So, Beth Ditto is a style icon. No two ways about it. If you know this, then you probably also know that Beth Ditto just launched a clothing line for Evans in the UK. You may have already read SparkleBliss’s rad, insightful post about it on her blog (which, if you haven’t, you should — go here). And, if you follow SparkleBliss on Twitter, you may already know that she just bought herself a cute outfit from the collection.
Now, women in music dabbling in fashion is nothing new. Indeed, women in popular culture writ large dabbling in fashion is almost de rigueur — another way to circulate your brand, add more hyphenates after your name, and give your fan base more tactile, tangible access to “you”. Everyone seems to be have at least attempted at designing a clothing line (Gwen Stefani, Victoria Beckham, Jessica Simpson, Jennifer Lopez, Eve, Kate Moss, Rachel Bilson, Sarah Jessica Parker, Mary-Kate and Ashley Olsen, Chloë Sevigny, an assortment of women on The Hills . . .) or work as a spokesmodel (M.I.A. for Marc Jacobs most immediately comes to mind).
But you’ll notice that a lot of the women I mentioned are presumably straight and all of them slender. Thus, the majority of female celebrity clothing lines align with normative identities of what women and girls should be. This indeed makes Ditto’s entrance into the world of fashion and retail (which she intimated in Bust as “dancing with the devil”) “a queer, fat cultural moment” as Charlotte Cooper at Obesity Timebomb purports it to be (and that SparkleBliss reprinted and linked in her post — seriously, go read it). It’s too bad that Margaret Cho’s High Class Cho line didn’t take off (complete with non-numerical sizes named for bombshells like Jayne Mansfield and Marilyn Monroe) — if so, we could add “woman of color” to the list of signifiers.
Also, looking at Ditto’s body and orientation is important when contextualizing her within pop music’s landscape. Slender pop stars like Katy Perry and Lady Gaga are also interested in fashion and with putting together their own clothing lines, but while Perry and Gaga flirt with queerness, Ditto is out. And while Perry’s look most clearly aligns with vintage, pin-up Hollywood glamor (albeit to a heightened, campy degree) and Gaga’s look is definitely severe couture (perhaps even a bit fascistic in ways reminiscent of Siouxsie Sioux, but let’s give this issue its own entry), Ditto’s collection is at once hip, wearable, distinctively Ditto, and specifically for plus-sized women and girls, perhaps more closely aligning Ditto with her fan base than Perry or Gaga could.
But we’d be doing a disservice to sing the praises of Ditto’s collection without (as SparkleBliss and Obesity Timebomb point out) a) acknowledging the inherent adherence to capitalism and b) being conscious of the (often cheap, exploitative) modes of production and labor responsible for putting this collection out into the market along with potential class issues and limitations among various consumer groups. Even the ways in which the unnatural, weird, non-human look of the mannequins wearing her clothes suggest we have a ways to go as a culture before a large female body becomes a natural body.
Alongside this, we can’t extol the virtues of Ditto’s collection without acknowledging that Ditto launched her line in the UK, where she is actually popular, instead of in the United States, where she’s slightly less than obscure.
I still feel like there’s something really important in having a space in the market for full-figured women and girls to have a cool clothing made explicitly for them, just like I thought it was rad for there to be Tracy Turnblad dolls to coincide with the release of the remake of Hairspray. Of course, I can’t exalt these instances without acknowledging the ickiness of capital, using niche groups supposedly under the guise of serving them while in actuality creating greater gains for the corporations and retail chains that create and disseminate the brand, and clogging our homes with stuff . . .
Yet, I do think these cultural moments are not to be overlooked, even if these moments are dependent on consumerism. It’s important for women and girls to have access to clothes that include them in the world of fashion that look good and make them feel good. Likewise, it is important that queer women and girls (perhaps more pointedly femme women and girls) have a spokeswoman creating an inclusive space for them in popular culture. Because there’s a lot of joy to be had in finding an item that was made for you.