Displaced Beauty: Erasing Foundations and Drawing On What Is New

November 8, 2015

The Appropriation and Inspiration of Nefertiti in Fashion Photography

There is a loss of identity that comes with this shift from Black beauty, to an over-representation of light skinned or white woman as Nefertiti. Cankech states “Black Queenship within Western Contextualization, has seriously damaged and caused confusion in the sphere of knowledge construction and imagination.” (106) To appeal to the masses, and conform to an ingrained notion of beauty, the wealth, the plentiful resources and strength of a country, of its people, and of the time, has not been addressed. Consequently, girls of African heritage are not able to “locate any examples [of intellectual and physical beauty] to stimulate and inspire their minds beyond fulfilling the purpose of colonial education, which in fact was designed to boost their subordination.” (Cankech 114)

Our understanding of Black beauty then is something that is being compromised, and altered and made into something new. Can there be visibility without (mis)representing Nefertiti on the basis of ethnicity? Will only white skinned versions survive? Will girls (as Cankech notes) continue to grow with no existing knowledge of their own strength at the cost of these newer renditions and alternate takes on Nefertiti?

The answer simply is not so black and white. As seen above, figure 1 and 2 show variations of white woman, emphasizing their facial features and expression. The play on jewelry in the first image (figure 1) shows the importance of the neck piece, of the richness of color (note the deep violet alongside small parts of blue, and red,) that is highlighted by the model’s gesture to her décolletage. Figure 2 has pronounced circular disc earrings, and the pure gold band of her headdress is reflecting, much like her eyes, wing-tipped in a sharp black and appearing off in a gaze of mystery and thought. Her crown maintains the image of a snake curling it’s way up the center of the band leading our eyes to the second band colored with turquoise and red, and once again, gold.

Figure 3 and 4 have opposing side views, the first has a long wing tipped eye with dark coloring to enhance the eye and brow. Her neck is extended, and her hair is pulled back within the structure of her interwoven, braided hair. A solid gold crown forms around her head, wrapping itself alongside her ear and curving away from the neck, and just at the top of her head, a snake curves it’s head and emphasizes her position.

Figure 4 we see a woman standing with a smoothed bee hive hair style and her bangs, curve at a smaller scale that is reminiscent of a cobra, which together become like Nefertiti who emphasized the crown of the head, and the mind. Below, the rendering of the crown through shaping the hair in a close fit towards the head then expanding out, becomes typical in defining Nefertiti again in a new era.

Figure 5 and 6

In figure 5 the models hair is brushed across the forehead into a band and molded upwards to fit a crown. A gold head piece is placed at the center of the forehead with a bird flourishing with open wings. Perhaps due to the plumes this gold piece was chosen as a reflection of the Atef crown, otherwise the representation of a vulture is an inaccurate style choice that went against the newly formed religion based around Aten. The black eye liner reaching the same length of the eyebrows as figure 1, and a defined jaw line emphasized by the directional light chosen by the photographer. There is a radiance of gold tones and dewy skin that reflects more than light, but a Queen-like stance.

The model in figure 6 gestures to the white-wrapped crown which allows viewers eyes to move from the highest point to side glance facial features and natural wood based jewelry. There is a color difference of neutral tones that move away from the vibrant colors found on Nefertiti’s bust.

Figure 7 and 8

Figure 7 has a fullness of hair that is texture based, and indicating Nefertiti in form only. Her eyes are lined black twice, once alongside the base of the eye, and secondly in the middle of the white eye shadow on top of her eye lid that goes beyond the brow line. The photographer chose a light that hit her face at the temple and touching on the lips. There is an absence of colorful makeup, and instead a focus on a nature-based beauty. Her neck like the above follows suit of Nefertiti’s bust, and also departs from the traditional view by holding herself; her right arm crosses the left and her fingers bend almost as if curved like a group feathers.

Figure 8 illuminates the richness of Nefertiti’s bust even with being in black and white. Attention to the way human’s have the ability to shift and be mobile, is noted with the rotation in Streisand’s upper body. Unlike the still representation of Nefertiti’s bust, this slight twist keeps the collar in view, and impresses action through an opposing stretch of her head forward and out. Elongation is seen with the crown expanding with movement away from the top of head. In continuance of this take on Nefertiti, I move onto an alternate photograph depicting Streisand as this Egyptian Queen.

Figure 8 continued (in color)

Figure 8 in color reflects the black and white image of Streisand as noted above. This is the only image I have found during my research (as of yet,) that showcases the original (replica?) of Nefertiti’s bust as well as a fully clothed human rendering of the Queen. In being in the same frame, the similarities as well as differences between Nefertiti and Streisand are shown. The focus on either is determined by the audience, and through observation I have found much to be revealed by the factors of composition, choice of color, and light.

Streisand takes a stand traditionally like Nefertiti and places herself as godlike and someone to be worshiped. Figure 7 who relates to Nefertiti by stance and way of crown, albeit hair, has a natural presence in it’s own right, and links the pride of the past with that of the present, which opposes Streisand who, in replication, models not only the bust, she completes Nefertiti’s form.

In staging this photograph in a comparative way, we see in the foreground that Nefertiti is cut off at the bust (by design) whereas Streisand is standing in a full, flowing blue dress with a gold empire waist line, collared necklace, and blue crown patterned after Nefertiti with a uraeus or upright cobra and ribbon that wraps around it.

There are richer tones and coloration in Streisand’s figure as opposed to the bust; that is, the diffused lighting on the materials of limestone and clay do not offer the bright reflection as seen on the Streisand’s smooth skin, and instead the representation of flesh becomes almost muted, especially against the backdrop. Although Nefertiti’s bust is at the front of the photograph and Streisand is a side-step behind her, it is Streisand who steals the focus. They are both present figures, however, in being forward, Nefertiti is placed backwards, almost disappearing into the beige tone of the walls, whereas Streisand’s fair skin stands out against the chestnut colored wall and black frame of the entry way.

Stokstad, Marilyn and Cothren, Michael. 2011, Prentice Hall. Art History Fourth Edition

Cankeck, Onencan Apuke. 2010, Toronto, ON. Examining the Wrongs Against the Present African Women: An Enquiry on Black Women’s Roles and Contributions from Antiquity – A Black African Male Scholarly Comparative Perspective.

Images:

1 http://nefertara.tumblr.com/post/27256702860/me-from-my-latest-shoot-with-the-talented-brit

2 https://s-media-cache-ak0.pinimg.com/236x/5f/ae/27/5fae277e609f866dfb9a834bfccbf32b.jpg

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