Tuesday, 25 August 2015

Modelling schools: an investment or a waste of time?

J. Walk by ShowStudio: Naomi Campbell famous walk as taught by J. Alexander

In an interview with Nick Knight, supermodel Lily Cole said that modelling was not a skill that could be taught, that the learning was done intuitively. No one can teach you how to model, you learn how to do it as you go along (but still ...you learn 'how to do' something i.e. modelling ). She did however concede that catwalk walking can be taught. I am sure J. Alexander aka Miss J. will be relieved to have his coaching skills recognised by Cole.
With all due respect, I do find myself in disagreement with Ms Cole's opinions. I believe she is a most wonderful model and a very cultured woman, but occasionally I wonder why she says what she does, like when she calls Terry Richardson 'a sweetheart'. No doubt the Model Alliance is not happy with calling a man, alleged to be a rapist, 'a sweetheart'.
But today's post is not about either Richardson, nor Cole, for that matter.

Collage of photo by Elisabeth Anker Jacobsen Model: me

 I do find it difficult to believe that an accomplished model is certain that modelling is not about  taught skills. I do have some serious doubts about this and I also think that maintaining that  models are 'unskilled' people who learn intuitively, contributes on one hand to the mystique of modelling and on the other, it devalues it.
You are not born a model, you become one. You learn to walk - J. Alexander famously taught Naomi Campbell and a bunch of other supermodels  how to negotiate the runway. For Ms Cole it was enough to have the older models, rounded up by her agency, showing the younger ones what to do  before walking for LFW - yet it was a teaching of sort. It shows that in fact  not much time and effort is invested in new models,  they are often expected to be on the ball and know what to do, when in fact most young models do not have a clue.
Models in the second decade of the 21st century have to be able to negotiate different things and need to have  a whole bunch of skills which are definitely better acquired through someone teaching them and sharing their experience, rather than being developed intuitively.
Clients often expect models to double up as actors, to be able to speak on camera, and casting directors cast their net wide and consider for jobs people not only on the basis of their looks but on the basis of their personality and how accomplished they are.
Hence the question: should we rethink modelling schools?
Modelling schools have been around for a longtime, at one time they were a pre-requisite to becoming a model. Then they became superfluous, as the fate of the famous Lucie Clayton Charm Academy  is evidence of.
A modelling school cannot guarantee that all the students enrolled will be models, nevertheless it does teach some essential skills which many would be models and already practising models would find invaluable. A modelling school updated for the 21st century, in other words, would be an asset. Of course the problem is that many modelling schools are not serious at all and they are there only to take money, they hardly deliver anything. Quality is important and there should be a way of monitoring their standards.
Whereas this might indeed be a problem, it  does not mean that the idea of a modelling school is wrong, only that there have been and there are abuses.
J. Alexander was a model who knew how to teach others and became recognised as a catwalk coach. He did not learn his craft at any school but was able to become really good at it and then able to pass it on. People like J. Alexander are quite exceptional. Yet there is no question that learning the  skills that J. Alexander taught helped many a model to improve her performance.

Anita de Bauch by Julian Kilsby
Anita de Bauch is an independent model (i.e. not agency represented) who has written a guide to modelling which is of great help to all models, whether agency represented or not. In other words, there's a whole set of skills that models are expected to have which are definitely learnt, other by being taught directly or by reading guides such as the one written by Anita. Another way to learn very precious skills is to be mentored by an established and successful model - yet often agencies do not have time to provide that for their newer recruits.
A model is a performer of sort and modelling a profession which ,like many others, requires up to date skills.
So let's reconsider modelling schools.

Friday, 21 August 2015

Dance, fashion and shoes: fetish and discipline

My copy of the book

I finally got today my copy of Dance and Fashion, edited by Valerie Steele (2013). It's a hardback - the photos are so beautiful I just had to have the hardback. I love the opening of Valerie Steele's introductory essay: "Dance and fashion are the two great embodied art forms". Indeed they are.

