Models In The Fashion Industry Cultural Studies Essay

Models In The Fashion Industry Cultural Studies Essay In the contemporary world, fashion has become a powerful force. For most of the people in our daily life, fashion is something they read about or buy in stores. In a broad sense, fashion means all things and a global business which covers a diverse range of commercial activities, ranging from the unglamorous worlds of mass garment production to celebrity- patronized fashion shows and the associated reportage in the fashion press (JacksonShaw, 2009). In the fashion world, modeling industry plays a central role in its developments. Thousands of people, especially those little girls, are dreaming to be involved in the fashion industry. In their impression, models work in photographers studios or runways or on the cover of magazines, they are in a fun; models are creative because they create their own look (Parmentier Fischer, 2011). They are the representation of artistic creativity and self- expression who always change their performance to project an appropriate image for different si tuations and specific clients and designs. In this sense, despite whether those youngsters have ever sought or gained entry into the field of fashion, in nowadays, they are encouraged to regard the life of the fashion model as an ideal myth. It is no exaggeration to suggest that many young girls treat being a fashion model as among the most glamorous and desirable of possible futures (Wolf, 1991). This article focuses on the real status of models in the fashion industry. Viewing models self-commodification as forms of aesthetic, entrepreneurial, and immaterial labor, I turn my attention on the polarized work of fashion models. Basing on the critical theory, this article uses three approaches (The culture industry, Governmentality, creativity) to explore how certain actors in a dynamic, constantly contested, cultural field may experience constraints on their individual identity quests. First, I argue that how the life of models looks like to the masses, and look for some reasons that why people would like to pursue the life of being a model. Then I focus more discussions on the unsustainable modeling identity projects in the fashion industry. Act as the aesthetic labor, models are faced with many restrictions and risks not only come from the groups that they cooperate with like agency, designer, editor, but also their competitors. Besides of that, some models also suffer from t he discrimination and inequality because of the divisions of the fashion modeling industry. So in this sector, I will take the plus- sized model for example in order to advance our understanding the institutional contexts in fashion industry and our insight into the limitations of those not general models face in pursuing their careers. Searching method For the sake of a deep and comprehensive understanding of fashion modeling, the best way to do the research is using participant observations and interviews. According to many scholars, they adopt this method interviewing models in different levels, gender, age and so on. Basing on the questions and contents, they do data selection to integrate the valuable information and report the results. Because of some limitations, however, I cannot do such interview, so I take full advantage of other resources. This thesis mainly adopts two methods of study. One is documentary research method, which is collecting a large number of materials about the modeling fashion industry in order to understand this field and occupation more comprehensively. First, I select some books and journals which ranging from the history of fashion industry such as marketing todays fashion (Paola Mueller, 1980), to the development of this field like Angela McRobbies British fashion design: Rag trade or image industr y? (1998). Basing on the predecessors research achievements I document an intensive aesthetic labor process. I also search information on the internet to see the characters of fashion models and some debates on the fashion modeling industry. Besides, I pay close attention to a reality show American Britains Next Top Model. By observing and analyzing the process of the competition and track the future development of participants I realize the ruthlessness of fashion modeling industry. The other searching method is comparative analysis approach. In order to highlight the contradictory work in this aesthetic labor market, I compare the different treatment between the high fashion models and commercial models, and the discrimination of those plus-sized models. Literature review Since it is considered to have originated in the mid- nineteen century in Paris, models has appeared in the view of the public. With confidence and enthusiasm, significant numbers of young women launched their own labels from the mid-1980s onwards. Back to the history, there are some critical factors to the success of start of fashion industry which include the support from the government and local authority by subsidy; the cooperation between designers with the producers, agencies and labors; recognition of the distinctiveness of fashion work as an independent cultural and artistic practice, not a conventional business activity. The recent researches have focused attention on different aspects of embodiment in contemporary labor practices, such as detailing the ways in which bodies are managed and surveyed at work (Freeman, 2000; Entwistle, 2004), how bodily performances at work are gendered (Taylor and Tyler, 2000; Gottfried, 2003) and the role of dress in marking out identities at work (Entwistle, 2001). Then a classic account of emotional labor as important in terms of opening up questions about the ways in which contemporary work practices harness the many embodied capabilities of workers. Within this broad research agenda, analysis has been directed towards aesthetic labor as one dimension of current trends in work practices (Pettinger, 2004; Speiss and Waring, 2005). In this article, I argue that previous scholarship on modeling fashion industry seldom explore the tensions between fashion as art form and the demand of a ruthlessly commercial industry. Building on previous research that has examined the staged performance of fashion models, I look for the backstage aesthetic labor process. Combining culture industry, governmentality and creativity, I focus on the unsustainable identity projects in the modeling fashion industry. The contradictory work in the modeling fashion industry From the catwalk to the high-style boutique, the common perception of the