How does Imaged Fashion prove to be detrimental to the Self Image?

Nicholas Mirzoeff explores how effective visual activism is your ability to express and depict your opinions to solidify the importance of your cause.  As a citizen in this global era you are constantly exposed to publication of opinion by mass and social media.  Due to this era being heavily media-saturated, visual activism becomes a lifestyle rather than “a short-term project” (Mirzoeff 293).

I believe that clothes are a way to express yourself, but in many ways people are bound by the notion of ‘attractive’.  Fashion is an industry reliant on consumerism.  Fashion has redefined what it means to be ‘attractive’ to convince you to consume, but they might not even produce their merchandise in your size.  Fashion is an emotional act, proven when “two social psychologists Hajo Adam and Adam Golinsky (2012) found that when clothing is worn that has symbolic meaning for the wearer, it also has behavioural consequences” (Johnson and Lennon).  People begin to think that they need to look like the person in the poster to be attractive.  We are constantly comparing ourselves – and being compared – to the imaged idea of fashion.  This issue is not just a view, but a personal struggle as a larger individual.

Fashion holds the potential to both empower and depress, so I have focused my research on the singular aspect of body dysmorphia. This is a disease that tears apart the mind, then physically manifests to destroy the body.  If the garments were designed for the many other bodies that exist, body dysmorphia would not be such a massive issue.  It doesn’t suit you because it was not designed for you.

I have explored various art pieces that address some of the social impacts of the Fashion industry, including consumerism, unhealthy aspirations and empowerment of people to think independently from fashion magazines.

Barbara Kruger. I shop Therefor I Am. 1987. Digital.

Star Models. You Are Not A Sketch. 2013. Multi-Media.

Matthew Rolston. Barbie VS Reality. 2011. Photography.

Dressmann. Underwear for Perfect Men. 2015. Photography.

Carol Rossetti. Women in English. 2014. Pencil on Paper.

Whilst researching texts this week I found that thinness is identified as the main characteristic of ‘attractive’.  This inspires a “relentless pursuit of thinness with power and control” (Bordo 164).  In reality it destroys their “health and imprisons [their] imagination” (Bordo 164).   Two designers stood out to me, Louise Petland and Kelly Osbourne; they too believe in the ethical equalisation in the fashion industry.  Their products extend from the smallest size to the largest, filling a void in the market by catering to larger women.  “Overweight… is seen as physically unattractive” (Grogan), but these two women have specifically designed each garment to be flattering on every size as opposed to enlarging the measurements for bigger bodies. By catering for all sizes, the exclusive nature of fashion is eradicated.

In terms of contextualisation to Aotearoa, I have a typical Polynesian build.  Regardless of weight, I would still have wide hips, broad shoulders and man-feet.  The fashion industry is westernised, designing for a slighter stature, so I would be a size 12 at the smallest.  Beauty should never be a pre-set size determined by a multi-trillion-dollar conglomerate.  Beauty should be a positive hauora.

The intention behind my artwork is to overtly respond to the lack of range in garments available for larger sizes.  I aim to create a piece that causes consideration equality within the fashion industry and discourage body shaming of any size.  I have decided to develop a fashion illustration, endorsing designing for all bodies instead of an idealised body.  Petland reinforces the importance of this in saying it is “upsetting that I want… to wear a lot of the same clothes as a lot of other women are wearing, but there are not always those options out there” (Sprinkle of Glitter).  I am not promoting an unhealthy lifestyle, rather demanding anyone be able to feel attractive regardless of what size they are at that point in time.  Beauty should be a positive Hauora.

Ashford, Peta. Reality of Availability. 2016. JPEG.

Ashford, Peta. Reality of Availability. 2016. JPEG.

 

Texts Referenced:  Mirzoeff, Nicholas.  How to See the World: A Pelican Introduction. Pages 255-298. Print.

Bordo, Susan.  Unbearable Weight.  1993.  Print.

Grogan, Sarah.  Body Image.  1999.  EBook.

Johnson, Kim K.P and Lennon, Sharon.  The Social Psychology of Dress.  Berg Fashion Library.

YouTube.  Sprinkle of Glitter:  Why Release a Clothing Range?  (Viewed on Tuesday 31 May 2016).  Web.

We the Unicorns.  Sprinkle of Glitter Interview Simply Be.  (Viewed on Tuesday 31 May 2016).  Web.