That fashion and dance should have so many intersections seems a rather obvious thing to say -  costumes are an integral part of a dance performance. Yet I am aware that many dance lovers disregard what the dancer wears as being 'extraneous' to the performance, just as many fashion lovers do not really focus on the body as a wearing body, despite there being an overload of views and discussions related to body shape and body size. The point I am trying to make here is that the 'wearing body' cannot be reduced to size and shape alone, movement is also part of the equation.

The intersections between dance and fashion are numerous. Apart from the tradition of fashion designers creating costumes for dance performance - a tradition because of its long history - there is the great influence that dance as an art form has had on designers as well as the fact that a fashion show is performance, just as dance is, something that was so clearly brought out in the context of  the recent Alexander McQueen's exhibition at the V&A.  The strong performative quality of the models' bodies  as they were wearing McQueen's clothes  which  I saw in the looped video films in the Cabinet of Curiosities as well as McQueen's incredible talent for creating a full fledged performance through his catwalk shows  held me spellbound.

I will mention this in passing,  it is also on topic. When talking of dance and fashion we need to consider that there is a special kind of fashion, to do with dance practice wear. Go to any dance class and you will see a variety of leg warmers, leotards, tights, special jumpers to keep the dancer's muscles warm as they begin class and proceed to warm up. They are easily removable and not too thick, yet effective in the protection they give.

 Some leotards emphasise the lines of the body and provide some gentle support - just have a look at brands such as Sweaty Betty, Pineapple, Balletto Body and more. Several of my fellow 'sleekers' wear such delightful numbers during practice, I am a bit lax about it and often make do with some yoga leggings and a tight fitting top. I wonder whether I am still, at some level, somewhat self conscious about my body? I really can't explain this reluctance to wear better outfits, more aesthetically pleasing.

Back to the dance/fashion intersections.  The one that fascinates me is with shoes. Right now there is an exhibition about shoes at the V&A - one of a handful of museums to take fashion seriously - which I plan to go to soon enough.

An  essay in Steele's volume, by Coleen Hill, is about ballet shoes, aptly entitled "Ballet shoes. Function, fashion and fetish". Ah, the pointe shoes! they are emblematic of classical ballet and the relationship of the ballerina to her pointe shoes - male dancers do not wear them - is intensely personal, and the handling of the shoes almost ritualistic. Custom made - at least for professionals - good quality pointe shoes are an essential item for a ballerina's performance.

There are revered brands with a long history of making ballet shoes eg Capezio and Freed but since the 1990s a new ballet shoemaker, Gaynor Minden, has come to prominence.  Minden constructs ballet shoes using different methods and a technology that is akin to that employed for athletic shoes.

The ballet shoe entered fashion and was embraced by non-dancers  as 'the flat', sometimes complete with ribbons. Brigitte Bardot who had trained as a ballet dancer for many years, famously wore a red pair of so-called cendrillons, custom made for her,  in Et Dieu Creat la Femme. 

Flats are an enduring fashion item, especially in summer. They are regarded to be extremely comfortable wear (as opposed to high heels) but they can be quite hard on the foot if one does not walk transferring the weight immediately from the heel to  the ball of the foot when hitting  the ground , rather than striking the heel somewhat forcefully on the ground, as many people tend to do.

 My real passion are the fetish ballet boots and the high heel variants on the ballet pointe shoe, such as McQueen's famous armadillo boots. I unashamedly love high heels, I have often worn heels  at home,  especially if the shoes are new and need breaking in. It takes practice to walk confidently in high heels without bending your knees,  holding your balance,  and not   leaning back,  as I once saw the models do at a catwalk show. I was aghast. Those stunning girls badly needed  catwalk training, I thought. It detracted tremendously from the clothes. Like spotting a dancer in the corps not doing her routine bang on time!
And isn't she beautiful? Grey haired and wearing ballet boots! She is probably wearing a wig but...I love the link between grey hair and fetish!

