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Dressing Cinderella: an Exploration of Women's Engagement with And

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Dressing Cinderella: an Exploration of Women's Engagement with And (Re)dressing Cinderella: An Exploration of Women’s Engagement with and Experience of Makeover Culture Esther Jane Pollard ORCID ID 0000-0002-2063-9739 Submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy October 2017 School of Social and Political Sciences Faculty of Arts The University of Melbourne Australia Page left intentionally blank ii * (Re)dressing Cinderella * Abstract Makeover is the self-imposed and self-directed action of the ideal neoliberal citizen. The body, the most visible expression of self, has become a fundamental tool of social acceptance; and work to normalise and perfect the body seems a logical choice to ensure validity and authenticity in society. The enlightened citizen of makeover culture acts on the demand for improvement directed at citizens through the transformational vehicle of the makeover media. Through qualitative interviews and media readings, this research engages with contemporary body and gender theory and investigates current media and consumer practice within makeover culture. It investigates the everyday experience of a group of tertiary-educated, middle-class women, surrounded by the hyperperfect images that makeover media produces; a group often excluded from social sciences research for their very ordinariness, and yet a key target demographic for the makeover industry. Framed by a discussion of the shift from beauty culture to makeover culture, this thesis asks how contemporary makeover culture differs from earlier modalities of beauty culture. It considers the emergence of makeover culture alongside postfeminism, neoliberalism and media culture and suggests that it is the convergence of these three that has allowed makeover culture to thrive. A hypothesis that this move is marked by a continuing focus on the body but is now discerned by three key differences—technology, perfectibility and contemporary femininity—is presented. The thesis argues that makeover culture forms a key site for the production of contemporary womanhood and femininity and explores how these key tenets contribute to a new regulatory frame for women and to experiences of contemporary womanhood as always already implicated in makeover culture. * (Re)dressing Cinderella * iii Page left intentionally blank iv * (Re)dressing Cinderella * Declaration This certifies that i. the work is the original work of the author alone, towards the degree of Doctor of Philosophy, ii. due acknowledgement has been made in the text to all other material used, and a full list of references is given, iii. the thesis is fewer than 100,000 words in length exclusive of bibliographies and appendices. Signature:_______________________ Date:___________________________ Esther Jane Pollard * (Re)dressing Cinderella * v Page left intentionally blank vi * (Re)dressing Cinderella * Acknowledgements This thesis has been a long time in the making. Eleven years of patient support from my husband, my family, friends and supervisors; three children born; local and international moves; and finally completed at a distance of 16966 kilometres from my home university the University of Melbourne. Sincere thanks are due to my supervisor, Dr. Maree Pardy, for ongoing moral support and strong feedback, for always believing that I could do it, most importantly when I wasn’t sure myself, and for sticking with me through the good and the bad over such a long period of time. Thank you also to Dr. Kalissa Alexeyeff for stepping in to assist with the final push towards submission and for supporting me through examination and revision, and to Dr. Maila Stivens and Dr. Kim Toffoletti whose involvement early on in the project was both instructive and constructive. For constructive feedback which turned the thesis into something I could be proud of an extra thank you goes to my examiners. Thank you to my PhD friendship groups, both the real, whose intelligent adult conversations over a shared love of Mediterranean and Middle Eastern food kept me going in the early days of balancing parenting and PhD study, and the virtual through the PhD and Early Career Researcher Parents Facebook group without whom I may never have got this far. Thank you finally, and perhaps most importantly, to my interview participants, who gave their time and their stories generously and openly, without whom this thesis would not exist. I am grateful for the Australian Government Research Training Program Scholarship which enabled me to undertake this project. Please Note: An editor has not been used in the development of the thesis. * (Re)dressing Cinderella * vii Page left intentionally blank viii * (Re)dressing Cinderella * Table of Contents Abstract ...................................................................................................................... iii Declaration .................................................................................................................. v Acknowledgements .................................................................................................. vii Table of Contents ....................................................................................................... ix Table of Figures ........................................................................................................ xiii Introduction Once Upon a Time in Makeover Land ................................................ 1 The Research ............................................................................................................ 2 The Context of the Study ........................................................................................ 3 The Three Tenets ..................................................................................................... 9 The Findings ........................................................................................................... 15 The Research Approach and Scope of the Study .................................................. 21 Conclusion ............................................................................................................. 27 PART I ....................................................................................................................... 30 Chapter 1 Literatures and the Significance of the Research ................................... 31 Makeover Culture Scholarship ............................................................................... 31 Foucault and the Women Question ..................................................................... 33 The Gendered Body ............................................................................................... 39 The Fat Body ........................................................................................................... 51 Where My Research Fits ....................................................................................... 56 Chapter 2 From the Cult of Domesticity to Makeover Culture: A Brief History of Makeover Culture from the Pre-Industrial Era to the Present Day ....................... 58 The Cult of Domesticity: Function Over Form ..................................................... 61 * (Re)dressing Cinderella * ix The Transition to Beauty Culture: Release from Domesticity ............................ 66 Beauty Culture in Full Swing: Beauty For Sale ..................................................... 74 The Transition to Makeover Culture: Form Over Function ................................ 77 The Age of Makeover Culture: ‘Being the best you can be’ ................................. 86 Globalisation and the Future-Proofing of Makeover Culture .............................. 91 Conclusion ............................................................................................................. 96 Chapter 3 The Fairest of Them All and the Happily Ever After: ‘Being the best you can be’ in the Makeover Narrative .................................................................... 99 Once Upon a Time: Considering The Makeover as Fairy Tale ........................... 101 A Cinderella in Rags: Examining the Abject Before Body .................................. 104 The Fairy Godmother: Wherein ‘The Expert’ is Presented to the Audience and we are Suitably Impressed .................................................................................... 105 Mirror, Mirror on the Wall: Watching the Body in Progress .............................. 111 Cinderella, You Shall Go to the Ball: Admiring the After Body .......................... 113 I’m a Real Boy Now: Makeover Culture, Validity and Authenticity .................. 118 And They All Lived Happily Ever After: Conclusion .......................................... 122 Chapter 4 Regulating the Makeover Citizen: Framing Makeover Culture .......... 124 The “good citizen” of Makeover Culture ............................................................. 125 Towards a New Regulatory Framework .............................................................. 128 Makeover Culture as a Regulatory Framework ................................................... 133 Class in the Makeover Paradigm ......................................................................... 136 Shame and Failure as Regulatory Forces ............................................................. 142 Resistance.............................................................................................................. 143 Conclusion ...........................................................................................................
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