Fashion has substantial impact on today’s society due to promotion by mainstream media and immense online presence. However, the fight for recognition among the disabled has been long and frustrating. The history of physically challenged models is painfully short. In 1997, Nordstrom, a US-based department store chain was one of the first companies to embrace disabled models in their catalogue. The retailer wanted to create diversity among its customers. It has taken a while for other companies and fashion organizations to embrace the disabled. Other brands that have employed disability models in the UK include GAP, Diesel, Vasquez and Debenhams. Physical appearance of the disabled has long been considered a taboo and it was avoided in discussions at all costs. In an attempt to incorporate the disabled in the society, people talk to them with sympathy and awe instead of embracing them like normal members of the society. The same can be said about players in the fashion industry. According to Entwistle, portrayal of the human body has since been a hot topic of debate because of under-representation of many marginalized groups (2015, p.9). The fashion industry almost exclusively uses men and women above certain heights, under certain weight and of certain color. However, some brands have begun to advocate and challenge the conventional idea of what beauty entails. Demand for disabled models is gradually picking up and with the help of awareness campaigns, the industry is likely to attract a wider variety of body shapes in adverts, catwalks and magazines. For instance, the British Missing Top Model is a reality television that invites disabled models to take part in the show in order to integrate diversity in the fashion industry (Kawamura 2018, p.9). Another factor that needs to be incorporated in the industry is the representations of disabled consumers. Involving disabled models in fashion is likely to cause stir and mass conversations because consumers with disabilities are likely to agree that there is greater diversity in the fashion world and they would therefore consume more. The paper explores diversity and challenges in the fashion industry by focuses on the subject of disability. Thus, the dissertation entails a critical evaluation of whether there has been some change within the fashion industry with regard to representation of the disabled.
Literature Review
Beauty in Fashion
Neuman claims that many people maintain that disability and beauty are two topics that do not conventionally go together (2017, p.89). Ellington and Lim also reiterates that disabled people are viewed as not being physically attractive thereby not beautiful (2017, p.9). The authors argue that westernized beauty is often used as a threshold that determines and defines what beauty is. A person is considered beautiful when endowed with a slim body, flawless skin and great sexual attractiveness. Essentially, in most cases, disabled people fail to meet the set criteria thereby not considered as being beautiful. In this case, they are rendered powerless and may not fit in displays or in the fashion segments that emphasize on beauty. In particular, the fashion sector works on a singular vision of beauty. Carefully placed boundaries exclude the disabled and advocate for thin, tall and white models.
Neuman proclaims that misrepresentation and proliferation of disabled people depict a dominant able-bodied society that discriminates against the disabled. The media displays negative stereotypes by presenting the disabled as pitiable victims of tragic fate, incapable, childlike and non-productive members of the society. Neuman maintains that beauty is a significant influencer in the fashion industry and serves as a constant reminder of how not meeting this criterion disqualifies one from the industry (2017, p.76). Only a few people know the importance of what beauty is in the case of fashion models. The harsh industry puts pressure on its players to conform to absurd and unfitting beauty standards (Neuman, 2017). Display of disabled people in advertising is usually restricted to medical catalogues and disability magazines or brochures.
Beauty and Disability
According to Anderson, there are numerous stereotypical misconceptions that disabled persons have little to offer to the society (2015, p.16). The society often holds stereotypical notions about disability. For instance, people assume that individuals with significant disabilities offer no economic and social contribution. In most cases, others are even repulsed by physical impairments disregarding the fact that all beings are unique in their own ways. Anderson contends that a primary investigation of the study population shows that advertising images that utilize disabled individuals are significantly few in mainstream media publications. Cultural institutions are important in determining aspect of what the world perceives as “beauty’. According to the materialistic theory of disability, a person’s worth should be determined on the basis of what they can contribute to an economic system as a whole (Anderson 2015, p.17). Stereotyping on appearance and functionality reflects a distinct and negative commercial imagery of body attributes that are accepted/not accepted in the society. Most depictions of disabled persons in the fashion industry are not presented in a context of “natural beauty. Designers usually hire models who are they consider able-bodied (Anderson 2015, p.20). However, models with disability are taking the push to be recognized in mass media, in ads and on catwalks.
