la femme-enfant

 La femme-enfant est plutôt bien vue dans la société./ The woman-child is rather welllooked upon in society.(harhar , how come, would that possibly be of any interest ?)

What does the term “femme enfant” mean to you? 
Simon Porte: The femme enfant is this very French idea of a woman who never quite left childhood behind. You couldn’t quite tell whether she is a girl, a woman, or a girl trying to be a woman. It could be a 20 year-old girl or a 40 year-old woman who, taking her kids to school, realises in some ways she is more childish than they are. My own mother is a bit like that, but she always expresses it in a very subtle way. A true femme enfant is never too obvious or exaggerated.
Why did you decide to make a film about her?
Simon Porte: The femme enfant was the inspiration behind my  collection. I’m quite obsessed with  the idea of childhood, the fun, the playfulness, the carelessness… and I think it always shows in my collections; but this season, as I was designing, I started to imagine all this story about a young femme enfant who lives like children live: she plays, she draws, she eats… and I translated all that into the naïve shapes, the colour contrasts and the oversized graphic shapes of the collection. And, since the collection started with a story, it quite naturally turned into a short film.

http://www.dazeddigital.com/fashion/article/21571/1/exclusive-jacquemus-s-la-femme-enfant

 "In 1970 the movement was called 'Women's Liberation' or, contemptuously, 'Women's Lib'. When the name 'Libbers' was dropped for 'Feminists' we were all relieved. What none of us noticed was that the ideal of liberation was fading out with the word. We were settling for equality. Liberation struggles are not about assimilation but about asserting difference, endowing that difference with dignity and prestige, and insisting on it as a condition of self-definition and self-determination. The aim of women's liberation is to do as much for female people as has been done for colonized nations. Women's liberation did not see the female's potential in terms of the male's actual; the visionary feminists of the late sixties and early seventies knew that women could never find freedom by agreeing to live the lives of unfree men. Seekers after equality clamoured to be admitted to smoke-filled male haunts. Liberationists sought the world over for clues as to what women's lives could be like if they were free to define their own values, order their own priorities and decide their own fate. The Female Eunuch was one feminist text that did not argue for equality." in Greer, Germaine
 http://en.wikipedia.org/wiki/The_Female_Eunuch

 www.surrealismcentre.ac.uk/papersofsurrealism/journal9/acrobat_files/McAra 13.9.11.pdf
 Breton‟s conception of the femme-enfant as an enchanting, liminal and rebellious figure has often been dismissed as a conservative, and ultimately sexist, idealisation. According to Whitney Chadwick, the surrealist search for the woman-child' was one for a figure whose presence 'inevitably, and perhaps more than any other single factor,' worked 'to exclude woman artists from the possibility of a profound personal identification with the theoretical side of Surrealism.

  oh well , finely someone agrees on this imposture-thing (imo)
Other controversial points in this book include Greer's opposition to accepting male-to-female transsexuals as women: "Governments that consist of very few women have hurried to recognise as women men who believe that they are women and have had themselves castrated to prove it, because they see women not as another sex but as a non-sex. No so-called sex-change has ever begged for a uterus-and-ovaries transplant; if uterus-and-ovaries transplants were made mandatory for wannabe women they would disappear overnight. The insistence that man-made women be accepted as women is the institutional expression of the mistaken conviction that women are defective males."