Beauty is ... by Georgia Benney

Beauty is

Georgia Benney

Beauty is

Silicon Valley

Graphic[s] Content

Analizing the unanalyzable

i-D this

Conclusion

Appendix

References

Image References

Bibliography

Fig 2 Pull Yourself Together

Georgia Benney N0427631 FCP 2 1

Fig 1 Emily

“Beauty is …. Individual” (Feeley.M, 2013)

“Beauty is ……. Not about the face”. (Norris.E, 2013)

Fig 3 Makeover Madness

Beauty is ......... Beauty is subjective. It means something different to each and every one of us. Beauty has been in our conscious mind from the sixth day of creation, “The divine beings saw how beautiful these human women were, so they married the ones they chose.” (Genesis 6:2-12, Bible English NIV, 2011). We are surrounded by notions of beauty on a daily basis. One compares oneself to another and creates an ever increasing unrealistic view of beauty. The project became personal to us and the outcomes gave us a deep insight into the way we perceive ourselves and our notions of beauty. This resulted in a collection of images that emulated our perceptions of the beauty industry and our opinions on cosmetic surgery. 3

Fig 4 Pull Yourself Together

Fig 8 Makeover Madness

Silicon Valley Fig 6 Pull Yourself Together

The earliest record of medical treatment for facial injuries dates back to 800BC where physicians in ancient India were using skin grafts for reconstructive work on men and women. It wasn’t until the 19th and 20th Centuries that science advanced and so did developments in aesthetic surgery. Warfare destroyed lives and limbs for countless soldiers and this forced technological advances to the limit. Soldiers were returning from war with unbelievable injuries. “Shrapnel wounds, burns and traumatic amputation were common” (Science Museum, date unknown), plastic surgeons such as Harold Gillies and Archibald McIndoe were at the forefront of these new developments. In the USA, Botox procedures have increased by 680% in the last 13 years and 8% in the last year, more so than breast and buttocks lifts according to Hadley Freeman

Fig 5 Makeover Madness

at The Guardian (Freeman, 2013), suggesting that women are focusing more on the appearance of their facial features than any other part of the body. We are told that first impressions count, this statistic could be a direct result of the pressures we are put under to appear perfect to an employer, new acquaintance or even family members. According to the American Society of Plastic Surgeons 91% of cosmetic procedures in the USA in 2012 were performed on women with 51% of patients returning for further surgery (American Society of Plastic Surgeons, 2013). Women are more aware of their image and often after one procedure are more prone to go under the knife again. Often the first surgery is for something they have been considering for a long time, something they are self-conscious about. However, when it comes to the second or third surgery they realise how easy it is to dramatically change their appearance and their decision is made without in depth reasoning. These increases in repeat surgery heighten the societal pressures for girls of a younger generation; the women they aspire too aren’t real women

Fig 7 Pull Yourself Together

anymore. Jonathan Owen of The Independent believes that women are facing a “relentless societal pressure” to strive for perfection (Owen. J, 2012). Women of all ages are constantly feeling as though they are solely being judged on their appearance and that their knowledge and personality falls by the way side. From the same study Owen found that “only one in three (is) confident that she will have a successful career”. In a time when women are becoming more powerful and well respected in the work place, their lack of confidence is jeopardising the progress that they have made in the past century.

Graphic[s] Content

Fig 9 The Second Mouth

Orlan, a female performance artist, experimented with plastic surgery in the 90’s to show the effects that cosmetic surgery is having on women in the modern world, she wanted “to disrupt the standards of beauty” (Frank. P, 2013). Although Orlan was going under the knife she wasn’t intending to make herself appear more beautiful or change the way she looked to benefit herself or others. Her aim was to challenge the conventions of surgery and the reasons people partake or undertake it. She believes “beauty is the product of the dominant ideology. (Thus, when ideology changes, the ideal body follows)” (Frank.P, 2013). In other words our perception of beauty and the perfect woman is subject to change with trends and cultural shifts, therefore, no woman is the definitive ideal.

