Tiny Hairy Women

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Tiny Hairy Women
Now Reading Photos Celebrating Natural Pubic Hair (NSFW)
It had its heyday in the '60s and '70s, but natural female pubic hair has since fallen out of favor. So much so that, apparently, there are now sexually-active hetero men who say they've never seen it . To celebrate the neglected bush, artist Marilyn Minter spent six months photographing it, asking "all kinds of women, [with] different hair colours, different textures, different skin colours" to grow out their natural hair down there and bare it for her camera. The photographs Minter took are collected in her first book, Plush .
"Over the last decade, pubic hair has all but disappeared in popular culture (which is fine)," Minter explains to us, "but I became interested in showing beautiful images of pubes as an alternative perspective. I suspect the no-fur trend might be a fashion, so I wanted to remind younger generations that fashion is fleeting, but laser is forever. Do whatever you want — just don't laser!"
The 70 full-colour images in Plush , released in a limited run by Fulton Ryder Press to coincide with Art Basel Miami Beach, make an eloquent visual argument against lasering — and maybe even against shaving. Sensuous and unabashed, they're perhaps the most powerful interpretation of "Long hair, don't care" we've ever seen. In Minter's words, "Bush is beautiful. Bring it back!" Click through for 18 of the most striking photographs from the book.
And if you're inspired here's how to grow out your pubic hair.
Natural Pubic Hair Unshaven Women Photos
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When it came time for Cathy Bartlett-Horwood to drop her dressing gown to the floor and stand naked in her village hall in front of her friends, she was nervous. The 60-year-old has had a complicated relationship with her weight for many years. She was so nervous, in fact, that she was physically sick beforehand.
Nevertheless, she persisted. Bartlett-Horwood became part of a group of brave women who’ve come to be known as the "Wonders of Whimple." The "wonders" are thus-named because they posed naked in the village’s most scenic spots for a calendar celebrating the beauty of the village's female population.
This calendar is more than a photographic paean to the female form. It’s a fundraiser for this village's year-long mission to change the way its residents feel about their bodies.
The village’s name is one you might not have come across before, for the village itself is deep in the heart of rural Devon—a county in the south west corner of England. Readers imagining a scene not unlike the idyllic filming location of the 2003 film Calendar Girls wouldn't be entirely off the mark.
Whimple is comprised of winding lanes dotted with thatch-roofed whitewashed cottages with the occasional farm thrown in for good measure.
But, beyond the chocolate box prettiness of the village, its 1,173 inhabitants have been working hard to acknowledge and embrace the beauty of their own bodies. It's by no means been an overnight flick-of-a-switch process for many of the people involved. 
Gill Wilson— an eating disorders therapist—is the woman behind the movement. It all started in January 2016, when Gill organised screenings of a documentary in the village called Embrace (opens in a new tab) .
The film—created by Australian activist Taryn Brumfitt after a successful Kickstarter campaign—explores the issue of "body loathing" and aims to inspire people to change the way they think and feel about their bodies.
"After having my three children, I ended up hating my body," says Brumfitt in the documentary. "So I trained hard, and I'm standing there in my perfect body and I’m not happy." Brumfitt says she didn't want her daughter to grow up feeling the same way so she traveled the world to find out why so many people hate their bodies. 
Wilson’s decision to screen the documentary in the area is one backed up by research. According to Dove’s Global Beauty and Confidence Report, which surveyed 10,500 women from around the world, British women have one of the lowest self-esteem scores, and just 20 percent said they liked the way they looked.
Alarmingly, a 2016 report by the Children’s Society found that girls are “less happy than they used to be” about their physical appearance. The research found that more than one-third of UK girls are unhappy with the way they look, a 30 percent rise over five years.
Wilson says that after she put on two screenings in the village, people came forward with ideas to further the notion of embracing one’s body image. One of which was a calendar.
“I was getting loads of emails, and the biggest messages was that the film needs to be shown in schools, but you need a licence for it to be shown in schools,” says Wilson. But, the idea of the calendar presented a solution to the licence issue—the proceeds raised by the Wonders of Whimple could pay for licences. 
Word of the calendar spread through the village, and slowly but surely people came forward and signed up to take part in it. “Once people knew their friends were doing it, they’d say 'oh, if you're doing it, I'll do it,'” says Wilson.
This was exactly how Bartlett-Horwood came to be involved in the calendar. “I knew some of my friends were taking part, and I thought, hey why should I just tell them how proud I am of them when I can actually do it too!” Her photo now sits pride of place on the calendar’s February page, and she’s also on the front cover.
“I have spent years battling with my weight and worrying how I look in front of my family and friends,” she says. “But, why when I am healthy and happy I have wonderful people around me who love me for who I am and it is inside that really matters.”
Bartlett-Horwood wants other people to feel the way she feels and “not to be worried about what other people think.”
