The internet allows people to present

an inflated and self-focused view of

themselves to the world
Twenge & Campbell (2005)
PERCIEVING
TAM
A models perspective on social media,
body image and the distortions created
through the Fashion industry

Model: Tam Dexter

Photography: Talia White
Makeup Artist: Jade Victoria

Tam Dexter, one of the Norths

most desired and booked models,
kick started her modelling career 2 Do you feel that working as a model in
years ago through Nemesis Models, the Fashion Industry has affected your
Manchester and posting her test self-perception and body image at all?
shots on the social media platform
Instagram. Not as much as some people may think.
Obviously I look at other girls that go to
With already 36k Instagram followers at the gym a lot, and Im like wow I need
the age of 23, youll see Tam modelling to go gym more [laughs], but Im happy
for the likes of Hotmess, Luxe to Kill, with my body and I get booked for work,
Runway96, Baby Milk Clothing, Maniere so clients must like me.
Devoir, Baziic and Jade Clark.
Do you think that seeing successful
But, how does building a modelling models on social media, could issues
business through social media affect in young females? Especially those who
your self-perception as your popularity are wanting to follow your footsteps?
grows and you become more, and
more in-demand? Tam tells all on 100% of images on Instagram can be so
how it feels to be on the industry side false; lighting and photoshop have more
of the lens in modern day society, than likely been used. If I wasnt in the
and how the modelling industry can fashion industry I wouldnt know about
affect perceptions and identities of the the amount of editing that goes into
viewing and consumer-led public. post-production images.

00
PERCIEVINGtam
When I was 16 I didnt care about what
I looked like compared to girls in the
lower generation, but it seems 16-24
year olds mainly have their head in their
phone on social media platforms at
the moment, and that cant be good
for them.
Do you think social media has had
any negative impact in your modelling
career to date, especially being 22 and
working within the realms of fashion?
No not really, I dont think I have enough
followers for it to have a negative impact
on me. I see girls with 50k plus followers
and they get abused in the comments
on their own images, its disgusting. I
think if it got to that I would come off
social media as theres more to life than
people saying nasty things when they
dont even know the person that theyre
being negative towards.
Have you had any negative experiences
with brands or modelling agencies
where perhaps their expectations of
you were different? Perhaps post-
production images can give clients an
idea of something that isnt real? makeup is a huge part. Sometimes I look
No not yet, and I hope I dont in the
future. All my agencies have been really
happy with me and my shape, and we
also do test shoots for my portfolio
showing a range or pre and post-
production images.
00
Do you feel that working as a model,
there is a certain expectation of you to
look a certain way all of the time?
I dont think there is a certain way they
want you to look, but I know companies
want variety in models, i.e. hair colour,
cut and maybe physique too. As a model
you need to be looking your best at all
times, I make sure my hair, nails and skin
are in perfect condition all the time.
What aspects of the Fashion and Beauty
Industries in particular do you feel most
affect self-perception and body image
issues of viewers and customers?
Photoshop is a big one, how you can
change someones whole image and then
SOMETIMES I LOOK AT
MYSELF AND I DONT
EVEN LOOK LIKE ME IN
THE MIRROR BECAUSE
IM CONTOURED TO
HIGH HEAVENS!
use the image everywhere is false to me.
Within the beauty industry, obviously
at myself and I dont even look like me
in the mirror because Im contoured to
high heavens! So young girls wanting to
look like a model or a blogger that they
have seen because they contour or use
MAC makeup would be a massive self
perception issue!
PERCIEVINGtam

00 00

Has imagery of you been published
whereby your body or real body
shape, has been digitally manipulated
without your say?
No never, most photographers say Im
really easy to work with as I dont need
photoshop as my skin in great.
How do you feel in general about using
digitally manipulated photography?
I think its ridiculous. If they found a
model with what they was looking for
instead of creating a fake image of
somebody to fit the brand, or look
I think the world would be a better
place in terms of self-perception and
self-confidence. At least young girls
would know the image is a real person,
and could aspire to that and not a false
entity created for sales and the media.
Do you think clients and brands can get
away with such manipulation without
their being any impact on the model?
Its really sad, its like the client doesnt
know that the model will know that they
have changed it completely. Can you
imagine looking at a image of yourself
which looks nothing like you? I can only
imagine the sadness that I would feel if
I witnessed it, and it happened to me!
I think it would be really damaging and
could lower your confidence massively.
PERCIEVINGtam
Working around this major issue in
the Fashion Industry, ASOS for example,
have a Model Welfare Policy in place to
ensure that all of the models used in
their promotional materials are deemed
healthy in regards to physique and
weight. Have you had any similar
positive experiences with brands or
modelling agencies where policies
are enforced or positive body image
is promoted?
This is the best thing thats came to the
fashion indsutry and the wider society. I
dont work with a company that has any
policy in place, but I think it should be
implimented worldwide.
CAN YOU IMAGINE
LOOKING AT AN IMAGE
OF YOURSELF WHICH
LOOKS NOTHING
LIKE YOU? I CAN ONLY
IMAGINE THE SADNESS
Do you feel that the use of a National or
International Policy on healthy model
use and positive body image would help
the industry in regards to promoting
body confidence and positive
self-esteem within young females?
100% there is a lot of models that are
so underweight, even some that I have
worked with. To young girls they look
amazing, but if a doctor was to analyse
them, I am sure they would be worried.
00
 It seems like there is a higher
percentage of people that have a
slimmer, fitter, smoother, tanner body

Participants of a 2017 study stated that..

than mine

The average I feel like I have to buy more beauty

products and try them out. Things
I would never have thought about.
18-24 year old Products such as pore minimiser,
eyebrow pencils and face creams.

spends 2 hours a day Because of these products I am more

aware of parts of my body that I
wouldnt have noticed before
alone on Instagram, All models and fitness bloggers use
spanning across social media as a platform to sell
themselves, and I look at these amazing

16 visits to the
looking people with amazing bodies and
feel so self conscious that I dont look
like them
application. But, how Theres so many examples of extreme

does this affect ones beauty to compare yourself to

self-perception? For a long time I let Instagram get me

down, how good people look on the
internet compared to how I look in real
life. It wasnt long before I figured it
was an unfair comparison. You only put
your best bits online and with all the
apps and make up available now, we can
all play along with the best of them
WARNING
WARNING
WARNING
PLEASE NOTE:
THESE SELFIES MAY TRIGGER
SELF-ESTEEM & CONFIDENCE ISSUES!
 BODY IMAGE

NARCISSISM

SELF-PERCEPTION
 SELFIES,
NARCISSIM &
SELF-ESTEEM
The rise of narcissism and self-esteem
issues through the rise of
self-photography and social media
Social media has impacted the world like
no other online outlet. It is hard to list all
of the effects that social media can have
on one; either positive or negative. At a
glance, it is obvious that self-expression
has become a paramount benefit, and
one can connect with friends and loved
ones all over the world within seconds,
sharing stories, photos, videos and
conversation. On the flip side, there are
trolls and judgement taking place by
International critics whom one may not
even know; simply as a result of a selfie
going live on Instagram, Facebook or
Snapchat.
These photo-based platforms allow
for one to create an ideal lifestyle
or image, only projecting what one
wants others to see; a self-focused
and inflated view of oneself. Deceptive
angles and filters have taken self-
photography to another extreme,
allowing for narcissists to prevail on
an International platform without
necessarily knowing themselves.
00
Lowen, a researcher and theorist,
describes narcissism as an investment
in ones image as opposed to ones self;
their activities are directed toward the
enhancement of their image. This quote
embodies modern day society, be it
through social media, plastic surgery,
cosmetics or clothing. All one needs to
do is look at celebrities and bloggers to
see the embodiment of narcissism in
a digitally social world. The world has
become image-led and one is lead
to believe that whoever receives most
likes or positive comments are the with said pleasing resulting in praise for
epitome of beauty or fashion; and now
even the fitness industry.
In regard to Instagram; the app some
may say was designed to show, take and
edit selfies, is comprised of a mass of
individuals competing against each other
for followers, likes, reposts, favourites,
and whichever other show of approval
exists out there rather than any sort of
collective goal of mass beauty and global
acceptance of diversity and culture.
It is this self-obsession and competitive
culture which pushes one to make
aesthetic changes to reach a level of
acceptance, whilst also pushing one
into a whirlwind of self-esteem and body
image issues.
A research study consisting of
anonymous male and female participants
carried out in 2017 showed that 80%
of participants within the age bracket
of 18-24 felt that social media had
impacted negatively on their self-
esteem and confidence. Theorist
Hesse-Biber claims that those already
vulnerable to self-esteem or body image
issues are most impacted by social
media platforms and the subsequent
intergroup comparison which follows.
This intertwines with other image-
led perspectives and ideologies such
Mulveys gaze, which has changed and
moulded itself overtime to echo the
modern digital age with lenses and
camera phones acting as a barrage of
self-doubt and self-objectification for
the pleasing of the follower. This being
said though, a viscious cycle follows,
peoples insecurities for the selfish
the body or face behind the lens. This
then allows and encourages a repetitive
notion of self-photography to occur,
solely in the pursuit of reassurance.
It is unlikely that one would admit that
self-photography is curated for self-
adornment but with narcissists it has
been stated that every like can give
the same impact on one mentally and
physically as a hit of cocaine. Such
yearning for validation has now reached
LIKES GIVE THE
SAME HIGH AS A SMALL
HIT OF COCAINE
such levels where one can buy likes or
followers to give people that hit for
aesthetic highs.
But, for others, image-led applications
can cause a negative stir, as previously
mentioned. The anonymous study
allowed for participants to air their views
on such platforms with one claiming
that; there are so many examples of
beauty to compare yourself to. How
do you know what you should look like?
Is there a normal anymore? Or is this
based on who receives the most likes?
In a world where you dont know if what
you are looking at is real or constructed
in a post-production of lighting,
retouching and face-tune apps, the
danger of this having a negative impact
on one is real. One participant claimed
that Instagram doesnt do real life
filters; you cant edit real life, echoing
the notion of falseness impacting on
benefit of others.
But with narcissism on the rise, more
filters, more lenses and more editing
apps becoming readily available each
week, will there ever be a sincere level of
engagement on social media anymore?
Or is the desire to be lavished with
praise and likes the new conversation,
even if it is damaging below the
transparent surface of hashtags and the
wannabe-famous?
00
MULVEYS
CHANGING GAZE
The Male Gaze in a digital age and its
effects on the self-hood, identity and
self-esteem of social media users
Photography: Playboy
1975 saw Mulvey coin The Male Gaze,
a theoretical perspective which has
domincated the media over the past 30
years in many ways.
As much as it has dominated, it has also
changed perspectives and perceptions
when it comes to the fashion and
beauty industries, and in recent times
with the rise of social media, has
become a notion as to also how to
create tailored content to appeal to a
certain audience; but perhaps with the
wrong intentions, and with undesired
side effects stimulating a cycle of self-
esteem, confidence and identity issues.
Wishpond claim that there are 7.3m
daily active users on Instagram alone,
generating on average 575 photo likes
and 81 comments per second per day.
And with this, a 2017 study carried out in
the UK with 1,500 14-24 year olds, found
that Instagram has been rated the worst
app for mental health issues, affecting
users self-esteem and body image, due
to a constant feed and infux of imagery
showcasing ideals, filtered selfies and
body shots. This has led to social media
being recognized as having the same
effects on ones self-perception as the
male gaze, due to an internalisation
of an ideal image which one comes to
recognise as normal. The male gaze is
a term coined by feminist film theorist
Laura Mulvey in her groundbreaking and
renowned 1975 essay Visual Pleasures
and Narrative Cinema which explores
00
THEgaze
a world of sexual imbalance, where a
pleasure of looking has primarily been of
the active male, and the passive female,
who becomes the display with the pre-
determined intention of look at me.
The gaze has been seen in the media for
decades, in the editorials of Vogue, in
porn, and through key establishments
such as Playboy, shaping how women
are perceived by men, and in turn
how they perceive themselves. In the
1950s Playboy Bunnies in Chicago,
whereby they were objects of both male
attention and the male gaze due to their
uniforms, in turn becoming the ideal negative critique and judgement. This
and sex symbols of the era. Shields
and Heinecken stated that this can be
overwhelming, and in turn, distorted,
whereby, one becomes unable to
recognise the ideal, nor reality, adding
additional pressure to look a certain way
and conform to a socio-culturally pre-
set norm derived from such gazes.
Theorist Shields expands on this,
explaining the male gaze theory in
everyday terms; allowing for women to
be seen as objects of the heterosexual
mans eye, and claims that it is this
awareness which allows for women to
adopt different perspectives to see
themselves through the eye of the
third person. This allows one to view
themselves in this way opposed to how
they actually see themselves, judging
others in the same vein also - through a
male eye. In addition, by adopting this
view point, one becomes aware of what
the male wants to see, pre-empting
this notion through dress, body and
00
and beauty. Mulvey calls this the female
gaze stating that women see themselves
through the eyes of men, therefore
influencing our choices on what is
perceived and deemed attractive by the
opposite sex, or the male gaze.
By adhering, one is put under constant
pressure feeling the gaze consciously,
even if self-led. In a digital age though,
this gaze is also felt under lenses and
screens, with one being in complete
control as to how they project their
own image, often being aware that one
is being gazed at, for either positive or
this has blurred boundaries and has
is often seen in the feeds of Instagram,
even now under the beauty-sphere, with
bloggers adopting these approaches
to self-promote; the tides have turned
from primary uses within fashion
and editorial advertising. Writer, Liu,
summarises this notion perfectly; social
media makes this a time when the visual
begins to take prominence over the real.
Instead of experiencing our lives from
our own vantage points, we now see the
world from how others will view and
respond to our vantage points. When
we are all responsible for creating our
own media, we are always visible and
therefore, always seen.
Johnson (2008, P.207), pins this thought
of vantage points on the ideology of
a brand, or self-branding marketing
strategies as often seen with influencers
adopting porn chic style
promotions and campaigns, noting
that; product [or brand] ambassadors
[are not] aimed at selling anything
specific, but instead work to give a
brand a certain set of values or a certain
emotional association. This however in
turn aims to change ones sense of self
through reflected and standardised/
advertised ideals, and gazes, which
can ultimately be dangerous for the
one creating the content, and those
viewing it.
However as social media has led to
males also becoming more prominent
in the fashion and beauty industries,
and gender is considered more equal
also taken away the stereotyping that
the male gaze once was. Now, this has
become generalised as the gaze and
has become more subjective than ever.
The various representations of both
male and female ideals which social
media in particular promote, can be
said to confuse ones self-perception
and the understanding of what the
ideal is, and therefore what beauty,
or body image is. This confusion and
internalisation can lead to the self-
surveying gaze which can overwhelm
one and in turn will be no longer able to
recognise ones true perception opposed
to a perceived perception.
Rumsey, another theorist and writer,
claims that, beauty ideals by showing
certain body sizes [as...] beautiful
and desirable insinuating that the
media is responsible for choosing
who and what is seen as the ideal,
shaping and creating unattainable and
and unmaintainable aspirations for
both men and women. This can lead to
eating disorders, body image issues,
mental health problems and further
issues with confidence and self-esteem,
for example. This has since been
confirmed through studies and user-led
surveys. Photo sharing platforms and
photo-led applications allow for users
to critique themselves, and the more
these platforms/apps are used the more
critiquing and self-evaluating may take
place, altering ones self-perception due
to internalising of a pre-determined
ideal, or image.
Fellow writer Klein, also notes that
social media makes social comparisons
even more competitive due to having
likes, comments and followers to gage
their self-worth and beauty from, in
some cases establishing their level of
confidence and self-esteem. The higher
the number, the better ones self-
perception is. The lower the number,
the lower the self-esteem. A vicious
cycle, which is no good for any social
media user, and shows how damaging
these image-led platforms can be.
Even though images are constructed,
curated, edited and filtered to project
an ideal and positive image, or more
accurately, how someone wants to be
perceived, Hong notes that perceptions
are not shaped exclusively by what
profile users disclose about themselves
but also based on others comments,
being titled the warranting principle;
judgments from other-generated
information is more influential than
00
THEgaze

