As a Millennial who lived through ‘heroin chic', the Age of Ozempic terrifies me
There are a few rules that those in polite society should always follow. One is avoiding double-dipping when faced with a crudite plate and a bowl of hummus at an event. Another is never – ever! – assume that a woman is pregnant.
Yet, for some reason, this rule has never seemed to apply when discussing celebrities. Most recently, the target was Taylor Swift, who managed to fuel pregnancy rumours after she was spotted wearing a loose fitting mini-dress. Seeing a woman yet again become the target for pregnancy speculation based on something as flimsy as a billowing bit of fabric or a post-dinner burrito belly, this online rhetoric goes a long way in explaining why three in four Australian high school-aged teenagers feel they need to be thinner.
According to the Butterfly Foundation's annual BodyKind Youth Survey released in late May, 90 per cent of Australian teenagers now have some level of concern about their body image. Nearly half said they have never or rarely felt comfortable with their body (up from 40 per cent in 2022), while 75.5 per cent said that they wished they were thinner (up from 62 per cent in 2022). Nearly eight in 10 teenagers said they have been on the receiving end of negative comments about their body or had been teased about their appearance (up from seven in 10 in 2022).
As an older Millennial who came of age in the Heroin Chic era – a time that was punctuated by Kate Moss declaring that 'nothing tastes as good as skinny feels', jutting collarbones, pro-anorexia Tumblr accounts and diet tips like 'drink a glass of water every time you feel hungry' – it is haunting seeing this regression.
If the same survey had existed when I was in high school, it's entirely possible that the results would have been scarily similar. That's not to say that nothing has changed in 20 years – because for a while there, things were getting better.
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Though it was far from perfect, the body positivity and body acceptance movement of the past decade actually felt revolutionary in many ways. Seeing pop icon Lizzo declare herself to be 'the baddest bitch alive' in a lycra onesie onstage, felt profound because it was. As did seeing Ashley Graham, a 'plus-sized' model, grace the cover of Vogue in 2017 – the first time in the magazine's 135-year history. We nodded along as Meghan Trainor declared she was All About That Bass and danced along to Nicki Minaj's reinvigorated version of Baby Got Back.
Even Moss herself, the queen of heroin chic, acknowledged the need for change, telling commentator Megyn Kelly in 2018 that she regretted her famous quip and that, 'there's so much more diversity now, I think it's right … it's better'.
But all of this progress wasn't to last. Over the past year, the fashion set – the canary in the coalmine for all things trendy – has profoundly rejected its experiment with broadening its size appeal on the runway. Across the 2024 Spring/Summer runways, just 0.8 per cent of the models walking were 'plus-sized', compared to 2.8 per cent in 2020.
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Perth Now
32 minutes ago
- Perth Now
William and Cate Blanchett hit sustainable fashion lab
The Prince of Wales and Cate Blanchett have donned lab coats as they witnessed the high-tech work of an environmentally friendly clothes dye company. William and the Australian Oscar winner visited labs in Norwich on Thursday where Colorifix, a biotechnology firm, creates its textile dyes. Colorifix, which was a finalist in William's Earthshot Prize in 2023, has developed a biological process that replaces the use of harmful chemicals in textile dyes. Since it was founded in 2016, the brand has partnered with fashion brands including H&M and Pangaia. As William and Blanchett were taken through each step of the process to make the eco-friendly dyes, the Prince of Wales asked Sophie Vaud, the head of microbial engineering, to provide a "layman's version" of the science. After identifying a colour created naturally by an animal or plant, Colorifix's scientists sequence the DNA of that organism to find out where the colour is coded in its genetics. That DNA code is then translated into a safe microbe that is then fermented to grow, creating a dye that can be used on natural and synthetic fabrics. Dyes made chemically have a negative impact on the environment as they seep into rivers, harming wildlife. The process also uses a large amount of water. The Prince of Wales and Blanchett, a council member of the Earthshot Prize, were invited to observe DNA gel under a microscope and were shown diagrams analysing the effectiveness of the pigments. "What if it explodes?" Blanchett joked before looking at the sample. "I'm not going to pretend I know what that drawing means," William told the experts when being shown diagrams. The pair were then taken through the fermentation process, which is where the dye is produced in a small version that can be scaled up. David Clarke, head of fermentation at Colorifix, which is based in Norwich Research Park on the edge of the city, said their fermentation to produce the dyes was "just like brewing". "We use a genetically engineered bacteria to produce the substance - in this case colourants. "Traditional dyeing is very, very polluting. This is completely innocuous." The Prince of Wales is founder and president of the global environmental award and Blanchett helps pick the winners. "It's going really well, and it's really exciting," he said, while Blanchett told them their work was "really inspiring".

