Behaviour change report by Gabriella Ryan

BEHAVIOUR CHANGE

GABRIELLA RYAN N0450390

WORD COUNT: 2715

Introduction Sexual Imagery

1 2-4

Consumer Profile

Race

Size

Brands

8 - 10

Changing Behaviour

Conclusion

Appendix

14 - 24

List of Illustrations

26 - 27

References

28 - 29

Bibliography

30 - 31

INTRODUCTION INTRODUCTION B ehaviour change within the fashion industry is important when following how consumers evolve and develop, especially when their attitudes towards certain brands alter (Tarran, 2013). Diversity describes a community that includes representation of multiple groups, according to Stephens-Aldrich (1999), it should place emphasis on accepting and respecting differences by recognising that no one group is superior. This also is not only reflected, in the fashion industry, but in regards to a much wider range of brands and companies. The issue of race, gender, age and size certainly influence many social problems associated to brands and fashion, particularly in the seemingly glamorous, yet deceptive world of advertising (Anderson and Hill-Collins, 1992). In this report I will examine the apparent and superficial idealised images of women that advertising presents to the consumer to promote products or lifestyles. I will

also focus on the strong use of sexuality and exploitation in advertisments and other industries in terms of how women are represented. I will also touch upon other sensitive issues the fashion industry highlights such us race and size. Further, I will look at the impact this has upon women and the action that needs to be taken to prevent these effects. Tarran (2013) argues that consumers no longer consume, they are active, sceptical, creative and have begun to question authority which can no longer be ignored. These consumers were once a minority, however technology has encouraged their expansion. Consumers now compare and mistrust, boycotting corporations and quickly finding alternatives. In terms of changing behaviour, by using certain brands and campaigns as examples, I will show how these consumers are being recognised, and who is encouraging diversity within advertising and within their brand.

Fig 3. Calvin Klein Jeans advertisement, 2009.

Fig 2. Calvin Klein Jeans advertisement, 2010.

â&#x20AC;&#x153;T

he average person is exposed to 3600 advertisements a day, making it the most persuasive message system in consumer cultureâ&#x20AC;?. (Jhally in: Provocateur, Images of Women and Minorities in Advertising, 1999, p124).

Fig 1. The Ludovisi Cnidian Aphrodite by Prixatletes.

Wolf (1991) argues that the representation of women has never been in their hands and that women are constantly being told how to look, act and what lifestyle they should be leading. There have been erotic images of women in art for centuries however, the way in which they have been constructed and interpreted has changed significantly. For example Hellenistic artists such as Praxiteles, the first artist to sculpt the nude female form as shown in figure 1, and Alexandros Antioch, who also created sculptures of nude women, would strive to express their personality and include their imperfections in their work (Kousser, 2005). Renaissance artist Titian (Tiziano Vecelli) also created many paintings featuring nude women, his series of reclining Venuses featured several voluptuous women displayed in an elegant and peaceful manner (Tinagli, 1997). These many pieces of art revealed how women were once admired as the embodiment of

beauty with ideal proportions and presented as a symbol of life and vitality. However, mass technology has made it possible for these ideals to be exaggerated in a more exploitative and negative approach (Reichert and Lambiase, 2003). Many fashion adverts today feature sexually posing, half naked, white adolescent girls framed around a product (Franklin, 2013). After carrying out a questionnaire, 90% of women aged between 13 and 21 agreed that there is a problem with how women are portrayed (2014, Appendiex A1). Brands such as Calvin Klein have always faced controversial disputes about their advertising imagery. Sanchez (2013) describes adverts for Calvin Klein as seriously inappropriate, for example in 2010 Lara Stone appeared in the Calvin Klein jeans campaign which was eventually removed from billboards as they suggested violence and sexual harassment. According to Reichert and Lambiase (2006), Ralph Lauren also uses provocative advertising techniques. Over time Ralph Lauren changed from a brand which based its representation on the classy stylish polo player, to a brand which followed others such as Calvin Klein by creating more shocking images.

Fig 4. American Apparel advertisement, 2006.

