Dissertation- By Scarlett Davison

(Front page) Figure 1- Hannah Panchenko 2020 and primary image.

Scarlett Davison Sheffield Hallam University Fashion Management and Communication The candidate confirms that the work submitted is their own and that appropriate credit has been given where reference has been made to the work of others.

Word count: 6547

Figure 2 - Carlota guerrero 2020.

Acknowledgements I would like to thank my family for the ongoing support throughout this dissertation. I would also like to thank Ben Whit for his opinion and insight into the world of plus size male models within the fashion industry and all participants who took the time to answer my survey.

Abstract

Chapter two

Bibliography Figure 3- Karlo Gomez 2021.

Five key words

Chapter three

Methodology

Chapter four

Image referencing

Chapter one

Conclusion

Appendices

Body image is potentially one of the most current and relatable issues within society today.

In this dissertation, the aim is to investigate how industry has affected societies perception of their body and the pressure placed on individuals to look a certain way. The intent is to also analyse the potential influence of social media and how that has supported, and hindered, societies perception of their bodies.

Finally, it will cover the future of the body positivity movement and how brands can adapt to become wholly inclusive.

Figure 4,5,6,7,8,9 - sunday morning view 2021

1

2

Figure10- Vivian Hoorn. 2020.

3

4

The purpose of this dissertation is to outline if the fashion industry has helped or hindered society’s perception of body positivity and this is therefore the microenvironment. The macro environment for the dissertation topic is diversity. In this essay, there will be primary research such as surveys and interviews and secondary research such as quotes from books and newspapers to support my dissertation title. Due to the fashion industry being highly influential to society, in terms of how to look and what to wear “they are still being influenced by fashion…, even if they aren’t aware of it” (Magazine, H. ,2016), how brands chose to present themselves is extremely important.

The chapters within this dissertation will each aim to explore a particular topic. The first chapter investigates if the high street and online stores have developed as brands to become more inclusive with their sizing and if there are any gaps that need to be filled. It also investigates luxury fashion brands for the same reasons. Chapter two explores the topic of social media and how celebrities and influencers have a great hold over impressionable members of society, so how they present themselves can affect how individuals look at their bodies. The chapter also touches on how social media can be used in a positive way to help support body positivity within society. The third chapter investigates if plus size men receive as much support by industry and society as plus size women and the brands that are trying to make a change. The final chapter investigates how the brands within industry are evolving and as a result, what the future could bring for the body positivity movement.

made on two different applications, Free online surveys and Survey Monkey. The document consisted of ten questions, seven of which could be answered with the options of “yes”, “no” and “not sure”; this was so the participants opinions were clear and easy to analyse. The other three questions acted as qualitative data and were used so participants could elaborate on their answer to the pervious question and therefore gain a more in-depth description of their view. The questions created in the survey were not only to relate to the dissertation title but were also used as evidence to support key points within the chapters. The questions created in the survey were not only to relate to the dissertation title but were also used as evidence to support key points within the chapters. The survey was shared on multiple social media sites in order to gain maximum responses and was therefore able to strongly support arguments being made throughout the dissertation. The results were collected and put into graphs to clearly visualise the outcome.

For the primary research, both quantitative and qualitative data was used in this dissertation to cover any gaps that could have arisen. A way in which quantitative data was collected for this dissertation was by creating a survey, which was Figure 11- Eli Russell Linnetz 2018

5

6

Another way in which quantitative data was collected was through an Instagram poll which was conducted for additional questions that were used to support certain areas of the dissertation.

An interview was conducted for the qualitative data and therefore detailed information could be used throughout the dissertation. The interview with plus-size male model Ben Whit included questions revolving around the topic of plus-size males within the fashion industry and how they are often overlooked.Due to the interview involving a male model, it is likely to gain more of an understanding of how they feel represented within the industry, as it could be said that body positivity is revolved around women.his therefore gains more information for the dissertation whilst also closing gaps within the research. The interview was conducted via email and a consent form was sent prior so that the participant knew that his information was going to be used.

Using the three methods mentioned above meant that a large amount of evidence could be used to support the essay title and fill any gaps that could occur. For the secondary data, the articles, books and quotes were all from reputable sources such as left-wing newspapers, reliable fashion documents, industry specialists and academic reports. Other pivotal research includes quotes from self-help expert Vex King in his book “Good Vibe, Good Life” King, (2018).

The key individual whose work inspired the dissertation topic was Stephanie Yeboah, an award winning, author, journalist and advocate for the plus-size community.

Figure 12- Pintrest 2020.

Figure 13- Pintrest 2020.

7

8

Would you feel disheartened if you saw your sizes under the label plus size?

This chapter investigates what the high street, online and luxury brands have done to help support the body positivity movement. It also aims to explore if there are any gaps that need to be filled.

When researching online and high street stores, it was a common theme for them to have a “curve” or “plus” category. Similar online brands, such as Pretty Little Thing, Missguided, ASOS and Boohoo pride themselves on being inclusive with their customers “Fashion retailer Boohoo has been praised… model’s stretch marks are proudly on display.” (Wynarczyk , 2019) and have multiple ranges to suit each body type.

