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Modeling Industry Trends or Societal Evolution?
Introduction
The fashion modeling industry’s beauty standards have become so strict over the
years that in the most severe cases, they have proven to be fatal. The pressure placed
on models to submit themselves to impossible beauty standards has lead to a huge
epidemic of life-threatening eating disorders and health issues, with several instances of
resulting death. The course that this industry has taken throughout its history has lead
to extreme tensions between those who create these widely accepted standards, and
those who do not submit to them. Waves of rebellion from groups who defy the
standards have been occurring since the 1970’s. The advent of plus-size modeling,
being the first wave of rebellion, was in itself an acknowledgement that the modeling
industry had established a standard model-type and that there are non-model types who
did not fit that standard but still need to be represented. Plus size modeling opened the
door for an entire unconventional modeling industry to emerge, because its existence as
a counter to the norm was a catalyst to the breakdown of the model-type. Plus size
modeling essentially created a demand for the diversification of models in the media.
Recently though, there is a sentiment surrounding unconventional beauty in our culture
that transcends history’s tendency towards ever-changing trends in beauty ideals. This
essay will explore the nature and extent of the use of unconventional models in the
media and interpret the sentiment surrounding unconventional beauty in our culture.
These analyses will show that the upward trend in the use of unconventional models in
the media is proof of a societal evolution towards the destruction of the standards of
beauty and not a momentary fad.
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To understand the nature of the unconventional model, their inherent
counterpart, the conventional model-type, must first be understood. A look at the history
of the modeling industry will contextualize what has been established as conventional
beauty and why. First we will look at the origination of the modeling industry at the
fashion house of the “Father of Haute Couture”, Charles Frederick Worth.1
The Beginning of the Modeling Industry
Charles Frederick Worth was the first to do many things, including creating the
first fashion house, and using the first fashion label.2 Most importantly, he was the first
person who can be credited with using fashion models in the mid-19th century. The first
model ever was his wife, Marie Vernet Worth.3 The first professional-mannequin method
that Worth utilized was to have Marie dress in his garments and wear them to social
gatherings at which other socialites would be present.4 Her success in selling garments
by modeling them inspired Worth to hire more professional mannequins. Marie trained
the new models and this provoked the first fashion shows in history.5 At this point, there
were no widely accepted standards of beauty because mass media had not emerged
yet.
In seeing the way modeling came into existence, it is deduced the way modeling
naturally designed itself to work is by making people feel like their beauty would be
enhanced by the product being modeled because the person modeling in it looks
beautiful and happy. Naturally, people who see this will desire this happiness that
1
Diana Marly, Worth: father of haute couture. (London: Elm Tree Books, 1980). cover.
Brenda Polan and Roger Tredre, The Great Fashion Designers. (Oxford: Berg Publishers, 2009). 7-10.
3 Mila Ganeva, Women in Weimar fashion: discourses and displays in German culture. (Rochester:
Camden House, 2008). 167.
4 Harold Koda, The model as muse: embodying fashion. (New York: Metropolitan Museum of Art, 2009).
18
5 Ganeva, Women in Weimar fashion, 167-168.
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seems to come from the product, when in actuality, said product is being enhanced by
the beauty of the model. Models are inherently trying to sell their audience something.
The reason using models worked to sell products for Worth, and for everyone since
Worth, is because it literally puts humanity into the lifeless, and creates empathy
between the audience and the product. Audiences see themselves in the model’s place
and can see what it might be like to own what they are advertising.6
As the modeling industry evolved from its origins at Worth, industry standards of
beauty became tighter and tighter. Before the rise of mass media and the use of still
and motion pictures, there were no widely accepted standards of beauty, but rather
standards of beauty that were dependent on geography.7 This means that before
photographs and videos were available to people through the media, the standards of
beauty were similar throughout places that are geographically close because they were
being exposed to the same culture. The more distance between two places, the less
overlap in their beauty standards.
The Rise of Mass Media
Once mass media consisting of still and motion pictures was consistently
available to consumers by the mid-twentieth century, more uniform standards of beauty
were imposed on the masses.8 Because a picture from one geographical region could
be shared over huge distances and with so many people, mainstream media was able
to influence the standards of beauty on a world-wide scale.
