Barbie as a Feminist Icon
Cecile Plaisance’s Bold Vision
Cecile Plaisance discusses her artistic journey, using Barbie and lenticular prints to address feminism, female autonomy, and societal constraints, challenging traditional roles and celebrating women’s freedom of expression.
Cecile Plaisance’s artistry is an unapologetic celebration of femininity, freedom, and provocative expression. With a career that began in the European financial markets before transitioning to photography, Plaisance’s work boldly explores themes of gender, societal expectations, and religious constraints. She is known for her imaginative use of Barbie dolls as a medium, transforming the iconic figure into a symbol of female autonomy and challenging the viewer’s perception of beauty and identity. Her distinct visual style combines playful imagery with serious commentary, asking us to reflect on the constructs that shape women’s lives.
Plaisance’s photographs resonate far beyond their immediate appeal. Through her series such as “Fuck the Rules” and her thought-provoking lenticular prints, she weaves a narrative of rebellion and empowerment. Her artistic voice pushes boundaries, inviting dialogue on the roles women occupy in society. With influences from luminaries like Helmut Newton and Ellen von Unwerth, Plaisance’s work is simultaneously bold and thoughtful, elevating the conversation about femininity while presenting beauty, humour, and defiance in a unique and captivating form. Her images, often a blend of the provocative and profound, challenge societal norms and open the door for women to embrace their freedoms unapologetically.
How did your background in economics and finance influence your artistic journey, if at all?
My economic and financial background has not influenced my work as a photographer. On the other hand, even as a little girl, I collected magazine photos/images that I found beautiful. Mostly photos of women. I like to transcend the beauty of women, I’m fascinated by beauty.
When I left the world of finance, I moved on completely, not knowing where this new adventure would take me. And here I am!
What drove you to transition from photographing travel scenes and objects to focusing on Barbie dolls as subjects?
I’ve always had a camera at hand, especially since the birth of my children, whom I’ve obviously bombarded with photos! We’ve been lucky enough to travel a lot as a family, so I have photo reports of all our adventures.
When I went to photography school in 2008, we had to hold regular exhibitions with set themes. In 3rd and final year, the theme was free. I did a tribute to Helmut Newton, my mentor. I was looking for models who would be willing to stand in front of my camera, but nothing came of it. That’s when the Barbie came to the fore… there were lots of them in my house… it was both a nod to my childhood (I played Barbie a lot) and a humorous way of dealing with feminists! Because who could be more feminist than Helmut Newton and his femmes fatales! And what consumer object could be more reviled than the Barbie….
I’m a feminist who asks women to play with everything that’s possible in femininity.
How do you balance the playful and provocative aspects of your Barbie images while conveying deeper messages about femininity and women’s rights?
What I just told you… Although the battle for gender equality is far from over, women must not abandon their femininity. The right to dress as they please, to wear make-up and lingerie… in short, to feel beautiful, should not be seen as a provocation to men. These are rights we have acquired, and we are free to use them or not. That’s why my Barbie, with her ultra-feminine shape, allows me to deliver an even stronger message. I don’t accept that laws dictated by men, particularly religious laws, should prevent our freedom of movement. My photos, like those of Femen, are indeed provocative. But the more provocative they are, the more my message gets out. Long live freedom for women.
Can you expand on the decision to undress Barbies in your work, and how it connects to broader statements about female autonomy?
As mentioned, the more provocative I am in my work, the more my message gets out. I undress my Barbies or Mannequins, to show that in a free world, the Woman (the Barbie) has the right to choose whether she wants to show her body or not. In the 21st century, the religious laws in force in certain countries hinder women’s freedom, making them invisible, submissive, and dependent. This is no longer acceptable.
How has your process evolved now that you’re working with human models, and how does it differ from working with Barbies?
It’s still the same work with the same idea, that of defending women’s freedom. The difference is that now, the models I work with fully support my project. The exchange is always fruitful and collaborative. Some women go even further than I do. I’m thinking of Marisa Papen, with whom I’ve worked on several series, and who pushes the idea to the point of living naked (as far as that’s possible). I love working with women, the exchange is much more nourishing than with my Barbies!
What is the significance of your use of lenticular prints in your work, and how do you think it enhances the viewer’s experience?
I’ve always worked in diptychs. With a before photo and an after photo: dressed / undressed… When I discovered this medium; lenticular, I knew right away that it was my medium. it’s a “car stopper”. It allows me to deliver my message in a more playful but also more conspicuous way. When people see my work, whether they like it or not, they stop. They move in front of the photo, they try to understand… it’s also a bit reminiscent of our childhood, with double decimeters or placemats bought in souvenir stores.
Here is one of my famous work: Fuck the Rules. It shows a women in Burqa : undressed with a cigarette in her mouth and almost nude with written on her breast: Fuck the Rules. I think it is very explicit.
The second one, with the same model says in French: and God created Woman! It is also a very famous Film with Brigitte Bardot from Director: Roger Vadim in 1956!
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