Robin Givhan’s “Shifting Beauty”

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Table of Contents

Introduction
Flawed justification for criticism of shifting beauty standards
Deficiencies in the premise upon which criticism of beauty standards is founded
Discrimination and shifting beauty standards
Conclusion
Works Cited

Introduction

Robin Givhan’s article Shifting Beauty, published in 2020, examines the changing perceptions of beauty in the fashion industry. The article delves into the purported change in the standards of beauty that have come about from the inclusivity of darker-skinned women, plus-size women, and any other women that do not fit in the traditional description of beauty (Givhan). The shift is vastly explored. The first instance that exemplifies the change in traditional conventions in the article is the appearance of Alek Wek, a Sudanese model, on the cover of Elle magazine in November 1997. According to Givhan, Alek Wek represented a shift from the traditionally held standards of beauty in the United States since she was dark, while most of those who appeared before her were lighter in complexion.

Alek Wek set a precedent for acceptance of diversity, and more than twenty years later, the barriers of beauty have been continuously broken. Cover images have changed, and even women in hijab have come into the picture. However, Givhan exposes her own bias, and it almost appears as if she would prefer that the beauty industry discard the mantra that all are beautiful in their own way. On further examination of the content in the article, it becomes apparent that the sentiments expressed exhibit inconsistencies that are detrimental to her stand. Although the author adequately demonstrates the increasing diversity in the fashion industry, the criticism on shifting beauty standards is blemished since the justification for the criticism is inadequate, the beauty standards established before were innately discriminatory, and the premise upon which the criticism is founded is fallacious.

Flawed justification for criticism of shifting beauty standards

The author tries to justify her criticism of the shift in beauty standards through two main arguments. First, the author argues that changes in beauty standards have been unwarranted. The importance of magazines in the fashion world of years gone by cannot be overstated. Magazines have been used to create brands and develop products. Fashion magazines also project individuals into the limelight and propel them to fame. The discourse created by the fashion magazines shapes public perception, and often a controversial take or fashion trend in a magazine will reverberate throughout the fashion industry. Magazines are an integral part of fashion, and the interlink between the two is exemplified by the pop culture icons who appear in the magazines. Therefore, the appearance of Alek Wek is rightly not a light matter. According to Givhan, Alek Wek represented the departure from the conventional beauty standards. Increasing variance on magazine covers clearly demonstrates changing perceptions by individuals but does not demonstrate the change in the public consensus on beauty. To many individuals with ingrained perceptions of beauty, the appearance of a black woman on a magazine cover will most likely not change their perceptions. The author also echoes these sentiments and states that Wek was not appreciated in her time. However, the author views it from the lens of a Western fashion critic rather than examining Wek from the perspective of her community and origin. A Sudanese person and a foreigner view Wek differently. Rather than judging whether she was considered beautiful or not from the point of view of Western culture, Wek should be treated as the standard of beauty among the Sudanese people. From that point of view, the criticism of the introduction of a different kind of beauty is inaccurate. Wek was always beautiful in her culture and home, but the reluctance to accept her in Western media should not eliminate her from the conversation of beauty.

Second, with the changing times, one cannot simply claim that changes in beauty standards are unwarranted since the consumers are now seeking out beauty standards that apply to them. Elle represented a time in which magazines influenced the view on fashion and beauty rather than the people influencing beauty standards. Interestingly, the reverse is evident in the present day. Magazines controlled the narrative, and thus the models were chosen from within the traditional conventions. However, now the repressed majority who could not meet the beauty thresholds established in yesteryears can now sit at the table of beautiful people. That, in itself, is beautiful. The advent of social media was a precursor to the elimination of the exclusionary nature of the fashion industry. Inevitably, change has come about, and the majority of the populace is now part of the conversation. The impact of magazines on fashion has diminished due to social media, but in their heyday, they could greatly influence culture and fashion. The author argues that the standards of beauty have changed, and the fundamental component of this argument is the models used in magazine covers. This premise is flawed since the magazine covers do not encompass the perspectives of society at large. Clearly, as the author states, Alek Wek was not the reflection of the idea of beauty within society. Therefore, the magazine cover was not a true reflection of the standards of beauty at the moment of publication. Rather it introduced diversity and sought to change public opinion. This fact contradicts the author’s sentiments that fashion and beauty are exclusively shaped by consumers. Alek Wek was not a product of political correctness and simply arose out of the need for acceptance of different individuals.

Deficiencies in the premise upon which criticism of beauty standards is founded

The premise of the author’s criticism of shifting beauty is two-pronged. First, the author alleges that fashion and beauty are dependent on political consciousness and appeasement of the populace. The author fails to recognize the changes that have occurred in the perception of beauty. While the article argues against the inclusion of people outside the traditional confines of beauty in the conversation, it is vital to recognize that the standard of beauty varies from individual to individual. Social media has shaped all aspects of everyday life, and it can provide an insight into the evolution of beauty. Models who were not considered beautiful based on the traditional metrics have millions of followers on social media and they clearly deserve inclusion in the fashion scene. Ashley Graham, for example, a plus-size model has close to fifteen million followers on Instagram. The fact that she has amassed a large number of followers is a testament that these outliers have not been forced down the throats of consumers. People genuinely find them attractive depending on their intrinsic standards of beauty. When these people congregate on contemporary forms of interaction such as social media, it is evident that the shift in beauty standards is a genuine shift in mindset despite the fact that Givhan does not agree with such a notion. However, the notion that beauty is now a product of political correctness and social justice is inherently fictitious. Acceptance transcends social justice and political correctness. The author’s line of thought insinuates that these women are not beautiful at all, but they are part of the agenda simply to prevent backlash from affiliates of political correctness (PC) culture.