Fig 11 Destroy by Little Boots

Fig 12 Destroy by Sophie Ellis-Bextor

Youth Music’s’ collaboration with Rankin, a project called Destroy, consisted of 70 musicians and visual artists being photographed by the English photographer who then had free rein over the images. The collective has a very dramatic presence partly due to the number of pieces created but also the different ways in which the artists ‘destroyed’ the images of themselves. The multitude of materials used by the musicians gives the collection a range of textures and compositions. In an interview with The Independent, Rankin said that the project was “an interesting assessment of personal identity” (Love. E, 2009). Each piece shows the personality of that particular musician and gives the viewer an insight into their frame of mind and possibly the way they create music. Rankin’s concept, of allowing his models to edit the images themselves to represent their personality and style, intrigued us on a visual and psychological level. The translation of this approach led to the outline of our concept. The use of illustration layered upon images is nothing new, however the use of free hand postproduction in beauty campaigns is a road less travelled in the industry.

Fig 10 Fifth Surgery-Performance called Operation

Fig 13 Destroy by Basement Jaxx

Fig 14 Untitled #3 - 2011

Analizing the Unanalyzable

Graphic[s] Content Fig 16 Bjork: Hidden Place single cover

Fig 15 Silence #5 - 2005

M/M Paris have a similar aesthetic to Lepage. They “typically start by producing beautiful photographs, and then vandalize their own creations with elaborate drawings and cutouts” (Marshall. A, 2013). The duo, Mathias Agustyniak and Michael Amzalag, edit many of their images in postproduction using materials such as a scalpel. The designers are “informed by the traditions of Swissstyle graphic purism and the agitprop of the design collective Grapus” (Marshall. A, 2013), who were a group of graphic artists that worked together between 1970 and 1991. They looked to create great design but with a social conscience. They believe an image should contain “dialogues, stories, experiences” (Browne.A, 2007).

Fig 17 Yohji Yamamoto catalogue

Jean-François Lepage works on his images in post-production by adding new depths using lines, shapes, patterns and colour. Lepage’s aim with his illustrations is to “reveal who we really are” (Kosilova. D, 2012). He tries to show his interpretation of the models identity and often engraves into his negatives before developing them. However he only does so when it feels right for the image, which, in turn, gives each image individuality and a personal touch.

Taking our research into account we came up with a concept that we felt could truly portray beauty by taking a first-hand approach. We took head shots of our models and asked them to annotate, modify or edit their image to show their beauty values and how they felt towards themselves and the industry. Using five models, originally, gave the scope for a diverse range of outcomes. During the exercise we gained a real insight into what the models were thinking when they first saw their image and how they decided to modify it. The images had a real meaning however their aesthetic wasn’t in keeping with the magazine we had in mind. To overcome this we worked on our own images and limited the tools permitted to black and white materials. This meant that the images would flow more as a collective and have a greater presence in the exhibition space.

The five images that we created all have a very different aesthetic and composition that represents each of us as individuals.

Fig 18 Paige

Paige has a strong interest in music and writes many of her own lyrics and, therefore, her image reflected this by including quotes that resonate with her. By using only the left side of the image, Paige has allowed the viewer to follow the image from left to right. She wanted people to “read into emotion” (Hartley. P, 2013) by focussing on her expression. Viewers are able to compare the phrases used with her face and use their imagination to understand what the words really mean to her individually.

I decided to highlight my eyes as they are the part of my face that I am most connected to. I focussed on the positive rather than taking a negative view to my image. Originally the graphics were black but after discussing with the rest of the group we felt it looked too heavy and drew attention to the graphics rather than the eyes themselves. The quote is taken from the bible, although the quote isn’t linked to actual eyes I feel the value it holds is important to the way I act towards others.

