girl power’s last chance? tavi gevinson, feminism, and popular media …€¦ ·  ·...

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GirlPower’sLastChance?TaviGevinson,Feminism,andPopularMediaCulture

Abstract:ThispaperfocusesonTaviGevinson,theteenagefashionblogger‐turned‐editorinchiefoftheonlinemagazineRookie,asacasestudywithwhichtointerrogatetheproductionandcirculationoffeministpoliticswithina“postgirlpower”era.Drawingontheoriesofperformativity,IemployadiscursiveandideologicaltextualanalysisofGevinson’sself‐producedmediaandmediacoveragetomaphowGevinsonusestheopportunitiesaffordedbydigitalmediatorearticulatenarrativesof“girlpower”andperformafeministgirlhoodsubjectivitythatmakesfeminismaccessibletohermanyreaders.WhileIarguethatGevinson’sabilitytodosoispositiveanddemonstratestheporousnatureofpostfeministmediaculture,IalsosuggestthatwemustbecriticalofthewaysinwhichGevinson’sfeminismfunctionsaspartofherselfbrandthatreproducesfeminismaswhite,middle‐class,and“hip.”Thus,Iconcludebyquestioningalargerculturaltrendtowardsthebrandingoffeminismandadvocatingtheneedforanintersectionalapproachtounderstandingtheresurgenceoffeminismwithincontemporarypopularmediaculture.AuthorBio:JessalynnKellerisaLecturerinNewMediaatMiddlesexUniversityLondon,havingcompletedherPh.D.attheUniversityofTexasatAustinin2013.Herbook,Girls’FeministBlogginginaPostfeministAgeisanethnographicstudyofU.S.‐basedfeministgirlbloggersandisforthcomingfromRoutledgeinlate2015.JessalynnhasalsopublishedworkinFeministMediaStudies;Information,Communication,andSociety;Women’sStudiesInternationalForum,andinseveraleditedcollections.HernewestprojectfundedbytheArtsandHumanitiesResearchCouncil(UK),examineshowdigitalfeministactivismischallengingrapecultureacrossonlineandofflinespaces.AuthorContact:Dr.JessalynnKellerDepartmentofMediaMiddlesexUniversityLondonJessalynn.keller@gmail.com

InaSeptember2012articleintheCanadiannewspaperTheGlobeandMail,

columnistKatrinaOnstadprovocativelyraisedthequestion:“IsTaviGevinsongirl

power’slastchance?”OnstadsuggeststhatGevinson,theChicago‐basedteenage

founderandeditor‐in‐chiefoftheonlinegirls’magazineRookie(rookiemag.com)is

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revivingafeministgirlcultureoriginallycultivatedintheearly1990sthroughthe

feministpunksubculture,riotgrrrl.Gevinson’spublicidentificationasafeminist,

promotionofgirls’communities,andprogressiveRookiearticlesthatmake

feminismrelevanttoteenagegirlsmirrorriotgrrrlpracticesandareasignificant

deviationfromtheapoliticalmediaforgirlsprimarilycreatedbyadults.Thus,

OnstadispartiallyrightinsuggestingthatGevinsonrepresentsaresurgenceofthe

culturalpoliticsofanerabeforeshewasbornandsymbolizesareturntoriotgrrrl

politicsasawaytoresistpostfeministmediaculture.

Yet,unliketheriotgrrrls,manyofwhomshunnedmainstreammediainterest

andattemptedtoavoidcelebritystatus,Gevinsonhascourtedmediaattentionsince

shegainedpublicattentionasaneleven‐year‐oldfashionbloggerandhasbeen

featuredinpublicationsrangingfromNewYorkMagazinetoAdweektoTeenVogue.

Gevinsonhasbeenaninfluentialforcewithingirls’cultureforseveralyearsasshe

transitionedfromquirkytweenfashionbloggertothemediamogulsheistoday,

presidingovertheRookiebrandwhichincludesawebsiteandtwoprintedbooks.In

thissense,GevinsonisindicativeofwhatAnitaHarris(2004)callsthe“can‐dogirl,”

agirlwhoisindependent,self‐madeandambitious,demonstratingawillingnessto

participateinthecapitalistmarketplaceasbothaconsumerandeventually,worker.

Thecan‐dogirlisagirlwhohasembraced“girlpower”andhasbenefittedfromits

incorporationintopopularcultureasahegemonicdiscoursewithinpostfeminist

mediaculture.Thus,this“post‐girlpower”eraisonewheregirlsarenotonly

“expected/demandedtobefullyself‐actualizedneoliberalsubjects”butalsoone

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wherenewopportunitiesforagencyandresistanceemerge(Gonick,Renold,

RingroseandWeems2009,2).

Gevinsonrepresentsanotableyetunder‐analyzedtensionbetweenthe

publicperformanceoffeministpoliticsthatpromotestheformationofgirls’

communities,politicalactivism,andculturalproductionasnecessaryactivitiesfor

girlsandapostfeministmediaculturewhereself‐branding,circulatedvisibility,and

achievingcelebrityisnormalizedforgirls(Banet‐Weiser2012;Hopkins2002).