 The link between ballet and fetish is very apparent if one thinks of the corset, something that Steele points out in her book Fetish , Fashion and Sex, and  which Hill cites. "Like corsetry ballet is about strength and grace".  So says Lauren, a fetish enthusiast interviewed by Steele.

 I have modelled fetish fashion, worn fetish ballet boots - I could not walk in them but then they were a size smaller than mine -  have been shot in corsetry and have had experience of ballet, through class attendance. I can definitely see the link. I am also aware that fetish gear is about disciplining the body and so is ballet.

Corsets. Photographer: Vanessa Mills. Model: me

I will take this up in another post. Meanwhile if you can,  please get hold of Steele's book. It is a genuine recommendation, I am not being sponsored to say so, unlike other bloggers when they endorse products!

Thursday, 20 August 2015

Regal enough

Model: me. iPhone photo

A few years ago while on a job as a supporting artist (I have really tried my hand at everything) I did a scene in a film where I had to be a guest at a wake. I was part of a group of women of different ages and we were all dressed in very formal clothes. We did not have lines to speak but we had to look quite solemn, as one does at wakes and funerals.
 My hair, at the time not as long as it is now, had been styled in a high French pleat. I wore pearl earrings - my own - and a well cut dark grey suit, with a white blouse. When I looked at myself in the mirror I thought my outfit seemed rather corporate and remarked that I felt as if I were about to attend a board meeting, was it the right look? The stylist to whom I had addressed the question was busy fixing hats onto the other ladies, but heard me. She glanced at me and said that I looked just fine. I asked whether she had a hat for me too, as I had not seen any together with the accessories that had been put to one side for my use. She replied, with a hint of impatience, 'No, you look' she paused searching for the right word 'regal enough. This is the look for you, with no hat'.  
The answer stopped me in my tracks. I thought better than questioning her further, I could see for myself she was busy and, most importantly, that I had crossed a line. 'Of course' I said and moved away. 
That day I learnt an important lesson about professional boundaries. One should not question, on a job, a stylist's careful choice (or a make up artist's for that matter). Only the director can. 


I also learnt something else. It was the 'regal' bit of the stylist's sentence that gave me food for thought. In that context, it was not meant in a complimentary way at all. Yet I could not fail to admire the adroitness with which she had managed to shut me up. And that word, regal, has haunted me ever since. 
What does it mean to be regal? Let's see. Regal  means befitting a king or a queen. It is not the same as being royal,  one does not need to be a member of a royal family to be regal. Yet though everyone can be regal, only very few succeed.  Being regal is to do with being noble, dignified and elegant in character, not only in appearance. 
There is an anonymous  quote going round the web, a meme, often appearing on Facebook, on Twitter  or in blogs. You can even buy postcards with it, coasters and T-shirts. It says "Always wear your invisible crown" (paired with the more tongue in cheek "Queen of awesomeness"). It sounds daft but think about it. Imagine feeling the weight of a crown on your head. You would begin to move differently, your posture would change and that would affect your behaviour and the way you come across to others. It is also about confidence, feeling confident about yourself in any situation, reminding yourself that YOU are a queen (or a king), so stop beating yourself up for this or that reason. 
Being regal is ultimately about seeing yourself as worthy and believing in yourself, your abilities and your uniqueness. 
And, last but not least,  you can get rid of people that are being petulant and bothersome within seconds if you tell them they look regal enough. Just like the stylist did with me. 