Due to these online stores targeting Gen Z, they must learn and adapt to what this accepting and inclusive generation believe in. They are “passionate about diversity and inclusion” (Miserany, 2020) and so brands need to stay current and involved within this microcosm of society if, they want maximum sales. Furthermore, the sportswear brand Nike has introduced “mannequins that represent different body types” (Baram, 2019) this is a progressive step forward for Nike as advertising their sportswear on a range of models relays the idea to consumers that anyone can be a part of their brand. The examples above support the idea that high street and online stores are making a conscious effort to support consumers of all sizes.

label. The survey therefore supports the brand Universal Standard and this in turn suggests that the fashion industry is supporting the body positivity movement .

However, it could be said that some brands may not be fully committed to the cause, as the online brand Missguided has recently been scolded for using an image of a size 8 model to advertise their “plus size clothing” (Ritschel, 2020).

Using a model who is not classed as plus-size to advertise plus-size clothes not only affects how society looks at themselves and how their size is being portrayed, but also segregates plus size consumers from their brand, as these consumers are not seeing models that look like them in the clothes that are being advertised.

One brand that is going out of their way to support the body positivity movement is Universal Standard, who do not include size ranges but instead sell every item of clothing in sizes 4XS4XL. Sixty-eight out of the eighty-six participants who took part in the survey revealed that they would feel disheartened if they saw their size under the “plus-size” category (see appendix).

This supports the idea that the removal of ranges would be a positive step forward for brands, as the results from the survey imply that society could feel offended by being placed under a Figure 14- Pintest 2020.

9

Yes No Not Sure Although this occurrence has only happened once, it suggests that these online brands still need to make crucial changes, such as using plus size models to represent a majority within society, if they want to become more inclusive. .

It is said that young women are most likely to be “influenced negatively by images” (Mair, 2018) and so this supports the idea that such mistakes can be extremely damaging to this group within society and so it is important that brands make sure that their advertising is accurate and representative of the consumers who will be buying their clothes.

When asked in the interview if industry (for example fashion brands and social media) could do more to promote body positivity, the plus size male model Ben Whit stated “Absolutely” and went on to say that brands and social media are “two of the most influential platforms in current times” if they were to make more of a conscious effort to support the plus-size community it, “would be massive” (Ben Whit, 2020) (see appendix). This insight from a plus-size model within the industry supports the idea that the fashion industry has a huge influence and effect on society and so to use its platform to support the body positivity movement, could be 10

a breakthrough in terms of breaking the standards society have set to look a certain way.

Generally, Missguided, Boohoo and Pretty Little thing all base their plus-size clothes on size 16 models. Currently in the UK, “a dress size 16” (Hosie, 2017) is the most common among women so to use models of this size and call them “plus-size” would not be a true representation of the plus-size community. Moreover, the largest size the brands above supply is a 30, with most only going up to 24-28. This leaves out a whole range of consumers who cannot find their size in the “plus size” category. In the survey, six participants suggested that brands should remove ranges and “the term plus” and instead sell items of clothing in a large range of sizes.

One participant said that words such as “plussize” is “branding sizes in a negative way” (see appendix). Removing the term, along with adding a larger range of sizes, could be a solution for many brands to take on, as removing labels would make them more inclusive as consumers would not be placed into categories.

With slim models filling their runways and magazine covers, it could be said that luxury stores are not as accepting when it comes to including a more diverse size range. In a study carried out by Mintel, it found “(68%) shoppers agree that there should be more designer fashion items available in plus sizes” (Mintel ,2019).

This study supports the idea that luxury fashion brands could do more to be inclusive with their sizing, as the results clearly imply that there is a gap in the fashion market for luxury plus size clothing. Furthermore, an executive at a luxury fashion brand vocalized a reason as to why brands should not promote plus size clothing, stating “being overweight is not very healthy” and continued to say “its not a healthy image to be putting out there” (Schiffer, 2017). Opinionslike the one stated above that are coming from key individuals within luxury brands, suggests that change is less likely to occur as they believe promoting plus size clothing is an unhealthy image for their brand.

It could be said that these individuals have a certain amount of responsibility of how that brand is portrayed and what products that brand will produce. Due to this, if these individuals believe that plus-size clothing will not work for their brand, they will not supply it. The results from the survey show that sixty-nine out of the eightyfive participants believe that luxury brands are behind the times when it comes to size inclusivity (see appendix). This supports the idea that there are still gaps that luxury fashion brands need to fill and suggests that many consumers believe more needs to be done in terms of size inclusivity within luxury brands.

Figure 15- Riley Hemson 2020.

11

12

However, it seems that some brands are making a conscious effort to acknowledge the current issue of size inclusivity. For example, the Italian brand Versace included the “first plus-size models” (Ting ,2020) to ever walk in any of the brands shows. Although it could be said that Versace could have done this sooner, the fact that a prestigious luxury fashion brand is making these changes is important and it is setting an example for similar brands to follow. Another brand that is making changes is Dolce and Gabana who announced that it “would be extending its womenswear range to an XXL.” (Mintel, 2019).

This supports the idea that some luxury brands are heading in the right direction and are supporting the body positivity movement by making their brand more inclusive. However, it is also clear that there are gaps to fill and that there is still a way to go to reach a place of equality. The sooner these brands acknowledge the potential of broadening their sizing the closer they will be to doing so.

Figure 16- Sunday morning view 2020.

13

14

Chapter two investigates how social media could be a contributing factor as to why individuals within society have a negative opinion about their bodies. It will explore how much of an influence celebrities and influencers have on society and what can be done to make social media a more honest and accepting environment.

