Showing posts with label fashion. Show all posts
Showing posts with label fashion. Show all posts

Wednesday, 12 February 2014

Barbies and Disney and Vogue! Oh my!

Photo credit: Robert Sabitzer



Last week, Vice President of design for Barbie, Kim Culmone, was interviewed by Fast Company about why Mattel retains Barbie’s impossible hourglass figure despite decades of criticism. It has been frequently argued that Barbie’s dimensions set an extreme body standard which little girls can never achieve, thus undermining their self-esteem and making them susceptible to eating disorders. Culmone responds to criticism by arguing that Barbie’s body was never intended to be realistic and was designed in such a way primarily to be easily dressed and undressed. Her design is apparently purely functional.

The interview isn’t particularly sensational: Culmone’s answers seem reasonable enough and Fast Company is hardly the first website to voice criticisms of Barbie’s figure. And yet the interview, and the articles it has spawned, has nevertheless left me contemplating whether or not my most beloved childhood toy has had a lasting psychological impact.   

I loved Barbies as a child. Being a thoroughly spoiled youngest child, I had nearly a hundred dolls and a bewildering array of accessories. I had the Dream House, several modes of transportation and, of course, an incredible collection of clothing. I would spend hours and hours acting out outrageous stories with my plastic, compliant minions.

So am I crippled with self-esteem issues? Well I’m a 20-something woman living in a society which places an excessive amount of importance on the physical characteristics of woman, so of course. But I don’t blame Barbie for this unfortunate turn of events. As a child I never once looked at Barbie and wanted to look like her because, you know, she’s a hunk of plastic. Barbie may be an unrealistic and impossibly proportioned representation of the female form but that never bothered me as a child because she’s a doll. I never expected realism from my toys; a child’s toy chest would be a miserable place if all toys had to conform to reality.

In fact Barbie’s figure may have been one of the reasons I loved her so much. More than anything else, what every little girl wants to be is a grown-up. I always preferred Barbies over all other dolls because, to me, she seemed the most womanly. Her ample breasts and hips were clear indicators that she was an adult and not a child. She was a grown, adult woman, with complicated relationships, a demanding profession (maybe a spy, maybe the president, maybe a ballet dancer, maybe all at once) and an enviable wardrobe. The stories I wanted to play out required adult characters and Barbie fit that role perfectly.

The criticisms made against Barbie’s figure are the same as those made frequently against the Disney heroines and their impossible waistlines. Ariel from The Little Mermaid seems to get picked on the most in this regard, perhaps because she was the first of the Disney renaissance princesses or because she spends a considerable amount of the film showing off her impossible figure in only a bikini top. But, again, I never once as a child thought that Ariel was a realistic portrayal of a woman because of course she’s not; she’s a mermaid. The figures of the Disney heroines are impossible – the same is true of talking crockery, flying horses, pumpkin carriages, and hyenas capable of learning meticulously choreographed dance routines.

Womanhood as depicted by Barbie and Disney has not left my self-esteem in tatters because what they’re depicting is self-consciously a fantasy – everyone is aware that toys and animated musicals are not real. But the women on the cover of Vogue, they are flesh and blood; they are ‘real’. Of course I know on an intellectual level that they have been airbrushed to the point of impossibility but my immediate emotional reaction to those glossy images is that the cover model looks fantastic and I probably didn’t need that 5th Krispy Kreme. The same is true of the models gliding down the runway in their impeccably tailored couture. Or even the street-style blogs and their constantly updated stream of super skinny (and overwhelmingly white, but that’s a point for another blog) women seemingly plucked from the streets in their day-to-day attire. If these living, breathing women can look so effortlessly fantastic just walking down the street, maybe I should put in a bit more effort before popping to the corner shop. Street-style blogs, the runway and Vogue are of course just as much a fantasy as Disney and Barbie but they masquerade as real and attainable in a way that I just don’t think Disney and Barbie does.

