Category: OUCP703 Professional Context 1

This is working towards objective 1, 2, 3 and 5.

I have recently confirmed and booked an International Research Trip as part of my MA Creative Practice studies, in order to understand on a cross-cultural level how the Beauty and Fashion Industries affect our sense of body image and self-perception. I feel in contrast to the UK, where many women fake tan to achieved ‘a desired look’ for instance, in Japan, women are known to use ‘skin-lightening’ products to acquire a more Western skin tone. Furthermore, as noted in my Professional Context Presentation 1 research it is clear that Vogue Japan takes its design influences from its Japanese heritage and culture, but content wise projects a Western ideal, and ways to achieve this, be it though diet, exercise, clothing, skincare or makeup. In addition, as also noted within the same blog posts and context, many Japanese women use apps such as BeautyPlus to alter their appearance digitally prior to posting on social media, whether this be changing their skin tone, or widening their eyes for that, ‘ideal’ look. Examples of the above can be found below:

[Discussion continued below]

Above Images: Scans from Personal Collection

Above shows scans taken from a recent June 2016 edition of Japan Vogue, which focuses on beauty products with specifically-created formulations to lighten skin and help naturally ‘widen eyes’, and leg exercises in order to elongate them to achieve the ideal ‘long leg’ as boasted by Western people in relation to the average sized Japanese woman for example, whilst also coincidently being the ‘ideal’ showcased through their cover models, photoshoots and content alike.

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‘Cultural Icons’ as talked about by Mary F. Rodgers in “Barbie Culture” states that these are commodities which are shaped to consumer needs, trends and changing ideals. Is this why Japan Vogue features little Eastern models for their covers and editorial photoshoots? This is shown above with cover model, and ‘Cultural Icon’ Kendall Jenner. The content also is usually very Western promoting Western ideals and beauty trends as noted above. I would like to see whilst in Japan whether National magazines use more Eastern models in relation to International Magazines which have ‘spin-off’ editions. I also want to look at this as noted below in more detail, in regards to Fashion houses and brands, and whether Western models are used mainly to generate sales and brand engagement to being ‘cultural icons’ who still remain known to all but change as needed to, and whether in relation to this identities and native cultures are affected, whilst also affecting the self-perception of the population? As noted in previous research Editors are usually responsible for selecting what is included in a magazine content wise, and therefore am interested in looking into the associative Instagram account, website and social media pages, to see if this use of Western models, ideals and trends follows suit with a platform which reaches a larger, and International target audience. Would this affect content selection, whereby Japan Vogue magazines themselves are extremely hard to come by in the UK and therefore, most likely other Western countries also?

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Above shows an Advertising campaign for Uniqlo, a Japanese brand using Western models to promote their garments. I am interested to see whilst in Japan the ratio of Japanese to Western models used across Beauty and Fashion brands, especially for those whom are based in the US or UK for example. I am particularly interested in looking at Japanese brands such as Uniqlo whilst over in Japan also to see what their in-store promotional materials are like in comparison to those in their London store (trip booked for 7th & 8th Jan 2017 prior to visiting Japan), i.e. models, makeup used, etc. I also would like to find out why Western models are sometimes used with Japanese brands, and again with Japanese magazines? Is it due to the demand for Western culture? Is it escapism of the religiousness and pre-set cultures of Japan? These are questions I am wanting to explore and research further.

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I found the above interesting as discussed in my presentation, as Emma Watson is being portrayed as the ‘English Rose’ promoting the idea of porcelain skin of the West, to those in the East. In response to this campaign, I came across this quote whilst researching which raised Feminist issues which I had not previously considered. 