Whilefeministscholarshaveproducedproductiveanalysesofpostfeministmedia

culture(Gill2007;McRobbie2009;Negra2009),andthe“girlpower”discoursethat

informsthismediatargetinggirls(Zaslow2009;Currie,Kelly,andPomerantz2009;

Hains2012),fewresearchershavegrappledwiththewaysinwhichgirls

themselvesareengaginginfeministpoliticsthroughpostfeministmediaculture.

InthispaperIbegintoaddressthisoversightbyexploringthetensionsand

contradictionsbetweenfeministpoliticsandpostfeministmediacultureusing

Gevinsonasaproductivecasestudytoconsiderthefollowingquestions:Howhas

Gevinsonrearticulated“girlpower”aspracticedbyriotgrrrlswithinRookie’sdigital

mediaculture?Howhasthisstrategyfunctionedsimultaneouslyasawaytocreate

opportunitieswithinpostfeministmediaculturetoperformalternativefeminist

girlhoodsubjectivitiesandtogeneratealucrativeself‐brandforGevinson?What

mighttheseactionssuggestabouttheculturalnarrativeof“girlpower”today,

amidstaculturalcontextwheregirlhoodremainsahighlycirculatedcommodity

withindigitalmediaspaces?

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Iaddressthesequestionsthroughadiscursiveandideologicalanalysisof

Gevinson’sself‐producedmedia,aswellasmediacoverageoftheblogger;focusing

primarilyonthetwo‐yearperiodbetweenSeptember2011andSeptember2013.I

situatemyanalysiswithinabodyofculturalstudiesandgirls’studiesscholarship

thatexaminespostfeminism,neoliberalism,andbrandculturesfromafeminist

perspective.Idrawontheoriesofperformativitytointerrogatethewaysinwhich

Gevinson’smediapersonamustbeviewednotasan“authentic”presentationofself,

butamediatedperformancesituatedwithinaculturethatdemandsgirlsandyoung

womentoself‐brand(Banet‐Weiser2012).

IarguethatGevinsonusestheopportunitiesaffordedbydigitalmedia

productiontoperformandcirculatealternativegirlhoodsubjectivitiesthatdrawon

discoursesofgirlpowerarticulatedbyriotgrrrl,includingthosethatincorporate

feminism,friendship,andpoliticsasapartofcontemporarygirlhoodidentities.This

isasignificantaccomplishment,asitnotonlychallengessomeofthepostfeminist

discoursesaboutgirlhood,suchasthefigureofthe“universalmeangirl”(Ringrose

2012),butalsoservestointroducefeministpoliticstoRookie’swidereadership.

Thus,Gevinsondemonstratesthesomewhatporousnatureofpostfeministmedia

culture,wherebyfeministpoliticscananddoappearwithinpopularmediatexts.

Gevinson’sperformanceasa“mediasavvyinteractivesubject”(Banet‐Weiser

2012)mediatedthroughbothRookieandherextensivepopularpresscoverage

meansthatherfeministpoliticsareoftenarticulatedinrelationtoherself‐brand,

whichisbasedupona“subculturalcapital”(Thornton1996)thatiship,urban,and

popculture‐savvy.BecauseGevinson’sfeminismisboundtightlywithinherself‐

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brand,itistranslatedassomethingthatisprimarilywhite,middleclass,and“cool,”

complicatingthecollectivesolidarityamongstgirlsRookieattemptstocultivate.

Thispaperthenraisesimportantquestionsaboutthepossibilitiesforadiversityof

girlstoparticipateinfeministgirls’culturesuchastheonegeneratedbyRookieand

attemptstointerveneintotheongoingpublicdebateabouttheproduction,

mainstreamingandbrandingofa“hip”feminismwithinapostfeministmedia

culture(Alvaraz2013).

TheTaviBrand:DigitalMedia,EntrepreneurshipandFeminism InanApril2013coverstoryinAdweek,theindustrymagazinedescribes

Gevinsonasa“mediamogul…expandingherempire”(Bazillian2013),pointingto

hersuccessfulnavigationofthedigitalmedialandscape.Gevinson’sbiographyisan

impressivelistofaccomplishmentsthatspansmedia,fashion,publishing,filmand

theaterindustries.Gevinsongainedattentionasatweenfashionbloggerin2009

afterherblogTheStyleRookie(http://www.thestylerookie.com/)captivated

fashionindustryinsiderswithitscreativephotographyandwittycommentary.

SincethenshehaspennedarticlesforfashionbibleHarper’sBazaar,satinthefront

rowofglobalfashionweekshows,modeledalongsideCyndiLauperforJapanese

clothingchainUniqlo,andhasspokenatprominentconferences,suchasTedxTeen

2012.