Of course it’s possible that Disney and Barbie have had an impact on my self-esteem and I’m just in denial. Research has been done which shows that Barbie does indeed have an impact on body satisfaction among 5-8 year olds (though I’m not entirely convinced by the rigorousness of the methodology). If Mattel decided to completely revamp Barbie to make her more realistically proportioned, then fair play to them. But it would be naïve to think that such a move would signal a revolution in portrayals of the female form, ushering in a new age of body acceptance. There are far too many other sources of negative body images, ones far more powerful than Mattel’s iconic doll.

Saturday, 11 January 2014

Back from a long Winter Break

Merry belated Christmas!


It's been pretty chaotic for me over the last few weeks with Christmas, New Year and moving house (the fourth move in the last year - maybe a new record for me). I just got the internet installed in the new place and now I can start making up for the blog neglect.

I saw 12 Years a Slave last night - it was the most unrelentingly bleak cinematic experience of my life. The whole cinema audience was weeping and gasping throughout. When it ended my friend and I just walked to the bus stop in silence, not really knowing what to say. Go see it immediately! Make sure you take a friend for emotional support.

Not in the mood for psychologically traumatising films? Here's some interesting reading:

- The Coca-Cola polar bear adverts are apparently a lie. This is upsetting to me.

- Skirt lengths, hoodies and Muslim veils - all have been the subject of restrictive, and often controversial, laws. Read about fashion laws and how they've changed from 7th century BC Greece to today.

- A history of the chocolate chip cookie?! Hell yeah!

- I've read a lot of reviews of Martin Scorsese's latest film, Wolf of Wall Street, but this article, arguing that the film doesn't go far enough in criticising the reality of wall street, offers a unique perspective.

- Apparently Danish cinnamon rolls are dangerously cinnamon-y - why did no one tell me that cinnamon was potentially dangerous?! I've been scoffing these bad boys like nobody's business and now I'm genuinely concerned for my future wellbeing.

- I had no idea that academics hid snarky comments in their acknowledgements - these are hilarious! I will now pay far more attention when reading academic journals.

- I've always been amused by how specific some of the Netflix categories are. I regularly get recommendations from the "films featuring a strong female lead based on a book" category (blame Jane Austen). One intrepid film geek undertook the arduous task of analysing the Netflix categories and has written a really interesting article about what these categorisations can tell us about films, Hollywood and how we consume media. I realise it's a pretty niche topic for an article but if you're a film geek, you'll undoubtedly find it fascinating.

Wednesday, 4 December 2013

Why is J Crew so Popular? Bloomberg Businessweek gets it wrong


This article came out a week ago but I've only just discovered it and it has made me grumpy. So J Crew has just opened its first store outside the US in good ol' London-town. As a lover of overpriced preppy clothing, this was pretty exciting for me. Bloomberg Businessweek's magazine covered J Crew's London opening as its cover story for this week and I think it's pretty poor.

The first paragraph describes the store's opening night party and the people seen perusing the bejewelled cashmere and velvet loafers. In describing the British shop patrons, Emma Rosenblum comments that everyone's hair "is chicly disheveled, as are their teeth." Oh, how amusing! It's a joke about British dental care! Well that's original... Once Rosenblum has got the obligatory, 'hilarious' national stereotype joke out of the way, she can move on to discuss fashion while demonstrating no understanding of the history or context of the fashion industry. 

Rosenblum goes on and on about J Crew's 'American Style' and how grateful Londoners should be now that J Crew has decided to export its 'American Style' to the fashion deprived shores of Europe. This is obviously madness. J Crew's style is so British it's utterly ridiculous to suggest that J Crew is bringing a new style of American garb to London. What typifies the J Crew style? Generally - tweed jackets, leather boat shoes, Oxford shirts, cable-knit jumpers and schoolboy satchels. Essentially, J Crew shoppers want to dress like they attend a British boarding school. So how is this an American style? Rosenblum even mentions hand-knit Fair Isle sweaters as a staple of the J Crew style; she realises that Fair Isle is in the UK right?