The second premise on which criticism of shifting beauty standards is founded is the insinuation that shifting beauty standards are only meant to meet the financial goals of organizations. Alek Wek disproves the idea that the increasing diversity of models in magazines and fashion publications is motivated mainly by financial reasons. The financial undertones involved in the fashion business, and pop culture at large, cannot be swept under the carpet. In this issue, the author raises a valid argument that diversity is sometimes incorporated to appease certain demographics and thus meet financial goals. Some industries cannot be separated from their financial implications, and the emergence of demographics to market to often to affects the decisions of executives in those industries. However, this does not cause a shift in perspectives of beauty but is a result of the shift in beauty. The demographics are targeted because they have become accepted as they are. In the case of Alek Wek, for example, the cover girl was not meant to achieve any financial ends.

Discrimination and shifting beauty standards

Criticism of shifting beauty standards is unwarranted since the expansion of beauty standards can help eliminate discrimination through body positivity. First, it is vital to note that body positivity goes beyond fashion and beauty but is part of a larger movement. Songs such as Born This Way by Lady Gaga encourage individuals to love themselves. Lady Gaga sings, “Don’t hide yourself in regret, just love yourself,” and such statements have encouraged acceptance of different forms of beauty. Evidently, acceptance has thrust individuals such as Lizzo, a plus-size rap artist, and Ashley Graham into the limelight. In an ideal society, everyone is appreciated regardless of his or her bodily features. Evaluation of the standards of beauty is not necessarily a bad thing. The article rightly expounds on the subtle and contrived forms in which prejudice still rears its ugly head. Such an instance includes the referral of unattractive clothes as “old lady” clothes. However, while such prejudice still exists, the fashion world still excels in navigating new markets and territories. While the article tries to project the shift in accepted forms of dressing as a mechanism to appease the younger generation, it is vital to remain cognizant of the fact that fashion is not static. Fashion is dynamic, and the trends are not influenced by political correctness but by the leanings of the particular generation. Such trends may not be the author’s cup of tea, but the younger generation leans towards knee-high boots and crop tops. The beauty dialogue should not be limited to the ideas that were established in the previous century.

Second, instances of discrimination are evident due to outdated beauty standards, and in the spirit of progress, it is imperative that a repeat of such instances is avoided. Givhan is uncomfortable with change, and she states, “Every accepted idea about beauty is being subverted” (Givhan). The modern generation is trying to eliminate discrimination based on beauty, and such an agenda is noble and should be pursued. Discrimination based on beauty standards is subtle and is often overlooked. The 2008 Olympics clearly demonstrated the effect of discrimination when a girl in Beijing, the host nation’s capital, was replaced with a ‘more attractive’ young girl to sing the national anthem (Ward). However, the ‘unattractive girl’ was incredibly talented. Therefore, the ‘more attractive’ girl lip-synced to the words of the national anthem at the opening ceremony, but in reality, it was the voice of the ‘less attractive girl.’

Yang Peiyi (right) and her replacement, Lin Maioke. Images courtesy of LADBible (Ward).

Discrimination goes beyond this infamous incident. Pulchronomics, a term coined by an economics professor at University of Texas, David Hamermesh, refers to advantages accrued to an individual based on their physical attractiveness (Nahai 1039). According to the professor, looks influence earnings, probability of imprisonment, and career prospects. In light of the effects that unattractiveness has on the well-being of a person and the recognition that society is responsible for the creation of the social construct that is beauty, it is society’s moral obligation to reevaluate the standards of beauty. I have observed, with a heavy heart, the standards of beauty being used as a point of criticism, especially in the academic environment. Collectively, society should ensure that the standards of beauty are more accommodating. Such an attempt should not be branded as ugly or shocking, as the author of the article brands it.

Conclusion

In conclusion, fashion responds to the needs of the younger generation and will always do. The fact that there is no neutral ground in fashion means that beauty is not defined by a particular body size or skin color. The article essentially prompts the reader to change their understanding of beauty. The author encourages individuals to shun the modern idea that people with different traits are physically attractive. The author paints the picture that rather than appreciating the external appearance, society should emphasize on intrinsic characteristics of individuals. However, appreciation of external beauty and appreciation of internal beauty are not mutually exclusive. The demands posed by members of society who have found people with differing traits beautiful are justified.

Perspectives of beauty are not universal, and it is vital to find approaches that eliminate the disparities that arise from the social construct of beauty. Despite the allegation in the article that beauty could become meaningless, ensuring that everyone is comfortable in their own skin is more than just papering over the cracks. Acceptance is important for individuals who were shunned in American society, especially plus-size women and women of color. Bringing those who were considered outliers into the fold is vital for a healthy society. Individual preferences have come to the forefront now, and magazines alone can no longer control the narrative. While we live in an age where political correctness is valued, and genuine opinions have been stifled, political correctness and cultural changes are not solely responsible for changing perspectives on beauty. Such an argument negates the fact that beauty is in the eyes of the beholder. The beholders have just taken over the conversations in popular culture, and the shift in beauty standards should not be criticized but should be encouraged.

Works Cited

Ward, Amelia. “People Left Stunned By Messed-Up Stunt China Pulled At The Beijing Olympics.” LADBible, Web.

Givhan, Robin. “Shifting Beauty.” National Geographic, Web.

Nahai, Foad. “The Power of Beauty.” Aesthetic Surgery Journal, vol. 38, no. 9, 2018, pp. 1039–1041. Crossref.

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