Inside Plus Size Modeling Analysis

Fashioning Fat: Inside Plus-Size Modeling by Amanda Czerniawski, details her experiences as a plus-sized woman in the fashion industry. The fashion industry is known for pushing the agenda of the ideal image of a woman. When plus-sized models enter the modeling industry, they are scrutinized or fetishized. Additionally, Czerniawski analyzes how the fashion industry objectifies plus-sized models. Essentially, the fashion industry has the ability to enforce and objectify the images of how we perceive beauty, and what is beautiful. First, in order to understand the business of plus-size modeling , Czerniawski must define and understand what qualifies as fat in the fashion industry. She notes that the standard of fat in the fashion industry is
a different standard than in the medical field, and in society. “Today the medical community takes precise measurements through the use of the body mass index”(Czerniawski, 2015, p.25). The fashion industry has no standard of what is fat other than what appeals to their brand. To support this, she uses the example of Ralph Lauren model, Filippa Hamilton, who was fired due to her weight. She explains, “At the time Hamilton was five feet ten inches tall, weighed one hundred twenty pounds and wore a woman’s size four”(Czerniawski, 2015, p. 28). Certainly a woman weighing one hundred twenty pounds is not a “fat” woman, but the fashion industry has one standard and medicine has another. There are various meanings of the what constitutes as fat, which can be a result of ones cultural background. Considering that plus-size models embrace their bodies and attempt to shatter the stigma attached to being fat, Czerniawski(2015) poses multiple research questions.
She seeks to answer, “What happens when they are not on the runway but, rather, on an ordinary sidewalk on a city street”(p. 58). Are they still the same liberated females challenging the standard of beauty in fashion? Czerniawski’s approach to his study stems from how the fashion industry defines plus size in relation to society’s image of a plus size woman. Due to this, many viewers have different perspectives of what constitutes as fat. She asserts, “Most casual observers of plus-size models would probably not even perceive them as ‘plus-size,’ let alone fat”(Czerniawski, 2015, p. 29). However, sometimes society’s views of fat are negative. Being fat is often times considered as being lazy, and lacking
intelligence. The phenomenon Czerniawski wanted to analyze was to show that plus-size models are not often empowered as it would appear to be. Challenging the ideal of beauty set by the fashion industry, comes at a cost. She explains, “Plus-size models must conform to an image created by fashion’s tastemakers—agents and designers”(Czerniawski, 2015, p. 209). Essentially, plus-size models are not as liberated or in control of their bodies as it would appear to be. Plus-size models must conform to the standards and images that the fashion industry sets out to achieve. Czerniawski sought out to show that in the fashion industry, these women were not challenging the ideal of beauty in the industry, but rather changing their bodies to be accepted. The main purpose of this study was to show how plus-sized models are challenging the standard of beauty enforced by the fashion industry, in addition to showing the challenges that they are faced with when deciding to be a plus-size model. While many believe that there is a “one size fits all” approach to plus-size modeling The social phenomenon Czerniawski wanted to show is that plus-size modeling is not as empowering as it would appear to be.
Challenging the ideal of beauty set by the fashion industry, comes at a cost. The phenomenon Czerniawski wanted to analyze was to show that plus-size models are not often empowered as it would appear to be. Challenging the ideal of beauty set by the fashion industry, comes at a cost. She explains, “Plus-size models must conform to an image created by fashion’s tastemakers—agents and designers”(Czerniawski, 2015, p. 209). Essentially, plus-size models are not as liberated or in control of their bodies as it would appear to be. Plus-size models must conform to the standards and images that the fashion industry sets out to achieve. Czerniawski sought out to show that in the fashion industry, these women were not challenging the ideal of beauty in the industry, but rather changing their bodies to be
accepted. Plus-size models must conform to the standards and images that the fashion industry sets out to achieve. Czerniawski sought out to show that in the fashion industry, there are contradictions of being the opposite of the ideal beauty in fashion. Ultimately, because of her involvement in the research process, Czerniawski discovers that there are levels of recruitment when entering the plus-size modeling industry. Whilst conducting her research, Czerniawski worked as a plus-size model. She used the qualitative method of interviews to conduct her research. She interviewed 35 plus-size models in order to gain insight into their experiences in the fashion industry. Czerniawski(2015) grouped the model into 5 categories, “The former straight-size model, the performer, the outsider, and the self-promoter”(p. 88). These categories are the routes in which a model can pursue to become a plus-size model. She goes on to elaborate these specific categories that a plus model can fall into, in addition to interviewing women that fall into these types. Czerniawski (2015) interviewed one model, Crystal Renn, who falls into the former category. A former is someone who tried to enter the modeling industry as a “straight-size” model, but could not meet the requirements. She explains, “After struggling to maintaining weight as a straight-size model by exercising for eight hours a day, Crystal transitioned to plus-size modeling”(Czerniawski, 2015, p. 89). Czerniawski notes that most plus-size models began their careers as straight-size model, but the pressure to maintain their figure became too demanding. However, the plus-size modeling industry is just as demanding as straight-size modeling. Additionally, out of all the women Czerniawski interviewed, the majority of the modeling fell into the third category of plus-size modeling; the outsider. The outsider category consists of women who were urged by others to pursue modeling. Czerniawski (2015) explains, “The outsider may be unfamiliar with the use value of her body and, consequently, need to overcome an initial resistance to hide her fat body”(p. 95). From this, Czerniawski attempts to shows a more complex perspective of plus-size models, and the plus-size industry. However, there is potential for Czerniawski to have a biased opinion, considering that she is a plus-size woman and former plus-size model. Since Czerniawski has a personal experience in the fashion industry as a plus-sized model, there is a potential conflict of interest with this research topic. However, because she has experience of being in the industry, there is first hand knowledge for her to speak on. Additionally, the negative stigma attached to the word fat which Czerniawski wants to end, there are times in her research where she reinforces it. Ultimately, being a plus-size model is just as cut throat and demanding as being a model who has the ideal body for fashion. Although these women feel as if they are empowering themselves in this superficial industry, they still have to meet the demands of designers and tastemakers.