The Role of a Model in Fashion - Essay Example

FDA Photography Year 3 Exploring the Notion of an 'Ideal' in Fashion, using Kate Moss as a Case Study Prepared By Matthew Theodore Prepared for Jim Campbell November 2006 Table of Contents Introduction: The role of a model in fashion, 2 using Kate Moss as a case study. Perceptions of the Model 3 The Notion of the Model & Symbolism 4 Role of the Fashion Icon in Society 4 Chapter One: A 'Perfect Model' 6 Clothing & the Silhouette 7 Historical Presence of 'Thinness' in Couture 8 The Rule of Angularity 9 Chapter Two: Kate Moss: A Case Study 11 The Model as a Canvas 11 An Artist's Muse 13 Personal Experience 15 Chapter Three: The Model as a Commodity 16 Marketability 16 Effectiveness of a 'Fashion' Ideal 16 How Kate Moss Functions as a Commodity 17 Chapter Four: An Image of Perfection or Perversion 20 Fashion has Shifted Focus 20 Dual Gender Objectification of the Female Form 21 Conclusion: The Model's Aesthetic 23 Final Thoughts 25 Acknowledgements 26 References: Illustrations 27 Notes 28 Bibliography 30 Introduction A suitable starting point to define society's perception of 'the model' must surely be by grounding its definition in some form. Wikopedia defines the model as "somebody who acts as a human prop for purposes of art, photography, pornography, fashion, advertising etc." (2006). Considering this, we can extract tangible perceptions of the model, specifically the female fashion model, and her function in society. In terms of culture, she provides not only aesthetic appeal, but national identification. Kate Moss, for example, serves as an icon for Britain's place in fashion. The model's role is as a canvas or tool over which arts, like fashion, are exhibited. The fashion model shows off the designer's clothes, for example. In this, we may come to a conclusion over the existence of an 'Ideal Model'. Does an ideal model exist What would be her attributes Kate Moss may be considered the ideal canvas due to her simplicity, nondescript superfici, and angular features. She may be considered art in herself, and carries the role of the photographer's muse as an organic beauty. Or she may be simply the structure over which inorganic arts, like fashion, finds presentation. If the model functions not as the aesthetic in herself, but as a platform for couture fashion, then she may be defined also as nothing more than "a coat hanger for fantasy" (Shumann 2006). The model is used, then, as a tool by which fashion designers sell clothing. She is nothing more than a commodity. If the value of a model is in her ability to market, then Kate Moss is an ideal. Designers are able to use her as a coat hanger and sell their ideas. But this is a dichotomy, the idea that a specific model is more marketable for her face value and that she is simultaneously only the prop. Nonetheless, it is clearly evident that without the model, clothing is hardly marketable. I maintain that the ideal model, in terms of marketability, is dependent upon her presence as an icon. Then, as an icon, what are the effects of her behaviour When utilizing models, her thinness may work against her. There is a limit to her efficacy as a model concerning her body's dimensions. Markets fluctuate depending on the culture's desire to accept the dimensions or 'ideal platform' over which they by their clothes. When models are not just the canvas over which designers present couture but become iconic symbols of the ideal, art has been distorted. The exhibition is not of the artwork, but rather the structure. It may also be said, however, that even with nondescript models, models that do not function as icons, fashion may become perverted. Whatever ideas or designs the artist puts on the model, better said, how he dresses her, those are the images of perfection or perversion. It is not the model herself, but the contortion of her aesthetic and inorganic arts placed on her. Perceptions and Functions of the Model Style and the model, particularly the fashion model, are inextricably linked. The model functions as our means to access art. The basic model helps define our aesthetic culture as a civilization. On the other hand, some would argue that "Decorative style has never existed. Style is the soul, and unfortunately with us the soul assumes the form of the body" (Murdoch). The zenith of this is an 'ideal model' wherein the model's emotive ability and behaviour show the essence in all its forms. The purpose of a model depends on her status. The three tiers in which any model functions are within fashion, within society, and within commerce. The Notion of the Model & Symbolism/ The Model as an Icon The model as a means to access art and the iconic model are two distinctly different people. The model's purpose is as a moving coat hanger, for lack of better description, to show off clothing design. As an icon, like Kate Moss is, she functions as an endorser. In these two situations there are different roles for both art and the model. In models without name-status, for example, one of the hundreds walking the runway, the purpose for the model is to be secondary to the design. The model shows off the design. But in the case of an icon, like Kate Moss, the purpose is for the design to show off