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Kim Kardashian's $148 pierced nipple bra is not a stunt – it's empowerment

Kim Kardashian's $148 pierced nipple bra is not a stunt – it's empowerment

The Age05-06-2025
Kim Kardashian's Skims clothing brand announced a new product last month, and it's pretty wild. The 'pierced nipple bra' has fabric nipples pierced with a barbell so that, under a close-fitting shirt, it appears the wearer has very cold, prominent – and pierced – nipples. Skims' Instagram explained: 'Our sexiest bra gets even hotter with faux nipple piercing design so you can get the 'Ooo' without the ouch!'
Following the marketing success of the original 'nipple bra' in 2023, this version has already garnered awe, cringe, and bewilderment. You've got to acknowledge Kardashian's prowess for seeing a gap in the market, filling it, and then piercing it.
At $148, this is an investment bra for those likely to show it off on their socials rather than being an everyday basic. Like a Guerlain perfume, or Chanel sunglasses, it makes a statement about your school of style.
What kind of statement does it make? While the average reader of this masthead would likely not wear skin-tight crop tops that bare their (seemingly highly aroused) nipples for a casual day out, it's no longer taboo (if a walk through Fitzroy is any indication) to go braless or expose underboob. In urban Australia – as much as Los Angeles, Berlin or London – porn, music videos, fashion advertisements, and reality TV now coexist in an 'anything goes' era. Women should have every right to modify our bodies and dress as we want, but we don't have the luxury of taking our choices for granted when men are still advocating for MAGA-inspired 'tradwives', the US Vice President J.D. Vance says women should stay in violent marriages to keep their families together and, according to a Harvard Institute poll from last year, 46 per cent of young Republicans believe 'women are too promiscuous these days'.
You might scoff at the idea that Kardashian, an influencer and billionaire, is waving a feminist flag with a fake pierced nipple bra. But it fits perfectly with her push for women's autonomy and empowerment through products that occasionally provoke but also appeal to women's aesthetic and desire for comfort. Male designers have long commodified women's bodies with ill-fitting tat, so the argument that she's exploiting her name for profit doesn't wash with me.
Yes, her advertisements are heavily airbrushed and her clothing is unaffordable for many of her followers, but Kardashian built her wealth through Skims (worth approximately $US4 billion) and other savvy investments, by serving women first. In March, she told Vogue Business that it matters to her to have shapewear and lingerie that cater to a broad range of body shapes, sizes (Skims go up to the equivalent of Australian sizes 20/22), skin shades and styles. These sculpted bras are not a mere novelty – the nipple bra was embraced by women who'd had a mastectomy, too. Kardashian built this empire all while completing six years of legal studies and advocating for criminal justice reform.
At 44, Kardashian refuses to follow the safe marketing route in showcasing Skims lingerie only on 20-something, skinny, white girls. Her models are diverse, and her grey, brown and beige designs are not created predominantly for the male gaze, but for women's comfort. That's radical in itself.
So, to the pierced nipples. This bra design is close to my heart (boom, tish!) because in my late teens, nipple piercings were a trend among the cool girls in university. I didn't dare. Then, about six years ago, when the cool girls of Hollywood (Kendall, Miley, Bella Hadid, etc) were all baring their pierced nipples in paparazzi photos, I decided to join the crew.
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Property owner Derek Hackett said the mural is "a great way to take what is kind of a blighted property and be able to give it a facelift and kind of resurrect its presence in our skyline." The mural is entirely donation-funded, costing about $US350,000, about 85 per cent of which is already raised, said Chelsea Gleich, a spokesperson for the project. High atop a massive grain elevator in the middle of Minot, North Dakota, Australian artist Guido van Helten swipes a concrete wall with a brush that looks more appropriate for painting a fence than creating a monumental mural. Back and forth van Helten brushes, focused on his work and not bothered by the sheer enormity of his task as he stands in a boom lift, 23 metres off the ground, and focused on a few square metres of a structure that stretches over most of a city block. "When you use these old structures to kinda share stories and use them as a vehicle to carry an image of identity, it becomes part of the landscape," he said. 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Van Helten uses a mineral silicate paint formulated to absorb and bond with concrete, and it lasts a long time. He mixes tones specific to the colour of the wall and subtly layers the work so it blends in. "I love the colouring of these buildings, so I don't want to fight with them, I don't want to change it, I don't want it to be bright. I want it to become part of the landscape," he said. It's not a quick process, as van Helten initially meets with residents to learn about a community and then spends months slowly transforming what is usually the largest structure in a small town. He began painting in Minot in May with plans for a 360-degree mural that combines photography with painting to depict the people and culture of an area. The Minot elevator and silos were built in the 1950s and were an economic centre for years before they ceased operations around the early 1990s. Van Helten isn't giving too much away about what his Minot mural will depict, but said he has been inspired by concepts of land and ownership while in North Dakota, from ranching and the oil field to Native American perspectives. Minot is a city of nearly 50,000 people and sits near the Bakken oil field and Fort Berthold Indian Reservation. "It is really when you boil down to it in many ways about land and how different cultures interpret that and connect with it, and I feel it's really interesting in North Dakota because it is really such a big, open land," the artist said. Much of the mural is still taking shape, but images of a barn and female figures are visible. Property owner Derek Hackett said the mural is "a great way to take what is kind of a blighted property and be able to give it a facelift and kind of resurrect its presence in our skyline." The mural is entirely donation-funded, costing about $US350,000, about 85 per cent of which is already raised, said Chelsea Gleich, a spokesperson for the project.

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