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 Is Jesus a Supermodel???  

    Depictions of the emaciated, crucified Christ reflect the “severely thin silhouette, bone structure, fragile mien, and physical lack” of the heroin chic model (White, Book I-4). Christ’s emaciation, caused by devout sacrifice, is the ultimate symbol of bodily discipline. This sentiment can be interpreted as blasphemous, but it is an affirmation of Christ’s willingness to suffer selflessly. The dedication of Christ is mirrored in the heroin chic aesthetic, by the model's self-inflicted suffering. Both the emaciated Christ and the supermodel “suffer for their ultimate purpose to physically embody the word of God and Fashion respectively” (White, Book I-3). The steps for embodiment both entail “faithful practice, fasting and strictly following the governing law,” and only then the “thin body type is iconized as pure, disciplined, beautiful, and possibly divine” (White, Book I-6).

   The heroin chic aesthetic encourages self-inflicted suffering; the same willingness which is celebrated in the Christian faith and rewarded with sainthood (White, Book I-9). In both cases, the figure is driven by a flawed structure of guilt-fueled sentiment disguised as heavenly selflessness (White, Book I-28). The model desires to achieve divinity through sacrifice, and the viewer is simultaneously seduced and repulsed by this imagery (White, Book I-28). The bodies of both Christ and the model blend together in both suffering and sex. The genderlessness of God symbolizes the ascension beyond human categorizations, and similarly, heroin chic values androgynous body types (White, Book I-43). Christ and the supermodel use methods of self-imposed suffering to be perceived as pure and disciplined, thus placing them on a pedestal over humanity.

    This piece was made using a printed copy of Christ on the Cross by Léon Bonnat (see Piece 18). As the only non-photographic piece in this collection, this depiction strays away from realism into the fantastic. The choice of a visual tradition of a painting for this piece reflects the many historical depictions of the glorification of Christ’s emaciation. Christ is worshiped through artistic depictions and painted in the image of the maker. The act of painting the crucifix is an act of worship; the artist is implementing their own ideals of sacrifice and suffering to glorify Christ.

   Using an enlarged monochromatic copy, attention is drawn to the use of shadow in this piece, which strategically exaggerates the emaciation of Christ. The outline of Christ’s ribs, abdomen, and limbs is meant to show the suffering that Christ endured as a form of sacrifice. The emaciation is shown off as a mark of honour and therefore the moral superiority of the martyr.

   Piece 19 is an homage to the worship of the supermodel. In this photograph by Davide Sorrenti, a young model is holding up her arms in an exclamation of gratitude and reverence. The shadows present in the image demonstrate the mysterious nature of the divine. She worships those who have sacrificed themselves to achieve this status. Additionally, the worship is an act of gratitude for having the opportunity to be photographed by Sorrenti.
    As the collector of heroin chic models, Sorrenti has accepted her as the physical ideal. Her arms and face are in the foreground to spotlight the godliness of the supermodel. They have reached a level of ideal similar to that of Christ and receive similar awe. The closer the supermodel is to heroin chic perfection, the closer to the divinity of Christ.

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