6
Alan Mazur, "U.S. Trends in Feminine Beauty and Overadaptation," The Journal of Sex Research 22
(1986): 283-284.
7 Mazur, “U.S. Trends in Feminine Beauty,” 283-284.
8 Mazur, “U.S. Trends in Feminine Beauty,” 284.
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Capitalist businesses naturally tend to want to maximize profit, which means they
need to sell as much product as possible. In order to sell more product they needed to
sell the happiness and the beauty that was available for them to sell through the use of
advertising with models. As might be expected, the beauty of the models needed to be
maximized in order to make the consumers most inclined to buy the product that could
make them as beautiful and as happy as the model. By equating beauty, happiness,
and a product, advertisements are able to convince buyers that what is pictured in the
image is what they need. The rise of mass media and consumerism is what propelled
the modeling industry into the hugely influential and powerful market that it is today.
Modeling was starting to produce fame by the mid-nineteenth century, and some
models were becoming household names which, was something new. The average
measurements of models in the 1950’s are 35” bust-23” waist-36” hips with heights
ranging from 5’7” to 5’11”.9 Refer to attached images 1 and 2 for visual reference of two
of the first famous models in the 1950’s, Wilhelmina Cooper and Jean Patchett.
Thin is In
In 1957, newly elected president of the Model’s Mutual Aid Society, Lucy “Lucky”
Janishevski publicly advocated models to strive for slimmer figures with exercise and
undereating, in a news report issued by the North American Newspaper Alliance.10
Later that decade around 1966, sixteen year old Twiggy made an appearance in the
modeling industry and quickly. She was 90 pounds11 at 5’6’’ tall.12 Soon after her arrival
Mary Micouris. “1950s Models and Their Measurements,” We Heart Vintage, accessed April 15, 2014,
http://weheartvintage.co/2013/04/08/1950s-models-and-their-measurements/
10 Kristine Lloyd. “Tipping the Scales: The Ever-Changing Model Body,” On This Day in Fashion,
accessed April 15th, 2014, http://onthisdayinfashion.com/?p=10323
11 Lloyd, “Tipping the Scales.”
12 “Twiggy Lawson,” Fashion Model Directory, accessed April 22, 2014,
http://www.fashionmodeldirectory.com/models/Twiggy_Lawson/
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into the public eye, there was an extremely notable shift in the beauty standards in the
modeling industry and the ‘waif-look’ was now what was desired and even required from
models.13 Twiggy’s measurements were 32-22-32.14 Refer to Image 3 for visual
reference of Twiggy. As compared to the preceding decade, her look is much less
‘curvaceous’, her hips and her bust were the same measurement, and her
measurements were smaller than the smallest of the preceding examples of models
from the 1950s. Though the ideal image of feminine beauty is ever-changing,15 Twiggy’s
emergence as a famous model in the media marked a new era in the history of the
modeling industry’s standards of beauty. Extremely thin, boyish, and waif-like physiques
were now the conventional model-type.
Over the next two decades, the trend of extreme thinness slowly subsided and
slightly more voluptuous models filled magazines and advertisements.16 Refer to
attached images 4 and 5 for visual reference of the conventional model-type during this
time period. The Images show models Christie Brinkley and Cindy Crawford. This
period of voluptuousness that these models represent was short lived though and by the
90’s, the dawning of the heroin chic era meant dangerous things for the modeling
industry’s standards of beauty.
Heroin Chic
The next notable shift towards unhealthy beauty standards in the modeling
industry was sparked when Kate Moss came into the public eye through the media in
Lloyd, “Tipping the Scales.”