Sunday, 16 August 2015

Amnesty and prostitution: sex workers should be listened to

Photographer: Todd Hart. Model: me 

There has been a lot of discussion around Amnesty International's vote on  decriminalisation of sex workers. Several people have commented that Amnesty's resolution is most flawed, that it protects pimps and exploitation of minors and a bunch of Hollywood stars have written a public letter asking Amnesty "not to legalise pimping".
Then this morning I watched Sunday Morning Live and listened to various people offering their views on the matter, some invoking extraneous issues such as the morality of selling and buying sex (not a point of discussion here, surely), some accusing Amnesty of endorsing heinous crimes such as exploitation of minors and trafficking -  wtf? are we really talking about Amnesty International here? - and finally a most articulate woman who introduced herself as Charlotte, a practising sex worker, currently happy with her career choice and not coerced by anyone. She put it most succinctly: decriminalising sex workers is not about endorsing pimps but it's about giving the sex workers the safety net they need so that they can be free to report violence to the police without fear of being prosecuted themselves.
And this is why I support Amnesty's proposals.


 In no way does Amnesty endorse pimps and traffickers, in fact Amnesty goes to great lengths to distinguish between enforced and voluntary prostitution. The so called 'Nordic' model, advocated by many and applied in Sweden and Norway (hence the nickname) makes a mockery of sex workers because even though it decriminalises them, it makes it illegal for punters to buy sex and, as Molly Smith reports, it makes it possible for police to harass the sex workers themselves.
Amnesty has listened to the sex workers  and I believe this is why it has come under fire. It recognises that the women and men selling sex are people and have a voice.
There are strong and divided opinions on prostitution and countries within Europe alone deal with it in different ways. Prostitution is enmeshed with other problems, some of which quite endemic and no experience of prostitution can be described as representative.
The French government, with a moral paternalism that is quite bewildering, has declared war on prostitution and plans to abolish it, which means that sex workers are being stigmatised and prosecuted.
As Julie Blindel (not Julie Bindel!) tweeted (you can see the clip below her tweet)
  1.   retweeted


Indeed.

Monday, 10 August 2015

Still on grey hair and the Duchess of Cambridge



Photographer: Isabella Bambagioni. Model: me

Oh God, this is getting a bit boring, please forgive this new post again on grey hair. But it is in the news and for all the wrong reasons.  Now the Daily Mail seems to have taken up the cause of grey haired women,  coming out with, wait for it, headlines such as "I am proof going grey can make you look years YOUNGER". Oh dear. Oh, dear, dear, dear.  Once again the lure of looking young. I absolutely hate the spin given to it.
I have grey hair (silver). Have had it this colour for years. I even have Rapunzel style hair, to my hips. Don't get me wrong I love my hair as it is. Would not colour it, would not cut it. In my line of work I often have to negotiate with hair stylists who suggest that a good four inch off would do wonders to my look. My reply is always no - it has cost me bookings.
Yet I think headlines like that of the Daily Mail are seriously, I mean, seriously wrong. Grey hair does not make you look younger, not particularly, no more than coloured hair does. Once you are a certain age, you are a certain age. Age goes up. It never goes down - only in Kubrick's 2001 that is, demonstrating the universe shrinking, you go from being decrepit to being a foetus.


Photographer: Justyna Neryng

Grey hair may suit your complexion better, because as you grow older harsh dark colours do not. So grey hair may give you a softer look. But...it still needs a lot of styling - if you are not blessed with a thick mane you need a good cut. You still need to complement your grey hair  with the right make up, with colours that, once again, suit your skin tone. And...you still need to hit the gym or the yoga studio or whatever does it for you and work out regularly  because toned arms and legs go a long way NOT to take years off you - that will never happen - but to make you look and feel good.
We have a very high profile example of a woman, still in her thirties,  who is battling her grey and that is the Duchess of Cambridge. No doubt she is under tremendous pressure to colour. The fact she is not yet forty goes to show that grey hair can happen when you are still young. It is a genetic thing. But neither it is a marker of old age nor is it of young age.
If the Duchess were to embrace her grey that would be so immensely liberating for so many women. In their article on going grey The Guardian said that only courageous women dare to go grey.
I wonder whether the Duchess could be that courageous.

