Sunday, 29 April 2012

Good Buter Superella

Ella Buter is a LISOF graduate and fashion designer with her own shop/studio in Melville.

Meet Ella:

When considering fashion in terms of veiling and revealing, Superella immediately comes to mind. Her designs very cleverly use functional shapes like squares, circles and rectangles. in a way that veils the female body. 

In a recent interview, Ella said that the main reason for her roomy designs are comfort above all. Women should be able to go about their day unhindered and unrestricted by the clothes they wear. She also feels that women should be able to express themeselves regardless of their body-type and build and moreover that fashion is not just for the skinny. Hence her use of normal, everyday women of all ages and sizes as models.

By veiling the female body, Ella reveals the quirky, eccentric and creative side of her patrons by focussing on interesting design concepts, uber wearibility and often multi-functionality.

As a woman and almost fashion designer, I salute Ella for her unique way of expressing femininity and her innovative approach to design.

SAFW A/W 2012- Domestic Goddess.



Saturday, 28 April 2012

The voice of our clothing.

Whilst reading through a couple of our prescribed Design Theory readers, I came across some interesting points in, Style and Communication, written by M. Maynard which was published in 2004. Some of his points relate to how we choose to dress and communicate to the world.
‘…clothing is explicitly considered as a kind of bodily disguise, just as language is a disguise for thought.’ (Calefato 2004: 1)
It is said that dress is a form of communication (Maynard 2004), and a way in which the wearer tries to convey a message to the world. However the trouble comes in when the one ‘reading’ the language, misinterprets the message and so confusion will occur. Maynard said ‘…all forms of clothing are culturally relative; their meanings alter over time and can be differently interpreted especially across cultures.’ (Maynard 2004: 88)
Maynard looked at a couple of African countries, Egypt in particular and described the symbolism of their dress and the message that the natives get from the clothing versus the message that many anthropologists, analysts or even westerners get from the same clothing.
‘…there are many different languages of attire, each with its own grammar and vocabulary, whose meanings can be read almost as if one were reading a book.’ (Lurie 1992: 4)
The significance of dress in first world countries and third world countries differ to a very large degree, take Egypt for example; a third world country, however it has a very strong influence from the western world. Egypt is predominantly Muslim therefore modest dressing is extremely important. Traditionally Muslim woman dress modestly, in a garment known as an Abaya. Abaya is a loose fitting over garment that’s worn to ensure a woman’s body is modestly covered to prevent men from being enticed. Originally Abaya’s were typically just simple long length robes with no fit and minimal detail. With western influence the oasis and village dwellers have access to urban and western style. Western influences include modifications such as printed fabrics, cuffs, collars, plackets and various openings all influenced by western culture.
In conclusion it’s safe to say that in communicating your dress and in decoding others dress, it is essential to have a neutral point of view and have good knowledge of cultures, religion and the symbolism behind the different concepts, colours and accessories.    
Below is an image showing the traditional robes and head gear, that have been influenced by the West.


www.interfaith.org

Friday, 27 April 2012

The Swazi Culture


I decided to look into the Swazi culture as the exposure of bare body parts of young girls in their tradition shows a different perspective on revealing.

According to articles by Squidoo, it is customary tradition for unmarried Swazi girls to dance bare breasted for their king in the festival called the Reed Dance. I found out that this custom has been in existence for generations and still happens today.