PERCEPTIONS
ARE NOT SHAPED
EXCLUSIVELY BY
WHAT SOCIAL MEDIA
PROFILE USERS
DISCLOSE ABOUT
THEMSELVES BUT
ALSO BASED ON
OTHERS COMMENTS.
THIS IS NOW CALLED
THE WARRANTING
PRINCIPLE IN THE
DIGITAL AGE
judgments from self-generated
material. This allows for a whirlwind of
self-perception issues to be sparked
and further stimulated, allowing for
one to value and judge self-worth and
perceptions based on others opinions
opposed to ones own thoughts.
Third person perspectives instilled
through socio-cultural influences and
expectations build an ideal image
which for some is unrealistic and
unmaintainable or attainable leading to
a barrage of problems. This leads to the
question; is there going to be a tipping
point for these platforms when sensors
are placed and rules are put in place
to protect users, or is there going to
be educational materials showing how
such platforms can be damaging? Or we
will, as a society, continue to self-derail
and damage each others wellbeing,
self-hood and self-identity for our own
security and positive approval?

00
SEX XXX
SEX
SEX

SELLS
SELLS
SELLS
With enough work people can
construct the appearance that they
want. Such understanding emphasises
the visual, pointing towards a world of
gazes, mirrors and spectacles
Stratton (1996)
 MODERN
MUSE
Is social media taking over fashion
magazines thanks to digital muses;
elite bloggers and influencers?
Model: Aimee Song
Photography: Song of Style
At a time when less than 50% of
18-24 year old females read Fashion
and Beauty magazines, the world is
turning into a digital entity, allowing
for not only magazines to question their
standing, but allowing for everyday
people to become part of the in-
group, and present themselves how
they want to be seen, in return for
reassaurance and likes, boosting ones
self-esteem, confidence and potential
career goals in the blogging realm. This
instant accessibilty to, and obsession
with social media, allows for one to
create a style for themselves, and in
turn creating and curating their own
digital magazines, opposed to being
dictated to by monthly editors within
publishing to dictate what is in, or
not. These magazines are not page and Pintrest, which reaches more than
turners however, they are Instagram
feeds, online blogs and Pintrest
accounts, documenting their every
move, every look and style.
00
Aimee Song falls into this group. But
not only does she fall in to the group,
she helped create it. The first fashion
blog appeared online in 2003, and Song
of Style (Aimees blog) launched in
2005, and quite literally took over. She
began blogging while studying interior
architecture in San Francisco, originally
as an outlet for interior design shots. On
a whim, Song uploaded a photograph of
one of her outfits and it quickly sparked
positive feedback from strangers around
the world online. Then the luxury brands
followed in tow. Now, Aimee has an
Influencer Agency whom are also in
control of Instagram, YouTube, Twitter
8m followers collectively. She also has a
team of photographers whom follow and
capture her every move, at home in LA
or on her travels.

Due to her success, a booked titled
Capture Your Style has been released;
Songs own guide to branding yourself
for social media, and was instantly
featured in both The New York Times
and Forbes Magazine. This is where
the magazine VS blogger challenge lies
though; are magazines being outdone
my marketing extraordinares and
influencers, whom now have more
influence over consumer culture than
Anna Wintour from Vogue US? Its highly
possible.
Stratton claims that, [with enough work]
people can construct the appearance
that they want. Such understanding
emphasises the visual, pointing towards
a world of gazes, mirrors and spectacles
where they eye is the central sense
and the body is its major focus. This
is resonant with social media and
magazines, whereby the camera, or
public eye becomes a mirror, allowing
for distorted self-perceptions, with
one being unable to recognise what does living a life of curated, filtered
is real, or not, adding aesthetic pressure,
especially in a world of social media.
For Song these spectacles and
constructive work has worked incredibly
well; Since reaching influencer stardom,
she has been made brand ambassador
for Laura Mercier, launched her own
fashion line, called Jame, guest-edited
Korean Vogue, walked the Dolce and
Gabbana SS17 catwalk show at NYFW, and
has featured in Vogue US and Womens
Wear Daily. In addition, collaborations
have been formed with brands such as
True Religion, Fossil, Levis and 7 for All
Mankind, and has since been employed
MODERNmuse
by Macys flea-fashion ambassador.
Song is clearly being recognised by
Wintour and major brand leaders as a
force not to be reckoned with, but to be
joined.
But with this influencer game comes a
dangerous side note of how Instagram
and social media can make, the normal
person feel, or the person who has tried
their best at blogging but still cannot
reach that status. Capture Your Style is
sold and marketed as follows;
Inside, youll learn ways to craft your
voice and story on Instagram: all about
how to edit your photos using the best
apps and filters, how to prop and
style food and fashion photos, how
to gain more followers, and secrets
behind building a top Instagram brand,
transforming an Instagram hobby into a
successful business
Sound appealing? Of course. But how
and edited images make the everyday
person feel? Song would argue that
she, represents the masses because
Im a real person, not a supermodels
or celebrity, so consumers can relate
more, yet if you ask someone on the
highstreet, someone from the norm,
they would argue that such bloggers
present and represent an impossible
ideal look which the average person
cannot achieve. If only Instagram made
real life filters.. you cant edit real life.
This statement can make one feel
unsettled, but also can make one
00
MODERNmuse
question this new career choice of
Influencer marketing and blogging in
relation to self-perceptions, aspirations
and ideals. In regard to this, due to the
continuous perfect posts and ease
of some bloggers reaching international
influencer status, it can be taken that
every photo is not, planned and edited
post-production, however Songs book,
captures this process diminishing the
secrets of bloggers everywhere. In some
ways, this is a positive that she has
revealed how bloggers and influencers
work; based on their contructed lives,
whilst to those who do not follow her
or know of Capture Your Style, may be
niave to this process and take whay they
see as real.
Due to the rise in blogger culture in the
past decade, many theorists have began
to adapt their research and analogies to
this phenomenon and how this affects
the viewer. Tagg took the lead, stating,
status [within] technology varies with
the power relations that invest [in] it,
whilst Rose claims; photography is
often thought of as picturing reality,
implying that fabricated realities such
as Songs, may impact on the self-
perception, confidence and self-esteem
of the viewer.
In contrast, it can also be said that
there is a sense of pleasure and
gratification that is gained through
looking at what we cannot have or
achieve, allowing one to still feel in tune
with such lifestyles, therefore using
social media platforms such as Instagram
and YouTube everyday. completely take over?
00
Compared to magazines where one
knows that the photography or editorials
which are being viewed or directed, are
curated and fuelled by models, makeup
artists, hairdressers and stylists, social
media paints a picture that what one
posts from their personal account is
real. Magazines can be interpreted
in different ways due to being mass
produced for a wide audience within
a designed demographic, dependant
upon the viewer, how they percieve it,
and ultimately if they choose to read
that particular publication. However,
with social media, each blog is tailored
and is directed to a very specific type
of person, through the use of hashtags
and curated imagery. Influencers are
becoming the new models, role models
and leaders of the fashion world,
dominating the social media scene and
the publishing world. Social media users
may see this a positive, or a negative,
depending on their mind-set and
viewers on the bloggersphere, whilst
brands are using influencers opposed
to models to endorse and promote
their brands and products; through
both catwalk shows and PR stunts via
social media. But, ultimately, magazine
publishers are turning a negative of
a preference of social media into a
positive, in an aim to counteract their
sales and open doors to new readership.
This combined strategy of utilising
different media channels in an aim to
re-vamp a fading world of print-based
editorials appears to be working, but
how long until these modern muses
00
luxury consumerism; now available
Different people of different
cultural backgrounds, under different
circumstances and at different times
make different meanings, and so
create and experience different
social realities
Saunders (2012)
MILK
& HONEY
An honest and inspiring, award-winning
blog aimed at inspiring and instilling
self-worth in women across the globe
Models: M&H Collective
Photography: Amy OBrian
itsmilkandhoney.com
At a time when the digital age can be a
negative environment with a backlash
of critique and judgement, Milk and
Honey provide a safe outlet for women
to escape to and be inspired by.
In 2012, Stephan Alexandr launched
the female ran online blog and hub,
aiming to inspire, motivate and instill a
truth and sense of belonging in the lives
of her readers. Instantly shortlisted
by Cosmopolitan for the Blog Awards
the same year, Milk and Honey began
to grow from a one woman band
in London, to an International and
collaborative platform reaching women
all over the globe. With underlying
Christianity and self-belief, this blog is
like no other and is recognied as being
fresh, youthful, relevant but real, with
no artifical content created purely
for the reception it may, or may not
recieve. The growth and readership has
been organic, underpinned by honesty
and culture.
What prompted the idea of the blog
Milk and Honey?
Milk and Honey was just my little blog
to interview people as I came out of
university. It was somewhere to write
about the things I was passionate about.
Now the angle has totally changed and
is aimed at women aged 16 to 24, and is
all about being a positive inspirational
stream in the media - passionate about
protecting moral values and bringing an
awareness of self-value and worth to
00
MILK&honey

young women. The platform is now a and working together to get these
collaborative non-profit group ran by stories out there and build on this
likeminded women from across the platform working together, sharing and
globe. Our platform covers a range of encouraging.
area, from fashion, music, faith and
lifestyle. It endorses positivity, love and But, there is a lighter side too?
certainly has no place for gossip! We
aim to bring inspirational news and an We talk about all sorts of this girls like,
awareness of self-value and worth. I like from makeup and beauty, to fashion, to
to think it is uplifting and will motivate hotels and travel, the best places to eat;
women to be the best that they can be. you know a lifestyle hub thats Christ
There is truth and heart in everything inspired but engaging and relatable
that is written. and safe. Sharing is so important to
bring all sorts of self-worth and value
Do you think that this platform can to women, especially today when this
make a difference in the current digital can be diminished so easily in modern
age of social media and judgement? day society. You know, growing up in a
sheltered environment and having pre-
The platform was created as a safe haven determined aspirations set out for you
for girls to come and get powerful, has led me to this point, where I now
meaningful and real content, and it want to be me, and I want women to
is what it is because of the girls that embrace who they are too, and not to
contribute to it. be dictated through just an ideal either
through the media or Christianity.
Can you tell me about the girls which People dont often realise how beautiful
you work with and how you work? they are, and dont recognise their worth
and thats what we want to showcase
Oh, gosh, we have girls from Canada, and encourage as a team.
from Germany, from London, from LA,
who pull out their testomonies very Do you think its hard for women to
earnestly and talk about their lives, identify with themselves within a world
their journeys and their Christianity, of social media?
and very honestly to. I remember
back at the start we would talk about Even if you have Instagram and youre
real issues such as the struggle with following safe content, there is still an
pornography and religion, you know, and element of a picture perfect life. No
abandoned girls who never had parents, one posts a picture of themselves when
and motherhood, and sisterhood. We they wake up, its all very tailored and
wanted to share stories through Christ, we try to bring that back to reality. You
to let others be free. You know and dont see imperfections, an we wanted
thats really been at the brunt of it all, to show that, and reinstate being true.

