The Role of Fashion in Feminism - Essay Example

Fashion, identity and feminism Fashion, identity and feminism In the current society, fashion and feminism share an intimate link. Fashion displays, expresses and shapes identity through imbuing it for direct materials and reality Fashion is among the key subjects and interests of sociological issues in known social theories. This is evident in the way women wear and present themselves in the society. The attire that a woman puts on gives a sense of security in defining and presenting them to other people (Groeneveld, 2009; 49; Twigg, 2009). Clothes have the power to present an individual’s sexual orientation, gender, mood and other identities that one seeks to show-off. Fashion is not all about dressing a certain type of clothes, but it also concerns the identity of an individual. Identity is among the most contentious issues in the humanities and social studies and fashion is partially associated with the formulation of identity. This paper focuses on fashion as a way of managing feminism identity in present society. Further, the essay seeks to discuss how the feminine identities are visually portrayed in the society as sexual objects that attract the male gender. The author also provides relevant examples as evidence of the same. Fashion is more than the clothes worn since it influences the identity an individual seeks to portray. Such identities might be gender identities, sexual identities or whatever the individual seeks to present to the society or audience. Individuals at time are known to interact with objects in order to demonstrate their beliefs to the society. According to Bennett (2005, p. 95), “by assembling particular items of fashion in particular ways and through experimentation with dress and appearance, late modern individuals create personal images ” The direct physical and intimate interaction of the dress with the body, makes it perfect in formulating and determining the general social identity but especially gender identity (Twigg, 2009). A dress defines the link between a person’s personal value and the attributes or features associated with the attire that women wear since it is a reflection of the individual. Due to its intimate interaction with the body, the dress acts as a sieve between an individual and the neighbouring social environment (Groeneveld, 2009; 45). Each individual chooses the personality they want to be given in the society through dressing. This implies that dressing is a key and controllable means of communicating the values of an individual. Further, it carries both emotional and psychosocial concerns through composition of individuals’ expressions and social guidelines. Dressing styles are primarily influenced by the social values, morals, beliefs and socioeconomic status as well. It is a symbol representing the social identity of a person and defines how an individual purposes to appear in society (David, 1985; 15). According to Barnard (2002, p.47), “The beauty of a woman is not in the clothes she wears, the figure that she carries, or the way she combs her hair. The beauty of a woman is seen in her eyes, because that is the doorway to her heart, the place where love resides.” Fashion has also been used for a long time as a means of presenting gender identity. I n this case, the appearance is a representation of an individual’s physical features such as skin, body size and shape, hair colour and texture, the clothes and a person’s grooming practices (Freitas, 1997; 45; Groeneveld, 2009; 45; Brady, 2010; 7). The society uses fashion to determine or rate beauty and sexuality. The core of beauty and sexuality perspective is women since femininity and sexuality is mainly expressed through fashion. Researchers explain that feminine identity is majorly determined by the female body parts that are attractive to the males (Jacobson, 2010; 15; Brady, 2010; 8). This indicates that female sexuality is established by men and female parts that pleases them. This factor has influenced the female fashion trends. Further, men are most dominant in the fashion and design world. They design the clothing of women, run the women modelling industries and determine the key audience. This is evident in the design outcome where fashions are produced to by men, for women to please men (Davis, 1992; 38). This shows that men determine the manner in which the femininity identity is portrayed. Consequently, these acts has led to objectification of women through basing the worth of a woman in the society as a sexual objects (Tyner, 2007; 24). Perfect examples are evident in the works of art, world’s most popular films, adverts, magazines among others. All the above mentioned work presents the female figures as sexual objects (Tasker & Negra, 2007). According to Hollows (2000, p.67), “Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” It is evident that most things in the current global society that target men are mainly a combination of naked or barely clothed ladies. This is included in every aspect of a man’s life. The TV station they watch, the magazines they read, the smartphone advert, restaurants among others. According to Bennett (2005, p.97), “This aspect of the contemporary fashion is supported by a sophisticated range of fashion magazines that communicates desirable images to an increasingly heterogenous consumer base ”Men’s favorite channels have images and videos of women dressed provocatively while some restaurants geared towards males have the same women clothed suggestively. This has resulted in many fashion clients viewing the products from the male perspective. According to Davis (1992, p.95),"The dress must follow the body of a woman, not the body following the shape of the dress." Consequently, more women have been motivated to cloth in such erotic attires (Jacobson, 2010; 19; Tyner, 2007; 35; Davis, 1992; 38; Barnard, 2002; 17). Fashion photography is clear area in this field where women have oftenly been portrayed as sexual objects. A study conducted by the Wesleyan University in 1998 that surveyed over 1900 adverts concluded that more than 50 percent of those adverts present women as sex objects. The study examined fifty American magazines. According to the researchers, an individual is displayed as sex object depending on the make-up, camera angle, the extent of skin captured, the body posture among other indicators. Also, a survey by the University of Buffalo on popular cover images over the last forty years examined over a thousand magazines. The survey reported that sexual objection of both men and women has increased compared to the earlier days. It is indicated that since 1960, women sexual objectification has increased from 44 percent to 83 percent in the 21st century. The male’s cases had risen from 11 percent to 17 percent in the year 2000. It is clear from the findings that women are more exploited in the fashion field more than men over the last few decades. The percentages between the two genders over the period significantly varies. It is an indication that women are more likely to sexually objectify compared to men (Melker, 2013). Advertisement images and videos that incorporate the sexual features are considered as a source of entertainment to the target audience as they demonstrate a fantasy aspect. Although they are associated with such advantages, the viewer should also understand they objectify and debase the female gender. The origin of sex- stereotypes and theories shows that the foundation of this form