“Kate Moss,” Fashion Model Directory, accessed April 22, 2014,
http://www.fashionmodeldirectory.com/models/kate_moss/
15 Mazur, “U.S. Trends in Feminine Beauty,” 282.
16 Lloyd, “Tipping the Scales.”
13
14
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the 90’s. She introduced the era of ‘heroin chic’.17 Although her measurements were
numerically larger than that of Twiggy’s at 34-23-3518, Kate Moss introduced a new level
of unhealthy beauty standards with ‘heroin chic’, which glamorized addiction, rebellion,
and despair.19 She is even quoted as saying, “Nothing tastes as good as skinny feels,”
in a WWD magazine interview. This controversial comment has gone under fire for
encouraging eating disorders, and has outraged many.20 Refer to Image 6 for visual
reference of Kate Moss and the heroin chic look. As Christine C. has pointed out in her
article “Heroin Chic From the Mid 90’s”, following Moss’s arrival into the modeling
industry ‘a wave of “models with wild hair, pale skin, gaunt appearance and [an]
apathetic look confidently ruled the runaways’ throughout the 90’s.21 This shift in the
industry was especially detrimental to the masses because not only was it glamorizing
extreme thinness, it was glamorizing an unhealthy means of achieving it. When Twiggy
was popular, she just endorsed being extremely thin whereas Kate Moss was
advocating being extremely thin as a result of an unhealthy lifestyle. The new
conventional model-type is again extremely thin, boyish, and waif-like, but now this look
is associated with much more severe and unhealthy connotations.
This trend in the modeling industry that trickled into pop-culture ended officially in
1999 when Vogue’s cover declared Gisele Bündchen the “Return of the Sexy Model”.
Inside this summer issue, Gisele is photographed nude to ‘illustrate a story on “The
Christine C. “Heroin Chic From the Mid 90’s,” Still in Belgrade, accessed April 22nd, 2014,
http://stillinbelgrade.com/heroin-chic-mid-90s/
18 “Twiggy Lawson.” Fashion Model Directory.
19 Christine C. “Heroin Chic From the Mid 90’s.”
20 Jenn Selby. "Kate Moss in quotes: ‘Nothing tastes as good as skinny feels’ and other career-defining
statements from fashion's silent supermodel." accessed May 10, 2014.
http://www.independent.co.uk/news/people/news/kate-moss-in-quotes-nothing-tastes-as-good-as-skinnyfeels-and-other-careerdefining-statements-by-the-silent-supermodel-9061975.html.
21 “Heroin Chic From the Mid 90’s.”
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Return of the Curve”’.22 The emaciated-addict look was out and curves were back in.
Although this new era of the conventional model-type standards may seem to be less of
a harm to society than that of ‘heroin chic’, the harm only continues because this marks
the dawn of the digital age.
The Age of Digital Photo-Manipulation
Like the emergence of cameras in their day brought about stricter standards of
beauty, the emergence of image manipulation software such as Photoshop has brought
about even stricter standards of beauty. The introduction of digital manipulation
software in the early 90’s sparked creative directors to experiment with these new
possibilities.23 The pushing of these boundaries in order to create the most beautiful
image possible has lead to what is currently seen in our culture: a daily barrage of
digitally altered images that manipulate consumers to desire the beauty and happiness
that the model seems to possess and ultimately to buy the product being modeled. Now
the average woman sees up to 600 photoshopped images in a day and most are
digitally manipulated to fit unrealistic ideals. Photos are manipulated so models look
much thinner, blemish and wrinkle free, with incredibly smooth skin, and unrealistically
white smiles, while ethnic complexions are usually ‘whitewashed’.24 Refer to images 711 to see some examples of the way images in the media are edited. The models and
celebrities can’t even fulfill the beauty standards that their photographic images portray
and advocate as conventional beauty. Because of digital photo manipulation, people
feel pressure to fulfill literally impossible beauty standards. The modeling industry’s
22
"GISELE BÜNDCHEN," Vogue, accessed April 22, 2014,
http://www.vogue.com/voguepedia/Gisele_Bundchen
23 Eric Wilson, “Smile and Say No to Photoshop,” The New York Times, May 27, 2009.
24 Lexie Kite PhD and Lindsay Kite PhD, “Photoshop Phoniness: Hall of Shame,” Beauty Redefined,
accessed April 22, 2014, http://www.beautyredefined.net/photoshop-phoniness-hall-of-shame/
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standards of beauty have reached record levels of unhealthiness, because now instead
of just promoting extreme thinness, the standards promote an unachievable level of
beauty.
These ever tightening standards of beauty are taking their toll in a very real way.