Thursday, 6 August 2015

Again on grey hair


Photographer: Ania Mroczkowska. Model: me

Appearing on  ITV This Morning on 30th July celebrity hairdresser Nicky Clarke who owns salons all over the UK and a well known brand of hairstyling products commented that grey hair was most unbecoming for women (not so for men, apparently). Viewers did not like this at all, judging from their response to the subsequent poll and  many women were quite outraged by Clarke's comments.
The various Fb grey hair support groups made their views known, and Denise O'Neill who writes the Grey is OK! blog even tweeted to Clarke an image of herself taken by photographer Vanessa Mill, declaring  that women can go grey very gracefully -  Clarke graciously retweeted it.
To be honest, I am not  sure Clarke really believes  his own words, one wonders whether he was asked to take on that view for the sake of having a debate. The whole thing was an opportunity to 'take the pulse'  and suss out how the general public position themselves vis à vis this issue. It helps advertisers. We might be seeing more grey haired women in ads - we already see them as grannies, but we might, just might, see them in more glam roles. Such surveys do eventually help to change attitudes.

Photographer: Ania Mroczkowska. Model: me

I particularly liked Sarah Harris' response to Nicky Clarke later published in The Telegraph . The beautiful Ms Harris has been grey since the age of sixteen. She did not take kindly to Nicky Clarke's remarks and dismissed him as being outdated.
Then The Guardian also published an article "Do or dye: why women daren't go grey (unless they are very brave or very young)"  ending with  the views of a London  colourist, who colours her own grey,   whose clients  apparently have confided they felt under pressure to dye because with grey hair they would be taken for imbeciles.
Really?  Excusez-moi, but  colourists presumably make money out of colouring hair, so their views cannot be taken as unbiased and I take these comments with a grain of salt. If women stopped colouring their hair it would affect a massive industry built around colouring, something of which Clarke too, whose business is after all that of colouring, is well aware.
As for the imbecility allegedly associated with grey hair maybe I have been particularly lucky, I have had long grey hair - silver, if you please - for a longtime and no one has ever taken me for an imbecile on account of my hair colour (or lack thereof).  I have had lots of compliments, have had a few people suggest that if I coloured my hair I'd look ten years younger - no, thank you, I don't want to look ten years younger, what for? I just want to look good - but an imbecile, no, no one has ever said I was one because of my silver hair. Nor have I ever felt under pressure to colour for fear of being taken for an imbecile - never heard of that one before.
 Imbecility is nothing to do with hair colour, I should hope everyone would agree on this. Colouring or not colouring is a personal choice and no more should be said about it. The day we are ready to accept this will definitely mark a great achievement.



Tuesday, 28 July 2015

Sleeking in Croatia

Dubrovnik: aerial view. Google images

That's right. Sleeking is a neologism and it refers to what we do when we practice Sleek technique. A group of us is off to Croatia, Dubrovnik area, for a retreat: lots of sleeking and delicious healthy food, plenty of sunshine and a relaxed time in a wonderful historic region. Fans of the Game of Thrones have seen images of Dubrovnik many times!
Really looking forward to it, especially the sunshine, now that the usual cold and rainy weather is back in England with a vengeance.
I am taking my camera so I hope to get lots of beautiful pictures.


Meanwhile if you missed Hair Series 2 last night - you can see it on BBC iPlayer, here are some pictures from the freestyle competition where I was Phil's model and was turned into Miss Havesham, The Jilted Bride (all you Dickens' fans will recognise her at once). I am so pleased Phil managed to secure third place and thus is carrying on to the next round. It's getting very competitive now, but that's what it's all about.

Phil, me and Alain Pichon
I loved the very long plait, Phil  added extensions to make my hair fall to my ankles. I have kept some of that hair but have not used it yet, my own keeps me busy enough.
I am taking a break from blogging till I come back next week.
Bye for now!


