Fashion models in the 1960s were considered public figures under scrutiny and assume a significant role as cultural ambassadors of representative countries with political overtones. The celebrification and iconography of models embodies various issues. The most prominent phenomenon reflected by fashion models is the emerging middle-class society. While fashion models are referred to as “models” in articles on fashion shows and products endorsed by designers, they were often objectified as mannequins in articles on departmental stores and their product range. This further showcases portrayal of models as a perfect form built for advertising purposes for the masses rather than a human with flaws. Models symbolise the rise of middle-class society through reflecting the 1) celebrification of personalities and westernization and the 2) embodiment the ideal characteristics of a perfect citizen and wife in modern society.

Fashion shows in the 1960s were either stand-alone events or part of another programme. These events typically featured leading designers and other guests with diplomatic, trade and cultural relations for strategic partnerships (charity as well). Additionally, models were used as gestures of diplomatic relations. Given the political backdrop, fashion coverage was particularly sparse, where it typically advertised the event or provided post-event commentary. Each event was covered from different angles (is it different media platforms, different angles?). These events typically targeted women, however, there were two groups worthy of mentioning: 1) men and 2) students. Men’s fashion was seen to gain attention. Locally, students from University of Singapore Student Union had organised several fashion shows. Additionally, the media also highlighted showcases by international fashion students.

Through this fashion history archival research, we were able to understand how the fashion media was an enforcer of the social control of women in the 1960s in support of the government’s agenda for economic growth. This objective had given importance to specific characteristics of women deemed beneficial for the economy and society which were docility, subordination and being socially active homemakers. Through fashion, the local media had supported the government’s vision by enforcing these attributes through its platform. It established the ideal woman by disciplining women for their bodies, fashion, public selves, and dreams to achieve the ideal. These notions of the ideal woman were effectively communicated through its reportage structure, featuring models as agents of influence, appointing males as enforcers and lastly, punishing non-ideals.