Twenty years ago the average fashion model weighed 8% less than the average
woman. Today, she weighs 23% less. Most runway models meet the Body Mass Index
physical criteria for Anorexia.25 This epidemic of eating disorders that is caused by
these impossible standards of beauty is not only limited to the models, but the
consumers that are receiving the message that these eating disorders are beautiful and
desirable.
The Effects of an Unrealistic Ideal
The high exposure to unrealistic beauty ideals that our society faces is directly
linked to several psychologically damaging responses such as ‘body dissatisfaction, low
self-esteem, and ultimately to disordered eating behaviors’.26 Anorexia was rare until the
second half of the 20th century27, but reports show that today “in the United States, 20
million women and 10 million men suffer from a clinically significant eating disorder at
some time in their life, including anorexia nervosa, bulimia nervosa, binge eating
disorder, or an eating disorder not otherwise specified (EDNOS)”.28
There have been several known cases of eating disorders amongst models and
a few that, sadly, ended up having fatal consequences. Isabelle Caro was a French
Madeline Jones. “Plus Size Bodies, What is Wrong With Them Anyway?,” Plus Model Magazine,
January 8, 2012.
26 Bush Hitchon et al., "If Looks Could Kill: Digital Manipulation of Fashion Models."Journal of Mass Media
and Ethics 19 (2004): 56-71.
27 Emily Deans M.D. "A History of Eating Disorders." accessed May 10, 2014.
http://www.psychologytoday.com/blog/evolutionary-psychiatry/201112/history-eating-disorders.
28 T. D. Wade, Keski-Rahkonen A., & Hudson J. (2011).Epidemiology of eating disorders. In M. Tsuang
and M. Tohen (Eds.), Textbook inPsychiatric Epidemiology (3rd ed.) (pp. 343-360). New York: Wiley.
25
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model who died after battling anorexia for many years. 29 Ana Carolina Reston is another
model who died battling eating disorders, 2 years after she was told that she was too fat
on her first foreign fashion shoot. 30 Luisel Ramos died of a heart attack during a runway
show due to malnutrition and her sister Luisa died six months later for the same
reasons.31
These are four of many such cases that drove legislators in some countries to try
to stop this epidemic in its tracks. In 2006, Spain created legislation that prohibited
‘overly-thin’ models from walking fashion runways. 32 Laws have also been passed in
Israel that ban models from working if they are under a certain BMI.33 Theses BMI
restrictive laws have also been passed in Milan, Italy.34 Similar legislation has also been
passed in Sao Palo and Brazil. The UK, France, and the US have chosen to deal with
this issue in a less direct manner, implementing educational campaigns, pledges to
promote “healthy-looking” girls, and non-binding charters.35 Specifically, the US, “the
Council of Fashion Designers of America issued guidelines to help designers identify
weight problems in their models”.36 Although all of this effort is a start on the track to
promoting good health, the numbers and fatalities do not lie: the state of the standards
William Grimes. “Isabelle Caro, Anorexic Model, Dies at 28,” New York Times, December 30, 2010.
Tom Phillips. “Anna Carolina Reston: The Model That Starved Herself to Death” The Obsever, January
13, 2007.
31 Tahira Yaqoob and Jason Mitchell. "Catwalk girl, 18, dies six months after her model sister starved
herself to death ." accessed May 10, 2014. http://www.dailymail.co.uk/news/article-436277/Catwalk-girl18-dies-months-model-sister-starved-death.html.
32 “The Dove Campaign for Real Beauty,” Dove, accessed April 24, 2014, http://www.dove.us/SocialMission/campaign-for-real-beauty.aspx
33 Bruno Nota. “Israeli Law Bans Skinny, BMI-Challenged Models,” ABCNews, accessed April 22, 2014,
http://abcnews.go.com/International/israeli-law-bans-skinny-bmi-challenged-models/story?id=18116291
34 Yaqoob, “Catwalk girl dies.”
35 Summer Rayne Oakes. "The Skinny of Fashion's Body-Image Issue." accessed May 10, 2014.
http://www.huffingtonpost.com/summer-rayne-oakes/the-skinny-of-fashions-body-imageissue_b_3308004.html.