“Feeling confident despite your flaws” (Bernstein. A, 2013) is the approach Ashleigh took to her illustrations. Her image has a very different aesthetic to Emily’s in that hers has more of a positive aspect to it. There is a romantic feel to Ashleigh’s illustrations due to the use of flowers and the word ‘love’. I think that the illustrations that we all used are reflective of how we are all feeling at this moment in time and what is going on in our lives.

Fig 19 Emily

Emily decided to cover her face totally with her illustrations. She felt that “anyone can have a pretty face but its personality that makes someone a beautiful person” (Norris.E, 2013). The face is unimportant, in her mind, to the beauty of someone. Her illustrations have covered the majority of her face, allowing her image to create a standpoint for what she believes in. Down the left side of her face she has created some graphic lines that from afar looks like a string of tears. This could be mimetic of how she was feeling at the time or just an extension of her face. 11

Fig 19 Ashleigh

Fig 19 Melissa

Fig 19 Georgia

Melissa’s original image was extremely colourful and had a very busy composition. There is a dramatic change in the outcome after limiting the use of colour and materials. It is interesting to see where the eye takes you whilst looking at the image. The lines used are in different directions but where they meet draws the eye into the centre of her face, in particular her nose.

“Everyone has their own quirks so why must we be made to feel inferior” (Feeley.M, 2013)

Fig 23 Tree # 1, 2003

i-D This

Fig 27 No. 279 - The Couples Issue

In contrast i-D has an age appropriate readership that is still finding their identity; it would have more of a resonance with them. The aesthetic of the images are more in keeping with that of i-D. Part of the magazines manifesto is “don’t imitate” (i-D, Date Unknown) – similarly in our images we are promoting individuality by appreciating what you have and being thankful that you are you.

Fig 26 Olivia WIlliams

Fig 24 ‘she was never bored, because she was never boring’

“If you ever wonder what became of the great English tradition of sticking up two fingers to the establishment, it is in spiky good health, thanks to a gang of misfits from that cradle of nonconformity”, in the form of Vice Magazine. (Horan.T, 2006) It is daring in its content and challenges politics, society and just about anything else worth talking about. We thought the anarchist sensibility of the magazine would be ideal for our concept however after dissecting the physical magazine further we felt some of the subjects were unnecessary and inappropriate.

Fig 25 Angela Lansbury on the cover of the magazine

The Gentlewoman has an understated aesthetic that appeals to the modernist and minimalist; it has an older, more established audience that wouldn’t connect to our images and their message.

Fig 28 No. 174 - The World Class Issue

Improvements When we first started researching our idea we found that we were concentrating on the end project rather than looking at inspiration to lead us to an original idea. We had in mind what the end product would look like but we soon realised that this would have no content if we didnâ&#x20AC;&#x2122;t research into the meaning of our images and what message we wanted to portray.

Conclusion

Fig 30 La Panthere Ose

After having a strong focus on the fashion industry for the past year, this project allowed us to express our opinions on the beauty industry and its effects on young women. It allowed us to think hard about ourselves and the choices we make to improve our image on a daily basis. Our images portray our opinions of ourselves as well as the pressures we face every day from the media. We, as a society, are wholly influenced by others around us and the comparisons we draw from friends, models and celebrities.

Fig 29 La Panthere Ose

Appendix

References

Transcription of 4 others in the group when asked what Beauty meant to them.

Personal Contact

Paige

Bernstein. A, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013

My image focuses on knowing who you are on the inside, self acceptance and inner beauty. The quote ‘I am so busy keeping..’ is a Sylvia Plath quote with relation to knowing who you are, I relate to this because I’m still discovering that. The other quote ‘To love oneself’ is Oscar Wilde from Hunger magazine, relating to self acceptance. I decided not to cover my face because I think you can read into emotion and understand people by their expression in photos which I really love.