The Curvy Fashionista.  COOL NEWS: Shop the HSN Stories… by Kelly Osbourne in Plus Sizes.  (Viewed on Tuesday 31 May 2016).  Web.

Glamour.  Kelly Osbourne reveals new clothing line for sizes 0-24.  (Viewed on Tuesday 31 May 2016).  Web.

Photos Sourced: The Art History Archive.  Feminist Art.  (Viewed on 25 May 2016).  Web.

UK Sport Nutrition Store.  Beauty.  (Viewed on 25 May 2016).  Web.

Rivers Research.  Social Responsibility in Fashion Illustration.  (Viewed on 25 May 2016).  Web.

Bustle.  11 Body Positive Photoshoots That Did It Right.  (Viewed on 25 May 2016).  Web.

Facebook.  Carol Rossetti.  (Viewed on 25 May 2016).  Web.

 

My Final Work.

Ashford, Peta. Final Work. 2016.  Pencil on Paper.

Ashford, Peta. Final Work. 2016.  Pencil on Paper

 

 

My final work illustrates the struggle of being bigger and feeling like you only have two options:  wear something unflattering, or wear a metaphorical potato sack.  You should be able to feel comfortable in the body you have at the time, and find wear clothes that make you feel beautiful.

The Issue With Body Dysmorphia.

How does Imaged Fashion prove to be detrimental to the Self Image?

 

Fashion is an industry reliant on consumerism.  Fashion has redefined what it means to be ‘attractive’ to convince you to consume, but they might not even produce their merchandise in your size.  People begin to think that they need to look like the person in the poster to be attractive.  If the garments were designed for the many other bodies that exist, body dysmorphia would not be such a massive issue.  It doesn’t suit you because it was not designed for you.  It is the garment, not you.

 

Two designers stood out to me, Louise Petland and Kelly Osbourne; they too believe in the ethical equalisation in the fashion industry.  Their products extend from the smallest size to the largest, filling a void in the market by catering to larger women.  Each garment is designed specifically to be flattering on every size as opposed to enlarging the measurements for bigger bodies. By catering for people of all sizes, the exclusive nature of fashion is eradicated.

 

Whilst researching texts this week I found that thinness is identified as the main characteristic of ‘attractive’.  This inspires a “relentless pursuit of thinness with power and control” (Bordo 164).  In reality it destroys their “health and imprisons [their] imagination” (Bordo 164).  “Overweight… is seen as physically unattractive and is also associated with other negative characteristics” (Grogan).  It is a disease that tears apart the mind and then physically manifests to destroy the body.  “Subsequently, two social psychologists Hajo Adam and Adam Golinsky (2012) found that when clothing is worn that has symbolic meaning for the wearer, it also has behavioural consequences” (Johnson and Lennon).

 

I have decided to develop a fashion illustration, endorsing the equalisation of fashion by designing for all bodies instead of an idealised body.

 

In terms of contextualisation to Aotearoa, I have a typical Polynesian build.  Even if had an exemplary BMI, I would still have wide hips, broad shoulders and man-feet; the only difference would be I’d jiggle a lot less.  The fashion industry is westernised, designing for a slighter stature, so I would be a size 12 at the smallest.  I will never see beauty as a pre-set size determined by a multi-trillion-dollar conglomerate.

 

Texts Referenced:  Bordo, Susan.  Unbearable Weight.  1993.  Print.

Grogan, Sarah.  Body Image.  1999.  EBook.

Johnson, Kim K.P and Lennon, Sharon.  The Social Psychology of Dress.  Berg Fashion Library.

Concept Development.

First Concept:  Photograph of Peta Vs Size 12 Form.

To develop this, potentially just a scale photo of a plain ol’ Peta, and a bare size 12 mannequin.  This takes away all of the flourish and distractions, taking it right down to the main point:  I am bigger than the biggest dress form.  I think plain clothes, plain room, plain mannequin, plain message.

What gets me, is that even if I was not over-weight, and perfectly healthy with an exemplary BMI, I would have the same Polynesian stature.  I would still have wide hips.  I would still have broad shoulders.  I would still have man feet.  And I would be about a size 12.  Because if I was any smaller than that, I would be underweight.

 

Second Concept:  Perception Vs Reality.