White argues that the society needs to move from beauty as being ugly or attractive to understand the aesthetics that is unapologetic and embodies the diversity in people (2017, p.7). In this case, physical impairments should shift from tragedy to being viewed as an opportunity for a different kind of discourse. There is a market niche for a disabled person that people vehemently turn a blind eye to. In her article, White asserts that there is a bright future for these less favored people in a dynamic world full of constant change and advancement of thinking (2017, p.11). Most disabled individuals are underrepresented in television programs, adverts and magazines. Recent steps towards diversity have helped but there is much to be done for the disabled to be recognized as beautiful. According to Siebers, over 10 million disabled people are residing in the UK (2016, p.45). Thus the fashion industry is ignoring the disabled at their own peril. There is a lot of negative publicity and policies that segregate disabled people from the mainstream society.
Siebers contends that inclusion should not only be about healthcare, housing and education (2016, p.49). Rather, the fashion industry should incorporate the disabled in order to boost their self-worth and identity. More importantly, a cost-benefit analysis of the market shows that this niche can be exploited for profitability purposes. There is serious power in the message of diverse beauty and self-acceptance (Siebers 2016, p.55). The deeply embedded social construction of impairment places a heavy burden on a disabled person to put more effort in a bid to fit in the social establishments. Ultimately, diversity becomes significantly underrated in this context as misconceptions seem not to fade away.
Fashion as an Art and Not Beauty
Ettinger illustrates that disability justice underpins the reclamation of beauty as a liberal process (2018, p.37). No one and nothing is disposable as beauty can be co-created. Disability and beauty are not mutually exclusive. Disability should be taken as a normal part of diversity and therefore acceptance should be advocated for. The arts by nature are innovative and forward thinking (Ettinger 2018, p.4). Equally, disability should be used as an opportunity to change ideas in a meaningful way. For disability to be considered as beauty, the fashion industry needs to find a way in which disabled individuals find validity and acceptance for their conditions. The vogue website has become diverse and it supports multicultural designers and multi-talented individuals including those with disabilities (Ettinger 2018, p.8). An important factor that should put forward is that diversity is vital and fashion is not just about beauty.
Fashion should be regarded as an art rather than beauty. Art delights the eye irrespective of its form. Even if something is depressing or sinister in a way, the eye and mind has a way of deciphering what it views. Representation of models with disabilities in the United Kingdom is paltry (Reddy-Best 2017 p.17). Often, fashion arguments for not using disability models are the same as those cited for not using any over size-10. Models should not represent walking clothes, but rather they should reflect the society. Disabled models have an identity and fan base both in social and print media. Fashion is an art form because of the artistic expressions that go into clothes (Reddy-Best 2017, p.19)
Like art, fashion is culturally relevant because it mirrors the habits and taste of times. As opposed to the argument that fashion is an artificial beauty, fashion should be seen as an artifact of culture that teaches us about our societies’ histories (Reddy-Best 2017, p.45). The line between fashion and art is thin because democratization of art and democratization of fashion can be rarely distinguished. Therefore, companies need to create adaptive clothing rather than making clothing lines for adaptive clothing. Fashion needs to focus on determining the needs of the disabled community and then expand adaptive clothing collections to suit them (Rochette, et al. 2018, p.8)
Caroll argues that fashion is an additive art where designers create products that not only covers to protect the body but also transforms and enhances beauty (2015, p.34). The fashion segment operates in a mass-market structure where consumers who are abled differently have no place in the fashion business. Kent argues that designing wear for people with disabilities is a different process when compared to the usual market segment (2015, p.7). In this case, fashion for the physically disabled people is not lucrative and popular among people.
