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Come sta cambiando il termine "puttana" nella cultura corrente

Dalle Sex Wars alla moda irriverente dall'eco Y2K

Come sta cambiando il termine puttana nella cultura corrente Dalle Sex Wars alla moda irriverente dall'eco Y2K

Talking about prostitution on a cultural level in the country where religious heritage has always painted any hint of vanity or feminine whimsy with derogatory attributes is as easy as living in Milan in August without air conditioning. The moment online and on TikTok the term "slut - non-practicing" begins to emerge, even the most open-minded views begin to waver, but the blame lies with the cognitive bias shared by popular culture with patriarchal heritage, not the individual. The term coined online, has nothing to do with paid services, to promiscuity or the exploitation of women, but is a new frontier of self-determination that splits sexual desire and the concept of women's possession from female subjectivity, which consciously chooses to represent its femininity in an accentuated and liberating way.

A slut (non-practicing) has as her reference a female figure corresponding to that of Maddy from Euphoria or Faye, built on awareness of what is sexy and intentionally created for pleasure. "Slut - not practicing" is a word that sums up the mix aesthetic references of fashion steeped in sexyness seen on current runways. Mowalola, Blumarine and Heavn by Marc Jacobs, Nensi Dojaka and Diesel itself tell an aesthetic that explores Y2K influences, at times mangaka and irreverent. Miu Miu's micro-minis, the cropped t-shirts inspired by those of 90s celebrities like Britney Spears seen on Heavn, Coperni's transparencies and Chet Lo's pop-corn textures, but also the dark allure of Balenciaga and Miu Miu's catsuits tell a playful and sensual intention of womenswear, which is not to be taken seriously. We have already talked about how hyperfemininity can be a form of empowerment, but in the slut (non-practicing) phenomenon, the real power of recognizing oneself in the term lies in not being a practicer, thus not being interested in the sexual act itself but in the desirability that acquires one's identity in a conscious way. In what may seem to be a complex game of mirrors, the "non-practicing slut" does not wear a mask to please but to like herself, and thus is always a non-practicing slut, from when she goes to the supermarket to when she watches TV sitting on the couch.

If before the term "whore" was associated with the idea of "someone who has many partners" was used as an insult, today it thus becomes a way of being and not a way of experiencing sexuality. The widespread use of the term is somewhat in line with the struggles for the recognition of sex-work done in recent years after the Sex Wars of the 1970s, because it makes anyone free to use the word "whore" helping to broaden the meaning of the term and to dilute the stigma around those who consciously choose to do this work thus becoming subjects, not objects. Judging a woman by how she dresses is such a common practice that it is even part of court discussions in rape cases, where the phrase "but how were you dressed" echoes glacially in the minds of those present and in the media narrative. This phenomenon caused the first Slut Walk in 2011 in Toronto, when in response to a quote from the Police themselves that read "women should avoid dressing like sluts" to avoid sexual assault" saw 3,000 people march in protest wearing skimpy clothes and creating a historic event for female celebration.

The frequent use of this uninhibited aesthetic, defined by "slut" but devoid of derogatory overtones, thus becomes a tool for social self-assertion, deconstructing an image rooted in culture by reappropriating female subjectivity and recontextualizing into actuality a concept long since steeped in toxic masculinity and antiquated patriarchal judgments.