People have long since questioned what “beauty” entails, but even in

the present day there is neither a definitive definition nor a

shared vision. According to O’Riordan (2008) beauty is subjective

and going on the popular statement that ‘beauty is in the eye of the

beholder’ it cannot mean the same to all people. Indeed, we all

appear to have different conceptualizations of what beauty is.

Beauty can come in many forms; for instance it can be physical,

internal, intentions or personality. But for me this is where

society, influenced by the mass media, has got it wrong, with them

having a narrow perspective on beauty. In fact, Thornhill and

Gangestad stated that

Human faces are judged to be attractive by the media, almost always

possess the two features of averageness and symmetry

(Thornhill and Gangestad, 1993)

This is regarded to provide visual pleasure and satisfaction.

However, rather than simply following the media’s interpretation of

what beauty is, people should instead be asking which of these

aforementioned beauties is the most important?

Throughout recent history we have seen the media portray different

kinds of beauty. Thornhill and Gangestad (1993) again highlighted

that the media’s take on what beauty is has changed and evolved

through different eras, despite always being solely related to

physical appearance. For example, in the 1950’S everyone wanted

Marilyn Monroe’s hourglass figure, then in the 1960’s Twiggy Lawson

boyishly thin frame became the standard for the ideal body image.

Such examples further reinforce the comment that the media may be to

blame for the perceptions society has on beauty.

Is this perfect?

Figure 1: “Russian Barbie Doll”, Valeria Lukvanova, by Laura Cox (2012) is this beautiful?

On the All Walks photoshoot, we wanted to change the perception of

beauty, in order to do this we need to accept all the disabilities

that make people beautiful.

Disability had been until recently somewhat neglected within both

mainstream sociology (Ingstad and Whyte, 1995) and humanities

(Mitchell and Synder, 1997).

The model selected was the crucial element in communicating our

message. This is why we opted for a model who suffers with

Osteogenesis Imperfecta. This is a genetic condition present from

birth, where the subject suffers from fragility and results in the

bones being liable to fracture at anytime even without trauma

(Brittle Bones Society, n. d.). This condition meaning that the

sufferer will not enjoy a normal growth span. The model represents

that disability isn’t portrayed and accepted in the fashion

industry, the objective of this photoshoot is to show that people

with disabilities are beautiful, as editor of Marie Claire, Marie

O'Riordan stated;

“A disabled model, by definition, will be more memorable in a photo

than an able-bodied girl”

(O’Riordan, 2008)

When watching Paralympic Aimee Mullins TED talk on the “Opportunity

of Adversity”, the following words were used to describe disability;

crippled, Helpless, useless, wrecked, mangled, weakened, paralyzed

Webster (1982). With these words were being described in the 1980’s

show that disability was seen as a negative even then, hoping that

these words would have changed, in the updated thesaurus it still

carried a spiteful view on disability; deaf, blind, lame, immobile,

sick, unwell Webster (2009).

Language is a barrier in terms of how we now view people, having

words to describe people’s disability in a cruel and demoralizing

way, surely will not be encouraging people to think differently of

disabled people?

Dazed and Confused magazine was hugely inspirational in terms of

picking our model; Alexander McQueen was the man behind the

attention-seeking, publicity stunt photoshoot “Fashion Abled” in

1998. Featuring eight differently enabled models with clothes

created by McQueen and others. Their message was simple, to show

disability also being regarded as beautiful. With legendry

photographer Nick Knight shooting the shoot, the photos taken by

Knight were not targeted at the shock value nor were they

distasteful. The photos were classy, but unapologetic - the photos

oozed coolness and seduction. Using a high profile magazine with two

of the fashion industry favorites can ‘inspire a generation’, and

for the fashion world, to be seen as more explicit rather than

unspoken.

Figure 2: “Fashion Abled” cover by Dazed and Confused (1998)

Figure 3: “Fashion Abled” photoshoot, by Alexandra McQueen (1998)

Figure 4: “Fashion Abled” photoshoot, by Alexandra McQueen (1998)  

Figure 5: “Fashion Abled” photoshoot, by Alexandra McQueen (1998)  

Figure 6: “Fashion Abled” photoshoot, by Alexandra McQueen (1998)  

Following on from the fashion industry using disabled models, the

bold reality show, Britain’s Missing Top Model was again hugely

inspiring. Popular show “Americas Next Top Model” did a spin- off,

instead of it just centering around a fashion contract, this show

showcased eight women with disabilities – the prize being their

shoot published in Marie Claire magazine. “Missing Top Model” was to

break the narrow mold that the fashion industry had become

associated with and to help raise the profile and confidence of

disabled women.

