THE SEXUAL OF WOMEN IN FASHION MEDIA: A CONTEMPORARY CULTURAL PERSPECTIVE

NAMATA SHERINAH

Equality between women and men can never be achieved by legal change alone. How our society, our culture, our media, communities and individu- als, view women and women’s equality will make a huge difference. In other words, people – including women ourselves– have to believe in and support the idea that men and women are of equal value and worth. We need to see an end to tapered or downbeat attitudes about women and obsolete stereo- types that maintain inequality and limit both women and men.

t ARISE 61 One of the most popular influencers as commodities but also as sex-awes of their personality and existence of such attitudes is media and popu- and its norm. If fashion designers as an individual, and reduced lar culture; to be more specific, the and fashion ads objectified men the to instruments of pleasure for fashion industry. The fashion industry way they do women, it could be a another person. is popular culture because it deals fair game. However, it’s not the case. with trends and vogue. The fashion Moreover mainstream media always Frivolous fashion culture adver- industry through media has forced depicts this objectification of women tises to women and a hurtful an unrealistic image of women on at an alarmingly higher rate than it fiction that their value lies in how society, worldwide. Fashion media is does men. sexy they appear to others. Girls constantly widening the gender gap learn at a very young age that through use of sexualised images, Society does not seem to see anything their sexuality is for others. promotion of skimpy clothing, beau- wrong with a half naked ’s body ty enhancers and publicising flesh as the cover picture for a fashion So if contemporary society is revealing fashions through on vogue magazine. Neither is it bothered when queuing up for a glimpse of the campaigns and as popular designs. all women’s on vogue fashions are glistening thigh, the , the flesh revealing and sexually arousing. sugar candy lips, rosy cheeks and Fashion is a current trend or style or It is cultural and normal. It is part of shimmering bosoms, does it make manner in which something is done everyday life and an acceptable expe- it right? And is it the right or manifested. Fashion is generally dition- that’s what media suggests. portrayal of the woman? Does favoured for its frolicsome manner, the woman in the picture, in the however if this manner is sexist, it This is confirmed by a one Isingoma movie, in that skimpy dress along triggers questions. (not real name) when asked about his the red carpet think so of herself? take on the sexist fashion exploits in Is that her personality? Do media Media on the whole is TV, radio, the style today; ”How else would women and fashion designers and pro- internet, advertisement and broad want to be portrayed and appreci- ducers ever ask themselves these cast. This may also include narrow- ated? Everyone knows that exposing questions? casting medium such as newspapers, a little bit of their flesh will send the magazines, billboards, direct mail, public queuing for just a glimpse and Magazine editors and their adver- telephone and the fax. a little more- and that’s what fashion tisers (fashion designers and pro- producers want.” ducers as well as trend setters) From the upshot of celebrity fashion have adopted a “technology of culture and beauty, to advertising The general fashion paradigm shift enchantment” as a means of exer- on young women’s and girls’ body involves the wear of more revealing cising control over their audience images, to the stereotyped portrayal and permissive clothing. This cul- i.e. society and consequently cul- of victims, to a chronic under tural shift has often been presented ture at large. Magazine and adver- representation of female news sub- as being “fashionable “. Arguably, tising language is imbued with jects, society’s attitudes are moulded the cultural shift has led to greater “magical” power, and the struc- by these media and wider cultural rep- emphasis on a physical criterion for ture of beauty advertisements resentations of women. Moreover, the women’s perceived self worth aug- closely parallels that of magical leadership and therefore the shapers menting a marginalized and sexist spells used in healing rituals. of media and cultural industry are still perspective. Sexy is fashion. If it The efficacy of such enchantment predominantly men. is not arousing and sexual, it’s off is borne out by society in many vogue. aspects. When media portrays women in a manner that reveals their sexuality as We should all understand that “Sexual Take for example a perfume ad a display commodity on sale, aren’t objectification is objectification of a with a half naked woman all women right to affirm that it is bigot. person.” It occurs when a person is silky, greasy and sensationally Especially because media at large seen as a sexual object and when their leaning on (not against) a male gives platform for that form of dis- sexual attributes and physical attrac- counterpart, who on the other play that not only objectifies women tiveness are separated from the rest hand is bold and powerful and

ARISE 61 t built for strength! As a matter of fact, ability to think independently and ness of sexual exploitation in the woman here is weak and needs take initiative. Fashion media images our society. This is because each redemption from her strong male part- supporting these behaviours include of the on vogue fashions has a ner. The woman is desirable too and the strong, silent man and military sexual allusion to it and society a seduction. It is ultimately saying ads telling young men to be ‘all they knows it. Products like artifi- that when you wear this perfume, the can.’ But, you will rarely come across cial bosoms and burst enhancers, man will like you and remember you. such a manifestation of women. anklets, extremely skimpy outfit Or that the perfume has a sensation and arousal make up shades con- and a scent which could draw a man The excessively coercive nature of note that women are not serious to you. appeal to strong sexual instincts to enough for anything other than sell fashions, products and trends or fronting sex. The entire imagery portrays the wom- promote media downplays the wom- an’s sexuality other than her mind or an’s role and image in society and has Since fashion media is obsessed power or strength. It’s as though her permanent risks on and for women with skinny models, women and mind were detached from her body. in general. For instance, young girls’ girls go to all miles to achieve the understanding of the importance of TV fashionable size. Girls Other portrayals of women in fashion appearance in society may translate and women internalize all fashion ads for instance normally present a to feelings of apprehension, humili- trends’ messages as what society woman touching self ,caressing an ation, and aversion during the tran- deems beautiful and equate that object, lying on the floor, sitting on sition from girlhood to womanhood with their self worth. The results a bed or chair, eyes closed not alert because they (-children) begin to are usually scaremongering. confused, vulnerable, body contort- sense that they are becoming more Among others are psychological ed, dressed like a child, holding an visible to society as sexual objects; It disorders such as body dysmorphic object or a man for support, sexy and is a dreadfully disgusting feeling and ( a mental disorder characterized sexually available, seductive, playful, very shaming for girls in this change- by an obsessive preoccupation careless. These are positions of pow- over to know that they are becoming that some aspect of one’s own erlessness and timidity. This can be more visible to society as sex points appearance is severely flawed and clearly seen when women are shown other than able contributors to their warrants exceptional measures to lying on the floor as men are standing society. hide or fix it ), anorexia (an emo- over them, literally depicting women tional disorder characterized by as being beneath totally at the mercy Sexed-up culture not only objectifies an obsessive desire to lose weight of men. The female body – is always women, but also encourages women by refusing to eat ) and bulimia inevitably controlled by patriarchal to objectify themselves. Women self- (an emotional disorder involving norms and the commoditisation of objectify in terms of body watch by distortion of and an the body through industries such adopting a form of self-consciousness obsessive desire to lose weight, as fashion and beauty that exhibit in which they habitually screen their in which bouts of extreme over- ‘femaleness’. own body’s outward appearance and eating are followed by spend significant amounts of atten- and self-induced vomiting, purg- Men on the other hand are often tion on how others may perceive their ing, or fasting). portrayed as alert and conscious of physical appearance. These in turn their surroundings: standing upright, shade unrealistic expectations by men Women were not created for that eyes open and looking around, their of how women should look or behave. kind of manifestation and the bodies are controlled, mean expres- The woman’s stand in society then 21st century woman has proved sion on the face, gripping things ceases to be about her herself but that her feminity is stronger and tightly or, hands in pockets, seri- others, as well as pleasing society and has a virtuous and yet impactful ously and physically active. Bravery, established perceptions. purpose. She is strong willed, adventurousness, being able to think independent, informed and on rationally, being strong and effective, Increased ill air fashion manifesta- the go and capable of so much for example, are all “manly” traits that tion of women, also increases the more and would love to be por- are usually encouraged. So also is the likelihood, acceptance and serious- trayed so. This image of a totally

t ARISE 61 Men on the other hand are often por- trayed as alert and conscious of their sur- roundings: standing upright, eyes open and looking around, their bodies are con- trolled, mean expres- sion on the face, grip- ping things tightly or, hands in pockets, seriously and physi- cally active. unrealistic woman, of women who are not allowed to be themselves is all a wrong.

Fashion media has given way to a new set of properties by which men are distinguished from women. This is through a new assemblage of the woman’s body as some daft fashion display and inappropriate for any sober vocation. Rarely will the fashion celebrate the business like adminis- trative hardworking woman manager, doctor, lawyer or worker at large. The representation of the latter will be either so metallic or ineffectual or rather as mere ridicule and this has got to stop.

The writer is a literature teacher at Ndejje Senior Secondary School

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