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These Gifts Give Back To The ACLU Women’s Rights Project

The Holiday Issue

Shop the brands partnering up with the upcoming film 'On The Basis of Sex' for the ultimate feminist gift guide

The holidays may be considered the season of giving, but for us, it's all about giving back, too. As we shop for everyone on our lists this year, it's important we focus on spending our hard-earned cash on the brands that are doing their part in giving back to the projects and organizations that need our support.

In partnership with Focus Features and Participant Media's upcoming film On the Basis of Sex—the story of Supreme Court Justice Ruth Bader Ginsburg—a handful of brands have teamed up to put together some very special (and covetable) items up for sale. Each of them is donating a portion of—and, in some cases, all—proceeds to the ACLU's Women's Rights Project, a program co-founded by RBG herself that focuses its efforts on women's equality and economic rights.

It doesn't hurt that each item is super-cute too. From Diane Von Furstenberg scrunchies and "égalité" (which translates to "equality") printed Clare V. clutches to RBG-inspired pins, there's a little something for every feminist on your list.

With On the Basis of Sex hitting theaters this Christmas, there's no better place to snag our last-minute gifts from. The entire offering is available to shop now at AllRiseNow.com. Take a closer look at each item, below.

Clare V., On The Basis of Sex Wallet Clutch with Wristlet, $200, available at Clare V.

Clare V. is donating 10 percent of the purchase price of this clutch to the ACLU Women's Rights Project.

Clare V., On The Basis of Sex Sweatshirt, $125, available at Clare V.

Clare V. is donating 10 percent of the purchase price of this to the ACLU Women's Rights Project.

Clare V., On The Basis of Sex Bandana, $55, available at Clare V.

Clare V. is donating 10 percent of the purchase price of this bandana to the ACLU Women's Rights Project.

Soludos, All Rise Sneaker, $119, available at Soludos.

Soludos is donating 10 percent of the purchase price of these loafers to the ACLU Women's Rights Project.

Diane Von Furstenberg, Scrunchie, $38, available at Diane Von Furstenberg.

Diane Von Furstenberg is donating $25,000 and an additional 15 percent of proceeds from this collection to the ACLU Women's Rights Project.

Diane Von Furstenberg, Terria Silk Jersey Wrap Jumpsuit, $648, available at Diane Von Furstenberg.

Diane Von Furstenberg is donating $25,000 and an additional 15 percent of proceeds from this collection to the ACLU Women's Rights Project.

Diane Von Furstenberg, Square Scarf, $118, available at Diane Von Furstenberg.

Diane Von Furstenberg is donating $25,000 and an additional 15 percent of proceeds from this collection to the ACLU Women's Rights Project.

Diane Von Furstenberg, New Jeanne Two Silk Jersey Wrap Dress, $498, available at Diane Von Furstenberg.

Diane Von Furstenberg is donating $25,000 and an additional 15 percent of proceeds from this collection to the ACLU Women's Rights Project.

Diane Von Furstenberg, Cuffed Long-Sleeve V-Neck Shirt, $248, available at Diane Von Furstenberg.

Diane Von Furstenberg is donating $25,000 and an additional 15 percent of proceeds from this collection to the ACLU Women's Rights Project.

Diane Von Furstenberg, High-Waisted Flare Pant, $428, available at Diane Von Furstenberg.

Diane Von Furstenberg is donating $25,000 and an additional 15 percent of proceeds from this collection to the ACLU Women's Rights Project.


Diane Von Furstenberg, Cuffed Long-Sleeve V-Neck Shirt, $248, available at Diane Von Furstenberg.

Diane Von Furstenberg is donating $25,000 and an additional 15 percent of proceeds from this collection to the ACLU Women's Rights Project.

Cle De Peau Beauté, Lipstick Cashmere in 'Legend (103),' $65, available at Cle De Peau Beauté.

Cle De Peau Beauté is donating 100 percent of the purchase price of this lipstick to the ACLU Women's Rights Project.

Catbird, The Light You Shed Token, $48, available at Catbird.

Catbird is donating 100 percent of the purchase price of this pendant to the ACLU Women's Rights Project.

Lingua Franca, "All Rise" Sweatshirt, $380, available at Lingua Franca.

Lingua France is donating $100 from the purchase of this sweatshirt to the ACLU Women's Rights Project.

Dissent Pins, The Equality Pin, $14.95, available at Dissent Pins.

Dissent Pins is donating $5 from every purchase of this pin to the ACLU Women's Rights Project.

NYLON uses affiliate links and may earn a commission if you purchase something through those links, but every product chosen is selected independently.

Nail polish is for novices

Fashion label The Blonds is known for its high-intensity looks that you'd only wear if you wanted to stand out (and who doesn't?). For its runway shows, wild press-on nails are the beauty step that can't be missed. So, since the brand has partnered with CND since it was founded, we thought it best to get prepped for the show with Jan Arnold, CND's co-founder.

See why you should take your nail look from a zero to a 10, in the video above.

Credits:
Shot by Charlotte Prager
Edited by Gretta Wilson
Produced by Alexandra Hsie
Production Assistant: Polina Buchak
Featuring Jan Arnold of CND Nails and The Blonds

True

FROM THE WORLD WIDE WEB

Photo courtesy of Warner Bros. Pictures.