“It shows women who physically are imperfect competing in a

profession that is the most demanding of having physical

perfection.”

(Stanley, 2009)

Figure 7: “Britain Next Top Model Contestants” by BBC 3 (2008)

In my opinion in order for this program to work and make a

significant difference, I feel the judges, and industry as a whole,

should be totally supportive to the disabled contestants. Emilia

Troubridge, a photographer, was doing a photoshoot with Kelly Knox,

who was born without a left forearm. Troubridge stated;

“A woman without part of an arm presented a problem for me, as I

have to create a photo of perfection, of beauty and of fashion”

(Troubridge, 2008)

For me this is not understanding of the girl’s disability and adopts

a completely negative view. If we were accepting Kelly’s disability,

having no left forearm should be accepted with it too. Having the

attitude of photographers like this, how will society ever accept

disability if it is never exposed?

Figure 8: “Sophie Morgan Poses Nude” by BBC 3 Britain’s Missing Top Model (2008). Image is shadowing the wheelchair; this could be seen in a negative way, by being hiding Sophie’s disability, or a positive way, showing that her beauty should come before her disability

The winner was photographed by magazine owner of Hunger – Rankin,

who spoke of shooting a model with a disability;

"It's a great challenge for me to be able to take photographs of

someone who has a disability. It's not a big thing to do, but within

the fashion world it is quite a big step" "I like people to not be

perfect. So for her to have this unique quality, for me it's

something that I want to show in the image. I don't want to hide it.

I want to get it out there and show it - in my way. I find it

attractive, and I want to put it in the picture. I think it's really

beautiful."

(Rankin, 2008)

Figure 9: The winner “Kellie Moody” by BBC 3 Britain’s Missing Top Model (2008)

Aimee Mullins who featured in the “Fashion Abled” shoot was where

our image creativeness emanated for the photo-shoot. As seen in

figure 10 Aimee doesn’t have any lower limbs, the fact that the

photo embraced her disability in a striking pose, really portrays a

powerful message. This is the intensity of the shot we wanted to

capture and the message being - the models disability doesn’t own

her, but she owns her disability. Her beauty is her inner strength.

Figure 10: “Aimee Mullins – Fashion Abled” by Alexandra McQueen (1998). Our inspirational image for the photoshoot

The ‘mise en scène’ was to have the model filling the front space;

this was to create emphasis on her height and also to create a more

powerful photo –similar to the Aimee Mullins shot. It showcased that

the model isn’t afraid to show her disability and shows confidence

to the fashion world that they should accept her for who she is.

This is why the costume, makeup, props and background was simple and

minimal, as using this strong and effective pose it emitted

conviction, we didn’t need want to distract from our message, as you

can see from our final image below.

The lighting used was focusing on bold shapes created by strategic

lighting. Dark studio lighting helped us create this, with just a

top light focusing on the models face and body. We felt this was

shown better using black and white saturation. This worked well for

us, highlighting her legs, which were posed in a simple but yet

potent way.

The models gaze say it all, almost saying, “I am me”. This was

important that the model reflected this, as the confidence shown in

wanting to make a change, makes the photo look more believable and

for the fashion industry willing to change. The photoshoot was set

to be clean and precise, with the model rightly taking centre-stage

If we were repeat the shoot, I believe that the image could be even

more thought-provoking still, but admittedly, at the risk of

attracting controversy. The composition at the end looks self-

assured, but whether it shows a strong enough message of diversity

for the fashion industry to change its views on disability remains

subjective.

In conclusion, after researching into disability I have found people

with disabilities are only used in style magazine as a one off, if

these magazines are meant to be the future of fashion, then why

aren’t they used more? It makes me question, what does it mean to

have a disability? People these days are opting for prosthetic

surgery, yet, that is regarded as beautiful in society. However, a

disabled person with prosthetics would still be regarded as

disabled. Beauty is people desiring an enhanced and flawless look.

In order for this to change we need to target the younger

generation. These are the people who, if we can remove the stigma,

are going to make a difference to future generations. With body

image imprinted in them as early as 6 years old (BBC 2006), it shows

these are the generation that are least accepting of change in the

industry and are dismissive to anything considered “different”.

