#byCatincaNegut – I Hate Today’s “Diversity” in Fashion
Why? Because, I trully think that, at this moment in time, it represents one of the biggest clichés in the industry, harshly said, just a fiction wrapped nicely in „good and pure” intentions. It is enforced by most of the fashion labels out of desperation to meet global consumer’s mega-trends based on equality and inclusion. Without any substance, the brands make room for a plus-size model every now and then just so they can say they did it, as a mean of protection, defense and self-preservation of their own image. It sadly represents a strategy which is, in most of the cases, not even implemented accordingly to the values and essence of the company, making it seem even more artificial.
MODELS
„Every type of body, skin color and gender is beautiful and equally considered” is the IT-mindset to display among fashion professionals today. Yet, if the impartiality is real, why are we still classifying models as „plus-size”, „transgender”, „petite”, „afro-american”? Why aren’t they simply called „models”, just like the ones considered to fit the general acknowledged fashion and beauty templates. Why are castings open for all types of beauty, when, in fact, it is mostly pre-agreed to just consider one or two categories?
In matter of body shape, we can differentiate the plus-size, the thin ones and a hollow space in between those two cathegories, with barely any other representation for the rest of the conformation types. Why is the industry obsessed with showcasing curvy women models but we never see their corespondent in the male segment? Weren’t we the same ones vocally demanding equality of sexes? Is it ok to be voluptous only when tempting female curves outright the final picture?
I have personally saw male plus-size models for the first time, just a couple of weeks ago, courtesy of Rihanna’s lingerie brand: Savage Fenty, well known for vehemently promoting body diversity from the very beginning. The new initiative was praised by the general public on social media and widely spread by press; possibly setlleing the base for a new tendency. Maybe we will see the same example in the next runway shows next season.

From another perspective, viewing fashion as a form of art should give designers entire freedom to showcase their vision in any shape they feel to, choosing the models which represent it best, rather than making the choice based on pressure from the external environment. Even if reflecting on the social-cultural context, art is further personal and close to its creator, breaking or forcing this natural attachment will lead to strained results.
#byCatincaNegut – I Hate Today’s “Diversity” in Fashion
In this scenario, you are both losing the essence of the creative message and the essence of the social one, which should be added naturally and complementary. This is harder felt by the small designers with locally based brands, rather than by huge companies in the industry, inside which there can’t exist the same freedom for the assigned art-directors. However, the pressure to follow the wave of consumer’s mega trends at a micro level is still owed to the big players, the ones creating most of the tendencies in the first place.
Why should local creatives be afraid that hiring an afro-american model for the next campaign will „not sell the same”? Because yes, the industry is continuously promoting this artificial idea of diversity, and, at the same time, you hardly see big fashion shows opening with models of colour. Why should the small designers think that, if they are not hiring a plus-size model, they risk being labeled as „uninclusive”? The artificial diversity tendency inside the fashion industry is creating new, unhealthy stereotypes which are fighting against the initial purpose, additionally altering the creative freedom. They get to want what the aesthetic of diversity provides, but not the actual person representing it.
SIZE & MEASUREMENTS
Sure, all of the big names in the industry are starting to include curvier models on their runways. However, when it comes to providing actual size variety for their clients, most of them don’t bother widening their measurements range; not even so they can cover all of the physique types showcased in their own shows.
Let’s take the recent example of Versace, pioneer of baroque sexiness, who firstly casted three plus-size models for its Spring/Summer 2021 runway show. Alva Claire, Jill Kortleve and Precious Lee were dressed just as provocative and flashy as already-known show’s regulars like Irina Shayk and Joan Smalls. But what happens if a women with Alva’s body type goes online and wants to order a Versace bra? I doubt she can. The unlined styles go up to size 5 IT, which means 40 (M), while the lined bras can reach a C as the maximum cup size available.
So, why aren’t the brands being truly inclusive and diverse when they decide this direction for themselves? They want to avoid being called out for lack of diversity progress and don’t really believe in the essence of it. In addition, it has been proven that, apparently displaying the opposite not only protects the image of the brand, but also generates positive clout around it. All of this vicious circle is maintained and encouraged by the external pressure of attaining this hollow diversity and by how easily silenced the public can be, thanks to the lack of genuine information provided by press.

PROFESSIONALS
The deficit of inclusivity and diversity in its truest forms is not only present in the fashion facade, regarding visual campaigns or runway shows, but also in its deeper core, in matter of workforce and professionals behind the camera. To clarify the issue, the Council of Fashion Designers of America (CFDA) and PVH. Corp (company owning Tommy Hilfiger and Calvin Klein) pointed out the major difference between „diversity” and „inclusivity”, as well as their interconnected relationship. The first concept was defined as a „measure of difference”, while „inclusion” was translated as „a climate in which diverse individuals come together to form a collective whole”. In addition, they point out that, „without inclusion, diversity is ineffective”.
It is not only about representing different body shapes and ethnicities on the runways, the root of progress should start within the companies, where the power and access shall be provided based upon capability and abilities, nor nationality, age, gender, religion, sexual orientation or body type. So, if you are wondering where the inequality roots, it is behind the curtains, what we see in magazines and on the runways being just a reflection of it.

#byCatincaNegut – I Hate Today’s “Diversity” in Fashion
It’s all sugar, spice and everything nice until you really wonder on how theories are perpetually contradicted by actions. The ongoing change towards diversity is centralised on visibility, on what the public can see and positively react to, concerning mostly race and body.
The lack of natural evolution at an inner level is the reason why the progress at the outer level feels so artificial, forced and trend-driven. It is, for sure, difficult to represent each and everyone visually in a subjective, artistic environment, but it is vital to ease access for the underrepresented categories inside the business so that the tendency of change will continue towards a social movement rather than a trend.
To conclude in a more positive way, I have selected a series of visual examples of fashion diversity which I consider inspiring and well brand-coordinated.
Read also #ModicEditorial – Sweet Redness
Inspiring examples of visual diversity in fashion:




