Friday, April 9, 2010

Sperminator Salvation

For my final english essay of the year, I decided to analyze "Adventures in Sex City" as a sexual education manual. Most of this was written at 4am on three pots of coffee... so please excuse its lack of coherence at times... I took this topic pretty seriously, but my dear friend (and fellow student with vampire sleep tendencies) Kai thought my essay was ridiculous.  I acknowledge that I wrote 2 pages on a dude named "Sperminator" so anyways... enjoy (this abridged version).



Videogames are a common pastime for people of all ages.  Adolescents make up a large population of the people who play online games, and the prospect of making a sexual education text in the format of an online game targets that specific audience.  “Adventures in Sex City”, a trivia game, was created by the Middlesex-London Health Unit in Ontario, and was intended to educate a mature youth audience on the risks of unprotected sex.  The characters are unrealistic and comical, there is a lack of education in how to protect oneself, and the game depicts men as being responsible for sexual risks, which is represented by the “Sperminator”.  “Adventures in Sex City” reinforces stereotypes of sexuality through the use of provocative imagery; the text fails to establish a reputable ethos, due to its exaggerated and comical representation of sexuality. 
The characters in the game are childish, which diminishes the text’s appeal to its intended mature audience.  There are four characters to choose from when playing this game, and they are all part of the Sex Squad: “An elite team of superheroes dedicated to keeping the citizens of Sex City safe from STIs (sexually transmitted infections).” (Middlesex-London Health Unit)  The vocabulary used to describe the squad is reminiscent of a comic book, except these superheroes are not fighting villains, they are fighting STIs.  Comic books are marketed towards a younger audience, generally males around the age of ten.  However, this sexual education manual is intended for teenagers, and the use of comic-book themes is not age-appropriate. 
            Wonder Vag is one of the characters from the Sex Squad.  Her special power is that she is a human lie detector.  “Wonder Vag is a virgin, believes in true love and promotes abstinence until marriage.” (Middlesex-London Health Unit)  Wonder Vag’s character is a spokesperson for the abstinence method of birth control.  She has blonde hair and large blue eyes, which are features that are associated with purity.  She dresses more modestly than Power Pap (the sexually active female character), which promotes the stereotype that girls who dress conservatively aren’t sexually active.  Wonder Vag has been constructed to symbolize abstinence. 
            However, Captain Condom was created to encourage the use of prophylactics.  Captain Condom is half man, half condom and his superpower includes the ability to stretch to any size like a condom.  He is tall and muscular, and wears a blue unitard with a condom hat.  His character is strong and masculine, and these positive qualities make condoms appealing.  The name “Captain Condom” appears to be satiric, poking fun at other superheroes whose names are alliterations.  The problem with the character’s name is that it elicits a negative response from the audience.  An older adolescent would ridicule the game’s characters because of their childish appearance.  The animation is bright and colourful and does not appeal to an older audience since they are unable to relate to the images and characters.  This tone of the text is exaggerated, and seems as if it is a parody on the superhero genre.  The parody of the superhero genre mocks itself as well, since a mature audience would not take the text, and its cast of cartoon characters seriously. They might feel as if they are being ridiculed by the immature tone of the text, since it has themes and imagery that are associated with young children.  This creates a lack of trust; the audience begins to lose respect for the content of the text, rendering the messages useless.  The credibility of a source is important in education.  “In fact, Levine and Badger (1993) found that the credibility of sources, the use of content that causes fear or warns the learner of a bad consequence, and the way that words emphasize a message, all influence the process of changing attitudes.” (Jensen, 39)  Jensen summarizes how a text’s ethos determines its reception amongst the learner.  “Adventures in Sex City” attempts to change the attitudes of adolescents, and encourages practicing safe sex.  However, this message is eclipsed by the text’s overpowering use of childish imagery.  Since the source’s credibility is undermined, the message isn’t as effective; therefore the “process of changing attitudes” in adolescent sexual behaviour is not successful.
            Secondly, the trivia game uses imagery that attempts to educate, but is unsuccessful at providing all the information, which damages the source’s educational integrity.  When answering a question correctly, the member of the Sex Squad uses a “condom shield” to protect itself from the angry sperm of the Sperminator.  This “shielding” action is a metaphor for condom use, as condoms are a barrier method used to protect against sexual risks.  This representation illustrates how condoms protect against STIs and pregnancy, but it does not elaborate on their effectiveness and how to use them.  This is a major concept that is missing from this sexual education manual.  The producers of the text chose to include facts about sexual risk, but do not offer any educational reinforcements on the usage of birth control.  The game’s value as an educational text is diminished because the applicability of the message is not presented to the audience.  The ethos of the game suffers, because the text does not provide a complete education on how to protect oneself against sexual risks. 

