Introduction
Social expectations towards specific phenomena can be difficult to fulfill. Modern society has a particular view of an ideal woman presented indifferent attitudes toward the female gender. “Athleisure, barre, and kale: The tyranny of the ideal woman” by the writer Jia Tolentino is one of the perfect assessments of such opinions, as it explores the primary traits that the modern community expects women to obtain. In her work, Tolentino explores various examples of prejudice visible in multiple social environments. In my opinion, the author precisely captures the typical stereotypes of a perfect woman. In this work, the main points explained by the author will be examined, and relevant examples from my day-to-day observations will be provided.
Main body
The perfect female picture is comprised of specific attributes and visual features. In the work presented, Tolentino explores the generic traits and characteristics considered to be exemplary for any female and outlines the negative consequences of the implementation of such a model. Tolentino argues that the requirements procured are especially appalling and non-sensible. The author describes the picture of a perfect woman as a female of unspecified age who is, nevertheless, youthful and energetic and is bound to present herself as a beautiful individual (Tolentino). The truth behind this statement can be seen in various advertisements and market products that usually depict a female character as young, joyful, and prosperous. It is exceptionally rare to find diversity in such portrayals, as they most commonly utilize the same archetype, consistent with Tolentino’s projections.
Several traits are pertinent to the stereotypical image described by the author. A perfect woman is always surrounded by luxury and attractive possessions in addition to sufficient monetary resources and an exemplary male partner (Tolentino). Many contemporary films and movies regard an affluent female character as having found happiness in a meaningful relationship with a stable partner who can understand her needs. Even though the woman is still expected to be self-sufficient, she is required to obtain a credible relationship to appeal to the expectation (Tolentino). These descriptions are specific to social attitudes towards successful women, which can be seen even in examples from local communities. In my experience, a single female is more likely to confront additional requirements in contrast to a married woman. People often expect an unaccompanied female to start a personal project or find a partner, while a person in a relationship or who is married is not required of such endeavors.
A critical point in this discussion is related to female character changes. In various movies and TV shows, women’s personas are often transformed during the narrative. Such an event is seen as the desired outcome of any female’s personal growth. Many contemporary entertainment units provide a story of an unsuccessful young woman who is single and searching for a better workplace. One of the recent examples of such transformation is the movie “Holidate,” which discusses a young woman who did not desire to have a serious relationship. By the end of the film, the heroine realizes that her true happiness lies in her romantic involvement with the male protagonist. Furthermore, if at the beginning of the movie, the female character is portrayed as vulnerable and downcast, as she acquires the traits of an ideal woman, she becomes more affluent and content. Altogether, the movie industry might often force the aforementioned attitudes on the audience.
The degree of compliance with societal expectations is also included in this definition. An exemplary woman is pictured as accepting the community’s requirements: “This woman is sincerely interested in whatever the market demands of her” (Tolentino). The female in question is presented as willing to acquire the products and views offered to her by society. Multiple advertisement campaigns depict women as incredibly happy and joyful to have received cosmetics or clothing, thus insinuating that a perfect female will always be satisfied by such gifts. For example, many brands, such as Chanel or Maybelline, state that any woman should apply makeup to become content with her appearance. It is suggested that all females use various brands of cosmetics, regardless of their lifestyle.
Most of the issues discussed by Tolentino are present in the advertising industry, supporting the generic stereotypes and negatively impacting women all over the world. Various television and marketing campaigns picture their female characters as desiring specific products, such as cosmetics, body lotions, and makeup tools. In advertisements related to older people, male merchandise, and kids’ accessories, the woman is always portrayed the same: as a housewife agreeing with her husband or children. The primary focus of interest of such characters seems to be exceptionally stereotypical, thus complying with the model of an ideal woman. The impact of such campaigns can be disastrous, as it forces the female to see herself as inferior or undesirable if she does not uphold the same standards. Women might be pressured into changing their appearance and customs to comply with the requirements presented. Furthermore, such pictures and videos can drastically influence the younger audience, compelling them to believe that it is necessary to appeal to the characteristics of an ideal woman.
Conclusion
To conclude, Tolentino’s statements are highly supported by modern advertisement campaigns and instances from everyday life. Several generic traits are present in female characters appearing in advertising videos and television shows. Various examples show that an ideal woman is perceived as a joyful and economically successful individual involved in a serious relationship with a male partner. Overall, the requirements presented by society are often depicted as necessary to follow for female populations worldwide.
Reference
Tolentino, Jia. “Athleisure, Barre and Kale: The Tyranny of the Ideal Woman”.The Guardian, 2019. Web.