How Sigmund Freuds Psychoanalysis Theory Has Affected the World - Essay Example

s School Explore and discuss how Sigmund Freuds psychoanalysis theory has affected the world and influenced Fashion. The most fulfilling explanation of the human psyche so far has been proposed by Sigmund Freud in his work on personality psychology and physiological explanations for human psyche. Though controversial in nature, but Freud`s theory forms the basis for clinical psychology, research and other practical aspects of personality psychology. The most significant contribution of Freud in this regard is the “Psychoanalysis theory of Personality”, where he discusses all aspects and complexities of human`s psychology in detail. Later other psychologies have proposed other relevant theories building on the premises proposed by Freud. The most interesting aspect of the theory however is that it can be applied to various concepts to give convincing explanations for phenomena, thus this paper aims at applying the theory to the fashion industry to draw various patterns to understand the human psyche in regard to the industry. To comment on the various aspects of the theory to relate them with fashion, it is important to highlight the dominant propositions of the theory. Psychoanalysis is the theory put forth by Sigmund Freud to explain the personality formation and conceptualization of the human psyche in context to their identity development as a process carved out through enculturation and socialization in the world they live in (Freud 1923). To make sense of the proposition, Freud talks about the unconscious mind, mental drives and the emerging conflict giving rise to various emotions and personality developments (Freud 1920). Since fashion is also an entity revolving around the social sphere rather being shaped by the social variables, it can also be understood in terms of shaping human identity by affecting the mind and conscious. Fashion affects the human body and mind as it relates to various social constructs manifested amongst the masses by using various tools and techniques, which will be elaborated on in this essay. Fashion manifests the internal desires of humans, as the libido is now centered at the body of an individual, where the social constructs and the ego impulses inflict the gratification with various objects1. Freud is quoted to have said "The ego is not master in its own house." (Farquhar & Askay p 131) Freud is of the view that the unconscious mind contains the repressed pleasure seeking desires of an individual which have been subdued by the ego and the superego drives, or by the fear of castration (Freud 1923). Also, in relation to this context, it is important to discuss the libido drives which are the pleasure seeking energies which transfer from one area of the body to another with time. Thus, fashion industry provokes these hidden desires by seducing the erotogeneity areas of the body via identity formation. In other words, fashion photography, advertisement and even fashion shows etc offer various options focusing on different areas of the body to satisfy the libido energies of the viewers. For instance, apparel with a focus on the waist area is indicative of the erotogeneous energies inclined at this area of the body. To explain the position, various arguments put forth by different people relating fashion with the “lesbian gaze2” concept can be analyzed. However, these arguments relate to the fashion photography as a symbol for men dominance and homosexuality especially amongst woman. Diana Fuss (1992) focuses on cosmetic photography specifically and states that these photography pieces are inherently portraying rather inducing voyeurism specific to lesbianism. Voyeurism is a concept dominant in psychoanalysis theory, implying that it stimulates self gratifying energies by virtue of vision often associated with erotogeneity. Similarly, Flugel (1930) also applies the concept of narcissism to fashion industry particularly the significance of apparel, where he specifies that clothes formulated under the essence of fashion are actually weapons of control in the hand of men where they control their sexual drives by cloaking woman with pieces of clothes. Moreover, Bergler (1963) also applies Freud`s theory to fashion industry and regards if we understand apparel through the lens of psychoanalysis theory, the world would go naked. He also argues that clothing is encouraged by men to repress their Oedipus complex due to fear of social constructs and other moral constraints. Thus, this brings us to the assumption that fashion industry arouses various responses amongst woman which are termed as voyeurism further explaining that the lesbian gaze is inflicted upon woman via fashion photography. However, seeing it from the lens of the man, fashion is merely tool at the hands of men to maintain their status quo. Thus, this brings the discussion to another aspect of personality formation with regard to fashion industry, i.e. the identity formation. Though Freud`s theory would explain identity formation in terms of physiological constructs of human psyche as conflicts between human drives, and the Oedipus and the electrika complex (Freud 1923). However, Jacques Lacan gives a social perspective to this theory. Though he is also an advocate of psychoanalytical theory, but he has drifted away from the Oedipus complex explanations, replacing them with social contexts. He discusses identity formation as a phenomenon shaped by cultural constraints and social barriers. (Lacan 1978). Thus, it becomes crucial to discuss Lacan`s mirror theory to explain the process of identity formation. He gives a three steps model for identity formation, i.e. the real stage, the mirror stage and the symbolic stage (Lacan 1978). The mirror