Last Thursday, Crystal Renn, the model who recently appeared in a Vogue Japan spread with her eyes taped in ways that were suggestive of an old theater makeup trick meant to make white actors look “Asian,” offered an explanation and defense of the cosmetic practice. Tape, it should be noted, is only one of many tools in the arsenal of this particular form of racial drag, also known as yellowfacing – a practice that is literally older than America. Contrary to popular headlines suggesting that “yellowface is the new blackface,” there is nothing new or novel about yellowfacing. One of the earliest incidences of yellowfacing in the U.S. occurred in 1767 when Arthur Murphy presented his play The Orphan of China in Philadelphia.

What interests me about this moment of racial drag or “transformation,” as Renn’s called it, are the reactions to it and her own explanation of the decision to tape her eyes. In last week’s published conversation with Jezebel editor Jenna Sauers, Renn insists that she “wasn’t trying To ‘look Asian’ in that eye tape shoot”. And I wanted to believe her. I have great respect for Sauers. Her writing has always displayed a great deal of thoughtfulness and acuity and she’s been a generous supporter of Threadbared for a long time. For all these reasons, I approached Sauers’ conversation with Renn as a generous reader, willing to be convinced. After all, Sauers initially assumed Renn was yellowfacing too. If she could be surprised with Renn’s explanation, I thought I might be too.

Here’s how Renn explains the eye-taping:

In a way you become something else.

No, it tends to be when there’s more makeup and drama. And the point is transformation.

To transform is the greatest part of my work. It’s the thing that makes me the happiest. And to be able to try to do as many looks as I can and to show as many faces as I can, it’s exciting to me . . . I’ve had moles painted on my face. I’ve had freckles painted on.

I become something else.

We didn’t even think about [race] on the shoot. I’m the one who suggested it, and it didn’t even cross my mind. It’s something that I regularly ask makeup artists, you know, if it will bring something more to the character. Offer a different face.

As the model, as somebody who thrives on the transformation, I am beyond thrilled to do stories where they change my gender, where they take me and make me something completely different.

What is so striking about Renn’s explanation is its ambiguity. She never says what look she was going for – just that she intended to become “something else.” This intangible “something” that has more “drama”, more “character” , and is so “exciting” is, for Renn, not racially specific. It is instead a generalized exotica, an experience of vague sensuousness. But do racist acts require intentionality? And what are the implications of Renn’s deracialization of a practice that was so clearly racist to so many people?

“Eating the Other”

Renn’s understanding of this “transformation” is reflective of a broader cultural logic in the mainstream fashion industry that has historically viewed and engaged with racial difference as a depoliticized and dehistoricized aesthetic. Racial difference, evacuated of its history and politics, becomes a set of design elements and sartorial flourishes (a kente pattern here, a frog closure there, a Native headdress on the weekend – why not?) that are absent of meaning and context. Fashion’s depoliticization of ethnicity and race rely on and reproduce what Nirmal Puwar calls “the amnesia of celebration.”

The problem is that the violent racist abuse meted out to Asian women who have worn these items has no place in the recent donning of these items. . . “Do you remember when you thought we were ugly and disgusting when we wore these items?”

The amnesia of celebration forgets (willfully or not) the historical and ongoing violence that women of color bear wearing the very same garments on their bodies while looking like they do – rather than like Renn does (or Madonna, Gwen Stefani, and the list goes on). The eye shape Renn creates using tape is one that has given rise to schoolyard taunts, sexual harassment, mockery in real as well as fake Asian languages, nearly a century of immigration exclusion, employment discrimination, fetishization, and much more for Asian women who were born with these eyes. Not what you’d call an “exciting” experience. That Renn is able to feel “transformed” through and by this cosmetic trick of racial drag – one she equates with other tricks like fake moles and freckles – underscores the capacity of white bodies to play with race without bearing its burdens, without having to even acknowledge the existence of these burdens. Thus, the transformation Renn experiences and achieves is conditioned by her whiteness and the privileges that accrue to her racially unmarked body. At the same time, her transformation is possible only because of her proximation and consumption of otherness. The function of Otherness – even one that is unacknowledged by her – is reduced to the servicing of white women’s transformation.

This desire for transformation through the Other is not unique to fashion; it is connected to a much longer history of what Black feminist scholar bell hooks (always in lower case) calls “imperialist nostalgia”: the longing of whites to inhabit, if only for a time, the world of the Other. Bodily transcendence through sartorial and cosmetic play is enacted by the consumption of otherness – a “courageous consumption,” in hooks’ words – because it is about “conquering the fear [of racial difference] and acknowledging power. It is by eating the Other,” hooks explains, “that one asserts power and privilege.”

But Renn wasn’t “even think[ing] about [race] on the shoot . . . it didn’t even cross [her] mind.”

