People have long since questioned what “beauty” entails, but even in the
present
day
there
is
neither
a
definitive
definition
nor
a
shared vision. According to O’Riordan (2008) beauty is subjective and going on the popular statement that ‘beauty is in the eye of the beholder’ it cannot mean the same to all people. Indeed, we all appear to have different conceptualizations of what beauty is. Beauty can come in many forms; for instance it can be physical, internal,
intentions
or
personality.
But
for
me
this
is
where
society, influenced by the mass media, has got it wrong, with them having
a
narrow
perspective
on
beauty.
In
fact,
Thornhill
and
Gangestad stated that Human faces are judged to be attractive by the media, almost always possess the two features of averageness and symmetry (Thornhill and Gangestad, 1993) This
is
regarded
to
provide
visual
pleasure
and
satisfaction.
However, rather than simply following the media’s interpretation of what
beauty
is,
people
should
instead
be
asking
which
of
these
aforementioned beauties is the most important? Throughout recent history we have seen the media portray different kinds of beauty. Thornhill and Gangestad (1993) again highlighted that the media’s take on what beauty is has changed and evolved through physical
different
eras,
appearance.
For
despite example,
always in
being
the
solely
1950’S
related
everyone
to
wanted
Marilyn Monroe’s hourglass figure, then in the 1960’s Twiggy Lawson boyishly thin frame became the standard for the ideal body image. Such examples further reinforce the comment that the media may be to blame for the perceptions society has on beauty.
Is this perfect?
Figure 1: “Russian Barbie Doll”, Valeria Lukvanova, by Laura Cox (2012) is this beautiful?
On the All Walks photoshoot, we wanted to change the perception of beauty, in order to do this we need to accept all the disabilities that make people beautiful. Disability had been until recently somewhat neglected within both mainstream sociology (Ingstad and Whyte, 1995) and humanities (Mitchell and Synder, 1997). The model selected was the crucial element in communicating our message.
This
is
why
we
opted
for
a
model
who
suffers
with
Osteogenesis Imperfecta. This is a genetic condition present from birth, where the subject suffers from fragility and results in the bones
being
liable
to
fracture
at
anytime
even
without
trauma
(Brittle Bones Society, n. d.). This condition meaning that the sufferer will not enjoy a normal growth span. The model represents that
disability
isn’t
portrayed
and
accepted
in
the
fashion
industry, the objective of this photoshoot is to show that people with disabilities are beautiful, as editor of Marie Claire, Marie O'Riordan stated; “A disabled model, by definition, will be more memorable in a photo than an able-bodied girl” (O’Riordan, 2008) When watching Paralympic Aimee Mullins TED talk on the “Opportunity of Adversity”, the following words were used to describe disability; crippled, Helpless, useless, wrecked, mangled, weakened, paralyzed Webster (1982). With these words were being described in the 1980’s show that disability was seen as a negative even then, hoping that these words would have changed, in the updated thesaurus it still carried a spiteful view on disability; deaf, blind, lame, immobile, sick, unwell Webster (2009).
Language is a barrier in terms of how we now view people, having words to describe people’s disability in a cruel and demoralizing way, surely will not be encouraging people to think differently of disabled people? Dazed and Confused magazine was hugely inspirational in terms of picking
our
model;
Alexander
McQueen
was
the
attention-seeking, publicity stunt photoshoot 1998.
Featuring
eight
differently
enabled
man
behind
the
“Fashion Abled” in models
with
clothes
created by McQueen and others. Their message was simple, to show disability
also
being
regarded
as
beautiful.
With
legendry
photographer Nick Knight shooting the shoot, the photos taken by Knight
were
not
targeted
at
the
shock
value
nor
were
they
distasteful. The photos were classy, but unapologetic - the photos oozed coolness and seduction. Using a high profile magazine with two of the fashion industry favorites can ‘inspire a generation’, and for the fashion world, to be seen as more explicit rather than unspoken.
