Introduction

Today, I will be discussing the global issue of how societal beauty standards and
commercial representation shape body image and identity. This issue is deeply
ingrained in our society, influencing self-perception, confidence, and even the
accessibility of fashion and representation in media. To explore this, I will analyze 3
poems of Grace Nichol from her collection The Fat Black Woman’s Poems, namely
The Fat Black Woman Goes Shopping, The Fat Black Woman Remembers, and
Invitation, alongside three non-literary images from Nike advertisements featuring
plus-sized women. These texts and images highlight the struggles of marginalized
bodies against unrealistic beauty expectations and the commercial world’s response to
them.
Literary Analysis
Grace Nichols’ The Fat Black Woman Goes Shopping vividly captures the alienation
and frustration faced by plus-sized women when shopping for clothes. The poem
critiques the rigid, Eurocentric beauty standards upheld by the fashion industry,
highlighting how commercial spaces fail to cater to diverse body types. Nichols
employs irony, dialect, code-switching, visual contrast, and negative diction to
reinforce the protagonist’s struggle and critique societal beauty norms.
One of the most striking authorial choices in the poem is irony. Nichols writes, "Look
at the frozen thin mannequins / fixing her with a grin", emphasizing how mannequins
—designed to represent the idealized female body—fail to accommodate diverse
figures. The irony lies in how these lifeless, expressionless figures appear to mock the
fat black woman, deepening her sense of exclusion. The mannequins, meant to
symbolize aspiration, instead highlight unattainable beauty standards imposed by
society. This contrast between the protagonist and the mannequins underscores the
alienation of those who do not fit the industry’s narrow mold, compelling readers to
reconsider the implicit biases within the fashion world. By positioning these
mannequins as unwelcoming, Nichols forces readers to confront how commercialized
beauty fails to reflect the reality of human diversity.
Nichols further enhances this theme through her use of dialect and code-switching.
The phrases "de weather so cold" and "curses in Swahili/Yoruba" integrate Caribbean
Creole and African languages into the poem. This linguistic shift personalizes the
protagonist’s experience, grounding her struggle in a postcolonial context. By
disrupting the formal expectations of Standard English, Nichols mirrors the woman’s
defiance against societal exclusion. The act of cursing in African languages reinforces
the protagonist’s frustration, suggesting a cultural resistance against imposed Western
beauty standards. Readers are encouraged to engage with her voice on her terms,
making her alienation more tangible.
Additionally, Nichols employs visual contrast and negative diction to emphasize the
lack of fashionable options for plus-sized women. The phrase "Nothing soft and
bright and billowing" conveys a stark absence of clothing that is both aesthetically
pleasing and comfortable. The choice of the word "Nothing" is absolute, reinforcing a
complete lack of inclusion in mainstream fashion. Meanwhile, adjectives like "bright"
and "billowing" suggest the kinds of clothing that would affirm the protagonist’s
identity and comfort—yet these options remain unavailable. This exclusion reflects
broader societal attitudes that marginalize certain body types, dictating which forms
are deemed beautiful or worthy of representation. Nichols critiques this systemic
erasure, prompting readers to question the restrictive nature of the fashion industry.
By combining irony, dialect, and powerful diction, Nichols delivers a biting critique
of the fashion industry’s failure to accommodate diverse body types. Through the fat
black woman’s struggle, Nichols exposes how societal beauty norms shape identity
and self-worth. The poem not only condemns this systemic exclusion but also affirms
the protagonist’s resilience, urging readers to reconsider conventional definitions of
beauty and inclusion.
Broader Literary Analysis
Invitation" serves as a celebration of the Black female body to bring down traditional
beauty standards through rich sensory imagery and an assertive tone. The poem's
opening lines "If my fat was too much for me / I would have told you" confront
societal judgments and affirm the speaker's comfort with her body. This direct address
challenges the reader's preconceptions, positioning the speaker as the authority over
her own body and experiences.
Nichols employs metaphors from nature and sensuality to describe the speaker's body.
References to "huge exciting amnions of watermelon" and "twin seals fat as slick
pups" evoke images of abundance and vitality. These metaphors not only celebrate the
physical form but also connect the body to natural elements, suggesting an inherent
beauty and worth.
The repetition of the phrase "Come up and see me sometime" serves as both an
invitation and a reclamation of desire. This line, reminiscent of the flirtatious
catchphrase popularized by actress Mae West, imbues the poem with a playful yet
assertive tone. By adopting this phrase, the speaker aligns herself with confidence and
desirability, countering narratives that marginalize Black women's sexuality. This
repetition reinforces the speaker's agency, inviting readers to engage with her on her
terms and challenging them to reconsider preconceived notions of attractiveness and
worth.
In "The Fat Black Woman Remembers," Nichols confronts historical stereotypes by
invoking the image of "Jovial Jemima," a reference to the Aunt Jemima caricature that
portrays Black women as cheerful, subservient figures. This allusion critiques the
reduction of Black women to domestic role. The poem juxtaposes "happy hearty
murderous blue laughter" with "feeding her children on Satanic bread," contrasting the
facade of joy with underlying oppression. This highlights the gap between society’s
expectations and real-life experiences.