With much curiosity, I stumbled across an article by Nosimilo Ndlovu (Aug 2008) explaining their recent Reed Dance. She explains that thousands of Swazi maidens make their way to Enyokeni Royel Palace in Nongona every year to celebrate their culture and virginity to their king. They spend months preparing their outfits - strings of colourful beads are worn over bare breasts and short beaded skirts adorn bare buttocks to denote Chastity and signify maidenhood. The girls are told by their elder females not to wear underwear under their short beaded skirts as they were pure and had nothing to hide. Ndlovu further explains that the king does not think of the maidens in a sexual way but rather as pure. He sees the beauty of culture and is not fazed by their bare breasts or private parts. And they should not feel ashamed.
However after much preparation for this dance in 2008 the king had a change of heart and stated that after years of feasting his eyes, he now argues that nude buttocks could decrease the credibility of the Reed Dance and make the maiden vulnerable to exploitation. Ndlovu was horrified to the kings response as this is an infringement on Swazi culture. His exit from the Reed Dance is not a sufficient reason to change a practise that has been in existence for generations.
In my opinion, I believe that the king has conformed to reality of the modern world. I respect tradition and culture, however we live in modern times and traditions should be modified and adapted to todays livinf forces. According to Calefato (2004), covering oneself out of a sense of modesty means recognising that clothes have specific functions and dressing in order to convey specific meaning. Including the social meaning attributed to the notion of modesty. This therefore concludes modesty plays a big role in modern times despite strong ancient cultures.



Thursday, 26 April 2012

Perhaps another point of view.



For years Hasidic women have had to sit at the rear end of public buses because of modesty or because of what the Ultra-Orthodox Jews consider to be modesty. Mickey Gitzin, the director of Be Free Israel, a nonprofit organization that promotes religious pluralism said "It's a slippery slope. What starts with women boarding the bus in the back because of modesty can end up with women not voting," he further went on to say, "It could turn Israeli society into a segregated society in which women don't have a place in public life."


Whilst doing some research on the Hasidic Jews and the different collections inspired by Hasidim (hebrew word for Hasidic Jews) I came across this photography editorial: FINDING A VIRTUOUS (JEWISH) WOMAN BY LIOR NORDMANon Trendland, for the Israeli fashion magazine, Belle Mode.



"The Israeli fashion magazine Belle Mode published this provocative/controversial editorial as a way to protest against the infringement on the rights of women on religious grounds. Photographed by Lior Nordman, there is very few credits and info about the shoot, but the concept is explained on the video below." CYRIL FOIRET, 07 FEB 2012 


In the video below, Maya Pollack, editor of the Belle Mode magazine discusses the manipulation of harsh boundaries placed upon women of the Ultra-Orthodox, Hasidic sect by the juxtaposition of modesty and "closed" dress sense to immodest and highly seductive dress.



Both Maya and the photographer want to express this issue in its strongest form by flaunting the women and showing her off in a provocative sense. Maya's hope is that the message will be successfully portrayed. "This is a very popular topic that people are very cautious not to engage with and we decided not to be cautious, from my point of view women deserve credit for all they have done for the world." Lior Nordman, photographer.



In my understanding of religion there is space for everyones beliefs and ideals is this world. However in order for there to be peace and balance among the people, each of us have to embrace and make space for other peoples opinions and value systems. It is with respect for others that we can learn to understand and perhaps accepted what is foreign to us.






Wednesday, 25 April 2012

The Hasidic Jew.

When G-d created Eve, He said, 'From which part of Adam shall I create Eve? If I form her from Adam's head she may become pompous. If I make her from his eye, she may become a flirt! But if I create her from the rib, she will be modest! Since that the rib is always covered, even when he stands naked, that part is still covered!" (Genesis Rabba 18:13)


On a trip to Israel I noticed this very noticeable sign in a Ultra-Orthodox Hasidic area by the name of, Mae Shearim.
own image
In her article: Hasidic Women's Fashion Aesthetic and Practice, Barbara Goldman Carrel writes  for the London College of Fashion, on 15 June 2011 that:
“Hasidic girls are taught at a very young age the importance of dressing in a manner which reflects the inner soul rather than emphasising any external manifestations of feminine physicality, sexual or otherwise, or drawing attention to themselves.”

own image
Barbara Goldman Carrel writes in the book, The Veil: Women Writers on Its History, Lore and Politics edited by Jennifer Heath that the Hasidic women dress a certain way in order to fulfill their obligation to sanctify their "worldly existence" page 56


Rather than their dress just being a form of self-expression, it is a reflection of modesty and how one simultaneously covers and reveals by concealing their private body parts as specified by Jewish law but at the same time unveiling or promoting that which is hidden, their holiness and soul. 