InSeptember2011Gevinsonlaunchedanonlinemagazineforteenagegirls

titledRookie,whichgarneredoveronemillionpageviewslessthanaweekafterits

launch(Goodman2013).GevinsoncapitalizedonthesuccessofRookieby

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embarkingonacross‐countryRookieRoadTripinsummer2012tomeether

readersandtopromotethelaunchofRookieYearbookOne,aprintedbookof

selectedpostsfromRookie’sfirstyear.Hersecondeditedbook,RookieYearbook

Two,waspublishedinSeptember2013‐‐onlyafewweeksbeforethereleaseof

EnoughSaid,inwhichGevinson’sactingwascriticallyacclaimed.Insummer2014

therecenthighschoolgraduatestarredintheplayThisIsOurYouthinChicago,

whichmovedtoNewYork’sBroadwayinSeptemberforafour‐monthrun,an

opportunitythatledtomediacoverageinW,RollingStone,andTheNewYorker.

Gevinson’ssuccessfulcareerpointstoherabilitytounderstandamedia

culturecharacterizedbyconvergedindustries,onlinetechnologies,andrapid

change(Jenkins2006).Thismediaculturerequiresonetobea“mediasavvy

interactivesubject,”whichSarahBanet‐Weiser(2012)describesassomeonewho

producesmediacontentthatcirculatesacrossmediaplatforms,onewho“‘finds’a

selfandbroadcaststhatself,throughthosespacesthatauthorizeandencourage

useractivity”(56).Gevinson’smediaproductshingeonthispracticethatBanet‐

Weiserdescribes:FromheractiveuseofTwittertocommunicatewithover200,000

followerstoherrelianceonreaderfeedbackonRookie,Gevinsonembracesthe

interactivitythatnewmediaplatformsafford.IndoingsoGevinsonisableto

presentherselfasapeerandconfidantetohermanyfans,anaspectofherself

brandthatshe’smobilizedtocreategirlcommunitiesthroughinitiativessuchasthe

RookieRoadTrip.

Itisworthconsideringthe“findingandbroadcastingofaself”thatBanet‐

Weiserdescribes,apracticethatI’mreferringtoasself‐branding.Hearn(2008)

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definesself‐brandingasthe“self‐consciousconstructionofameta‐narrativeand

meta‐imageofselfthroughtheuseofculturalmeaningsandimagesdrawnfromthe

narrativeandvisualcodesofthemainstreamcultureindustries”(198).This

practice,accordingtoHearn(2010),isafunctionoftheimageeconomywhere

attentionandfameiscapital,andmayincludestrategiesthatrangefromcirculating

awittytweettodevelopingasignaturefashionstyle.

Whilescholarsmostoftendiscussself‐brandinginrelationtoshiftingforms

oflabourwithinneoliberaleconomies,Iaminterestedinhowself‐branding

functionsasagenderedpracticethatcorrelatestothedemandsofpostfeminist

femininity.RosalindGill(2007)andAngelaMcRobbie(2009)havetheorized

postfeminismasahegemonicandneoliberalculturalsensibilitythatrepudiates

feminismasacollectivepoliticalprojectwhilecelebratingtheempowermentof

individualgirlsandwomenthroughapoliticalandcapitalistactivities,includingthe

consumptionoffashionandbeautyproducts,themaintenanceofdisciplinedbodies,

andproductivitythroughentrepreneurship.Itisthislastpointthatisimportantto

considerinrelationtoGevinson.

Postfeminismprivilegesentrepreneurshipasawayforgirlsandyoung

womentoparticipateinsociallife,confirmingandnormalizingtheneoliberalvalues

ofindividualism,self‐reliance,andinnovation(Banet‐Weiser2012;McRobbie2009;

Harris2004).Harrisargues,“Thegirlentrepreneuristheultimateself‐inventing

youngwomanwhorepresentsafantasyofachievementaccomplishedbygood

ideas,hardwork,andself‐confidence”(2004,74).Often,thegirlentrepreneuris

sellingherself,engaginginself‐disclosureasamodeofrevealinga“trueself”that

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becomespubliclylegible,celebrated,andevenmonetized(Banet‐Weiser2012).We

mayunderstandthegirlentrepreneurasanentrepreneuroftheindividual

postfeministselfwhomobilizesself‐brandingasatechniquetogainpublic

attention,reputation,andevenprofit(Hearn2010;Banet‐Weiser2012).Based

uponthisframework,wecanunderstandself‐brandingasprivilegingtheindividual,

aligningwiththefocusonindividualisminherentinbothpostfeministand

neoliberaldiscourses.

WhileIdiscussGevinsoninrelationtothisculturalmomentwheregirlsare

encouragedtobeentrepreneursoftheself,IwanttoemphasizethatIamnot

arguingforunderstandingGevinson’smediatedpersonaasindicativeofaninherent,

authenticself–the“real”Gevinson.Instead,Idrawontheoriesofperformativityto

analyzeGevinson’sactions,includingherself‐branding,asindicativeofrepetitive

mediatedperformancesthatallowustocometoknowGevinsonasasubject(Butler

1990).IndoingsoIemployaButlerianconceptionofperformativitythatpositsitas

the“reiterativepowerofdiscoursetoproducethephenomenathatitregulatesand

constrains”(Butler1993).Thisframeworkisuseful,asitrecognizesthediscursive

limitsinwhichGevinsonoperates,yetdoesnotforeclosethepossibilityofher

agencyincreatingsocialchange.

