Making an Appearance

Ms Corinne Colbert


Queensland College of Art
corinnecolbert@hotmail.com

Corinne is a visual arts practitioner, ex-Playboy Bunny, and researcher of fashion and gender for a Doctorate of Visual Arts. Her recent exhibition of art was Esprit at the Gold Coast, a large scale installation in motion, in the form of a female dress on a boat, sailing on International Women's Day, March 8, 2003.This 12 meters high frock celebrates women's achievements as a positive statement is a humorous feminist strategy against the 'seriousness' of high art, and art history. Corinne uses fashion as art to deal with the issue of gender stereotypes that is the subject of her conference paper.

A Positive Interruption of Stereotypes

According to J.H. Rollins (1996), S.B. Kaiser (1997), A.Hollander (1975), and L.Shiebinger (2000), the oppressive gender stereotypes and use of hierarchial categorisation of individuals lead to sexual discrimination against women. The male ideal of the 'happy bride' or 'respectable secretary' for example, discriminates by imposing a restrictive role, that prevents movement and devalues female worth. The veil & corset waist of the 'happy bride' and the tailored corporate suit of the 'respectable secretary' is restrictive fashion.

Rosalind Coward (1984) asserts the issue of gender stereotypes is associated with the problem of negative images of the female. Therefore a response against stereotyping is a desire for philosophical, symbolic, and aesthetic freedom. Philosophical freedom relates to Kant's concept of personal enlightenment (Kant's Political Writings, 1970), symbolic freedom refers to the empowering image of the female in motion, like the Classical Greek 'Winged Victory'. Aesthetic freedom is the concept of the artist free to express and create, using alternative materials or means of display.

Artist Cindy Shermann's stereotypical American secretary is presented in a fun way as grotesque, while artist Rosemary Laing's bride in flight becomes a celebration of female victories or disasters. Ultimately a feminine aesthetic could highlight a positive category for women (M.Fry in 'Signs' 1996), whose identity is complex. A positive image is not bound by social standards of normal behaviour. The question is can concepts using alternative presentation of fashion, offer freedom of choice for women, break down stereotypes and restore female self-esteem ?

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