According to Reddy-Best et al., the contemporary American culture is focused on outward appearances and intensely supports negative attitude towards those that do not fit in their definition of beauty (2017, p.67). Unfortunately, showcasing disabled people is only meant to reflect on assistive devices and innovation rather than presenting and communicating how beautiful disabled people are. Medical limbs are transformed into fashion and displayed for the public to see shifting the focus away from beauty to innovation as an additive art (Kent 2015, p.56).
Freedom in Fashion
Thompson argues that people with disabilities are often left with minimal fashion choices as opposed to normal people (2015, p.45). According to her study, there are very few mainstream clothing associated with physical disability. As a result, disabled people are left with minimal choices and opportunities to display their capabilities in the industry. The problem lies with the embedded notion that physical impairment is a problem in the society. Thompson argues that the stereotypic belief is further perpetuated by the lack of desirable clothing that suits the impairment and can compete or level out other clothing (2015, p.45). In the end, despite numerous efforts being made to close this bridge between impairment and capability, the industry still does not give equal freedom to disabled people as it does with their counterparts (Rochette et al. 2018, p.78).
Despite the apparent freedom that people share in the society, disabled people are still not free to fully make their own decisions and choices. Instead, nearly everything is determined by circumstances or perception from others (Thompson 2015, p.56). Shah explains that there are lame policies and initiatives that allow disabled people in the mainstream system that supports their aspirations and choices (2016, p.19). There are always constant constraints that will continue to undermine their capabilities and self-worth.
The society seems to be affected by the fashion industry with respect to body image. In other words, the confidence and happiness of people are determined by the industry’s definition of what beauty is. According to Smith, approximately 70% of women feel disheartened after viewing at a fashion journal for 3 minutes (2017, p.45). The rates and facts are alarming further stating that the industry has a lot of negative impact on people. Instead of the industry enlightening its audience, it oversteps its mandate to create a poisonous culture of the mind. The society is now filled with misconceptions of how beauty should be defined and looks through body image. Therefore, disabled people feel challenged to conform to the set standards in order to participate in the society (Van 2015, p.46). The author believes that it is the responsibility of the industry to change this negative attitude by celebrating and recognizing diversity as it is represented by the society. While everyone is to blame for shunning the disabled, there is much work to be done in the industry rather than making money. In fact, it should be their responsibility to accommodate contemporary cultures and revolution where everyone is included (Shah 2016, p.78).
There should be no limitations as to how fashion is perceived. Fashion is all about perspective and should not be defined by something specific (Kawamura, 2018). While others view it as glamour, fame, and popularity, others strongly believe that fashion is about clothes and beauty. Disabled persons are not satisfactorily represented by ads or in modelling. Beauty has been constructed in a narrow manner where its rigid hierarchy does not give physically impaired people the opportunity to be valued as being fashioned or elegant (Thomson, 2017). Therefore, being fashionable is not just about the physical appearance but also the confidence, creativity, and intelligence a person has. While no one deserves to be left out, change remains to be inconsistent within the industry. Much of the old guard still opposes change while the standard of qualification continues to demand more (Soares 2016, p.67).
Change in the perception of Disabled People in the Industry
While fashion has been rigid throughout with a particular interest in the physical appearance of a person, recent trends suggest possible flexibility in the future. The society will stop associating the industry with beauty to accommodate other uniqueness and personalities (Entwistle 2015, p.8). According to Twigg, fashion is gradually changing to accommodate later life identities as opposed to its rigid standing on youthfulness and beauty (2018, p.17). The changing nature will lead to the emergence of more identities that would be appreciated and fit into the norm of fashion.