00 00
MILK&honey
What is your film about, The Dare that
features on the blog?
We wanted to present a reflective visual
of the journey that is being a women,
growing and learning over the years, in
a raw way. The Dare is a spoken word
piece performed and written by Sarah
Amankwah, which we believe to be
powerful, helpful and beautiful too.
The Dare:
I remember the first time that I sat
in isolation.
I kept face, but it caught my attention.
At age 9, I was a compulsive lair.
I rejected things I couldnt understand,
like immigrants.
Who knew those silk haired, sun-kissed
creatures were my neighbours.
This clenching stones not knowing that I
to had become a clone.
Culture zone; teenager.
Not a ninja but my movements marked
splinters.
Most winters I would slumber in the
daytime; always afraid to walk the line.
Im dreaming; but screaming, why does
beauty starve the living.. wait, wait, who
am I kidding?
I traded my heart to these trolls that
scrolled through every crushed artery.
Handed me some sticks and spit and
make me your weeping mistress.
Ruled by the fear of never having a happy
ever after.
But behold, for he is coming; and every
eye will see him.
My knight in shining armour.
Covered me with his ghost writer.
00
A lover, but not a fighter.
Not afraid to flex to the rebellious yes.
Advised and rejected by men, we did not
esteem him.
But he needed to be stricken.
Smitten, it was written, he was wounded
for our transgressions.
Bruised for our inequities.
Chastised for our peace.
Beg my pardons, please.
From the minute my tears kissed his feet,
I was set free from eternal captivity.
In an instant, his grace was made
sufficient.
Not by my needs to please, but he
needed to aim high for me so he stepped
down and died for me.
Who sympathises with the weak.
Tempted yet with sin yet he was on fleek.
Perfect purchase the payment was
permanent.
And I look at you, sleeping beauties and,
the scars left behind.
The broken hearted Fionas and Auroras.
Those filthy ogres wearing togas, and
those charming lovers.
For heavens sake.
His glorious kingdom awaits; you are
known royalty.
He prays that when you sit there and
look at me you see a bi-product of a true
love story.
I dare you to listen to reason, to commit
this act of treason against the world.
Tell every boy and every girl to wake up.
I dare you to shake up the nations, the
blacks, white, olives and caucasians.
I dare you to love your frenemies, thats
your friends and your enemies.
I dare you to not follow me, but follow he;
come and see, I dare you.
The media influences slim ideals,
and potentially can trigger eating
disorders. As a result 1.6m in the UK
alone suffer
B-EAT (2011)
CANDIDLY
ASOS
The worlds largest ecommerce outlet
talks Social Responsibility, Model
Welfare and Body Image

ASOS is known to be the number

1, global fashion destination for
20-somethings. Selling more than
85,000 products through localised
mobile and web experiences, ASOS
deliver daily to 240 countries and
destinations around the world. With
this being said, ASOS have a huge
responsibility to ensure that both
products and advertising are targetted
responsibly to their 12.4m diverse
customers, and with their stance as
a market leader within the Fashion
Industry, ASOS take the welfare of
both their customers and models
very seriously. At a time where social Photography: ASOS SS17
media is on the rise, and perceptions
are being distorted through an array With ASOS being accessible to over
of digital lenses, Jessica Andrews 240 countries worldwide, how does
from the Social Responsibilty team the Model Welfare policy work on
and Robert Crest, a Senior Specialist an International scale? Are different
Womenswear designer for ASOS, talk ethnicties and body types accounted
candidly on the companies policies and for in order to not only show Western
procedures, ensuring good practice faces and physiques?
globally. ASOS are the only global
company to enforce such welfare JA: The main focus of the policy is the
policies, and hope to make a positive welfare and wellbeing of the models
difference in a challenging time for working with ASOS, so it doesnt specify
Fashion; by keeping what they put out in the need to represent differences in
the media as close to real as possible. body shapes or averages. However as

00
CANDIDLYasos
part of the wider Fashion with Integrity
programme we focus on diversity and
inclusion so the model booking team
is aware of the importance of ensuring
that our models reflect our diverse
customer base.
I think that ASOS does a pretty good
job of this already but we are always
striving to ensure that all body types,
races, etc, are represented across all of
our channels.
How are ASOS perceived in the Fashion
Industry and ecommerce world in
regards to following guidelines and
policies? It is noticed that other brands
and organisations in the Industry which
do not have such pre-set policies.
RC: I hope ASOS is perceived to be quite
aspirational in terms of body image and
dressing any body shape.
We have 4 womenswear specialist
Own Brand departments Curve,
Tall, Petite/Petite Tall, and Maternity/
Maternity Tall, and we also sell Branded
Specialist brands too.
We [ASOS] strive to be the top of our
game, and hope that all of the work done
within head office is evident on site
through both the end product and social
media outlets. We dont use advertising,
aside from our own magazine which
is available to customers, we live off
word of mouth and the reputation this
spreads, the feedback we have had from
questionnaires and focus groups have
been very positive.
00
So, who do you work with to form
such policies, and are these supported
going forward?
RC: The design team obviously doesnt
work in isolation. We have very strong
relationships within our Buying and
Garment Technology teams to ensure
policies are followed throughout
the process. Our supplier bases are
also an extension of this and regular
contact and visits build this trust and
continue updating the information and
expectations we hold within ASOS.
JA: When forming a policy it is important
to ensure all of the relevant stakeholders
within the business are involved. For
example, for a retouching policy this
would include a group of people, so, the
Production team, the model booking
team and the creative directors.
We would also potentially involve a
critical friend i.e. a charity or initiative,
that it well known for working in the field
so that they can provide external advice
as the policy is formed. This really helps
[ASOS] to ensure that we are on top of
our game, and that nothing out of line
is carried out which could be perceived
negatively by the viewer and consumer.
We take this quite seriously.
Do you believe that all brands and
organisations in the Fashion Industry
should follow policies and guidelines,
ensuring that Positive Body Image and
Model Welfare are accounted for? Or,
do you think the Industry would benefit
from National or International policies?
 CANDIDLYasos

BOUNDARIES ARE RC: In general, I think that there should

be a level of general awareness and
NOW BLURRING AND boundaries which industries should
THE TIDE IS TURNING. adhere to, but appreciate to make it
POSITIVE BODY IMAGE national or international would require
a big body of work. I think boundaries
AWARENESS IS NOW are now slowly blurring and with recent
OUT THERE NOT TO catwalk shows using plus size, older
BE IGNORED BUT generations and androgynous models
the tide is turning and Positive body
CELEBRATED. THERE image awareness is now out there not to
IS STILL A LOT TO BE be ignored but celebrated. There is still
DONE HOWEVER a lot to still be done however.

JA: I feel that all brands within the

Fashion Industry should draw up their
own policies and guidelines. I think this
would promote organic change from
within the industry that still allows for
the creativity and vision to continue but
also ensure the wellbeing of models and
the public.

When National or International policies

are put in place they can help and
promote change more quickly as long as
they are not too prescriptive. However,
these types of policies are quite often
not very easy for brands to navigate and
can become a burden with admin and
quashing creativity, so do not allow the
industry to find a positive solution from
within, which I think is what ultimately
drives long term change.

What sort of questions does the public

in regards to Body Image and Model
Welfare raise?

JA: The main questions we receive really

are in regards to our retouching policy.

00
CANDIDLYasos

00
CANDIDLYasos
Have any problems arisen in regards to
modelling agencies not complying with
these policy guidelines?
RC: Not that Im aware of, but I would
like to think that ASOS would only work
with agencies which have guidelines
and rules which embrace and support
all body types, and as a result any issues
are dealt with prior to production teams
meeting or hiring our models.
JA: Yeah, I agree. Ultimately its up
to the ASOS Model booking team to
decide which models we want to use
on our website, or for any other media
channel, so they should be following the
guidelines outlined in our policies, such
as only using models with measurements
above a UK size 8.
However, we do sometimes face issues
due to modelling agencies presenting
models that have measurements that
are smaller than we would want to use.
For example, in the past we have had
challenges in finding agencies who
supply plus size models above a size
16 and as a result have resorted to
finding our own models, often through
Instagram, festivals, competitions or
even from the ASOS office! But you
know, the modelling industry is changing
so we have seen improvements in this
area recently.
So, how does the ASOS social media
platforms comply with these policies?
RC: Naturally we have a responsibility
to ensure any imagery posted on social
00
WE HAVE RESORTED
TO FINDING OUR
OWN MODELS; OFTEN
THROUGH INSTAGRAM,
FESTIVALS, COMPS OR
EVEN AT TIMES FROM
THE ASOS OFFICE!
media is positive and this is monitored
and addressed constantly. We use
social media as a resource to gain an
understanding of what our customer
needs also. This is usually free of any
boundaries and sometimes the more
honest the better as all we want is to
make sure that ASOS customers
are happy.
We have strict rules about what we can
post and always address how things may
be perceived before being posted.
Do ASOS work with issues surrounding
social media and possible Mental Health
and Body Image issues that could be
derived from this?
JA: We recognise that mental health
issues are one of the biggest challenges
facing young people today, especially
with the rise in social media use. We
work really hard to ensure that our
social media presence is positive and
not negatively impacting on the mental
health and body image of our customers.
We also have wider programmes in place
to highlight the impact social media
can have on body image and mental
health. For example, we work with the
Diana Award (a charity that is working
to prevent bullying) and we have been
partnered with them for the launch of
their #MySenseOfSelf! project which
teaches young people about body
confidence and self-esteem.
The focus of the project is on an activity
in which they draw an outline of their
neck and shoulders on a large piece of
paper and then write words around the
outline that shows what makes them up
(i.e. I love cooking, my favourite colour
is red). When they have filled the paper
around their outline they take a selfie
with the paper behind them. The activity
highlights that when people take selfies
and post them on social media, the selfie
doesnt show who they are as a person
but just what they look like, especially
after using various filters and apps. We
are currently working with the Diana
Award to expand on this idea to a more
National level and its an area we would
look to continue working in the future.
With social media taking off, do ASOS
work with bloggers coinciding with this?
RC: We do quite a lot of work with
bloggers and influencers. For example
for CURVE, our plus size Own Brand,
we have done lookbook shoots with
Gabi Fresh and Felicity Howard, who are
great aspirational women. We also meet
with Plus size bloggers, both UK and
international for advice and opinions on
product/trends, but also just to touch
base and see whats going on in their
family and community of followers. This
is an invaluable resource and is why the
customer has become more aware and
educated in the way they dress and as a
result can dress with confidence.
So, what do you think are the benefits
of having such ASOS policies and
ideologies in place?
RC: The benefit to me is simply having
less boundaries, but naturally having to
think outside the box more because as a
designer you arent always designing for
yourself it makes you appreciate what
you are giving as a service.
And, do you think that there are any
negative aspects or restraints in regards
to working with such strict policies
and guidelines?
RC: Naturally we have to be sensitive to
the diversity of our customer base and
the different ethnic groups, and respect
their opinions and beliefs, whether this
is silhouette or cut, body shape, print or
pattern, or even the colours used.
This is by no means a bad thing, as
overall it adds another level to the
design process and can often influence
how trends evolve. It is also a journey
from concept to sample and the end
product would hopefully not divide or
deter our customer from their ASOS
experience, whilst being an enjoyable
learning curve and challenge for the
design team.
00
 THE BACKLASH
OF SOCIAL MEDIA
How mental health and eating disorders
are affected and impacted by the rise in
social media and image-led applications
In the UK alone there are currently 1.6m
people whom are suffering with an
eating disorder, whilst 1 in 4 people are
known to suffer from a mental health
issue such as depression, or anxiety.
The fashion industry has always relished
at the ideology of a super-skinny model
walking down the catwalk of NYFW,
or featuring amist the glossy pages
of Vogue magazine. The magazine
industry itself has never shyed away
from publishing images of the slim
ideal figures the general public are
made to feel like they need to compare
themselves to; from Victoria Beckham
and the Size 0 Revolution to the
everyday supermodel legs of Lily Cole
which every Westerner adorned to. It is
not often you see a plus-size model, or
even an average size model in te pages
of magazines. Crystal Renn was lucky
to appear in ad campaigns showcasing
her womanly curves a handful of times,
with the media trying to prove a point,
however the ultra-slim always prevailed.
00
Now with the rise of social media, this
has again risen, however this time
there are no rules, no guidelines or
restrictions and no B-EAT so advise on
what images may be damaging to the
vulnerable. There is no control. And even
though magazines have never promoted
a normal, attainable nor maintainable
figure, they still had guideance should
they desire, or seek to follow it. Now
with everyone being a curator of their
own feed, we now have thinspiration
Instagram accounts going viral, with
anyone, anywhere and of any age being
able to access images and accounts.
On average, a female aged between 18-
24 spends 2 hours a day on social media
platforms. This may not sound like a
great amount of time, but added up over
a week, a month and a year, the images
one views can grow to be percieved as
normal. Research suggests that the
amount of time spent on social networks
was associated with greater self-
objectification. Women, in particular
1.6M PEOPLE IN THE UK
ALONE SUFFER FROM
AN EATING DISORDER
have been known to compare
themselves to other women; and
women compare everything - height.
size, hair length, makeup. Its just
something women do that is to label
themselves in comparison to others.
When a person compares their own
inner or self image to an image that
has been filtered, or edited, or even
shot and curated to be shown on social
media, it can pose the threat to self-
objectification and self-absorption.
When self comparisons take place
that person looks at themselves as the
spectator or observer.
And it is this third party viewpoint which
echos that of an eating disorder and of
body dysmorphia issues. B-EAT claim
that the media is not soley responsible
for the fruition of eating disorders, but
can contribute to the development of
one through exposure to unhealthy and
unrealistic body image expectations.
Even though there is pressure put on the
public to reach an ideal figure, weight the question of whether there ever be
or look to fit in with socio-cultural
expectations, the pressure is also on
for those who project this image to the
consumers of society; the models.
Ulrikke Hoyer, a Danish model, was told
running up to a Japanese Louis Vuitton
show in May 2017, that was she was too
big to walk the runway despite being a
UK size 4. In response to being told
to only drink water for 24 hours to
reduce bloating, Hoyer stated on
Instagram, Im 20 years old; not a 15
year old girl, who is new to this industry
and unsure about herself, because I
have no doubt that I would then have
ended up very sick and scarred. Hoyer
claims that casting agents would attend
breakfast to see if she had being defying
orders of eating; I know that demands
and expectations given to the high end
fashion models in the industry are often
completely unattainable and directly
damaging to the human body, but I
cannot accept the normality in the
behaviour of people like this. They find
pleasure in power over young girls and
will go to the extreme to force an eating
disorder on you.
It appears that whether you are a viewer,
or a model, in the digital age and the
modern world of fashion you are always
put in the firing line and in the view
of criticism and judgement which can
damage one mentally and physically.
With Instagram being rated the worst
app for mental health issues by 1500
14-24 year olds in the UK, this poses
a balance of healthy is beautiful? This
rating not only covered eating disorders,
but also covered other mental health
issues such as depression, anxiety and
loneliness triggered by living in a digital
age. Is enough being done to protect the
mindsets of younger generations who
are susceptible to images and thoughts
of what is in and liked being right?
00
 GOOD
AMERICAN
Khloe Kardashian and Emma Greedy
talk Good American, the denim line
promoting positive body image for all
Models: Various; The Good American Squad
Photography: Good American AW16
2016 saw the launch of a Denim
Revolution, founded by KUWTK star
Khloe Kardashian and Marketing Expert
Emma Greedy, making denim history.
With sizes 00-24, Good American aims
to be a positive influence in a currently
negative world of body shaming and
judging within the fashion industry,
allowing anyone from skinny to curvy
to feel beautiful in their own skin.
Starting from a simple conversation on
what it means to be a woman in todays
harsh society of critics, glares and
lenses, Good American was born and is
here to stay, make an impact and prove
a point; you can have clothing that is
tailor made to fit you, and not the
other way around.
00
What inspired the two of you to start
Good American jeans?
KK: Emma and I created Good American
because we wanted jeans that can fit real
women, and we really feel like this has
been lacking in the market. Our denim
line will go from size 0 to size 24, but
we dont consider this a plus-sized line.
We consider this a line for the everyday
woman. We believe in embracing a
womans curves and I feel like now so
many people are breaking down these
barriers of not only going to a size 6 or
8, which is considered normal. Im
very proud of the message Emma and
I are trying to get out into the world
and we really hope that it transcends
into making women feel empowered in
their own skin and knowing that theres
a line thats going to give you all these
trends, you can still be fashion-forward
and have everything that the normal
girls have, and I hate to say that, without
having to sacrifice anything else.
GOODamerican