The author of the piece ‘Perfect Whiteness: The Code Switching of European Cosmetic Companies’ wrote: “Emma Watson, forever paraded in the media as a white feminist icon, is the face of Lancôme’s “Blanc Expert” (Expert White) which contains disruptive ingredients intended to whiten the skin. Non-white women already have complexes about dark skin rooted in colonialism, racism and/or classism. They are exacerbated by these multimillion $ £ € campaigns designed to make us feel like our skin is a problem that we can pay for them to solve.” This made me think about issues in Japan which I should research into further prior to embarking on my visit. These are issues such as Identity, Classism, Economy and Religion for example, which may expose further the need for the East to feel as though they should conform with the West, whilst also thinking about this from a Feminist point of view, whilst sparking further thoughts on a Japanese campaign using a Western model as the face of the product and how this effects self-perception across the Japanese nation itself.

[Discussion continues]

I have always found this fascinating, and have always collected International editions over the past 15 years or so, building up a multi-cultural archive of my own and can’t wait to explore Japan and see culturally how it differs to ours at time where social media and magazines are generating new cultural icons on a regular basis, projecting new ideals also on to us in regards as how to look, and how to achieve this.

Furthermore, working with clients on an international basis over the past few years has highlighted the importance of understanding cross-cultural contexts in order to create relevant pieces of design work which communicate with the right audience, in the right way.

Whilst in Japan I hope to conduct various forms of field research, and to look into topics such as:

• Are Western or Japanese models being used to advertise Japanese brands such as Uniqlo?
• Are Western or Japanese celebritiess/icons being used for brand endorsements?
• Skin-lightening fads
• Product Innovations, Technologies and Trends
• Who is on the cover of their fashion, beauty, hair magazines for example?
• Photo booths which apply the BeautyPlus style filters to printed photos
• How is Western body image and beauty reflected in Japanese magazines, i.e. Vogue Japan, Nylon Japan.

I plan on speaking to various forms of people and plan on using some of the following research methods:

• Questionnaires/Surveys
• Asking Questions
• Focus Groups
• Interviewing Bloggers/Vloggers
• Talking to Magazines/Designers/Media/Industry Experts/Professionals

Over the next few weeks I plan on speaking to my contact in Japan, Charlotte Stacey, a Character Artist whom works for Disney Tokyo, in order to start speaking with translators, should the need arise, and to also start researching bloggers, for example to contact, whilst also putting out initial emails to magazines and organisations such as Vogue Japan and Uniqlo. Regarding this I will update my blog accordingly, and plan a schedule for my time there, to ensure that I use the opportunity to its full potential.

This is working towards objective 2 and 5.

I wanted to look more into B-EAT’s Policies and Media Guidelines as a National Organisation and Charity working with a range of media and healthcare professionals to ensure that Eating Disorders are dealt with compassionately, accurately and factually.

By having a range of Media Guidelines, which can be seen below, this allows for brands, organisations, individuals, multi-media organisations and reporters for example, to be aware of good practice regarding such sensitive topics. B-EAT are known to of assisting ITV write storylines in Emmerdale accurately, to ensure that the Nation, and International countries where the show is aired, receive an accurate interpretation of the illness to sympathise and empathise accordingly in a delicate and relevant manner.

The policies and guides cover topics from Media Myths, Facts, Figures and Statistics, Copywriting Assistance, Interviewing and Reporting, Data Protection/Confidentiality and Image Use to ensure fair practice.

I feel that as a whole this is very important for anyone working with such topics within the media, be it TV, Advertising Agencies or Local Councils to ensure that fair practice is carried out nationally, whilst ensuring that the most recent information and up-to-date data (facts, figures, statistics) is accurate.

I do feel however that under Image Use more could be said regarding outlining a guide for appropriate sized models, and BMI of models that should support the fashion industries for example. This is something which some Fashion Weeks and Brands enforce independently nationally and internationally, however introducing this on a national level I believe would be very beneficial in regards to helping to alleviate self-perception and body image issues but to also support the recovery of eating disorder patients, opposed to discourage it via using ‘thinspiration’ as noted in the policy notes below. I do understand however, that being a national organisation and charity, they have to legal rights to enforce such ‘laws; per say and can only help, and advise.