Social media is a huge part of life today, especially for Gen Z. Celebrities and influencers upload to social media platforms such as Instagram every day, either promoting a product or simply posting a picture of themselves. An influencer’s job is to “tap into core human interactive needs” (Barker, 2020) and so it is fair to say that these influencers have a substantial impact on people’s lives. An account on Instagram called “CelebFace” has been created which posts side by side images, one is the photo of which celebrities have uploaded and the other is the original image. It is made clear that digital alterations have been made by the influencers in ways such as applying filters to their face or tweaking parts of their bodies. It is an influencer’s job to have an impact on people in terms of what they should buy or what products they should use.

As previously mentioned in chapter one, young girls are most likely to be “influenced negatively by images” (Mair, 2018) and so these impressionable members of society who follow these influencers are likely to look at the images they post and want to look like that themselves, even though the photos are not a true representation.

In an interview conducted with plus size male model Ben Whit, he stated that social media promotes certain things “towards you that have you doubting whether your good enough to be in society” (Ben Whit, 2020) (see appendix). This statement therefore reinforces the idea that social media could be a contributing factor as to why society looks at their bodies in a negative way. In a survey conducted, the results showed

Do you think social media negatively affects how we view our bodies?

that eighty out of eighty-five participants believed social media negatively affects the way we view our bodies (see appendix). This result from the survey is another piece of evidence that supports the theory that social media plays a role in society not being confident within their skin. Furthermore, the results from the survey support the idea that these role models are not helping to support the body positivity movement, as they are portraying a false ideal of how beauty should look and are editing their bodies to fit standards which may not be realistic to reach. In addition to this, the author and self-help expert Vex King supports the idea that social media can, on occasion, be a toxic environment. He claims that media platforms are “playing on our insecurities” and that “it’s hard not to compare ourselves with others.” (King, 2018).

With pictures of friends, role models and even strangers filling up timelines on social media, the points above suggest that it is virtually impossible for some members of society to not compare their body to someone else’s. This implies that social media could be a negative tool and is a contributing factor as to why some individuals do not feel confident in how they look and therefore hindering the body positivity movement.

Yes

On the one hand, it could be said that some influencer’s use social media in a negative way, they could redeem themselves by taking positive steps to make social media a more honest and accepting place. In an article from the Independent said that MPs are asking the government to consider “introducing a bill” which would mean that users would need to “display a warning notice on digitally-altered images.” (Gallagher, 2020). This would be a huge breakthrough in the body positivity movement as “social comparison with regard to appearance could be a serious issue” (Mair, 2018) so celebrities and influencers would either must state if they have 15

16

No

Not sure

digitally changed how they look, or not edit the images at all. Not only would this hopefully help society distinguish fake images realistic ones, but it would also start to abolish societies standards of looking a certain way. The survey found that seventy-five out of eighty-seven participants believe that celebrities and influencers should state if they have digitally altered their images (see appendix), implying that the bill would be a positive step forward in making social media a safer and more inclusive environment. Introducing the law reinforces the idea that society is heavily affected by social media, so, making this change would support the body positivity movement, as it is reducing the possibility of society comparing themselves to images that are not completely authentic. This indicates that the law will have a positive impact as a majority of people would feel more confident within themselves if they could see that influencers are no longer insinuating that the images they post are completely untouched.

Figure 17- Sunday morning view 2020. Figure 18- Sunday morning view 2020.

17

On the other hand, it could be said that it is unfair to say that all celebrities and influencers only show themselves in their best light. This year, the “Instagram verses reality trend” (Macauley, 2020) has become more of a common practise. It involves users posting two images side by side. The first is of themselves posed and using their best angles and the second is a relaxed and more realistic representation of how they look on a day-to-day basis. The idea of the trend is to demonstrate “that what we see on our screen isn’t always as it appears to be” (Macauley, 2020). Some users have taken part in another trend called “reality verses reality” (Back, 2020) the meaning behind this trend is to demonstrate that “flexed, posed, or relaxed – our bodies are still our bodies, and they’re perfect in any form.” (Macauley, 2020). The two trends above support the idea that social media platforms (and those who use them) are taking he right steps to make society feel more body 18

confident, therefore supporting the body positivity movement. The results from the survey previously mentioned, shows people believe that social media has a negative effect on how they view their bodies. This means the more these social media trends emerge, the more likely it is that society will not associate social media with the negative view they have of themselves, and therefore become more accepting and body confident.

Moreover, there are multiple social media accounts that have been created for the sole purpose of helping individuals become more confident within their bodies and “The Fat Zine” is one of these accounts. The Fat Zine sells multiple creative outcomes including a small magazine, calendar, portraits and collages all of which have been created by plus-size members of society. The account states that the zine is “by fat people for fat people & anyone who cares about them.” (The Fat Zine, 2020). The principle of the account is to support and admire those individuals within society who do not receive as much appreciation for how they look.

This is one way in which social media can be used as a positive tool to help millions of people feel more secure in themselves and realise that everyone has different shaped bodies that should all be embraced and celebrated. Furthermore, the statement from The Fat Zine’s summery conveys a clear and bold message in support of acceptance towards plus-size members of society. The account not only reclaims the word “fat” to rid it of its negative connotations, but also allows those who struggle with their body image to have a safe and accepting place to look at others who have a similar body type as them. This again suggests that social media can be used in a positive manner to support those who struggle with body confidence.

