The Making of a Feminist Figure Girl | Work of Arts
The Making of a Feminist Figure Girl | Work of Arts

The Making of a Feminist Figure Girl

by | May 5, 2015
Photography by David Ford and Patrick J. Reed
Art history professor Lianne McTavish turned her research lens on herself as she transformed into a physique competitor

Lianne McTavish’s research on visual culture and the history of the body usually involves hours of digging through old documents in libraries and museums. But in 2010, the professor in the Department of Art & Design embarked on a very different examination of displays of the human body — her own. Over the course of a year and half, McTavish transformed herself into a figure girl and wrote a book about the experience — Feminist Figure Girl: Look Hot While You Fight the Patriarchy (SUNY Press).FFGPosterSUNY

Figure competitions emerged as an alternative to female bodybuilding and became an official physique category in 2001. Figure competitors are judged on the proportion and symmetry of their muscles but do not aim for the muscle size and definition of female bodybuilders. They are also judged on their femininity, competing in bathing suits and high heels.

McTavish, a feminist and reproductive rights activist, was initially appalled by figure competitions. “I thought they were simply conformist beauty contests,” she says. But friend and professional bodybuilder Gillian Kovack argued that the competitors were serious athletes. Physically active since her early 20s with an increasing emphasis on weight training, McTavish decided to confront her biases by training and competing as a figure girl herself — not just as a personal challenge, but as a research project.

524053_618569941518532_580155716_nTo McTavish, the subject was not a departure from her work on body imagery, but an extension of the subject. It was, however, a completely different way of doing research — a form of self-reflection called autoethnography, which explores the researcher’s personal experience while connecting it to wider cultural and social meanings. Research on a human subject, even thought that subject was herself, also meant that for the first time in her career, McTavish had to obtain ethics approval for her work. Another first was the blog she created to chronicle her journey (, a new way for McTavish to communicate her research. “I was deliberately pursuing what was, for me, a new way of creating new knowledge.”

At the same time she was also deliberately pursuing an idealized body. McTavish spent long hours in the gym — two hours a day, seven days a week — and managed her diet carefully, “leaning out” in the last five months before competition to shed fat. She also spent a great deal of time and money on her physical appearance — tanning spray, expensive hair products, gel nails, high heels, bikinis and posing lessons – all new experiences for her.

After the intense preparation, McTavish competed as a figure girl in 2011. The process gave her the material for her book and taught her a great deal about herself and her body. It also brought her a new regard for figure girls. “It’s really hard to look that way and I have real respect for the discipline, dedication and consistency involved.”

Now that the Feminist Figure Girl book has launched, McTavish is turning her attention full-time to other lines of research. Some, like her work on understandings of illness in early modern France, are more in keeping with her usual type of work. Others, like an upcoming article on gym “selfies”, not so much. And of course, she still hits the gym regularly, just not quite to the same extent as her figure girl days.

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