Feeley.M, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013 Hartley.P, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013 Norris.E, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013

Emily

Books

Beauty is.... Not about the face

Bible English New International Version, 2011, Pocket Bible: New International Version, Hodder & Stoughton

I dont think beauty should be all about the face and I hate the pressure that is put on us to look ‘beautiful’. It just makes us all so insecure. I feel that beauty is who you are, what makes you unique and how you embrace it. Anyone can have a pretty face but it’s personality that makes someone a beautiful person. Ashleigh Beauty is .. For me beauty is about exentuating oneself and feeling confident despite your flaws. I think as a female I spend far too much time criticizing the way I look and pointing out the negative. In my image I wanted to highlight my right eye as my favorite feature are my eyes and eyelashes. I think very often individuals are quick to pick out the negative as opposed to the positive so I wanted to flip this. Additionally, the love lettering is about loving yourself and lastly Keats is my favorite poet as he advocated love and beauty. Melissa Beauty is … individual In the media all you see is a lot of criticism on the way people look. As a result people have become so insecure about the way they look so many of them now get surgery or put themselves through ridiculous regimes in order to achieve the impossible/ perfection. When I was younger I use to hate the shape of my nose, at the time there was a big thing on having a Britney Spears “Button Nose” in the press and all I wanted to do was to change my nose. Bearing in mind I was 14 at the time. Thinking about it now the idea children are exposed to so many “ideals” about what looks good and what doesn’t when you’re that age is wrong on so many levels. Everyone has their own quirks so why must we be made to feel inferior, why can’t we embrace our individualism? In my photo I have highlighted my nose because that is something I have never liked. I have also highlighted common things people hate about themselves like their lips, eyes, hair etc to point this out.

start again for Destroy Rankin, The Independent (online), 6/11/2009, Available at http://www.independent.co.uk/artsentertainment/music/features/observations-musicians-ripit-up-and-start-again-for-destroy-rankin-1815321.html, Date Accessed 20/11/2013 Marshall. A, 2013, M/M (Paris), The Wall Street Journal (online), 14/2/2013, Available at http://online.wsj.com/news/ articles/SB10001424127887323375204578272220529266196, Date Accessed 19/11/2013 Owen. J, 2012, Girls, interrupted: Revealed - the true cost of low self-esteem, The Independent (online), 1/4/2012, Available at http://www.independent.co.uk/life-style/healthand-families/health-news/girls-interrupted-revealed--thetrue-cost-of-low-selfesteem-7606258.html, Date Accessed 14/11/2013

Websites American Society of Plastic Surgeons, 2013, 2012 Plastic Surgery Statistics Report, Place of publication unknown, American Society of Plastic Surgeons, Available at http://www.plasticsurgery.org/Documents/news-resources/ statistics/2012-Plastic-Surgery-Statistics/full-plasticsurgery-statistics-report.pdf, Date accessed 1/12/13 i-D, Date Unknown, About Us, i-D, Available at http://id.vice.com/en_gb/about, Date Accessed 1/12/2013 Science Museum, Date Unknown, Reconstructive Surgery, London, Science Museum, Available at http://www. sciencemuseum.org.uk/broughttolife/themes/surgery/ reconstructive.aspx, Date accessed 23/11/13 Online Articles Browne.A, 2007, The Strong, Not So Silent Type, The New York Times (online), 3/6/2013, Available at http://www. nytimes.com/2007/06/03/magazine/03Style-paris-t.html?_ r=2&oref=slogin&, Date Accessed 6/11/2013 Frank. P, 2013, ORLAN Talks Plastic Surgery, Beauty Standards And Giving Her Fat To Madonna, Huffington Post (online), 29/1/2013, Available at http://www.huffingtonpost. com/2013/01/29/performance-artist-orlan-interview-beautysurgery_n_2526077.html, Date Accessed 14/11/2013 Freeman. H, 2013, Cosmetic surgery trends show how the female body is constantly fetishized, The Guardian (online), 30/4/2013, Available at http://www.theguardian. com/commentisfree/2013/apr/30/plastic-surgery-report-femaleform, Date Accessed 13/11/2013 Horan.T, 2006, From chic to cheek, The Telegraph (online), 15/7/2006, Available at http://www.telegraph.co.uk/culture/ music/3653808/From-chic-to-cheek.html, Date Accessed 25/11/2013 Kosilova.D, 2012, Jean-Francois Lepage, The Lab Magazine (online), 28/8/2012, Available at http://thelabmagazine. com/2012/08/28/jean-francois-lepage/, Date Accessed 17/11/2013 Love. E, 2009, Observations: Musicians rip it up and