            Lastly, the Sperminator embodies sexual risk, associating males with those dangers; the gender stereotypes produced by this villain damages the text’s credibility.  The Sperminator is the villain of the game and was intended by the producers of the game to incite fear of sexual risk.  The Sperminator is very large in comparison to the other characters, which makes him seem intimidating, and gives him more power.  At the end of the game, when he is defeated, he becomes smaller in size, therefore losing his power.  The Sperminator wears red shorts and a red Mexican wrestler mask.  Red is a colour associated with aggression, and his rage is apparent through his dialogue of angry grunts and growls.  Red can also be associated as the colour for HIV/AIDS.  The wrestler mask shields his identity, making him less relatable and likeable to the audience, but is also a symbol for a fighter.  “The Sperminator was once part of the sex squad.  He got infected with an STI, went untreated and now his goal is to infect everyone with his evil sperm…” (Middlesex-London Health Unit). The Sperminator shoots threatening sperm from his hands that are shaped like penises.  This image is very provocative and carries a lot of negative connotation.  It elicits shock from the audience, as the image of the penis hands is comical and absurd.  The Sperminator associates sexual risk with men, which misinforms the audience about who can carry STIs.  The Sperminator’s “goal” is to infect everyone with his “evil” sperm.  This presents another social issue, as it stereotypes people with STIs.  “HIV-related stigma leads to fear of HIV disclosure, social rejection, inadequate social support, suicidal thoughts, decreased self-esteem, and depression.  HIV-related stigma also may be a factor in determining lack of support in these individuals.” (Grant, Keitner & Prachakul, 68).  The text promotes the ideology that someone with an STI has the malicious intent to infect as many people as possible.  This associates a negative perspective on people that are suffering from diseases like HIV, and does not educate acceptance and tolerance among youth.  HIV-related stigma causes a lot of social problems that isolate people living with HIV from the rest of society.  The representation of sexual risks in this text produces a very narrow perspective on who carries STIs which promotes the stereotypes that exist in society.  This depiction of sexual risk is a detriment to the text’s credibility as it misinforms the audience.  The Sperminator’s character is absurd and offensive, which further isolates the learner from trusting the messages presented in the text.
            “Adventures in Sex City” is unsuccessful of establishing an educational tone, due to its use of exaggerated and comical imagery.  The characters are childish and are not relatable, the text neglects to fully educate the audience on prevention, and the villain of the game is an absurd illustration of sexual risk.  “Adventures in Sex City” appears to be a parody of superhero video games and sexual education manuals.  However, the online trivia game is serious in its intention to educate youth and promote prevention and testing.  Unfortunately, no one can take a villain who shoots sperm out of penis hands seriously, and the text loses its integrity due to the ridicule from the audience.  

Wednesday, April 7, 2010

Avatar


Punchy lips (that have rubbed off after an apple and subway ride later) and white-out eyes... Topped off with a ponytail that is reminiscent of Cameron's flick about the Navi people whose ponytails are used to ride 'horses' and have sex.

This is definitely a look I never go for, since I can't live without winged out eyeliner and my hair in Rita Hayworth waves - when it behaves at least.  All the girls at Mass Exodus have their makeup done the same way, I'm curious to see how my hair gets done tomorrow though...

At 6pm in the Ryerson theatre, a photographer from Flare will be there to snap pics of the models, so hopefully I will look my best.

Tuesday, April 6, 2010

Mass Exodus

Retail Therapy: Ryerson’s graduating show — stars of tomorrow’s fashion weeks

I'm so excited to be a part of this!


Here's a sneak peak of what the stage looks like.  Can't wait to strut down the runway tomorrow.

Monday, April 5, 2010

Coco Coke

Le maison de Chanel seems to be branching out in every way possible.  Chanel is without a doubt my favourite label.  Coco Chanel is the most influential designer of all time and the brand still reflects her classic approach to style.  However, Chanel seems to be everywhere these days, from fake purses in Chinatown to temporary tattoos (that cost $80 a pack) seen on Sarah Jessica Parker and fashion victims everywhere.

These tattoos piss me off to no end. Chanel has branded a makeup technique they used for their Spring/Summer 2010 show, and have packaged it for the masses...as long as you're willing to shell out $80 for them.  To put that into perspective, if you work minimum wage, you would need to work nearly 8 hours to afford these.  I agree, they are a great take on body art (without the commitment of a real tat) but you are transforming your own SKIN into a "billboard" for Chanel.  I love the label and yearn to own a 2.55 bag someday.  However, when I will wear that bag, I understand that I will be advertising Chanel, but I will also have a functional item that lasts a lifetime, instead of black ink that will wash off in a few days.  I could easily afford these tattoos, but I'd rather spend my $80 towards a new pair of shoes.

