Why this paper is no longer what I want to write....What is Fashion? The Politics of Representation: Is Fashion Still Male Dominated and Does It Matter?

A reflection on my rejected research paper submission, because it's all about methodology...

In 2025 I wrote my original Proposal:

This research investigates the persistence of male dominance in the fashion industry, despite fashion’s historical role in destabilising gender norms and reimagining masculinity and femininity. Through the lens of karmic theory, the study explores whether gender hierarchies remain entrenched, why they persist, and whether this imbalance is inevitable or reversible. Grounded in a personal belief in gender balance as a foundation for artistic and cultural energy, the paper interrogates the politics of power, representation and authorship in fashion. 

A multi-method approach was employed, combining Critical Discourse Analysis (CDA) with qualitative interviews and ethnographic observation. The research analyses key gender, identity and power theories from feminist, anthropological, and sociological literature (1900–present), alongside personal reflections from the author’s 20 years in the fashion industry, as a female fashion designer. Interviews with male fashion designers provide contrasting perspectives, with particular attention to the evolving notion of the “male gaze.” Observations of clothing choices in multicultural London highlight consumer archetypes, including the “Tech Bro” and ‘witchy woman’. 

Findings reveal a persistent gender imbalance in fashion leadership and authorship. The literature identifies seminal voices; Judith Butler, Sherry Ortner, Elizabeth Wilson, Eric Anderson, and Adam Geczy; who exposed how gender is performed, institutionalised and often male-authored. Despite a great number of female designers, men still dominate top creative roles at major fashion houses (e.g., Dior, McQueen, Celine) and recent leadership shifts confirm an ongoing “white male musical chairs” trend. While some industry metrics show progress (e.g., increasing female CEOs) structural barriers remain. Simultaneously, men’s fashion is expanding in visibility and creativity, yet mainstream styles for both genders are becoming homogenised. 

This study argues that fashion’s artistic and cultural future depends on restoring gender balance, not simply for equity, but to preserve fashion’s transformative potential. A recalibration of power and authorship is essential to a more inclusive, imaginative and culturally rich fashion industry. 

It's now 2026 and I've been researching wildly and with new insight particularly around masculinity.

While much of this can still be debated, my research suggests it already has been examined through different lenses. I have since realised that talking about gender balance, suggests there are two binaries, which is limiting. I have come to realise that gender is fluid, complex and so my methodology must adapt!

More on this later....