Liberated by Fashion, Bounded by Standards

For decades, the beauty and fashion industry has had a colossal impact on women's lives. Going back, from the invention of corsets to the modern-day baggy jeans, the ever-evolving industry somehow manages to direct the way of our sails. However, beneath the charm, the dazzle, and the blaze surrounding fashion lurks a darker side—one glorified as fashion and beauty ‘standards’. What’s ironic is how fashion has been habitually synonymous with the statement of self-expression and liberation. Yet, the industry relentlessly engraves more and more standards into people's minds each day. This raises a crucial question: Is fashion truly liberating?

Whether donning a Dior gown or wearing a street style tee, when it comes to fashion, it never fails to make a statement. What you wear, who you wear, why you wear it, how you style it – the questions are endless. While your choices might be based upon basic practicality, the reins of fashion are so profound that they can mould symbolism out of your subconscious choices.

A Reflection of Time and Status

In ancient times, fashion was deeply intertwined with symbolism and functionality. Attire and jewels were made to serve practical purposes and commonly acted as a status symbol. Ancient Egypt and Greece are prime examples of this, famous for their soft and breathable linen clothes that were suitable for the climate, along with intricate gold jewels often worn by the upper class to symbolize wealth. Gradually, as time evolved, the Renaissance period brought a wave of change, fusing art and culture in the game of fashion. The aristocracy illustrated many fashion trends with their elaborate gowns, lavish embroidery, and customized statement pieces. By this time, fashion had made an uproar in society. It not only attested to your status in society but also came with an unspoken rule book of standards that were scrupulously followed in pursuit of being fashionably forward but also chipping away to those beauty standards.

Corsets, Suffragettes and War Time

A musical called Six, which reimagines the six wives of King Henry VIII, features a satirical song called Haus of Holbein. This song features a line that goes something like this: "You bring the corsets, we'll bring the cinches, no one wants a waist over nine inches." This sardonic song highlights the extreme and unrealistic beauty standards of the 1500s, when women had an unhealthy obsession with extremely tiny waists achieved by the use of corsets. The tight lacing restricted breathing, compressed internal organs, and even led to muscle atrophy, among other health issues.

After centuries of magnificent but not very comfortable clothing being flaunted, the early 20th century started with the wave of the Suffragette movement, where women used fashion as a way to further their cause. Suffragettes portrayed themselves as strong and independent women, abandoning figure-altering garments and opting for more comfortable and functional attire, some even ditching corsets altogether. The outbreak of World War I also pushed the need for practicality more than ever. Since women worked in munitions factories for the war effort, they began to wear utilitarian clothing.

Post War Glamour

After decades of experimentation and celebrating the end of World War II, the air carried a frenzy of fashion. With new designers emerging and Hollywood stars parading their glamour, the fashion and beauty industry meticulously placed its standards, making them as believable as your necessities. Vogue, the world’s most renowned fashion magazine, rose to prominence and found its way into every woman’s household by captivating its audience and giving elaborate fashion insights. Vogue’s edition of 1952 stated, “It begins at the waistline. The waist is what catches the eye right away.” It reflects the rise of unrealistic standards and an obsession with frantically perfecting women’s beauty. Dior, Balenciaga, Balmain, and more began churning out highly feminine looks that championed the ‘hourglass’ figure, with stars like Marilyn Monroe being idolised. This not only stereotypes what perfectionism means but also projects insecurities among many.

Uproar of Minimalism and Heroin-Chic

The 1990s endorsed the era of minimalism. Designers like Calvin Klein and Jill Sander embraced minimalist aesthetic and ushered in a shift to traditionalistic trends that redefined power dressing for women and offered a sophisticated and confident outlook, aligning with the image of modern day working-women. However, with the rise of supermodels like Cindy Crawford, Kate Moss, and Naomi Campbell in the fashion industry, the ‘heroin-chic’ look became a subject of high controversy because it promoted disordered eating among women. The fascination with a ‘sickly skinny look’ to fit in with the beauty standards led to an anorexia pandemic that left a lasting impact for ages. The fashion industry was openly romanticizing drug abuse and eating disorders, perpetuating fat phobia that not only distorted a healthy body image but triggered a strained relationship with self-acceptance.

Fashion: A Canvas or a Cage?

The 21st century serves as a powerful reminder to espouse body positivity and use fashion as a way to express individuality. In recent times, we have witnessed how fashion seems to be a dynamic and proactive means in the pursuit of liberation. But we are still on a long road to attaining complete freedom from these standards, the standards that capitalize on our insecurities and profit by creating a frenzy. At present, influencers promote a new fashion trend every day, fueling the cycle of unattainable standards. Our stance on these standards won’t change unless we truly understand the essence of fashion and embrace the art within ourselves.

As Gianni Versace said, "Don't be into trends. Don't make fashion own you, but you decide what you are, what you want to express by the way you dress and the way you live."

True beauty lies in reclaiming the power to define beauty on your terms, and that’s why fashion should be our canvas, not a cage.

Khadija Khan is a student pursuing B.Com (Hons.) from Jamia Millia Islamia.

Edited by: Sana Faiz

Disclaimer: The opinions expressed in this publication are those of the author. They do not purport to reflect the opinions or views of The Jamia Review or its members.