Friday, 24 July 2015

Being ladylike: Englishness, class and elegance


Nicole Kidman in The Portrait of a Lady. Source: Film Costumes 

I watched with great interest and relish the programme aired on BBC4 last night How to be a Lady: an elegant history - I am not sure everyone can view this on iPlayer, it depends on whether you can access BBC from wherever you are.
It was presented by Rachel Johnson who also writes for that rather old fashioned English magazine called The Lady, one which  people buy because of its classifieds, when they are looking for a nanny or  an au pair (or when they are searching for such a position).
Johnson is witty and rather stylish and elegant, in a non-conventional way. It seems her husband thinks she is not very ladylike, I beg to differ.
I was intrigued by the various definitions of elegance and class and being ladylike that were proffered  throughout the programme and how these were connected with 'being an English lady', with a Victorian stamp. Ah, Englishness.
All rather dubious, I would say. Apparently some people make good business out of this 'English ladyhood' and teach young girls from well to do families in the Middle East how to be elegant and classy the English way - how to be a lady -  charging an inordinate amount of money for the privilege.

Photographer: Mol Smith. Model: me

I am not sure the English can really claim to be inherently or specially elegant, not really, nor are 'ladies' and ladylike behaviour necessarily English.  The French would readily contest that and not without justification. The English can claim to be, well, English, extremely burdened by a rather antiquated, everlasting and quaint class system, with all its niceties and complexities.
But the woman interviewed by Johnson who stated that she, as an upper class English woman, oozed class and sold it to the Arabs, who have no class, but lots of money, struck me as making a gaffe which would definitely not turn her into that paragon of elegance she believed herself to be.
There is some truth in the observation, put forward now and again throughout the programme,  that people, especially the young, nowadays have no concern whatsoever for manners and far too many people do not seem to know how to be a dinner guest.  In fairness it has to be said they are not taught and rudeness is catching. When I was in Florence recently it was remarked how discourteous I was when asking for directions in a gallery without beginning my question with  'Buongiorno'. People don't say so in London, at best they will say 'hi' and I seem to have picked up a bad habit, that turned me into a rather rude customer.

Being ladylike 1950s style. Model: me

When I last went to Paris I made sure everything I said was prefaced with 'Bonjour', better be safe than sorry.  It meant people listened to me without putting on a very bored look.
I loved the end of the programme, when feminist writer Bidisha comments on reclaiming the term 'lady', as a way of bringing a kind of formality and elegance back into a culture (our current popular culture) which is really quite vulgar. A reinvention of the lady beyond the narrowness of earlier definitions and certainly beyond the crassness of it being a money making device, as asserted by the earlier interviewee. A reclamation of ladyhood not weighed down by class and privilege, with the lady being empowered and strong, "a brilliant, strong, sisterly woman".
I was so enthused by this, I got in touch with Bidisha to ask her more about her contribution to the documentary and this is what she wrote back:
"I wanted to add that  a lady could also be a sort of femme fatale/ film noir conception: a woman who's always got a witty comeback, has great dignity and self-possession, is fearless and morally elegant and carries a little and effective (metaphorical) gun in her purse." Yes! This is the lady and the ladylike behaviour of the 21st century. Thanks Bidisha for this wonderful comment!
Johnson is not wholly convinced by the entire business of "going backwards to gloves and tiaras" to reclaim ladyhood and thinks that the fact we are living in more austere times, with greater competitiveness may be the reason why the added polish bestowed by training in good manners and behaviour could be an asset in the job market. She concludes by saying that it is definitely  a matter of training, and that  "if a middle class girl from Berkshire can become a princess, anyone can become a lady".
I can't possibly disagree, especially if the lady one would aspire to be is, as Bidisha says, an elegant femme fatale, witty, self-possessed, dignified and with that little gun on the ready.