Figure 2: “Fashion Abled” cover by Dazed and Confused (1998)
Figure 3: “Fashion Abled” photoshoot, by Alexandra McQueen (1998)
Figure 4: photoshoot, by (1998)
“Fashion Alexandra
Abled” McQueen
Figure 5: “Fashion Abled” photoshoot, by Alexandra McQueen (1998)
Figure 6: “Fashion photoshoot, by Alexandra (1998)
Abled” McQueen
Following on from the fashion industry using disabled models, the bold reality show, Britain’s Missing Top Model was again hugely inspiring. Popular show “Americas Next Top Model” did a spin- off, instead of it just centering around a fashion contract, this show showcased eight women with disabilities – the prize being their shoot published in Marie Claire magazine. “Missing Top Model” was to break
the
narrow
mold
that
the
fashion
industry
had
become
associated with and to help raise the profile and confidence of disabled women. “It shows women who physically are imperfect competing in a profession that is the most demanding of having physical perfection.” (Stanley, 2009)
Figure 7: “Britain Next Top Model Contestants” by BBC 3 (2008)
In
my
opinion
in
order
for
this
program
to
work
and
make
a
significant difference, I feel the judges, and industry as a whole, should be totally supportive to the disabled contestants. Emilia Troubridge, a photographer, was doing a photoshoot with Kelly Knox, who was born without a left forearm. Troubridge stated; “A woman without part of an arm presented a problem for me, as I have to create a photo of perfection, of beauty and of fashion” (Troubridge, 2008) For me this is not understanding of the girl’s disability and adopts a completely negative view. If we were accepting Kelly’s disability, having no left forearm should be accepted with it too. Having the attitude of photographers like this, how will society ever accept disability if it is never exposed?
Figure 8: “Sophie Morgan Poses Nude” by BBC 3 Britain’s Missing Top Model (2008). Image is shadowing the wheelchair; this could be seen in a negative way, by being hiding Sophie’s disability, or a positive way, showing that her beauty should come before her disability
The winner was photographed by magazine owner of Hunger – Rankin, who spoke of shooting a model with a disability; "It's a great challenge for me to be able to take photographs of someone who has a disability. It's not a big thing to do, but within the fashion world it is quite a big step" "I like people to not be perfect. So for her to have this unique quality, for me it's something that I want to show in the image. I don't want to hide it. I want to get it out there and show it - in my way. I find it attractive, and I want to put it in the picture. I think it's really beautiful." (Rankin, 2008)
Figure 9: The winner “Kellie Moody” by BBC 3 Britain’s Missing Top Model (2008)
Figure 10: “Aimee Mullins – Fashion Abled” by Alexandra McQueen (1998). Our inspirational image for the photoshoot
Aimee Mullins who featured in the “Fashion Abled” shoot was where our image creativeness emanated for the photo-shoot. As seen in figure 10 Aimee doesn’t have any lower limbs, the fact that the photo embraced her disability in a striking pose, really portrays a powerful message. This is the intensity of the shot we wanted to capture and the message being - the models disability doesn’t own her, but she owns her disability. Her beauty is her inner strength.
The ‘mise en scène’ was to have the model filling the front space; this was to create emphasis on her height and also to create a more powerful photo –similar to the Aimee Mullins shot. It showcased that the model isn’t afraid to show her disability and shows confidence to the fashion world that they should accept her for who she is. This is why the costume, makeup, props and background was simple and minimal,
as
using
this
strong
and
effective
pose
it
emitted
conviction, we didn’t need want to distract from our message, as you can see from our final image below.
The lighting used was focusing on bold shapes created by strategic lighting. Dark studio lighting helped us create this, with just a top light focusing on the models face and body. We felt this was shown better using black and white saturation. This worked well for us, highlighting her legs, which were posed in a simple but yet potent way. The models gaze say it all, almost saying, “I am me”. This was important that the model reflected this, as the confidence shown in wanting to make a change, makes the photo look more believable and for the fashion industry willing to change. The photoshoot was set to be clean and precise, with the model rightly taking centre-stage If we were repeat the shoot, I believe that the image could be even more
thought-provoking
attracting
controversy.
still, The
but
admittedly,
composition
at
the
at
the
end
risk
looks
of
self-
assured, but whether it shows a strong enough message of diversity for the fashion industry to change its views on disability remains subjective. In conclusion, after researching into disability I have found people with disabilities are only used in style magazine as a one off, if these magazines are meant to be the future of fashion, then why aren’t they used more? It makes me question, what does it mean to have
a
disability?
