‘Way too often in fashion, looking “aspirational” is still considered synonymous with

“having white skin”.’

[Sauers: 2012:online]

The Colour Of BeautyAn analysis of the roles and responsibilities as afashion communicator in relation to the lack of diversity within the fashion industry.//

Fashion, as a culture defines the inner workings of contemporary society, resonating itself within an industry that relies upon the unattainable to generate it’s appeal. As this industry evolves, the question remains, are we still satisfied with such a limited view of what is considered ‘beautiful’?

A disappointing representation of diversity within the fashion circuit is subjecting individuals to acknowledge a need for change, with a steady increase in public consciousness. This distinct lack of variation is illustrated by a definitive wave of dissatisfaction, with the likes of famous photographer Nick Knight and supermodel Naomi Campbell speaking out on the subject.

‘Way too often in fashion, looking “aspirational” is still considered synonymous with “having white skin.’[Sauers: 2012:online]

The suggestion that ‘fashion is often adept at exposing subconscious fears and desires’ [Arnold:2008:online], reveals how this intrinsically political movement explores

a deeper lack of development in the representation of ethnicity and race in our society.

How is this relevant to a Fashion Communicator, you may ask. As a Fashion Communication and Promotion student, this chosen field presents opportunity; a fortunate position that allows myself to act upon aspects that require a change of attitude. I intend to address how our fashion ideal is gradually becoming an ‘alienating aesthetic’ [Woods:2008:online]

Ultimately, Fashion communicators bridges the gap between consumer and product through various techniques of interaction. Within this essay, my aim is to recognise the substance my role as a fashion creative has in changing notions of beauty, with specific focus on racism within the industry. I intend to address this issue, look into how it has already tried to be modified and suggest possible alternatives through means of message and responsibility.

In recent years, the fashion industry has been very much focused upon ‘the tricky, tricksy and often veiled subject of body size’[KNIGHT:2008:online] in advertisements, but now the taboo of racism is rearing its head. Undoubtedly, fashion communicators have long been blamed for the lack of black models to walk our catwalks and feature in magazines, criticized that within the industry racial equality ‘is not happening has fast as predicted’. [WHITE: 2008:online] Of the roughly 168 designers that presented their Spring 2013 collections in New York, 40, nearly 25 percent, did not use a single black model, not nearly an accurate reflection of our consumer marketplace in the 21st century.[HAMMOND:2012:online]

‘In America, where 30 per cent of the population is non-white and where black women spend a colossal $20 billion on fashion and cosmetics, the issue is particularly sensitive.’ [FRANCE:2008:online]

Looking through this month’s 362-page Marie Claire, I counted eight photographs featuring black women and just four examples in the current 312-page Glamour magazine. This unfair representation of ethnicity is sending the wrong message to girls that look to magazines for inspiration, aspirations and a true depiction of our fashion-obsessed culture.

‘The concern is that a generation of girls, both black and white, will grow up thinking there is only one - white - benchmark for beauty.’ [FRANCE:2008 :online]

Depicted as an important message to ‘the agents, managers, advertisers and designers who are promoting change’,[SHARP:CAMPBELL:2008:online] we can no longer stand for the cultural discrimination that fashion is currently offering the consumer. Ultimately, the magazine industry remains a centre for this accusation, homogenous replications of cover after cover with no feature of ethnicity. Vogue has only featured 14 minorities on front covers in its entire history, in 1,146 issues, calculating to less than 1%. The question, are we going backwards, springs to mind.

Figure 1. ‘Dairy Milk bliss bar’ [2011] The Dairy milk bliss bar campaign. [Advertiement]

‘… in the 1980s and early 1990s, there was a good representation of black people on the catwalks and in the magazines. It’s not like black models never had a sense of participation. Once you have climbed to the top of the mountain and crossed the river it is disappointing to have fallen all the way back down again.’SHARP:HARDISON: 2008:online]

This misrepresentation and manipulation in the media is on a global scale, fig 1 highlights an advertisement for Dairy Milk’s new ‘bliss bar. Referencing black super model Naomi Campbell, the words ‘move over Naomi

there’s a new diva in town’ are sprawled over the image, with the direct comparison of comparing a chocolate bar to the model herself, the word ‘diva’ appears to ‘play on Campbell’s reputation for diva-style tantrums and behaviour’. [SWENEY:2011:online]