Furthermore, I feel the information below along with other information on B-EAT’s website will really help with research, factual information and data when I begin working on my ‘Wellbeing Campaign’ project.

Source:
B-EAT. (2016). Media Guidelines. Available: https://www.b-eat.co.uk/assets/000/000/072/BeatMediaGuidelines_original.pdf. Last accessed 23rd October 2016.

This is working towards objective 2 and 3.

Following watched the BBC ‘Body Image Secrets’ documentary, and researching further into comedienne Luisa Omielan whom was interviewed by Anne Robinson during the show regarding her powerful voice of sharing the message of self-love and standing unto issues of self-perception enforced on us by the media.

Upon further research and watching her show, “Am I Right Ladies?” online, I found out that she has her next stand-up show on December 5th in Leeds, and have therefore booked a ticket to see her newest stand-up show, “What Would BEYOND Do?!”.

Luisa Omielan is a stand-up comedienne from London.

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I feel even though Luisa is a comedienne, she is spreading the message about self-perception and body image, through satirical and light-hearted, yet serious ways resonating with my own research studies and practical projects I am currently working on. After watching her first stand-up show online, I really felt she would be empowering and inspirational to see. I also would be interested to see if it would be possible to talk with Luisa after perhaps for a short interview regarding my research topic.

By going to this event, I am hoping that I will be inspired with ways of tackling my practical work, engage with topics of current interest in a ‘real’ and engaging manner.

I have also posted a video below showcasing Luisa’s performance focusing on body image, international judgements on women and trends which I found very powerful, funny, and extremely relevant to the serious side of my research question, even though posed in a light-hearted, yet brave and honest manner like my own current work. This sketch is taken from her show, “Am I Right Ladies?”

This is working towards objective 1.

The Social identity theory was originated from two British social psychologists – Henri Tajfel and John Turner in 1979, and states that “part of a person’s concept of self comes from the groups to which that person belongs”.

After watching the ‘Body Image Secrets’ documentary on BBC as noted on a previous post, I had questions regarding ‘what natural is?’ and how our ‘identities’ allow us to either fit in, or not with a social group and by change our identity we are more likely to be accepted within said group, and society. This was prevalent with the gym enthusiast couple, Millie and Lanon for example., whereby the every move, was tailored to becoming a certain person and looking a certain way for the approval of others and an increased following on social media platforms such as Instagram.

I wanted to look more into the Social Identity Theory as this was only previously touched on lightly beforehand, and made me question how many of us nowadays do change our identities, whether consciously or unconsciously to ‘fit in’, whether this is changing our looks, how we speak, how we act and what we wear, for example. This was highlighted by Eve, the makeup artist spoken to by Anne Robinson in the BBC ‘Body Image Secrets’ documentary, whereby she noted that she sees images of ‘plumped lips’ and knows that she needs hers done, but is not sure why. This striving to fit in with ideals, celebrities and cultural icons has really made me think about the relevance and the importantance of the Social Identity theory going forward.

Social Identity Theory

“Tajfel and Turner’s social identity theory explains that part of a person’s concept of self comes from the groups to which that person belongs. An individual does not just have a personal selfhood, but multiple selves and identities associated with their affiliated groups. A person might act differently in varying social contexts according to the groups they belong to, which might include a sports team they follow, their family, their country of nationality, and the neighborhood they live in, among many other possibilities[1].”
(Turner, J. C., & Tajfel, H. (1986). The social identity theory of intergroup behavior. Psychology of intergroup relations, 7-24.)