Gevinson’sexperienceasafashionbloggerhasinformedherself‐brandas

eclectic,creative,andfashionforward.Wecanseethisimageinrecenthighfashion

shoots,suchasanAugust2014photoinW,aseminalfashionindustrypublication.

Gevinson’sintelligentcommentaryonpopularculture,circulatedonRookieaswell

asonherTwitterandTumblraccounts,portrayheraswittyandwellread.Yet,as

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I’vementioned,shealsoperformsasabestfriend,“oneofthegirls”thatpublicly

sharesphotosfromherSweet16andmeetsherreadersforicecream.Gevinsoncan

thusbeunderstoodasperforming“subculturalcapital,”whichSarahThornton

(1996)describesasakindof“hipness”thatconfersarecognizedsocialstatusonits

owner.Sheexplainssubculturalcapitalasbeing,“objectifiedintheformof

fashionablehaircutsandwell‐assembledrecordcollections[and]embodiedinthe

formofbeing‘intheknow’”(11‐12).Thorntoncontendsthatsubculturalcapital

appearsnaturaltocertainpeople,bestowinganauthenticityonthosewhoareable

tosuccessfullyperformsuchcapital,includingGevinson.Unliketheculturaloutputs

ofcelebritygirlactressesorpopsingerswhichcanappearmanufactured,

Gevinson’spostedmusicrecommendationsconsistingofobscure1990sriotgrrrl

bandsandmusingsonNewYorkFashionWeekappearauthentic,further

establishingGevinson’sbrandasaconnoisseurofcoolthatseeminglyoperates

outsideof,yetinconversationwith,thecommercialcultureindustries.

Gevinson’sself‐brandinghasbeeninstrumentaltohercreationofRookieand

heroverallsuccessasadigitalentrepreneur.Unliketheexamplesofpostfeminist

self‐brandingdiscussedbyfeministscholars(Banet‐Weiser2012;Senft2008;

Dobson2008),Gevinson’sself‐brand,whichincludesheridentificationasafeminist,

complicatestheexistinganalysisofthedigitalself‐brandasasolelypostfeminist,

entrepreneurialpursuitdevoidofpoliticalsubjectivity.Forexample,inaspring

2012interviewforthePBSMakersseriesGevinsonisidentifiedinanaccompanying

captionasa“FashionBlogger&Feminist,”highlightingfeministpoliticsasacentral

aspectofheridentityperformance.Gevinsonhasbeenvocalaboutbeingafeminist

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sincemid‐2010,oftenframingherdevelopmentofRookieasaresponsetoalackof

feministmediaforgirls(PBS2012).

ByidentifyingpubliclyasafeministGevinsonperformsapolitical

subjectivity,challenginghegemonicpostfeministdiscoursesthatsuggestgirlsare

apoliticalandnotinterestedinfeminism,andcreatingdiscursivespaceforfeminist

politicswithinapostfeministmediaculture.Ihavearguedelsewherethatforgirls

merelypubliclyidentifyingasafeministfunctionsasaresistantpracticeinthatit

grantsgirlsaspeakingpositionfromwhichtheycancritiquehegemonic

postfeministfemininityand“offersgirlsapoliticalsubjectivitytomakesenseofthe

worldthatfewothernormativegirlhoodidentitiesoffer”(Keller2013,96).Online

spaceshavebeensignificanttothisprocess,providinganonymousspaceto

“experiment”(Keller2013;2012)withfeministidentitiesandaffordinggirlsa

chancetoconnectwithotherfeministgirlsandwomen.Gevinson’sperformanceofa

feministidentityaspartofherself‐brandcanbeviewedasachallengeto

postfeministgirlhoodsubjectivitiesandmayencouragehergirlfanstoexplore

feminismforthemselves.

RiotGrrrlinRookie:(Feminist)PoliticsandPromotionalSkin AsOnstad(2012)emphasizes,Gevinson’sfeministpoliticsareheavily

influencedbytheculturalpoliticsofriotgrrrl,agirl‐centeredpunksubculturethat

beganintheU.S.intheearly1990s.Therearetwosignificantaspectsofriotgrrrl

thatarerelevanttomydiscussionofGevinsonandRookie.First,riotgrrrlspracticed

feminismfromagirlsubjectivitywhichtheydubbed“girlpower,”1notonly

rewritingfeminismtoaddresstheconcernsofgirlssuchasbeautystandards,sexual

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abuseandpressuretobe“perfect,”but“reinventinggirlhoodandgirls’culturefora

newmillennium”(Kearney2006,65).Inthissense,riotgrrrlwasaccessibleto

(some)girlsandyoungwomeninwaysthatmainstreamadult‐producedfeminism

wasnot.