36 Lloyd, “Tipping the Scales.”
29
30
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of beauty leave much to be desired. It is clear that the history of fashion modeling has
set itself up for rebellion against these deadly standards of beauty.
Plus Size Modeling: A Rebellion Against Convention
The first wave of rebellion was against the tightening standards of weight and
body size in the modeling industry. In 1977 Mary Duffy founded Big Beauties Little
Women, which was the first plus-size and petite modeling agency. By the 90’s, bigger
name modeling agencies had started contracting plus size models to work under their
name.37 The advent of plus size modeling in and of itself is an admission that ‘plus-size’
is an alternative to an established norm that exists in the modeling industry. One would
have to be blind or immune to the constant barrage of media to not have a grasp of
what the conventional model-type is: around 6 feet tall, extremely thin, a generically
beautiful, possibly racially ambiguous face, and from the age group of late-teen to earlyadult.
Although the emergence of the plus sized modeling industry was a step in the
right direction, this wave of rebellion couldn’t even avoid the ever-tightening standards
of the modeling industry. When the plus size modeling industry began, the models
ranged in size from 14 to 18/20. Ten years ago plus-size models averaged between
size 12 and 18. Today the majority of plus-size models on agency boards are between a
size 6 and 14.38 Even though this sub-industry of fashion modeling hasn’t been able to
completely avoid the unrealistic standards of beauty placed on them, the rebellion has
truly made a difference. This admission to the existence of a norm can be seen in both
positive and negative lights but one thing is for certain, once a conventional-model type
Laura Stampler. “The Hypocrisy-Laden History Of Plus-Size Model,” Business Insider, accessed April
15, 2014, http://www.businessinsider.com/plus-size-models-2013-5?op=1
38 Jones, “Plus Size Bodies.”
37
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was established by declaring something as an alternative, the door was opened for
other alternatives to the standard model-type to start being represented in the industry.
Unconventional Model-Types
Since the first plus-size modeling agency was started, countless other nicheagencies have been introduced as an alternative to the norm. In New York City alone,
there are at least 7 different modeling agencies representing plus-sized models, which
include Ford, IPM Model Management, Expecting Models, PME Model Management,
Parts Models, Flaunt, Godess-MSA, and Wilhelmina.39 A list of alternative modeling
agencies includes Ugly Models, Pages, The Twisted Agency, Model Mayhem, Chaos
Models, Vice, and Anti-Agency. There are even modeling agencies representing mature
models which include Donna Baldwin, and Wilhelmina.
These alternative agencies came to rise because of the demand for
diversification of models in the media. Over the past ten years there has been a very
clear increase in the use of unconventional models on the runway and in the media
which can be seen through attached images 12-23. The message is clear in all of these
instances though and that is a push for open-mindedness and acceptance.
Some of these examples (Images 12-15) are noteworthy instances where plus
sized models have been featured in designers’ fashion shows including those of William
Tempest40, Jean Paul Gaultier41, and Mark Fast.42 Eden Miller recently made history by
“Plus Size Modeling Agencies,” Plus Size Models HQ, accessed April 22, 2014,
http://www.plussizemodelshq.com/plus-size-modeling-agencies-new-york/
40 Jessica Bumpus. “William Tempest,” Vogue, accessed May 10, 2014,
39
http://www.vogue.co.uk/fashion/spring-summer-2010/ready-to-wear/william-tempest.
Signature9. "Mum’s the Word On Plus Size Models at Jean Paul Gaultier – Except From Gaultier."
accessed May 10, 2014. http://www.signature9.com/style/fashion/mums-the-word-on-plus-size-models-atjean-paul-gaultier-except-from-gaultier.