“Allow your real self to shine and feel comfortable with who you are,” says Bartlett-Horwood. “We are all fabulous.”
Her bravery—and that of the women who took part in the calendar—has not gone unnoticed in the village. “People I don’t know have recognised me from the calendar and hugged me,” says Bartlett-Horwood.
Suzanne Rothwell, 72, decided to take part in the calendar for reasons close to her heart. A grandmother of six, Rothwell says she’s seen her grandkids starting to worry about body image from a very young age.
“My 5-year-old granddaughter one day said she couldn't do something because people would see her tummy. How sad is that?” Rothwell says. She feels that children are “constantly bombarded” with images of “perfect people.”
So Rothwell posed nude in an orchard along with other women from the village.
“It was great fun taking part, everyone was being quite modest taking their clothes off and putting on their dressing gowns,” says Rothwell. “Amazingly, when we finished the shoot and went to get changed, most ladies just undressed without worrying about their nakedness.” 
The women of Whimple posed in nothing but their birthday suits betwixt apple trees in an orchard, beside scones and jam at the local cricket club and, of course, on high stools at the Thirsty Farmer.
“We were keen for the calendar to get a real cross-section, and to get a diversity of body shapes,” Wilson added. “We ended up having a young girl of 18 and a lady of 84 years of age.”
Wilson says that most of the women felt “empowered” after the photo shoot.
“Everybody's journey was different, and people were fairly tentative to start with,” says Wilson. “I can’t speak for other people, but I was in the calendar and I felt really empowered, really liberated.”
She said that some of the experience couldn’t be “put into words” as it was “such an unusual experience."
"The shoot that I was in was in an orchard and it's not every day you take your clothes off and stand in an orchard," says Wilson. 
Sue Draycott, the photographer behind the Wonders of Whimple, says the experience of shooting the calendar was “amazing.”
“The women were all incredibly supportive of each other and I found it was a real bonding experience for all of us,” says Draycott.
The first screening of the film was what made Draycott decide to get involved in the calendar. “I have always had my own body image issues and struggled with my weight so when I heard that Gill was showing the film Embrace I knew this was something I had to see,” says Draycott.
“It was such an incredibly moving film and really struck a chord with me,” Draycott explains. She says that, during the screening, she realised that social media plays “such a big part in the way we see ourselves.”
"Having a teenage daughter also played a big part in the way I was struck by this film,” says Draycott. 
Draycott didn’t just stand behind the camera during the shoot, thought. “I joined one of the groups for a shoot and then took a self portrait of myself (naked of course!) for the back page of the calendar,” she says.
“I am so glad that I got involved and honestly feel I am on my way towards a better self acceptance of my body,” she says.
The calendar has raised around £4,000 ($5,414), which will be go towards five licenses and the remainder will be donated to two breast cancer charities. For Rothwell, the calendar also served as a way to remember her father, who died from breast cancer. 
Cathy Bartlett-Horwood, second from right, who was so nervous before now proudly sits on the throne.
"The calendar has raised enough money to get the film into five of our local secondary schools. So, they'll all be screening it next term," says Wilson.
Wilson hopes that women will look at the calendar and think "she looks like me, I can relate to her."
“I want someone to feel it's relatable and to appreciate that we're all beautiful with our stretch marks and cellulite. We've got amazing, amazing bodies, and it makes me really sad that so many people go through life hating their bodies and feeling they should look a certain way.”
Wilson says that she feels the calendar is already starting to have an impact in the community.
"It's one of those things, it's not going to be a flick of a switch and 'oh my god I love my body,'" she says. "The way change happens is little by little.” 

'Disarmingly intimate' photos of women
(Image credit: Susan Meiselas / Magnum Photos )
An exhibition at the Rencontres d’Arles festival features work by three female photographers who each capture revealing and rarely seen images of women.
When you look at them today, you realise how topical and relevant they are now – Clara Bouveresse
You see the variety of bodies, the flesh, the skin, the hair, the wrinkles, the scars – Clara Bouveresse
Heyman’s images show us, again and again, how rarely women are portrayed as they really are in the media, even now
The US photographer Susan Meiselas first began shooting women who took their clothes off for a living in 1972, when she was in her mid-20s. Travelling around New England, she’d encountered the country fairs that toured rural parts of the northeastern US; many had a ‘girl show’ tent, where women danced in striptease acts. Meiselas was fascinated. Over the course of three summers, she haunted the fairgrounds, befriending dancers and sneaking backstage to capture what their lives were really like . She also recorded hundreds of hours of interviews. In order to blend into the crowd and get the shots she needed, she sometimes dressed like a man.
