is sad girl dead? diaries of a girl who grew up on tumblr
Tumblr may be most famous as the birthplace of the “sad girl aesthetic”. She listened to Lana Del Rey, wore doc martens, and would rather wallow in her own sadness than go outside (or think critically about her mental health- I'm allowed to say that, as a former sad girl myself.)
Tumblr: A parent's worst nightmare- perhaps they just weren’t aware of the life-altering effects it would have on their daughters, or maybe they just didn’t care- and let their children run free on the internet with no surveillance. Regardless, the "sad girl aesthetic" romanticized mental illness in disguise that it was tragically beautiful.
The tale of a tragically beautiful love story can be summarized in the early years of Lana Del Rey's emergence into the music world. She perpetuated herself as delicate and fragile, slowly dying while still craving life, and giving her final breaths to the many men she loved- as she yearned to stay forever young, thin, and beautifully dissonant. She would do anything but be happy, and the young women of the internet would do anything to be her. In other words, she made suffering, mental illness, substance abuse, domestic violence, and cynicism the newest trend.
While the “sad girl complex” was gaining popularity, a new generation was being introduced to the internet- one of the “sad girl” Tumblr era survivors being me. I truly do believe that Tumblr can be to blame for a large portion of the inner turmoil that I faced as a young girl- or maybe it was inevitable, and the popularity of teen girl angst just sped up the process, but I digress. As a young girl on Tumblr, I was introduced to thinspo (images of thin girls meant to give motivation to those suffering from anorexia/bulimia), the perpetuation that abuse is the equivalent of love, and terrible clothing choices.
From the eyes of a girl too young to be on the internet- I saw these young women who made their misery look so appealing and glamorous. Yes they despised their existence and wanted to die a slow tragic death, but they did it while smoking cigarettes off of their terrace, they were complex, and saw the beauty in their sadness- they knew how to profit off of it, and they did.
These women were the embodiment of a modern-day Esther Greenwood. They knew they were miserable, and yet they did not want to get better, because if they weren't sad, who were they? If they didn’t gain anything from their suffering, what was the point of their wasted years of unhappiness? This was the mindset that was instilled into the brains of anyone who skimmed the surface of the “sad girl aesthetic”. It was beautiful to cry over your boyfriend mistreating you because that meant he loved you, he wouldn’t stay with you if he didn’t right? Any melodramatic cry for attention would equate to internet fame- monetary gain from their illness- thus the “sad girl aesthetic” gained popularity by the minute.
The idea of being a “sad girl” is surrounded by the idea that there is never going to be a moment where everything is okay, you will always be longing for someone, or craving something. It is normal to be selfish as a young girl- you are welcomed into a cruel world where there is always more to have, and never enough to get. But when this is applied to happiness, is it possible to climb out of one's misery when satisfaction is never attainable?
The "sad girl aesthetic" is yet another female experience stemming from male fetishization- emotional masochism and fragile vulnerability are nothing but valuable when applied to women. The commodification of a fragile woman has been harmful to those who do not romanticize their experience, anyone who is open about the less beautiful aspect of their mental health is undesirable and hysterical. If a distraught woman can not curate a desirable version of herself to profit- she can not be a “sad girl”, she is not feeding the fantasy of men with power complexes.
The fetishization of the “sad girl complex” can not be blamed all on men- as identifying with the online community of commodified women, is in itself, fetishization. To be a “sad girl” is to fetishize one's experience- you aren’t depressed, you’re yearning for happiness. You can not simply suffer beautifully, nothing about mourning the happiness you once experienced as a child is beautiful- miserable at worst, melancholic at best. However the romanticization of the idea that you are mourning your past self is poetic and beautiful- you are a girl who is crying in her silk bed sheets, longing for the day she can embody her inner child once again, wanting to be reborn.
The “sad girl complex” has faced its evolutions over time, changing from the Tumblr era aesthetic to a more modern “coquette” esque appearance. However, despite the physical changes, the morality, mindset, and motivations have not adapted to newer times. The romanticization of films of the likes to “lolita”, “virgin suicides” and “girl, interrupted” have yet to die down within the not-so-niche community, despite the constant conversations in relevance to the problematicness that can be seen within the films. Morality does not matter to these young women, especially not in the context of consumable media. The predatory age gap and behavior in the film and book “Lolita” does not matter, not when the aesthetic and toxic relationship is at the forefront of their minds. This can be said for any media in a similar style or genre, the perceivable issues are irrelevant in a world that values aesthetics and social images.
Because of the problematic ideologies within the “sad girl community” their outside perception has been tainted recently. In a world where political correctness and wokeness is necessary to survive having a media presence, one can only imagine the discourse surrounding those who are posting “disguised” thinspo, and oh-so problematic takes. While their clothing and general physical aesthetics are still appreciated, the craving for their lifestyle is now tainted by the negative connotations that are attached to the “sad girl aesthetic”.
While the “sad girl aesthetic" thrived in an earlier stage of a millennial internet, it can no longer survive in such a sensitive era, in an era of media in which topics such as domestic abuse and eating disorders are addressed in a concerned context, it can no longer be publicly romanticized without controversy. Meaning the “sad girl aesthetic” can no longer exist in media, or at least not to the same extent. To exist in our current societal media consumption- it would need to be watered down to strictly the physical aspects, which is then redundant to the name, it would no longer be “sad girl”.
The “sad girl aesthetic” is dead in terms of its longevity in our current societal attitudes towards what is accepted as a topic in media. While the general “Lana Del Rey, Sylvia Plath, coquette, frilly socked, my year of rest and relaxation” basis of the aesthetic (while still mocked) is accepted, what it stands for is not, and you can not have one without the other.
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