Balmain has invariably been raising female powers by carrying out modern and edgy styles. In the Balmain Spring 2017 campaign, they published a three models’ posing picture. The all of three models were wearing gold and black collection and looking intense away from the camera. In the photo, the models are wearing sheer tops, which is advancing “free the nipple moment.” The gender which is represented through these models are not archetypal compared to other brands presenting female parts, yet it still shows importance in the modern explanation of gender. There are no men models in the photo, but the women, who are holding microphone, look as if they are the leaders. Even though there are feminine looks contained in their garments, the chains and linear black lines present their intense and chic looks. The model in the middle did not obscure her naked chest at all, which actually undermines the gender norms. In the society, our norm is that women still need to cover their nipples. However, this Balmain advertisement does not let their models look timid nor ashamed about their chest being out. Their poses are fierce, and glances are glaring eyes, but still, the see-through and graceful clothes still emphasize feminineness of women. Their monopolizing looks assimilated with womanly looks stress beauty, curves, and charm of women. According to one of the chapters of the book, Fashion and Cultural Studies : Gendering Fashion, Fashioning Gender: Beyond Binaries,” Gender is actually not just who we are; it is what we do or perform as we participate in an embodied way with cultural discourses(123),” but in the Balmain’s advertisement breaks it down; the depiction of gender is not typical in the picture, for both femininity and masculinity are expressed through both models and dresses.
McCall, Tyler. “The Balmain Army Frees the Nipple for Spring 2017 Campaign.” Fashionista. January 10, 2017. Accessed February 19, 2019. https://fashionista.com/2017/01/balmain-spring-2017-campaign.
Kaiser, Susan B. “Gendering Fashion, Fashioning Gender: Beyond Binaries.” Fashion and Cultural Studies, Bloomsbury Academic, 2015, p. 123.