Sydney Morning Herald
2 hours ago
- Sydney Morning Herald
One of the most powerful artworks I've seen is on show in Tasmania
The exhibition takes its name from one of the installations, a new work made up of a series of five water wells sitting in pitch darkness behind a glass wall. Into these, molten steel drips at hypnotic intervals, generating sparks reminiscent of a working foundry, although these sparks are artfully curated. An earlier version debuted at the 2022 Venice Biennale, where Sassolino used fiery droplets of molten steel to evoke what he described as the dramatic chiaroscuro of Caravaggio's 17th-century paintings, specifically The Beheading of Saint John the Baptist. In this version, the chiaroscuro is certainly dramatic. While it's difficult to imagine a saintly beheading amid the sparks, the eight-minute sequence, observed from pews placed for this purpose, is mesmerising, in the tradition of the transcendent religious artworks adorning Europe's great cathedrals. In the end, the beginning is a perfect addition to a gallery famed for its kinetic displays and its inherent subversion of the Catholic faith in which MONA founder David Walsh was raised. Sassolino's precision engineering is 21st century, but his choice of materials and fascination with old-fashioned masculine energy are furiously at odds with a planet economically realigning around the rare earth mineral economy as it gears up for the decarbonisation revolution. Elegant as it is, the exhibition feels like one last loving look over the shoulder as we move into a future where harnessing the energy of wind and sun assures the survival of the species. Being sensorially receptive is an essential state for visiting MONA, the privately owned art museum and collection of Tasmanian gambling millionaire Walsh. Since it opened in January 2011, it has been an undisputed curatorial game changer in the Australian art world. MONA's growing permanent collection and temporary displays owe more to the practices of contemporary biennales than art museums, yet its arrival freed up Australia's public galleries to be more experimental and playful. Before MONA, they tended to be wedded to chronological white-wall exhibitions, but this unashamedly gonzo new entrant was cashed up and unconstrained by curatorial committees, boards, public funding, or the need to observe rules or regulations. Walsh led from the front, encouraging his collaborators to move fast and break things. MONA is firmly part of the art establishment now, the sum of the considerable experience Walsh and his team have amassed, and of Australian galleries having relaxed. Coinciding with the exhibition's early June opening was Dark Mofo, David Walsh's festival encompassing live music, the sprawling Winter Feast food market, and various indoor and outdoor art activations throughout Hobart CBD. The festival made its return this year under new artistic director Chris Twite, following a hiatus in 2024. With its music, food, numerous bars, and warming fire pits for the bundled-up crowds, Dark Mofo evokes a blokey theme park. It carries the air of a last hurrah of the heterosexual white man. In the right-on landscape of Australian arts, there's something incredibly quaint about experiencing what feels like a Gen X fun park. Indeed, Dark Mofo offers a wondrously unique and intriguing experience, almost as if it's an arts festival from a world that froze in 1994, upon Kurt Cobain's death. Loading Unapologetically created in Walsh's image, music headliners ranged across punk, electronica and the 'extreme metal and absurdist mayhem' of US outfit Clown Core. Winter Feast is as visually arresting as its offerings are smokey and delicious, by no mistake. There is wild goat, wallaby and camel on the menu, their skeletons arranged above the grill long after the flesh has been stripped. 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Thousands of revellers explored the multi-stage, all-night jamboree of music, performance art, and installations that transformed a city block into something resembling a sticky-carpet nightclub adorned with share-house decor. I haven't even mentioned Simon Zoric's Coffin Rides (as it says on the tin) or the Sex + Death Day Spa installation at MONA, where a nana in a white towelling robe at the entry deadpanned options: 'Do you want anal bleaching or a Brazilian?' Did I mention the 90s?