This shows that often racism in the media isn’t just linked to our use of imagery, but the use of language which then coincides with an overall implication. See for example, fig 2, an article from Dutch magazine ‘Jackie’ published in 2011. The title ‘Niggabitch’ is used to describe celebrity Rihanna, and later choosing to depict her in the accompanying

wirting, alleging the singer has ‘a ghetto ass and a golden throat’. This use of language is quite simply outrageous and unacceptable, it is interesting that British editor of Vogue, Alexandra Shulman can be in anyway admired, when claiming ‘fashion isn’t institutionally racist in the slightest.’[JONES.2011:online]

Is she involved in the same fashion industry? What I find most astonishing, is that if that type of language were used in another business, it would be deemed unacceptable, how is it possible they are able to get away with being so blatant about it?

Figure 2. ‘De niggabitch’ [2011] Jackie magazine

The function of the magazine industry is to unite the consumer with the fashion world that can act as a basis for spreading ideas, trends, and providing a voice to industry outsiders. Whilst, promoting products and selling brands to it’s readers. Followers of magazines look for trustworthy, and honest replications of the latest styles. When discussing racial advertisements, we must remember it isn’t completely focused upon women, and often advertisements can be critised for their connotations in relation to black men. Fig 3, highlights a trend that I have begun to notice in a number of editorials, black men surrounding usually a single white woman, acting as ‘props’, as you can see, in fig 4, this theme isn’t far from any magazine. The connotations behind this could be interpreted as a form of ‘slavery’ to form a controversial and racist opinion. When it comes down to model selection and castings, Carole White, co-founder of Premier Model Management, stated just how controversial this predicament is, talking to the independent.

‘Sadly we are in the business where you stock your shelves with what sells…according to the magazines, black models don’t sell…People don’t tend to talk about it, but black models have to be so beautiful and perfect because we can’t have a lot of diversity with black models; it’s harder work for the agency because there’s not so much on offer. White models can have more diversity.’[SHARP:2008:online]

White went on to ‘point the finger at those organising model castings’ exclaiming language such as ‘no ethnics’ is frequently stated on call sheets, as well as stating that it was what the designers and photographers want. [SHARP:2008:online] If this were true, why does Joe Lyon, a renowned fashion photographer when asked,

‘Are black models harder to work with? Answer, ‘I don’t think so. Are they harder to light? No, I know that not to be true, in fact a little easier in some respects.’ [LYON. 2010:online]

Caryn Franklin went further commenting that,

‘t’s [fashion] always been institutionally racist. Brands will justify it as it’s what sells. Magazines will be reluctant to feature black cover girls, because they feel they don’t equal the magazine sales of white women. Advertising wants to reach as many customers as possible and feels that it is the Caucasian beauty ideal that sells more for them.’ [YANG:2012:online]

My reaction to this statement is frustration, I feel that magazines will always look to the designers and the runway for inspiration, therefore is it not time designers took the plunge and led a new age for diversifying cultural indifference? Trevor Phillips, chairman of the Equality and Human Rights Commission, states that ‘it is a misconception that black models are less versatile’,[SHARP:2008;online] to which, I agree with this statement, models such as Naomi Campbell, Tyra Banks, Wek, and Noemie Lenoir, lead a distinct and dissimilar physicality, yet all remain extremely successful and admired.

Figure 3. Delfine Barfort cover.[2011] Russh magazine cover. [Cover]

Designer Tracy Reese, agrees with how important it is to cast black models in catwalk shows commenting that we ‘shouldn’t deal with people in commodities or trends’[REESE.2011:interview], she also commented that: .

‘I’ve seen my buyers select a model that’s similar to a model that I’ve used on the runway, to advertise our clothing in their catalogs or stores, they take cues from designers because they want to interpret your vision when they show your collection to their customers, all the more reason for us as designers to be more thoughtful and remember that the customer base is broad.’ [REESE.2011:interview],

Interestingly, this gives a whole new perspective to the dispute; I feel that this statement portrays the powerful position a designer can hold.

The relationship fashion communication and promotion has between fashion, the consumer and social norms are intrinsically linked. The term ‘Fashion Communication’ isn’t a new concept, various platforms allow us to transfer ideas through to the consumer, with the intention of them building loyalty with a brand. The role of a fashion communicator involves a series of mediums, all with the same conclusion. It is important to find the correct balance between what the consumers needs and a brand being successful, remaining true to both parties at all times. This could include a multitude of projects, such as art direction, journalism, visual merchandising, graphic design, and advertising. From casting directors, to the language we use within advertising, the choice of photographer, to the mannequins chosen for a window display. Ultimately, it is a fashion communicators’ responsibility to ensure an accurate message is portrayed and perceived in the correct manner. These methods of communication play a vital role in the formation of our body image standard, what is to be ‘accepted’ and what is not, we will always be made answerable. In terms of racism within the fashion industry, it appears to be centered on who is to blame.