00 00
GOODamerican
How was it decided that you would cast
real women and fans in your campaign
instead of booked models?
EG: Khlo put out a message on social
media to say that she was launching
the brand. We really just wanted
women from all backgrounds to come
and be part of the campaign. We
had about 12,000 entries in 24 hours
and we invited 250 people to come
down to audition for the campaign; it
was amazing. It was one of the most
empowering, brilliant days because
we had all of these girls that had no
idea what they were doing; they saw a
manifesto on our website talking about
our values and what we wanted this
company to be and they responded to
that. Weve got this incredible campaign
with all these different women from
different backgrounds, shapes, sizes,
colors; it was really empowering to do
that right at the start of this brand.
KK: What I took away from that the
most is that normally when youre on
auditions people are like, Im not talking
to you, I want this role, but everyone
who came into the room was like, I just
made some new friends out there! They
didnt even know why they were there,
they just knew there was a positive
message and they wanted to be part
of it. To see people that excited about
doing something thats uplifting, thats
something that really opened our eyes
and made us think, wow there really is
a huge lack of this positivity in life and
building other women up in this field and
its horrible.
00
For a lot of women, its so hard to find
a pair of jeans that fits the right way.
How did you take that problem into
account when it came to designing
Good American?
EG: Well, thats the whole thing, thats
what everybody talks about and its not
easy, thats why not a lot of brands are
able to do it. Weve spent a really, really
long time developing a product that
we can be proud of. There are a lot of
technical elements. What weve worked
really hard on is this contour waistband
which acts like a self-belt and it means
that you never have that gap at the back
if you have a smaller waist and a bigger
backside. You sometimes need to make
alterations and youll never need to do
that in these jeans. The fabric is super
stretchy, has great recovery, the pattern
is completely different so that all the
curve is in the hip. Weve got some very
special stitching on our jeans so even
though theyre very plain, the stitching
is curved and it actually follows and
accentuates a womans figure.
So, before all of this, did you have
someone you looked to as a positive
body image role model when you were
growing up?
KK: Its so interesting because when
I was growing up heroin chic was the
really cool thing. And there was Kate
Moss. And she was gorgeous, but I was
like, I dont identify with that body. I
always, weirdly enough, was attracted to
the Victorias Secret models of the world
because they were more voluptuous. It
It wasnt even because they were in bras
and panties. It was like, Okay, I finally
see bodies that are a little more like
mine. And theyre not even bigger girls.
They just have bigger breasts and a little
curve. And also looking back there were
so many girls with way bigger butts like
J,Lo, so its all good! Its important to
me, no matter what size I am or weight I
am, to feel beautiful. Even at my biggest
I was rocking body con dresses and you
couldnt tell me twice. Thats what I think
Good American is. Its about women of
individuality and diversity, but also about
being comfortable in yourself. Thats
what were trying to promote. Its not
about fitting into a size two and thats
what makes you beautiful. I just want
people to be healthy and love who they
are and be in control of your life. But it
doesnt mean you have to be a size six.
So, overall, what does the name Good
American represent for you?
EG: First of all, we thought the name
Good American was a great name. But it
was more about a play on the words and
the connotations of what being good
means. Can you not be a really sexy girl
who shows off your body and be good
and do good in the world? We wanted
our company to also behave like a good
American. Its about paying a fair living
wage to people, about operating in a
way people would find acceptable and
manufacturing in America. So all those
values of what it conjures up to be a
good American is what our company
should be and how it should behave.
KK: And with that we created our Good
Squad, which is the wonderful girls we
have representing our line. Theyre bad
ass real girls who all have a lot going
on in their lives. Women who are strong
and so versatile. We have girls of all
different colors, ethnicities, heights and
sizes. They have tattoos, shaved heads,
literally everything. Because thats really
now what our world is. Its not about the
cookie cutter Im a blonde with long
flowing hair look anymore, all people are
different and thats ok.
ITS NOT ABOUT
FITTING INTO A SIZE
TWO AND THATS
WHAT MAKES YOU
BEAUTIFUL
Do you have any good tips for how to try
on denim?
EG: Its buy them online and try them
at home. We dont want that dressing
room mirror situation. We stock them at
Nordstrom and were very, very happy to
be in stores, but the online experience
has brought a whole new dimension to
what is a really tricky purchase. If you
can, buy a few pairs and try them on in
the comfort of your own home with your
own clothes. Thats a major plus.
00
GOODamerican

KK: I used to be a sales employee. And

sales employees, thats their job. I have
been convinced that I look so good in
something and Ive gotten home and
been like, What the fuck did I just
buy? Im a big online shopper. I think
nowadays its so accessible and easy.
You can do it on your phone. I just feel
Im making the decision myself when I
shop online.

EG: And the nice thing about our

website is weve shot everything on
three different sized women. So you can
see who youre closest in size to and see
HAVING SIZES
how she looks. Which I think is a nice
touch on the website. 0 TO 24 IS NOT A
WEIRD THING.
Its unusual to have a online website
THE AVERAGE SIZE
that showcases the clothes in various
sizes isnt it? WOMAN IN AMERICA
IS A SIZE 16. SHE
EG: Why isnt everybody doing that?
SHOULD BE ABLE TO
Were like, This is such a good feeling!
Why is everyone not doing it! But the GO IN HER LOCAL
reality of the fashion industry is that its STORE AND FIND A
really stuck. Its stuck in this idea of only
PAIR OF JEANS!
providing sample sizes. Its stuck in this
idea of when youre in a department
store you cant actually go onto the
designer denim floor and find anything
above a 10. And 10 is relatively small. Its
ridiculous. So this feels revolutionary
because it kind of is. We actually hope
other brands follow suit and it becomes
the norm. Thats why we keep talking
about a denim revolution. Having sizes
0 to 24 is not a weird thing. The average
size woman in America is a size 16. She
should be able to go in her local store
and find a beautiful pair of jeans!

00 00
NADINE
LEBLOND
A candid interview with Fashion expert
Nadine LeBlond, a Creative Director
and Art Director based in London
Models: TK Maxx Customers
Photography: Eudes de Santana
At a time when some brands are
pushing diversity out, leading the way
with the stereotypical white female
stick-thin model, Nadine LeBlond
encourages different ethnicities and
age groups within her practice as a
freelance Art Director and Creative
Director working in the Fashion
industry. This interview reveals why
brands only utilise one type of model,
and praises brands that realise the
commerical benefits of diversity. The
industry is slowly changing, and Nadine
aims to put her mark on it allowing for
consumers to be who they really are.
Can you tell me a bit about your job role
working within the fashion industry?
I worked for TK Maxx as a Creative
Director and then worked for Hearst
magazines, and George clothing; both
on a freelance basis. Most of the work
was art direction, focusing on seasonal
campaigns and events. These were a
mixture of photographic and motion
pieces. My background is in advertising
and design, working for top agencies, so
I came into the industry with a different
and fresh mindset/perspective from
those who have always worked in it.
00
NADINEleblond

00
NADINEleblond
Do you feel pressure working in this
industry to relay a positive body image
and ideal to consumers?
Yes, definitely. I think its incredibly
important to convey a positive body
image to people, not just on an
ethical basis. But it also makes sense
commercially. If people relate to the
brand they feel an affinity to it. From
a moral perspective Ive been on the
other side of the camera and been told
to lose weight by my modelling agency
despite being incredibly thin. It gave me
an incredibly unhealthy attitude towards
my own body image and led to me taking
prescription diet medication to meet
the ideals requested by my agency...
which is incredibly damaging.
Have you had any really positive
experiences in regard to this? If so, can
you give some examples of your work
and brands which you feel have had a
positive impact in the industry?
Yes. I loved the TK Maxx ethos of using
real customers who were cast in store.
They are not professional models, are
a diverse age range and give a much
more natural and attainable impression
of the people that actually wear the
clothes. They were incredibly positive
campaigns to work on. Other brands
are doing a great job of pushing the
boundaries. Dove, M&S, Debenhams
a lot of brands are really pushing things
now. Even H&M are now embracing
women being women in all their shapes
and sizes. High fashion doesnt embrace
it but the high street does.
00
And likewise, have you had any
experiences working with a brand who
has wanted to project a negative body
image or ideal, in your opinion?
Yes; but I wont name names! Generally,
as an art director, my opinion is
respected. I get involved in the casting
and have a say in the situation. I have
had brands however not agree with
using a plus sized model even when
appropriate because their clothes go up
to a size 24! It is ultimately their money
and decision.
If I manage to push them at least some
of the way towards a more positive
outcome thats great; and even better,
at least Ive tried and feel happy Ive had
an influence however momentary.
As someone in your position, how do
you deal with this, or challenge this?
I usually put it forward within the
concept and give as strong as
argument that I can from a commercial
perspective. Businesses dont care
about most things but they do care
about money.
What do you think can be done in the
industry to promote positive body
image and self-perception?
Using models with a healthier body
weight. Presenting people in a happier
manner than are not overly self
aware and are happy in themselves is
important. Also, not over retouching
images can really help.
Do you think magazines need to do
more to showcase a variety of models
and body types?
Definitely, yes! But in general they
are starting to embrace the concept
of doing just that. Especially when
they realise the commercial benefits.
I understand that they want things to
sell. Its a tricky mix between creating a
beautiful photograph and realism. But
definitely more can be done. Its not an
easy job though. most are responding
to financial/commercial needs. It takes
some bravery and its seen as a risk.
With the rise of social media, do
you think this has allowed brands to
use photos of models and promote
campaigns which may not of been used
previously in print? Does this have
an impact on body image and self-
perception do you think?
Social media definitely has both positive
and negative effects. Istagram is very
bad at creating an environment where
unnatural/non-realities are created and
make people feel bad about their own
lives/self-image because its incredibly
unrealistic. Its doesnt really show the
not so beautiful moments! Social media
can also be incredibly powerful because
it gives people a voice. They can talk to
brands directly and get the brands to
respond to their needs.
In your opinion what are the biggest
downfalls and positives of the industry?
I love fashion. I love creating beautiful
IF I AM ALLOWED
ONE MALE, ONE
FEMALE, I MAKE SURE
ONE OF THEM IS THE
OPPOSITE IN TERMS
OF ETHNICITY TO THE
OTHER; TO PROMOTE
AS MUCH DIVERSITY
AS POSSIBLE.
images/motion pieces. I get to work
with some incredibly talented people
at my request. That to me is amazing.
As a negative... it can be an incredibly
bitchy, backstabbing and cut throat
environment. You really have to be
passionate about what you do and be
prepared to develop a very thick skin
that may not come naturally to you.
You have to separate your emotional
perspective and get the job done.
How do you tackle diversity and gender
equality in the industry?
I always suggest as much age diversity as
possible. But it comes down to budget.
If I can only have one female model, she
has to appeal to a diverse audience.
Then you have to be realistic and pick an
age that is relative to the majority of the
purchasing demographic. If I am allowed
one male, one female, I make sure one
of them is the opposite in terms of
ethnicity to the other; to promote as
much diversity as possible.
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 BOBBI
RAE
A Feminst Illustrators perspective on
social media and its impact on her
professional practice

Article By: Bobbi Rae

Illustrations: Bobbi Rae

Bobbi Rae is an Illustrator based in Drawn Together

Leeds, West Yorkshire whom provokes
thought and a deeper sense of personal
connection and intellect through
her feminist artwork. Her outlook is
empowering, inspiring and for the
greater good of women and their rights
to be whom they are, or want to be.
Many girls that I know find discomfort in
themselves when they use social media
- over-comparisons, over-evaluation,
over-judgement; based on unrealistic
expectations set by the highlight reels of
other beautiful women.