I found the above quote particularly interesting, whilst Turner and Tajfel continue to state that once a person perceives themselves as part of a particular social group, then they are “in-group”, in comparison tho those who do not identify with such groups, therefore becoming “out-groups”, denoting where the “us” and “them” concept comes from in retrospect to this. I found this applicable with much of the research I am currently undertaking, looking at bloggers, vloggers and celebrity icons for example, and how followers become “in-group” changing their identities to certain extents to ‘fit in’, be accepted within the group or community and feel good about their social positioning, where as those who tend not to follow the trends, fads and idealisms of society, form the “out-group” members. Perhaps the “in-groups” feel better positioned as individuals if associated with an identity and a ‘group’ of belonging, following the likes of Kim Kardashian, as Eve noted on the ‘Body Image Secrets’ documentary previously analysed (previous blog post).

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Turner and Tajfel note that there are three main “processes that create this ingroup/outgroup mentality”:

• Social Categorisation: Recognising people in order to understand and identify them for example, and therefore defining whom we are via groups that we ‘belong to’ or situate ourselves with.
• Social Identification: Changing our identity to further identify with the people of the group we are longing to be apart of.
• Social Comparison: Comparing of groups/members of the group via looking at “in-groups” and “out-groups”, which often tends to help with self-esteem and confidence via compliments and encouragements from within the same “in-group”, however also highlights where negativity and poor self-perception issues can arise from.

I feel that the above resonates very heavily with the research carried out regarding social media icons and their following, particularly the comments posted expressing their desire to become “the icon”. I have also posted an example of this below for reference. It also made me realise where the negative comments at times may come from, or the comparison to oneself – social comparison – which may affect self-perfection, self-esteem and confidence and allow for paths to open for identity change in order to feel apart of the “in-group”.

I found the above extremely relevant in regards to identity and social media more than anything, especially in the current climate of use from both the general public and ‘the influencers’, highlighting the differences even more between the “in-groups” and “out-groups” and how this social categorisation has a lasting impact on todays society and cross-cultural communities, leading to social identification changes to begin to take place.

I feel this also links in heavily with the idea of ‘cultural icons’ as noted by Mary F. Rogers in ‘Barbie Culture’ whereby these are the current “in-groups” of todays society, along with models for instance, allowing their followers to be “out-groups” whilst feeling the need to be constantly striving and working towards that standardisation and acceptance amongst a group or community.

This is further supported with the quote noted below by Turner and Tajfel (1986).

“The reconciliation of social status as tempted earlier needs now to be made more explicit. Status is not considered here as a scarce resource or commodity, such as power or wealth; it is the outcome of intergroup comparison”.

I really resonated with this regarding social groups and communities on social media, particularly Instagram in that in-group members flock almost to one member making them the leader, the ideal, and boosts their social status. I also took from this that social status has become the outcome of social media and the relevant social groups – this can be seen by those whom are taken on sponsored brand trips, such as that to Bora Bora by Tarte Cosmetics. These have reached the ultimate final outcome in regards to intergroup comparison whereby this overtime and the subsequent encouragement as caused their iconsim and therefore their identity.

My notes below also depict various topics discussed by Turner and Tajfel (1986).

• There are two types of people, those who are not affected by their social groups, and those that are.
• Through intergroup comparison overtime one person in the group, as discussed in further detail above, become the leader for others then to identify with and compare themselves and each other too.
• “Individuals strive to achieve or to maintain positive social identity” – this is particularly prevalent in social media, whether it be ourselves, friends, family, bloggers, vloggers, brands, celebrities, cultural icons, public figures, etc. Nobody wants to be seen in a negative light, and by selecting what we share we can showcase our identity in a positive and accepting manner within our chosen social groups. This is seen throughout images of bloggers, vloggers and celebrities on my previous research posts. This also makes me think about the self-aware and narcissistic side of social media.
• If we don’t find in a certain social group, we have the ability to move. This is often seen through career changes on Instagram, from makeup artists to YouTube vloggers, and also by celebrities whom release product lines, participate with endorsements and interviews for example, to tailor the audience they are associated with and the social groups they then perceive themselves in and fit within. This can be seen on Instagram via the use of hashtags, and also can be taken from the interview I had with Samantha Ravndahl. As your career and following grows, it appear that you, your social groups and intersocial communication and comparisons change too.