As shocking as these examples of advertising are, it could be argued, that today, brands must use such images to remain competitive. Consumers have become desensitised to many images, Sheppey (2014, Appendix A2) says she knows some adverts are inappropriate, but she is so used to seeing them she haa become oblivious to their inappropriate nature. Competition drives brands to push boundaries in order to grab the consumerâ&#x20AC;&#x2122;s attention and maintain their success. However, some brands are taking a different approach when targeting their consumers. Stampler (2013) describes the new Pantene television advert campaign, which addresses the double standards, the unfairness and the inequalities for women. This simple yet powerful advert concentrates on the struggle women face in the workplace and the different ways men and women are perceived. The advert features no sexual hair whipping or images of women showering but focuses on strong independent values of women.

Fig 5. American Apparel online shopping advertisement, 2013. Fig 6 & 7. Pantene Pro V Television advertisement, 2013.

SEXUAL IMAGERY

merican Apparel is a strong example of a high street brand that has repeatedly been recognised for its sexual nature in advertising is. De Lacey (2013) argues that American Apparel has been branded as sexist and degrading yet again following a recent online campaign for unisex shirts (see figure 5). The online adverts show women wearing the shirt unbuttoned in sexual poses whereas men are shown fully clothed and sombre. Berger (1972) argues that images such as these objectify women as a subject of the male gaze, this American Apparel advert demonstrates his idea of how women are represented as being viewed and men are the viewers. Such advertisements encourage young teenagers such as Daisy (see consumer profile, p5) to believe that this is the correct, appropriate way for girls to behave.

CONSUMER PROFILE

Fig 8 & 9. Miley Cyrus’ ‘Wrecking Ball’ music video, 2013.

Fig 10. Chris Cunningham ‘Windowlicker’ music video, 1999.

NAME: Daisy Hewett AGE: 15 Daisy is a lively and enthusiastic young teen, she loves clothes and can be quite image conscious. She enjoys being surrounded by others and is always keen to try new things. Here’s some of her key interests:

his said, advertising is not the only platform where women face sexual exploitation. The music industry joins fashion to expose itself as one of the largest businesses to sexually objectify women (Franklin, 2013). Continually pushing the boundaries of what is socially acceptable, music videos regularly present storylines based around male-oriented fantasies where women’s bodies are eroticized (Paasonen, Nikunen and Saarenmaa, 2007). However, taking celebrities such as Miley Cyrus whose controversial videos feature her entirely naked at times, as shown in figures 8 and 9, Franklin (2013) argues it is not always male artists who encourage this representation of women. These videos lead to further desensitisation. Chris Cunningham’s video ‘Windowlicker’ is a prime example of how the public has become desensitised. It shows the objectification of women in rap videos,

however the models’ faces have been mutated unattractively which makes the audience uncomfortable. Having said this, little attention was shown towards the shocking sexual imagery (Lewington, 2013). However, artists such as Lily Allen attempt to confront such stereotypes in the music industry. Allen’s songs such as ‘The Fear’ and more recently ‘Hard Out Here’ intend to question the industry’s expectations of women to be sexually desirable objects. Through mocking videos such as Robin Thicke’s ‘Blurred Lines’ the audience realises just how shocking they are, opening them up to debate (Hardie, 2013). Conversely, Cox (2013) criticises Allen, as though her videos are meant to expose this behaviour, as you can see from figures 11, 12 and 13, she continues to create sexualised images of women. “The video is still offensive, completely contradicting what Allen set out to achieve” (Muxlow, 2014, Appendix A2 p23?). 4

LOVES: fashion, photography, festivals, collecting things, music, outdoors. MUSIC: One Direction, Little Mix, Miley Cyrus, Beyonce. FILMS: Twilight, P.S. I Love You, Remember Me. BOOKS/MAGAZINES: Twighlight Saga, Harry Potter, ELLE, Glamour.

Fig 14 - 18. Daisy Hewett Consumer Profile (see consent form Appendix A3), 2014. Fig 11 - 13. Lily Allen ‘Hard Out Here’ music video, 2013.

RACEE C A R Fig 19 & 20. WHSmith magazine shelf, 2013.