stage is the most complicated on which occurs when the baby is six to eighteen months old, and starts to derive meanings to things3. At this stage he associates meanings (gratification) with various objects by virtue of language and culture. At this stage, he forms an image of himself in relation to others (language and cultural perceptions), also an image of others which is not a real one, rather a mirror image of himself. Lastly, he associates symbols with pleasure seeking drives or objects, which is also a part of identity formation as the objects and symbols become a part of their identity4. Therefore, this process of identity formation can be traced with relation to fashion. Fashion photography, for instance, portrays standard images of perfection and social acceptance of the definition of beauty. As a general observation, it is very natural that whenever someone goes to a store to buy a dress, the choices would be affected by several factors. Firstly, the symbols and language learned through culture will dictate the standards of acceptance which will limit the choices. Also, it is very natural that the choice will be more inclined towards the apparel which has a closer resemblance with the photograph viewed as pieces of fashion journalism. The reason being that the image produced as the customers being spectators, also the image of self in relation to the fashion photography will be guiding the choices. Thus, the fashion world dictates what is deemed as the most erotogeinous and pleasure seeking choices for the viewers. Lacan (1978) specifically states that libido is the inducer behind identity formation rather than being induced by the identity. This implies that the pleasure seeking drives dictate the patterns eventually forming identity of an individual. Also, Lacan is of the view that the body is where the libido is being negotiated. This explains a lot why fashion has become not just a local in fact a global instigator of identity formation. However, Lacan doesn’t imply that identity formation is a simple phenomenon; in fact it is a complicated process of conflict management between the image of self, pleasure satisfaction, language and body. This is the reason why every individual has a distinct personality as everyone goes through different social experiences, thus fashion effects everyone differently, though it does affect everyone more or less. Hence, this theory tend to provide a valid justification, with regard to identity formation and the urge to satisfy the hidden and repressed feelings, that why fashion has such an important role to play in the lives of the individuals. For instance, almost all models working for the fashion industry are thin and sleek, with a zero-sized figure. This imposes a set standard of social acceptability criteria for attractiveness. Thus, all woman regardless of other factors, image themselves in relation to that set standard of zero figure. This is the reason why they spend a fortune trying to maintain their figure, control diet and take regular exercise. The new concept of surgeries is also becoming popular due to the obsession that fashion industry has induced among woman to get thin. The libido also tends to comply by the standard as the inner urge inflicts the body to look attractive. The brands have also utilized the same principal of image formation amongst individuals predominantly woman to enhance their obsession with objects. Fetish focuses on the affluent relationship between the clothing and individuals, focusing on the female gender (Bankroft 2011). Similarly, other ornaments and accessories like handbags, shoes, wrist watches etc are also objects which tend to satisfy the libido energies found amongst individuals. Various brands spend millions of dollars each year on advertisement and celebrity endorsements to brands for a strong identity formation aspect related to the particular brand. Most customers relate various celebrities to the brands they purchase. The reason behind this is that they see themselves in relation to the celebrities whom they find as perfect standards for appeal. Thus, they feel that by copying these celebrities their weak points will be cloaked behind the objects which will be symbols for status. Branding is one of the most apparent aspects of fashion industry as these enterprises have left a lasting impact on the lives of many individuals. Basically, various ornaments appeal to the erotogeneity instinct as the objects are symbolic for social and cultural constructs which will satisfy the ego and the superego principle and allow a higher status for the individual in the social strata. Thus, the only reason behind buying various brands is to achieve a higher acceptance level, also dominance amongst others. The conflict that has been going on for years, when sees an outlet for pleasure seeking in the form of pursuing fashion objectives, gets resolved which is the most valid explanation for the obsession with brands. If the principal of image formation was not associated with brands, the ego would rather suggest the human mind to spend less on similar objects without the brand inducement. However, to comply by the social standard, the ego rather encourages buying brands as a source for social acceptance. (Ragland 1987) Similarly, people even go through painful procedures to follow the latest fashion trends. Freud is quoted to have said “The great question that has never been answered, and which I have not yet been able to answer, despite my thirty years of research into the feminine soul, is What does a woman want?” (Felman p.73). Psychoanalysis also provides a promising explanation behind these obsessions. For instance, people get their bodies tattooed, dye their hair and women even wear exceptionally high heels to comply by