Chanel isn't just on skin...

Karl Lagerfeld, genius behind the image of Chanel today is a spokesperson for CocaCola light.  Great.  The most popular beverage in the world (besides water) now comes in "designer" form. 

This French ad starring, Coco Rocha and Baptiste Giacobini will be launched April 28th all around Paris.  But the bottle of coke won't cost a couple euros... expect to pay 47 euros (thats around 64 dollars US). 

Other designers have made designs as well, including (from left to right) Alberta Ferretti, Blumarine, Etro, Fendi, Marni, Missoni, Moschino and Versace... the list continues.


The bottles are cool, and I like how the fashion designers are bringing art and creativity to the classic bottles.  Too bad they weren't more affordable... They are obviously collecter's items that will end up selling for double on eBay, only to have a life on the bookshelf of someone label obsessed.

I think Coco Chanel just rolled around in her grave... if only she knew how her name and vision was being abused.


Sunday, April 4, 2010

Hello my love... Koop Island Blues



I would like to credit this discovery to Woreshmean... since listening to this song last night, I can't get enough of Koop.  This song, in particular intrigues me.  The video is sexy, albeit sad, but it just makes me want to run away to Paris.  The song meshes jazz, blues and a hint of electronic.  Created by using samples of (I guess vintage?) music clips that are strung together, the sound is space-y and magical.  Like Girl Talk, but less schizophrenic and ADD... and I'm always a sucker for that swingy jazz sound.  So until Amy Winehouse gets her act together and puts forth a new album, I'll be listening to Koop, featuring the gorgeous voice of Yukimi Nagano...





The video above is nostalgic and evokes the spirit of the 20s... with silk dresses, pearls and feathers abound.  I was clearly born in the wrong time period. 

Friday, April 2, 2010

Breeyn McCarney, The Starving Artist in a Hard Boiled Wonderland

The Starving Artist café is located in the centre of Bloordale Village in Toronto.  The place was dark, and a large fish tank provided kitschy décor.  A bar is converted into a kitchen, and several round tables take up every available space for seating.  About five people work behind the bar, pouring batter into waffle makers and flipping pancakes while grilling bacon.  A barista pours a cappuccino into a glass cup and takes it over to a couple in their 20s.  Although it had a cliché name, the café is filled with a diverse crowd on this particular Saturday afternoon.  Most of them are in their mid to late 20s, and chatted with friends over coffee and waffles.  Although there was a lot of ambient noise, coming from the jazz music in the background, and several other conversations nearby, the atmosphere was cozy.  When Breeyn McCarney came into the shop, dressed in jeans and a grey sweater with her hair in disarray, she looked as if she had pulled a few all nighters.  This was definitely the case, as McCarney, 31, just presented her first solo show as a fashion designer only one night before.

                                                     McCarney taking a bow at her show.  

        McCarney’s signature line, Breeyn McCarney had its Fall/Winter 2010 show on Thursday, Mar. 18, at Courthouse.  The show was entitled “Hard Boiled Wonderland” and the club was at capacity.  McCarney is a Toronto-based designer, and this was her first solo showing of her eco-friendly line.  Her line’s commitment to the environment is also reflected in her attitude towards society.  Her process of establishing herself as a fashion designer is a unique one as well. 
“Apparently when I was an infant, I was always feeling people’s clothing, which is something I still do now.  My great grandmother, who died a couple weeks after I was born, was holding me and I was apparently feeling up her sleeve.  She was this old, Hungarian gypsy lady, who barely spoke any English, and she told my grandmother and my mom that ‘fabric, textiles, she’ll work with fabric,’” says McCarney.
McCarney, who was raised in Windsor (and hates to admit it), was always interested in fashion as a child.  She would create dresses for her dolls, and believed that Kermit the Frog was a girl that needed to be outfitted in frilly tutus.  She had a peculiar habit of dressing up in whacky costumes and doing everyday chores for neighbours.  Activities like these were part of the “Strange Club”, where McCarney was the founder and president. She studied oil painting as a kid, and started to get professional lessons from a tutor around the age of 12.  McCarney viewed University as a ticket to get out of Windsor, where she never felt like she belonged.
McCarney studied fine arts and oil painting at York University, but felt confined by the program.  She would stay home all day and make clothing, and it was her boyfriend who helped her come to the realization that she should pursue a career in design.  In her second year, McCarney had paint a still-life of fruit, and her boyfriend came up with a brilliant idea.  “I cut an orange in half, painted the canvas orange and glued the orange on, and I took it into class.  They thought it was genius, they talked about it for an hour.  They thought it was this huge social commentary.  And I was like “This is bullshit!”  I’m not doing this anymore, I’m not wasting my money on this.  I just realized I was there with a bunch of people trying to pretend we were something we weren’t.”
McCarney began to design full-time, and thanks to another boyfriend, she decided to follow her dream of studying at Central Saint Martins College of Art & Design in London.  The school boasts alumni such as Alexander McQueen, who is McCarney’s idol.  “He kind of shaped my entire approach to fashion.  There’s so much craft in his work. Every piece is a beautiful piece of art, but you can also wear it,” says Breeyn as she reminisces on the late artist.  While at Saint-Martins, McCarney studied tailoring, which strengthened her skills as a designer.  “I knew the importance of having a solid background in construction, even if you’re not making suits,” adds McCarney. 