Source:
Turner, J. C., & Tajfel, H. (1986). The social identity theory of intergroup behavior. Psychology of intergroup relations, 7-24.
Unknown. (2016). Social Identity Theory. Available: https://www.learning-theories.com/social-identity-theory-tajfel-turner.html. Last Accessed: 22nd October 2016
BBC One and Anne Robinson. (2016). Britain’s Secrets with Anne Robinson: Body Image. Available: http://www.bbc.co.uk/iplayer/episode/b080byvs/britains-secrets-with-anne-robinson-3-body-image-secrets. Last Accessed: 20th October 2016.
Unknown. Social Identity Model Image. Available: https://uk.pinterest.com/pin/484770347367805958/. Last Accessed:13th November 2016

After receiving the itinerary for the Fashion Conference Symposium at Manchester Art Gallery on Working in Industry (Friday 14th Oct) I came to realise that the event was aimed more at Fashion Design Graduates and how to start their own businesses post HE opposed to discussing the working Fashion Industry as whole, I decided to not attend as I did not feel I would gain enough out of it to miss a day of lectures. I also feel that now knowing the full itinerary I wouldn’t of been able to aquire all of the information I originally had noted or expected.

I felt that Annabeth’s lecture on Technologies, Video and Animation along with her practice would be of more benefit in advance to the Professional Context presentations. In addition, this would allow me to understand different technologies more which has since helped with further analysis and critique of new technologies in the fashion and beauty industries in relation to my practice. I wouldnt of been able to obtain such relevant and important knowledge had I of missed this lecture in return for the Working in Industry symposium.

This is working towards objective 1.

Below shows notes taken from todays lecture with Annabeth regarding new technologies and how she uses them within her practice to produce, exhibit and curate pieces of Animation, Film and Video.

This lecture made me realise that even though recently I have been researching different technologies within the Beauty and Fashion Industries, that many of the topics discussed could be relayed back to my research question, allowing me to think further about how technology can help with research, whilst also allowing for platforms to experiment with ideas, processes and techniques. It also made me think about how through my current projects I am engaging with social media to showcase my work, reaching a specifically targeted and tailored global audience, and how this instant access to other cultures for example, is quite a recent development.

I also realised that many of the technologies Annabeth discussed have already been used in someway in both the Fashion and Beauty Industries, therefore allowing me to create a more developed mind-map for this specific topic. I have also shown examples in context below. The main technologies which came to mind were the rise of apps, and social media use allowing for a constant stream of ‘virtual gallery experiences’ as Annabeth also noted today, combined with the idea of Live-Stream Video, Integrated Video (within apps and websites for example), UI and UX design, Augmented Reality, VR, Film and Video, CGI and Face Recognition. In regards to my practice and research question, it is important for me to understand the uses and benefits of these technologies as well as the negative impacts they may have over time. Each of these noted technologies may have benefits to the brand using them and may encourage todays current climate of consumer culture, however, in which ways do these effect the self-perception of the audience? For example, the use of CGI to create Avatars, or Apps to digitally edit our photos. Overtime as technologies become even more embedded in our lives how will this affect us? How will this contribute to societal changes? I also noted from discussions from the class today, that some people still do not part take in new technologies, and don’t have mobile phones, therefore how do these technologies exclude some members of society through presuming that everyone is up to speed and aware of such advances?

Thinking about technologies also allow me to understand how important it is to access the right platforms to reach a cross-cultural audience.

Furthermore, this lecture opened my eyes to the amount of events and lectures which take place regarding technologies in the digital age, which may be of benefit to me to really understand the current societal needs to be so dependant upon technology, which in turn may help with my research and understanding of my research question. This have been noted on the second page of my scanned in notes that are shown below.