Tuesday, 21 July 2015

The problem with Candy Law: infantilising women

Candy Law. Google images

The problem with Candy Law is not Candy Law herself, let me be very clear about this. She is a beautiful woman, a former model and beauty queen from Hong Kong,  despite the non-Chinese sounding name. Candy Law has released a new photo book with glamorous images of herself, perhaps a little retouched,  and this has turned out to be very,very popular, with over 3,000 copies sold on the day it was released.
No. The problem is the way this is being reported. Candy Law is fifty but she has been dubbed 'the fifty year old who looks sixteen'. I find it disturbing, and not at all  complimentary. She does not look sixteen simply because she is not. She looks of an undefinable age, thanks to 'work' (of course she has had it), artful photoshopping and natural good looks. And why would she want to look sixteen? Why would we want to believe she is sixteen or like a sixteen year old?
I noticed that when Elle MacPherson was admired for her trim body a couple of weeks ago no one tried to infantilise her, claiming she looked sixteen. I do not even think Elle MacPherson would have allowed it. After all, in her interview with The Telegraph she said, very clearly, that women want to look good, not young. Totally agree.

Elle MacPherson in 2005

But when it comes to Asian women, this kind of infantilisation is rampant. It is not just the western media that does it, in many Asian cultures the beauty ideal for women remains that of a teen girl, as pale as possible, as thin as possible - athletic bodies are not really appreciated. Arms in particular should be very slender.
In Japan the fashion of adult women dressing like little girls has been very popular and there is something quite jarring about it. It is part of the kawaii aesthetics of being childlike and demure.
Yet there is, in Asia,  a growing population of older men and women.
How can being sixteen continue to be offered as an ideal, in the circumstances?





Saturday, 18 July 2015

Trigger warnings and censorship


Eugene Delacroix. The Death of Sardanapalus. Google images. 
(Should this come with a 'trigger warning'? )

I don't get this 'trigger warning' thing. The Columbia University students who claim they should be protected from learning about the rapes of Greek mythology - excuse me, university students, not kindergarten children, hopefully all over 18 - strikes me as absolutely ridiculous. 'Trigger warning'  is  a close relative of  censorship. I do not support a nanny state. I do not believe someone knows better than me what I should know about. I am an adult.
I certainly do not relish accounts of horrific rapes and beheadings. Greek mythology and Biblical stories aside, when they do happen in real life, repulsed though I may be,  I do want to know about them and I want to know that there are some people capable of such horrors and that they should be punished.
I am also very concerned that one of the latest endorsements of 'trigger warning' was in connection with a horrendous story  of a vulnerable adult woman, from Winchester,  raped by a thug - how else would you describe him ?- who used a shampoo bottle for his assault. The bottle  was then lodged in her insides causing her  tremendous pain. Eventually she died because of the internal injuries. This whole incident and the way it was reported provided the advocates of 'trigger warning' with an opportunity to clamour that it should have been more thoughtfully discussed, giving ample warnings of its gruesomeness and  omitting some details.
I do not remember any such clamouring on the occasion of the bus gang rape of the young woman in Delhi in 2012 whose intestines were pulled out by her rapists. She too died following the internal injuries caused by  this horrific assault. This incident sparked worldwide protests but the details about the case were discussed at great length. Yet no one  protested that a 'trigger warning' should have been put in place. I cannot help feeling this was because the young woman was not Caucasian. Why this discrepancy? Is there a difference between 'white ' pain and 'non-white' pain?
I also believe that 'trigger warning' would actually protect the crime perpetrators. I am an adult and I want to know what they have done. I do not want to be wrapped up in cotton wool. The moment you start putting warnings all over the place it is the beginning of censorship. No, thank you. A headline is enough  warning. You need not read the article if you do not wish to know. But do not ask for information to be omitted. Because this is what 'trigger warning' would end up being, with 'sensitive' content being withdrawn. And who will be deciding on what constitutes 'sensitive' content?
In conclusion no, I do not support any kind of 'trigger warning'. I can make up my own mind, thank you.