                                           Illustration by Breeyn McCarney

While in England, McCarney worked for accessory designer, Shirley Geek and would spend eight hours a day beading.  She says it was one of her favourite jobs ever, and was lucky to be there at a formative time, which gave her the opportunity to grow with the company.  McCarney applied for immigration, but was denied.  She says, “It was a severe roadblock to my career to have come back here, but I’m recovering.”
McCarney explains that it’s hard to be a designer in Toronto because the industry is a small, tight-knit community which makes it harder to break into.  There is a concentration of talent, which is the only real benefit for her, since the high cost of living in Toronto makes it more difficult to get by, even though she does not buy into consumerism.
“I think a lot about the collapse of society, and I think it’s really imminent.  We need to start to think how we’re going to survive that as a race,” says McCarney.  She is a firm disbeliever in “fast-fashion” which includes mass retailers like H&M who churn out garments of poor quality that hurt the environment and support sweatshops overseas.  McCarney believes that clothing and food are the two most undervalued things in society, and that mass production is a major problem with society.  She believes that being green is a second nature to her, and is not capitalizing on the green trend.  
McCarney’s mission as a designer is to create clothing that will be cherished by its owner for years to come.  “I want my pieces to be something you give your granddaughter,” says McCarney.  Her line is custom made so that every piece fits its owner perfectly.  “A lot of body image issues come from us not fitting into clothing.  One size does not fit all,” says McCarney.  She likes to think of her line as "accessible couture", and hopes that the fashion conscious set will start to support local designers by choosing to get a dress that is unique, instead of one that has been mass-produced by a large retailer. 


McCarney’s Fall/Winter collection has a colour palette of subdued pastels and neutrals.  McCarney primarily makes dresses, but experimented with knitwear, which was received well by the audience.  Her dresses played with texture, yet were light and airy. A strapless dove gray dress was embellished with strands of black beads, which cascaded down the front of the dress. Other pieces were accented by repurposed fur, feathers and prints that were painted onto the fabric.  Fur in fashion is looked down upon, but McCarney tries to use ethical fur from trappers, or recycles fur from vintage finds.  Models wore their hair in large and tousled Victorian styles that were accented by dried flowers.  One accessory that stood out from the show were the brass knuckle rings made of delicate, small pink roses.  McCarney applies her skills in knitting, oil painting and beadwork to each unique piece.  The looks have an aesthetic that is organic and slightly dishevelled, while still retaining innocence. 
                                              Models wearing McCarney's designs.

The “Hard-Boiled Wonderland Collection” was inspired by the bleakness of society’s future, and the fight to survive.  McCarney lived in Beauval, a small town five hours north of Saskatoon, Sask. while designing this collection.  She lived in the middle of the woods and felt very isolated but was inspired by the bleakness of the environment.  She came across a collection of images entitled “The Ruins of Detroit” by Yves Marchand and Romain Meffre.  The photos depicted abandoned buildings in Detroit which were architecturally stunning, but have been neglected by society. 
     Downtown Detroit by Yves Marchand & Romain Meffre

      Whitney Building by Yves Rochand & Romain Meffre

The title for her collection is unusual, but McCarney put a lot of thought into choosing one.  She originally wanted to entitle it, “The End of the World” but thought that it was too heavy.  McCarney was inspired by Japanese novelist, Haruki Murakami who wrote a dystopic novel: Hard Boiled Wonderland and the End of the World.  McCarney took the first part of the title of the dreamy and bizarre book to name her collection.  The novel and McCarney share a similar ideology of being able to find the positive when affronted with hopelessness.  “In order to get through life, people really need beauty.  And that’s the artist’s role in society; to find beauty in pain.  All of these things might have combined and made me found beauty in despair.”
                                      From her Lookbook...
www.breeyn.com
Follow Breeyn McCarney on Twitter
Hype Breeyn McCarney on Lookbook


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