00
 BOBBIrae

As if life isnt already hard enough

without these unobtainable self-
expectations that we permit. Whilst I
am not usually one for so many words,
through my methods of illustration,
design and craft, I aim to unravel the
perception of beauty, to promote
liberation and celebrate women of all
shapes, sizes, colours and creeds.

As a feminist illustrator, it is important I AIM TO UNRAVEL

to me to convey my beliefs, however, I
am also able to use these advantages to THE PERCEPTION OF
test, develop and create new audiences BEAUTY, TO PROMOTE
for my work. These serve the financial LIBERATION AND
imperatives of practice, demanded
by contemporary consumer culture, CELEBRATE WOMEN
which instills a feeling of servitude; I OF ALL SHAPES, SIZES,
am in owance to my crowd to provide COLOURS & CREEDS.
a message that eeks joy, positivity and
empowerment. I feel empowered, I
am privileged, I am passionate for the
fundamental rights left to fight for. I
want my audiences to feel that.

Social media has obscene power;

that not only exists to engage diverse
audiences from across the world, but
is able to promote business, to create
vision and to sell ideas. To sell you
whiter teeth, shinier hair, a different
body. It is by these very means, however,
that others are able to provide a space
for dialogue, feedback and exchange.
It is in my experiences and through the
stories of others, that my own platforms
become a space for confronting gender
issues and challenging the perceived
roles of women.

For more artwork, visit bobbirae.co.uk

or search @bearcubs on Instagram

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@ssssamanthaa
 @jamiegenevieve

She learns that to be desired,

is much more important than
to feel desire.
@desiperkins
 PORN CHIC &
OBJECTIFICATION
How the ideologies of porn chic and
self-objectification have transitioned
and developed due to social media
Porn chic has become a sensation
amongst social media, being a daily
occurance on our social media feeds.
We scroll through daily and see an
array of pouted lips, enhanced breasts
and curvaceous derrires, with
bloggers, celebrities and normal girls,
often posing in over sexualised, and
objectifying positions; craving attention
and reassurance. And with this, this
behaviour has become the norm, and
what some expect to see. Furthermore,
porn chic sells in a multitude of ways,
just as sex always has done. Writer
Annette Lynch describes the term,
porn chic in relation to females as,
actively desiring sexual objects of the
new millenium who are aware and
concious of the male gaze, opposed
to being passive, mute objects of the
male gaze, therefore lending itself
to marketing strategies and the social
media stratosphere of being accepted,
approved, seen and most importantly,
liked, desired and adored. One now
intentionally puts themselves in this
00
porn chic bracket, leadingto self-
objectification, whilst seeking desire to
create a following and sell their brand,
product and lives. Does this mean
that women feel empowered with the
guise of female sexuality? Or do these
changes now constitute what is seen as
a step forward for women, with one now
being able to express their sexuality,
needs and desires, opposed to being
directed by others to create a visage of
visuals, often stimulated by misogyny;
male photographers and art directors,
working to stimulate a predominantly
male audience? Times appear to of
changed this percepion and ideology
drastically.
Fashion has always gone hand-in-
hand with trend-led and marketed
constructions of gender, identity, and
now, self-objectification, seeing brands
such as American Apparel, Tom Ford and
Wrangler, buildind brands and empires
through sex and porn chic-led imagery. to an image that has been filtered on
However, now this strategy has
REVEALING LEADS
WOMEN TO FEEL
EMPOWERED DUE TO
ATTRACTING THE
MALE GAZE
overtaken fashion and now sells beauty
and the influencers and/or internet
celebrities which coincide and face
brands and promotional campaigns.
Some beauty bloggers have even built
their following and career based on
their physique, opposed to their
makeup artistry skill set; an ironic twist,
to modern day contradictions and
conventions of the industry.
Influencers all around the world are
now showcasing their finest assets
in return for brand sponsorships and
endorsements. This self-objectification
alienates women, allowing one to view
their body as a separate object of the
male gaze and desire. The decision to
reveal leads women to feel empowered
due to their ability to attract the male
gaze, rather than be subjected to it
unknowingly. One is fully in control over
their body and behaviour, and to some
reinforces different types of feminisim
and strengths.
Fredrickon and Roberts have researched
into how social media may lead women
to self-objectify themselves, however,
through comparisons with others
in their positions; when a person
compares their own inner or self-image
social media it can pose the threat to
self-objectification and self-absorption.
When self-comparisons take place
that person looks at themselves as
the spectator or observer, therefore
realising how they want to position and
promote themselves, and therefore how
they want to be percieved.
But does porn chic and self-
objectification affect self-perceptions
and the perceptions of others? It has
been found that the amount of time
spent on social networks was associated
with greater self-objectification. Women
have a long history of being objectified
in the media from television, music
videos, and print magazines, why would
the objectification just stop at these
mediums, especially in a society where
we live day-to-day in the digital age? It
appears that as time moves on, so does
the mentality of such ideologies and how
these are played out over time, also.
Some can argue that women push
the ideology of porn chic and self-
objectification due to issues with low
self-esteem, vanity, or insecurities,
as well as comparative traits, which
may be amplified through social
media, therefore posting and using
such provocative images on the same
mediums, reinforces their acceptance
through the approval of others.
00
Fashion magazines are considered a
main source of information regarding
the attractive ideal presenting looks
and products in a way that evokes
consumers to buy into them
Warchocki (2007) & Gonzalez, (2012)
VOGUE
JAPAN
Beauty Director Kyoko Muramatsu
reveals how Vogue Japan differs
cross-culturally to Western Editions
Model: Vittoria Ceretti
Photography: Luigi and Lango
Styling: Anna Della Russo
Hair: Luigi Murenu
Makeup: Georgi Sandev
Fashion magazines have a powerful
hold and influence over the reader;
and in recent times has expanded into
the Beauty realm with Vogue Japan
leading the way with its mix of content. I
met with Kyoko Muramatsu, the Beauty
Director of Vogue Japan (Nippon) to
understand how Vogue operates on an
International scale and to understand
how Vogue differs cross-culturally in
regard to audience, trends, content
and aesthetic, as well as understanding
how they maintain their identity in a
saturated market.
How is Japanese culture reflected
through Vogue Nippon? How does this
differ to Western editions?
Japanese Vogue is very different to
the British or American versions, for
example, but we have our reasonings.
Our target audience is generally a lot
younger - Western editions are aimed at
women around 30 years old, but here,
we find out readership to be late-teens
and early 20s. This is seen to be honest
through the aesthetic which we use;
its fun, playful and lighthearted in tone
of voice, which reflects youthfuless,
something Japanese women aspire to.
We use a lot collage, illustration and
smaller design elements opposed to
heavy grid-led blocks of design and text.
This is just what we have found to work,
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VOGUEjapan

but if you look at other Japanese magazines such as

ViVi, Ginza and Nylon, we still look older fitting in with
the demographic that Vogue sets out for us. I think in
general as a nation we have a more playful approach
to editorial design, where as other editions are a lot
cleaner; theyre more affluent and stripped back, but I
think that we inject a lot of energy into our layouts and
features.

We also have a lot of step by step guides. The

Japanese audience need to know how to use beauty
products, which theyre investing in so they want to
know exactly how this works and will look when use. I
think this stems from a lack of imagination so to speak.
Western women are better in just putting themselves
together, where as even with fashion, women here
need a bit more guidance and direction.

I think another main difference and point of cultural

difference is the trends and products which are
relayed in Vogue Japan; a lot of them come from
Korea and the catwalks, and tend to be different to
Western ones. We dont really have contouring or
heavy makeup, the women here want to look young, so
youll often see more natural looks and different takes
on this being featured. And of course, models. Now
when we can we will use Japanese models, but this is
only where it is appropriate. Vogue has to maintain an
International identity, so you will see a lot of Western
models, and as many women here aspire to this look
it is only right to do so. When we do use Japanese
models though, some of them are half-Japanese, and
half-American for example. This gives an sense of
identity still for the reader which one can relate to, but
it is also good to have more Western features shown
in the magazine. I suppose thats how our culture
differs, people here, mainly women, aspire to have
light-skin and long legs, so in a way we give them what
they want whilst also fitting in with the corporate image
of Vogue, and keeping in line with the models which
youd see being use in International campaigns too.

00 00
VOGUEjapan

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VOGUEjapan
So is this why Western models are used
in fashion and beauty advertisements in
Japan, rather than recreating them with
Japanese models?
Yes. Campaigns, advertisements and
editorials for example, are normally art
directed and shot in line with the brand
image and identity, therefore using
the same model - it helps brands such
as Chanel, for example, to create an
International brand identity. But saying
that, some brands may shoot the models
differently if the campaign will be seen
nd used in more conservative countries,
but more often than not, you will see the
same image being used, but cropped in
a different way. Its very clever, and it
does keep the costs of casting and re-
shooting down.
When it comes to adverts through,
you may of noticed that unlike British
Vogue for example, we dont print as
many in our magazines. You will normally
see them on billboards or outside the
shops themselves. Instead to create a
connection with the Japanese reader,
which can sometimes be lost, we use
a lot of advertorials which allows us
to choose location and message, for
example. So we may choose our own
model, but use the same products
and clothing for example, which are
shown in the advert but we can tailor it
more to appeal to our audience more,
whilst keeping in line with our editorial
aesthetic and take on Vogue. Its more
personal and we have creative control.
These are then approved by the brand to
ensure we are keeping to their identity.
00
Over the years there have only been 3
Japanese women to feature?
Our choice of cover model is really
important; it defines the International
identity of Vogue. It also opens up the
magazine to an International audience,
which is why the headlines are in English
with Japanese sub-text. The idea being
that anyone can understand the content,
even if they cant read the full article.
But in terms of cover model, yes, the
Japanese relate to Western icons. This is
VOGUE HAS TO
MAINTAIN A BROAD
INTERNATIONAL
IDENTITY, SO YOU
WILL SEE WESTERN
MODELS. WE DO USE
JAPANESE MODELS
THOUGH & SOME ARE
HALF-JAPANESE, AND
HALF-AMERICAN.
through commercialisation of brands
and consumerism, so we often have a
Western icon even if they are wearing
Japanese brands; it helps with sales
and keeping advertising campaigns
consistent, but also keeps the identity of
the magazine true to Vogue.
What is Vogue Japans reaction to the
rise in blogger culture?
Well to be honest, Jaanese fashion and
beauty bloggers are not as well known or
recognised, so when we feature an
article relating to bloggers we mainly do
use Western bloggers or Instagrammers.
As a magazine, we dont feel that we
have found the right Japanese bloggers
yet; its still growing and isnt quite
there yet as it is in the West. Brands
dont tend to use bloggers to promote
their products and campaigns here, it
is still very celebrity focused. Even in
some areas of Japan, bloggers are not
recognised as a legitimate source of
information, and it is seen as a big risk
to use them. Yes, social media is very
popular, but not in the same way as
in the UK for example, when it comes
to marketing strategies. There is a big
fascination here with Western women
and their culture; their image, their
style, their skin, so we give the readers
what they want and know and it isnt
often that bloggers fall into this category
or demand at the moment. Maybe in
time this will change, we will see.
Do you feel as Director, that there is a
pressure to relay a positive body image
to the reader? Especially due to the
fascination with the West and Western
women that you have mentioned?
Yes, of course. I think because Japanese
women want to be like, and aspire to
gajins (foreigners) we have to be careful
but give them what they want to read,
but to not completely blur the lines of
achieveable and not attainable.
We as a Japanese edition of Vogue
decided to not use the word diet; we
use the word healthy instead. We dont
want to give women the impression
that if one goes on a diet they will look
like a Westener, we want people to feel
healthy in themselves, and if anything
enhance what they have and can
maintain. This is now actually common
practice across Vogue as a whole,
especially now we have The Health
Initiative.
What is The Health Initiative?
This is a pact basically between all 19
Editors of Vogue around the world,
to encourage a healthier approach
to positive body image. We know as a
magazine we have the power, if you like,
to influence people, and we want to
influence people in positive ways. So we
now try to use models who are healthy
and promote a body image which is
attainable and normal. I know this
sounds a little contradictory however as
we are a Japanese edition whom still use
Western models, but we are advised on
which models we cast, and thats why
when we can we do use Japanese or
half-Japanese models.
In Japan, technology is huge. There
are apps to give one a gajin look and
technologies in Shiseido stores for one
to try products virtually. Have these
innovations impacted on Vogue at all?
There hasnt been any direct impact on
printed magazines at the moment, but
in the next 5 years we do expect that we
will have to embed such technologies to
our digital platforms and feature more
UI/UX to engage with the reader more.
00
Social media presents and represents
an impossible ideal look, the average
person cannot achieve this. If only
Instagram made real life filters... you
cant edit real life
Anon, (2017)
SAMANTHA
RAVNDAHL
The leading beauty vlogger and
influencer talks candidly about industry
pressures and self-perception issues
Model and Makeup: Samantha Ravndahl
Photography: Ruby James
Samantha Ravndahl (@ssssamanthaa),
boasts a staggering 2.4m followers on
Instagram alone. She is a Canadian
beauty blogger and vlogger, who rose
to fame with her candid YouTube
channel (formerly known as Batalash
Beauty) back in 2014 before the beauty
boom exploded worldwide. Exploring
the impacts that social media platforms
have had on her, Samantha talks openly
about the career path that many find
oh, so glamorous; yet behind the visage
is danger of self-perception issues.
Known for being brutally honest, loud
and brash with both personality and
her style of reviews and tutorials
alike, Samantha gives her account
of her experience as a modern day
influencer and the subsequent
pressures which go hand-in-hand with
such title.
Anyone would of thought that being a
beauty influencer would be the dream
job; events, freebies, sponsorships and
constant admiration. But what happens
when you reach a level of influence that
starts to in turn influence your own
behaviour and believes? With a large
social media following, fans and high
expectations, it can be hard to break
away after growing to an exponentially
high status of admiration.
00
SAMANTHAravndahl