Image References Fig 1 Own Image, 2013, Emily, Nottingham, Digital Image Fig 2 Baard Lunde, 2013, Pull Yourself Together (digital photograph), Australia, Noise Magazine, Available at http:// www.baardlunde.com/beauty#, Date Accessed 28/11/2013 Fig 3 Steven Meisel, 2005, Makeover Madness (digital photograph), Italy, Vogue Italia, Available at http://www. vogue.it/en/people-are-talking-about/obsession-of-theday/2010/12/plastic-surgery#ad-image50213, Date Accessed 28/11/2013 Fig 4 Baard Lunde, 2013, Pull Yourself Together (digital photograph), Australia, Noise Magazine, Available at http:// www.baardlunde.com/beauty#, Date Accessed 28/11/2013 Fig 5 Steven Meisel, 2005, Makeover Madness (digital photograph), Italy, Vogue Italia, Available at http://www. vogue.it/en/people-are-talking-about/obsession-of-theday/2010/12/plastic-surgery#ad-image50213, Date Accessed 28/11/2013 Fig 6 Baard Lunde, 2013, Pull Yourself Together (digital photograph), Australia, Noise Magazine, Available at http:// www.baardlunde.com/beauty#, Date Accessed 28/11/2013

Digital Image/Illustration (online), Available at http:// two-eyes.com/photographs/, Date Accessed 24/11/2013

Bibliography

Fig 16 M/M Paris, 2001, Bjork: Hidden Place single cover, Design Museum, Digital Image/Illustration (online), Available at http://designmuseum.org/__entry/ 4261?style=design_image_popup, Date Accessed 25/11/2013

Bernstein. A, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013

Fig 17 M/M Paris, 1999, Yohji Yamamoto catalogue, Design Museum, Digital Image/Illustration (online), Available at http://designmuseum.org/__entry/4257?style=design_image_ popup, Date Accessed 25/11/2013 Fig 18 Own Image, 2013, Paige, Nottingham, Digital Image Fig 19 Own Image, 2013, Emily, Nottingham, Digital Image Fig 20 Own Image, 2013, Ashleigh, Nottingham, Digital Image Fig 21 Own Image, 2013, Melissa, Nottingham, Digital Image Fig 22 Own Image, 2013, Georgia, Nottingham, Digital Image Fig 23 Ryan McGinley, 2003, Tree # 1, Vice Magazine, Digital Image (online), Available at http://ryanmcginley. com/photographs/, Date Accessed 1/12/2013

Fig 7 Baard Lunde, 2013, Pull Yourself Together (digital photograph), Australia, Noise Magazine, Available at http:// www.baardlunde.com/beauty#, Date Accessed 28/11/2013

Fig 24 Jamie Taet, 2009, ‘she was never bored, because she was never boring’, Vice Magazine, Digital Image (online), Available at http://www.coverjunkie.com/blog/chockingvice/3/1909, Date Accessed 23/11/2013

Fig 8 Steven Meisel, 2005, Makeover Madness (digital photograph), Italy, Vogue Italia, Available at http://www. vogue.it/en/people-are-talking-about/obsession-of-theday/2010/12/plastic-surgery#ad-image50213, Date Accessed 28/11/2013

Fig 25 Unknown, 2012, Angela Lansbury on the cover of the magazine, The Gentlewoman, Digital Image (online) Available at http://www.coverjunkie.com/blog/the-gentlewomanuk/3/10570, Date Accessed 29/11/2013