Ashford, Peta. Initial Concepts. 2016. JPEG.

 

Third Concept:  Reality of Availability.

Ashford, Peta. Initial Concepts. 2016. JPEG.

 

Ashford, Peta. Concept Development. 2016. JPEG.

This concept is of a larger female wearing ‘comfy’ clothes, looking woefully into a mirror at what she would like to be wearing.  I would like to reiterate that this concept is not about seeing a different sized reflection, but about having to dress a certain way due to lack of availability.

 

Ashford, Peta. Concept Development. 2016. JPEG.

This concept is about the “it looks better on skinny people.”  I want to point out that the reason it looks better on a smaller person, is it is NOT DESIGNED FOR A LARGER FORM.  Cut outs at the waist are not going to look great it you have a tummy, and you are not going to feel good wearing it if you are self-conscious about your tummy.

 

 

I am leaning further towards a development of the third concept.  These have a strong personal resonance with me, and I think hold the most potential to convey my issue.

I would like to do a poster in the style of fashion illustration.  Each designer has a different way of visualising their concepts, so I think it would be cool to illustrate in my own style.  To accompany it, I think it might be a grand idea to accompany the illustration with a phrase, just to drive the message home.

• It looks good on skinny because you designed it for skinny.
• I am not endorsing an unhealthy lifestyle. I am opposing body shaming.
• Beauty is not a size.
• Aesthetic is not an explanation.
• You should be able to feel beautiful no matter what size you are at this point in time.

Resource Research.

Susan Bordo

“The body is not only a text of culture.  [It is also] a practical, direct look locus of social control” (165).

“… associates her relentless pusuit of thinness with power and control, but who in fact destroys her health and imprisons her imagination” (164).

“Andrea Dworkin described it: Standards of beauty describe in precise terms the relationship that an individual will have to her own body” (21).

“We may be producing a generation of young, privileged women with severely impaired menstrual, nutritional, and intellectual functioning” (61).

 

Sarah Grogan

“In affluent western societies slenderness is associated with happiness, success, youthfulness and social acceptance“

Overweight: “Laziness, lack of will power and being out of control.”

“Overweight… is seen as physically unattractive and is also associated with other negative characteristics.”

 

Authors: Kim K.P. Johnson and Sharon Lennon

“The clothing worn by these individuals influenced their thoughts about themselves.”

“Researchers have also demonstrated that our self-perceptions (e.g., old, unattractive, fat) affect behaviours we undertake to modify our bodies. Considerable research shows that when people are dissatisfied with their bodies, they engage in various appearance management behaviours such as dieting, cosmetic surgeries or other types of makeovers, and exercising. “

“That body dissatisfaction was related to disordered eating.”

“In addition to research that documents how our dress impacts self-perceptions, dress has also been shown to exert an influence on one’s own behaviour. For example, a team of social psychologists Barbara Fredrickson, Tomi-Ann Roberts, Stephanie Noll, Diane Quinn, and Jean Twenge (1998) found that when women put on a swimsuit as part of a research project, they performed more poorly on a subsequent math test than other women who put on a sweater.”

“Subsequently, two social psychologists Hajo Adam and Adam Golinsky (2012) found that when clothing is worn that has symbolic meaning for the wearer, it also has behavioural consequences.”

 

Texts Referenced:  Bordo, Susan.  Unbearable Weight.  1993.  Print.

Grogan, Sarah.  Body Image.  1999.  EBook.

Johnson, Kim K.P and Lennon, Sharon.  The Social Psychology of Dress.  Berg Fashion Library.

Artist Research.

Louise Petland (Sprinkle of Glitter).

Louise Petland is a well-known fashionista and YouTuber.  As an icon to many, she was approached by Simply Be – a UK clothing retailer – to design her own line, she jumped at the chance.

 

In this video the she has uploaded to her YouTube Channel, Louise explains why she launched the collection, and goes through each piece in depth.  Her collection is designed considering:

• Pockets, because WHY DO WOMENS CLOTHES NOT HAVE THEM??
• Colours that complement any skin tone, such as navy, but also pretty florals.
• Thick straps, because bustier woman tend to have thick supportive bra straps. She wanted to make sure you could wear your bra, but hide the strap.
• Dress it up or down for casual or night out.
• Designed like any garment, but for a larger size.
• Full bottoms so that it ‘skims’ the form rather than clings.
• Fabrics that sit really well on the form, not caressing each inch of skin| loose.
• Feminine and girly like any other garment.