the model. The icon is the primary selling point. She is why people want what she's wearing. It is the opposite situation. This is the difference between the function of an ideal model and the normal version. A case in point is Kate Moss's spread in the September 2006 edition of Vanity Fair. She is wearing a fashion collection designed by the infamous Michael Kors. However, it is apparent that Michael Kors' designs are secondary to Kate Moss. To prove this, the reader only has to look at the cover, where Kate Moss headlines the magazine. She is the reason Vanity Fair will sell in September. The opposite case would be if Vanity Fair were the reason Kate Moss would sell in September. An illustrative case is when a beginner model gets her first advertisement. She gains status for having been on a cover. This is the difference between the function of a model and an icon, her role changes in advertising and commerce of clothing. The purpose of the model is altered depending on the scene. For example, on a runway, the model is the canvas. But as an icon, like Kate Moss, the model functions as an aesthetic identification for Britain and fashion, the two areas by which she's readily identifiable. If and when a model explodes onto the fashion scene as the 'ideal', as in the case of Kate Moss, she is an icon. This is also her function in society today. Kate Moss was named the Top British Model (Agence-France Presse 2006). In the fashion world, she functions as a symbol of Britain's place in high contour. Although Kate Moss, as a model, basically presents those clothes she wears, the syncretism of Kate as a British icon and her place in fashion legitimatise Britain's authority in the fashion world. Chapter One: A 'Perfect Model': the Model as a Canvas Is there or isn't there a perfect model That depends on her purpose. As we have discussed, the purpose of the normal model is her ability to display fashion. In couture, a silhouette is of primary importance. Furthermore, as pertains to clothing, the best platform over which textiles can be displayed is angular. The model must have an ability to be sculptural. In this sense, we understand the presence of angularity in fashion photography and its pertinence to design. 'Thinness' has its own history and purpose in fashion design and couture. When the model functions in the visual arts outside of clothing design, then perhaps her finest quality is her simplicity. This may be argued with Kate Moss as a case study: in my opinion, she is a blank canvas. Over her, the principles of style and artistic designs are arranged because what is presented is the art, not her. She is able to mesh with the artist's design. Kate Moss functions as the ideal model because she is a canvas. The historic relationship between the model and art is exemplified by a painter's use of his model. The model often functions for the artist as a muse. Fashion photographers, artists with the widest showing in consideration of commercial art, have often found Kate Moss as an incredible muse. In this, she is also an exemplar of a different kind of 'ideal model'. She is the ideal muse. Clothing & the Silhouette In the most basic sense in Fashion, the designer clothes the silhouette. Therefore, a model functions as a platform for clothing. That is to say, she is like an architectural sculpture. The model is a tool utilized by the designer. In the fashion design arena, this is her purpose. Her ability to execute her job depend on her silhouette because off her must drape the fabric, the lines and shape be designed, and more. Although the importance and the distortion of 'thinness' will be discussed further in Chapter Four's "Perfection or Perversion," it is necessary here to address the model's shape, as it pertains to the silhouette. What is the importance of angularity from a design standpoint If clothing is draped over a silhouette, that silhouette must have a structure of itself. Flowing fabrics take on the shape of the structure behind it. For this reason, "The silhouette is the fundamental factor in apparel styling since it dictates the outline shape that a garment gives to its wearer" (Brockman 1965, p. 18). Angular sculptures with distinct lines provide visual satisfaction. Especially in high fashion, where clothing functions as art, angularity is important because "Exaggeration in silhouette is synonymous with high fashion". When fashion functions as an art form, the importance of contour cannot be understated. As the genius designer Poiret once said, "To dress a womanis to envelop nature in a significant contour which accentuates her grace." (Brockman, p. 18). Photography, in particular, which was contested as a valid visual art form in the mid 1900's, necessitates the capturing of design integrity, the architecture of the thing itself (Mukaovsk, 1944). Historical Presence of 'Thinness' in Couture Despite the political incorrectness, thinness may be ideal. In terms of art, it means angularity. It is pertinent to remind that thinness has a historical place in fashion design, and for that, in the ideal model. This presence should not be negated; once again, the ideal model's purpose is for artistic purpose, not for reality. "Of course, the history of fashion does have a