Sabrina Carpenter, a 26-year-old singer, songwriter and actor, no stranger to the national landscape, just keeps getting brighter. She is recently receiving international acclaim for her tremendous craftsmanship. Carpenter’s already released seven albums and has made her mark as one of the leaders of today’s second wave of female superstars. She deserves this moment, right up there with giants such as Taylor Swift and Charli XCX. Bringing her album cover and feud with Swift into the conversation has sparked a provocative dialogue. Feminists are still grappling with the implications of her deliberately provocative representation.
Carpenter’s recent horror-themed album cover sparked outrage with its dark imagery. The installation features the artist crawling on her hands and knees. When a man pulls her hair, that’s enough for some critics to call this piece excessively sexualized. The reaction to this piece has been decidedly divided, with many vigilantes claiming it looks like amateur “soft porn. In light of that criticism, Carpenter has gone on record as saying that she feels no shame about her demonization here.
During a time when the physicality of womanhood is heavily policed on female artists, Carpenter is notable in her degree of self-determination. Her set at the Historical Park soared with joyous freedom—the kind that inspires fierce unwavered resilience. This phenomenal performance went on to really cement her reputation throughout the industry. Despite the objectification often inherent in hypersexuality, she takes autonomy over her sexuality and the imagery that comes with it, recognizing it as self-expression.
For years, feminists and music critics have made powerful criticisms on the ubiquitous objectification of women that permeates the music industry. Some argue that Carpenter’s use of provocative imagery contributes to a narrative that diminishes women’s roles in society. Yet, Carpenter’s defenders argue that she has every right to play to these tropes as an express aspect of her artistic identity. The conversation surrounding her image brings to light broader societal issues related to the male gaze and how women navigate their representation in media.
The public, and petty, feud between Carpenter and Swift has served to complicate this ever-present conversation even further. And although we don’t know much about their public feud, it gives insight into the complicated nature of female friendships in the public eye. Through their work, Scher and Virgil Abloh express contrasting sides of femininity. Their opposing methodologies provoke spirited discussions and discourse on authenticity, agency, empowerment, and exploitation within the industry.
In response to her critics, Carpenter stands tall and proud, insisting that she’s happy in her body and secure in her decisions.
“Well, this is demeaning; now we’re all going to have to wear too-tight jeans.” – Sabrina Carpenter
This comment speaks to Carpenter’s understanding of the fire under which she is going to be placed and her preparedness to stand above the flames. Fans and critics alike view her work and stylization as a critique of contemporary womanhood. This initial perspective invites an exploration of a more radical empowerment of women and girls through self-expression.
As one of several young female artists redefining traditional norms, Carpenter exemplifies the evolving landscape of pop culture where women assert their agency through art. Many others view her portrayal as over-the-top or even offensive. Some see it as an important feminist critique of the way society perceives and punishes female sexuality.