In this op-ed, writer Ana Beatriz Reitz Gameiro argues that multiple album variants from artists like Taylor Swift, Sabrina Carpenter<\/a>, Cardi B, and more are fueled by both capitalism and pressure on women musicians.<\/p>\n When we think of recent iconic albums, it’s not just the songs that come to mind, but also their covers. Think of Lana Del Rey\u2019s Norman Fucking Rockwell!<\/a>, with its moody, comic book-style aesthetic. Then there\u2019s Beyonc\u00e9\u2019s futuristic, disco-glam Renaissance<\/a>. And let’s not forget Charli XCX\u2019s grotesque neon green BRAT<\/a>. Sometimes, an image really is worth a thousand words. And in 2025, some musicians are taking that literally, rolling out multiple alternative covers for a single album.<\/p>\n This isn\u2019t exactly groundbreaking \u2014 for example, Taylor Swift has been mastering the art of alternate covers for years, from the woodsy charm of folklore<\/a> to the moody black-and-white options of The Tortured Poets Department<\/a>. But the twist this year? The trend has officially escalated.<\/p>\n <\/p>\n <\/a><\/p>\n Taylor Swift’s *The Life of a Showgirl* Lyrics, Release Party, Date, Tracklist, and Everything to Know<\/span><\/a><\/p>\n We are getting unique poems, people\\!<\/p>\n On June 11, Sabrina Carpenter announced her upcoming album, Man\u2019s Best Friend. The original cover featured the star kneeling on the floor while a man pulled her hair. It didn’t take long for Carpenter\u2019s picture to set off a big debate online<\/a>. Some netizens posted that the cover looked misogynistic or overtly sexual \u2014 a label that has followed the musician since she was dropping innuendo-laden \u201cNonsense\u201d outros in 2022. In the weeks following the entire tumult, Carpenter unveiled four alternative covers. In one, the artist is surrounded by a bunch of vibrant flowers in a well-lit room. In another, she is at a fancy restaurant table surrounded by five men who all kind of look the same. And in a third, she references the quintessential Marilyn Monroe<\/a>. Lastly, there’s the exclusive Spotify picture disc<\/a>, which features Carpenter lying on grass with a dog by her side.<\/p>\n The phenomenon didn\u2019t stop with the \u201cTears\u201d singer. In July, Mariah Carey revealed two sleek B&W alternate covers for her recent album Here For It All, which dropped September 26. Cardi B, never one to miss a trend, followed suit. In the midst of court appearances and many headlines, the rapper unveiled a lineup of alternate covers for her forthcoming album Am I The Drama?<\/a>, out September 19. The covers include some of her most viral courtroom facial expressions, a pink extravaganza, a retro-futuristic ’60s vibe, and even a bob moment.<\/p>\n Naturally, Swift re-entered the chat. After announcing The Life of a Showgirl<\/a> on her beau’s podcast, the star released the cover of her new album, featuring her lying in a bathtub and modeling a silver embellished bra. Much like Carpenter\u2019s first artwork, Swift\u2019s album imagery stirred controversy, though for entirely different reasons. Many fans felt comfortable saying that Swift wasn\u2019t \u201cserving\u201d and lacked sex appeal, in what has become a common criticism over the years. After the storm, five alternate versions dropped \u2014 all, coincidentally or not, dialing up the sultry factor, with some individuals even saying it was too much. Now, we\u2019re at nine total variant covers<\/a> for The Life of a Showgirl.<\/p>\n Mert Alaz & Marcus Piggott\/TAS Rights Management<\/p>\n Mert Alaz & Marcus Piggott\/TAS Rights Management<\/p>\n Photography by Mert Alas & Marcus Piggott<\/p>\n In all of those cases, the question arises: Do alternative covers enhance or obscure the album\u2019s identity? And what do they say about the pressures (and their capitalist origins) that women artists in particular face to constantly show new sides of themselves to sell more and more and more?<\/p>\n As more and more music floods streaming platforms, creating a distinctive, memorable visual identity has become just as crucial as making good music, at least when it comes to pop. Brat summer<\/a> changed the course of Charli XCX\u2019s career, not because the music was radically different from her past work, but because she combined great tunes with unforgettable album art and aesthetic.<\/p>\n Pile on too many visuals, though, and instead of immersing listeners and tackling complexity, an album era compromises its narrative and risks saying nothing at all. Hear me out: This is not the case with Swift’s and Carey’s alternate covers. Despite their variations, they both center on one visual identity: Swift\u2019s in the glittering showgirl fantasy her title teases, and Carey\u2019s in a nostalgic, sultry, \u201890s elegance. We get the message, while upon looking Carpenter’s covers for Man\u2019s Best Friend<\/a> and Cardi B\u2019s for Am I The Drama?<\/a>, I’m still unsure what their albums are trying to say, despite the beautiful yet wildly different visuals.