This paper considers how theories of the posthuman can help to understand the connection between physically and virtually dressed bodies. Virtual fashion is a layered image: pixels of a 3D garment are placed over pixels of a photographed or digitally rendered body. Within those layers are experiences of body image, identity and experimentation, interleaved with technical restrictions and exclusionary fashion practices. The paper underlines the need for representation and expression across worlds, which can create challenges for existing body norms. Situated within fashion and fat studies, I particularly focus on the nascent areas of fat and fashion futures, which enable a greater consideration of the impacts of current practices on aspiration and opportunity. Virtual worlds can represent different identities and representations, but they are not free from the structures that affect bodies in physical realms (Ma 2024), meaning that the exclusion of fat bodies in physical fashion is replicated in virtual fashion. However, Braidotti’s (2013) and Haraway’s (2016) discussions of technical-human hybridity suggest potential for this sector to destabilise body hierarchies by blurring the lines between physical, digital, real and fantasy. For the present analysis, it is useful to distinguish between ‘digital’ and ‘virtual’ fashion, though the terms are often used interchangeably (Boughlala/Smelik 2024). Digital fashion (DF) combines a wide range of technologies which enable the visualisation, experience and commerce of physical garments. Virtual fashion (VF), on the other hand, refers to three-dimensional graphic renderings of garments which may be superimposed on photos or videos of bodies, or as cosmetic effects for online avatars, such as gaming and metaverse characters (ibid.). This paper focuses on the latter phenomenon as it is applied especially to fashion images and digital avatars.
Gwyneth Holland (Wed,) studied this question.