the fashion trends. Speaking of high heels, though they even hurt the feet of the woman but they are still the most liked foot wear amongst the women. The reason can be traced again to the comparability of high heels to a higher social status, also the set beauty criteria of tall girls as being more attractive and desirable. Historically, high heels were only worn by elitist women, however nowadays with the evolution of fashion industry every women want to look desirable and arouse the sexuality of the opposite sex, thus high heels are now very common amongst all kinds of woman. They want to portray an image of perfection by hiding the flaws of their body; however the definition of perfection is dictated by the fashion industry. The same assumption fits the explanation for people dying their hair or getting their bodies pierces at the most painful and sensitive body areas. Kaja Silverman talks about fashion photography as reinforcing identity formation which strengthens the above formulated argument, however she also talks about the evolution in the fashion photography (Bankroft 2011). She mentions about the Photography taken by Richard Avedon published in 1947 with three men gazing at a woman. This was basically portraying the appeal of the woman for multiple men, setting a standard for other women. However, with the evolution in photography, the interpretation is left to the viewers directly as there is not third party between the fashion icon or figure and the viewers. Thus, in both cases the identity formation is there but in different ways. A third party isn’t needed now as the cultural evolution and globalization is also acting as a catalysts. Thus, the scope of the fashion industry is expanding its mark, leaving its impact on a wide ranging global audience, Thus, the fashion industry creates an illusion for its viewers by presenting something that may not exist in real. For instance, some of the masterpieces presented in the runaways for fashion shows or even in various photo shoots are those trends that can`t be followed in the real world, but they still have a lot of value and manage to get a lot of appraisal. If common sense is applied for such a case, ignoring the social context for a while, such works are irrelevant as they are of no practical value to the viewers. But the fashion world creates such hype about these pieces as imitating the designers’ creative energies that even the most ordinary person starts commending the efforts. There can be two aspects to this illusionary perspective, firstly as the theory suggests the social standards require individual to appraise these kinds of works. For instance, even if someone wants to criticize such work for its irrelevance, there would be a fear of rejection amongst the larger social construct. Secondly, the image formation process has settled to the point that these kinds of works are portrayals of a designer`s creative energy and it is only sane to commend this work. Accordingly, it can be concluded that the psychoanalytical theory provides a complete understanding of the fashion world in context to the individual perception of fashion trends. Also, the immense impact of the fashion industry not only on the local culture, in fact on the entire globe can also be understood in the light of the theory. The entire discussion brings us to some of the concluding points regarding the relationship between fashion and the human psyche. Firstly, the unconscious component of the human mind is the place where internal conflict occurs and certain desires get repressed. These repressed desires later leave their expressions to the surface where humans start fulfilling their desires by other means, for instance by incorporating fashion trends in their lives to seek pleasure. Secondly, as Lacan points out that the erogeneity lies in the human body thus the desire to satisfy the libido energies can be satisfied by using apparel which is standard for appeal at the same time cloaks the body especially of a woman. Lastly, image formation plays an important role by virtue of language and culture where individuals want to see themselves in specific attire which is fulfilled by purchasing various fashion accessories and apparel. Thus, in other words, the fashion industry is exploiting the weaknesses of the human psyche by using media as a tool to propagate their products amongst the masses. Though this essay hasn`t made an effort to comment on the scope of the affects of fashion, i.e. whether it is proving to be a positive one or a negative one, in fact this is for the reader to decide themselves. Bibliography: Top of Form Top of Form ASKAY, R., & FARQUHAR, J. (2005). Apprehending the inaccessible: Freudian psychoanalysis and existential phenomenology. Evanston, Ill, Northwestern University Press. BANCROFT, A. (2011). Fashion and psychoanalysis: styling the self. London, I.B. Tauris BERGLER, E. (1987). Fashion and the unconscious. Madison, Conn, International Universities Press FELMAN, S. (1993). What does a woman want?: reading and sexual difference. Baltimore, Johns Hopkins University Press. FLUGEL, J. C. (1930). The psychology of clothes. London, Hogarth Press Freud, S. (1900). The interpretation of dreams. Standard Edition. London: Hogarth Press, 4, 1-338 Freud, S. The ego and the id (1923). The Standard Edition of the Complete Psychological Works of Sigmund Freud, 19, 1–66. FUSS, D. (1992). Fashion and the Homospectatorial Look.Critical Inquiry. 18, 713-737 LACAN, J. (1978). The four fundamental concepts of psycho-analysis. New York, Norton Lacan: The Mirror Stage." Department of English. Web. 20 Apr. 2012. http://www.english.hawaii.edu/criticalink/lacan/index.html Lewis, Sandy Flitterman. "Psychoanalysis." Home. 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