Fig 9 - ORLAN, 1993, “The Second Mouth” - Seventh Surgery, Performance called Omnipresence, New York, c-print (online), Available at http://www.prometeogallery.com/ orlan/, Date Accessed 26/11/2013 Fig 10 ORLAN, 1991, Fifth Surgery-Performance called Operation- Opera, July 6, Paris, c-print (online), Available at http://www.prometeogallery.com/orlan/, Date Accessed 26/11/2013 Fig 11 Rankin and Little Boots, 2009, Destroy by Little Boots, London, Digital Image (online), Available at http:// www.youthmusic.org.uk/rankin/home/#/gallery, Date Accessed 23/11/2013 Fig 12 Rankin and Sophie Ellis-Bextor, 2009, Destroy by Sophie Ellis-Bexter, London, Digital Image (online), Available at http://www.youthmusic.org.uk/rankin/home/#/ gallery, Date Accessed 23/11/2013 Fig 13 Rankin and Basement Jaxx, 2009, Destroy by Basement Jaxx, London, Digital Image (online), Available at http:// www.youthmusic.org.uk/rankin/home/#/gallery, Date Accessed 23/11/2013 Fig 14 Jean-Francois Lepage, 2011, Untitled #3, Two Eyes, Digital Image/Illustration (online), Available at http:// two-eyes.com/photographs/, Date Accessed 24/11/2013 Fig 15 Jean Francois Lepage, 2005, Silence #5, Two Eyes,

Fig 26 Alasdair McLellan, 2011, Olivia Williams, The Gentlewoman, Digital Image (online), Available at http:// www.fantasticman.com/tgw3/, Date Accessed 23/11/2013 Fig 27 Terry Richardson, 2007, No. 279 – The Couples Issue, i-D, Digital Image (online), Available at http://ftape.com/ media/?p=13291, Date Accessed 26/11/2013 Fig 28 Mark Mattock, 1998, No. 174 - The World Class Issue, i-D Magazine, Digital Image (online), Available at http:// ftape.com/media/?p=13291, Date Accessed 26/11/2013 Fig 29 Terry Richardson, 2010, La Panthere Ose, Vogue Paris, Digital Image (online), Available at http://www. fashionologie.com/Tom-Ford-Vogue-Paris-Issue-IncludesPlastic-Surgery-Plumped-Crystal-Renn-Ford-Headdress-PhotosFord-Parents-12309684, Date Accessed 28/11/2013 Fig 30 Terry Richardon, 2010, La Panthere Ose, Vogue Paris, Digital Image (online), Available at http://www. fashionologie.com/Tom-Ford-Vogue-Paris-Issue-IncludesPlastic-Surgery-Plumped-Crystal-Renn-Ford-Headdress-PhotosFord-Parents-12309684, Date Accessed 28/11/2013

Personal Contact

Borton.M, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013 Feeley.M, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013 Harrigan.C, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013 Hartley.P, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013 Jerrom.D, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013 Norris.E, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013 White.C, 2013, Student, Interview with Georgia Benney, Nottingham Trent University, 7/11/2013 Books Bible English New International Version, 2011, Pocket Bible: New International Version, Hodder & Stoughton Donger.S and Shepherd.S, 2010, ORLAN: A Hybrid Body of Artworks, first edition, Routledge Sander L. Gilman, 2001, Making the Body Beautiful, Princeton University Press Taschen. A, 2005, Aesthetic Surgery, Tashchen Websites American Society of Plastic Surgeons, 2013, 2012 Plastic Surgery Statistics Report, Place of publication unknown, American Society of Plastic Surgeons, Available at http://www.plasticsurgery.org/Documents/news-resources/ statistics/2012-Plastic-Surgery-Statistics/full-plasticsurgery-statistics-report.pdf, Date accessed 1/12/13 i-D, Date Unknown, About Us, i-D, Available at http://id.vice.com/en_gb/about, Date Accessed 1/12/2013 Science Museum, Date Unknown, Reconstructive Surgery, London, Science Museum, Available at http://www. sciencemuseum.org.uk/broughttolife/themes/surgery/ reconstructive.aspx, Date accessed 23/11/13 Unknown, 2011, Surprising Self-Esteem Statistics, Dove (online), 23/3/2013, Available at http://www.dove.ca/ en/Article/Surprising-Self-Esteem-Statistics.aspx, Date Accessed 14/11/2013