Tuesday, 24 April 2012

Religion’s place in the fashion industry.

In 2008 a collection from Il Galantuomo, a men's label by Korean-born Gunhyo Kim, a graduate of Antwerp’s Royal Academy of Arts and a design assistant of Dries Van Noten, was inspired by Antwerp’s Hasidic Jews. (Hasidic Jews are called Hasidim in Hebrew. This word derived from the Hebrew word for loving kindness- chessed)
Gunhyo’s collection was made up of stylish, tailored suit jackets, v-neck T-shirts, long tunics and loose pants.

However in 1993 it was Jean-Paul Gaultier who was the first major fashion designer to use the Hasidic sect of Judaism as an inspiration for his collection.
The runway was lined with Menorahs; Maneschewitz wine was served; and models donned exaggerated curls and yarmulkes.
Jean Paul Gaultier- “Hasidic-inspired” collection 1993 
http://magyarleague.tumblr.com/post/5799027866/jean-paul-gaultier-hasidic-inspired-collection

“I saw a group of rabbis leaving the New York Public Library on Fifth Avenue. I found them very beautiful, very elegant, with their hats and their huge coats flapping in the wind. It was a fantastic scene.” Jean Paul Gaultier.                                                                   (http://www.tabletmag.com/jewish-arts-and-culture/82783/chai-fashion/)


So does religion really have a place within the fashion industry or is it just a source of reference or inspiration?

Something Different


While searching the web, I came across these very interesting images of Jewellery, designed by Hanwen Shen. She signifies her creations of metal to erogenous zones, focusing on the back of the body and the nape of the neck. According to definition.com, the erogenous zone varies from culture to culture over time. For example Asian men prize the nape of the neck, in which Shen focuses on.

However Shen describes her work as rebelling to the traditional notions of what is compatible with femininity, namely things like lace, silk, velvet and other soft and luxurious materials. Rather her jewellery cosists of fluid shapes and organic alien-like pieces. So I asked the question, what makes these designs so unusually seductive?



Because according to Frugel, bare flesh is boring. Male curiosity is sustained by veiling the erotic site, by covering and exhibiting it at the same time. So in conclusion, I realised that this is not the traditional way to expose the erogenous zone, however it works! The tribal feel of the jewelry through the pointy ends (horns), or the coil like curves creating metal snakes creates an animalistic mood. This only enhances the point of the erogenous zone.

 http://www.answers.com/topic/erogenous-zone-2#ixzz1tLSIM4I5






Monday, 23 April 2012

The exposure of hiding behind ink


Photography by - Ryan Doco Conners

When deciding on this post, I came to the realisation that make-up and tattoos play a big role in the revealing and concealing of the body.

According to Bill Hanks (Yahoo 2010), what was once controversial is now becoming a popular trend amongst individuals. Hanks, continues that fashion designers have not only added new colours and designs to their apparel, they have also added tattoos to their models as they walk down the runway. The exposure of tattoos can be thought of as an artistic expression. Hank believes that the human body is to be regarded as a canvas for art. Make-up of all types have long been used to bring out beauty.

Rick Genest (1)
'Zombie boy'



Therefore tattoos can be used to expand on this art form. According to Levi-Strauss, the social aesthetic significance off tattooing may be better understood if 'doubleing' the face and body, which are decorated as if split in two. This therefore focuses on the social and human identity portrayed by persona's that an individual embodies. 
With the word 'face' in mind, I came across the 'Lace Face' article which talks about beauty and make-up. It is not necessarily as permanent as tattooing but portrays the same connotations. Peter Philips, Chanel creative director of make-up pinned different pieces of black lace over dark navy smokey eyes at Karl Langerfelds fall contour show. According to critics, the lattice work blurs the stark effect of dark eye make-up while simultaneously showcasing it as an artistic element that is unequivocally appealing.
In my opinion the lace veiling gives a similar effect to tattooing. As Calefato says, its almost a set up between the two parts of the face or body, the actual one and the painted or incised one. It therefore is a display of art, but also at the same come a cover or mask / veil to hide behind.
'Lace Face' - Peter Philips