This supports the idea that the body positivity movement could thrive on social media if it is used in a safe and supportive way.

Do you think celebrities/ influencers should clearly state if they have digitally altered their photos? %

100 75 50

25 0

Yes

Figure 19-Btritney Lee 2020.

No

Not sure 19

20

Figure 20- Missguided 2020

21

22

This chapter aims to explore if brands cater to the needs of plus size men and to investigate if they are supported as much as plus size women within society or if the genders are not treated equally. The chapter will also explore if more could be done by brands to be more inclusive.

Similar, to chapter one, it would be unfair to suggest that online stores have not tried to cater to the needs of the plus-size community, as brands such as ASOS and BoohooMAN have plus size ranges on their websites. The items in the plus size section from brands such as Next, ASOS and BoohooMAN on average go up to a 5XL with some pieces of clothing on ASOS going up to a size 6XL. This suggests brands within the fashion industry are making changes to become more inclusive and thus supporting the body positivity movement for plus size males, as they have made larger sizes available to fit a range of consumers. Furthermore, it has been reported that modelling agencies have seen “a rise in interest in bigger male models”. This statement is apparently because more brands such as those mentioned above have “started to cater to men in larger sizes.” (Perraudin, 2019). This statement supports the idea that the fashion industry is making the right choices to be more inclusive and therefore implies that brands are becoming a part of the body positivity movement. The statement also suggests that plus sizes males could potentially have an equal amount of support as plus size females within society as it is becoming acknowledge by brands that there are gaps to be filled and in response, a more varied size range has been introduced.

One brand that has made a conscious effort to include plus-size men is Savage X Fenty, created by the singer Rihanna. The brand sells a range of underwear for men and women in sizes XS to 3XL to cover a range of body types.

Primary image

23

24

Rihanna has been praised for aidingthe “normal isation of plus-size male body types” and the brand has said to have “set the redial on size” (Elan, 2020).

This supports that idea that some brands within the fashion industry are supporting plus-size men as much as plus-size women as they are being included within certain brands that stand for being accepting and inclusive. Furthermore, Savage X Fenty does not have a plus-size category but instead displays all models of different sizes in the same section. As previously mentioned, the survey revealed that six participants stated in their own words that brands should remove ranges and categories. This finding implies that ranges could be causing segregation between society and hindering the progress of the body positivity movement (see appendix).

These findings imply that Savage X Fenty has taken the correct measures to make their brand more inclusive and supports the idea that industry does support the body positivity movement.

In addition, professional plus size male model Zach Miko stated in his blog that he is “unbelievably grateful” for plus size females as he believes they have “knocked down the walls and kicked open the doors” making it possible for plus size males to follow “their lead.” (Miko, 2019). The statements above not only imply that plus size males could eventually receive an equal amount of support as females in all aspects, but that it has also been recognised by professional male models that the fashion industry is making progress to fill the gaps in terms of supplying and supporting plus size men within society.

However, it could be said that not all fashion brands are making enough progress when it comes to size inclusivity, as the average chest size for a man in the UK is forty-three inches yet this is classed as a large on certain brand’s sizing charts such as Chartley’s and an XL on others like regatta professional. This suggest that brands within the fashion industry have gaps to fill as the size guide is insinuating that the average man is a large/ extra-large. Furthermore, there will be consumers who need a bigger size and so the size ranges from these brands are technically not varied enough to include a larger spectrum of individuals. As mentioned previously, results from the survey show that many of the participants would feel disheartened if they saw their size under a plus size category. Not only does this suggest that ranges or categories within brands are more likely to offend and upset individuals, the evidence from the survey also implies that the fashion industry is not supporting plus size men and the body positivity movement. This is because brands are labelling the average size individual as large and extra-large and therefore leaving out a whole range of consumers whose size may be slightly bigger. The results from the survey showed that fifty-six out of the eighty-five participants believe that men do not receive as much acceptance in terms of their bodies as women do (see appendix). This supports the idea that men have possibly been overlooked when industry has catered for the plus-size community.

Furthermore, plus size male model Ben Whit admitted that although “the support is getting there” he still believes it is “nowhere near” to the support of which women get (see appendix).

The evidence from the two types of primary data supports the idea that plus size women receive more support than plus size men within society, implying that industry could do more to aid the body positivity movement. Moreover, the results

Figure 21- Chubstr 2020

“Do you believe that men receive as much support from industry in terms of body positivity as women?”

from the survey revealed that fifty out of eightysix participants could not think of a brand that has gone out of its way to include plus size men, supporting the idea again that men do not receive as much support by the industry as women (see appendix). Although some brands do supply plus size clothing for males, the evidence above suggests that brands are not doing enough to make it known to consumers that they have taken steps to become more inclusive. This not only implies that there are gaps to be filled by these brands but also suggest that brands are not fully committed the body positivity movement.

Furthermore, the results from the survey revealed that thirty-one out of the eighty-six participants who could name brands that included ranges for plus size men, responded with seven stores in total. For example, Rihanna’s lingerie brand Fenty X Savage was mentioned eleven times and Asos was mentioned 6 (see appendix). These two brands alone make up over half of the responses, suggesting again that there are gaps in the retail market for male plus size brands as there was not a wide range of stores mentioned. This also suggests that the current brands who are supplying for plus size males are not advertising to a high enough standard.