Online Articles Betts.H, 2012, Beauty Industry: a stealth imperialism with self-harm its main weapon, The Guardian (online), 29/8/2013, Available at http://www.theguardian.com/commentisfree/2012/ aug/29/cosmetic-surgery-imperialism-women-misery, Date Accessed 14/11/2013

Browne.A, 2007, The Strong, Not So Silent Type, The New York Times (online), 3/6/2013, Available at http://www. nytimes.com/2007/06/03/magazine/03Style-paris-t.html?_ r=2&oref=slogin&, Date Accessed 6/11/2013 Cattaneo.P, 2013, ‘Memories from the future’: Interview with photographer Jean-Francois Lepage, Lancia Trendvisions (online), 2/8/2013, Available at http://www. lanciatrendvisions.com/en/article/memories-from-the-futureinterview-with-photographer-jean-frana-ois-lepage, Date Accessed 29/11/2013 Frank. P, 2013, ORLAN Talks Plastic Surgery, Beauty Standards And Giving Her Fat To Madonna, Huffington Post (online), 29/1/2013, Available at http://www.huffingtonpost. com/2013/01/29/performance-artist-orlan-interview-beautysurgery_n_2526077.html, Date Accessed 14/11/2013 Freeman. H, 2013, Cosmetic surgery trends show how the female body is constantly fetishized, The Guardian (online), 30/4/2013, Available at http://www.theguardian. com/commentisfree/2013/apr/30/plastic-surgery-report-femaleform, Date Accessed 13/11/2013 Horan.T, 2006, From chic to cheek, The Telegraph (online), 15/7/2006, Available at http://www.telegraph.co.uk/culture/ music/3653808/From-chic-to-cheek.html, Date Accessed 25/11/2013 Iyer.M, 2013, Jean-Francois Lepage: ‘It’s necessary to go against the flow’, Emaho Magazine (online), 2/8/2013, Available at http://www.emahomagazine.com/2013/08/jeanfrancois-lepage-its-necessary-to-go-against-the-flow/, Date Accessed 13/11/2013 Jeffries.S, 2009, Orlan’s art of sex and surgery, The Guardian (online), 1/7/2009, Available at http://www. theguardian.com/artanddesign/2009/jul/01/orlan-performanceartist-carnal-art, Date Accessed 22/11/2013 Kosilova.D, 2012, Jean-Francois Lepage, The Lab Magazine (online), 28/8/2012, Available at http://thelabmagazine. com/2012/08/28/jean-francois-lepage/, Date Accessed 17/11/2013 Love. E, 2009, Observations: Musicians rip it up and start again for Destroy Rankin, The Independent (online), 6/11/2009, Available at http://www.independent.co.uk/artsentertainment/music/features/observations-musicians-ripit-up-and-start-again-for-destroy-rankin-1815321.html, Date Accessed 20/11/2013 Marshall. A, 2013, M/M (Paris), The Wall Street Journal (online), 14/2/2013, Available at http://online.wsj.com/news/ articles/SB10001424127887323375204578272220529266196, Date Accessed 19/11/2013 Owen. J, 2012, Girls, interrupted: Revealed - the true cost of low self-esteem, The Independent (online), 1/4/2012, Available at http://www.independent.co.uk/life-style/healthand-families/health-news/girls-interrupted-revealed--thetrue-cost-of-low-selfesteem-7606258.html, Date Accessed 14/11/2013 Radford.T, 2004, How Beauty Fascinates From Birth, The Guardian (online), 6/9/2004, Available at http://www. theguardian.com/science/2004/sep/06/science.research2, Date Accessed 24/11/2013