Beauty with a difference: why facial disfigurement is fashion’s last taboo
︎ WINNER OF LCF X SUNDAY TIMES STYLE INVESTIGATIVE FEATURE COMPETITION ︎
Have you ever leafed through a fashion magazine and happened upon a model who looks like you? Yes? Well good for you. Fantastic, even. But I suspect you’re in the minority. For most of us, the answer is “no, not really.” “No,” because I’m larger or smaller, taller or shorter than the taught, tanned, toned figures that leap from the pages of our favourite monthlies.
“No,” because my hair is too grey, under-eyes too baggy, leg hair too visible. Or maybe “no,” because my face looks so wildly different from any I've seen gazing up from glossy photoshoots that I can’t imagine how I could ever fit into fashion’s pristine, constructed world.
For some it’s a ‘disfigurement’. Others more delicately term it a ‘difference’ but whatever we call it, 569,000 people in the UK have a significant mark, condition or scar that affects the appearance of their face. That’s 25,000 more than the entire population of Manchester. It’s enough people to fill Wembley Stadium six times, and leave 30,000 people queuing at the door.
It’s no secret that recently, fashion has made a concerted push towards inclusivity. According to The Fashion Spot’s seasonal diversity report, 36% of Spring/Summer 19 castings at London Fashion Week went to models of colour, and the representation of plus-size and age-diverse models was up compared with previous years. Most designers, however, seemed to have forgotten less widely discussed markers of difference.
“Even as fashion makes strides towards racial diversity, and, to a lesser extent, size, gender and age diversity, women with facial differences are underrepresented,” says The Fashion Spot’s editor in chief, Jennifer Davidson. “Most designers aren't interested in challenging traditional beauty norms. There are always exceptions, but it is more the exception than the rule.”
Marc French, owner and director of Ugly Models, whose policy of hiring ‘unusual faces’ raises almost as many eyebrows as its tongue-in-cheek name, says even an agency like his finds it difficult to source work for models with facial differences. “For someone who has scars on their face, or a disfigured face, there isn't going to be an awful lot of work. It would have to be quite a special client for us to put them up for the job,” he says.
So why are people with facial differences largely rejected by mainstream fashion? Well, as an industry based on aesthetics, it seems that this underrepresentation may be a case of unconscious bias. According to a 2017 study commissioned by Changing Faces, the UK’s leading visible difference charity, 67% of adults in the UK attach less positive attributes to people who have a disfigurement.
Some believe fashion’s reluctance to represent facial difference is founded on fear. “I can imagine it would be easier to ask someone about an amputated leg than it might be about something on their face,” says activist and blogger Katie Meehan. “It’s a lot more personal.” Meehan has cystic hygroma, a condition which causes enlarged cysts on her face and neck, and after surgery, was left with facial swelling and scars. “I think disfigurement is taboo because people don’t want to offend. That’s why it’s not talked about.”
Recently, though, it seems that the tide may slowly be beginning to turn. Portrait Positive aims to “create dialogue and change the perception of beauty in fashion,” says co-founder Stephen Bell. Bell was born with syndactyly, a condition which caused his fingers to fuse together. He hasn't let his condition define him, but has certainly had his fair share of uncomfortable experiences because of it: “I’m living the life I've wanted to so far, but of course, people do stare at me and ask questions,” he says.
Along with London Fashion Week designer Steven Tai, Bell devised the photography project as a book, in collaboration with Changing Faces, to highlight the beauty and struggles of women with facial differences. With legendary photographer Rankin on board, Portrait Positive showcases 16 portraits of 16 women (each with their own front cover) and consequently celebrates 16 different ways to be beautiful.
“Previously, people have been too scared to do anything so bold,” says Bell. “I totally understand that as a fashion designer, you want to sell, but at the same time, can we see a bit more diversity?”
He took this question to Tai, who promptly answered: “Yes!” Tai doesn't have a disfigurement, but has felt like an outsider since his teen years. “I always tried to be the cool kid, but I never fitted in,” he says. Just like the women Tai dresses, he’s used this difference to his advantage, and designs “to celebrate the things that people don't feel confident about.” For Portrait Positive, Tai mixed hand- made pieces from his collection with the women’s own favourite garments to create a unique mix of personal and inventive design.
For Catrin Pugh, modelling was “amazing,” but not something she ever expected to do. Pugh acquired third degree burns on 96% of her body after a traumatic coach fire on her way home to celebrate what should have been the end of an incredible gap year. Instead, she spent 8 months in hospital and, after life-saving skin grafts, was left with significant scarring.
When people ask questions about the way she looks, which Pugh confirms happens surprisingly frequently, she is happy to answer. Unlike many other burns survivors, she doesn't mind the inquisitive glances. “I like people asking questions because I think at least they want to educate themselves.” She now works as a motivational speaker, and can recount her accident with almost script-like accuracy. “You learn the art of telling your story,” she says.
She points out that, when it comes to role models, people with facial differences don't have many options. “We have people like Katie Piper, but she’s famous because she’s a burns survivor.” Pugh believes we need more public figures who are well known in spite of their disfigurement, not solely because of it.
“The thing that a lot of people say to me is ‘you still look beautiful’,” she says. “That really irritates me. To say to someone that you still look beautiful is so patronising. Just say: ‘you look beautiful.’” She thinks this categorisation of beauty still rules the fashion industry. “What’s been lost from fashion is that actual people are going to be wearing the clothes.”
“Wearing the clothes” may seem simple in theory, but Pugh believes her disfigurement has tainted her relationship with fashion. “I have totally made my own rules in my head. I've been conditioned into this idea that I can’t wear patterns because they clash with my scars, so I always tend to go for block colours. I think it’s because when we grow up, we only see the one ideal.”
Anna Martindale, communications manager of CLAPA (Cleft Lip and Palate Association) is optimistic about the future when it comes to fashion’s attitude towards facial difference. “Younger people are generally more accepting because frankly, they are really bored with seeing the same kind of images all the time,” she says. “They want to see more diversity and they don't want these ridiculous, unattainable photoshopped standards.”
CLAPA’s ‘champions’ were among those featured in Portrait Positive and the charity were astounded with the result. “It’s them, on their terms, telling their stories,” says Martindale. With CLAPA’s 40th anniversary around the corner, and Portrait Positive still reflecting on the success of its women’s project, the question now is: what about the men?
It’s a topic of discussion that often prompts a collective feminist eye-roll, but this time, it’s a pertinent one. “Men have historically and traditionally been left out of the body positivity movement,” says Martindale “but there isn't a limited amount of positivity to go around. I think everyone can get involved.” CLAPA and Portrait Positive will collaborate next year on a second round of the project, launching at the Design Museum on 15th June 2019, this time featuring 16 men with facial and visible differences.
Until then, Catrin Pugh says it’s important to keep the conversation going. “Momentum needs people behind it,” she says. “I’m going to carry on pushing, but I'm one person. It takes an army.” ︎