Its headquarters are in New Albany, Ohio. The company operates two other offshoot brands: Abercrombie Kids and Hollister Co. Once known for its sexualised ad campaigns, the company has toned down its imagery and no longer displays nearly nude models in their advertisements. According to then-chairman Arthur Martinez, these changes provide the hopes that the audience will see the company is evolving along with its consumers, and boost sales. Abercrombie as an outfitter for the elite outdoorsman.
That's why we hire good-looking people in our stores. Retrieved December 15, McKellen judes scathing about contemporary Hollywood: "They'll let me play a grey-bearded Peter fitch nudes, but they still wouldn't cast a young gay actor - who was out - in a straight romantic lead. Retrieved June 28, San Francisco Chronicle. Are we exclusionary? Unlike other aspects of identity - race, religion, age - our sexuality is about what we like to do in bed, so when we go to see a film on the subject nuses always going to be a slight overlap with Anal blacks on blonds. Say goodbye: According to plans unveiled by the retailer on Prter, Abercrombie's iconic shirtless models will no longer be featured Peter fitch nudes any of its stores. Sherman explains there's a divide between this kind of cinema, made by mainly straight people, and queer cinema, a purer form where the films are not only about gay subjects, but made by gay people.
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By Erica Tempesta For Dailymail. Abercrombie and Fitch's iconic male models have been banned from going shirtless and flaunting their rock-hard abs in-store and at brand events after the controversial retailer insisted that it will no longer be relying on the sexualization of its employees to sell clothes.
Abercrombie and Fitch Co. The company stated on Friday that it will have completely abandoned its sexualized marketing ploys by July - which means no more shirtless Hollister 'lifeguards' or Abercrombie 'models'. Say goodbye: According to plans unveiled by the retailer on Friday, Abercrombie's iconic shirtless models will no longer be featured in any of its stores. Covering up: Male models will no longer be asked to go shirtless at Abercrombie and Fitch store openings, like this one in New York City in The retailer also plans to tone down the images that appear on in-store photos, gift cards and shopping bags.
Over the years, the company has received its fair share of criticism for using provocative marketing campaigns, which feature young, often naked, models, while under the reign of former CEO Mike Jeffries. But while the store has always stood by its overtly-sexual campaign images, until now, it seems that they haven't actually been doing the company any good. In addition to the changes to it image, the brand has also vowed to stop calling its staffers models.
Popular feature: While the brand has come under fire on a number of occasions for its overtly sexualized marketing tactics, the shirtless models are still seen as something of a tourist attraction by many. Good looking line-up: Abercrombie employees, like these posing at a store event in Singapore in , will no longer be called 'models', but will instead be referred to as 'brand representatives'.
She also described blatant instances of racism, which she said took place just before visits from Mr Jeffries. According to the employee, the former CEO frequently visited her store before it became a flagship and most of the shameful things she saw took place right before his arrival.
But the brand is adamant about changing its reputation, noting that 50per cent of its store associates are non white. The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline.
The end of an era: Abercrombie and Fitch vows to stop using shirtless models in its stores while promising it will 'diversify' its overtly-sexy image By Erica Tempesta For Dailymail. Share this article Share. Read more: www. Share or comment on this article: Abercrombie and Fitch vows to stop using shirtless models in its stores e-mail 1. Most watched News videos Brexiteer attacks Caroline Voaden for calling for a People's Vote Countdown to Brexit: 4 days until Britain leaves the EU Excruciating moment couple are told by stewardess to stop having sex Simba the lion is saved from 'canned hunting' and finds new home Metro passenger distracted by phone falls onto tracks in Madrid CCTV footage of man who pleaded guilty to the murder of June Jones Hilarious video sees a fabulous parrot dancing at a rave Police arrest 'knifeman' at Manchester Oxford Road station Bystanders take action against armed robbers in Shepherd's Bush Ambulances continue transporting people found dead in lorry Jo Swinson confirms she won't swap seats to ensure re-election 'Knifeman' held down on floor at Oxford Road station in Manchester.
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Abercrombie and Fitch vows to stop using shirtless models in its stores | Daily Mail Online
The following correction was printed in the Guardian's Corrections and clarifications column, Saturday March The article below says that Brokeback Mountain had been banned in Utah. The movie was pulled from the schedule of one multiplex in Salt Lake City, but has been shown elsewhere in Utah and was named best movie of by the Utah Film Critics Association.
