Back in early February after our long weekend in London, I mentioned that we were headed to Paris in the Spring. A commenter who is also a poet pointed out that London is usually seen as a man’s city, Paris a woman’s, and that he was interested in seeing my take on Paris as opposed to London.
In the meantime - a week or so before we left - A Guide to the Pretty Women of Paris was published. Written by the French foreign minister’s speech-writer, it caused a bit of a stir in feminist circles because it points out where to find the city’s most beautiful women according to age, manner of dress, income level, where you might catch a good view up their skirts, where to find the best-looking legs…
That shred of the lingering adolescent in me was tempted to grab a copy as soon as we got there as a bit of a lark, maybe check out a quarter or two to see if any of it had any truth, but I’m glad I didn’t. Around noon on our first day there, I’d already come to the conclusion it must be more joke novelty than guide.
Unless you’re blind or have a fetish for the morbidly obese, it’s impossible to walk more than a block or two in Paris without coming across a woman who is worth much more than a passing glance. It is full of well-dressed, attractive women of every age and race.
So it’s perhaps fitting that a city whose reputation celebrates the ultimate in feminine beauty should be hosting an exhibition entitled Femmes du Monde - The World’s Women.
The artist Titouan Lamazou spent six years collecting photographs of women in some of the most remote recesses of the planet, using those photos as a basis for portraiture in pencil, charcoal, pastel and watercolour.
Like the life-sized photo of a Mongolian woman sitting in her yurt, the images tempt you to step in and learn more about who they are, what their lives are like, where they’ve come from and where they’re going. A Sao Paolo garbage-picker who became a fashion model, a lone female UN soldier on an African peacekeeping mission, an Australian Aboriginal artist, refugees, factory workers, strippers, prostitutes… All are given equal weight with not a whiff of judgment on their choices or maudlin pity of their circumstances.
Saving the best for last, the exhibition hall terminates at where the concepts of idealised feminine beauty, freedom of choice and the market collide: our mania for plastic surgery and the phenomenon of the Real Doll - made-to-order life-sized male masturbation aides which sell for $8,000 US apiece. If you’ve never heard of the Real Doll, I suggest you click on that link.
On one side, a collection of photos of about 20 women - some pre- and post-op - from Calí, Colombia, the South American capital of surgical silicone.
On the other, a wall-sized photograph of the inside of Real Doll’s factory, their lifeless, spread-legged, open-mouthed female effigies suspended on a curving track along the ceiling like so much quartered beef at a slaughterhouse.
The best for last because the questions are almost screaming at you: Is the Real Doll the pinnacle of beauty that every woman should strive for no matter what the cost and no matter what the risk to her health? Or are the silicone breasts, suctioned hips and trimmed-back labia these women carry around the ideal for Real Doll? Which is the model for which?
This photo doesn’t do the room justice and is actually a little blurry because I took it furtively. But if you’re headed to Paris and would like to see the exhibition in person, it is in the Musée de l’Homme just a stone’s throw across the river from the Eiffel Tower. Due to popular demand it has been extended several times.
© 2008 lettershometoyou






































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