References

Angelo, M (1928) Quotes on Writing [online] available from

<  https://webapps.wku.edu/ctl/quotes/bywriting.php> [n. d.]

Brittle Bones Society n. d. Information about Osteogenes is

Imperfecta [online] available from

<http://www.brittlebone.org/about-o.i.html> [n. d.]

Hocking, J. and A. James. 1993. Growing up and Growing Old: Ageing

and Dependency in the Life Course, London: Sage.

Ingsta, B. and S. R. Whyte, eds. 1995. Disability and Culture.

Berkeley: University of California Press

Mitchell, D. T. and S. L. Synder, eds. 1997. The Body and Physical

Difference: Discourses of Disability. Ann Arbor: University of

Michigan Press.

Moody, K (2008) Britain’s Missing Top Model [online] available from

< http://www.accessible-news.co.uk/reviews1.html> [20 December 2008)

O'Riordan, M (2008) Can a disabled model make it in fashion?

[online] available from

<http://news.bbc.co.uk/1/hi/magazine/7481784.stm> [1 July 2008]

Rankin, J (2008) Britain’s Missing Top Model [online] available from

< http://www.bbc.co.uk/missingmodel/news/050808_rankin.shtml> [5

August 2008]

Stanley, A (2009) Disabled, and Seeking Acceptance in Fashion

[online] available from

<http://www.nytimes.com/2009/12/01/arts/television/01model.html?_r=0

> [30 November 2009]

Thornhill, R. and S. W. Gangestad. 1993. Human Nature: Volume 4,

Issue 3, page 237-269

Troubridge, E (2008) Britain’s Missing Top Model [online] available

from

<http://www.accessible-news.co.uk/reviews1.html> [20 December 2008)

Image Referencing

Figure 1: “Russian Barbie Doll” (2012) by Laura Cox in The Daily

Mail 2012: online

Figure 2: “Fashion Abled” (1998) cover by Dazed and Confused 1998:

online

Figure 3: “Fashion Abled” photoshoot, by Alexandra McQueen 1998:

Dazed and Confused Magazine

Figure 4: “Fashion Abled” photoshoot, by Alexandra McQueen 1998:

Dazed and Confused Magazine

Figure 5: “Fashion Abled” photoshoot, by Alexandra McQueen 1998:

Dazed and Confused Magazine

Figure 6: “Fashion Abled” photoshoot, by Alexandra McQueen 1998:

Dazed and Confused Magazine

Figure 7: “Britain Next Top Model Contestants” by BBC 3 2008: online

Figure 8: “Sophie Morgan Poses Nude” by BBC 3 Britain’s Missing Top

Model 2008: online

Figure 9: “Kellie Moody” by BBC 3 Britain’s Missing Top Model 2008:

online

Figure 10: “Aimee Mullins – Fashion Abled” by Alexandra McQueen

1998: Dazed and Confused Magazine

Bibliography

Davis, J. M, James, A, Christiensen, Watson, N. and Cunningham-

Burley, S., (2000) Learning the lives of disabled children:

developing a reflexive approach. London: Falmer Press.

Davis, J. M. (2004) Disabled and Childhood: Deconstructing the

Stereotypes. London: Sage.

Davis, J. M. (2003) Diversity and Difference YES Forum/TCS

Conference. Liverpool: November 2003 (presentation).

Goffman, E (1974) Stigma Notes on the Management of a Spoiled

Identity. London: Touchstone

Ismail, S (2012) Why disability history should be on the school

curriculum [online] available from

<http://www.guardian.co.uk/social-care-

network/2012/sep/26/disability-history-school-curriculum> [26

September 2012]

 “One thing never changes in the beauty industry, however: an ounce

of fat is a greater hurdle than a missing limb “

Stanley, A (2009) Disabled, and Seeking Acceptance in Fashion

[online] available from

<http://www.nytimes.com/2009/12/01/arts/television/01model.html?_r=0

> [30 November 2009]

Studies on disability was also linked to ageing, where it was

represented under the heading of “Dependency” (Hocking and James,

1993), this shows that ageing had become a negative association

(Featherstone and Wernick 1995).

Webster, M and Laird, C, G (1982) Webster’s New World Thesaurus.

Penguin Books Ltd; Reissue edition (Dec 1982)

Webster, M (2009) Collegiate Dictionary & Thesaurus 2009 Edition.

London: Merriam-Webster