Disability is not just a health problem. It is a complex phenomenon, reflecting the interaction between features of a person’s body and features of the society in which he or she lives (Word Health Organization). The social body, initially detached from the biological body, renegades the human manifestation in everyday practices, in a way that the two instate a false identicality. False because the biological body responds inwardly to itself, but the social body – and consequentially the perception of normalcy that surrounds abled bodies – shift according to societal circumstances. The normal body is directly correlated with the notion of normal in general, thereby enacted through its physiology and anatomy. However, this deterministic idea leads to an association of normalcy and existence as a normal social being and replaces the vital norms with social ones. The act of determining a socially accepted and fathomable state of normalcy is fueled by the need to establish the regularity of socio-political authorities, order, and control through bodily categorizations. But to embrace abnormal pathologies while recognizing the various deviations within all bodies and incorporating them in the everyday life is to accept that there is a personal and distinct normalcy for everyone.
The fashion system, as a regulator of collective taste, is mainly publicized through models – thus rendering the main marketing tool anthropocentric. Models – as every human – have bodies and are bodies, so the expression of their physicality can be interpreted twofold. Fashion models represent a sellable fantasy of which they are a part; their impact on the success of the product – that is sadly measured in sales – as well as the way that the combination of two plagues: the arbitrary ideation of collective taste and celebrity culture – is performed, are fundamental. The issue of replicating the zeitgeist is a crucial component of both of those things – it defines the quest for newness; but in that sense, the models should represent if not the whole – the widest part possible of the body topologies spectrum. No matter how standardized, no matter how intensively and cautiously the ‘’collective taste’’ is shaped, beauty is still a subjective matter. However, our taste for beauty has been attenuated by countless stereotypical images, produced by an ableist society that grapples in front of diversity, when striving for innovation. But a constant new reality is an impossible task, whose doom can be cleverly disguised as modernity. In the capitalist production of commodities, the new and the novel stimulate demand by reintroducing meaning. But Nietzsche warns, “While forms are fluid, their ‘meaning’ is even more so’’, leaving the meaningless to their unaccountability. Nevertheless, when forms suggest disability and diversity, It does not equal inclusivity, but rather a good marketing strategy. In the pursuit of newness, in a world of stereotypes, Benjamin says, the question becomes knowing how to tear the new from the always-the-same, dissipating along the way the semblance of eternal sameness, and even of repetition, in history. So naturally, the concept of inclusion that is demanded is having disability being used as tokenism for inclusion riders to prove that a brand is innovative, for the people and that it is raising awareness, when in fact, it is seeking likeability. This view might be cynical, but there are certain elements that prove its actuality.