When typing ‘lack of diversity in the fashion industry’ in an online search engine, I was shocked to be met with 3.5 million articles in under a second, proving debate is strife or far more complex than first anticipated. Campbell argues that ‘We are not here to complain, we need to find a solution.’ [SHARP:2008:online] A key statement, that I feel should be adopted by fashion communicators, it appears to have become too much about who is to be held accountable for this slippery slope and not how it will be resolved.

Figure 4. Gisele Bundchen. By Solve Sundsbo. [fashion editorial]

The negative effect this is having worldwide cannot go unnoticed, western ideals are being adopted throughout the world, instead of celebrating individual cultures, and the beauty of their own skin colour, children are choosing to have operations and use creams with the intention of appearing more westernized. As early as pre-school, children are being subjected to ‘skin-lightening’, a process, in which often harmful creams are applied to the skin to gradually lighten it’s surface with the objective of being ‘fairer’ and more ‘beautiful’. Argued that this practice is indeed ‘reinforced by the media and even by parents’ [LAH.2011:online] with the unfortunate disposition that:

‘they will not be accepted or achieve high status in their society if they do not fit the idea of beauty that society promotes’, [LAH.2011:online]

we can see the damaging effects such a narrow beauty ideal promotes.

This practice is also used very prevalent within advertising, through manipulation of images, dark skin often tends to be ‘white-washed’, a term that describes to production of lightening skin deliberately. Fig 5, the actress Gabby Sidibe on the front cover of well known magazine, Elle, demonstrates the impact and difference the two images are compared because of this ideal. Leomie Anderson, a recently successful model observes:

‘‘Shadeism” definitely exists: there are different attitudes to different shades of black. Lighter-skinned models are used more than darker-skinned ones, and if darker models are used, it tends to be for a traditional African look…’ [ANDERSON:2011:online]

I myself, picked up a copy of the weekend guide which accompanied the Daily Mail, to be met face to face with Alexandra Burke, with significantly lighter skin.

Figure 5. ‘Gabby Sidibe’ [march 2010] Front cover of Elle magazine. [cover]

Figure 6. ‘lee min kyong’ [2011] CNN. [video stil]

This affirmation that lighter skin supposedly means more influence and status, has transferred further to the modification of facial features. Children as young as 12 years old in Asia are undergoing surgery which cuts a fold into eyelids to create a double fold to widen their eyes, with the intention of a ‘more western look’

[UNKOWN:2010:online]. Fig 6, shows Lee Min kyong, a 12 year old girl having undergone the surgery in-sinuated by her mother. This premature understanding of the narrow ideal of beauty that is being consumed by our readers, isn’t healthy.

It mustn’t be discounted that the fashion industry hasn’t tried to tackle the issue of racism that we are now facing. Our responsibility as promoters isn’t just to come up with ways to successfully endorse a message it is also to recognise when others have been successful or unsuccessful and when they haven’t achieved what they wanted, learning from others mistakes, in order for a change in behaviour for it to be lucrative, it must be carried out correctly. Behaviour change theories often contribute to how fashion communicators market a wider issue, the three stages, motivation, trigger and ability are frequently used.

This brings us to ‘United Colors of Benetton’ campaigns, described as a form of ‘shockvertising’ by the BBC, acting to create public awareness about themes such as ageism, unemployment, racism and war, Figure 7, examines two children of different race, both seem in harmony, their legs intertwined with one another. I feel this advert shows how important teaching children about equality is at such a young age, although creating divided opinion, the adverts achieve what they want, to trigger conversation on controversial subjects. More specific to the magazine industry and racism, Vogue released ‘The Black Issue’ [see fig 8] an issue that focused upon beautiful black women, and just that. Marked as a’ historic and heroic’ [STEWART:2008:online]slice in fashion history, this magazine was supposed to celebrate diversity in the fashion industry, but appears to segregate the two further apart. Described as ‘The Most Wanted Issue Ever’[ MOWERS.2008:online], it contradicted any statement that ‘black models don’t sell’ that had ever been said. Ironically, it turned out to be the only one of it’s kind and appeared to alienate racial diversity even more, acting as more of a ‘trend’ than an ongoing inclination that change is needed, Vogue remained to contain a rare handful of black models in it’s next glossy issue.

