Face value: Subversive beauty ideals in contemporary fashion marketing

Abstract

Through five cases from high-end fashion brands, this article explores the use of models in contemporary fashion marketing. The models represent subversive beauty ideals, and the aim of the analysis is to determine whether these ‘faces’ are intended to challenge stereotypes concerning age, gender, body and sexuality or whether they are examples of marketing absorbing consumer behaviour to appeal to contemporary consumers. The research is based on fashion campaigns and runway shows in mainly luxury fashion brands in the Euro-American market in the period 2009–2012. The article concludes that while greater diversity may be a positive side effect of the use of subversive beauty ideals the stereotypes are also the prerequisite for the social strategy at play. This strategy deals with the Logic of Wrong where social distinction is created through literally doing something that is considered socially or culturally wrong.

Conceptualizing fashion styling

“…We found differential meanings among the key functions. Aesthetic-humanistic fashion styling enhances well-being and meaning-making by dressing through craft-based functions, promoting a positive body image and feeling of acceptance, thereby, improving the customer's quality of life (see Grogan 2008;Rysst 2010;Thompson 2012;MacKinney-Valentin 2013). Aesthetic-expressive fashion styling conveys meanings familiar from art in intuitive and creative, self-expressive art works (Lilley 2015) that critique such issues as the environment and prevailing norms.…”

“…Joy et al (2012) argued that aesthetics plays a key role in the transition to sustainable fashion, implying that the stylist may be one mediator in this process. However, professionals are still encouraged to social responsibility agenda and produce imagery that represents women's diverse beauty and character alongside glamour and artistry (Barry 2014) against the narrow beauty ideals that that are seen to be prerequisite for the social strategy to play (Mackinney-Valentin 2013).…”

“…According to Kaiser (2012), in materializing with changing styles of dress, fashion not only produces appearances but also conveys ideas, subject positions, and power relations. Matthews (2012) and Mackinney-Valentin (2013) noted that clothing and changes in style are always connected to human personality and identification with the group. The relationship between Conceptualizing Fashion Styling a person's body image and their experience of style is complicated and subject to pressures produced by social relationships and media messages (Damhorst 2005;Barry 2014), and the subjective experience of looking good plays a role in personal well-being (Rysst 2010;Thompson 2012).…”

A velhice na obra de Ronaldo Fraga

“…Distante de atender ao modelo de beleza jovem imposto pelo segmento, os velhos foram excluídos da publicidade de moda até o início do século XXI, período no qual começa a se perceber a presença dessa faixa etária nos espaços divulgativos das marcas. Aliando-se as tendências mundiais de representatividade, os profissionais de marketing têm investido na incorporação dos modelos mais velhos, também denominados de modelos maduros, na publicidade de moda (LOPEZ Y ROYO, 2014;MACKINNEY-VALENTIN, 2014;MENDONÇA;FERREIRA, 2014;POLLINI, 2014).…”

Crossing over with Tilda Swinton—the Mistress of “Flat Affect”

“…For further details, see: https://palaisdetokyo.com/en/exhibition/performances/oliviersaillard-tilda-swinton. 27 For a discussion of Swinton in the context of subversive beauty ideals in contemporary fashion, see Mackinney-Valentin (2013). 28 Whereas cross-dressing may or may not be read as carrying the intention of gender disguise, passing has referred to the desire to be read in ways that contradict one's biological designation of one of two "sexes"; for the problem with this kind of distinction between sex and gender, see Butler (1990) and on passing, see Butler (1993).…”