SIZE

lthough representations of women primarily depict them as sexual objects (Cortese, 1999), most advertising content still consists of heterosexist images of women fitting the western beauty ideal: slender, tall and young. 85% of women asked agreed there is not enough diversity in advertising (2014, Appendix A1) and not only do these images offend women in their sexist manner, they also lack the ability to promote diversity (Reichert and Lambiase, 2006). According to Sauers (2013) New York Fashion Week fall-winter 2013 only featured 20% of racially diverse models, and out of 2652 issues of American Vogue, only 31 featured models of colour on the front cover (Wilson, 2013). However this is an increase on previous years. As seen in figure 19, in WHSmith, out of the 24 fashion magazines that are most seen, only one features a model of an ethnic minority on the cover. Having said this figure 20 does illustrate that there are magazines tailored to ethnic minorities featuring models of different races however, it must be noted that these are not obvious to the passing consumer being positioned in the bottom right hand corner. Similarly,

SIZE SIZE

in Tesco, only one of the 9 women’s fashion magazines feature a non-white model, and as you can see from figure 22, it has been placed at the very back, hardly in the sight of the consumer. That said, many magazines do pay extra to have their copy at the front or in certain place which is more likely to grasp the consumer’s attention. Racial diversity is a commonly mentioned issue in which the fashion industry could expand upon, potentially leading to other opportunities outside the industry for racially diverse groups. Sauers (2013) argues the importance of using models of different ethnicities, because the models who are successful from doing runway shows are those who go on to feature on magazine covers, in luxury brand advertisements, campaigns and television adverts. These are all forms of media that are consumed by young girls throughout the world, and growing up exposed to mainly one race promotes the idea that beauty is having white skin. On the other hand, Sheppey (2014, Appendix A2) argues that even when models of different ethnicities are featured, they are still extremely thin and underweight sending another message of its own.

Fig 23. Size of model ban, 2012.. Fig 24. Plus Model magazine: size 12 and ‘straight size’model, 2012.

‘Most runway models meet the Body Mass Index physical for Anorexia’ Fig 21 & 22. Tesco magazine shelf, 2013.

Plus Model Magazine

acial and gender diversity are not the only ways in which the fashion industry could broaden. Size is an obvious matter of concern particularly amongst young adolescents. According to Abraham (2012) the average model weighs 23% less than the average women. Models like this appear in many weight loss and beauty advertisements that consumers are bombarded with every day. This lowers self-esteem among young girls leaving them feeling unattractive and with the idea that if they want to be beautiful they must meet the same standards shown in the images (Wolf, 1991). Further results from the questionnaire revealed that fashion advertising caused 65% of women to alter their appearance (2014, Appendix A1). Conversely, there have been a number of campaigns and projects to combat these artificial preconceptions of beauty, which encourage and focus primarily on diversity, self-esteem and self-acceptance.

BRANDS

n 2004 Dove launched the campaign for Real Beauty, featuring real women whose appearances were outside the stereotypical norms of beauty. Hoggard (2005) describes how the women ranged in sizes, ages and races in order to dispose of the stereotype that only thin, young and white is beautiful. Sheppey (2014, Appendix A2) says that using a variety of women would persuade her to purchase the product, as she could relate to the advertisement more. The campaign made beauty a source of confidence not anxiety and reaped many rewards as thousands of women responded positively towards the brand. Sales for Dove rose 9% in the year of the campaign release and encouraged research which discovered that increasingly, consumers are becoming bored with celebrity endorsed products (Cashmore, 2006). However Gray and Muxlow (2014, Appendix A2) say that they do not always notice who is advertising the product but they can definitely identify when the image is completely airbrushed.

Fund and the Beauty Comes of Age phase of the campaign which celebrated the essence of women aged 50+ (Dove, 2013). In 2010 Dove set out to create a new vision for the brand, the Dove Movement for Self-Esteem, aiming to build confidence and encourage selfacceptance among women (Hurling, 2013). The most recent advertising campaign looks at how women tend to concentrate on what they dislike about themselves. They are asked to sit next to an artist behind a curtain, so as not to be seen, whilst they describe themselves (mainly negatively). The artist then interprets their description into a sketched portrait. Afterward, a different individual is then asked separately to describe the same woman. The outcome is two completely different drawings, however the second portrait reflects how the woman looks much more than the first drawing, in which the image is greatly distorted and exaggerated in a less attractive way (Stewart, 2013).

Following their first majorly successful campaign, Dove introduced a range of Real Beauty campaigns including short films promoting awareness of unrealistic beauty conceptions, the Dove Self-Esteem

This is a great example of how women have very little self-esteem, a concept which Dove wishes to uplift. It is such campaigns that make consumers trust the brand.