For example, the online brand Big clothing 4 U sells items up to 7XL, yet no participants from the survey mentioned this brand.

Furthermore, question two in the survey asked participants to name fashion brands that they believe are inclusive, it revealed that there were sixteen different brands mentioned all of which were mainly associated with women’s brands (see appendix). The results from the survey support the idea that women receive more support than men and that again there is a gap on the retail market for plus sized brands for males.

All in all, evidence from the chapter suggest that some brands are making a conscious effort to be more inclusive with plus-size males however, as discussed there are still clear gaps in the fashion industry, leading males to not have as many options or as much support by brands as females. It implies that although the movement is progressing, there are still steps that need to be taken by brands to become wholly inclusive.

Moreover, four people from the survey suggested Jackamo as a brand that caters for plus size men, however, in 2018 “The online fashion retailer N Brown” (Kollewe, 2018) closed all of its bricks and mortar stores. This leaves plus size males with one less shop to buy from if they were to physically go shopping and so this creates issues such as not being able to try on clothing before they buy. This suggests that plus-size males are still yet to receive as much support from the fashion industry in the way plus-size females do.

25

26

Primary Image

27

28

Not sure

NO NO

YESYES YES YES YES

YES

NO

NO

YES

YES

YES

YES

NOT SURE

YES

YES YES Not sure NO YES YES YES NOT SURE NO YES YES YES Not sure YES YES Not sure YES YES YES YES NOT SURE

The idea that the future of the plus size industry is looking to be a positive one, is supported by brands such as 11 Honoré, Kai Collective and Dearcurves, along with another handful of stores that cater for a range of sizes or strictly produce clothes for the plus size market. This is a progressive step in terms of the future of body positivity within the fashion industry, as it is being recognised that “the fashion offering for larger women is still limited” (Alexander, 2020) and so brands are being created to close these gaps. The results from the survey revealed that seventy-one out of eight-six participants believed that the fashion industry could do more to be inclusive in terms of plus size clothing (see appendix).

NOT SURE

Not sure

NOT SURE

YES

NOT SURE

YES YES

YES

YES

YES

YES

YES

YES

YES

YES

YES

30

YES

YES

YES

YES

YES YES YES YES YES YES YES YES YES YES YES YES YES

YES

YES

YES

29

NONO NO NO

NO

NOT SURE

NO

NO

No

E

Figure 22-

NO

R SU

As briefly mentioned in chapter one, an online fashion brand that is taking a breakthrough approach in terms of selling clothes is the brand Universal standard. Universal Standard sells women’s clothing and has a size range of 4XS to 4XL. The brand also uses a diverse assortment of models, and styles them in the same item of clothing to include women of every size and show how they would look in that specific piece. Furthermore, the website does not include any categories, such as petite or plus size like many online and high street brands today.

Instead, the models are placed next to one another on the same page giving the brand a feeling of inclusivity. As previously mentioned, mul

Do you think that the fashion industry could be more inclusive in terms of plus size clothing?

T NO

It could be said that the future of body positivity will progress at a faster rate if it is seen, read or spoken about more “body positivity has created… widespread cultural awareness” (Malacoff, 2018). In books such as “The good body”

by Eve Ensler and “Good Vibe Good life” by Vex King they talk about how everyone’s bodies are unique and that everyone in society has imperfections, which are completely normal. Seeing quotes such as “It’s your stomach. It’s meant to be obvious.” (Ensler, 2004) and “The size of your jeans doesn’t define you” (King, 2018) reinforces the idea that society should not feel the need to pick at the parts of their bodies that they are not fond of and instead embrace them. Evidence from the previous chapters suggest that many brands are trying to progress in terms of size inclusivity, implying that the future of the body positivity movement looks promising.

tiple participants suggested that brands should remove categories and just make clothes in a large range of sizes, so society does not feel segregated because of their bodies. The survey results therefore support the idea that Universal Standard is making the right steps for a positive future of the body positivity movement and that the brand is showing a new and futuristic approach to how fashion brands can advertise the clothing on their websites. Evidence throughout the first chapter suggests that the fashion industry seems to be making the right changes to their brands as they are choosing to broaden their sizing and include ranges, but there are clearly gaps that need to be filled, as there are only a handful of brands like Universal Standard. Although some brands are unquestionably showing an optimistic future for the plus sized industry, many brands (such as those mentioned in chapter one) still have alterations to be made. A future development for brands could be to take inspiration Universal Standard and instead of categorising society into ranges, make clothes that everyone can wear.

YES

This final chapter investigates the future of body positivity and what changes brands are starting to do now that indicate positive outcomes for the movement in the years to come. The chapter will also investigate current gaps in the fashion industry, and if there are any brands starting to close them.

This therefore supports the idea that society does see a gap in the fashion industry for plussize clothing and so the brands like those mentioned above, are recognising these gaps in the market and in return, making stores available that sell clothes for a range of different body types. The evidence above indicates that in the future, more brands will cater for a larger size range and even solely dedicate their stores for the plus-size community.

However, it could be said that not all brands chose to be inclusive for moral reasons. For example, the high street store New Look made headlines for selling certain “plus-size garments for 15% more than the comparable garments in straight sizes.” (Nittle, 2020). This implies that having the plus size range within their store was not solely to include a wider range of body types, but instead to make more money for the brand.