I saw Brokeback Mountain at the right moment. In December last year the Civil Partnership Act came into being, granting legal status to same-sex couples. My partner of 19 years, Greg Doran, and I were among the first to get hitched, and we enjoyed a day of unadulterated celebration and warmth - from the staff at the register office, from family and friends at our party, even from the media. Then we went on honeymoon to Africa.
Our travel agent had tipped off the various hotels, and there were bottles of champagne awaiting us in every bedroom, as well as flower petals strewn in the shape of hearts. Camp, certainly, but delightful. For a few weeks it seemed that the whole world was gay-friendly.
Then we came home and saw Brokeback Mountain. It affected us deeply. Not only because of its unflinching portrayal of a difficult love affair, but because it was a timely reminder that for some people the love that dare not speak its name is still a painful reality. The film may be set in the s, but it has been banned in modern-day Utah, and is unlikely to be seen in, say, the Muslim world, or indeed many African countries, despite the welcome Greg and I received in their luxury hotels.
Shortly afterwards, we saw Capote, and again we left the cinema reeling. Hollywood seemed to have grown up overnight. Like Brokeback Mountain, Capote is quietly paced, emotionally painful, and there's not an exploding car in sight. And both films have gay characters at their centre. In Capote he's not just gay but, let's face it, a real old-style screamer. What I find remarkable about Philip Seymour Hoffman's performance is how internalised it is, managing to be outrageous and understated at the same time.
Both films have received critical acclaim, top awards and wide distribution. So is this the moment when gay cinema goes mainstream? Sherman explains there's a divide between this kind of cinema, made by mainly straight people, and queer cinema, a purer form where the films are not only about gay subjects, but made by gay people.
It was a landmark when that film received several Oscar nominations, and won best adapted screenplay. Ian McKellen sees a clear role for queer cinema: "There are unknown stories that only gay people can bear witness to.
I'm wary of ghetto art. In the theatre we have a good phrase, "colour-blind casting", referring to the fact that black actors can now play white parts Adrian Lester as Henry V, David Oyelowo as Henry VI without audiences minding or even noticing. It's enough that they convince me. It was a pleasant surprise to me that this is its 20th anniversary - 20 years of celebrating gay, lesbian or queer cinema! Call it what you will, that's quite something.
During my lifetime there are several films that have profoundly affected me and my sexuality, yet they may not qualify as either gay or queer cinema, and I'm afraid I have to confess that lesbian cinema hardly features at all. I was brought up in a fiercely intolerant environment: the old South Africa.
Ruled by the National Party, the country was racist, misogynist, anti-semitic and, of course, homophobic. I knew I was gay from an early age, yet felt confused and terrified by it - I didn't just hide in the closet, I locked myself in.
One moment in the cinema changed that. It was only a moment, but in a society as heavily censored as ours you could only hope for tiny glimpses of the outside world. Many films were banned outright, but John Schlesinger's Darling somehow got through. There's a gay character in it, a photographer played by Roland Curram.
He and Julie Christie go on holiday to a Mediterranean island, and one morning over breakfast in their hotel, a beautiful waiter makes eye contact with Curram. Later that night Christie spots them riding away together on a scooter. They're going to have sex - even I knew that - although the South African censor didn't; he probably thought the waiter was taking Curram to the family home for prayers and teacakes.
But it was the moment of eye contact over breakfast that really electrified me: that dark, sexy look was like an invitation to pack my bags and travel to the place we called Overseas. Seeing another Schlesinger film revealed to me that Overseas was not quite as liberated as I hoped. The film was Sunday Bloody Sunday. The character of Daniel Peter Finch was most intriguing to me: he was gay, yes, and this made him sometimes happy, sometimes miserable, but it was only part of his life, running alongside his work as a doctor and his role in his Jewish family.
His gayness was ordinary. This was reassuring to me, yet clearly threatening to others. Early on in the film, Daniel's young lover Bob Murray Head arrives at his house, and they kiss. They're in a corridor, they're fully clothed, they're just saying hello really. And yet all around me in that Leicester Square cinema, the audience let out a loud, ugly noise, half gasp, half howl - a noise that would have been an appropriate response to some violent murder. It went through me, that noise.
This was the moment of realising that I might be in London, Swinging London, yet I still didn't feel safe. What I hadn't fully understood was that Britain itself was still adjusting to the idea of homosexuality being acceptable. Shortly after I saw Sunday Bloody Sunday, a friend took me to see Basil Dearden's film Victim banned in South Africa , and explained how it had led to a change in the law.
