A Quote by Deniz Gamze Erguven
There was something, which was the turning point: I felt very strongly that women were sexualized, and perceived like they are sexual in every move, and it started off really early.
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When I first started designing sportswear, I felt that women weren't represented in sports performance. I felt that men were dressed really well both technically and visually, and women were almost like an afterthought.
I feel like we're looked at as either completely nonsexual characters or overly sexual characters, and I feel like that affects how we're treated in the public space by men. I believe that women of color experience street harassment in a very hyper way. So I wanted to draw these women in their very normal, regular states and put those images out there in the public for people to see, instead of these other, very sexualized, images of women.
A lot of it was really, really fun, but at some point, things started getting weird. We didn't allow each other to breathe. We didn't really have a sense of ourselves individually. We were very insecure... We were really threatened by the thought of 'Oh my God, what if someone goes off and does something outside the band?'
Sex as desired by the class that dominates women is held by that class to be elemental, urgent, necessary, even if or even though it appears to require the repudiation of any claim women might have to full human standing. In the subordination of women, inequality itself is sexualized, made into the experience of sexual pleasure, essential to sexual desire.
In every successful still photographic project that I have completed, there has always been a turning point in the story where I felt that perhaps I was working on something that could be very special.
When I was making films [early in my career] there were very, very few female directors, and there were certainly no women on set, which made taking one's clothes off all the more difficult.
If I'll be sexualized, it wouldn't be because I was wearing sexy clothes, because I look like a baby. But music is an inherently sexual thing. If something sexual is going to be expressed, it's going to be in my music.
I've always explored things that people find a bit more freakish, like free jazz, and I'd gotten to a point where the live music I was making was really hectic and turning much more confrontational. So when I started working on Everything Ecstatic, that was very normal for me. I think it was a departure, but people read it as an escape from something, whereas every record I do is, I feel, a departure.
The sexual revolution produced cultural convulsions that were unparalleled in the 20th century. The female sex was historically sexualized and required to have orgasms for the first time. Sexual "deviants," particularly homosexuals, achieved partial emancipation.
When I started out in fashion, everything had to be very structured and tight and controlling, and now I'm getting to a point where I think - I could wear a great big parka, that could be quite fabulous. I haven't always got to show off my size, show off my shape. It's a turning point for me.
Making women the sexual gatekeepers and telling men they just can't help themselves not only drives home the point that women's sexuality is unnatural, but also sets up a disturbing dynamic in which women are expected to be responsible for men's sexual behavior.
If you're talking about the narrow issue of public assistance, I would like to see us move to a more healthy system. But until we come up with certain guarantees - for example, guaranteed jobs where mothers move off welfare - I support welfare very strongly. The worst thing we could do is impose time limits and then expect people to sink or swim once they move off welfare.
When I started, there were very few women at the managing director level and very few who had families, which is something that was important to me. So it's not like, when I looked up, I could say, 'Well, that's who I want to be.'
In the early '90s, it felt like there was space - there was like an empty feel. There was nobody really doing this. Maybe the Pixies were, a little bit. Their lyrics were also disjointed, more psychosexual or something. That's part of youth, too, maybe, that you just feel like you're doing something different.
I felt very strongly the whole social impact of that depression, you know, and I felt very strongly about the efforts that this Resettlement Administration was trying to accomplish; resettling people, helping them, and so on.
When Evanescence took time off, I bought a big concert harp and started taking lessons like I was in high school again, which was really, really fun. I felt like I was learning again.
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