The book Meiselas eventually produced, Carnival Strippers (1976), has become a classic . Unsparing but sympathetic, both humane and abjectly sad, it showed a world many at the time preferred to ignore: one in which women danced nude for handfuls of dollars, in tawdry, spit-and-sawdust tents erected in one-horse towns. Yet perhaps the most remarkable thing about the work is that Meiselas gives the story a complicating twist. We might expect a sob story – a tale of exploited, objectified women in an exploitative, objectifying industry. Yet Meiselas finds nuance in the biographies of the women who danced, along with remarkable amounts of self-awareness and courage. One says that performing is her path to financial independence; another that the carnival has given her a home when she had nowhere else to go.
“It was a complex story, and I wanted to show it in its complexity,” Meiselas tells BBC Culture. “Not everyone was expecting that.”
Forty-three years after it came out, Carnival Strippers is the centrepiece of an exhibition at this year’s Rencontres d’Arles photography festival . Entitled Unretouched Women , it reunites Meiselas’s photo essay with two other books from the same period by American female photographers, both canonical in their way. One is the publication that gives the show its title, The Unretouched Woman (published the same year, 1976), in which Eve Arnold, a pioneering photojournalist, compiled portraits she had taken of women around the world over the previous quarter-century. The third is Abigail Heyman’s Growing Up Female (1974), which describes itself as “about women, and their lives as women, from one feminist’s point of view”.
All three books were their authors’ first: a chance to make their own creative selections and tell the story in their own terms, rather than dealing with the whims of magazine picture editors (usually male). And in their different ways, all three paint a portrait of a tumultuous and convulsive era. Second-wave feminists were campaigning for issues such as abortion rights, workplace equality and an end to sexual harassment; female photographers were challenging the male gaze and questions about how women should be represented. Four decades ago this might be, but walking through the show, you feel you’re not so much stepping into history as peering at a mirror of the present day.
Susan Meiselas, Shortie on the Bally, Barton, Vermont, USA (Credit: Susan Meiselas / Magnum Photos)
“Back then, these issues were only just starting to filter into photography,” says the curator, Clara Bouveresse. “But when you look at them today, you realise how topical and relevant they are now.”
When Meiselas and I speak, I ask her for her memories of the mid-70s, and how Carnival Strippers fitted into the debates of the time. She recalls that opting to turn her lens on women who stripped felt like a controversial act: some of her fellow feminists were appalled that she was attempting to document and understand this world rather than condemn it outright.
Susan Meiselas, Tunbridge, Vermont, USA, 1974 (Credit: Susan Meiselas / Magnum Photos)
“A lot of women regarded the girl shows as straightforwardly exploitative,” she says. “That was the debate that was going on. But I wanted the book to be part of a dialogue. When one of the women I photographed, Lena, says she found performing a revolutionary experience, that for the first time she'd got men eating out of her hand, who could deny her that feeling? She was acting in defiance against what the world she’d grown up in expected her to be.”
The pictures in Carnival Strippers are disarmingly intimate. We do see the dancers in their carefully crafted public roles, gyrating on makeshift stages in tasseled bikinis or posing for mobs of gawping, baying men. One particularly uncomfortable shot shows a woman in a semi-transparent twin piece perching on the ‘bally box’ outside the tent to drum up business, as if she’s a prize animal on show.
Susan Meiselas, Debbie and Renee, Rockland, Maine, USA, 1972 (Credit: Susan Meiselas / Magnum Photos)
But we also glimpse the strippers in private moments: lounging in dressing rooms playing cards; horsing around; swigging beer; collapsed on motel beds. For women who spend their lives on show, these times, captured by Meiselas in grainy, low-light photographs drenched in shadow and atmosphere, must have been particularly precious. In contrast to the bodies they put on display for paying customers, artfully costumed and made up, their real bodies – scarred, sweaty, dirty, sometimes bruised – are finally visible. It is a different and altogether more revealing kind of nakedness.
Bouveresse agrees: “There’s an empowerment of sorts in these pictures: you see the variety of bodies, the flesh, the skin, the hair, the wrinkles, the scars.”
Susan Meiselas, New Girl, Tunbridge, Vermont, USA (Credit: Susan Meiselas / Magnum Photos)
Complexity is everywhere you look. A shot of Lena undercuts – or at least complicates – her words about revolution by depicting her after the show, naked and plainly exhausted, pressing a towel to her face in what looks like desperation. Yet elsewhere you sense something more defiant: a sense that these women are attempting to control how we look at them (Meiselas made sure to share her contact sheets with her subjects, often asking them to choose which pictures they liked). For all the tattiness of the fairs, what comes through is the sense of a close backstage community – solidarity, perhaps sisterhood.
Meiselas says, as a women watching these women, she felt it too. “I was like them and not like them,” she says. “That’s why the project was so interesting to me, in a way.”
Eve Arnold’s pictures are revealing in a different sense. Born in Philadelphia in 1912, Arnold shattered nearly every glass ceiling placed in her w
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