modeling fashion industry is glamour and indulgence. Indeed, to many people especially in nowadays, fashion modeling is much more than an occupation, but a dream of every little girl. Just as the feminist scholar Naomi Wolf suggests that it is a fantasy that probably the most widespread contemporary dream shared by young women from all backgrounds (Wolf, 1991). People aspires the ideal model life, which means to become a member of an elite and small group. Their bodies and personalities are intensely sought after for their aesthetic singularity and in return they can get some rewards such as money, fame, luxurious goods as well as celebrity status. Undoubtedly, those models careers not just limited in the field of fashion but extend to other culturally celebrated professions like singer or film actor. The models work as the aesthetic labor, which combines the affective, emotional and physical labor, they play to an advancing self production to extend beyond the confines of modeling work into daily life experience. As aesthetic laborers, they are demanded the effort of body in the production of an appropriately attractive appearance for work. However, in practice, models are always subject to fashions gaze, and endure many restrictions or discriminations coming from both outside and themselves, such as they have to engage in a range of bodily disciplines that relied on thin aesthetics, and do on beyond work hours, etc. We will talk about the restriction from the following aspects. 3.1 Personality In contemporary society, models are regarded as walking mannequins or passive hangers for clothes. The modeling industry moves in shorter cycles than ever before, comparing with other sectors, it is a personality based and subjective industry. In modeling much emphasis is placed on the projection of personality (Entwistle Wissinger, 2006), which forms an integral aspect of the aesthetic labor of freelancing models. Thus models see their bodies as objects of aesthetic contemplation through all manner of bodily work. It just adapt to the governmentality theory that Banks (2007) comes up in his book. It demonstrates that instead of using force and coercion, how the cultural worker has come to be governed only by subjectivizing discourses of enterprise. So models who want to succeed talk of having to become self-managing and astute about their product-their entire embodied self, must do self-control to ensure their current status. To produce a fashionable look, models need to wear the mo st fashionable clothes and go to the most fashionable parties. This situation will not be changed until they are successful. In the case of supermodels, they may no longer have to obey others instruction; they will be given the designer clothes, can cooperate with distinguished photographers and even can expand the career into other sectors. Take Tyra Banks for instance, as an excellent multi-dwelling star, she began her career as model, simultaneously she steps into other professions being the host of reality show, the actress, singer and dancer. Each of this field she has achieved remarkable achievement. These practices involve both aesthetic labor, in which workers invest in styling their bodies and personalities to get and keep work (Entwistle Wissinger, 2006), and entrepreneurial labor, in which workers invest time, energy and funds to foster professional relationships, and build their productive capacity in return for uncertain rewards. These two labors demand workers be enterprising, which they work to create an image that will sell. Models valorize their image, an image that is constructed on a whole day basis, making it difficult for models to distinguish between when they are on or off the job. This work to produce an image may be understood as aesthetic labor (Entwistle Wissinger, 2006). 3.2 Marginalization within the field The fashion system places a quite different valorization on different types of work within the field. There are quite lot of discriminations and unequal treatments between commercial models and editorial models. Commercial work is done for catalogues, website, and department stores; the aim is promoting products ranging from food to drink. While the contracts are regarded as relatively low status compared with the high-status brands promoted by editorial models. While one of the essential features of editorial models is being featured on the cover of or within the fashion pages of high fashion magazines like Vogue, Harpers Bazaar and Elle. Be the supermodel also means to modeling for couturiers and designers fashion shows and to be hired as the face for an international luxury brand of a fashion product such as shoes, clothing, or cosmetics(McRobbie, 2002). In contrast to commercial models, whose look are more conventionally beautiful or handsome, fashion models are referred to as ha ving an editorial look, their extreme appearance are often be described with such adjectives as quirky or edgy. A professional model is someone who consents in writing to or performs modeling for the transfer of the exclusive right to the use of his or her name, portrait, picture or image, for advertising or trade purpose. Models engage in identity construction within a field comprised of an international net work of relationships between various mutually dependent, but unequally powerful. But most models will do some of the less prestigious types of commercial work over the course of their careers, only a small set engages in editorial work, as it is much more restricted and competitive. When watching the American Next Top Model, the competitors are required have some personalities to be outstanding but as the same time observe the rules of the industry. They must match up what the photographers and judges demands and satisfied their clients. To those competitors they scarcely make their own decision, and the emotions and attitudes cannot express in the process of work. The payment between commercial models and editorial models also has a big disparity. The structure of the work means that models are usually hired by the hour, day or project, which means they have no guarantees of continued employment. Rewards for top models are disproportionately high but most models incomes are modest at best. Like other artistic careers, fashion modeling consists mainly of short-term contractual ties, in which employment is on a per-project basis, and teams are assembled around specific jobs which are then dispersed after the project is finished. In this sense, it is hard for many commercial models to find a permanently clients to afford their basic life.