The Age
2 hours ago
- The Age
One of the most powerful artworks I've seen is on show in Tasmania
The exhibition takes its name from one of the installations, a new work made up of a series of five water wells sitting in pitch darkness behind a glass wall. Into these, molten steel drips at hypnotic intervals, generating sparks reminiscent of a working foundry, although these sparks are artfully curated. An earlier version debuted at the 2022 Venice Biennale, where Sassolino used fiery droplets of molten steel to evoke what he described as the dramatic chiaroscuro of Caravaggio's 17th-century paintings, specifically The Beheading of Saint John the Baptist. In this version, the chiaroscuro is certainly dramatic. While it's difficult to imagine a saintly beheading amid the sparks, the eight-minute sequence, observed from pews placed for this purpose, is mesmerising, in the tradition of the transcendent religious artworks adorning Europe's great cathedrals. In the end, the beginning is a perfect addition to a gallery famed for its kinetic displays and its inherent subversion of the Catholic faith in which MONA founder David Walsh was raised. Sassolino's precision engineering is 21st century, but his choice of materials and fascination with old-fashioned masculine energy are furiously at odds with a planet economically realigning around the rare earth mineral economy as it gears up for the decarbonisation revolution. Elegant as it is, the exhibition feels like one last loving look over the shoulder as we move into a future where harnessing the energy of wind and sun assures the survival of the species. Being sensorially receptive is an essential state for visiting MONA, the privately owned art museum and collection of Tasmanian gambling millionaire Walsh. Since it opened in January 2011, it has been an undisputed curatorial game changer in the Australian art world. MONA's growing permanent collection and temporary displays owe more to the practices of contemporary biennales than art museums, yet its arrival freed up Australia's public galleries to be more experimental and playful. Before MONA, they tended to be wedded to chronological white-wall exhibitions, but this unashamedly gonzo new entrant was cashed up and unconstrained by curatorial committees, boards, public funding, or the need to observe rules or regulations. Walsh led from the front, encouraging his collaborators to move fast and break things. MONA is firmly part of the art establishment now, the sum of the considerable experience Walsh and his team have amassed, and of Australian galleries having relaxed. Coinciding with the exhibition's early June opening was Dark Mofo, David Walsh's festival encompassing live music, the sprawling Winter Feast food market, and various indoor and outdoor art activations throughout Hobart CBD. The festival made its return this year under new artistic director Chris Twite, following a hiatus in 2024. With its music, food, numerous bars, and warming fire pits for the bundled-up crowds, Dark Mofo evokes a blokey theme park. It carries the air of a last hurrah of the heterosexual white man. In the right-on landscape of Australian arts, there's something incredibly quaint about experiencing what feels like a Gen X fun park. Indeed, Dark Mofo offers a wondrously unique and intriguing experience, almost as if it's an arts festival from a world that froze in 1994, upon Kurt Cobain's death. Loading Unapologetically created in Walsh's image, music headliners ranged across punk, electronica and the 'extreme metal and absurdist mayhem' of US outfit Clown Core. Winter Feast is as visually arresting as its offerings are smokey and delicious, by no mistake. There is wild goat, wallaby and camel on the menu, their skeletons arranged above the grill long after the flesh has been stripped. A free public event during opening weekend's prime-time Saturday night was a theatrical car crash featuring two BMWs, complete with doughnuts, pungent rubber burnouts, and dazzling sound and lighting. Look out for the video. Crash Body, conceived by Brazilian artist Paula Garcia, drew thousands to the wet, windy Regatta Grounds overlooking the Derwent, framed by the Tasman Bridge. This site is also earmarked for the proposed AFL stadium, a controversial project that led to the state's premier being ousted the day before. Dark Mofo's free public art program is like a biennale in style, albeit on a walkable Hobart scale. Visually, the event is connected throughout Hobart by red lights and inverted crucifixes. These deliciously symbolise the humility of St Peter, who asked to be crucified upside down to put himself beneath Jesus Christ, but are alternatively symbolic of Satanism. Choose your own adventure. Loading Among the legacies of David Walsh's everyman approach to MONA is the enthusiasm with which audiences in Tasmania engage with the arts. Free events on the opening weekend were packed, many ticketed events sold out, and the general confidence of people interacting with artworks was impressive. Nicholas Galanin's Neon Anthem called on people to kneel on one knee and scream, a comment on the Black Lives Matter movement possibly lost in this execution, but in which nearly everyone who walked past nonetheless participated, generating waves of screams like you might hear near a roller coaster. Brigita Ozolins' beautiful exhibition on banned books, Revolution and Silence at the State Library and Archives of Tasmania, will remain open until October. It's a gentle meditation on social mores in stark contrast to Dark Mofo's in-your-face headliners. Dark Mofo's highly sought-after Night Mass events were, once again, sold out. Thousands of revellers explored the multi-stage, all-night jamboree of music, performance art, and installations that transformed a city block into something resembling a sticky-carpet nightclub adorned with share-house decor. I haven't even mentioned Simon Zoric's Coffin Rides (as it says on the tin) or the Sex + Death Day Spa installation at MONA, where a nana in a white towelling robe at the entry deadpanned options: 'Do you want anal bleaching or a Brazilian?' Did I mention the 90s?