What also annoyed me, and which shows a worrying lack of market research from a company planning on embarking on a sizeable expansion in the UK, is the suggestion that J Crew is bringing a better shopping experience to the UK. According to the article, J Crew suffered 'staffing issues' with their new UK stores. J Crew prides itself on the 'store experience' and, apparently, it has been hard to find the right salespeople in the UK. In the Bloomberg article, Jenna Lyons (J Crew's Executive Creative Director) elaborates on these issues by saying that for a superior store experience, sales assistants need to be more proactive. Assistants can't just stand around; they need to suggest alternative items and encourage shoppers to check out stock online. Therefore the team has imported staff from America to train British employees how to be more engaging with the customer. I find this frustrating because American salespeople are unbearably irritating. It's impossible to go into a shop in the US without being immediately surrounded by pushy, chattering, grinning shop assistants. No, I don't want you to "set up a dressing room" for me. No, I don't need help with sizing. Just bugger off and let me shop in peace! And I don't know a single other British person who doesn't find American shop assistants clingy and invasive. So I'm sorry J Crew but you do not offer a superior store experience, at least not to grumpy Brits who like their personal space and strongly dislike talking to strangers.

I don't want to belittle the amazing success of J Crew. I love J Crew and it has unquestionably become incredibly successful over recent years. But this article doesn't really explore what actually makes J Crew so popular. The article suggests that J Crew's success comes from the fact that it's selling a style that is completely new and American. J Crew is actually selling a fun, modern twist on old-fashioned European classics. J Crew sells traditional European garb (British and Scandinavian knitwear, Oxford shirts, British Saville Row suit tailoring, Italian leather shoes) but with quirky, modern touches. So you have your tweed jacket that looks like you just stepped off a Norfolk farm, but it has fluorescent pink piping and jazzy buttons. You have your Oxford blouse, but it has a jewelled collar. America is currently having an Anglophile moment. The raging popularity of Downton Abbey, Benedict Cumberbatch and pretty much anything produced by the BBC shows a definite trend in American culture of idolising Britishness. The article even compares J Crew to Brooks Brothers and Ralph Lauren, two other labels that use an olde English aesthetic as their main selling point. I'm sure this trend will pass but for now, brands like J Crew are capitalising from America's yearning for a a whimsical interpretation of British heritage.

Tuesday, 5 November 2013

Tips for Women

Me as a Parliamentary intern, brazenly sporting long hair.


Law firm Clifford Chance recently sent out a 163-point memo entitled 'Presentation Tips for Women'. Its contents are both hilarious and immensely depressing. Advice ranges from the mundane ("don't use a draggy pace") to the bizarre ("move your mouth when you speak" - how else does one speak?). But mostly the document is patronising and offensive; women are told not to giggle, not to wear party dresses, and to lower the pitch of their voice (those shrill, inappropriately-attired harpies). Well thank goodness the women of Clifford Chance now know to put their cleavage away and "watch out for the urinal position" - I can practically hear the glass ceiling breaking from here.

Reading this memo reminded me of when I attended a training session held as part of the Lib Dem Party Conference entitled "What to Wear as a Woman in Politics". Alas, the men were not privy to a similar training session and their sartorial blunders are undoubtedly thwarting their political careers as we speak. 

Candy, the Lib Dem image consultant, imparted us with such timeless words of wisdom as "no knee-high boots" and "no animal print". She also instructed us how best to tie a scarf depending on the situation (use the Slip Knot while canvassing door-to-door but the more flamboyant Ascot Wrap for a hustings) and which colours to avoid (pretty much anything bright).

After giving general advice, Candy then went around the room and pointed out the myriad ways in which the women in attendance were wrong. I was praised for my deployment of opaque tights (never go below 70 denier) and sensible flat shoes. Unfortunately I undid all my fine work in the tights-department by being in possession of long hair which I - foolishly! - was wearing loose around my shoulders. I was told that I should either get a haircut or tie my hair up or else men would be encouraged to stroke me. If the male denizens of the Houses of Parliament are so devoid of self-control that they are powerless to resist stroking young, female interns, might I suggest that we have bigger things to worry about than my hair.

I obviously found the suggestion that my hair was an invocation for gentle petting from my male colleagues utterly hilarious. But at the same time it's disheartening that the conference organisers thought that a training session on female politicians' fashion-sense was necessary. I can understand the thinking behind it. I once had a conversation with former Lib Dem MP Sarah Teather in which she complained that whenever she said anything in Parliament, the media only ever reported on what she was wearing, not what she was saying. This was undoubtedly very frustrating for her and it makes me angry to think that female politicians' sartorial choices are being given more media attention that their opinions. But I don't think opaque tights and a pixie cut are the solution. 