Figure 7. ‘United colors of Benetton babies’. [2000] United colors of Benet-ton campaign. [advertisement]

Figure 8. ‘Jordan dunn. The black issue cover’. [2008] By steven miesel. Vogue Italia. [cover]

The British fashion industry contributes an estimated £21bn to our economy every year, Nick Knight comments the racial discrimination within such a profitable industry is simply ‘ a pitiful reflection on society’. The fast-paced culture that is named social technology, provides fashion communicators with new means of contact with the outside world, a medium that presents endless opportunities. Blogs provide readers with honest insight into brands and insiders, whilst the exposure of anyone’s opinion is now of interest to anyone and everyone. We are at an opportune moment for change .‘never doubt a small group of thoughtful people could change the world. Indeed it’s the only thing that ever has.’. “The Tipping point’ by Malcom Gladwell examines how fashion is basis for spreading and bring about change, topics soon spread like an ‘epidemic’. [GLADWELL.M:2000]

All Walks beyond the catwalk, an initiative set up by Caryn Franklin, and Erin O’Connor, seeks to educate students around the country about embracing true beauty, I find most inspiring, the beginning of an ‘epidemic’, or so I believe, using an educational approach.spread the word, this theory is described as a primary assumption that individuals will do the right thing if only they understand why they need to do it, and how they do it.

In order for the fashion industry to bring about change, awareness is vital and only then can change occur. When conducting an online survey, 50 mixed gender 18-24s answered the one question; do you think the fashion industry provides cultural equality? 50 % of answers said no. This to me proved to myself that people just aren’t aware. I believe brands should be brave with their advertising, and unafraid to speak out, although easier said than done, the momentum should be kept going. One ‘black issue’ isn’t good enough, if Vogue Italia had possibly made a series, or amalgamated it with their main issue, maybe it would’ve have been as much of a disappointment. However, you could argue the two should never have to be segregated in the first place. Robert Miller claims that is it infact:

‘ our responsibility to change one another… we need people- people of all backgrounds- with an anti-racist understanding and a commitment to being vocal about it. Being a person of color doesn’t guarantee either of those things.[MILLER:2012]

‘our responsibility to change one another… we need people- people of all backgrounds- with an anti-racist understanding and a commitment to being vocal about it. Being a person of color doesn’t guarantee either of

those things.

[MILLER:2012]

In essence, it’s time for use as fashion communicators to encourage others to speak out, through role models speaking to the public directly about the issue, I feel that we may get somewhere.

‘I’d love it if fashion was 50/50 between black and white. But you have to think in terms of baby steps. In the end little drops make an ocean.’ [ENNINFULE:2008:online]

If all aspects of the fashion were targeted, from students to teachers, I feel that finally change will happen, education and honesty is key to irradiating racial discrimination.

List of Illustrations

Figure 1. ‘Dairy Milk bliss bar’ [2011] The Dairy milk bliss bar campaign. [Advertiement] Available at: http://i.dailymail.co.uk/i/pix/2011/05/29/article-0-0C523E5D00000578-579_468x588.jpg [Accessed 30th January 2013]

Figure 2. ‘De niggabitch’ [2011] Jackie magazine. [article] Available at: http://www.guardian.co.uk/music/2011/dec/21/rihanna-dutch-magazine-profile-resignation[accessed 25th January 2013]

Figure 3. Delfine Barfort cover.[2011] Russh magazine cover. [Cover] Available at: http://www.russhmagazine.com/fashion/shoots/ [accessed 12th January 2013]

Figure 4. Gisele Bundchen. By Solve Sundsbo. [fashion editorial] available at: http://www.fashiontogra-phy.net/2009/04/gisele-bundchen-by-solve-sundsbo.html [accessed 18th January 2013]

Figure 5. ‘Gabby Sidibe’ [march 2010] Front cover of Elle magazine. [cover] available at: http://www.elle.com/ [accessed 10th February 2013]

Figure 6. ‘lee min kyong’ [2011] CNN. [video still] [ available at: http://edition.cnn.com/2011/WORLD/asiapcf/05/19/korea.beauty/index.html[accessed 01 february 2013]

