Beautiful memory grave
The Social Gaze: On Watching and Being Watched
“Today everything exists to end in a photograph.”
– Susan Sontag, On Photography
Sontag’s remarks were deemed controversial in the late 70s. In the digital age of image saturation, however, she’s the disseminator of the gospel truth. Everything today from our casual interests, beliefs, interactions across mediums, and even our personality – exists to end up in a 1080 x 1080 pixel and 4:5 aspect ratio photograph, nestled in a thoughtfully curated grid – for the feasting eyes of the other.
The malleability provided by social media platforms to alter our identities has been a matter of discourse since its inception. Our online personas have never existed in a vacuum. As social creatures, we’re in constant anticipation of the outsider’s gaze, in both awe and fear. The inherent need to be seen is always accompanied by the fearful clasp of judgment tight around its neck. The human herd instinct to seek approval makes most of our behaviour in social settings performative. From the clothes we wear and the movies we watch to the opinions we hold more often than not arise from the need to achieve a sense of belonging – the one slated third in Maslow’s hierarchy of human needs[1].
While the performances persist, it’s only human to slip up at times.
Entrée the power of social media.
Social media platforms like Instagram, Snapchat and X (formerly Twitter) allow us to not only create a production out of our existence but up the ante as well – we get to control who views our performance, along with the parts they get to see.
Here’s a thought experiment. Imagine you’re (doom)scrolling through Instagram when you come across a post by a conventionally attractive, white woman. She’s seated in an outdoor cafe. The sunbeams bounce perfectly off of her black sunglasses. Her profile faces the camera as she peers into her phone’s screen, carefully reapplying her lipstick.
Seems cool enough right? What if you zoom in just a bit?
Those sunglasses are the coveted Tom Fords in Whitney, and her lipstick is the classic Rouge Dior. What else, the bottom half of the picture seems to cut off a pack of Marlboro Lights and what appears to be an incredibly expensive lighter!
There’s at least a fifty per cent chance that you’ll believe you’ve stumbled across the feed of an heiress out to lunch in Italy. Such is the power of branding. The mere association with brands established as luxurious converts a simple photograph into an identity definer, as Professor Nita Mathur notes, “commercial brands and luxury commodities have come to serve as signifiers of identity in society”[2], allowing individuals to construct, deconstruct or reconstruct their social identities.


References
https://psychclassics.yorku.ca/Maslow/motivation.htm
https://sk.sagepub.com/books/consumer-culture-modernity-and-identity
https://www.youtube.com/watch?v=14JGQ1JWSgc&t=632s
https://www.forbes.com/sites/forbescommunicationscouncil/2023/01/26/why-and-how-to-implement-social-media-branding/?sh=3c975389793b
https://internetprincess.substack.com/p/standing-on-the-shoulders-of-complex
https://academic.oup.com/jcr/article-abstract/32/1/171/1796334?redirectedFrom=fulltext
https://www.wired.com/story/business-gen-z-social-media/
https://creative.salon/articles/features/is-social-media-over-for-the-younger-generation
https://www.smh.com.au/lifestyle/life-and-relationships/new-nihilism-how-gen-z-is-embracing-a-life-of-futility-and-meaninglessness-20231016-p5ecra.html
https://www.businessoffashion.com/reports/news-analysis/the-state-of-fashion-2024-report-bof-mckinsey/
more from this issue —
A memory:
Trees in the yard beside stand tall, heavily adorned with mangoes in April’s raw daylight. Aamras does the work of sleeping pills and I’ve the entire house to myself for the afternoon. I tip-toe in the hallway in my white chikankari frock making my way to the dressing room. I sit in front of the mirror with a red pouch Mumma always takes out whenever we head outside. The pouch is full of things I know will make me look more beautiful but don’t know how to use. After years of observing the process of makeup, I open the pouch. I use red lipstick that smells very much like Swiss chocolate with glittery pink eyeshadow that I apply hesitantly and put on blush a little too enthusiastically, pocketing a few blush balls that I had plans to draw with. Slowly closing the door behind me I happily jump around the house that has somehow turned into an endless Broadway stage. Twirling my decked body midst summer with the usual hum of crickets I realize it isn’t impossible to look like Barbie, feeling proud of myself I bow and exit the stage.
a home no more:
“you’ve grown up”, I say to myself as I stand at the gates of a building, my school. It is very much like any other building with the same standard embellishments. I stand here at the gates in my best dress with my hair done and make-up on, to say goodbye. 10 years, of going to the same place every day in a set uniform that we’d try to give our own touch cautiously under the scanning eyes of the staff. Girls would never leave a chance for one pony and boys for long spiked hair. Instant pen tattoos, matching friendship rings, everyone had their own identifier, a way of adorning. As students who now very much feel like family walk in, in a way you haven’t seen them before, you think to yourself how different we all are. Years of going through it all together doing the same thing had created this invisible safe circle that I was about to walk out of. I had no idea how the simple act of adorning could either create a sense of unity or the sense of uniqueness. We all stand together, a tight-knit group of kids, dressed in their own skin, laughing while reminiscing. Moist eyes and dolled up selves, that evening is when I left home. I will never forget what I wore nor how everyone and everything looked, this is how I will piece together a puzzle of the evening I will never forget.
a new home:
2 nights ago, I was in my room looking for an escape and here I am now, at the ghats in Varanasi. An unplanned trip that has very much left me thirsty for another visit. Rowing along the banks you get to see it all, a very concise visual of what the city stands for. Temples with pagoda architecture and intricately carved shikhara architecture, masjids with captivating domes, ruins that still stay alive through tales, endless bodies burning as death keeps hovering and age-old trees weaving through walls portraying an enthralling sight. It is true, you get to see the entirety of life at the ghats. The living, the dead, past, present and future. I sit with my sister in front of BrijRama Palace planning to go to the local Japanese Café for katsu don and ramen. It felt too cinematic to be true, Ganga in the front, perfect orange-like sun setting and finding calm amidst the crowd that didn’t stop. I watch strikingly decorated sadhus walk by as my sister tells me about the bookshop, we ought to visit on Assi Ghat. Home is a place you build up with little things that you’ve collected over the years and somehow, this city feels like it and I hope to decorate it with memories.
Sitting on the hills watching the city lights glimmer I wondered why my colleagues asked me so, “Why do you dress like a writer?” all I could come up with was, “Well….”. But I think there’s always a part of us ornamenting ourselves into the skin we think is us at that moment of time and that becomes our identifier. The girl with the wide smile, uncle with huge soda glasses, that house with a Bougainville archway, that song about 24k gold? These details teleport you in time and to that specific memory that adorns your life so far. Listening to a finely curated playlist overlooking the city that looks marvelous I realize, life in fact is in adornment.
Appears in —
Aabha Deshmukh
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