Maximalist’s Revenge

I think at this point we are all familiar with “the clean girl aesthetic.” If you aren’t or if you have never thought about this aesthetic critically -- let me lay it out for you. The very name of this style is indicative of its faults: it is defined by its outward appeal, the perception, a trimmed and commodified version of an “aesthetic” rather than a style driven by a cultural movement. One of our Chattanooga Strike Writers, Knia, mused on this phenomenon in more detail in her blog, “Aesthetics Murdered Subculture” which is worth a read if you want to learn more about this cultural phenomenon. 

Ultimately, though, the issue of this aesthetic is that it is based on a woman’s ability to produce a manicured version of herself, one that is able to produce and improve without end—she is a “clean girl.” Her very value is based on her ability to conform to this aesthetic that prides itself on cleanliness and sterility -- in her ability to present herself as a “clean girl.” The core of this aesthetic is in the external view of the woman. 

But even more dreadful is that to truly achieve the “clean girl aesthetic,” she must participate and buy in completely to the constantly shifting trend cycle. The clean girl uses Stanley cups, but then Owala comes out and now the clean girl uses an Owala that perfectly matches her laptop case and her airpod case -- lilac and grey. 

I want to quickly note that using these products or wanting to be your best or caring about your appearance are not inherently bad things. I do not fault anyone who identifies with this aesthetic -- at the end of the day, everyone should do exactly what they want to do and to hell with the rest. But I do invite you to consider the messages laid before you and the message that you are conveying in the content that you produce and consume. 

In many ways, the clean girl is defined by her ability to consume messages of modern femininity -- messages of clean countertops and homecooked meals that harken back to the 1950s -- and reproduce them in her own, clean-cut, modern, and manageable version. She is to prioritize success and her public perception. She must sacrifice the vices of the world in favor of “the grind;” success itself is her success. In this way, the clean girl is an identity entirely rooted in capitalism and perpetuated by capitalism. 

On the other hand, we have the maximalist. Personal style is on the rise; we prioritize individuality and many people embrace this in a form of maximalism. We stack jewelry. We clutter our hands with rings on every finger. We mix patterns and textures and layer lengths of skirts, shirts, and dresses. While it may seem contrary to reason because maximalism can seem more driven by capitalism because of the items and colors that are inherent to the maximalist style, in my experience, it is far more removed from capitalism. While there are more items in a maximalist outfit or a maximalist’s home, they are longer-standing and more established. These items often have a story, purchased from a favorite artist or souvenir from a favorite vacation or even just a cool piece of clothing from a thrift store. Moreover, these items are here to stay, they are not driven by a trend cycle, they are items that are incorporated because the individual enjoys them and identifies with them. 

Ultimately, maximalism is almost a reaction to the commodified identities that appear under capitalism. These identities are manufactured by the fashion industry, by the marketing execs at fast fashion and Fortune 500 companies, and they are a way to grasp at money-- no matter how authentic or meaningful.

To the credit of the clean girl aesthetic, maximalism is not only broader, but it is more established. Moreover, maximalism can present in a plethora of ways; I’m sure some maximalists partake in fast fashion or some individuals participate in a maximalist style as its own commodified identity as they attempt to take on a style as a trend. There is no way to pass judgment on the authenticity or ethics of an individual’s style; however, we can and should critically consider the aesthetics laid before us.

Strike Out.

Writer: Jane Dodge

Copy Editor: Sarah Singleton

Chattanooga