significant and well-attested modernist phase. [] It is even possible to conceive of the invention of something like a modernist body', the slim and functional female figure of the 1920s, liberated from the corset". Further along, in the 1930's and 1940's, Yves Saint Laurent designs utilized Dame Margot Fonteyn, the prima ballerina of her day, as the 'ideal' advertisement for haute couture. This collection is currently featured in the Bath Museum of Costume (Blackwell 1991, p. 190). The Artistic Function of Angularity This last year's Fashion Week caused much of a stir about the world, with its start in Madrid, when officials banned 'over-thin' models, as they were idealizing a form of anorexia. Interestingly, the wave didn't crash as effectively in Britain. London's Fashion Week officials refused the ban which had begun in Madrid, stating that no official should be able to interfere with the artist's design goals and the artist's conception of the aesthetic (Waddell 2005, p. 12). To be fair to designers and artists who may be idealizing the anorexic version of the female form, from which they find aesthetic muse, all this ruckus could be directed at the existence of fashion cycles. It has been argued by Sproles (1981) that this specific version of the female form is due to the role of fashion cycles having created the thin idea. He points out due responsibility, stating that "It is also proposed that changing fashion cycles in a continuous progression from one extreme to another over periods of 30 to 50 years or more." [] "The major contribution of the principle of historical continuity is the proposition that each new fashion is an outgrowth or elaboration of the previously existing fashion" (Sproles 1981, p. 17). Perhaps this is to say that just as line is integral to architecture and colour integral to painting, that angularity is integral to clothing design. Line, colour, angularity - perhaps these are all simply elements of design that oscillate in extremes; and a model, who happens to have a human form, is part of that ratio. It is important to explicate fashion photography and, as well, couture fashion, as an art form. Much discussion surrounds the concept of the 'ideal' model and its influence on the female's self concept in larger society. Again, this will be discussed further in Chapter Four. But for the purpose of design and art, let me elucidate a few concepts of art and the purpose of extremism in couture design. Day to day clothing may be cohesion of the 'functional' and the 'ornamental' Muggleton 2000, p. 32), but couture photography and runway shows, where we encounter the model ideal, has little to do with functionality, nor is it practical. There is a marked difference between a couture fashion model and the woman from the suburbs who works ad-hoc at Sears & Roebuck's modelling the perfect size 12 (Lamott 2002). The Fashion model reality is not reality. This is a common societal interpretation, or misinterpretation. As Brandon, a subject in Thomson and Haytko's 1997 discourse on High Fashion, answered, when asked about the topic: I always think about the runway models. I guess it has always sort of fascinated me-the reason behind the whole thing. Because you really don't see those things anywhere; you don't see people walking around in some of the getups that they have on the runways. Like when you're paging through a Vogue, you can always find someone on the runway with like these antlers on her head and wearing some kind of a disk skirt. So I tend to think bout the ridiculous; that tends to stay in my mind. Cellophane dresses and that kind of thing. And what I don't like about that is that it's just ridiculous. (Thompson & Haytko 1997, p. 18). Although it is extreme, the function of a model's shape might be related. Her size is not realistic or logical; it's ridiculous. But nonetheless, it is our conception of what she should be. It is not the concept of what a female form is. Thinness may be logically our idea of a fashion model. Just as Veltrusk muses, in his discourse of the Pictorial Design (1973, p. 252), "Nobody has ever seen a saint's halo except in a picture. Yet, thanks to a convention that generates 'codified contiguity,' everybody understands". Chapter Two: Kate Moss: A Case Study The Model as a Canvas When the exhibition is not the clothing, as in High Fashion and Couture, but something else, what then would be the ideal model If the model is used in other visual arts, should she be a blank canvas over which other inorganic forms are displayed Some would purport that Kate Moss is an exemplary case of a 'blank canvas'. She has been noted time and again for her simplicity. Some would say it's her nondescriptness, her 'every girl' appeal. Concerning this, it is timely to quote from a study of art consciousness and society (Eck 2001) where a young woman in an art gallery commented on the aesthetic of a portrait, "Because I've seen it before or something similar. I'm not sure. But I have seen, we were in London in all the art galleries and I know I've seen something like that" (Lloyd 1986, p. 139). Familiarity has enormous importance to the audience. More scientifically stated, "That is to say, aesthetics posits the idea of the universal formal identity of