Nichols further employs vivid imagery to depict the physical and emotional toll of
these stereotypes. Phrases like "tossing pancakes to heaven" evoke the endless labor
expected of Black women, while "murderous blue laughter" suggests a forced mirth
masking deeper pain. This imagery serves to humanize the "mammy" figure, revealing
the sacrifices and struggles behind the stereotype. The line "But this fat black woman
ain't no Jemima" marks a pivotal moment of rejection, as the speaker distances herself
from the caricature. This declaration of autonomy serves as a powerful assertion of
self-definition, encouraging readers to consider the importance of self-narration in the
face of pervasive stereotypes.
Non-Literary Extract
Through its structural, color, and photographic composition, the ad promotes
inclusivity, empowerment, and self-expression, redefining movement beyond
traditional athletic ideals. The central figure, a plus-sized Black woman, is positioned
dominantly in the frame, conveying confidence and self-assurance. Her dynamic pose
—arms raised, hair flying, and body in mid-motion—exemplifies freedom and
uninhibited self-expression. This placement defies conventional media portrayals that
often marginalize plus-sized individuals, instead placing her at the forefront as a
symbol of strength and joy. The ad’s focus on movement shifts the conversation away
from rigid beauty norms and towards body positivity, reinforcing that fitness and self-
expression are not limited by size.
The contrast between her vibrant red and white outfit against the neutral white
background ensures she remains the focal point. Red, a color associated with power
and passion, draws attention to her presence, signifying strength and vitality. Her
brown shorts complement her skin tone, celebrating natural beauty rather than altering
or minimizing her body’s visibility. The bright white sneakers evoke notions of
movement, energy, and athleticism, subtly reinforcing Nike’s message that sport and
dance are inclusive, not exclusive. By using a bold color palette, the ad dismantles
stereotypes, encouraging diverse body representation in fitness and media.
The phrase “OWN THE FLOOR” in bold black capital letters asserts dominance and
self-empowerment. The tricolon in supporting tagline—"DANCE TO MOVE YOU.
DANCE TO MOVE OTHERS. DANCE TO MOVE US."—further reinforces the idea
that movement transcends societal expectations. This messaging disrupts traditional
commercial representation, which often associates fitness with weight loss or aesthetic
goals. Instead, Nike presents movement as a means of self-expression, unity, and
empowerment, reshaping how body image is commercially portrayed.
Body Of Work
In the first image, a plus-sized mannequin dressed in black activewear stands beside a
woman with a similar physique, both striking the same confident pose. This
composition normalizes plus-size bodies in fitness, confronting the retail industry's
lack of representation. The mannequin, which symbolizes mainstream fashion’s
historical exclusion of larger bodies, now mirrors the human subject, emphasizing
self-acceptance. The woman’s smile and pose radiate confidence, encouraging
onlookers to embrace their natural form rather than conform to unrealistic beauty
standards.
The second advertisement portrays two women running—one plus-sized and the other
slim—challenging conventional athletic marketing. Instead of depicting only lean
athletes, the ad presents a fuller-bodied woman engaging in the same rigorous activity.
This juxtaposition normalizes diverse body types in fitness, reinforcing the message
that size does not dictate capability. The movement in the image evokes strength,
perseverance, and energy, countering the stereotype that plus-sized individuals are
inactive. The confident strides and forward momentum symbolize progress—both in
fitness and in breaking societal norms.
Both advertisements primarily use black activewear, a strategic color choice
symbolizing strength and versatility. In the first image, the stark contrast between the
mannequin and the real woman highlights the difference between static, outdated
representations of beauty and the vibrant, dynamic reality of plus-sized individuals. In
the second image, the interplay of light and shadow enhances the figures’ visibility,
drawing equal attention to both athletes. The dark clothing against a well-lit backdrop
ensures the focus remains on their movement rather than body size, reinforcing the
idea that fitness is for all.
The second advertisement features bold white text stating, "A FIT FOR EVERY
BODY," which plays on the dual meaning of “fit”—referring both to athletic clothing
and physical fitness. This wordplay directly counters the exclusionary nature of
traditional fitness advertising, where the idealized thin body is often the sole focus.
The phrase makes a declarative statement that athleticism is not reserved for one body
type, urging viewers to rethink their perceptions of fitness and body image.
For lookers, these advertisements evoke empowerment, relatability, and validation.
Plus-sized viewers may feel seen and encouraged to participate in fitness without fear
of judgment. The normalization of diverse body types in athletic settings fosters
confidence and body positivity, countering harmful societal messages that equate
fitness with thinness. On the other hand, those accustomed to conventional beauty
standards may experience a shift in perception, recognizing that strength, health, and
movement are not defined by size. By diversifying representation, Nike’s
advertisements push for broader acceptance of body inclusivity in commercial spaces.
Conclusion
Through Nichols’ poetry and Nike’s advertisements, we see how societal beauty
standards and commercial representation shape body image and identity. Nichols
critiques exclusion and reclaims body confidence, while Nike’s advertisements
attempt, albeit imperfectly, to redefine fitness and beauty. However, despite progress,
full acceptance of body diversity remains a challenge. This invites us to reflect on how
we, as consumers, engage with these evolving portrayals.