"Models are there to look like mannequins, not like real people. Art and illusion are supposed to be fantasy"
About this Quote
Grace Jones doesn’t dress this up as empowerment talk; she treats modeling like stagecraft with a blade in it. “Models are there to look like mannequins” is deliberately cold, almost anti-human, and that’s the point. She’s defending an older, stricter idea of fashion image-making: not authenticity, not relatability, but the creation of a controlled, hyper-stylized object that lets clothes, posture, and attitude read like symbols. A mannequin is a tool for projection. It doesn’t ask to be liked. It doesn’t confess. It holds a pose and dares you to decode it.
The subtext is a rebuke to the modern hunger for “realness,” where every campaign needs to advertise virtue through visible imperfection. Jones isn’t arguing against real people; she’s arguing against collapsing fantasy into everyday life and calling that progress. “Art and illusion are supposed to be fantasy” frames modeling as performance, not self-expression. It’s also a sly defense of distance: the model as icon, not influencer; as a constructed surface, not a public diary.
Context matters because Jones made her career by weaponizing artifice. Her angular, androgynous presentation and club-kid futurism weren’t accidents; they were design. Coming out of late-70s/80s fashion, disco, and avant-garde spaces, she embodies an era that prized image as a kind of architecture. The line lands today as provocation: if everything must be “real,” what happens to the right to be unreal on purpose?
The subtext is a rebuke to the modern hunger for “realness,” where every campaign needs to advertise virtue through visible imperfection. Jones isn’t arguing against real people; she’s arguing against collapsing fantasy into everyday life and calling that progress. “Art and illusion are supposed to be fantasy” frames modeling as performance, not self-expression. It’s also a sly defense of distance: the model as icon, not influencer; as a constructed surface, not a public diary.
Context matters because Jones made her career by weaponizing artifice. Her angular, androgynous presentation and club-kid futurism weren’t accidents; they were design. Coming out of late-70s/80s fashion, disco, and avant-garde spaces, she embodies an era that prized image as a kind of architecture. The line lands today as provocation: if everything must be “real,” what happens to the right to be unreal on purpose?
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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