Industry Examples

• “Misha Nonoo premiered her Spring collection on Instagram, told Vogue Runway Director Nicole Phelps earlier this week: “That’s the beauty of digital; somebody has a front row seat while sitting in their armchair.”
• “YouVisit is a platform that creates interactive virtual tours of occasionally hard to access places (namely of restaurants and universities, though it has also showcased festivals and sporting events). YouVisit aligned with Mercedes-Benz Fashion Week Russia with this mission in mind: The result, Mirror to the Soul, is a five-minute whirlwind that gives the viewer a full picture of the event, from backstage to the front row to the street style scrum and an Uber in between. “Mercedes-Benz Fashion Week Russia has always been tech-savvy,” said its founder and president.”

• “YouVisit worked on a VR “lookbook” for some Moscow-based designers to allow a viewer to survey runway looks from all angles, immediately access more information, and, ideally, eventually have the possibility to place an order. “It could be much more fun than browsing websites, and more useful for marketing,” he added.”
• “Topshop held a three-day flagship VR experience back in February 2014” – different interpretation of LFW at the same time as the show happening live – allowing for the general public to access an exclusive event in a unique, engaging and interactive way.

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• “Dior presented a headset backstage at its February 2015 show; this past August, Rebecca Minkoff sent out a VR mailer to watch the label’s Fall 2015 runway; and the VR production company Jaunt distributed a cliff-jumping video it made for outerwear-minded retailer The North Face in April.”
• “The retail climate is increasingly dire, and customer engagement is at an all-time low. The trade papers are full of the news of one of fashion’s premier PR firms picking up a geo-social app primarily used for “cruising,” with the hopes of marketing fashion and beauty brands to its audience. The concept of submerging your desired demographic into your branding does have a certain ring to it. “We can offer that kind of immersion and intimate access that’s delivering that next-level potential to the industry,” said YouVisit CEO Abi Mandelbaum. “We’re excited to bring that to life.” Whether runway shows cease to be relevant—or which brand will be the first to jump—remains to be seen, but there’s one thing for certain: The arms race is on.”
• “In the me-me-me millennial world, virtual reality has the possibility to be all about you.”
• “Jae Suk Kim, an illustrator who has worked with Bulgari, Cartier, and Louis Vuitton, who you watch snap runway looks on his iPhone until his illustrations come alive as animated GIFs on the runway.”
• “VR — an experience beyond that which you might have gotten in person … One thing that I’ve noticed is that fashion is about a lot more than just the designs,” said Mandelbaum, “it’s about what’s happening in the world, and it’s about the models, the designers, their inspirations, the stories behind them, and that’s what VR allows them to do, to tell all of that in an interesting way. That’s the power of VR; it goes way beyond just what’s happening in the room.”

I found the Shisido mirror interesting due to being the first of it’s kind, whilst being Japanese highlighting the international and cross-cultural context of my research question.

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Sources:

http://www.vogue.com/13375247/virtual-reality-future-fashion-week/, Last Accessed: 14th October 2016

• participating in government advisory panels to tackle body confidence issues
• bringing in experts to train our employees on body image and health
• ensuring our own Model Welfare policy and guidelines on digital manipulation are fully applied, to protect our models and our customers
• enabling customers to post images of themselves wearing the clothes they have bought through our #AsSeenOnMe feature
• publishing articles on diverse and inspirational young women in our ASOS magazine, focusing on their achievements not their looks
• working with anti-bullying charity, The Diana Award, recognising that online channels and activities are having a huge impact in the area of bullying and self esteem
• continuing to fund the charity, B-eat, which provides online support for young adults with eating disorders

HOW WE WORK WITH OUR MODELS

We use over 100 models employed through 21 modelling agencies. The models we work with reflect our dominant customer, that is, twenty-somethings who wear size 8 – 10 (women) and medium (men). Our Curve range is for women’s size 18-30, and we use agency ‘plus size’ models for this range. We have had challenges in finding agencies who supply ‘plus size’ models above a size 16 but we are beginning to make progress in this area.