In support of the previous point mentioned, the plus-size “market has been growing twice as fast as the straight-size market” (Nittle, 2020) and the brand Lululemon Athletica has introduced a plus size range of sportswear after the chairman stated that some “women’s bodies just don’t actually work” for the leggings the brand sells (Nittle, 2020). This implies that brands such as Lululemon Athletica are making a more varied size range because they know that the plus-size clothing industry is bringing brands more money. This suggests that although in the future, the plus size industry and body positivity movement may have progressed, the evidence above implies that it may not have been done with the right intentions; which proposes the question if it can be said that the industry and the movement progressed at all.

Figure 23- Pintrest 2020.

Figure 24 Pintrest 2020

31

The results from the Instagram poll revealed that one hundred twenty out of one hundred and thirty-four people believe that lingerie was harder to find for plus size women (see appendix). How 32

ever, it would be unjust to claim that the whole of the fashion industry is stagnant when it comes to the progression of body positivity within their brands, as certain stores are making a conscious effort to become more inclusive with their sizing.

For example, the lingerie brand “Playful Promises… create stylish pieces that go up to a 44H” (Omole, 2021). This suggests that brands are taking into consideration that there is bound to be members of society that have different body types and so must cater to their needs. Playful Promises supports the idea that the future of body positivity looks promising, and with the evidence from chapter one showing that brands are starting to become more inclusive, indicates that more brands will follow in terms of broadening their size range.

Furthermore, Playful Promises, and other brands such as Fleur du Mal, Parade and Savage X Fenty have filled the gaps in terms of plus size lingerie not being as readily available, which the participants felt so strongly about in the poll. However, one hundred thirty-nine out of one hundred forty-six participants who took the poll believed that more brands should make sexier lingerie in plus sizes (see appendix). This poll indicates that although there are a handful of brands that do fill this gap, they are not being noticed enough by members of society. It therefore means that for society to recognise that the fashion industry is trying to become more inclusive, having sexy plus size lingerie should be a key section in every brand. The information above suggests that fashion brands still have some way to go in terms of inclusivity meaning that the future for body positivity in the fashion industry may not progress as quickly expected.

Conclusion

To conclude, the evidence from the chapters throughout the dissertation do indicate that the fashion industry has made changes to their brands and adapted their ways to become more inclusive. This in turn indicates that fashion brands are using their platforms to help support the body positivity movement.

For example, in chapter one, high street and online brands have been praised for using a range of models who are all different sizes and showed that “model’s stretch marks are proudly on display.” (Wynarczyk, 2019). They also used ranges within their brands to include a wider spectrum of consumers. This indicates a shift in the industry as brands are recognising gaps that they need to fill and by doing so, they are contributing to the body positivity movement.

Furthermore, luxury brands seem to be following in the footsteps of the high street brands as Dolce and Gabbana said they would be “extending its womenswear range to an XXL” (Mintel, 2019). This supports the idea that a range of sectors within the fashion industry are adapting their brands to become more inclusive and so are recognising the body positivity movement and helping it progress. However, evidence from chapter one also indicates that there are still changes to be made by brands to become wholly inclusive; for example, Missguided used a size 8 model to advertise their “plus size clothing” (Ritschel, 2020). This information suggests that brands are not being completely inclusive as they could have used a “plus-size” model for that specific photoshoot, indicating that brands just having the plus-size ranges is not enough to support the movement.

Chapter two gave an insight on how social media can be a powerful platform and if used correctly, can be a huge help for the body positivity movement. For example, the Instagram page The Fat Zine is solely dedicated to the support Figure 24- Sophie thick fitness 2020.

and admiration of plus size members of society, stating that the zines they create are made by “fat people for fat people and anyone who cares about them” (The Fat Zine, 2020). This is just one example of how social media can be used for progress in certain “taboo” topics and in turn bring support and awareness to the movement.

Furthermore, society accepting that there is an issue with posting content that does not state that it was been edited has resulted in talks of “introducing a bill” (Gallagher, 2020). This is a positive step forward for the positivity movement as it is trying to ensure that users do not feel inadequate in terms of their bodies because they are seeing images of an “ideal body type” that is not completely authentic. However, when interviewing the plus size male model Ben Whit, he stated that social media aims certain things “towards you that have you doubting whether you’re good enough to be in society” (see appendix). This comment by an individual who is plus size and is aware of body positivity within industry suggests that social media is not always used for the greater good and in fact can have a reverse effect on the body positivity movement, implying they are still gaps to be filled.

Similar, to chapter one, chapter three reveals that the fashion industry has made some positive changes to the brands to make them more inclusive for “plus-size” males within society. For example, multiple online have expanded their size ranges, with ASOS and BoohooMAN selling clothes up to a 5XL. This indicates that the fashion industry has acknowledged the gaps within the market for “plus-size” men and adapted their brands to become more inclusive. Furthermore, Rihanna’s underwear range Savage X Fenty is known for making products to fit a range of sizes and has included males within this “normalisation of plus-size male body types” (Elan, 2020).

This again supports the idea that the fashion industry is making a conscious effort to support 33

the body positivity movement. However, the results from the survey showed that fifty-six out of the eighty-five participants believe that men do not receive as much acceptance in terms of their bodies as women do. The results imply that although positive changes have been made to brands, more needs to be done to support “plussize” males within society and so the body positivity movement can progress.