Relation to marriage Essay

Acclaimed as the â€Å"Father of English Literature† and â€Å"the English Homer† before William Shakespeare, Geoffrey Chaucer, the writer of The Wife of Bath’s Prologue and Tale, was born to a middle-class family in ca. 1343 and was once a member of the house of Elizabeth, Countess of Ulster. Regarded as one of the most famous and significant poets in the medieval period, Chaucer was well-known for his use of dream-vision form, his masterpiece The Canterbury Tales (ca. 1387), and more importantly, his contribution to the English language by importing more than 1000 new words that were derived from foreign languages. In The Wife of Bath’s Prologue, Chaucer’s precise presentation of the Wife of Bath’s â€Å"experience† (line 1) of marriage, which she believes to be â€Å"right ynough for [her] to speke of wo that is [inside]† (lines 1 – 3), brings forth to her convincing arguments about marriage. Obviously in the beginning of the Prologue, Chaucer suggests the idea of the Wife of Bath as being a five-time, experienced married woman, whose first marriage experience comes when she is only â€Å"twelf year of age† (line 4). The wise woman is without doubt an advocate of marriage, as she is always ready to ‘fight back’ all kinds of attacks concerning her marrying five times with her strong, convincing arguments with references to the Bible – although she â€Å"graunte it wel† (line 101) the truth that â€Å"[one] does well not to marry† (1 Corinthians 7.1), as â€Å"it would be better to continue to live alone† (1 Corinthians 7. 8) as a widow, the Wife of Bath strongly believes that there is nothing wrong to marry more than once, as she always agrees with the idea that â€Å"to be wedded is no sinne† (line 57) as long as â€Å"[her] housbonde is fro the world agoon† (line 53) – according to her idea, it is of â€Å"no repreve† (line 90) and â€Å"withouten exception of bigamye† (line 92) to â€Å"wedde if that [her] make [dies]† (line 91). Despite the advices from other men, who â€Å"[keep on] [conseiling] [her] to be oon† (line 72), she is convinced that she does the right thing as there is no law that forbids her marrying, and whether to marry is up to her â€Å"owene juggement† (line 74) and decision. Her firm belief and strong arguments are, in my opinion, the results of her awareness of the law and her situation in the society, as well as her understanding of the Bible. Regardless of the higher values of maidenhood, the Wife of Bath believes that marriage is of the same importance as virginity as it is God who â€Å"[tells] us to wexe and multoplye† (line 28) and it is impossible to do so without marriage. In her argument about virginity and marriage, she likens wives as â€Å"barly breed† (line 150), which â€Å"[the] Lord Jesu [uses] to [refressh] many a man† (line 152). Such metaphor, in my view, works well to emphasize the importance of wives (â€Å"barly breed†), despite its inferiority to the purity of virginity, which she likens as â€Å"breed of pured whete seed† (line 149). The Wife of Bath, furthermore, believes that marriage suits her the best and is what she desperately needs, as it is her will to â€Å"bistowe the flour of al [her] age in th’actes and in fruit of marriage† (line 118 – 119) – it will definitely be a disaster for her if she has to â€Å"laden al [her] lif in chastitee† (line 100), despite the fact that â€Å"virginitee is great perfeccioun, and continence [is] with devocioun† (line 111 – 112), which is according to the Almighty God, the way to live a perfect life.