Its grim exposure of the blackmailing network actively helped to decriminalise homosexuality - even if this took another six years to achieve, with the Wolfenden Report in So my gayness was legal now, here in my new land, if not yet embraced, by either my fellow citizens or indeed myself. Oddly enough, Victim's star, Dirk Bogarde, seemed to be engaged in a similar personal struggle.
It was remarkably brave of him, as a Rank Film matinee idol, to make Victim - and he would go on to make another gay film that had a powerful impact on me, Death in Venice - yet he was forever dodging the question of his own sexuality in interviews, and radiating a curious self-hatred. Does coming out matter? Yes it does. McKellen puts it well: "We can't expect the world to like us if we don't tell them we're here. The coming out of prominent actors is vital - for the individual's own dignity and to provide a role model for others - but that actor's sexuality should not then affect his or her casting.
McKellen is scathing about contemporary Hollywood: "They'll let me play a grey-bearded wizard, but they still wouldn't cast a young gay actor - who was out - in a straight romantic lead. Documentary films have played a big part in my own acceptance and eventual celebration of my sexuality.
He's so relaxed about being gay that you start to feel the same way. Another documentary that gripped me was The Times of Harvey Milk , about the life of an American gay activist. He was a politician in San Francisco, murdered, along with the mayor, by a homophobic colleague. The lenient sentence handed out to the murderer - he served only five years - sparked off riots in the city.
The shock of this story certainly helped motivate me to fight rather than hide. Gay cinema keeps manifesting itself in different forms, like Aids films the most famous being Philadelphia in or gay directors' films the work of Gus Van Sant and Todd Haynes. Then there's a category that could be called sexy nude films. Unlike other aspects of identity - race, religion, age - our sexuality is about what we like to do in bed, so when we go to see a film on the subject there's always going to be a slight overlap with porn.
Sexy nude films are ones that I've tended to enjoy rather than admire, films in which the director shares his erotic fantasies with me.
Pasolini's films, for example. They purported to be epic screen versions of the world's great stories, like The Decameron and The Canterbury Tales , but were often clumsy and slow, and I had to console myself that at least it wouldn't be long before that dishy young Italian on the screen took off his clothes.
Derek Jarman is regarded as one of the founders of queer cinema, and I applaud his work as a pioneer, yet his films only ever engaged me on the most basic level, especially Sebastiane , where Jarman even managed to slip an erection past the censor, the organ in question fooling the eye by extending on a more horizontal than vertical plane.
Among the feature-length movies, I was very taken with a lesbian film, a dark tale called Unveiled, about a woman fleeing persecution in Iraq. As always, though, the documentaries carry most impact for me: they are, as McKellen says, "the unknown stories that only gay people can bear witness to".
There's a disturbing German film, Men, Heroes, Gay Nazis, in which gay neo-Nazis twist themselves into knots trying to reconcile the two sides of their identities; a South African short, Silenced, where black men talk of being raped; and, best of all, a fascinating American piece called Gay Sex in the 70s. This is a picture of gay life in New York between the Stonewall riots June and the arrival of Aids June : a decade of incredibly promiscuous sex in places that are described in almost mythic terms the Pier, the Trucks, the Park, the Island ; a decade that one interviewee identifies as "the most licentious period the world has seen since ancient Rome".
I never visited New York during that period, but I remember the stories, and how exciting they seemed then - like fantasies, like movies. Cinema is a powerful medium, nearly as powerful as our subconscious, and gay, lesbian or queer cinema is no different from what I suppose is called straight cinema.
I'd like to see them all merge together. And that's why I believe the brilliance and success of Brokeback Mountain and Capote do mark a significant moment in the history of film-making. In , when Jake Gyllenhaal and Heath Ledger kiss on their first reunion in Brokeback Mountain - publicly, crazily, unable to stop themselves - there was no such noise from the people around me. I sensed everyone was just as moved as I was. We've all experienced the ecstasy and hunger of those reunions, along with that awful countdown that immediately starts ticking away to the next farewell.
The gender of the two people on the screen was almost incidental. The following correction was printed in the Guardian's Corrections and clarifications column, Saturday March 25 The article below says that Brokeback Mountain had been banned in Utah.
Topics Film. Antony Sher John Schlesinger features. Reuse this content. Most popular.