5. What’s New Pussyhat?

The 2017 Women’s March on Washington and the #metoo movement have demonstrated that women’s bodies can and should be primary sites of resistance. From signage to pink pussyhats and graphic t-shirts, women decorated their bodies and clothing to challenge the conservative political power of the moment. More significantly, the physical presence of these bold statements and bright pink hats has dominated the powerful and aggressive calls for change. And what better way to argue in support of equal healthcare for women, abortion rights, and reuniting families than by utilizing a color that has historically been connected to women, as artfully presented by Valerie Steele. Further, ideas stemming from feminist protests and the Women’s March were incorporated by esteemed fashion designers at companies such as Missoni (Angela Missoni), Dior (Maria Grazia Chiuri), and even cheekily by Chanel (Karl Lagerfeld). When connected to the work of feminist art and performance precedents of the 1970s—artists like Carolee Schneemann, Tee Corrine, and Judy Chicago—this chapter will demonstrate the continued necessity of showing and presenting the female physique. The acceptability and dominance of vaginas and pussyhats would not have been possible without the feminist artists of the 1970s who threw their bodies into the work. In addition, the easily knittable pussyhats were inspired by the rise of craftivism, the making crafts and objects with an activist spirit by women around the world. The pussyhat pattern was accessible to all, the instructions were easy, and people were donating the yarn and the hats freely. In repurposing the actions of artists and craft activists, all the while re-inserting the actual, physical female form into the political discussion, women are refusing to allow their rights to be stripped easily.