The evidence throughout chapter four suggests that the fashion industry is adapting their brands to become more inclusive for people of all sizes and therefore supporting the body positivity movement as a result. This can be seen in the brand Universal Standard, who does not include ranges in their brand but instead sells all their clothes in sizes 4XS-4XL. This indicates that the future for the movement could be a positive one. However, it could be said that some brands need to adapt their view when it comes to the plus-size market, for example the chairman of the brand Lululemon Athletic said ““women’s bodies just don’t actually work”” (Nittle, 2020), and so it may take longer before most of the brands within the fashion industry are wholly inclusive.

All in all, the evidence from the chapters suggest that industry is making positive changes to become more inclusive with its consumers, but it also revealed that there are still gaps that need to be closed.

34

Malacoff, J. (2020, February 26). Where the Body-Positivity Movement Stands and Where It Needs to Go. Shape. https://www.shape.com/lifestyle/mind-and-body/how-body-positivitymovement-is-evolving-whats-next

Bibligorahpy Alexander, E. (2020, August 14). The best plus-size brands to shop now. Harper’s BAZAAR. https://www.harpersbazaar.com/uk/fashion/what-to-wear/g33593190/best-plus-size-brands/ Back, G., & Back, G. (2020, August 27). The “Reality Vs. Reality” Viral Trend Is One We Should All Get Behind. Marie Claire. https://www.marieclaire.com.au/reality-vs-reality-instagram-trend Barker, S., & Barker, S. (2020, January 7). How Social Media Influencers Can Impact Your Customers’ Purchase Decisions. Social Media Today. https://www.socialmediatoday.com/ news/how-social-media-influencers-can-impact-your-customers-purchase-decisions/569813/ Elan, P. (2020, October 12). How Rihanna made plus-size men the next big thing. The Guardian. https://www.theguardian.com/lifeandstyle/2020/oct/11/how-rihanna-savage-x-fentymade-plus-size-men-the-next-big-thing

Miko, Z. (2019, September 12). Access denied | chubstr.com used Cloudflare to restrict access. Chubstr. https://chubstr.com/features/big-questions-why-is-the-mens-plus-size-clothing-industry-so-far-behind/ Millennials want more ethical designer fashion. (2019, December). Unknown. https:// reports-mintel-com.hallam.idm.oclc.org/display/996220/?fromSearch=%3Ffreetext%3DD%2526G%2520plus%2520size Nike’s new mannequins are a celebration of diversity. (2019, June). Chana Baram. https://reports-mintel-com.hallam.idm.oclc.org/display/964004/?fromSearch=%3Ffreetext%3Dplus%2520size%2520and%2520fashion Nittle, N. (2020, November 2). Selling plus-size clothing isn’t only about pleasing shoppers.

BBC Worklife. https://www.bbc.com/worklife/article/20200211-selling-plus-size-clothingisnt-only-about-pleasing-shoppers

Ensler, E. (2005). The Good Body (First Paperback Edition). Villard.

Omole, A. (2021, January 8). The Definitive Extended-Size Lingerie Edit. Harper’s BAZAAR. https://www.harpersbazaar.com/fashion/trends/g35127186/plus-size-lingerie-brands/

Gallagher, S. (2020, September 14). MP calls for warning notices to be added to Photoshopped images of bodies in adverts and on social media. The Independent. https://www.independent.co.uk/life-style/luke-evans-mp-photoshop-images-social-media-adverts-b436112. html

Perraudin, F. (2019, October 18). Plus-size male models fill increasing gap in fashion industry niche. The Guardian. https://www.theguardian.com/fashion/2019/oct/18/plus-size-malemodels-fill-increasing-gap-in-fashion-industry-niche

Hosie, R. (2017, March 17). How women’s bodies have changed since 1957. The Independent. https://www.independent.co.uk/life-style/health-and-families/womens-body-changes-1957self-image-fashion-weight-health-sizes-positive-a7633036.html King, V. (2018). Good Vibes, Good Life: How Self-Love Is the Key to Unlocking Your Greatness (Illustrated ed.). Hay House UK. Kollewe, J. (2018, July 2). Simply Be and High & Mighty owner to close all 20 UK stores. The Guardian. https://www.theguardian.com/business/2018/jun/14/simply-be-high-mighty-owner-n-brown-close-uk-stores-jobs

Regatta Professional | Clothing Size Chart. (n.d.). Regatta Professional. Retrieved October 17, 2020, from https://www.regattaprofessional.com/product-clothing-sizechart.aspx Ritschel, C. (2020, June 9). Missguided faces backlash for using size eight models to advertise plus-size clothing. The Independent. https://www.independent.co.uk/life-style/missguidedplus-size-clothes-model-curve-sizing-disclaimer-a9557551.html Size Chart for Men by Chatleys Menswear. (n.d.). Chatleys. Retrieved October 16, 2020, from https://www.chatleys.co.uk/size-guide-i9 The Fat Zine. (2020, December 12). Instagram. https://www.instagram.com/thefatzine/

Macauley, S. (2020, August 31). This “reality versus reality” viral trend on Instagram is *so* empowering. Glamour UK. https://www.glamourmagazine.co.uk/article/reality-v-reality-instagram-trend

Ting, J. (2020, September 26). These Three Models Made Versace History. PAPER. https:// www.papermag.com/versace-plus-size-spring-2021-2647832297.html?rebelltitem=11#rebelltitem11

Mair, C. (2018). The Psychology of Fashion (The Psychology of Everything) (1st ed.). Routledge.