People
these
days
are
opting
for
prosthetic
surgery, yet, that is regarded as beautiful in society. However, a disabled
person
with
prosthetics
would
still
be
regarded
as
disabled. Beauty is people desiring an enhanced and flawless look. In
order
for
this
to
change
we
need
to
target
the
younger
generation. These are the people who, if we can remove the stigma, are going to make a difference to future generations. With body image imprinted in them as early as 6 years old (BBC 2006), it shows these are the generation that are least accepting of change in the industry and are dismissive to anything considered “different”.
References Angelo, M
(1928) Quotes on Writing [online] available from
< https://webapps.wku.edu/ctl/quotes/bywriting.php> [n. d.] Brittle
Bones
Society
n.
d.
Information
about
Osteogenes
is
Imperfecta [online] available from <http://www.brittlebone.org/about-o.i.html> [n. d.] Hocking, J. and A. James. 1993. Growing up and Growing Old: Ageing and Dependency in the Life Course, London: Sage. Ingsta,
B.
and
S.
R.
Whyte,
eds.
1995.
Disability
and
Culture.
Berkeley: University of California Press Mitchell, D. T. and S. L. Synder, eds. 1997. The Body and Physical Difference:
Discourses
of
Disability.
Ann
Arbor:
University
of
Michigan Press. Moody, K (2008) Britain’s Missing Top Model [online] available from < http://www.accessible-news.co.uk/reviews1.html> [20 December 2008) O'Riordan,
M
(2008)
Can
a
disabled
model
make
it
in
fashion?
[online] available from <http://news.bbc.co.uk/1/hi/magazine/7481784.stm> [1 July 2008] Rankin, J (2008) Britain’s Missing Top Model [online] available from <
http://www.bbc.co.uk/missingmodel/news/050808_rankin.shtml>
[5
August 2008] Stanley,
A
(2009)
Disabled,
and
Seeking
Acceptance
in
Fashion
[online] available from <http://www.nytimes.com/2009/12/01/arts/television/01model.html?_r=0 > [30 November 2009]
Thornhill, R. and S. W. Gangestad. 1993. Human Nature: Volume 4, Issue 3, page 237-269 Troubridge, E (2008) Britain’s Missing Top Model [online] available from <http://www.accessible-news.co.uk/reviews1.html> [20 December 2008)
Image Referencing Figure 1: “Russian Barbie Doll” (2012) by Laura Cox in The Daily Mail 2012: online Figure 2: “Fashion Abled” (1998) cover by Dazed and Confused 1998: online Figure 3: “Fashion Abled” photoshoot, by Alexandra McQueen 1998: Dazed and Confused Magazine Figure 4: “Fashion Abled” photoshoot, by Alexandra McQueen 1998: Dazed and Confused Magazine Figure 5: “Fashion Abled” photoshoot, by Alexandra McQueen 1998: Dazed and Confused Magazine Figure 6: “Fashion Abled” photoshoot, by Alexandra McQueen 1998: Dazed and Confused Magazine Figure 7: “Britain Next Top Model Contestants” by BBC 3 2008: online Figure 8: “Sophie Morgan Poses Nude” by BBC 3 Britain’s Missing Top Model 2008: online Figure 9: “Kellie Moody” by BBC 3 Britain’s Missing Top Model 2008: online Figure 10: “Aimee Mullins – Fashion Abled” by Alexandra McQueen 1998: Dazed and Confused Magazine
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[26
September 2012] “One thing never changes in the beauty industry, however: an ounce of fat is a greater hurdle than a missing limb “ Stanley,
A
(2009)
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