<\/p>\n It\u2019s simple: Sometimes less is more, in the sense of choosing fewer items, but more higher-quality ones. It’s just like fashion \u2014 a strong collection doesn\u2019t rely on endless looks, it thrives on a few strong pieces that clearly tell a story. An album concept works the same way. Overall, alternative covers can blur an album\u2019s message rather than reinforce it, tossing away all notions of visual identity.<\/p>\n Visual identity, however, does not seem to be the biggest concern for artists today. The biggest concern, seemingly ruling every creative move in the industry, is chart success, the bona fide metric of cultural relevance in the modern age. In case you\u2019ve missed the memo, when an artist rules the charts it signals more than just popularity with its endless streams, radio play, and constant chatter. It also marks commercial performance \u2014 sales! money! \u2014 which is, ultimately, the golden ticket that every record label, and many artists themselves, craves.<\/p>\n The capitalistic logic to maximize profit 24\/7 has spread to every corner of human life, including the entertainment industries. Nowhere is this more evident than in music. Major record labels are driven by profit-focused decisions, often turning a blind eye to risk or innovation, backing artists only if they are deemed commercial enough. It\u2019s no coincidence that the most \u201ccommercial\u201d names are constantly churning out deluxe editions, alternative covers, and anything else that can be sold.The alternative cover craze, then, fits our age effortlessly \u2014 an era defined by mass production and relentless consumption.<\/p>\n But here\u2019s something you\u2019ve probably noticed: The boom in alternate album covers is mostly a female pop star thing. Why is that? Maybe it\u2019s less about artistic vision and more about keeping everyone happy.<\/p>\n From a very young age, women are raised to satisfy everyone, to be people pleasers. We are taught to smile, to be accommodating and nurturing. We shrink ourselves on the subway, hunching over so we don\u2019t take up space, while the guy next door throws himself into the classic macho pose, legs spread wide to mark his territory. Ultimately, we are taught to put others\u2019 happiness before our own.<\/p>\n In the entertainment industry, the rules are no different. Female artists are expected to appeal to everyone despite their target audiences. They are encouraged to create controversy but not too much; going too far could damage a career. The fact that Swift\u2019s album was criticized for lacking sex appeal, while Carpenter\u2019s was deemed too overtly sexual, exposes a harsh truth: for women, there is no such thing as \u201cenough.\u201d<\/p>\n Courtesy of Sabrina Carpenter\/Island Records via Lede Company<\/p>\n Courtesy of Sabrina Carpenter\/Island Records<\/p>\n Sure, male musicians play with alternative album covers, too. They too \u2014 like women artists \u2014 have their own capitalist goals in mind when launching an album. But the changes they make, at least in modern pop music, don\u2019t feel as substantial as what we\u2019ve seen from women superstars. Think Ed Sheeran\u2019s Autumn Variations, with plenty of \u201climited\u201d<\/a> editions<\/a> that kind of all look the same. Deluxe versions that add tracks but stay within a more narrow visual identity. The album can just exist.<\/p>\n Unlike women, men aren’t raised to feel the need to please everyone. Rather, they are often raised to follow their goals and their own values. The result ends up being a double standard so obvious that it’s even visible in the music industry and creation of albums.<\/p>\n All of this feels like a relentless d\u00e9j\u00e0 vu. We\u2019ve had this conversation over and over. Movies may deliver poignant messages through deep monologues, and some songs may declare \u201cf*ck the patriarchy.\u201d But we\u2019re still dealing with gender disparities that cannot be ignored \u2014 especially now, as rising conservatism targets trans people, women, and fundamental human rights.<\/p>\n Ultimately, regardless of gender, the abundance of alternative covers reveals the many mechanisms of capitalism and can compromise the album\u2019s identity. By trying to say too much, an artist can end up saying nothing at all. Fans hear an album name and will imagine a thousand images, possibly missing the artist\u2019s intended message. This risk contributes to the mass production and overconsumption that clog up landfills and harm the environment.<\/p>\n It\u2019s the artist\u2019s (and their label\u2019s) choice whether to take that risk or not, and they make their choices in the belly of the entertainment industry beast, a beast that often eats women alive. Still, those choices have consequences; keep feeding the beast and he only gets hungrier.<\/p>\n Originally Appeared on Teen Vogue<\/a><\/p>\n Want more great Culture stories from Teen Vogue? Check these out:<\/p>\n<\/div>\n<\/div>\n
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