"Well, I think mostly we're dressing for men"
About this Quote
A throwaway line that lands like a cracked mirror: Jerry Hall bluntly names the real audience behind a lot of "female" glamour. Coming from a model whose career was built inside the machinery of looking, "we're dressing for men" isn’t moral panic or self-pity; it’s an insider’s shrug at the market logic of desire. The intent is almost disarmingly practical. Clothes aren’t just self-expression, they’re a language shaped by who’s doing the reading.
The subtext bites harder. Hall collapses the comforting feminist slogan of dressing "for ourselves" into the older, messier truth: even when women feel in control of their image, the culture’s default gaze still sets the terms. That doesn’t mean women have no agency; it means agency operates inside a system with a built-in audience. Her "mostly" matters. It concedes complexity - women dress for status, for other women, for the job, for the mirror - while refusing to let the heterosexual male viewer off the hook as the dominant consumer.
Context is everything: Hall emerges from the late-70s/80s modeling era when fashion and celebrity merged into a global billboard, and women’s bodies became both brand and battleground. A model saying this carries a different charge than an academic theorizing it. She’s describing the backstage economics of attention: styles that promise autonomy but sell legibility, outfits that read as empowerment while still performing availability. The line endures because it’s not a manifesto; it’s a candid admission that the runway has always doubled as a tribunal.
The subtext bites harder. Hall collapses the comforting feminist slogan of dressing "for ourselves" into the older, messier truth: even when women feel in control of their image, the culture’s default gaze still sets the terms. That doesn’t mean women have no agency; it means agency operates inside a system with a built-in audience. Her "mostly" matters. It concedes complexity - women dress for status, for other women, for the job, for the mirror - while refusing to let the heterosexual male viewer off the hook as the dominant consumer.
Context is everything: Hall emerges from the late-70s/80s modeling era when fashion and celebrity merged into a global billboard, and women’s bodies became both brand and battleground. A model saying this carries a different charge than an academic theorizing it. She’s describing the backstage economics of attention: styles that promise autonomy but sell legibility, outfits that read as empowerment while still performing availability. The line endures because it’s not a manifesto; it’s a candid admission that the runway has always doubled as a tribunal.
Quote Details
| Topic | Equality |
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