Everyone expects me to look like I do on

Instagram all the time. I dont wear glam
makeup all the time, Samantha states.
She continues, you know, everyone
expects you to look photo-ready all the
fucking time, hinting at competitive
and exceptive behaviours from social
media communities and social groups.
It appears it is taken that what is seen
on social media is real, and not edited,
airbrushed and well photoshopped
imagery forming part of the act,
therefore it is expected you look the
same in day to day life, all the time. Its
become a competition about who can
look the most fucking glamorous at 8am
in the gym. And then document it on
social media, Samantha claims hinting
at the narcissist traits of those involved
in the industry. All this has done to me
is cheapen all the experiences I have.
Like, I get taken away to amazing places
I could only dream of, and Im not even
taking the scenery in or where I am. Its
become about where the best lighting is,
or what acts as the best backdrop for a
photo to post online.

Its painful to hear that social media

and the opinions of others can damage
someones life experiences, as well
as their values and self confidence.
Samantha states that she was taken away
by an undisclosed brand for a launch
event, and was bought clothes to wear,
even though she took her own, and that
she was the only influencer in the group
to have this experience; they must of
thought I was too casual or something, it
sucks, its like let me be me. The role of
an influencer these days is that you are

00 00
SAMANTHAravndahl
paid to be beautiful and look a certain
way, and apparently I didnt look that
certain way.
But, it seems that influencer and blogger
culture hasnt always been this way;
this culture, was initially a positive
experience, where blogging originally
had an emphasis on makeup artistry
skillset, and actually being fucking good
at the craft, opposed to this present
day ideology of being classed as an
influencer and how many likes or views
you get. This change echos the increase
of beauty bloggers and YouTubers
around the world, apparently in the
West. It seems that everyone wants a
piece of the influencer game, which
in turn has become damaging to those
working in it, as well as those who view it
for fun or guidance.
Samantha at one point in her career,
was massively against sponsorships
and undisclosed advertisements, but
now with her increased following has
been offered many opportunities
and now makes it clear in all of her
posts and videos, which are and are
not sponsored. Im not gonna lie, if
someone offers you $5000 and you get
taken to Bora Bora to promote a brand,
or a brand offers you money to do a
video, or go to an event and talk about
a specific product, you arent gonna
turn that down. Who would? We all have
to live and have bills to pay, Samantha
states openly and honestly. March 2017
also saw the launch of Samanthas own
MAC Lipstick in collaboration with
the brand. 10 of the worlds largest
00
EVERYONE EXPECTS
YOU TO LOOK
PHOTO-READY ALL
THE FUCKING TIME
influencers were offered the
opportunity to create their own
lipstick shade to be sold in their native
countries; a very clever marketing
trick from the global brand, whilst also
promoting their social media accounts
in a new and tactical manner.
It appears that the influencer industry
is growing, and Samantha knows she
got lucky with her success - it was all
about the timing, and I think I offered
something different at the time, as well
as being honest about shit. I wont say
I like something if I dont and I wont
work with brands I dont agree with -
and is now successful enough to pick
and choose who she works with. But at
the same time, self-perceptions and
selfhood are being dented, manipulated
and criticised all the time, in person and
on social media. Is there ever a way back
down to normality when you reach the
top of your game, or is this something
that you have to learn to live with?
 the 101

HOW
TO BE
SOCIAL
MEDIA
FAMOUS
 the key to successful
lights fashion marketing;

camera tits, arse, skin,

action provocative poses
and celebrities.
 climbing the beauty
blogger ladder; selfie
take selfies, try to be selfie
original and wait for
likes and reassurance. selfie
 what to pack
like, for your holiday;

so many camera, vlog camera,

likes iphone, mini ring light,
highligter and sass.
 what to do;

hire a photographer,
find a good location, strike
take 5 outfits worth
of photos in a day and a pose
remember, act like no
one is watching.
 what to wear;

get buy loads of designer

shit you cant afford,
some style and send it back until
you get sent the real
deal from their PR.
The Universal Elite in present day
society holds up to its members
the role of the consumer, and the
members of our society are likewise
judged by their ability and willingness
to play that role
Bauman, (2004)
WESTERNbloggerculture

The 1st Fashion and

Beauty blog was
launched in the US
in 2010. Since then 77% of all bloggers
The Industry has are female, and
boomed. Bloggers within this 27% of
are now known those are bloggers
as Influencers within the beauty and
and are being fashion industries.
used as marketing
commodities by
International brands.

00 00
 WESTERNbeautyinfluencers

@jamiegenevieve
741k followers

Western

BEAUTY @tanyaburr

INFLUENCERS
3.2m followers

the ones to watch on Instagram

With the world going beauty mad,
The Industry magazine has selected
the most influential beauty bloggers to
follow in 2017!.. you know you want to!
@desiperkins
3.3m followers

@makeupbyalinna
1.5m followers

00 00
WESTERNbeautyinfluencers

@sheidafashionista
542k followers

@nikkitutorials
7.6m followers

@jaclynhill
4.1m followers

@thepatriciabright
566k followers

@mannymua
3.6m followers

@iluvsarahii
3.5m followers

@ssssamanthaa
2.4m followers
@christendominique
1.1m followers

00 00
WESTERNfashionbloggers

Western

FASHION
BLOGGERS
the ones to watch
Fashion bloggers have become the modern muses
of 21st Century fashion, showcasing the newest
trends and brands. These are the stand-out
influencers to be aware of and follow!

00 00
EASTASIANbloggerculture

Welcome to
Harajuku, Tokyo,
where the saying
goes: the nail that
sticks out, must be
hammered back
in pressurising
conformity, in return
causing a backlash
of self-expression,
unique identities and
kawaii bloggers to
be derived.

00 00
EASTASIANbeautyinfluencers

@pearypie
1.5m followers

East Asian

BEAUTY
@ellenvflora
423k followers
INFLUENCERS
the ones to watch on Instagram
Beauty influencers in Eastern Asia are
still low-key, not being recognised
or trusted as much as celebrities to
endorse major brands and products,
however; The Industry magazine has
selected a few we predict will be big
when the tide turns!

@flamcis
284k followers
@imjennim
1.5m followers

00 00
EASTASIANfashionbloggers

00 00
The increase in blogger culture,
particularly in relation to Instagram
and YouTube, has allowed for many
to reach celebrity status themselves;
and in return the media has adapted
to [this] reflecting the world of
celebrity dominance
Gibson, (2012)
 MANNY
X
JEFFREE
The worlds leading male makeup artists
and influencers talk reaching the top in
a female dominated industry

Models: Manny Gutierrez and Jefree Star

Makeup: Manny Gutierrez and Jefree Star
Photography: Jefree Star Cosmetics

Influencers and bloggers are becoming

extremely successful in the West, and
thanks to social media platforms this
has expanded beyond the stereotypical
target market of females.With only
23% (Vuelio, 2016) of beauty bloggers
being male, the gender divide is
slowly changing, whilst impacting
the distortion of the male gaze and
perceptions at the same time.

Manny Gutierrez and Jeffree Star, are

the most influential male influencers
of the 21st century. With a celebrity
status, 7m YouTube followers, and 8m
Instagram followers between them, the
male stars have recently teamed up
with a cosmetic collaboration of liquid
lipsticks and highlighters, taking over
the beauty world unlike seen before.

00
MANNYxjeffree

00 00
MANNYxjeffree
The beauty world can be tough to crack,
but Manny and Jeffree are no strangers
to the industry, and along their way to
cosmetic stardom have also changed the
face of it; for the good.
Each has their own story, but together
the powerhouse dominate social
media, sponsorships and product
sales, leading to the 2017 collaboration
of a limited edition set of on-trend
products compiling of two liquid
lipsticks and a highlighter; which sold
out internationally in less than a day. The
notion of two males releasing a makeup
range has been recieved warmly, with
open arms, despite the industry still
being predominatley led by females.
Starting off as a MySpace star in the
early 2000s, Jeffree was noticed for his
pink hair and outlandish makeup looks.
Increasing followers, and a change in
the direction of social media saw him
push his way into the beauty scene as a
career path, working as a freelance make
up artist with celebrity clients, fashion
editorials, music videos and weddings.
His success grew, leading on to YouTube
tutorials which became an international
sensation. Now, Jeffree is known for his
makeup master classes taught around
the world, and his own cosmetic line,
branded, Jeffree Star Cosmetics,
claiming that the range is for anyone
who is fearless enough to be their own
person. Being a fan of makeup since he
was 13, Jeffree hopes to inspire each
other to stay true to who we are despite
critism and stereotyping, encouraging
diversity and positive self-hood.
00
Manny took a similar route to
encouraging differentiation in the
beauty industry, using Instagram as a
platform to promote his artistry skills
and YouTube to showcase tutorials and
collaborative videos with Jeffree and
I BELIEVE THAT influencer Patrick Starrr alike. In 2015
it was announced that an eyeshadow
BOYS DESERVE JUST palette created with Makeup Geek
AS MUCH COSMETIC Cosmetics would be launched and sold
RECOGNITION AS GIRLS internationally. This single product
caused such an online sensation and
IN THE INDUSTRY hype, that it crashed the sites servers
within 1 hour of being released and
MANNY MUA
propelled his success to the next level.
In 2016, Manny was the first ever male
ambassador for Maybelline Cosmetics,
appearing in a range of print and digitally
led campaign materials and videos.
Now, he is sponsored by the likes of
NYX Cosmetics, Urban Decay and Kylie
Cosmetics to promote their brands,
products and events.
Even though the route to success
sounds easy for both male stars, Manny
claims that the path wasnt easy due to
being a guy; in the beginning, it was
really confusing; my parents and friends
didnt know what was going on, he says,
they thought I was trying to become a
woman, and they didnt understand.
However, several years later the tides
have turned as he explains a recent
encounter at a meet and greet event in
the US; a guy walked in, he was 12 or 14
with a full face of makeup and his dad
was there, this macho man with blue
jeans and a cowboy hat. He was so proud
of his son. It felt like the world was
changing in that moment.
Moments like these are some of the
reasons these particular influencers
pour their hearts and souls into creating
content every single day. Inspiring men
as well as women to embrace what
they love and who they are has become
their mantra, hence joining forces.
Manny states that, men want to feel
the same way that women feel [and
be] empowered in that way. Clearly
their passion, drive, personality and
candid honesty has resulted in the
world watching and catching on - when
both influencers were starting out,
male makeup artists were few and far
between on YouTube and Instagram and
were often only seen behind the scenes
of catwalk shows.
But despite the positive demeanours,
when your career involves baring
your soul to millions of people, trolls
inevitably come out of the woodwork. I
get hate every single day, saying Im gay
[and] going to hell, or that I dont know
what Im doing or that I need help. Now
that I have this platform, it makes me
want to fight even harder claims Manny,
Jeffree falls under a similar umbrella,
being known for being different and
proud of it; no hate to anyone else,
but all these big YouTubers do the same
shit: glowy, bronzy, boring makeup, and
Im like, Can we have something else,
please? So Im stepping in.
It appears that even though personally
they may of had negative experiences,
the positive impact of helping others
with their self-perception encourages
an ever-diversifying, positive industry.
00
ECONOMY
OF BEAUTY
Chinas booming live-streaming video
industry fuelled by beauty, fashion and
the wannabe-famous
Models: Various
Photography: VICE ft. Motherboard
Blogger and vlogger culture in the
UK and US has reached an all time
high. Everywhere you go influencers
are there; on POS (point of sale) for
cosmetic products, promoting clothes
in Topshop or on your Instagram or
YouTube feed. China has jumped on
board with this phenomenon, with
a blogger empire of their own, but
has also launched interactive live-
streaming video services. These services
take form of online apps and websites,
ran by large media agencies across
Beijing, that are already becoming
multi-million dollar empires. Males
and females alike are broadcasting
their lives, talents, sense of style and
beauty in return for cash, gifts and
confidence boosting praise in return for
internet stardom and status.
The recent broadband-quick rise in
popularity in China of apps such as Lai
Feng, and the people who broadcast on
them, has caused a new branch of the
internet technology industry to spring
up around it. This industry being the
live-streaming culture which both males
and females in China are desperate to
be apart of with potential to earn the
equivalent of $100,000 a month, simply
by broadcasting their talents and lives
to their viewers, followers or fans.
Agencies have been set up around
the country, mainly in Beijing which
house the live-streamers and act as a
backdrop for their videos doting to their
every need. The REDO Media agency
for example, has around 3,000 internet
stars on its books from across China,
00
ECONOMYofbeauty