Figure 7. ‘United colors of Benetton babies’. [2000] United colors of Benetton campaign. [advertise-ment] available at: http://4xcomplementary.files.wordpress.com/2013/02/united-colors-baby.jpg [accessed 12th february 2013]

Figure 8. ‘Jordan dunn. The black issue cover’. [2008] By steven miesel. Vogue Italia. [cover] available at: http://www.vogue.it/en/vogue-black/the-black-issue/2010/02/cover-black-issue[accessed 15th January 2013]

List of References

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ARNOLD.R. 2008. Political fashion. Show studio. [online] 7th March. Available at: http://showstudio.com/project/political_fashion/essay_rebecca_arnold[ Accessed 1 February 2013]

ENNINFUL.E. 2008. Black. Beautiful. Barely seen. The independent. [online] available at:http://www.guardian.co.uk/lifeandstyle/2008/nov/02/bethann-hardison-black-models [accessed 21st January 2013]

FRANCE. L. 2008. ‘Black, beautiful. Barely seen.’ The Guardian. [online] 2nd Nov. Available at: http://www.guardian.co.uk/lifeandstyle/2008/nov/02/bethann-hardison-black-models [Accessed 25th January 2013

HAMMOND.N. 2012. New York Fashion Week progress report: Black models still underrepresented on the catwalks. The Grio.com. [online] 17th Sept. Available at: http://thegrio.com/2012/09/17/

JOHNSTON. I & PHILLIOPPIDOU.P. 2008. Black is finally in fashion at Vogue.the independent. [online] 27th april. Available at: http://www.independent.co.uk/life-style/fashion/news/black-is-finally-in-fashion-at-vogue-816213.html [accessed 16th January 2013]

JONES.L. 2011. FASHION THERAPY Is the fashion industry racist?. Daily Mail. [online] 13th June. Available at : http://www.dailymail.co.uk/femail/article-2002798/James-Brown-John-Galliano-Fashion-industry-racist-goes-right-core.html [ Accessed 10th February 2013]

KNIGHT. N. 2008. ‘Untitled’ Show studio. [online] 28th July. Available at: http://showstudio.com/blog/post/untitled_by_nick_knight [Accessed 5th February 2013]

LAH.K. 2011. Plastic surgery boom as Asians seek ‘western’ look. CNN. [online] 24th May. Available at : http://edition.cnn.com/2011/WORLD/asiapcf/05/19/korea.beauty/index.html

LYON. J. 2010. Why, Where, When?.Models of Diversity.com. [online] Available at: http://www.modelsofdiversity.org [Accessed 9th February 2013]

MEAD.M. unknown. Small group dynamics lead to big changes. [online] available at: http://www.ordinarypeoplechangetheworld.com/articles/small-group-dynamics-lead-to-big-changes.aspx [accessed 29th january 2013]

MILLER.R:YAGELSKI.R .2012.The informed argument: eighth edition. Wadsworth cengage learn-ing: Lyn Uhl.

MOWER.S.2008. Fashion world stunned by Vogue for black.The guardian. 27th july. Available at: http://www.guardian.co.uk/lifeandstyle/2008/jul/27/fashion.pressandpublishing [ac-cessed 12th february 2013]

REESE. T. 2008. Showcasing Diversity on the runway. Youtube. [online] 5th sept. Available at: http://www.youtube.com/watch?v=-ezoE-FmLCA&feature=player_embedded [Accessed 8th February 2013]

SAUERS. J 2012. New York Fashion Week by the Numbers: More Models Of Color Are Work-ing. Jezebel online. [online] 17th Sept. Available at: http://jezebel.com/modelsofcolor [Accessed 1 February 2013]

SHARP.R 2008. Fashion is racist: insider lifts lid on ‘ethnic exclusion’. The independent. [online] 16th Feb. Available at: http://www.independent.co.uk/news/uk/home-news/fashion-is-racist-insider-lifts-lid-on-ethnic-exclusion-782974.html [Accessed 28th January 2013]

SWENEY.M. 2011. Cadbury apologises to Naomi Campbell over ‘racist’ ad. The guardian.[Online] 3rd June. Available at: http://www.guardian.co.uk/media/2011/jun/03/cadbury-naomi-campbell-ad [Accessed 2nd February 2013]

STEWART. D. 2008. Italian Vogue’s “All Black” Issue: A Guided Tour. Jezebel.com. [online] 14th july. Available at: http://jezebel.com/5024967/italian-vogues-all-black-issue-a-guided-tour [ac-cessed 25th january 2013]

