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During one of her many interviews about Brat, Charli XCX mentioned being committed to whatever “character”/“persona” she’s trying on for her album of the moment. (Though it bears mentioning that no one could ever be as committed as Marina and the Diamonds playing Electra Heart for the album of the same name back in 2012.) Admitting that, to her, this aspect of it is more interesting that the music itself. But it seems that, in capitulating to becoming a “Skims model” (a term that somehow feels and sounds derisive probably because it inherently is), she’s having a bit of whiplash in terms of recalling just who, exactly, she’s supposed to be embodying for the (brat) summer of 2024, instead reverting more freely to her Crash persona from 2022. The one that “took every advertising deal” (including, most glaringly, the one with Samsung) without the slightest bit of shame or hesitation because, hey, this was her “sellout” era. Whoring herself out for [insert company name here] and gleefully taking the money in return was, accordingly, completely “on-brand.”
Kim Kardashian, needless to say, has been in the “whoring herself out” era ever since the days of sticking her head up Paris Hilton’s asshole and keeping it in there until she could come out with a slightly more famous face than before. Funnily enough, Kardashian herself does exemplify a brat in the more conventional sense of the word (along with the children she’s “raising”). That is, minus the part where she’s not a little girl anymore—though it’s no secret that most millennial women, particularly those in the limelight, still can’t help but act that way (see also: Paris Hilton and Lana Del Rey). And yes, what was brattier than Kim screaming, “My diamond earring!” after losing a stud reportedly worth seventy-five thousand dollars while swimming in Bora Bora circa 2011? Her melodramatic delivery and traditional brat reaction was, thus, the polar opposite of being “very demure, very mindful.”
As is XCX choosing to pose for Skims’ cotton “underthings.” Regardless of trying to make it more “Brat coded” by having Petra Collins do the photoshoot and “tongue-in-cheekly” captioning it “#ad” (in keeping with the dry, straightforward labeling of things in the Brat world). A caption that essentially “Brat-ifies” Crash behavior. In any case, maybe some part of Kardashian (aside from the part that jumps on every bandwagon to capitalize as much as possible for both more money and clout) tapped XCX for the campaign because she saw a “kindred” in the literal meaning of “brat” as opposed to XCX’s modern twist on the concept, which essentially means being messy (e.g., wearing the same makeup for days at a time), not trying too hard and being, in effect, too cool to care.
Thus, posing for a Skims ad, however “no frills,” feels very much the opposite of Brat. As though XCX can’t help but return, ever so slightly, to the girl she was on Crash. The unapologetic sellout that could collect the cash without judgment because that’s simply the name of the game when you’re an Ultra-Famous Pop Star. Such an unapologetic sellout could also effortlessly get into bed with Kim Kardashian and her odious Skims brand without thinking twice about it. In point of fact, Crash’s last song (on the standard edition) is called “Twice,” a track featuring the lyrics, “Don’t, don’t, don’t think twice/Don’t think about it.” Although she might have been referring to the end of the world/mortality (it was sort of like her more upbeat version of Billie Eilish’s “Everybody Dies”), in this instance, it can easily apply to the idea of not thinking twice about becoming one of Kardashian’s growing list of shills. Much to Taylor Swift’s increasing dismay, as she seems to be losing all the “cool” girls to the former Mrs. West and her flesh-toned shapewear. Even her own “good friend,” Lana Del Rey, who also blithely donned the coquette look in time for Skims’ Valentine’s Day 2024 ad campaign. Resultantly, there were rumors of a fallout between Swift and Del Rey after the latter showed up to the Met Gala with a cinched-waist-to-the-max Kardashian.
As for Charli XCX, despite knowing she “couldn’t even be her if she tried” (a lyric from Brat’s “Sympathy is a knife,” which features some heavy allusions to Swift), the Crash album was her biggest attempt at being “that pop star bitch.” You know, the kind with Swiftian-level juggernaut powers. While, at the same time, also being her biggest troll of the music industry. The entire concept, after all, was centered on the “Faustian pact” nature of becoming a star (Maxxxine also comes to mind on that front). And, if anyone knows all about such Faustian pacts, it’s surely Kim Kardashian. So perhaps this “deal with the devil” connection also played a role in XCX’s “attraction” to the “girl with no talent.”
Or maybe XCX simply wanted to look “hot in it” (to quote one of her songs), donning a see-through white cotton bra that miraculously shows no sign of any nipples (let alone hard ones) and matching white cotton boxers while flashing what has become her signature “dead-eyed” look. Though one has to wonder if that expression is “ironic” anymore, so much as a sign that she played the part of Crash corporate sellout for so long that it’s now bled into the Brat era. XCX even had the audacity to declare, “SKIMS empowers people to feel confident in their own skin, which is the essence of Brat. I am excited to be working with a brand that understands that comfort and style don’t need to be compromised.” Aside from Charli sounding like a marketing robot/recently converted cult member, it has to be said that what obviously does need to be compromised, at this juncture, in order to be “brat” is artistic integrity.
After Crash came out, XCX declared, “I needed to switch after Crash—I wasn’t born to do radio liners. That’s not who I am at all.” But if Brat is (or was) meant to be something of its polar opposite/a return to her “fringe club days,” an ad with Skims certainly doesn’t align with that narrative. But, then again, perhaps the corporate-ification of Brat (complete with Kamala Harris joining in on the meme trend for her presidential campaign) is causing a rightfully schizophrenic reaction on Charli’s part.
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Genna Rivieccio
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