Fig 28 & 29. All Walks ‘Size Me Up’ campaign, 2009.

nother inspiring company leading the way to a healthier and more realistic body image is All Walks, a company which challenges the fashion industry by creating inspirational press campaigns that feature a range of sizes, ages and skin tones. Through educational work they also help empower undergraduates to embody diversity by changing practice in their chosen field of work (All Walks, 2013). Bourne (2013), describes All Walks 2009 ‘Size Me Up’ campaign as a celebration of diversity and individuality promoting a broader beauty spectrum. The campaign featured a diverse range of models aged 18 to 68 and of sizes 8 to 16. The photos appeared in i-D magazine and proving successful, the campaign went on to collaborate with Nick Knight at the SHOWstudio pop up space at London Fashion Week, where group shots of all the models were taken. Finally, at All Walks own London Fashion Week event, seven foot high wooden panels were created displaying the final images in order to iconise every diverse type of womanhood.

Fig 25 & 26. Dove Real Beauty campaign advert, 2004.

At London Fashion Week, in 2010, the ‘Everybody Counts’ campaign was implemented. A live photo booth was set up in order to canvas the opinions of the many people who attended. It captured portraits of diverse and individual personalities expressing originality. The images formed a living exhibition voicing a message to the industry that everybody does count, for their opinions as well as their appearance (All Walks, 2013). Undoubtedly, All Walks is an amazing company which is conveying the message of the importance of diversity. Bourne (2013) argues that fashion holds extreme power and influence over how women perceive themselves. The model’s personality stands for less than their appearance, which is unrealistic. All Walks’ aim is to emphasise the importance of individuality and focus primarily on self-esteem by photographing a range of women, steering clear of sexualised and artificial imagery (Bourne, 2013).

Fig 27. Dove Real Beauty campaign advert, 2013.

Fig 30 & 31. All Walks ‘Everybody Counts’ campaign, 2010.

CHANGING BEHAVIOUR E

recent campaign also encouraging behaviour change in the fashion industry is a short film titled ‘The Likeness’, directed by Rodrigo Prieto produced towards the end of 2013. It portrays the horrors of bulimia and the lifestyle of an anorexic person (Grose, 2013). Featuring slowly dying and sick models, it accurately depicts the way in which someone with body dysmorphia may feel, to see horrifying flaws that truly are not there. This reveals how fashion imagery, constantly thrown at young girls causes serious effects and damages self-esteem.

vidently, there is still a divide between companies, brands and individuals some who encourage diversity alongside a healthy body image, and others who are still succumbing to stereotypical social norms.

Fig 36. Dispatches Logo, 2014.

Peppers (2013) describes the footage as worryingly accurate, yet truthful and effective when it comes to actually confronting the situation. However, the film has been criticised as being overwhelming and perhaps a little too accurate. Some scenes are said to trigger disturbing memories for those who have suffered such illnesses (Peppers, 2013). Nevertheless, even though the film is difficult to watch at times, the aim is to demonstrate the reality of young girls struggling with self perception and the seriousness of an issue which needs addressing.

Fig 37. All Walks Team, 2013.

Fig 32 - 35. ‘The Likeness’ short film by Rodrigo Prieto, 2013.

To combat this, one could argue that more needs to be done to support and encourage other brands to change their behaviour. For example, looking back at the Dove campaigns, using a range of real and healthy people boosted sales and made consumers realise they were no longer excited by the association between a famous face and a product (Cashmore, 2006). This could be a strategy for other brands to employ in order to engage with a wider range of consumers whilst encouraging diversity simultaneously. Also, films such as ‘The Likeness’ communicate the message of how important diversity is. Another way to communicate this message could be through documentaries such as Dispatches, a programme that covers important issues in British society. This would ensure a large range of people are reached and informed about the issue. I believe companies should also be encouraging consumer involvement, therefore brands need to invest more in projects not campaigns, as consumers are more likely to engage with a brand they feel they can connect with (Hughes, 2013). Looking at the All Walks ‘Everybody Counts’ campaign, it was effective in the way in which anyone could get involved,