Sunday, 22 April 2012

Lady Gaga on veiling





If, like me and probably most of the television-owning world, you wonder what motivates Lady Gaga to dress in her signature "what the what!?"  style, this may satisfy your curiosity...

On Saturday evening, she tweeted, "People ask me why I wear veils. I reply, I'm mourning. Mourning what? Well I figure something shitty must be going on somewhere."


Saturday, 21 April 2012

Appearance.


Brit van Nerven from Uden, Netherlands, wrote an article about the way in which women choose to reveal and conceal their bodies because of various reasons.

The extract below was found on her website, www.vanbrit.com, describing her collection.

"Daily life shows us a considerable variety in appearance. From women covering their skin totally to women ostentatiously showing their body and concealing nothing, and everything in between. Fascinated by these differences I started a research to find out more about how women want to cover their body and what to show and why. In conversation several women shared different but very specific opinions:
Written as well as unwritten rules related to culture, religion, social surroundings and trend play an important role in the degree of coverage. Written rules are often quite obvious like veiling your body because of religious beliefs, wearing cultural costume, dress according to the latest fashion or sub cultural dress codes. 
When you read between the lines there are the unwritten rules, which are less obvious and determined individually. The unwritten rules are read between the lines, less obvious and determined individually. Women alter the vocabulary of do’s and don’ts according to their self-image and their wish to manifest themselves to the outside world. As women are quite specific in these opinions, they show a personal adapted style /palette of how they want to hide or emphasize their body shape and forms.
I translated my observations into a collection that is formed out of a modular system of different garment pieces. These pieces can be combined according to personal needs."

Brit Van Nerven is another one of the many designers that use the body and fashion as a way of expressing and communicating to the world the idea and theory behind why and how women conceal and reveal themselves through clothing.

Photography: Lonneke van der Palen



Reference: Veil and Reveal

Appearance

Friday, 20 April 2012

Sacred Search.

In the images below, an artist by the name of Frederique Daubal (Hide and Seek, May 27th 2010) cuts out pages from various fashion magazines and uses them as sliced masks to make a statement about visual identity and perception.
Every face seems to tell a story. 

The series of images below leaves you pondering what those stories are.
In my opinion, some beings are secretly in search of an identity not enlightening their real individuality. People – not only models or fashion designers wear masks for various reasons. Fashion designers might use the masks to play a game with the audience. The mask represents a “cultural obsession”, resembling the Muslim niqābs. In the video below people give their individual opinions on the "veil" and the "veil unveiled".






The mask project is a statement on identity. Revealing your true identity lays concern on your place in life. Embracing and processing your proper uniqueness, influences how other beings might react and respond to you. The slices in the predetermined facial expression, presents the model with the ability to view and explore the expressions and judgements of the society.


According to a further reading posted by Ian in Faces, Identity, and Photographs: Hide and Seek by Frederique Daubal, posted on 7 June 2010, it can be asked: when does your face become a mask? If you could wear the same expression continuously, and only change it when you want to, would you? 
I can not tell you what inspired Frederique Daubal in this work, but I can tell you of what it evokes in me. The idea of wearing photographs as masks is not new, but this application is. The cut slits make the work seem almost like venetian blinds to me. Both the subject matter and the model peek out towards the camera, hidden behind a mask. As the facial expression is predetermined, everything is about body language, and that makes for a very interesting study. 


Further reading: Faces, Identity and Photographs.

Thursday, 19 April 2012

Captured Insanity.

