The Tale of a Fairy: A Study in Frejanomics and the Catherine McNeil Effect

There is little else in the world of fashion that is more exciting than the Chanel Cruise collections, which are shown in wealth-laden/fantastic/breath-taking locations each year. But this event is not anticipated for the clothes so much as for the inevitable euphoria that comes in the form of Kaiser Karl's endeavours into the world of cinema. Last year, he took us to St Tropez with the gripping feature Remember Now. But for 2012, he has really given it his all, travelling down the coast to the Antibes for The Tale of a Fairy (Part 1, Part 2), starring a frighteningly high-strung Kristen McMenamy, a gorgeous-as-ever Anna Mouglalis, and a curiously talkative Freja Beha Erichsen. There's some pretty boys as well.

Karl's filmmaking skills have certainly improved since last season; in terms of the cinematography, it was very well done, and the acting wasn't quite as horrendously embarrassing and discomforting as it was last time around. Of course, nobody really payed any attention to any of that sort of thing. I mean, I would totes magotes have found those facets interesting. I might even have paid attention to the clothes if Anna's numerous admirers were ever wearing any. As it was, I was distracted by the same thing as everyone else, being the Sapphic shenanigans that completely dominated the final 25% of the film, during which 90% of Freja Beha's fans sighed with cathartic satisfaction.

I mean, as scandalous as it is, who really gives a shit that Kristen McMenamy is apparently carrying on with Baptiste Giabiconi, who is apparently her godson? Who cares about how 'pretty' the film looked, or how 'creative' the collection was, or how 'improved' Karl's cinematic skills are? Keeping in mind that we have not been enticed to look forward to this annual event in the expectation of anything Oscar worthy, one would think that the latter might have been noted more by all the highly educated, realistic, and critical viewers who turned up for the affair. As this was not the case, The Tale of a Fairy will be from hereafter referred to as The Time Where Freja and Anna were Pashing in the Lou. Or, for a multitude of others, The Time Where Freja Was Pashing Someone I Didn't Know, But Imagined was Me, in the Lou. 

I don't know what Chanel herself would have to say about all of this, but I have a feeling that it's not really a good sign when the clothes you have made are not just overshadowed, but entirely ignored because you've filmed FBE enjoying the taste of another girl's cherry chapstick. I read an article a few days ago that I found rather interesting, and actually quite relevant to this case here. Under the title "Skinny Again, Crystal Renn," David P Dykes (the irony is killing you all right now, I know) of fashionising.com muses over the famous anorexic-turned-plus-sized model's recent shoot for TUSH with Ellen von Unwerth, and the concept of the "celebrity model," pioneered by (who else) Kate Moss and attempted by various others, none of whom have managed similar success. He notes that "the Catherine McNeil effect" (a.k.a., when the celebrity of a model takes precedence over their work) is one that a number of models have unfortunately fallen victim to as models become ever more interesting to the public. Renn, who is perhaps the most well known plus sized model in fashion right now (seriously, Tyra, shut the fuck up), is remarkably un-plus sized in the shoot. I would particularly like to draw attention to the final part of the article:

[...] when you're a model your career is dependent on helping fashion houses sell clothing and accessories but their target market sees your photos and take in solely the shape of your body, there's a danger for your career.

In the same vein, I am wondering whether Freja's personal life may threaten the longevity of her career. There are many brands making money off of her at the moment (Georg Jensen and Harry Winston, to name a few), and I am curious to know what about her appeal appears to be driving the sales (assuming that there are no confounding variables in the correlations between her being the face of a brand and that brand's sales spikes). Does Freja sell because of her 'look', or does she sell because of the asterix note that reads "lesbian"?

I find it hard to believe that enough people are aware of the numerous rumours surrounding her personal life for there to be any reason but the former. She is (in)famous across the fashion industry and it's followers, but I think it would be ridiculous at this point to suppose that the majority of the general public even know what her name is, let alone what team she purportedly bats for, and that seems to be the best thing for a model. But with Freja's ever-rising popularity and notoriety, I fear that she may find herself falling victim to a similar fate as her rumoured ex (Side note: if this ends up happening, how incredibly tragic is the tale of McBeha? Someone tell Karl. Sure, a tragic film might get you a SAG award, but a tragic film about lesbians? Charlize Theron and Natalie Portman will be the first to attest that those ones win freaking Oscars.). What happens when people do know her name, and even more dauntingly, care enough to investigate what's going on behind the scenes? How will designers (other than Karl, obviously) react to a model who the public views increasingly as "the lesbian model"?

If the most recent pigeon-holing of Freja as "the androgynous model" is anything to go by, labels are hard to shake in an industry where models are meant to be blank canvasses. The boyish cut Freja sported for a couple of years resulted in a drop in her workload that rattled her loyal fanbase. But hair grows back, and once hers did, the pigeon-holing began to happen less frequently, to the point where she is now garnering more attention from designers with more feminine aesthetics. It is my hope that the growing publicity surrounding Freja and her sexuality does not become a limiting factor in what is an already stellar career, but as Dykes so eloquently indicated, fashion is not supposed to be about the model, but the clothes and the message of the brand that model is promoting. Freja is a good model to be sure, but is she good enough for designers to risk including the (sometimes dangerous) term "lesbian" in their list of attributes? I certainly don't care, but then, I am not a market scientist.

Cometh the Catherine, cometh the Freja.

Peace, love, and floating,
Gill Ford