complained that women were inordinately fond of the very types of decorative foods being marketed to them. In 1934, for example, a male writer named Leone B. Moates wrote an article in House and Garden <a href="https://books.google.com/books?id=3AKLDwAAQBAJ&amp;pg=PT299&amp;lpg=PT299&amp;dq=%22Leone+B.+Moates%22&amp;source=bl&amp;ots=6aAZiExudB&amp;sig=ACfU3U015psSPEEQ5t7IA5wgNBqM0mNLmw&amp;hl=en&amp;sa=X&amp;ved=2ahUKEwi_ksaw3rLlAhVinuAKHUZYBU8Q6AEwAHoECAMQAQ#v=onepage&amp;q=%22Leone%20B.%20Moates%22&amp;f=false">scolding wives</a> for serving their husbands “a bit of fluff like marshmallow-date whip.”</p> <p>Save these “dainties” for ladies’ lunches, he implored, and serve your husbands the hearty food they crave: goulash, chili or corned beef hash with poached eggs.</p> <p><strong>Pleasing the tastes of men</strong></p> <p>Writers like Moates weren’t the only ones exhorting women to prioritize their husbands.</p> <p>The 20th century saw a proliferation of cookbooks telling women to give up their favorite foods and instead focus on pleasing their boyfriends or husbands. The central thread running through these titles was that if women failed to satisfy their husbands’ appetites, their men would stray.</p> <p>You could see this in midcentury ads, like the one showing an irritated husband saying “Mother never ran out of Kellogg’s Corn Flakes.”</p> <p>But this fear was exploited as far back as 1872, which saw the publication of a cookbook titled “<a href="https://books.google.com/books/about/How_to_Keep_a_Husband_Or_Culinary_Tactic.html?id=kuWlmgEACAAJ">How to Keep a Husband, or Culinary Tactics</a>.” One of the most successful cookbooks, “‘The Settlement’ Cook Book,” first published in 1903, was subtitled “The Way to a Man’s Heart.”</p> <p>It was joined by recipe collections like 1917’s “<a href="https://books.google.com/books?id=rPWI6Hy4yIYC&amp;printsec=frontcover&amp;dq=%22A+Thousand+Ways+to+Please+a+Husband%22&amp;hl=en&amp;newbks=1&amp;newbks_redir=0&amp;sa=X&amp;ved=2ahUKEwiF0vrT0LLlAhVBSN8KHZn_BA8Q6AEwAHoECAAQAg#v=onepage&amp;q=%22A%20Thousand%20Ways%20to%20Please%20a%20Husband%22&amp;f=false">A Thousand Ways to Please a Husband</a>” and 1925’s “<a href="https://kalesijablog.wordpress.com/2013/08/20/history-of-feed-the-brute/">Feed the Brute!</a>”</p> <p>This sort of marketing clearly had an effect. In the 1920s, one woman wrote to General Mills’ fictional spokeswoman, “Betty Crocker,” <a href="https://books.google.com/books?id=qctXdfqJo50C&amp;printsec=frontcover&amp;dq=Paradox+of+Plenty&amp;hl=en&amp;newbks=1&amp;newbks_redir=0&amp;sa=X&amp;ved=2ahUKEwipiY-R0LLlAhUCT98KHX5WBmUQ6AEwAXoECAMQAg#v=onepage&amp;q=Paradox%20of%20Plenty&amp;f=false">expressing fear</a> that her neighbor was going to “capture” her husband with her fudge cake.</p> <p>Just as women were being told they needed to focus on their husbands’ taste buds over their own – and be excellent cooks, to boot – men were also saying that they didn’t want their wives to be single-mindedly devoted to the kitchen.</p> <p>As Frank Shattuck, the founder of Schrafft’s, <a href="https://www.nytimes.com/1937/03/15/archives/frank-g-shattuck-of-schraffts-dies-founder-of-company-operating.html">observed in the 1920s</a>, a young man contemplating marriage is looking for a girl who is a “good sport.” A husband doesn’t want to come home to a bedraggled wife who has spent all day at the stove, he noted. Yes, he wants a good cook; but he also wants an attractive, “fun” companion.</p> <p>It was an almost impossible ideal – and advertisers quickly capitalized on the insecurities created by the dual pressure wives felt to please their husbands without looking like they’d worked too hard doing so.