Being disturbed is one of the many reasons why some people end up in a mental institution, they generally experience feelings of anguish, anxiety, confusion and deliberation. The clothing pieces associated with a mental institution are usually odd of character, simple, minimalistic and defensive. However it can be understood as though the garments act as a protection; the buckles and straps are both part of that protection, it is as if they are clinically tailored to hold you in and secure you. 
The theme of insanity is being described throughout the clothing and the mental state of the patients. 
From my point of view I feel that the images below portray these people as being especially sexual and  revealing. The more they reveal the freer and more provocative they feel.
The images of the people as well as the garments below resemble the insane behaviors of the patients in a mental institution:


According to the photographs taken by Steven Klein (Institutional White.), Thordur Sveins describes the women as being pretty and interesting even though they are in an insane refuge. They occasionally turn up in fashion and movies such as Girl Interrupted and Sucker Punch. Even though I am not a fan of these types of different, disturbing and provoking subjects, I want to introduced to you, "Institutional White". 
Further readings from the magazine, Interview, describe the strict institutional white as the new order this season. Clinically reserved and precisely tailored with maniacal attention to detail. Inspired by the legend of an actress who refused to conform through her descent into madness, Steven Klein conjures an imaginary tale of discipline, betrayal, will, and obsession.
    

Wednesday, 18 April 2012

Hats Off.

Body image is a huge factor affecting the way one dresses. 
A series on TLC network, My Naked Secret, follows individuals with poor body image and helps them tackle embarrassing issues that affects their daily lives and thus helps overcome them. 


Below is a clip based on an individual named Josh. TLC follows Josh and helps him over come his struggle with a rare skin condition. He suffers from a disease known as Folliculitis Decalvans. This has affected many aspects of his life including the way he dresses and how he allows others to perceive him. Josh always wears hats to hide his condition.


This is a simple example of how poor self image or personal issues can affect ones dress.      

Monday, 16 April 2012

The Unconventional Bride.

Brides are known for their innocence and pure beauty. Typically their dresses are ceremonial, their heads are covered by a veil and usually their wedding dress is specifically for that occasion and a style that can not be worn to any other events. 
German designer, Kaviar Gauche, however stirred a great deal of controversy at Berlin fashion week in January 2012 when he show cased an unconventional wedding dress. 
The models walked down the runway wearing a couple of diminutive pieces of fabric joined together with a central strip, and the whole ‘outfit’ was masked by a sheer veil, contradicting everything that a traditional wedding dress is meant to be.

In my opinion by creating a controversial wedding dress such as in the images below, Gauche is questioning the meaning of tradition and modesty and moreover who determines what modesty is and what is appropriate at this sacred time.  



The images below reveal the 'G-string' wedding dress showcased by Kaviar Gauche at Berlin Fashion Week. 

Sunday, 15 April 2012

Veiling and Revealing: A Thesis

I came across this thesis that Caitlin S Cohn did on veiling and revealing.
Veiling and Revealing: A Qualitative Study of Young Women's Views of Dress.

She interviewed young women and thoroughly documented all their answer- the result is quite interesting and noteworthy.



Peter Philips, Leather Masks
www.trendland.com

Here follows an extract from her Thesis:


People dress for many different reasons, as Entwistle (2001) pointed out:

“Dress does not merely serve to protect our modesty. It embellishes the body” (p. 33).

In some cases, dress serves both to cover and decorate the body.

 My research questions were:

Do young women between the ages of 18 and 24 consider whether (or not) they reveal or conceal their bodies as relevant to their clothing choices?
What do young women say influences their views on revealing and concealing their bodies?


The themes that emerged suggest that many factors interact to form an
individual's perspective on revealing and concealing her own body. The three main
themes are:

1) socialization and appropriateness,
2) fitting in and standing out,
3) self-focused dressing motives.

Socialization considers how the participant learned values concerning revealing and concealing her body. Appropriateness is concerned with how participants evaluated revealing and concealing as fitting themselves and/or situations.