Here, I want to return to my earlier question: do racist acts require intentionality? The obvious answer is no. A well-intentioned compliment about how well I speak English or a clumsy flirtation that begins with a deep bow like I’m the Dalai Lama (both have happened to me) are meant to be friendly gestures that close the gap of racial difference. (“Don’t worry – I’m culturally sensitive.”) Yet, these examples are clearly born of racist ideologies about what “real” Americans look like and what are “real” Asian cultural practices. Racism is so deeply entrenched and pervasive in many societies (the U.S. context is not exempt but neither is it exceptional) that everyday racism, the kind of racism that is experienced in civic life (through social relationships, media, interpersonal workplace dynamics, etc.) is often unintentional. On the other hand, what is always intentional is anti-racism. The struggle against racism resists the pervasive ideologies and practices that explicitly and invisibly structure our daily lives (albeit in very different ways that are stratified by race, gender, class, and sexuality). Anti-racism requires intentionality because it’s an act of conscience.

But I think Renn’s (mis)understanding about eye-taping and intentionality is suggestive of something more than unconscious racism. I think that Renn’s explanation exemplifies how race is understood in this “post-racial” historical moment. What does racial discourse sound like in the age of post-racism? Well, I think it sounds like Renn’s explanation. This isn’t to single out Renn for indictment; instead, my point is to suggest that Renn’s explanation is an example of a post-racial narrative in which race is simultaneously articulated through and disavowed by discourses of class, culture, patriotism, national security, talent, and, in the case of fashion, creative license. Renn’s transformation is conditioned by its proximation to racial otherness and yet the language of creative license (Renn says: “To transform is the greatest part of my work.”) denies race as a driving and organizing factor in this transformation, it denies both her racial privilege as well as the eye-taping technique as a common cultural practice of racism. This kind of post-racial consumption of race in which the historical violence of racial difference makes no difference at all denies the ongoing reality of racism in the age of postracism. It is conditioned by the many privileges of whiteness (first and foremost among these privileges, a racially unmarked body). Recall Puwar’s incisive observation – which I’ve quoted numerous times on Threadbared – “It is precisely because white female bodies occupy the universal empty point which remains racially unmarked that they can play with the assigned particularity of ethnicized female bodies.”

We see the discourse of postracism also in Renn’s assertion that she is “not 100% morally okay with [blackface shoots] — I would feel that I’m taking a job from one of them. I would feel that I’m taking a job from a black girl who deserved it.” Renn’s sensitivity towards the need for more diversity in the modeling industry is not surprising. She has been a vocal proponent of size diversity among models (for a time, she was one of the most successful plus-size models) and has spoken openly about her own struggles with eating disorders and the pressures that come with the constant scrutiny of young women’s bodies in the media.

Her statement that she would never engage in a blackface shoot does two things: First, it elides the issue at hand (yellowfacing) for what seems to be for Renn a more real and authentic act of racism, blackfacing. In so doing, her statement suggests that anti-black racism is the only authentic form of racism worth talking or caring about. Second, it suggests that practices of yellowfacing and blackfacing (like, redfacing and brownfacing) take modeling jobs away from nonwhite models. This logic assumes that these acts of racial drag are meant to represent an actual racial body. Let me be clear: yellowfacing is not a practice of racial substitution, of a white model in place of an Asian model. Photographers, magazines, and designers know Asian models exist and know how to hire them. But they don’t hire them for these jobs because yellowfacing does not intend for audiences to believe that the body in view is actually Asian.

I’ve become really impatient with responses to racist practices of racial drag that involve comments like: “Why didn’t they just hire a Black/Asian/Latina/Native model?” (Yes, I believe there are anti-racist kinds of racial drag.) This question glosses over the actual operations of yellowfacing, blackfacing, etc. which is not about Asianness or Blackness but about Whiteness. It is about consuming Otherness, it’s about making racial difference commodifiable and palatable through whiteness, it’s about reproducing and securing white privilege. To quote hooks again, “eating the other” – hooks’ term for the consumption of difference – offers:

A new delight, more intense, more satisfying than normal ways of doing and feeling. Within commodity culture, ethnicity becomes spice, seasoning that can liven up the dull dish that is mainstream while culture.

__________________________________

NB: It’s unclear to me who is actually to blame for Renn’s eye-taping. She’s insisted that it was solely her idea but editor-in-chief of Vogue Japan Anna Dello Russo has also taken credit for the idea. I asked Ashley Mears, a former model and now sociology professor at Boston University whose book about the political economies of the modeling industry called Pricing Beauty is due out this month from the University of California Press if Renn might be falling on her sword for Dello Russo. According to Mears, it’s plausible that Renn had some creative input. As she explained, “models tend to have very little input in the terms of their work or in how their images are crafted or manipulated. However, at the higher levels of the industry where Renn is working, in which stylists and models work with each other repeatedly on high-end productions, there is a greater degree of collaboration with models, especially if she takes initiative to be involved.”