of marketing strategy is prospering in the society (Macdonald; 52, 1995). Inn this case, the stress on sex manipulates the buyer. Consequently, they demean, degrade and lower the dignity of a woman. Studies on sex-roles from the sociological perspective helps understand why sex sells and how it stimulates the consumer to purchase the goods or services advertised (Keller, 2011; 57; (Jacobson, 2010; 23; Macdonald, 1995; 52). The figure above shows an image of the BMW car advertisement of 2002. The image shows an undressed man and woman in bed but the lady’s head is covered with a smaller image of a car. The advert’s slogan is the ultimate attraction. This advert demonstrate the highest level of demeaning women. The slogans and the advert show the man and the car as the ultimate attraction and assumes the woman who is covered. The BMW advertisement is an excellent example of fashion photography and advertisement that demonstrates gender imbalance. It shows a man as the dominant gender and sexually objectifies the lady. It directly indicate the inferiority of a woman in comparison to the powerful male. According to Entwistle (2000, p. 7), “What you wear is how you present yourself to the world, especially today when human contacts go so fast. Fashion is instant language.” The BMW Company represents thousands of other companies that sell their products through sex. These activities have increased over time due to the abilities of sexualized images to attract the attention of the user. In most cases, women long to feel loved and desired. Thus,wish to be the lady in the advert. Consequently, the sales volume of the product being advertised increases. Women in most products however, like illustrated in the BMW advert are portrayed in sexualways and most often controlled by the gents. The advert shows man’s dominance since his top position is demonstration of power over the weak woman below. She is shown as inferior and without dignity. The image above shows the Dolce and Gabbana advert which was released in 2008. Dolce and Gabbana is a designer company based in Italy. It shows five men and a woman in a swimsuit pinned down by one of the men. The adverts extreme sexist images caught the attention of the views. The image portrays a woman whose facial expression indicates submissiveness and powerlessness. The situation is worsened by the four men staring at her. Reading from her expression, it seems like she is held against her will and in a state of helplessness. The image again demonstrates male dominance and seems to promote violence. Further, the image objectifies women and strips them off their dignity (Serano, 2009 p. 43). The fashion professionals such as designers argue that the fashion field is unassuming and non-judgmental. The field purpose is to deliver what the world view as attractive at any cost. For instance, if a given colour or pattern is trending, they capitalize on it during that period. Bennett (2005, p. 100), “fashion became in effect, a visual statement of wealth and status, a way in which indivuduals demonstrated their membership of a particular social group.” The fashion industry is encouraged by one perspective concerning a given field in order to break social values and beliefs. In so doing, it motivates the society to accept controversial trends. An expert in the fashion world argued that there is no beauty without strangeness (Keller, 2011; 77). The field searches for unique trends to strain the societal barriers. It seeks for new ways for the body to demonstrate sex, femaleness or haziness. In the fashion world normal is boring and not good enough nor impressive to the world. Its objective is to offer the world what it seeks, to entertain the society and make profit as well (Barnard, 2002; 17). Also, fashion designers and photographers are very strict with the model form. This is evident through, Bennett (2005, p. 99), “fashion designers may often have a clear perception of meanings which they intend their clothes to articulate.” They will allow other alteration but the model form is retained. Most experts do not prefer too thin or huge alterations since the designers’ objective is to please the public. Therefore, the garment they design when displayed to the public must a perfect model. A model who will portray the real beauty of their product. However, selling sex is the best technic of demonstrating their intentions. Slender bodies are most preferred in such activities as they are said to be more sexually attractive. Despite this the fashion experts are not to blame for such moral demeaning acts. The fashion designers’ job is to deliver what the society needs. It is the society that defines attractiveness (Thompson, 2000 p. 178-181). In conclusion, is clear that fashion is not only about the cloths but also about the identity it presents. In this case, fashion is a tool that helps human express the personal and social values and unmasks the real human person. It is used as a means of demonstrating sexuality, especially femininity. Although it is not clear who and how to determine femininity in the fashion industry, men driven objectives have been found to drive women in the industry. The sexuality of a woman has been found to be demonstrated by the erotic parts of a woman that entice men. In addition, women have been found to be dominant in the fashion industry. Hence, being used in attires and images that fits their taste and preferences. Consequently, most consumers have been manipulated to look at the products from the male personal perspective. Designers have ended up sexually objectifying women in their efforts to please the pubic. The paper has produced sufficient evidence on instances where women have been used as sex objects in films, adverts, and magazines cover pages among other media channel. Fashion photography has been found to be a key player in the women objectification acts. The BMW advert serves as an example of commercial adverts that has objectified women. The designers seek to sell sex in order to popularize their products. They also believe in strangeness than the normal display since normal is termed as boring while abnormal is fashionable. Hence, pushing the societal values to the wall. In general, fashion seeks to impress the public or rather the society. Therefore, the fashion experts supplies fashion according to the demands of their clients and audience. This is based on the fact that their audience demand strange, unique and the experts deliver it as ordered. To eliminate such values that demeans femininity in the society, the society should be informed on the social values and right attire. Also, the society has a mandate to ensure that the male gender view a woman not a sexual object but respectful. Finally, the women must also be taught to respect and treasure their bodies. References Barnard, M. (2002) Fashion, clothing, sex and gender (I and II), in M. Barnard Fashion as Communication London: Routledge. Pp. 21-30 Brady; L. L., & Ossoff, E. P. (2010). Fifty Years of Fashion and Feminism: Early Career Recognition, Community Involvement and Sociopolitical Identities in a Sample of Nationally Recognized Women. 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Gender and the Politics of Popular Culture London: Duke University Press Twigg, J. (2009) Clothing, Identity and the Embodiment of Age. Sociology and social research. USA: University of Kent. Tyner, K. (2007) Feminist Perspective on Dress and the Body. Clothing and Textile research Journal, Pp. 20-37 Read More