It would've been nice if someone said the word "fat"

Back in November, Rebel Wilson claimed to be the first plus-sized lead in a romantic comedy when she appeared on Ellen to talk about her role in Isn't It Romantic. Wilson was not only wrong, but she was—even if inadvertently—erasing the work of Black plus-size actresses like Queen Latifah and Mo'Nique, both of whom have expansive resumes that include romantic comedies.

Wilson's comment isn't the first example of white women taking up a little too much space in the fat acceptance ethos. It's actually quite common. But there is a reason why women like Wilson—women who are blonde, pretty, successful, and white—get put front and center in calls for body positivity. In the same way that feminism—the movement from which body positivity was born—has often failed to address how gender intersects with other identities like race and class; so, too, has body positivity been championed as a cause for otherwise privileged women. And that's why it's no surprise that Isn't It Romantic, which aspires to be both a spot-on mockery of rom-coms and a celebration of body positivity, is actually a perfect example of how very white both the movie genre and the body positivity movement tend to be.

In the film, Wilson plays Natalie, an architect based in New York, who is single and plus-sized—the archetypal rom-com underdog. Very early on in the movie, she endures the double humiliation of both being hit by a runaway food cart and then accosted by its owner for not stopping it with her "cement truck"-like body. At work, Natalie is similarly disrespected: The office manager hands off troubleshooting tasks to Natalie; another colleague always tasks Natalie to throw out his trash; her assistant Whitney (Betty Gilpin) won't stop watching movies (rom-coms, naturally) while in the office; and Natalie is so afraid to present her ideas for more innovative parking garage designs that she isn't even widely known in the firm as an architect, and is treated like an intern.

But is Natalie just a doormat? Or is it that she isn't asking for what she wants? And isn't very nice about not getting it? If Natalie's life is any example, the bar on suffering is set pretty low for white women. In her personal life, Natalie lives alone with her dog, and seems to be pretty well-off, financially; her best friend is actually her slacker assistant, Whitney, and she's close with another coworker, Josh (Adam Devine), who gives Natalie constant emotional support. She's decidedly anti-romantic, having been told by her mother from a young age that there's no such thing as real-life fairy tales; she's level-headed and practical. But also, she's filled with self-loathing. This leads her to be crass, sarcastic, and disconnected from people. And it was this last part that was hard for me. As a fat Black woman who grew up broke, does not have an assistant, and would get fired if I didn't do my job well, it was hard, if not impossible, to root for her.

For Natalie, though, everything changes when she bangs her head while fighting off a mugger. Her mundane life is tinted through rosy rom-com glasses. Suddenly, all the things that sucked about her life are gone, and everything is beautiful and perfect. But was her life so bad before? It didn't really seem to be.

And yet, looking around the theater at the mostly white, female audience, I accepted that my feelings didn't seem to be shared. But that almost seems to be by design; this feels like a movie for a white, female audience. There is only one person of color in the movie who even has a name: It's Isabelle (Priyanka Chopra), who shows up about halfway through the film—after everything has been rom-com filtered—as a yoga ambassador and swimsuit model. But a name is all Isabella has. A supporting character at best, she doesn't have any connection to anyone other than her white boyfriend, and is sketchily drawn. We learn nothing of her familial or ethnic background, and, even when she is shown at her wedding, there is nobody from her family celebrating with her. This huge oversight is particularly bizarre, given that Natalie has already bemoaned the lack of diversity in romantic films.

Another huge oversight? The presence of the word "fat." I don't think I heard it used a single time. Natalie only references her weight indirectly, by commenting on the appearance of straight-sized women; when talking about her own body, the word "fat" is replaced with "girl like me." But by ignoring this aspect of herself, and refusing to address it head-on, Natalie is succumbing to the same fatphobia that shapes her world, whether she identifies it as being a problem or not.

Before her life becomes a rom-com, Natalie feels invisible at work and in the world. Some of this is certainly her fault, but fatphobia is also at play. Fatphobia chips away at the humanity of fat people from different angles. It means that Natalie gets used to being dehumanized; she doesn't expect others to have empathy for her when she's physically hurt, because they don't value her body. And it's no coincidence that Natalie's fantasy world includes a magically bigger apartment with unlimited clothing options, because discrimination against fat people isn't just a matter aesthetics and preferences—it affects everything from our ability to dress ourselves to our ability to make and save money, since there's a price to pay for being fat, even if it's just having to pay more to travel. Just as much as gender and race intersect with fat bodies, so, too, do economics and class.

I knew I could count on a plus-sized white comedian to take down a genre of films that prioritized thin women. But I ventured to see if Wilson could go further than that, and challenge what it means to be white and well-off and fat in the process; it isn't just about taking down rom-coms but about doing so in a way that isn't just a mouthpiece for white feminist values. But, in the end, that isn't what happened. Isn't It Romantic is fine, but it needed to do more than target an audience of girls who are 10 to 30 pounds overweight and still too jolted by the word "fat" to ever apply it to themselves, so they go for acceptable alternatives, like curvy, plus-sized—or thicc, if they're hip. But I'm not afraid to say I'm fat, I'm just disappointed I will be waiting even longer to see a realistic reflection of that experience onscreen.

Isn't It Romantic is in theaters now.