Parliament is woefully devoid of women, particularly young women, and telling current MPs to avoid colour or pattern or anything that might suggest they have a personality is not the way to encourage young women to get involved in politics. If we want the media to stop reporting every time a female minister sports ostentatious footwear, we shouldn't force her into sensible grey pumps, we should flood the Houses of Parliament with so many pairs of fabulous heels that it is no longer worthy of note. When the halls of power and the boardrooms of law firm are replete with leopard-print clad women - expressing their opinions in their shrill, nasally voices - then perhaps we can finally dispense of all the silly advice.

Thursday, 9 May 2013

What the Fashion Industry Could Learn from the US Military

A petition on Change.org, requesting the restriction of ‘thinspiration’ language on twitter, has just reached 1,781 signatures. Thinspiration is a portmanteau meaning ‘inspiration to be thin’, which has become associated with pro-anorexia and pro-bulimia communities on several popular social media sites. The petition argues that permitting thinspiration language and imagery to proliferate on social media sites results in the promotion of unhealthy body types and encourages young women to develop eating disorders. Pinterest and Tumblr have already taken steps to remove thinspiration content; now twitter is being pressured to do the same.

Reading about this petition has brought me back to thinking about the ongoing discussion of the size zero phenomenon. The debate on size zero reached frenzied heights in 2006 when models Luisel Ramos and Ana Carolina Reston died from anorexia, resulting in Madrid Fashion Show banning size zero models. Milan Fashion Week followed suit shortly after, prohibiting models with a Body Mass Index lower than 18. The frenzy seems to have abated somewhat in recent years but the gaunt models, and the followings they have online, remain. 

Those opposed to size zero have long bandied around names of who is to blame. It’s the model agencies’ fault for hiring only unhealthily skinny girls. It’s the fashion magazine industry’s fault for publishing photos of visibly bony models. Now it’s social media’s fault for not banning the language used to promote unhealthy body ideals.

But for me this debate ultimately comes down to design because, at essence, that is surely what fashion is all about. Strip away the magazines, the photographers, the stylists and the model agencies, and what you’re left with is the designers… designing. If we want to ensure that women in the fashion industry are a healthy size, we need to start designing clothes for healthy-sized women. It’s here that the fashion industry could learn a lot from the US military.

Pentagon officials and engineers have historically built a bias against women’s bodies into military technologies through the use of restrictive design guidelines. Military Standard 1472 suggests the use of 95th and 5th percentile male dimensions when designing military systems. By using this standard, only 10% of the male population cannot be accommodated by a given design feature. Unfortunately, the gap between a 5th percentile woman and a 95th percentile man is vast. A significant number of women are thus deemed ineligible to use a variety of military systems.

The most well-known case of bias against women’s bodies in military design is the Joint Primary Aircraft Training System (JPATS). Originally, the JPATS specifications included a 34-inch minimum sitting height in order to operate cockpit controls effectively and eject from the aircraft safely. However, at 34 inches, around 50-65% of the American female population was excluded. As a result, a significant number of women were prevented from pursuing aviation careers by prohibiting them from JPATS training.

Change was eventually achieved through government interference. Former Secretary of Defense, Les Aspin, publicly recognised that women should play a greater role in the military through a directive issued in April 1993. Then, in 1994, the Defense Authorisation Bill was passed, including a provision which prevented the Air Force from spending $40 million of its $41.6 million trainer budget unless the Pentagon altered the cockpit design for the JPATS (Weber, 1997; 245). The Clinton Administration, reeling from the embarrassment of its poor handling of gays in the military and trying to make a stand against an increasingly confrontational Pentagon, was the driving force behind innovation in cockpit design.

Excluding women from air combat because they couldn’t fit into cockpits was deemed unacceptable. Excluding healthy women from the fashion industry because they can’t fit into the clothes should be deemed similarly intolerable. 