41
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showing the first ever plus-sized line at fashion week.43 On the opposite end of the
spectrum, MAC put out an advertisement with an extremely fit, body-builder model that
shows that truly all body types are beautiful.44 Other examples (Images 17-19) convey a
somewhat political message and push for equality with the use of unconventional
models. Gaps use of interracial and homosexual couples in advertisements are a clear
press for free love45 46, while Marc Jacobs’ use of gender-bending styling advocates
gender tolerance and equality47, and the depiction of wheel-chaired model in the Diesel
ad is speaking up for equality of people of all shapes, sizes and situations.48 Perhaps
the best example of model diversity is by John Galliano, a designer who is utilizing
literally every type of unconventional and conventional models. From young to old, from
thin to thick, short to tall, conventionally beautiful to uniquely beautiful, every color,
every situation, he has used that kind of model, and it’s stunningly beautiful.49
These instances could just be a trend in the ideals of beauty within the modeling
industry, just like the other changes in beauty standards over the last century have
seemed to be. But when this increase in the use of unconventional models is analyzed
42
Tracey Lomrantz Lester. "Real Size Models On The Runway In London: We Want To Hear What You
Think!." accessed May 10, 2014. http://www.glamour.com/fashion/blogs/dressed/2009/09/real-sizemodels-on-the-runway.html.
43 Tyler McCall. "Eden Miller Makes History As First Designer To Show Plus-Size Line At Fashion Week."
accessed May 10, 2014. http://fashionista.com/2013/09/eden-miller-makes-history-as-the-first-designerto-show-plus-size-line-at-fashion-week#awesm=~oDUVE3kVer3sNM.
44 Sauers, Jenna. "MAC Put A Female Bodybuilder In A Makeup Ad And It's Beautiful." .
http://jezebel.com/5973202/mac-put-a-female-bodybuilder-in-a-makeup-ad-and-its-beautiful (accessed
May 10, 2014).
45 OUT.com Editors. "Gap Unveils New Ad featuring Same-Sex Couple." accessed May 10, 2014.
http://www.out.com/fashion/truman-says/2012/05/04/gap-unveils-new-ad-featuring-same-sex-couple.
46 Jimmy Nguyen. "Diversity and Social Media for Gap's 'Make Love' Ad Campaign (VIDEO)." accessed
May 10, 2014. http://www.huffingtonpost.com/jimmy-nguyen/speak-up-with-jimmy-diver_b_4534805.html.
47 Linda Simpson. "Cute Boy In A Dress! MARC JACOBS Rolls Out More GENDER-BENDING Ads
Starring Model COLE MOHR." accessed May 10, 2014. http://mycomrade.com/news/cute-boy-in-a-dressmarc-jacobs-rolls-out-more-gender-bending-ads accessed May 10, 2014.
48 Erica Schwiegershausen. "Cool New Diesel Ad Features Blogger in a Wheelchair." accessed May 10,
2014. http://nymag.com/thecut/2014/01/new-diesel-ad-features-blogger-in-a-wheelchair.html.
49 Camilla Morton. "John Galliano." accessed May 10, 2014. http://www.vogue.co.uk/fashion/springsummer-2006/ready-to-wear/john-galliano.
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alongside the outcry for real and inner beauty and self acceptance that is present in our
culture’s dialogue, it is very clear that this change in society’s standards of beauty is
more than just a trend.
Societal Evolution
There is a very clear increase in the use of unconventional models over the
years, and like many of the phases that fashion and beauty have gone through in their
histories, this can be seen as nothing but a fleeting trend. Recently though, there has
been an evident sentiment in our culture surrounding the use of unconventional models
and defying the standards of beauty in general. This sentiment is a surge of entities that
are speaking out against unrealistic beauty standards, and advocating placing
importance on real or inner beauty as opposed to superficial, outer beauty. This
sentiment is what proves that this trend in the diversification of models is not just a fad
or fleeting moment in history, but it a symbol of how our society’s thinking is evolving.
The first and most well known example of this sentiment in the media is Dove’s
Campaign for Real Beauty. This is movement that was a response to a global study that
found that only 2% of women worldwide would describe themselves as beautiful. The
campaign’s goal was to start a global discussion about the need for a wider definition of
beauty. At its beginning, the campaign launched ad’s that showed ‘real’ women ‘whose
appearances are outside the stereotypical norms of beauty’ which included women of all
shapes, sizes, colors, and categories. Then it went on to expose the truths about
photoshopping in the media with a viral video called ‘The Evolution of Beauty.