Second,theriotgrrrlcommunitywassustainedthroughgirls’self‐produced

mediaproducts,includingzines,music,andcrafts.Thus,riotgrrrlsnotonly

encouragedgirlstobemediaproducers,butmotivatedgirlstocreatealternative

representationsofgirlhoodthatchallengedthosecreatedbythecommercialculture

industries(Kearney2006).Baseduponthesetwocharacteristicsofriotgrrrlwecan

seewhythemovementwaslikelyappealingtoGevinsonasagirlculturalproducer

whowasoftennottakenseriouslyasafashionbloggerduetobothherageand

gender(Keller2013).IhavearguedelsewherethatGevinson’sturntofeminism

mayhavebeenprecipitatedbythelackofrespectshereceivedbysomefashion

industryinsiders,asriotgrrrl‐inspiredfeminismprovidedherthelanguagetomake

senseofherexperience(Keller2013).

AsaresultofGevinsonpubliclyexpressingherinterestinriotgrrrlonher

blogaswellasininterviewswiththepress,Gevinsonherselfbecamerepresentative

ofthenextgenerationofriotgrrrlwithinmainstreammedia.Thisisevidentin

Onstad’ssuggestionthatGevinsonrepresents“girlpower’slastchance”andin

articlessuchas“TheNewRiotGrrrls?”(Bastow2012),whichlinkGevinson’s

politics,mediaproductionpracticesandstylewiththemovement.Riotgrrrl,inthis

sense,becameapartofthewayinwhichGevinsonperformsheridentity,andupon

circulationthroughouthervarioussocialmediaplatforms,partofherself‐brand.

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Gevinson’sposteddiscussionsofherfriendshipwithprominentriotgrrrlKathleen

Hanna,Polaroid’sofherselfwearingriotgrrrl‐inspiredbabybarrettes,andscrawled

playlistswithriotgrrrlbandslike7YearBitchandL7worktogenerateasymbolic

selfthat,inthewordsofAlisonHearn(2012)functionasa“promotionalskin”that

associatesGevinsonwiththepolitics,affects,andaestheticsof1990s“girlpower.”

GevinsonoftenincludesinformationaboutriotgrrrlinRookie,including

recentinterviewswithriotgrrrlsKathleenHannaandCarrieBrownstein,articleson

howtomakeazine,andfashionspreadsinspiredbyHole’s1994musicvideoforthe

song“MissWorld.”ByincludingthesetypesofstoriesinRookieGevinsonintroduces

riotgrrrlandfeminismtohergirlreaderswhomaynotbefamiliarwitheither,

providingahistoryforfeminismthatencouragesgirlstounderstandtheirown

strugglesaspartofalengthyhistoryoffeministactivism.

Beyondmerelywritingaboutriotgrrrl,Gevinsonappliesriotgrrrlpoliticsto

herpersonallifeandwritesaboutitinRookie.Forexample,inaSeptember2011

postcalled“FirstEncounterswiththeMaleGaze”Gevinsondiscusseshowsexual

harassmentpermeatesthehighschoolenvironmentandhowgirlsfeelwhenthey

firstwitnessothersnoticingtheirchangingbodies.Shewritesofhermalepeerswho

engageinsexualharassment:

Iwanttheseguystoknowthatthey’reabletobesocavalierbecausetheydon’thearunsolicitedopinionsontheirbodiesandallegedsexlivesallthetime….becauseyourtransitionintopubertydidn’tincludethesamekindsofridiculousbeautyexpectations,andthenunsolicitedevaluationsofhowwellyoumeasuredup.

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Gevinson’sattentiontogirls’experienceswithsexualharassmentwithinhighschool

islikelyinformedbyherfamiliaritywithriotgrrrl’semphasisonfeminismasit

appliestogirls’everydaylives,aswellastheirattentiontosexualharassment.By

publishingapiecesuchasthisoneGevinsoncreatesthediscursivespaceforgirlsto

publiclydiscussthistoo‐commonexperience,astrategyalsousedbyriotgrrrls.

Indeed,thisarticlereceivedover100comments,manyfromgirlsandwomenwho

describedtheirownexperienceswithsexualharassment.Theexchangesonthe

commentsectionalsofunctionasasignificantexampleofintergenerational

feminism,asteenagegirlsareactivelyparticipatinginfeministconversationwith

womenwhohaveidentifiedthemselvesasintheirtwenties,thirties,andforties;an

experiencewhichchallengesthelogicof“disarticulation”(McRobbie2009)within

postfeministdiscourses.Italsopointstothepotentialofonlinespacestoserveas

productiveplacesforintergenerationalfeministdiscussions,evenwithina

postfeministmediaculture.

Yetdespitetheopportunitiesfornewdiscursiveonlinespacesand

connectionsamongstgirlsandbetweenfeministgirlsandwomen,Gevinson’s

rearticulationofriotgrrrlwithinapostfeministmediaculturerisksreplicatingthe

privilegingofthe“cando”girl’s(Harris2004)publicvisibilityandexperiences

withinthepublicsphere;excludinggirlswhodonothavetheraceorclassprivilege

tooccupythisidealizedposition.Whilescholarshavenotedthewaysinwhichmany

girlsofcolorandthosefromlowersocioeconomicstatuswereexcludedfromriot

grrrltwentyyearsago(Kearney2006),therehasbeenlittlecommentaryonthe

waysinwhichGevinson’sraceandclassprivilegeallowhertoperformidentity–

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includingariotgrrrlinfluencedfeministidentity–inwaysthatothergirlscannotdo

easily(Wald1997;Kearney2006).