</p> <p><a href="https://books.google.com/books?id=3AKLDwAAQBAJ&amp;newbks=1&amp;newbks_redir=0&amp;lpg=PT287&amp;dq=american%20cuisine%20freedman%20grand%20appliance%20cooking%20in%20the%20grand%20manner&amp;pg=PT294#v=onepage&amp;q=american%20cuisine%20freedman%20grand%20appliance%20cooking%20in%20the%20grand%20manner&amp;f=false">A 1950 brochure</a> for a cooking appliance company depicts a woman wearing a low-cut dress and pearls showing her appreciative husband what’s in the oven for dinner.</p> <p>The woman in the ad – thanks to her new, modern oven – was able to please her husband’s palate without breaking a sweat.</p> <p><strong>The 1970s and beyond</strong></p> <p>Beginning in the 1970s, dining changed dramatically. Families <a href="https://www.nytimes.com/1985/10/30/garden/new-american-eating-pattern-dine-out-carry-in.html">started spending more money eating out</a>. More women working outside the home meant meals were less elaborate, especially since men remained loathe to share the responsibility of cooking.</p> <p><a href="https://www.thedailybeast.com/an-excerpt-about-the-1970s-from-paul-freedmans-new-book-american-cuisine-and-how-it-got-this-way">The microwave</a> encouraged alternatives to the traditional, sit-down dinner. The women’s movement destroyed lady-centered luncheonettes like Schrafft’s and upended the image of the happy housewife preparing her condensed soup casseroles or Chicken Yum Yum.</p> <p>Yet as food historians <a href="https://www.theatlantic.com/magazine/archive/2013/11/chefs-gone-wild/309519/">Laura Shapiro</a> and <a href="https://www.ucpress.edu/book/9780520234406/paradox-of-plenty">Harvey Levenstein</a> have noted, despite these social changes, the depiction of male and female tastes in advertising has remained surprisingly consistent, even as some new ingredients and foods have entered the mix.</p> <p>Kale, quinoa and other healthy food fads are gendered as “female.” Barbecue, <a href="http://www.southerncultures.org/article/every-ounce-a-mans-whiskey-bourbon-in-the-white-masculine-south/">bourbon</a> and “<a href="https://www.theatlantic.com/magazine/archive/2013/11/chefs-gone-wild/309519/">adventurous foods</a>,” on the other hand, are the domain of men.</p> <p style="text-align: center;"><iframe width="440" height="260" src="https://www.youtube.com/embed/QNpfJNaRPGo?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p style="text-align: center;"><span class="caption">Actor Matthew McConaughey stars in a Wild Turkey bourbon commercial from 2017.</span></p> <p><a href="https://www.nytimes.com/2007/08/09/fashion/09STEAK.html">A New York Times article from 2007</a> noted the trend of young women on first dates ordering steak. But this wasn’t some expression of gender equality or an outright rejection of food stereotyping.</p> <p>Instead, “meat is strategy,” as the author put it. It was meant to signal that women weren’t obsessed with their health or their diet – a way to reassure men that, should a relationship flower, their girlfriends won’t start lecturing them about what they should eat.</p> <p>Even in the 21st century, echoes of cookbooks like “The Way to a Man’s Heart” resound – a sign that it will take a lot more work to get rid of the fiction that some foods are for men, while others are for women.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/124147/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><em><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: http://theconversation.com/republishing-guidelines --></em></p> <p><em><a href="https://theconversation.com/profiles/paul-freedman-306213">Paul Freedman</a>, Chester D. Tripp Professor of History, <a href="http://theconversation.com/institutions/yale-university-1326">Yale University</a></em></p> <p><em>This article is republished from <a href="http://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-steak-became-manly-and-salads-became-feminine-124147">original article</a>.</em></p>

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