Fitting in and standing out relates to the use of dress within the women's social group or a particular social scene.

Self-focused dressing motives are concerned with choices that an individual makes with herself as the focus. The main factor in self-focused dressing motives was comfort; a secondary factor was self-expression.

The Concept of Revealing and Concealing

The meaning of women’s clothing vacillates between two opposing raisons
d’ĂȘtre: the need to be covered and modest and the need to be uncovered, immodest and objectified (Sterling, 1995). Sterling wrote that types of dress project different
archetypes: “sexy, professional, virginal, chic” (p. 89). For example, androgynous
clothing can be a way to distance oneself from overt sexuality (Arnold, 2001). A long
skirt could be considered both feminine and very modest, whereas a mini-skirt might be
considered both feminine and immodest.

Lynch, (2007) who studied flashing behavior on a college campus, argued that men tend to sexually objectify women and may focus on specific parts of a woman’s body, as opposed to looking at women as whole individuals. Lynch went on to say that men also may view sex as a conquest, which implies that young women who are present at particular events on campus and/or exposing their bodies are viewed as willing participants even if they are not actually willing, which is similar to arguments made by Lennon, et al. (1993) and Sterling (1995). Harvey (2007) suggested that women’s sense of identity has been affected by a male dominated society. Women have displayed their bodies because it has been desired by men, but, at the same time, many of the diatribes against immodesty also have come from men (Harvey). Duits and van Zoonen (2006) wrote that:

 “Girls’ bodies function as carriers for much wider discussions about decency [and] feminism . . . .” (p. 114).

The authors explained that the female body is seen as passive, which can keep young women from defining their own actions.

Moral Evaluations

People make moral judgments about women based on how much of their bodies
are exposed (Arnold, 2001), and standing out too much can be considered problematic if people perceive it as drawing too much attention of a sexual nature.

An article published in Dutch explained that G-strings were blamed for gang rapes that took place in France (van Beemen, 2003 cited in Duits & van Zoonen, 2006). Lennon, et al. (1993) described a kidnapping and sexual assault case in which the jurors referred to the clothing that the victim wore. The authors explained that the jurors’ statements exemplify the stereotype that: “Women invite their own rapes, sexual assaults, and sexual harassment by the manner in which they dress” (p. 392).

Women’s character is more likely to be judged based on how revealing or concealing her clothing is (Lennon, et al.; Ribeiro, 2003;Sterling, 1995). Lennon et al. referred to a rape case in which a judge said that women should “stop teasing” and that women should dress more modestly, implying that if they do not they are to be blamed for men’s behavior. This case illustrates that dress that is perceived as immodest can lead to inaccurate, negative judgments about women. Sterling’s (1995) study examined semiotic and evidentiary meanings of women’s clothing in rape trials, but the statements she made about clothing are relevant in general. She pointed out that: “Clothing covers the body. In doing so, it describes the body” (p.92). The act of wearing clothing draws attention to what the clothing covers as well as what it reveals. People who believe that women’s bodies are irresistibly tempting to men argue that a woman is responsible not only for herself but “for man’s sexual behavior too: if a man succumbs to sexual temptation in thought or deed it is considered her fault for dressing provocatively” (Entwistle, 2000, p. 150). Yet, almost anything can be construed as sexually provocative, which makes it easier to place the blame on the victim rather than the perpetrator.


Decency
While certain types of clothing may represent different archetypes within a culture, they do not have an objective meaning, and their significance will be interpreted differently depending on the individual characteristics of the observer (Lennon, et al.1993).
For example, one person might interpret a woman’s outfit as being sexually explicit, while another person might think that she was dressed appropriately for a night out. The terms “decency” and “modesty” are framed in everyday usage as concepts that are defined clearly and generally agreed upon, when in reality there is no clear definition of what it means to be decent in modern society (Duits & van Zoonen, 2006).

