The essay "The Role of a Model in Fashion" discusses the Notion of an ‘Ideal’ in the context of Fashion. The model’s role is as a canvas or tool over which arts, like fashion, are exhibited. The fashion model shows off the designer’s clothes, for example. In this, we may come to a conclusion over the existence of an ‘Ideal Model’. Does an ideal model exist? What would be her attributes? Kate Moss may be considered the ideal canvas due to her simplicity, nondescript superficié, and angular features. She may be considered art in herself, and carries the role of the photographer’s muse as an organic beauty. Or she may be simply the structure over which inorganic arts, like fashion, finds presentation. If the model functions not as the aesthetic in herself, but as a platform for couture fashion, then she may be defined also as nothing more than “a coat hanger for fantasy”. The model is used, then, as a tool by which fashion designers sell clothing. She is nothing more than a commodity. If the value of a model is in her ability to market, then Kate Moss is an ideal. Designers are able to use her as a coat hanger and sell their ideas. But this is a dichotomy, the idea that a specific model is more marketable for her face value and that she is simultaneously only the prop. Nonetheless, it is clearly evident that without the model, clothing is hardly marketable. I maintain that the ideal model, in terms of marketability, is dependent upon her presence as an icon. Then, as an icon. Then, as an icon, what are the effects of her behaviour When utilizing models, her thinness may work against her. There is a limit to her efficacy as a model concerning her body's dimensions. Markets fluctuate depending on the culture's desire to accept the dimensions or 'ideal platform' over which they by their clothes.
When models are not just the canvas over which designers present couture but become iconic symbols of the ideal, art has been distorted. The exhibition is not of the artwork, but rather the structure. It may also be said, however, that even with nondescript models, models that do not function as icons, fashion may become perverted. Whatever ideas or designs the artist puts on the model, better said, how he dresses her, those are the images of perfection or perversion. It is not the model herself, but the contortion of her aesthetic and inorganic arts placed on her.