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."