having their photograph taken and sharing their opinion, however to improve it could have continued as a project online or at other shows instead of finishing at the end of London Fashion Week. This ensures that a broader spectrum of consumers are reached allowing involvement with the company whilst also maintaining a positive company attitude. In order to create and raise awareness about the importance of diversity, platforms such as advertising need to be confronted on their imagery techniques. According to Cortese (1999) the removal of stereotypical and degrading images is imperative and key to the future of successful positive advertising. Companies should place more emphasis on cultivating realistic representations of the target population. One way in which this could be achieved is through more magazines, designed and targeted specifically at younger adolescent consumers, such as Daisy, (see consumer profile, p5) featuring a diverse range of images. It could be argued that younger girls have outgrown magazines such as More, but are not yet mature enough for Elle or Vogue. There is not a wide variety of magazines for those between childhood and adolescence age, and these consumers are becoming exposed to inappropriate imagery, sexual advice and tips on improving looks, too young (Gibbons, 2003). Assuming these young girls already feel they have flaws, this can provoke self-esteem insecurities which stay with them as they grow older.

Fig 39. Dove Real Beauty campaign advert, 2004.

Fig 38. All Walks Beyond The Catwalk campaign, 2009.

CONCLUSION

ll consumers must avoid the trap of accepting not only advertising imagery, but all exploitive behaviour as natural whilst also rejecting the mythical and degrading typecasts that come with it. Cortese (1999) also argues it is vital that brands help consumers distinguish the line between reality and fantasy media. This behaviour change will ensure that women no longer feel the extreme pressures to look immaculate and issues such as anorexia will be prevented.

Fig 40. All Walks Beyond The Catwalk â&#x20AC;&#x2DC;Mix It Upâ&#x20AC;&#x2122; at London Fashion Week, 2013.

In conclusion I believe, similarly to Cortese (1999), that the future of diversity lies within the advertising industry, particularly relating to fashion. Brands should be promoting a healthy body image and hopefully more companies will join Dove, All Walks and Pantene in continuing to fulfil this change. Hurling (2013) argues selfesteem and self-acceptance is extremely important among women and by reinforcing of diversity, women of all ages, races and sizes will be made to feel beautiful.

Appendix A1

APPENDIX

Questionnaire results:

RESEARCHIMETHODOLOGY Primary Research: Questionnaire

Focus Group

I carried out a questionnaire for girls aged between 12 and 20 in Nottingham and in Ipswich. Participants under the age of 16 were given signed consent by a parent or guardian. These are the questions I asked:

I carried out a focus group with 6 girls ages between 17 and 21 in Nottingham. It focused on advertising imagery, how women are portrayed and the issue of diversity. These are the questions I asked:

Does advertising cause you to alter your appearance?

Do you think there is enough diversity within advertising, in terms of how women are represented?

Would you be more likely to purchase a product endorsed by perfect airbrushed models, or a more realistic take on the every day woman? What would you like to see in advertising imagery, in terms of how women are represented?

Do you think only having this one type of image advertised can have an effect of young girls? What would you like to see more of in advertising? How do you think advertisers could communicate a more rounded image of diversity? Would you be less likely to buy a product advertised by a older or larger sized woman? What is your opinion on how most women are portrayed through advertising?

No 35%

Do you think there is enough diversity within advertising?

Would you be more likely to buy a product from an artificial airbrushed advertisement or a more realistic take on the everyday woman? How do you think women are portrayed in music videos? Secondary Research: I also collected my research findings from a number of different books, articles, lectures, websites and online newspapers.

Yes 65%

Do you think there is a problem with the way in which females are portrayed/presented through advertising? (How/why?)

Do you think there is enough diversity within advertising?

90%

Do you feel pressured by adverts to act a certain way? (Give examples)

Yes

15%

85%

10%

What effects do you think the advertising industry has on females?

Do you think there is a problem with the way females are portrayed in advertising?

YES

Does advertising cause you to alter your appearance?

Completed questionnaires:

Consent forms:

Appendix A2 Focus Group Transcript: Interviewer: Do you think there is enough diversity within advertising, in terms of how women are represented? Laura Cash: No, they are all very skinny. Vicky Muxlow: No, there’s not. Demi Sheppey: They are all the same. Well not all the same but you might see the odd coloured model, but generally they’re all white and skinny. You don’t see many Asian girls either. Interviewer: Do you think only having this one type of image advertised can have an effect of young girls? Demi Sheppey: Yeah it does.