Forexample,somegirlsofcolorhavearguedthatRookiefailsat

intersectionality,animportantcritiquethathasbeennoticeablyabsentfrom

mainstreampresscoverageofthewebsite.InaDecember2012postontheRude

GirlMagazineTumblr(http://rudegirlmag.tumblr.com/),Bredescribeshowshe

beganRudeGirlbecauseshefeltexcludedasagirlofcolorfromthediscussionsthat

werehappeningonRookieandwasparticularlyupsetwiththewaysinwhichthe

websiteappropriatestheculturesofwomenofcolor.WhileRookiedidpublishan

articleaddressingwhyculturalappropriationisproblematic(“Something

Borrowed”)whichreceivedover400comments,Brearguesthatthediscussionis

“offensive”inlightofRookie’sownuseofculturalappropriationasawaytocreate

supposedlyhipstylesuggestions,suchasaflowercrownhairstylewornbyFrida

Kahlo(“FloweryandFrida‐esque”)orclothingpairingstomimiclooksfromthe

HarlemRenaissance(“SecretStyleIcon:LadiesoftheHarlemRenaissance”).

Rookieemploysadiversityofwritersonstaffandattemptsinclusivityby

publishingstoriessuchasapieceonbeingbi‐racial(“OnContainingMultitudes”),

comingoutasgay(“TheSafetyCloset”),andidentifyingastransgendered(“MyKind

ofGuy”).However,Bre’scommentspointtothedifficultyinseparatingRookiefrom

Gevinson’sownself‐brand,animagecreatedthroughherabilitytoaccess

alternativefeministculturessuchasriotgrrrlandperformtheseidentitiespublicly;

aperformancearguablymadepossibleduetoheruppermiddle‐classness,

whiteness,andAmerican‐ness,aswellasherconventionalphysicalbeauty.

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Gevinson’sfeministpoliticsarearticulatedfromapositionofprivilegetowhich

manygirlsmaybeunabletorelate.Tobeclear:IamnotcriticizingGevinsonnoram

Isuggestingthatherfeministpoliticsareunimportant.Iaminsteadarguingthatwe

mustbebetterattunedtohowthepracticeofself‐brandingmaylimitwhichgirlsare

abletoperformfeministidentitieswithinapost‐girlpowercontextandwhoisable

toidentifywithsuchalternativegirlhoodsubjectivities.

RoadTripping:(Branded)Communities,Girls’Friendships,andPublicSpace Insummer2012,Gevinsonembarkedona16‐cityU.S.roadtripwithseveral

otherRookiestaffers,meetingreadersinlocalcafes,parks,andrecordshops.While

describedbyGevinsonintermsofthepursuitofleisureandfriendship,theroadtrip

alsofunctionedaspromotionforRookie,theupcomingreleaseofRookieYearbook

One,andpublicityforGevinsonherself,deemedan“oracleofgirlworld”bytheNew

YorkTimes(Schulman2012).ThetripalsoforgedanalliancebetweenRookieand

UrbanOutfittersthroughthecompany’ssponsorshipofthetrip,creatingwhatSarah

Banet‐Weisercallsa“brandculture”whereby“consumersproduceidentity,

community,emotionalattachments,affectivepractices,andrelationshipsbothwith

thebrandandwitheachother”(2012,46).

Knownasaglobalbrandthatsellsmass‐producedclothing,accessories,and

housewaresthatincorporateretro,vintageandbohemiantrends,itisunsurprising

thatUrbanOutfitterswouldcourtapartnershipwithGevinson.Herdaysasa

fashionbloggerestablishedGevinsonasastyleiconwhomimaginativelymixeshigh

fashionitemswithvintagefinds,homemadegoods,andhighstreetstaples;aDIY

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(do‐it‐yourself)approachtofashionthatUrbanOutfittersimitatesthroughtheir

corporatebranding.BysponsoringtheRookieroadtripGevinsonlendsthecompany

anairofauthenticityandalternativehipnesstotheirbrand,resultinginnew

promotionalopportunitiesforUrbanOutfitters.Forexample,thecompany

produceda“RookieRoadTripEssentials”webpagewherevariousfashiongoods

weremarketedtogirlsas“musthaves”fortheirparticipationinthescheduled

meet‐ups.Theroadtripthenbecameasemi‐commercializedeventwheregirlswere

encouraged,atleastbyUrbanOutfitters,toconsumefashionandbeautyproductsas

awaytoparticipateinsociallife,acommondiscoursewithinpostfeministmedia

culture(Harris2004).