the human". Would surely, then, be compulsory for a fine piece of art. It is the reason why people want to look. As the famous Czechoslovakian art theorist Jan Mukaovsk said, "Art is dependent upon the human will by introducing the perceiver" (p. 252). Hence, the more familiar a face, the larger the audience the familiar model's face appeals to. But what about when the artist wants to create his own piece around the model Familiarity and simplicity go hand in hand. Fashion Photographer A. A. Gill praised Kate Moss as a canvas, musing how the seemingly too real and natural woman survives in the fashion industry (p. 344). Moss facilitates his design, as "By instinct or design, Moss understands that less is more" (Gill, p. 349). The Model as the Artist's Muse Is there a perfect model for the photographer or the artist Artistic photographers outside the Fashion arena have found other uses for Moss. Frank Moore's 'To Die For' made art out of sociological critique and commentary on the fashion scene and the obsession of icons in pop culture. The below illustration does not include clothing. The use of Kate Moss in the illustration is as an icon, in order to make Moore's argument. (Here again, critique). The photographer may sometimes have a different relationship with the model than the artist has with the model. Political artists will wish to make commentary through their art. As Kate Moss has been quite a figure over whom people find contention, for example, whether her thinness or purported drug use make her a poor public role model. In this case, a fashion photographer might be unable to use infamous models or icons (Muggleton, 2000). If the photographer's aim is to sell clothing, then his interests are to make the model less 'recognizable' if her behaviour has been questionable. Moss was dropped from many ad campaigns, and throughout 2000-2006, her behaviour and chastisement served as a warning to beginner models (Reuters 2006). However, as Grant comments on the significance of criticism in an artist's career, "More mature artists learn to keep an open mind to potentially valuable opinions and suggestions while keeping a steely confidence in their own work and vision. The more negative the critical reception, the more the artist's inner resources are tested" (Grant, p. 10). In the case of a model like Kate Moss, whose career is founded on rumours of heroine use and illicit behaviours, this is what the photographer should keep in mind while evaluating the role of the model in his work. In terms of 'art for the sake of art' oftentimes the relationship is to create scenic or aesthetic beauty. In this, Kate Moss is idyllic. Ranking, who has photographed her many times, explains simply that: 'She was just born to be photographed,' says Ranking. 'The thing about really incredible models is that there's an element of them that know what you want and so photographing them is always a collaboration. If anyone says it isn't then they don't know what they're doing as a photographer.' (p. 99) Indeed, photographers often report being inspired by the beauty of the models themselves. Christopher Bailey, a Burberry photographer, commented on his artistic use of Kate Moss that as a collaboration, he thought of her as Kate the Magician. "Everything she touches turns to Gold. There's something magical about Kate. [] She has a knack for making something her own. She's inspiring to be around" (People 2006). Personal Experience: The Model and the Photographer I was keen to scratch deeper beneath the surface and find out weather there is indeed a need for control within fashion holistically Subversive models that are often used to being controlled personally and professionally litter current fashion spreads, Kate Moss being a prime example. Surely an ability to adapt to a number of situations and become a canvas for photographers is essential and indeed my own experiences of using professional models over 'street castings' has shown me its great benefit. But is this truly at the expense of becoming devoid of personality Chapter Three: The Model as a Commodity Marketability Probably the most contentious aspect around the icon-isation of fashion models is the inundation of skinny figures that seem to be haunting advertising at every corner. Angularity as an aspect of design and as utilised within the fashion industry indeed serves a purpose. Thinness and 'the anorexic look' that has popped-up all over in media is something else, and has given rise to many debates, including the one at this year's Fashion Week. Efficacy of having and 'Ideal' in Fashion In regard to selling preferences, researchers have come up with some surprising results. Chatterman and Rudd (2006) investigated the preferences of female buyers and clothing. Their discoveries were that fuller women preferred clothing that had more coverage. Thin women had tendencies that revealed more skin (Chattermann & Rudd 2006). In terms of marketing, it would seem that advertisers in fashion magazines have misjudged their clientele. On the other hand, fashion magazines exist for as much an artistic and aesthetic purpose as they do a commercial one (Segal). In this sense, the 'thinness' topic is reverted back to the debate on the importance of contour