Continuing with their mission to widen the standards of beauty, the campaign then went
on to celebrate the beauty of age in several advertisements. They also produced a film
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called Onslaught , which shows the effects of the constant barrage of unrealistic beauty
ideals in the media. Most recently, Dove has created a new mission called The Dove
Movement for Self Esteem, which provides women with opportunities to mentor younger
generations about real beauty using self-esteem building educational programs and
activities.50 Images 25-27 are examples of the types of advertising put into the media by
this movement.
Dove has been a huge catalyst for the open dialogue about beauty our culture is
experiencing today. They have brought the issue of unrealistic beauty standards to the
forefront of consumers’ attention. Even though Dove hasn’t solved all the beauty related
issues in our society, they have at least opened up conversation about the issues and
gotten many consumers that wouldn’t otherwise have realized there was any type of
issue in the first place to realize that our society faces a huge problem. The last
sentence of their Social Mission page even states “Though Dove® efforts have moved
the needle in a positive direction, there is more to be done”.51
Another large entity that has been very vocal about confronting the issues with
the standards of beauty in our society is Seventeen Magazine. They have created a
‘Body Peace Treaty’ that they ask readers to sign like a petition that motivates girls to
make peace with their body and learn to love themselves. As seen in image 28, the
treaty is a list of things that the reader vows to herself that she will do that promotes self
love and body peace.52 This movement is especially helpful and important because its
50
Dove. "The Dove® Campaign for Real Beauty." accessed April 22, 2014. http://www.dove.us/SocialMission/campaign-for-real-beauty.aspx.
51 Dove. "The Dove® Campaign for Real Beauty."
52 Seventeen Magazine. "Body Peace Treaty." accessed May 10, 2014.
http://www.seventeen.com/health/tips/body-peace-pledge.
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target is young girls, the demographic most susceptible to the harmful effects of the
media.
There are two other movements affiliated with cosmetics that are pushing for the
appreciation of inner beauty. The First of which is an ‘Inner Beauty Challenge’ launched
by The Jed Foundation, a non-profit organization for the emotional health of youth, who
teamed up with Benefit cosmetics. Participants in the challenge are given simple tasks
that help them ‘laugh, love, and live loud.’ The Jed Foundation’s website shares that the
“challenges will focus on activities like posting positive messages on social media,
performing random acts of kindness, making gratitude lists, and working off stress by
laughing or dancing.” This challenge was posed to show how simple and small things
make a big difference on one’s emotional health.53
The other movement being put forth by a cosmetic entity is Chanel’s new
Skincare Campaign. This campaign’s focus is not on the product, nor the celebrity
endorsement by actress, Joshua Jackson, but on wanting the consumer to feel
individually beautiful. The campaign’s advertisements say that beauty begins by “being
simply yourself,” and “not wanting to resemble anyone else.” This Campaign was
prompted by scientific research by Dr. Amy Weschler, who is one of the only boardcertified doctors in the world practicing both dermatology and psychiatry, and it turns out
that there is a link between the two. She says, “Happier people do have better skin.
Positive emotions are reflected on the surface.” 54
53
The Jed Foundation. "The Jed Foundation Teams with Benefit Cosmetics to Launch Inner Beauty
Challenge." accessed May 10, 2014. https://www.jedfoundation.org/press-room/press-releases/innerbeauty.
54 GirlTalk HQ. "Chanel’s New Skincare Campaign Promotes Inner Beauty, Confidence & Uniqueness.."
accessed May 10, 2014. http://girltalkhq.com/chanels-new-skincare-campaign-promotes-inner-beautyconfidence-uniqueness/.
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Mica Oszczakiewicz
Rough Draft 2
Conclusion
All of these movements pushing for the empowerment of women through inner
beauty and inner self occurring simultaneously with this recent upward trend in
unconventional model types in the media can not be coincidental. It seems that our
society is overcoming the superficiality that it has been plagued with ever since the rise
of mass media, and not just temporarily. Previous Changes in beauty ideals seemed to
be rooted in nothing other than aesthetics, but this most recent change in the standards
of beauty are rooted in something much deeper than skin: the inner self. Perhaps this
societal evolution will continue to develop and one day, our society might be free of the
oppression that the importance we place on outer beauty puts on us. One day, we might
realize that true beauty and value come from within. For now, the changes occurring in
our society and in the media are definitely movement in the right direction.
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