Wynarczyk, N. (2019, January 18). Boohoo praised for showing bodysuit model’s stretchmarks. The Independent. https://www.independent.co.uk/life-style/boohoo-stretchmarks-body-positivity-white-bodysuit-image-instagram-twitter-a8732336.html

35

36

Image references Figure 10 Figure 1

Vivianhoorn. curves. (2020) https://www. instagram.com/p/CHSFYCol6fV/ last accessed 1st April 2021.

Hannah Panchenko 2020. In the female breast only size is important. The size of what is beating under it. ❤️ https://www.instagram.com/p/ B74D5v2HwvL/. Last accessed 3rd april 2021.

Figure 11 Figure 2

Eli Russell Linnetz 2018. #KKWBODY. https://www. instagram.com/p/BpZsLPlgJL_/. Last accessed 2nd April 2021.

Carlota Guerrero 2020. from the archive - meta bodies https://www.instagram.com/p/CHFxaueDKIX/. Last accessed 3rd April 2021.

Figure 12 Pintrest. Plus Size Women’s Skims Fits Everybody Triangle Bralette, Size 3 X – Brown (2020) https:// www.pinterest.co.uk/pin/154177987244826458/ last accessed 15th March 2021.

Figure 3 One of my favorite shots, so I had to share again 🐅 Couldn’t decide between image 1 or 2🤦🏾‍♂️ which do you like best? 2021. https://www.instagram.com/p/CMkNh4qFAx8/. Last accessed 3rd April 2021.

Figure 13 and 14 Pintrest. Plus Size Women’s Skims Fits Everybody T-String Thong, Size 3 (2020) https://www.pinterest.co.uk/ pin/320318592253243979/ last accessed 15th March 2021.

Figure 4,5,6,7,8,9 Sundaymorningview 2021. You have been criticizing yourself for years and it hasn’t worked. Try approving of yourself and see what happens - Louise Hay (2021) https:// www.instagram.com/p/CNDFLbsjuEg/ last 37 accessed 1st April 2021.

38

Figure 15

Figure 19 Brittany Lee 2020. ( Repost ) - Self love comes so much easier when I’m helping another girl feel good...I sometimes forget it all starts with me, and getting pictures of me taken in my natural state, just reminds me how beautiful all of our so called imperfections are✨Love every inch of your body cellulite and all ❤️We ALL have it, love yourself. It starts with you. 😘 https://www.instagram.com/__babybrit__/.

Last accessed April 3rd 2021.

Riley Hemson 2020. BODY. https://www.instagram.com/p/CDiQGLhjSo7/. Last accessed 3rd April.

Figure 16 Sundaymorningview. (2020). The greatest GIFT you can give yourself, is LOVE!🤎 Love your body like she loves you, unconditionally! https://www.instagram.com/p/CFSRPP6jKQt/ last accessed 2nd February 2021.

Figure 20 Missguided. (2021) Reminder: love your tan lines (@sundaymorningview #missguided #misguided. https://www.instagram.com/p/CJ4BrETjZQK/. Last accessed 16th March 2021.

Figure 17 Sundaymorningview. (2020). RAW & REAL 🕊 being our messy, imperfect authentic selves helps create a space where others can be themselves too. Your vulnerability can be a gift to others. That’s what I want every woman who see’s my photos to gain. You are all perfect exactly the way you are. Drop a ❤️ if you agree https://www.instagram.com/p/CF7VHr6j0Up/ last accessed 2nd February 2021.

Figure 21 Chubstr 2020. https://chubstr.com/style/savage-x-fenty-big-tall-2020-sold-out-quickly/. Last accessed 3rd April 2021.

Figure 18 VoyageLA 2020. http://voyagela.com/interview/meet-karlo-gomez-sundaymorningview-magazine-arts-district/. Last accessed 3rd April2021.

39

40

Figure 22

Figure 25

Behance 2021. https://www.behance.net/gallery/105355415/Jorgob-Digital-Image-Campaign. Last accessed 2nd April 2021.

Sophie thick fitness 2020. YOUR PRESENCE IS POWERFUL 🦄🤍. Stand out. Be unique.

Create Space. Be LOUD Be raw BE YOU. Being you is the best kinda beauty, trust me 🦋Send this to someone you love to tell them they are #RAWBEAUTY#rawbeauty #selflove https://www.instagram.com/p/CIbNGZbpYsl/. Last accessed 2nd April 2021.

Figure 23

Stand out health 2020. https://www.pinterest. co.uk/pin/849702654668843578/. Last accessed 2nd April 2021.

Primary Images

Figure 24

Shape 2021. https://www.shape.com/shop/ skims-plus-size-womens-skims-fits-everybody-thong-size-3-x-beige-pb74fa9be1559bac41176bf8d02b852bc.html. Last accessed 2nd April 2021.

41

42

Appendices Survey- Yes, No and Not sure questions 1

43

44

45

46

Survey- detailed response questions

47

48

What brands come to mind when you read the word inclusive?

49

50

51

52

Poll results

53

54

Interview questions and answers

55

56

57

58