Of course the pressures applied to the military cannot be applied to commercial companies. With military procurement, the state is the consumer and thus the issue of design is political, making it open to discussion from interest groups and control from legislation (Weber, 1997; 236). With commercial production, design remains an economic issue, viewed in terms of managerial preference and profit calculus. Thus, commercial cockpit design lags significantly behind the military in addressing problems in accommodating women’s bodies.

But it shouldn’t be assumed that fashion houses are immune to pressure. Prada, Versace and Armani all agreed to stop using stick-thin models when faced with criticism from the Italian Government and general public following the two models’ deaths in 2006. And design innovation can be financially rewarding as well. Todashi Shoji has built his career on designing for all ages, ethnicities and figures. His numerous dresses designed for voluptuous actress Octavia Spencer’s red carpet appearances, including the stunning sparkling number she wore to receive her Oscar for Best Supporting Actress in 2012, are always at the top of best dressed lists.

If we want to combat the idolisation of unhealthy body types, limiting what can be said on social media is only going to achieve so much. Instead, as with combating bias against female bodies in military technology, we need to go to the heart of the problem, and that means compelling innovation in design. 

Bibliography

Weber, R N (1997) 'Manufacturing Gender in Commercial and Military Cockpit Design' in Science, Technology & Human Values, Vol 22/2

If you want to read more about gender and military technology...

Golstein, J F (2001) War and Gender: How Gender Shapes the War System and Vice Versa

Richman-Loo, N and Weber, R (1996) 'Gender and Weapons Design' in It's Our Military Too! WOmen and the US Military, ed. Judith Hicks Stein

Smart, T L (1998) 'Fast Women: Or why women who fly high performance aircraft are fast but not loose', in Australian Military Medicine, Vol 7

Saturday, 27 April 2013

Bits and Bobs

Here are some things I've read this week that I found interesting...

- Bush opened his presidential library this week. Here's an interesting article about presidential legacies and how our perceptions of success change over time. 

- This is a pretty trippy piece about Tilda Swinton and fashion as art. Really makes me want to go to Paris.

- I'm always complaining about how expensive it is living in London. Here's an interesting article about the relative costs of living in cities to put it all in perspective.

- Is Jane Austen a pioneer of Game Theory?

- The Boston Marathon bomber has being charged with "use of a weapon of mass destruction". Here's the best explanation I've come across explaining the charge.

Friday, 19 April 2013

Familiarity and Otherness

I found this article on Turkish fashion to be really fascinating. In articles like this there's always this delightful interplay between familiarity and otherness. These women live in a country and a society vastly different from my own. Yet when reading the quotes from women about how they want to dress attractively in flattering clothes, the sentiments expressed are very familiar.

It is often stated that clothes allow an individual to express their unique personality and identity. But this article serves as a reminder that clothes also express group identity. By wearing thick-rimmed glasses, or all black, or designer labels, we associate ourselves with the plethora of other people who style themselves in similar ways. For the women in the article, how they choose to dress is a way for them to demonstrate their identification with a particular conservative ideology and membership of a global religious group.

I always tell myself that I dress for my own personal enjoyment but it's interesting to think what group membership I am, perhaps unconsciously, trying to identify with through my clothing.

Also - check out the photos from Istanbul Fashion Week!

Thursday, 21 March 2013

Documentary Short: Take My Picture

This documentary on street fashion and fashion blogging was all kinds of interesting. I highly recommend it. I would love it if they made a full-length documentary on the topic.

I can definitely sympathise with the premise of the short. When I was studying for my Masters, my campus was right next to Somerset House on the Strand. Getting to lectures during fashion week became the ultimate test of agility and endurance as one was forced to battle through a mob of stony-faced fashionistas. 

Watching this, I couldn’t help but be reminded of this article by the Hollywood Reporter describing how actresses who haven’t made films in years (let alone good films) are paid large sums of money to attend events wearing fantastic outfits. It appears that the internet and the proliferation of fashion blogs has facilitated the development of a new type of advertising. The fashion blog celebrities and actresses such as Jessica Alba and Kate Bosworth are like live-action magazine ads being played out on the streets. Fashion is no longer being promoted solely by faceless models from the cold, distant pages of a magazine but by recognisable faces mingling with real people.