 

http://www.wetheunicorns.com/youtubers/sprinkle-of-glitter-interview-simply-be/

During this interview Louise explains how she designed her range to cater to the lack of garments that make a larger woman feel beautiful.  She says how many designers are pushed by the idealised “perfect,” so only design for smaller bodies thinking that bigger bodies are not “attractive”.  Just because you have a bigger body does not mean you want to wear a smock.  She talks about how she is “not plus size, [she is] just a size”.  She stresses the importance of how she would like her range to go from the smallest size right up to the largest possible.  She has no intentions of being exclusive, because everyone deserves to feel beautiful.

 

 

Kelly Osbourne.

http://thecurvyfashionista.com/2014/09/cool-news-shop-hsn-stories-kelly-osbourne-plus-sizes/

This is a blogger responding to Kelly’s then-recently-launched fashion line Chapter One.  It explains how every item in the range has a larger version specifically designed to flatter a bigger form.  It is also inclusive of the teaser for her line, which describes the inspiration behind her collection being the sentimentality of a garment.

 

http://www.glamourmagazine.co.uk/news/celebrity/2014/06/30/kelly-osbourne-head-tattoo

In this interview, Kelly reiterates her belief in the sentimentality of clothing.  She also states how she is not trying to reinvent the wheel, but “make fashion fair”.  She believes that you are who you are, so you should be able to find and wear clothes that make you feel confident and attractive.

 

Texts Referenced:  YouTube.  Sprinkle of Glitter:  Why Release a Clothing Range?  (Viewed on Tuesday 31 May 2016).  Web.

We the Unicorns.  Sprinkle of Glitter Interview Simply Be.  (Viewed on Tuesday 31 May 2016).  Web.

The Curvy Fashionista.  COOL NEWS: Shop the HSN Stories… by Kelly Osbourne in Plus Sizes.  (Viewed on Tuesday 31 May 2016).  Web.

Glamour.  Kelly Osbourne reveals new clothing line for sizes 0-24.  (Viewed on Tuesday 31 May 2016).  Web.

Focusing My Issue.

BODY IMAGE VS IMAGED FASHION:  Body Dysmorphia.

 

Fashion is an industry fuelled by consumerism.  It sells you the idea that you need their clothes, but to do that, fashion has redefined what it means to be ‘attractive’.  Are you going to buy that garment because you think it is pretty, or because everyone else thinks it is pretty?  Even when you genuinely want the garment, they might not even produce it in your size.  You might see someone or a poster of someone wearing something you think is attractive, but when you put it on it is unflattering and you feel hideous.  The reason this is so detrimental, is that people then think that they need to look like the person in the poster to be able to be attractive.  They begin to aspire towards something that is not healthy, and encourages body dysmorphia.  If the garments were designed for the many other body sizes and shapes, it would not be such a massive issue.  Fashion should be a way to express yourself, not a means for others to judge you.

It doesn’t suit you because it was not designed for you.  It is the garment, not you.

 

Body Dysmorphia.

How does Imaged Fashion prove to be detrimental to the Self Image?

I have refined the focus of my research summary from Imaged Fashion vs. the Self Image to the singular aspect of body dysmorphia. This mental disorder negatively affects many people’s perception of beauty and self-image.  Advertising targets these insecurities by creating an unrealistic depiction of what is deemed ‘attractive’, enticing you to buy their product under the impression that it will correct your perceived flaw. The fashion is an industry fuelled by consumerism.  By setting unattainable standards of beauty and encouraging aspiration to a certain body type, the target audience will consistently be trying to obtain the flawless image of the photo shopped models in the advertisements.  How is the viewer to look like the model in the advertisement when not even they look like that?

I have explored various art pieces that address some of the social impacts of the Fashion industry, including consumerism, unhealthy aspirations and empowerment of people to think independently from fashion magazines.

It is my personal view and struggle as a larger sized individual to find outfits that appeal to me, are flattering or available in my size that has prompted me to follow this specific topic.  Fashion should be a way to express yourself, not a means for others to judge you.

The intention behind my artwork is to address the lack of range in garments available for larger sizes.  I aim to create a piece that promotes equality within the fashion industry and discourage body shaming of any size.