many of whom self-broadcast as their have risen by 80%, simply due to this in return for the broadcaster, other than EARNING $100,000 A
full-time jobs. Some simply talk, some marketing strategy. A main selling point popularity and internet stardom and
dance, some sing, some dress up and and strategy of the live-streaming apps celebrity status. MONTH IS EASY IN THIS
perform what their viewers ask, and and websites is to use beautiful males INDUSTRY. IF SOMEONE
some simply answer questions. What and females. Some, as young as 20 years In regard to gifting, and personal gain, SENDS ME A GIFT ILL
they do is their choice, however they old, admit to having various aesthetic some females such as Zi Jing, a 23
often have to audition to be apart of surgeries carried out to fit in with the year-old broadcaster, uses coyness SAY, OH, DID YOU GIVE
larger agencies such as REDO. ideal look of China; lip implants, double and naivety to do so. Zi claims to use ME A GIFT? I DIDNT SEE
eye-lid surgery and facial alterations to impressively sneaky tactics, as well as IT. CAN YOU PLEASE
Behind each door at REDO Media, is give one a slimmer face. This influence this real-ness, contributing to her
a small dormitory-style room, with coming in from the Korean market success; if someone sends me a gift Ill SEND IT AGAIN?
broadcasters streaming from a tripod- heavily dictates who is taken on board say, Oh, did you give me a gift? I didnt
mounted iphone or webcam. The by agencies, and some will go to the see it. Can you please send it again?
broadcasters perform and interact, extremes of having such work done
live, for real money and digital gifts. At simply to pursue live-streaming as a Many of the broadcasters working
times, they are even sent gifts by their career path; even if only for a few years. with agencies such as REDO Media are
followers. Some will even dress to please University students and have ambitions
their audience; sometimes as mermaids Even though agencies such as REDO to be proper real life celebrities, and
and other times as princesses. Medias female self-broadcasters are go on to work in TV. For many, though,
largely chosen for their attractiveness, working as a self-broadcaster is lucrative
Due to the spike in the amount of people they rarely do anything racier on camera enough and can gain exactly what they
watching these streamers live over than show a bit of cleavage. Authorities want from it as Zi demonstrates. It
the past year, doing this full time has in China have clamped down hard on the provides easy, flexible work: a tempting
become a lucrative job for thousands of industry over the past year in an attempt alternative to normal employment in
women. Women self-broadcasters with to eliminate inappropriate content Chinas cutthroat graduate job market.
the firm outnumber men by around nine from the web, shutting down thousands
to one. This however, is hardly surpising. of live-stream accounts. Last November But how satisfying is making a living
a 21 year-old woman from Chengdu was letting people watch you all day
Even though there is a fetish element at jailed for four years for live-streaming through your iPhone? Does it make the
times involved, be it dress-up or simply herself enjoying a foursome. In May that broadcasters and their parents proud?
watching the broadcaster eat their same year, erotic banana eating in live- Zi insists it does. My mum thinks being
evening meal, the fascination is real and streams was banned. a broadcaster is not as easy as people
has expanded beyond fantasy to brand think. She supports me. But in the
marketing; similar to the influencer Even though live-streaming video apps in long-run how could this affect a sense
and blogger empires built in the West. the West such as Periscope are popular, of normality, self-confidence and self-
Some are paid to wear particular in the UK and US, viewers cannot pay worth? Do we value ourselves based on
clothing brands, and even help design the broadcaster. At most, this comes the gifts we recieve and and the number
them. Tabao and 11/11, Chinese clothing from a brand or sponsor; echoing many of viewers? What happens when another
brands, send out clothing to be worn on YouTube tutorials and Instagram posts. broadcaster takes the top spot in the
live-streams and for fashion-streamers China seems to of found a way to please ratings? Food for thought perhaps as
to talk about the products in detail. Sales the viewer, whilst also gaining something one contemplates the digital realm.

00 00
Attractiveness of Japanese women
was rated the highest for light skin
Tagal et al for Shiseido, (2016)
JAPANESE
BEAUTY
Revealing how the East differs to the
West in the beauty world; from ideals to
trends and product innovation
Models: Lauren de Graaf, Zhenya Migovych,
Katherine Moore, Ally Ertel, Luping Wang and
Angelica Erthal.
Makeup: Emi Kaneko
Photography: Nicholas Kantor
Warchocki states that in regard
to body image and beauty trends,
fashion magazines are considered a
main source of information regarding
the attractive ideal posing as a
sourcebook of unattainable, nor
maintainable looks. This is known to
be due to an influx of advertisements
and product endorsements that
present such looks and products in
a way that evokes consumers to buy
them (Gonzalez), in an aim to achieve
the proposed ideal. This movement is
however moving away from traditional
fashion advertisements as seen in the
past 2-3 years, influenced by the rise
of beauty trends and brands, therefore
propelling advertising into a realm. This
is evident especially in Japan where not
only fashion magazines are on offer,
full glossy beauty magazines can also
be seen on the shelves, unlike in the
West, launching a constant emphasis
on looking young and light skin.
Whilst proving to be a good sales
technique of enticing a consumer into
a dream world of aesthetics, this also
enforces the ideology that with such
products, one may also look this way
and achieve such image in return,
therefore affecting ones self-perception,
self-hood and individuality. But why in
Japan is there an emphasis on facial
looks opposed to physiques? Enticing
a consumer into a dream world of
aesthetics, this ideology of full-beauty
magazines also enforces the ideology
that with such products, one may also
look this way and achieve such image
in return, therefore affecting ones self-
esteem and body image.
00
JAPANESEbeauty
It is apparent that Western and Japanese
socio-cultural ideals and aspirations are
different. The West have an emphasis
on a pursuit to perfection, replicating
celebrity, icons, or model looks, whilst
Japan maintains a focus on Western
culture and socio-cultural, historical
traditions. Unlike Western women
whom often cherish their beauty of
diversity and race, Ashikari claims that
in contrast, Japanese women strive to
be white in order to negate from a
us and them dichotomy, whilst also
being influenced by the media denoting
ideals through international advertising
and marketing campaigns.
The dichotomy regards class and social
status in Japan rooting back to the
1800s. Japanese beauty blogger Nicole
Takahashi explains; those whom worked
manual labour jobs outside gained a tan,
and were therefore deemed by society
to be poor, whilst those who worked
inside, were lucky enough to keep
their light skin, in turn exuding a more
affluent status. For Western women
this dichotomy is often hard to relate
to, with the polar opposite being key to
their lifestyles and ideals; being tanned
means one has been on holiday, and has
enough money or the privilege to do so,
whilst also stemming back to fashion
runway shows such as Victoria Secret,
whereby all the models are bronzed,
deeming a sexy look.
In theoretical terms for context, this
correlates with Tajfel and Turners
(1986) social identity model, whereby
in-group and out-group comparisons
00
in-group and out-group comparisons
are prevalent in day-to-day lives,
contrasting with how Western cultures
implies this through a more digital,
celebrity and icon led trend, rather
than being influenced by historical and
socio-cultural roots. By intergroup
comparison, whether in the West, or in
Japan one can tell compare their looks
and strive to be apart of a group through
aesthetic changes. In the West this is
done through tanning and glamour,
whilst in Japan, skin-lightening and
youthful, beautiful skin takes precedent,
mimicking what they expect the ideal
Western to also be like.
Wagatsuma argues that the notion
of white/beautiful versus black/
ugly originates from a preference of
whiteness being rooted in Japanese
peoples own history combined with
a huge Westernised consumer culture.
This culture is often seen in department
stores; Western brands such as LOreal
will still use Western models for the
campaigns, whilst Japanese brands such
as Shiseido will take the same approach,
hammering home a constant ideal of an
ideal light skinned woman being the
face of modern day beauty. In Japanese
culture, Western models will feature
in highbrow magazines such as Vogue
Japan, mimicking this socio-cultural
ideal. Muramatsu, the Beauty Director
at Vogue Japan states that if an ideal
Western model cant be booked for a
photoshoot, Western-looking Japanese
models will be used giving the Japanese
a symbol of aspiration and affluence to
strive towards and buy into.

Cash et al. conducted a study for
THOSE WHOM Japanese beauty and skincare brand
WORKED Shiseido in 2016, claiming that applying
OUTSIDE GAINED facial cosmetics affects womens self-
image positively even if in Japan this
A TAN, AND WERE denotes youthful, natural skin. Takahashi
THEREFORE also claims that the typical Japanese
DEEMED TO woman applies makeup often to look
like there is not makeup on, rather
BE POOR; using cosmetics to polish perfect, product traits and contents. This itself
WHILST THOSE light skin, opposed to focusing on heavy
WHO WORKED and glamourous makeup trends which
are often seen in the West, and this is
INSIDE, KEPT reinforced through beauty editorials as
THEIR LIGHT often seen in the Japanese editions of
SKIN, EXUDING Vogue and Harpers Bazaar. The Shiseido
study also found that, attractiveness of
AN AFFLUENT Japanese women was rated the highest
STATUS.. for light makeup faces, opposed to heavy
makeup faces.
This is reflected through the range of
beauty products available in Japan,
most of which embody; skin-lightening,
and anti-aging. Kikuchi et al. states
that, aging has a negative effect on
the skin that is important for aesthetic
evaluation of the face ... revealing that
aging increases colour heterogenity,
meaning a wide range of beauty
products are available to counteract this
natural change, whilst also conforming
with the ideal look of white, Western
skin as popularised through advertising,
magazines and consumer culture.
The range of beauty-led products in
Japan reinforces this through the use of
copywriting and model selection. Anti-
aging products in Japan often include
collagen and placenta extracts, coming
in the form of creams, cosmetics,
00
JAPANESEbeauty
supplements, face masks and drinks.
Products of this bizarre nature to
Western women, claim to give babyish
skin, hinting at youthfulness. The
advertisements and product packaging
however show this in a perverted
manner, opposed to using youthful
models. Images often used showcase
Western babies to endorse such
shows an extreme cultural obsession
with youthfulness. It is worth noting
however in context, that Japanese child
pornography was only made illegal in
2014, hammering home how popular
youth and baby culture is in Japan
across an array of markets.
In addition, many cosmetics brands such
as Maybelline in Japan, are promoted
using fair skinned Japanese models with
blonde hair and blue eyes, echoing and
promoting the stereotypical Western
ideal woman, which are often shown in
editorials and advertising campaigns.
It is evident that even though the
Japanese ideal stems back to a
historical, socio-cultural background,
there is an influx of Westernised
consumer culture which influences
the self-perceptions of many, in order
to achieve a desired look which is not
natural for ones race nor ethnicity, even
though deemed the ideal. It can be
thought however, that on the flip side
how in Western society would one feel
and react to being constantly bombared
with images of Japanese women? How
would this affect the perceptions of
women? Maybe we will never know..
00
 For younger, more beautiful skin.
The new collagen infused drink from
the Shiseido Ginza lab.
 GOLDEN Skin
GLOW Lightening
CREAM Cream
Tan Deeper, Darker - Faster! Reveal your true radiance
NICOLE
TAKAHASHI
Japanese beauty blogger Nicole reveals
secrets and truths about the Eastern
beauty industry in this candid interview
Photography: Nicole Takahashi
Japanese beauty blogger Nicole
Takahashi writes two beauty blogs,
The Beauty Maniac in Tokyo and Beau
Tea Time, runs the Instagram star (@
nicintokyo) and writes for Japanese
blogs and magazines, including GLAM
and Look Fantastic Japan, however
states that the differences between the
beauty industries in the East and West
are still considerably different.
Takahashi reveals secrets of Japanese
beauty compared to what we know in
Western culture, exploring an unknown
world to many, where bloggers dont
recieve as much recognition as
magazine writers and editors, unless
you are kawaii. Its known that Japan
doesnt hold blogger events and if
youre lucky enough to get invited to a
press event you may only see women
between the ages of 30 to 50 years old,
instantly showing a vastly different
demographic and target audience.
With the industry taking a different
route in Japan to the West, blogging is
a different ball game, and content seen
often reflects this culture and audience.
If you have ever read any Japanese
beauty blogs or glossy beauty-led
magazines, it is evident that trends and
ideals are different, with older women
taking precedent. Japanese women are
big on skincare, youthfulness and skin-
lightening, opposed to the glamourous
celebrity inspired looks of the West
which teenagers and adults don daily.
In this candid interview Takahashi talks
openly about the differences in the
beauty industries, and gives examples
of the differences of beauty standards
and secret routines which dominate the
Japanese beauty culture today, giving a
taste of what she often blogs about and
relays to her International and Japanese
readership alike.
00
NICOLEtakahashi
What does a typical skincare routine in
Japan consist of?
Here are the differences I see between
Western and Japanese skincare:
1. Cotton pads: Japanese people are
said to have thinner skin that is prone
to discolouration compared to Western
people. Rubbing your skin causes
unwanted pigmentation, which is why
Japanese people are very careful not
to rub their skin too much. When it
comes to cleansing, they prefer to use
a cleanser that washes away waterproof
eye makeup instantly rather than using
an eye makeup remover with a cotton
pad. Micellar water isnt as popular in
Japan as it is in the UK. Some people
also pat-dry their skin with a towel,
rather than wiping their skin with it to
avoid friction.
2. Lotion: One of my American friends
once told me, When you say lotion in
the States, it means a thick moisturiser,
which is completely different from what
you call lotion in Japan.
In Japan, lotion is a water-like liquid
that balances your pH after washing
your face. When you use a cleanser or
soap, your skin becomes alkaline. As
your natural pH balance is mildly acidic,
you must use lotion to bring it back to
that healthy state. Also, Japanese lotion
usually contains quite a few different
ingredients that are good for your skin
such as hyaluronic acid, ceramides
and collagen. Lotion is usually applied
with hands rather than a cotton pad,
00
but recently some brands started
recommending using a cotton pad for an
even application, so the usage of cotton
pads is increasing. I must also add that
the quality of cotton pads is much
better in Japanthey are very soft, dont
fluff easily and there are different types
according to your liking.
3. Emulsion: I personally am not
familiar with emulsion because I mainly
use Western skincare products, but
emulsion ( Nyuueki) is very popular
in Japan. Normally its looser and lighter
than moisturiser, and contains more
moisture than creams.
IN JAPAN YOU WEAR
SUNBLOCK EVERYDAY,
WE DO NOT HAVE FAKE
TAN. MAINTAINING
PALE SKIN IS VERY
IMPORTANT FOR
JAPANESE PEOPLE
What about the morning route? Is this
different, or the similar?
The must-have items in a Japanese
womans beauty cabinet are makeup
remover, cleanser, lotion, serum and
emulsion or moisturiser. In addition to
that, eye cream, oil and sheet masks are
always commonly used.Unless we are
talking specifically about a woman who
is massively into beauty, women usually
dont switch up their skincare routines
that much.
Makeup remover: Oil and milk cleansers
are popular. Just like cotton pads,
muslin cloths used to wipe the cleanser
off arent common in Japan. Most of the
Japanese oils, milks, creams and balm
cleansers can be washed off completely
with warm water.
Cleanser/face wash: Japanese women
dont care for cleansers much.
Drugstore ones sell well.
Lotion and emulsion: As mentioned
earlier, lotion and emulsion are must-
haves when it comes to Japanese
skincare. Albion, SK-II and Ipsa are all
popular.
Serum: Women in Japan look to serums
that have anti-ageing, whitening and
brightening benefits.
Sun protection: In Japan, its common
knowledge that you must wear a
sunblock every single day all-year round.
Tanning is not common at all (we do
not have fake tan in Japan). Maintaining
pale skin is very important for Japanese
women, as you may know.
How does it differ to say a Korean
routine? Or the British routine of
cleanse and moisturise?
Im not sure about Korean beauty
regimens, because I personally am not
a big fan (Korean pharmaceutical affairs
law is not as strict as what it is in Japan,
which means their products are more
effective and can be very harsh. I always
break out when I use a Korean products).
Contouring is big on social media in the
UK and U.S. at the moment. What are
the big makeup trends in Japan right
now?
When it comes to skincare, I believe
Japan is a step ahead compared to
Western countries, but makeup wise,
not so much. We value the beautiful and
healthy state of the skin, rather than
piling up a lot of makeup on. Sheer and
natural foundation is more common
than heavy coverage foundation.
Recently, some magazines started talking
about contouring, and some brands
like Cezanne brought out contouring
products, but not many.
The trends I have seen recently are
coloured eyebrows and coloured
eyeliners. Though Japanese people are
usually very conservative, recent trends
suggest more playful looks.
What Japanese beauty products and
ingredients do you think would do well
in the UK?
Japanese consumers are very curious
about beauty products. They want to
know what they are paying for, why
the product is effective, and how it
works. This means the brands usually
list the active ingredients, so Japanese
women tend to have a good knowledge
of ingredients. They value how it feels
and how the skin reacts, rather than
thinking in a very analytical way as
Japanese women do. Hyaluronic acid
has been well-known in Japan for more
than 15 years (possibly 20 years), but its
00