Teaching Project-Handwashing - 846 Words

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Shakespearean Love in A Midsummer Nights Dream

A Midsummer Night’s Dream, written in 1600, has been called one of William Shakespeare’s greatest love plays. It has been interpreted as a romantic story in which love ultimately conquers all odds, but its actually about the importance of power, sex, and fertility, not love. Shakespeare’s concepts of love are represented by the powerless young lovers, the meddling fairies and their magical love, and forced love as opposed to chosen love. These points undermine the argument that this play is a typical love story and fortify the case that Shakespeare intended to demonstrate the powers that triumph over love. Power vs. Love The first concept presented of love is its powerlessness, represented by the â€Å"true† lovers. Lysander and Hermia are the only characters in the play who are really in love. Yet their love is forbidden, by Hermia’s father and Duke Theseus. Hermia’s father Egeus speaks of Lysander’s love as witchcraft, saying of Lysander, â€Å"this man hath bewitched the bosom of my child† and â€Å"with feigning voice verses of feigning love ... stol’n the impression of her fantasy.† These lines maintain that true love is an illusion, a false ideal. Egeus goes on to say that Hermia belongs to him, proclaiming, â€Å"she is mine, and all my right of her / I do estate unto Demetrius.† These lines demonstrate the lack of power that Hermia and Lysander’s love holds in the presence of familial law. Furthermore, Demetrius tells Lysander to â€Å"yield / Thy crazà ©d title to my certain right,† which means that a father must give his daughter only to the worthiest suitor, regardless of love. Finally, Hermia and Lysander’s eventual wedlock is due to two things: fairy intervention and noble decree. The fairies enchant Demetrius to fall in love with Helena, freeing Theseus to allow Hermia and Lysander’s union. With his words, â€Å"Egeus, I will overbear your will, / For in the temple, by and by, with us / These couples shall eternally be knit,† the duke is proving that it is not love that is responsible for joining two people, but the will of those in power. Even for true lovers, it isnt love that conquers, but power in the form of royal decree. Weakness of Love The second idea, the weakness of love, comes in the form of fairy magic. The four young lovers and an imbecilic actor are entangled in a love game, puppet-mastered by Oberon and Puck. The fairies’ meddling causes both Lysander and Demetrius, who were fighting over Hermia, to fall for Helena. Lysander’s confusion leads him to believe he hates Hermia; he asks her, â€Å"Why seek’st thou me? Could not this make thee know / the hate I bear thee made me leave thee so?† That his love is so easily extinguished and turned to hatred shows that even a true lover’s fire can be put out by the feeblest wind. Furthermore, Titania, the powerful fairy goddess, is bewitched into falling in love with Bottom, who has been given a donkey’s head by mischievous Puck. When Titania exclaims â€Å"What visions have I seen! / Methought I was enamored of an ass,† we are meant to see that love will cloud our judgment and make even the normally level-headed person do foolish things. Ultimately, Shakespeare makes the point that love cannot be trusted to withstand any length of time and that lovers are made into fools. Finally, Shakespeare provides two examples of choosing powerful unions over amorous ones. First, there is the tale of Theseus and Hippolyta. Theseus says to Hippolyta, â€Å"I wooed thee with my sword / And won thy love doing thee injuries.† Thus, the first relationship that we see is the result of Theseus claiming Hippolyta after defeating her in battle. Rather than courting and loving her, Theseus conquered and enslaved her. He creates the union for solidarity and strength between the two kingdoms. Fairy Love Next is the example of Oberon and Titania, whose separation from each other results in the world becoming barren. Titania exclaims, â€Å"The spring, the summer / The childing autumn, angry winter, change / Their wonted liveries, and the mazà ©d world / By their increase, now knows not which is which.† These lines make it clear that these two must be joined in consideration not of love but of the fertility and health of the world. The subplots in A Midsummer Night’s Dream demonstrate Shakespeare’s dissatisfaction with the idea of love as a supreme power and his belief that power and fertility are the prime factors in deciding a union. The images of greenery and nature throughout the story, as when Puck speaks of Titania and Oberon meeting neither â€Å"in grove or green, / By fountain clear, or spangled starlight sheen† further suggest the importance that Shakespeare places on fertility. Also, the fairy presence within Athens at the end of the play, as sung by Oberon, suggests that lust is the enduring power and without it, love cannot last: â€Å"Now, until the break of day / Through this house each fairy stray / To the best bride-bed will we / Which by us shall blessed be.† Ultimately, Shakespeare’s A Midsummer Night’s Dream suggests that believing only in love, creating bonds based on a fleeting notion rather than on lasting principles such as fertility (offspring) and power (security), is to be â€Å"enamored of an ass.†