Undeniably, Esmail et al. suggests that clothing is important and influences the society is perception of inclusion of people with physical disabilities (2018, p.45). Textile enhancements and modifications for the physically impaired are progressively not only being used in sports but also as an expressive art in fashion. Even though clothing is an important aspect of the industry, the societal perception has a significant role to play in the inclusion process. In this respect, the influential role that clothing could have on physically impaired people is impeccable. The application of enhanced clothing has been well documented in sports but very little has been applied to everyone living with disabilities (Esmail 2018, p.99). The review further suggests more research to be carried out on the effectiveness of clothing in including disabled people as part of fashion. Clothing should not only be used as a necessity to cover bodies but also to communicate fashion among disabled individuals. Fashion is an additive art that transforms or enhances the outward appearance of a person (Bartsch et al. 2018, p.5).
According to Soares et al., the disabled community should have an open inclusivity on a social level that addresses problems related to garments, services, and fashion (2016, p.58). The paper intends to exhibit a platform that is dedicated to creating awareness of powerful data analytics that would help disabled citizens. The awareness would enable and encourage producers of fashion products such as footwear and providers of services within the industry to pay attention to disabled people as they have been neglected for so long (Bartsch et al. 2018, p.6).
The perception of fashion is gradually changing with one of the most drastic changes being disabled models showing themselves off to the society as an additive art (Bradley 2015, p.36). Still, a lot needs to be changed with respect to full inclusion without ignoring the disabled at their peril. The negative energy that physical impairment restricts potential is visible despite them being very capable of living independent lives and earning decent incomes. Inclusion is not just good healthcare but also about identity and improving self-worth, which is at odds with what the industry is about. In 2016, Madeline Stuart made her runway debut as a model with Down Syndrome. By debuting her own label, she showed the world that any disabled person deserves to have hopes, dreams and aspirations (Esmail 2018, p.12). Another example of a model with disability is Jillian Mercado. She is diagnosed with muscular dystrophy but she was chosen as a model for Beyonce Knowle’s apparel line. She proved that even wheelchair bound women can succeed in the fashion Biz (Esmail 2018, p.12).
At its focus in this new age of advancement, the industry should be concerned about forward-thinking and new manners of expression. What industry players do not understand is that shedding old paradigms allows these individuals to feel respected and admired. In fact, allowing different forms of expression without discrimination makes people shop more. In return, revenue drawn from total inclusion would be higher than before (Kent, 2017). Essentially, everyone should be proud of how they are and improve their self-acceptance since perfection never really exists. The true beauty of life is embracing one’s individuality rather than putting efforts in conforming to pre-determined twisted fashion sets for everyone (Kent, 2017). Inclusivity is not only a moral duty but also something that our society urgently needs.
Conclusion
From the review, it is clear that traditional beauty focuses on certain aspects that isolate diverse groups of the population. Without meeting certain criteria, most aspiring models are disqualified from the fashion industry. Consumers with disability want diversification and normalcy to be advocated for by conventional media. From the analysis, it is clear that fashion has its flaws because of the profound insensitivities and inadequate cultural appropriation. Etinger equates fashion to art and not beauty. Equally, Reddy-Best argues that fashion needs to expand to adaptive clothing in order to suit the disabled. Like art, fashion should incorporate diversity in order to enhance beauty. One challenge cited in the review is the minimal availability of fashion choices targeting the disabled. Moreover, stereotyping and miss-representations pose a big challenge to the success of the disable in the fashion biz. Despite these challenges, the literature review contends that the fashion segment is gradually becoming more inclusive and diverse. Esmail claims that inclusion is the overall solution. Moreover, forward thinking and new ways of expression should be incorporated by industry leaders. The main gap that needs to be addressed is awareness. There is a need for enlightenment in the form of campaigns, catwalks and empowerment. In order to change negative attitudes towards disabled people, a large extent of positive publicity should be done by the fashion industry. Long-term campaigns involve changing laws, police and structures in the industry. According to Thompson, being fashionable should not be about physical appearance. Rather, more emphasis should be put towards confidence, creativity and intelligence. He argues that there is a promising change in the fashion and sabeauty industry but more awareness campaigns should be sponsored by top fashion corporations.
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