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Opinion – The outrage over Olivia Rodrigo’s dress is disturbing

Criticism over the singer’s babydoll-style dress is a projection of misogynist and perverted hypersexualisation. But the women targeted by this kind of backlash are still framed as the villains. 

When Olivia Rodrigo stepped out on stage in a sweet babydoll dress, I’d never have guessed it would start an internet controversy. But alas, the limits of internet outrage continue to surprise.

The popstar has quickly become the target of disturbing scrutiny by people who consider her outfit to be a promotion of ‘infantilisation fashion’. It’s a narrative rooted in perverted and misogynistic assumptions, and one that continues to paint women as instigators – rather than victims – of sexual aggression.

The babydoll dress has a long history in pop culture. Traditionally a feminine nightgown, it features puffy sleeves and a full short skirt. Over the years, the silhouette has been co-opted by the rock and punk scenes – most notably by singer Courtney Love in the 90s – and often paired with contrasting pieces like leather jackets and biker boots.

It was this mix of typically feminine fashions with more edgy statements that made the babydoll dress a symbol of female liberation, breaking from the norms of woman’s clothing in the 80s and 90s.

Given this context, it’s no surprise that Olivia opted to wear one at a recent performance for her new album ‘you look pretty sad for a girl so in love.’ The record blends Olivia’s signature soft, girly vocals with rock-inspired aesthetics and sonic themes.

And yet, none of this seems to have registered with Olivia’s critics. She has been lambasted for hyper-sexualisation and infantilisation, despite none of her work or career having been overtly sexual. Rodrigo’s music focuses on themes of love, relationship and loss.

The breakout single of her new record ‘drop dead’ builds on these themes, with a new music video shot by Petra Collins emphasising the innocence and delusion of young love. But online comments are disregarding these details in favour of blind rage. It’s hard not to feel like people just want an excuse to villainise young women in the spotlight.

The mere fact that people’s minds instantly went to infantilisation and sexualisation is disturbing. It’s also ironic given the babydoll dress’s role in subverting the ‘madonna/whore’ complex in popular culture.

Weaponising women’s clothing is just another means to sexualise women themselves – doing the very thing we accuse them of. When will we stop demonising the victims of perverted discourse and sexual aggression? When will the focus shift from what women wear to the ways they are treated?

It’s a dangerous narrative but an age-old one, too. The assumptions about Rodrigo’s dress are rooted in the same thinking that blames victims of sexual violence; the same thinking that asks ‘what was she wearing’ instead of focusing on the actions of perpetrator.

In the same breath, despite the weighty implications of this backlash, it also feels like a symptom of the AI-era. The anger feels empty, surpassing troll status and entering bot territory.

Maybe it’s the sheer ludicrosy of this narrative, but as Maya Georgi writes for Rolling Stone, the ignorance to Rodrigo’s cultural references isn’t surprising, but ‘the insistence that she must be supporting something nefarious by dressing this way,’ is. ‘If anything,’ Georgi says, ‘[this] all feels contrived and brings to mind the manufactured outrage online bots are so great at.’

On reflection, that’s what makes this entire discourse feel so bleakly modern. Nuance has disappeared from online conversation, replaced by reactionary takes designed to provoke engagement rather than thought.

Ultimately, a babydoll dress is interpreted not as a reference to femininity, youth, nostalgia, or subcultural fashion history, but as something inherently sexual. What does it say about our culture that softness and girlishness are always immediately filtered through a sexual lens? Public discomfort should not be directed at Rodrigo, but at the people incapable of separating womanhood from sexual availability.

Yet like so many women before her, she is being forced to carry the burden of other people’s misogyny disguised as moral concern.

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