ButwhileGevinson’sdecisiontopartnerRookiewithUrbanOutfittersseems

antitheticaltoherDIYriotgrrrlpoliticsandcreativestyle,Iamsuggestingthatthis

partnershipillustratesonetenantofthispaper,namely,thatinapostgirlpower

mediaculturethesetypesofneoliberalbrandingstrategiesarenormalized;theyare

merelypartofthelogicofaconvergedmediaculturethatdemandsgirlslike

Gevinsonnegotiatetheirfeministpoliticswithanall‐encompassingconsumer

culture.Unliketheriotgrrrls’shunningofthecommercialcultureindustries,

Gevinsonoperatesintandemwiththem,grantingUrbanOutfittersaccesstoher

audience,whilestrategicallyusingtheirresourcestonotonlymaketheroadtrip

possible,butalsoaccessibletohergirlreaderswhomayshopatoneofthe

company’smanystores.Thus,whilerecognizingtheRookieroadtripasproducing

brandedspacesandthereforenotdivorcedfromthelatecapitalistlogicthatinforms

suchspaces,IaminterestedinhowGevinsonhasnonethelessmanipulatedthis

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opportunitytocomplicatepostfeministdiscoursesongirls’friendshipsandpromote

girls’communitiesasgenerativeoffeministsocialchange.

OneofthemostinterestingaspectsoftheRookieroadtripwasitsstructure:

informalgatheringsatlocalfavoritepublicplacessuggestedbyRookiereaders.

WhilemanygirlsintheUnitedStateshaveconsiderablymorepersonalfreedomto

occupypublicspacethanpreviousgenerationsofgirls,wemuststillconsiderwhat

itmeansforagroupofgirlstophysicallyoccupythesespacesasconsumersinsome

cases,butalsoasculturalproducers,friends,andgirls.Whilescholarshaveusefully

theorizedneoliberalismasrequiringareprivatizingofgirls’politicsand

simultaneouslypublicizinggirls’privatelives(Harris2004),theRookiemeet‐ups

canbeseenaspotentiallychallengingthistrendbyre‐publicizinggirls’politics

throughthesegatherings,occupyingandeven“takingover”publicspacewith

numbersthathavereachedclosetotwohundredatonemeet‐up.

Asadultresearcherswemayoverlookhowtheactofphysicallyjoiningthese

gatheringspointtoanelementofresistanceamongstGevinson’sfans.Forexample,

GevinsontellsBitchMagazinehowahomeschooledPhiladelphiagirl“hadtosneak

outofthehousetogotoourevent,whichwasinthemiddleoftheday,andhadto

wearherbrother’sshoesbecauseshe,asagirl,didnotownshoesthatallowyouto

walkveryfar.”GevinsonthencommentshowshewantedRookie’sfeminismtobe

“accessible”andthedifficultiesindoingso“withoutwateringitdown”(Zeisler

2013).HereGevinsoncallsattentiontothewaysinwhichgenderinequalities,

includingaccesstopublicspace,continuetorestrictmanygirls’livesand

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opportunities,linkingthisrealitytotheneedtodiscussfeminisminanaccessible

wayonthesite.

ApostingbyGevinsonaboutthePhiladelphiastopontheRookieroadtrip

TumblrillustratesthewaysinwhichtheRookiemeet‐upsdefyeasycategorization;

theyarebothproductiveandconsumptive,politicalandpersonal,lightheartedand

serious‐minded.Shewrites,“AftershoppingweheadedovertheRittenshouse

SquareParktolistentotherecordswebought(ViolentFemmeswasonatfullblast)

andmakepennantbannersoutoffabric.Wehadaninterestinggroupchatabout

feminismanditsplaceinfashionandwealsotackledtrickyquestionssuchas

“Cluelessvs.Heathersvs.MeanGirls:whichisthebest?”(Gevinson2012a).

Gevinson’spostpointstothewaysinwhichtheRookiemeet‐upfunctionedas

creatingpublicspaceforgirlstocometogetherandtalk,engageincultural

production,andformfriendships.Whilethemeet‐upsarenotexplicitlyframedas

“political”or“feminist,”feministpoliticsarenonethelesspartoftheconversations

thatoccur.WecancontextualizetheRookieroadtipaspartofalengthyhistoryof

girlsandwomencomingtogethertosharetheirexperiences,includingwoman

liberationists’consciousnessraisingcirclesandriotgrrrls’meetingsand

conventions.

WhileRookiereaderswerenodoubtexcitedtomeetGevinsonherself,the

touralsofunctionedasawayfor“Rookies”toconnectwithoneanother.Gevinson

emphasizesthisinherfinaltourdiaryentrywheresheinstructsgirlstoorganize

theirownRookiemeet‐upsintheirrespectivetowns,prescribingthesepotential

friendshipsasawaytogenerate“alittlelesssadnessinonecorneroftheworld”

19

(Gevinson2012b).Thus,Gevinsonrecognizesthepoweroffemalefriendshipsto

minimizenegativeaffects,or“sadness,”ingirls’lives.IndoingsoGevinsonpresents

analternativetopostfeministnarrativesofgirls’friendshipsthatassumegirlsas

catty,competitive,anduntrustworthy(Ringrose2012),andusesmediaproduction

tomakegirls’friendshipsnotonlypubliclyvisible,butnecessaryforcountering

neoliberalgirlfriendculture(Winch2013).