Consumer profile consent form:

Vicky Muxlow: Yes definitely, because girls see that as what they should look like and can create illnesses like eating disorders. Interviewer: What would you like to see more of in advertising? How do you think advertisers could communicate a more rounded image of diversity? Ella Radford: I think the models they use should be more of a variety. Vicky Muxlow: Topshop tends to use a variety of models in terms of race, but only more recently I think. Demi Sheppey: Yeah, but they are still all the same size wise, they’re all still really skinny. And for topshop you need to have that certain look for most of their clothes, like American Apparel.

and advertisements they should make the models more normal, because there is diversity in the world, people who buy into the products are a range of people. Sophie Gray: Yeah because it’s as if they’re advertising on the fact that only that type of woman is buying the products, not all types of women. Vicky Muxlow: They need one brand or company to start using different types of women and then maybe others would follow because I reckon it would be successful. Demi Sheppey: We are the consumers so we’re meant to relate to the adverts but most of us can’t. Interviewer: Would you be less likely to buy a product advertised by a older or larger sized woman? Ella Radford: No, because you don’t look at her figure you look at her outfit or the product. Vicky Muxlow: Yeah, for example on This Morning when they have women come on wearing things I always think they’re wearing an outfit that I would wear. Demi Sheppey: Yeah, and the Debenhams advert where they have all the different ages, I think they look good. Interviewer: What is your opinion on how most women are portrayed through advertising? Demi Sheppey: It’s always sexualised, especially the perfume adverts. Chloe Franklin: Perfume adverts are like porn these days.

Chloe Franklin: Yeah and there’s no way you’d be a model if you didn’t have that look.

Demi Sheppey: There’s nothing really wrong with it but there is, I think we are just so used to it we don’t really notice anymore.

Demi Sheppey: I think though in campaigns

Vicky Muxlow: They give the impression that

‘if you smell like this perfume, you’ll attract men’. Ella Radford: They do it for men as well, but in a less obvious and degrading way I think. Interviewer: Would you be more likely to buy a product from an artificial airbrushed advertisement or a more realistic take on the everyday woman? Vicky Muxlow: I don’t really tend to look at the model too much but I know they have been majorly air brushed. Ella Radford: If it’s make up I may pay more attention to the model. Sophie Gray: I think I notice more when they are air brushed because I’m just thinking how unrealistic is that picture, no way will the product come out like that on me. Chloe Franklin: It doesn’t look real, so the every day woman. Interviewer: How do you think women are portrayed in music videos? Vicky Muxlow: It’s like Lily Allen’s video ‘Hard Out Here’, she’s trying to combat how women are represented but still using sexualised images of women. The video is still offensive, completely contradicting what Allen set out to achieve still offensive. Demi Sheppey: I don’t think it’s appropriate at all, if I had a daughter I wouldn’t want her watching that sort of thing or picking up on that behaviour. Sophie Gray: It’s too much in music videos sometimes, Kanye West’s music video is disgusting. Vicky Muxlow: It’s getting worse and worse. Chloe Franklin: Like Miley Cyrus, such a bad influence. End of focus group.

Consent forms:

LIST OF ILLUSTRATIONS Fig 1. Prixatletes., n.d. The Ludovisi Cnidian Aphrodite (sculpture). Available at: http:// commons.wikimedia.org/wiki/File:Cnidus_ Aphrodite_Altemps_Inv8619.jpg (Accessed 10 January 2014).

Fig 8 & 9. Scopecube., 2013. Miley Cyrus’ ‘Wrecking Ball’ music video (digital images). Available at: http://scopecube. com/2013/09/10/miley-cyrus-wrecking-ballmusic-video/ (Accessed 10 January 2014).

Fig 23. SIECZKOWSKI, C., 2012. Skinny model ban (digital image). Available at: http://www. ibtimes.com/israel-enacts-skinny-model-banrequiring-body-mass-index-185-necessarystep-poll-428046 (Accessed 11 January 2014).

Fig 32 – 35. PRIETO, R., 2013. ‘The Likeness’ short film (digital images). Available at: http://i. dailymail.co.uk/i/pix/2013/12/17/article2525507-1A2ADB3A00000578-523_634x357.jpg (Accessed 12 January 2014).

Fig 2. Fashionising., 2010. Calvin Klein Jeans advertisement (digitial image). Available at: http://www.fashionising.com/pictures/b-calvin-klein-banned-lara-stone-5090.html (Accessed 10 January 2014).

Fig 10. BLIND, J., 2010. Chris Cunningham ‘Windowlicker’ music video (digital image). Available at: http://jeffblind.blogspot. co.uk/2010/09/chris-cunningham-aphex-twin. html (Accessed 10 January 2014).