just became popular in the UK in the
past couple of yearsI am not sure if it
was because there were not so many
products containing the ingredient or
none of the brands marketed it.
Ceramides should be more popular
in the UK [note: Ceramides are lipid
molecules naturally occurring in the
skin that help retain moisture and keep
the skin plump]. It is an incredibly well-
known ingredient in Japan, and in some
sense its better than hyaluronic acid.
We Brits look to women like Kate Moss
and Alexa Chung as modern beauty
icons, and then back to women like
Brigitte Bardot and Twiggy. Who are the
Japanese womens beauty icons?
I much prefer Kate Moss to any
Japanese beauty icons, to be honest
(because Japanese women love a cute
appearance rather than beautiful, or
even sexy look).
Are there any beauty lessons, tricks or
rituals British women could learn from
Japanese women?
1. Do not rub your skin. It will cause
pigmentation especially around the eyes!
My heart stops when I watch a YouTube
video and find a beauty blogger rubbing
their eyes with a cotton pad or muslin
cloth SO HARD!
2. Wash your hair every day. It might not
apply to the girls in the U.K. because of
the water (we have soft water, which
doesnt dry out the skin and hair),
but for Japanese people, the idea of
NICOLEtakahashi
JAPANESE WOMEN
VALUE THE BEAUTIFUL
AND HEALTHY STATE
OF THE SKIN, RATHER
THAN PILING UP A
LOT OF MAKEUP ON.
ITS KNNOWN THAT
SHEER AND NATURAL
FOUNDATION IS
MORE COMMON THAN
HEAVY COVERAGE
FOUNDATION
not washing the hair every day is just
disgusting! Forget about your hair for a
minute, we think of the scalp as being
the same skin as the face, so we cannot
go to work or meet friends without
washing our hair. Regularly washed
hair doesnt equate to damaged hair in
Japan. Also, we use hairdryers all the
time. I cant leave my scalp damp, you
never know what bacteria is growing in
the damp environment! It causes odour
and irritation.
3. Wear SPF all-year round, even when
its cloudy. UVA passes through clouds
and windows; you need SPF all the time
if you want to maintain the beautiful and
healthy state of your skin!
For more Japanese beauty insights head
to Nicole in Tokyos blogs: The Beauty
Maniac in Tokyo (English) and Beau Tea
Time (Japanese).
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 CHARLOTTE
STACEY
A Western perspective of beauty trends
and beauty culture in Japan

Article by/Model: Charlotte Stacey

MUA/Hair: Charlotte Stacey
Photography: Norijuki Edamatsu

Charlotte Stacey is a British beauty, So this week whilst scrolling through

trend and makeup obsessed dancer
and performer living and working in
Japan. For her day job for the past 2
years, Charlotte dresses up, and acts
as Disney Princesses at Disney Tokyo,
and has experienced an alternate,
magical and contrasting culture.
Perspective is everything though as this
candid article reveals how a Westerner
has grown to percieve Eastern beauty
trends and culture first-hand.
my emails I found out that I am officially
a friend with benefit. Wait, wait Its
not how it sounds. Im in the Friends
with Benefit programme with Benefit
Cosmetics UK!
I have always LOVED make up and beauty
products from such a young age, mainly
due to my dance background. I would
have dance competitions and shows
where Id wear thick, dark foundation,

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CHARLOTTEstacey
blue eyeshadow and a red lip so that
people in the auditorium could see my
facial features in the bright stage lights.
Weeks before competitions were about
to start, Id be caught by my parents
in my bedroom practicing my make
up. (In other words, playing with make
up too young but could use that as an
excuse!). Even way before that though,
of course I have the obligatory playing in
mums make up photograph, at maybe
1 or 2 years old, where its smeared all
over my face.
Fast forward and I am still wearing stage
make up everyday for my job! Now my
performances are up close and personal
as well as far away so every day has to
be a good make up day. The past few
years I have also modelled for a range of
different things so Ive learnt a few tricks
from my MUAs Ive worked with too.
Dont get me wrong. If I can have a day
without make up, Ill take it, and it always
feels great to wash it all off after a long
day. I dont rely on make up to feel great.
I dont put my confidence down to the
amount of make up I wear. I, honestly,
just love having it on!!
The ideal of beauty in England is very
much different to the ideal of beauty in
Japan. Not that I, personally, believe in
an ideal beauty, I hasten to add! What
I mean to say is: I have left a country
selling fake tan and come to a place
selling skin whitener. Here are some
things Ive found whilst living here in
Tokyo that you definitely wouldnt find
on the shelves in Debenhams;
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1. Skin whitener: Whilst Brits are known
to catch the rays at ANY given chance
(remember that Boots Summer Ad?!
Ill link it below), the Japanese hide
every inch of skin in the hot and humid
Summers to protect the skin from the
sun. Tanning? Yokunai desu!
2. Eyelid tape and/or glue: pretty self
explanatory! A thin bit of tape or a
smidge of glue to stick to the eyelids
to give the illusion of a Western style
crease in the upper eyelid, without
the surgery; an operation known as
blepharoplasty. There are also a type of
glasses (if I can call them that?!) which
act as a type of eyelid trainer! Wear
it every night before bed and youre
supposed to eventually have the ever so
desirable big eyes!
3. Eye bag make up: whilst Westerners
try and cover dark circles with a variety
of creams, gels and concealers, the
Japanese are contouring under their
eyes to make them darker and more
creased.
So the Easterners are trying to look
more Western and the Westerners
are trying to look more Eastern. Look
at the advertisement on its potent! 4) Slim face products: masks, straps,
Benefits dark circle eye cream, for
example, there is a beautiful asian
woman holding the product! And yet
the Japanese consider the gaijin face
to have desirable features; the big eyes
and the high bridged nose. You can go
and do sticky pics, a very popular photo
booth experience here, which thins your
nose and face and you can choose how
EASTERNERS TEND
TO LOVE THE SHAPE
OF A WESTERN FACE,
A SMALL FACE. SOME
JAPANESE GIRLS WILL
OPENLY EXPRESS
THEIR LIKINESS OF MY
KAO CHICHAI
enlarged your eyes want to be! Due to
their love of big, beautifully shaped eyes,
you can find the best false eyelashes and
liquid eyeliner and for the best price
here too; 100 Yen store = KILLER falsies
and the best liquid eyeliner Ive ever
tried! (100 is around 60p you find me
a shop in England that sells an amazing
range of decent eyelashes or easy to
use liquid eyeliner for 60p!!). Another
easy thing to buy here are coloured
contact lenses Put it this way, you
start to realise very early on that the
Japanese love big, cartoon-like eyes!
Easterners tend to love the shape of a
Western face, a small face. I walk past
Japanese girls who openly express their
fascination over my kao chichai.
patterns. Its all perspective NOT racial
creams anything that attempts to
basically shrink the face. Again, this is
instead of girls having to opt for jaw
reduction surgery!
I think Japanese features are
beautiful and their hair and skin
are something else. Its probably
down to the beautiful hot springs (or
onsen) everywhere that are so widely
used.by the Japanese. Which is where
I spend some of my afternoons and
evenings! There is a beautiful onsen,
called Urayasu Hot Spring Town I believe,
where I soaked my body in many hot
springs of various temperatures, a
strawberry bath, a collagen bath, a
milk bath, cold baths, steam rooms,
saunas, you name it! There are baths
inside as well outside and we were
lucky because it was cold and rainy last
night. Laying in a steaming hot bath
with the cold rain falling on you is the
most wonderful and relaxing experience
ever. Then I showered with the amazing
products they have there. My skin and
hair feel fabulous. Silky, smooth. So not
forgetting, of course, the great lotions
and treatments they have here in Japan!
Im not a fan of all treatments though..
5) Placenta face masks; Im alright..
I have generalised a lot here, and I know
not everyone will have these aesthetic
desires and therefore use all of these
weird and wonderful beauty products
just because they are from a certain
country. Ive just been in Japan for
a long enough time to notice certain
stereotypes! Regardless of these so
called ideals, Im a big believer of loving
yourself and being happy. If you want to
change something about your body, then
do it. If you dont, then dont. We get so
wrapped up in opinions about the way
we look you wear too much make up,
you need to wear more, when, really,
you should just do you!
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 vlogger, blogger;

INSTA
-GLAM ge t t h e l o o k
tte Stacey
with Charlo
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 @cuppa_char

Get the
Insta-Glam look!
Products are listed in stage order of application to help recreate
this Instagram ready look.

Revlon Photoready Airbrush Effect Foundation

Ben Nye Foundation
Kroyolan TV Paint Stick
Kroyolan Concealer Stick
Anastasia Beverley Hills Powder Contour Palette
Urban Decay Blush in Rapture
Benefit Brow Zings in Shade 2
Unbranded Japanese Brow Gel
Kylie Cosmetics The Burgundy Eyeshadow Palette
Anastasia Beverley Hills Moonchild Glow Kit
Tayila Eyelashes in T3000
Maybelline False Lash Mascara in Black
Ben Nye Lip Liner in Wine Berry
Sephora Matte Liquid Lipstick in Mauve