Conclusions:TheSelf­BrandandContemporaryFeminism InthispaperIhavedemonstratedhow,throughhercreationofRookie

Magazine,Gevinsonhassuccessfullycreateddiscursiveandphysicalspacewithin

postfeministmediacultureforathrivingfeministgirls’culture.Drawingonthe

feministideasandpracticesoftheriotgrrrls,Gevinsonhaspubliclyemphasizedthe

importanceoffeminismforgirlsandintroducedherreaderstobothfeministpolitics

andthehistoryofthosepolitics–anotableaccomplishmentwithinamediaculture

wherefeminismoccupiesanambiguousstatus.Indoingso,Gevinsonchallengeskey

aspectsofpostfeministfemininity,suchasthebeliefthatgirlsareapoliticalandthe

relianceonthetropeofthemeangirltounderstandgirls’friendships.Thisanalysis

thussuggeststheneedforfeministmediascholarstomovebeyondmerely

identifyingpostfeministdiscourseswithinmediacultureandinsteadexaminethe

complexwaysinwhichfeministpolitics“pokeholes”inanoftenseeminglydaunting

andoppressivemediaculture.Thisiscrucialforscholarsinterestedingirls’media

cultures,astherecontinuestobeadearthofgirls’studiesscholarshipthat

20

recognizesthepoliticalagencyofgirls,particularlywithinthecontextofonline

media(Caron2011;Keller2013).

Nonetheless,IhavealsoarguedthatGevinson’ssuccessincreatingRookieis

due,inpart,tothecurrencyofherself‐brandasoneofthestylish,smart,and

culturally‐savvyfeminist.Whileitisinspiringandexcitingtoseeyoungfeminists

gainpublicattention–whichmaypointtoaresurgenceoffeminismwithin

mainstreammediaculture‐Iamsuggestingthatwemustbecriticalofthewaysin

whichself‐brandingremainsaboutindividualimage.Thus,Gevinson’sperformance

ofafeministidentitybecomesassociatedwithherprivilegedsubjectposition

informedbywhiteness,upper‐middleclassness,American‐ness,andultimately,high

subculturalcapitalthatgrantshertheopportunitiestobefriendKathleenHanna,

enterintoapromotionalrelationshipwithUrbanOutfittersandgenerateincome

andcelebritystatus.Thisraisessignificantquestionsabouttheabilityforfeminism

tofunctionasa“brand”whilemaintainingfocusasacollectivemovement‐adebate

thathasbeenrecentlytakenupinthefeministblogosphere.

Towit:inanOctober2013articleintheDailyBeastAnaCeciliaAlvarez

arguesthatthe“decidedlyhip”styleoffeminismcirculatingonblogslikeJezebeland

hawkedintheirnewcoffeetabletomeTheBookofJezebelrepresentanarrow

approachtofeminismthatoftenfunctiontobolstertheimageofthosewhoconsume

thesemediaproducts.Sheargues,“Allthatafeministbrandinducesisanimpulseto

buy.Butthefeminismworthfightingforwon’tbelistedinanencyclopediaoflady

‘things’–itevadessuchsimplicity…andmustbeapproachedwithintersectionaland

anti‐oppressionframeworksinmind.”Thus,wemustunderstandthesuccessof

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Gevinson’sbrand,includingRookie,asaproductofthissamepostfeministmedia

culture,wheregirlsandwomenarerequiredtoself‐brandasastrategybywhich

theymaytakepartinpubliclife.Feminism,aswe’veseenwithGevinson,can

increasethevalueofone’sbrandifperformedinawaythatisreadas“hip”and

avoidsthreateningtheconsumerlogicofthecapitalistmarketplace.Wemustbe

mindfulofhowthesediscoursesfunctiontointerpellatecertaingirlsandwomenas

feministsubjects,whileleavingtheexperiencesofothersoutsideofthepopular

articulationsoffeminismthatmaybefoundinpublicationslikeRookie,Jezebel,and

initiativeslike#ElleFeminism.

Whilegirls’studiesscholarshavebeenrightlycriticalofthefigureofthegirl

entrepreneur(Harris2004;Banet‐Weiser2012)itisimportanttorememberthat

sheisnotonlyaproductofneoliberalpostfeministmediaculture,butalsoof

feminismitself.Indeed,itwasn’tlongagowhenitwouldbeabsurdtothinkabouta

teenagegirlrunningasuccessfulmagazine.Inthissense,girlslikeGevinsonmake

visibletheaccomplishmentsof(liberal)feminismanddemonstratethatafeminist

“girlpower”mayhavearenewedtenacitywithinpostfeministmediaculture.

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1Despitebeingappropriatedintocommercialpopularcultureinthelate1990s,itisnecessarytorecognizetheterm“girlpower”asoriginatingwithinriotgrrrl.Ialsowanttoemphasizethecontestednatureofriotgrrrlasamovementthatdefieseasycategorizationandsuggestthatmyanalysisisnotintendedtobeacomprehensivediscussionofthesubculture.