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Online Articles

ANDERSON. L 2011. British Vogue Editor Alexandra Shulman Says There’s No Racism in Fashion. Fashion bomb daily. [online] 24th June. Available at: http://fashionbombdaily.com/2011/06/14/british-vogue-editor-alexandra-shulman-says-theres-no-racism-in-fashion-in-an-open-letter-black-model-leomie-anderson-says-there-is/ [Accessed. 7th February 2013]

ARNOLD.R. 2008. Political fashion. Show studio. [online] 7th March. Available at: http://showstudio.com/project/political_fashion/essay_rebecca_arnold[ Accessed 1 February 2013]

ENNINFUL.E. 2008. Black. Beautiful. Barely seen. The independent. [online] available at:http://www.guardian.co.uk/lifeandstyle/2008/nov/02/bethann-hardison-black-models [accessed 21st January 2013]

FRANCE. L. 2008. ‘Black, beautiful. Barely seen.’ The Guardian. [online] 2nd Nov. Available at: http://www.guardian.co.uk/lifeandstyle/2008/nov/02/bethann-hardison-black-models [Accessed 25th January 2013

HAMMOND.N. 2012. New York Fashion Week progress report: Black models still underrepresented on the catwalks. The Grio.com. [online] 17th Sept. Available at: http://thegrio.com/2012/09/17/new-york-fashion-week-progress-report-black-models-still-underrepresented-on-the-catwalks/ [Accessed 1st January 2013]

JOHNSTON. I & PHILLIOPPIDOU.P. 2008. Black is finally in fashion at Vogue.the independent. [online] 27th april. Available at: http://www.independent.co.uk/life-style/fashion/news/black-is-finally-in-fash-ion-at-vogue-816213.html [accessed 16th January 2013]

JONES.L. 2011. FASHION THERAPY Is the fashion industry racist?. Daily Mail. [online] 13th June. Available at : http://www.dailymail.co.uk/femail/article-2002798/James-Brown-John-Galliano-Fashion-industry-racist-goes-right-core.html [ Accessed 10th February 2013]

KNIGHT. N. 2008. ‘Untitled’ Show studio. [online] 28th July. Available at: http://showstudio.com/blog/post/untitled_by_nick_knight [Accessed 5th February 2013]

LAH.K. 2011. Plastic surgery boom as Asians seek ‘western’ look. CNN. [online] 24th May. Available at : http://edition.cnn.com/2011/WORLD/asiapcf/05/19/korea.beauty/index.html

LYON. J. 2010. Why, Where, When?.Models of Diversity.com. [online] Available at: http://www.modelsofdiversity.org [Accessed 9th February 2013]

MEAD.M. unknown. Small group dynamics lead to big changes. [online] available at: http://www.ordinarypeoplechangetheworld.com/articles/small-group-dynamics-lead-to-big-changes.aspx [accessed 29th january 2013]

MOWER.S.2008. Fashion world stunned by Vogue for black.The guardian. 27th july. Available at: http://www.guardian.co.uk/lifeandstyle/2008/jul/27/fashion.pressandpublishing [accessed 12th february 2013]

SAUERS. J 2012. New York Fashion Week by the Numbers: More Models Of Color Are Working. Jeze-bel online. [online] 17th Sept. Available at: http://jezebel.com/modelsofcolor [Accessed 1 February 2013]

SHARP.R 2008. Fashion is racist: insider lifts lid on ‘ethnic exclusion’. The independent. [online] 16th Feb. Available at: http://www.independent.co.uk/news/uk/home-news/fashion-is-racist-insider-lifts-lid-on-ethnic-exclusion-782974.html [Accessed 28th January 2013]

SWENEY.M. 2011. Cadbury apologises to Naomi Campbell over ‘racist’ ad. The guardian.[Online] 3rd June. Available at: http://www.guardian.co.uk/media/2011/jun/03/cadbury-naomi-campbell-ad [Accessed 2nd February 2013]

STEWART. D. 2008. Italian Vogue’s “All Black” Issue: A Guided Tour. Jezebel.com. [online] 14th july. Available at: http://jezebel.com/5024967/italian-vogues-all-black-issue-a-guided-tour [accessed 25th january 2013]

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Video

REESE. T. 2008. Showcasing Diversity on the runway. Youtube. [online] 5th sept. Available at: http://www.youtube.com/watch?v=-ezoE-FmLCA&feature=player_embedded [Accessed 8th February 2013]