OUR MODEL WELFARE POLICY

Our Model Welfare Policy states that we will:

• not work with models who are under 16
• provide free lunch and snacks to models
• closely monitor our models and raise any concerns about their health with their agency
• employ models who are a healthy weight and shape

DIGITAL MANIPULATION

Our internal guidelines on digital retouching dictate that we do not artificially adjust photographs of models to make them look thinner. When we retouch images, it is to ensure that the image looks more like the real product, so usually involves aligning the colour more closely with the real product.

The catwalk videos that we include alongside product descriptions on our website depict the models exactly as they are.

FASHION FOR A WIDE RANGE OF BODY SHAPES

Our garment technology team constantly work to improve the fit of our garments and to ensure that we can deliver the right fit, first time to every customer. We aim to make our fashion fit the customer, not the other way round. To serve our diverse customer base therefore, we offer fashion in over 30 different sizes, including clothing, footwear and jewellery.

• our Petite range fits people of 5’3″ or less
• our Curve range fits people of size 18-30
• our Tall range fits people of 5’10”
• our Maternity range fits people of size 6-20
• our Wide Fit footwear range fits people show size 2 to 9

Our ASOS Curve range has been successful with strong sales, and has won several awards:

• Reveal online award: Best plus size for ASOS Curve September 2015
• Body Confidence Awards – Responsible Fashion (ASOS Curve)
• Fabulous for Curves at the 2013 Fabulous High Street Fashion Awards
• Best Online Retailer at the British Plus Size Fashion Awards in 2013
• nominated for the Campaign for Body Image in the Body Confidence Awards 2012

EMPLOYEE TRAINING

We are raising awareness among our customer care employees about potential health problems related to body image. The eating disorders charity Beat has provided training on body image health to our customer care team leaders. This will help them to respond sensitively to questions we receive from customers about body image and eating disorders, and direct them to appropriate help where required.

ONLINE SUPPORT GROUPS

In the past 3 years ASOS joined forces with Beat to fund Online Support Groups, which offer a safe and supportive environment for discussion between those with an eating disorder, or between carers, families and friends. Support Groups were trialled in late 2012, and launched in February 2013 to coincide with EDAW – Eating Disorders Awareness Week. With the support of trained staff and Beat volunteers, online Support Groups offer an addition to the Beat Network face-to-face groups, as well as an alternative for people who may not be geographically close to a physical group. They also provide an anonymous space for people who may not feel comfortable meeting others.

Each group has a volunteer facilitator, who is trained by Beat, and a Beat staff member moderates the discussion as well as signposting users to other sources of help, if appropriate.

Find out how to join a Support Group

ENGAGING WITH GOVERNMENT

ASOS participated in the UK All Party Parliamentary Group on Body Image (APPG) in early 2012. The group’s objective was to uncover ways to promote a healthier body image in the wider community.

The conclusions of the group’s final report were critical of the roles of the media, advertising industry and cosmetic surgery. The report also suggested one recommendation for the fashion industry, to set up a roundtable to discuss body image issues. We met with the Government Equalities Unit to discuss how we can explore some of these issues further as an industry and as a result ASOS took part in the Equalities Ministers Advisory Group on Body Image

BODY CONFIDENCE

Body image dissatisfaction in the UK has never been higher, and a huge amount of young people struggle with the issue. ASOS does extensive work to harness its influence among young fashion-lovers to promote healthy body image.

ASOS and the Diana Award aim to work together to launch the #MySense ofSelf programme to equip young people with the tools to challenge social and cultural attitudes towards body image, and to provide a safe environment to discuss body image issues.

The Diana Award is scaling up its anti-bullying work into a full campaign that incorporates raising young people’s self-esteem and body confidence. We will use our reach across the UK and Ireland to provide a resource that addresses the issues.”

Source:
http://www.asosplc.com/corporate-responsibility/our-customers/positive-body-image.aspx, Last Accessed: 14th October 2016