Modesty often is associated with a more religious and/or conservative perspective, but even so, there is variation within more conservative groups. Arthur (1998) completed a qualitative study of college women who were members of sororities. She found that the women tended to dress in a manner that was more conservative and tailored than did women on campus who did not belong to sororities and that brands that are considered more conservative and tailored, like Ann Taylor and J. Crew, were favored by sorority girls who wished to emphasize a more traditional, feminine appearance. A statement made by a participant in Arthur’s study implies that modesty is related to a more traditional and conservative viewpoint. Shalit (1999) defined a “modestynik” as a young woman whose family is secular (but presumably Jewish) who suddenly decides to dress in long skirts, which Shalit equated with modesty. In both Orthodox Judaism and some forms of Islam women cover their heads to preserve sexual modesty (Chico, 2000), and, in Islam, covering the head sometimes is seen as a way of protecting women from the gaze of men (Duits & van Zoonen, 2006). Duits and van Zoonen suggested that the headscarf may be viewed by others as too modest.

Circumstances of Wearing

Beliefs relate to an individual’s perspective on modesty, but context is also important. The idea of context ranges from the cultural context to more specific circumstances of wearing. Sterling (1995) described how she alters what she is wearing based on where she is. She compared workplace and cocktail attire and explained that, if she wore workplace attire to a cocktail party, she would be dressed too conservatively, but if she wore cocktail attire to work she would feel too revealed. Lynch (2007) explained that context plays a role in what is considered provocative and gave the example of a young woman wearing a bikini top to the beach versus to a bar. At the beach, this top would be considered appropriate, while at a bar it would be considered provocative.

Hendrie, et al.’s (2009) research suggested that it was the percentage of skin showing that related to attracting attention from males in a night club, rather than which parts of the body were exposed. The line between immodest and modest occurred at about 40% body exposure. Hendrie, et al. pointed out that other research has found that night clubs are dark, crowded and very noisy, which means that physical display is more important than it would be in other situations. They suggested that these are the reasons that exposure garners more male attention. Thus, going to a club in conservative clothing
might make it more difficult to interact with others given that it is very difficult to talk,
and dress may be considered to express personality more than it might in other settings.

In Lynch’s (2007) study a participant stated that girls at homecoming were supposed to
dress in clothing that was very revealing, which as Lynch pointed out, suggests that provocative dress may be associated with revealing the female form.

Fitting In

Fitting in relates to both fitting in with one’s peers and fitting within society as a whole. In some cases, young women may choose to reveal or conceal their bodies depending on whether their peers reveal or conceal their bodies.

O’Neal (1998) studied inner-city students’ attitudes toward dress. She found that one issue her participants discussed was conforming to the dress of their social group. Two of O’Neal’s female participants suggested that being well-dressed is important because it allows an individual to fit in with everyone else. Similarly, Sterling (1995) argued that women feel compelled to fit into the norm. Thus, the objectifying imperative makes women feel that they must dress in revealing clothing: “They as a group are compelled to dress both modestly and immodestly, and what results is a limited spectrum in which the majority of women lean toward modesty” (p. 103).

However, Duits’ and van Zoonen’s (2006) study suggested that revealing clothing is marketed even to young girls, so it is possible that revealing clothing has become normative. Thus, it may be that some young women do feel compelled to dress in clothing which reveals a large portion of their bodies.

Shalit(1999) argued that young women may feel pressured to dress provocatively because they feel they will be ostracized if they do not. Her statement suggests that what is considered normal is immodest. However, it is important to note that Shalit’s book is a religiously based attempt to convince people to dress more modestly, not a study published in a peer reviewed journal. Lynch’s (2007) respondents cited lack of self-esteem as a reason why other young women would dress provocatively and engage in flashing behavior, which Lynch pointed out implies that the respondents assumed they could gauge others’ self-esteem accurately. Similarly, a female participant in O’Neal’s (1998) study suggested that showing a great deal of skin advertised lack of self-respect.

Read her Thesis: Thesis