in clothing design. Because many would argue that although in that field, angularity does serve a purpose, when advertising for domestic products like kitchen soaps, the marketing concept has gone awry. It has been proven in many of the studies referred to by Segal (1997) that the thin-ideal model is a very effective tool in mass circulation. Notwithstanding, there is a threshold to the thin-ideal in fashion. There exists a point at which society no longer accepts that brainwashing tool, and the use of thin models has a reverse effect. Australia is a case in point. This year in The Daily Telegraph, it was reported that Australian consumers are 'fed-up' with the unrealistic images of models and the clothing sold via their skinny bodies. In protest, female buyers refused to buy until advertisements changed their ways (Thomas 2006). Interpretation of the market in the mentioned circumstance may not be so easy. As much as there are fashion trends, there exists an array, strongly supported, of anti-fashion trends. It was documented by The Journal of Consumer Research that "Through the trivializing interpretation of fashion, consumers can assume a moralistic, inner-directed stance by appropriating a set of antifashion meanings that, paradoxically, have often been incorporated into the promotional themes of fashion merchandising" (Thompson & Haytko 1997, p. 18). How Kate Moss Functions as a Commodity Like was state in the introduction, there is a definite difference in the persona and purpose of the use of normal models and the iconic model. The iconic model is a symbol of her societal stature, behaviours, and trends. A normal model functions as the structure over which clothing or high fashion may be exhibited. In this, the normal model is secondary to the clothing that she wears. The opposite enigma of this is when the clothing functions as a secondary feature to the model, only her ornamentation. In this case, the observance of an 'ideal' model is different, particularly in relation to Kate Moss. How can there be an 'ideal' icon An ideal icon would, logically, typify the social norms and behaviours of their society. But is this not more the definition of a stereotype than an icon Kate Moss is a case in point because she functions as an icon. Advertisers and marketing executives understand this and pay her millions of dollars for it (Townsend 2002). Because Kate Moss is a breathing existing person, her icon is likewise ever changing and fluid. She may exist as a symbol, but her behaviours, constantly critiqued in the media, alter her efficacy as a commodity. Paoletta based her article "After Kate Moss Will Artists Know Better" entirely on this truth. Drug abuse, skin-and-bones image, etc., when these are feared to become societal ideals, it is for good measure; society cannot change their concept of an icon as easily as a model changes her behaviour. One person changes more quickly than a mass. Kate Moss has been cemented as and ideal Fashion model to the point that Kitlinski (2005) explained the 'Ideology of the Kate Look'. Even while rumours around Kate's behaviour abound, amongst gossip columns featuring Anna Nicole Smith (The Record 2006), Co-dependent Drug Abuse with her boyfriend, columns linking Kate Moss and child porn (Ruby 2003), and articles entitled "Who's Your Daddy" - despite these, for what reason is Kate Moss still marketable It may be maintained that it is not due to societal perversion, but the nature of beauty and a sincere aesthetic appeal. One strong argument in favour of aestheticism is the claim that there is no internal relation between artistic value and moral character (Kerian 2006). Moreover, how does one judge a person's moral character when societal and iconic imagery have come into play, compounded by a billions-of-pounds industry It all has to do with time and place. As one reporter was quoted saying, when questioned on the ultra-thin, 15-year-old waif body representing the ideal look for Calvin Klein, "If I had been around when Rubens was painting, I would have been revered as a fabulous model. Kate Moss Well, she would have been the paintbrush" (Celebrity Bazar). Chapter Four: An Image of perfection or perversion Has Fashion Shifted Focus To debate an image of perfection or perversion relates much to perceiver and the artist. Likewise, it has to do with any political or social commentary an artist has in mind behind that image which he creates. Still, many, like Gilles Lipovetsky, will maintain that Fashion has shifted focus. Fashion used to be centred on clothing but is now increasingly focused on the body (as evidence by diet pills, anti-wrinkle creams, the cult of the supermodel and the popularity of physical exercise, tattooing and piercing). When once it was fanciful it tends now to be technical and performative (diets, weight lifting, plastic surgery, beauty creams). Anxiety about appearances has not disappeared; it has simply shifted to concern about one's body and age. On the other, one could argue that Lipovetsky's arguments do not recognise historical uses of the body. The body and clothing have often been one. Nomadic or Indigenous tribes dyeing animal skins also paint their bodies for tribal dances or war. Tattooing, moreover, has had its