Fig 36. Televisual., 2013. Dispatches logo (digital image). Available at: http://www. televisual.com/images/news/3_1320751289_ dispatches-dispatches-archive_412x232.jpg (Accessed 12 January 2014).

Fig 3. The Gentleman’s Log., 2009. Calvin Klein Jeans advertisement (digitial image). Available at: http://www.chrisrawlinson.com/2009/06/ calvin-klein-jeans-threesome-billboard/ (Accessed 10 January 2014).

Fig 11 – 13. Mirror., 2013. Lily Allen ‘Hard Out Here’ music video (digital images). Available at: http://i3.mirror.co.uk/incoming/ article2785417.ece/ALTERNATES/s615/LilyAllen-Hard-out-here-video-2785417.png (Accessed 10 January 2014).

Fig 24. Plus Model Magazine., 2012. Size 12 and ‘straight size model (digital image). Available at: http://www.dailymail.co.uk/femail/ article-2085226/PLUS-Model-MagazinesKatya-Zharkova-cover-highlights-body-imagefashion-industry.html (Accessed 11 January 2014)

Fig 4. Beamusings., 2012. American Apparel 2006 advertisement (digital image). Available at: http://beamusings.wordpress. com/2012/01/24/american-apparel-negativebody-image-and-subversion/ (Accessed 10 January 2014). Fig 5. DE LACEY, M., 2013. American Apparel online shopping advertisement (digital image). Available at: http://www.dailymail.co.uk/ femail/article-2325474/American-Apparelbranded-sexist-degrading-ads-unisex-shirtfeaturing-half-naked-women-g-strings-fullyclothed-men.html (Accessed 10 January 2014).

Fig 14 – 18. HEWETT, D., 2013. Daisy Hewett consumer profile (digital images). Available at: https://dub123.mail.live.com/default.asp x?id=64855#n=1129176673&fid=1&mid=6b3 6552c-7b97-11e3-a651-00215ad6a644&fv=1 (Accessed 11 January 2014). Fig 19 & 20. Own Images., 2013. WHSmith magazine shelf (digital images). Fig 21 & 22. Own Images., 2013. Tesco magazine shelf (digital images).

Fig 25 & 26. Dove., 2004. Dove Real Beauty campaign (digital images). Available at: http:// www.beutifulmagazine.com/wp-content/ uploads/2010/07/dove-campaign-for-realbeauty1.jpg (Accessed 11 January 2014). Fig 27. Dove., 2013. Dove Real Beauty campaign (digital image). Available at: http:// makeideashappendotcom.files.wordpress. com/2013/04/dove.jpg (Accessed 11 January 2014). Fig 28 & 29. All Walks., 2009. All Walks Beyond The Catwalk ‘Size Me Up’ campaign (digital images). Available at: http://www.allwalks. org/wp-content/uploads/2009/09/Somersethouse-launch.jpg (Accessed 11 January 2014). Fig 30 & 31. All Walks., 2010. All Walks Beyond The Catwalk ‘Everybody Counts’ campaign (digital images). Available at: http://allwalks. org/wp-content/uploads/2009/09/EBC.jpg (Accessed 11 January 2014).

Fig 6 & 7. STUSINSKI, M., 2013. Pantene Pro V television advert (digital images). Available at: http://socialnewsdaily.com/20443/pantenead-condemns-gender-stereotypes-video/ (Accessed 10 January 2014).

Fig 37. All Walks., 2013. All Walks team (digital image). Available at: http://www.allwalks.org/ wp-content/uploads/2013/12/All-Walks-teamBW.jpg (Accessed 12 January 2014). Fig 38. All Walks., 2009. All Walks Beyond The Catwalk ‘Size Me Up’ campaign (digital image). Available at: http://baradudova.com/blog/allwalks-beyond-the-catwalk-change-of-fashionindustry-stereotype/ (Accessed 12 January 2014). Fig 39. Dove., 2004. Dove Real Beauty campaign (digital image). Available at: http://101diversity.files.wordpress. com/2012/11/beauty.jpg (Accessed 12 January 2014). Fig 40. All Walks., 2013. All Walks ‘Mix It Up’ at London Fashion Week campaign (digital image). Available at: http://www.allwalks. org/mix-it-up-at-graduate-fashion-week/ (Accessed 12 January 2014).

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