purpose as decoration. Clothing and tattooing are equal forms of ornamentation. The difference has to do with the extent to which a person is willing to alter their own body. This is where Lipovetsky has reason to refer to the popular exercise, diet pills, and anti-wrinkle creams. Explication of the idea that "When once (fashion) was fanciful it tends now to be technical and performative" here, it could be said, the change has been dependent upon trends. Fashion is an art form subject to critique, art waves, and trends like any art form. Fashion was once 'fanciful' as was cinema of the early nineteen hundreds. During the Depression Era, audiences wanted to escape their problems and find solace in dreamy settings, romances, and the like. Perhaps Fashion was once much more fanciful than it is now. Cinema was likewise. It was what consumers wanted. Still, advertisers only cater to market needs. Perhaps society now is more willing to accept the functional and the practical. Perhaps fashion is only catering to whatever ideal they want. The role of the mass media and the role of popular art are both integral elements of Fashion Photography. In practise, each assignment depends upon the objective. Dual Gender Objectification of the Female Form An enigma to all societal researchers is that both men and women alike are guilty of the objectification of the female form. For some reason, the female body has been historically and ever-presently dominating both sexes in their conception of the aesthetic ideal. Berger, Sontag, and Wells have all thoroughly studied and written critical essays on the topic. (Sontag 1997, Wells 2002 & 2004). Likewise, Suzanna Danuta Walters' developed a notion of "Woman as Image" (Albani 2005). The notion of "Woman as Image" is profound for the female's personal identity. Walters explains that the pressure put on women and the ever-present stress on her body, developed by marketers, inundating society in advertisements, on television and cinema, etc. - these compound within the identity as 'What I should be'(Albani 2007). Fashion then becomes for the woman, not an escape into beauty and clothing, but a stress which she does not want to deal with. Conclusion Models function within society as a means by which artists create their art. Models are also used for commerce. In this duality is the slippery slope where perhaps non-positive characteristics, for example, thinness, are utilized in order to achieve an aesthetic. When the aesthetic image, or the model, becomes an ideal model or an icon, then society is in danger of idealising unhealthy characteristics. Within High Fashion, the model's purpose is to be the structure over which clothing designs are exhibited. Of primary importance in this is her silhouette. Angularity, like line, colour, shape, or other principles and elements of design, is necessary in order for the artist or fashion designer, to achieve a look. This is art as pertains to the contour of a silhouette. Also within fashion exists the situation when the design is secondary to the model. Most often, this is the case with icons, like Kate Moss, who are paid to be promoters of a given product. Outside of couture, outside of the commerce of clothing, there still exists the model and a relationship with art. The model has been integral to art ever since the first portrait was painted. In terms of art for both political purposes and 'art for art's sake' there are a few utilizations of the model. She is used as a tool, or a canvas, by which an artist achieves his design. Kate Moss has been perceived by many as an ideal model for her familiarity and simplicity. These make her more identifiable to the audience and more of an accessible canvas for the artist. The model may function as a commodity, but with Kate Moss as a case study, it is more accurate to define that iconic models function as commodities. This again refers to the difference between the model being secondary to the art of clothing, or the dress being secondary to the importance of the model. An example of this duality is in A.A. Gill's expos on Kate Moss in Vanity Fair. Kate Moss is most definitely marketable. Anyone with an imagination can picture her checking account and the variety of couture designers sourcing it. The marketability of models, or specifically thin models, is a different situation. Thin models have been criticized, and perhaps rightly, for misleading the public and the public ideal towards waif-life personifications of beauty. On the other hand, thin models have caused negative reactions lately, specifically in this year's Fashion Week and also in Australia's buyer's market. Thinness may not be such an effective 'Fashion Ideal.' Most anyone in today's society would understand the duality between the image and the debate behind an image's perfection or perversion. All this depends on the arena, be it commercial or be it artistic. This is the dichotomy between high fashion and its models, fashion photography and its muses. Final Thoughts I think it's best if you write your final thoughts on Photography, as this is a dissertation your advisors would read. I just wanted to keep space for it and mark it in the Table of Contents. 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