An evolution of fatness in Western culture

The word “fat,” by definition describes excess flesh. It is a neutral identifier intended to recognize body mass. Culturally, however, fat is frequently viewed as a derogatory label. It is often used to insult, ostracize, and discriminate against folks. 

The term “fat” originates from the old English verb “fǣtt,” which means to cram or to load. For centuries, the word “fat” held a number of positive connotations. For example, in the 1300s, the word “fat” described fertile land. Additionally, in the 1600s, fatness signaled wealth and status, as it meant that an individual had access to plenty of food. At the time, thinness was associated with poverty and disease.

Similarly, between the 16th and 19th centuries, most societies considered fatness not only natural, but beautiful, too. Throughout the Baroque Period, which occurred between the years 1600 and 1800, famous artists such as Peter Paul Rubens, Michelangelo Merisi da Caravaggio, and Francois Boucher revered fatness. The New York Times writer Anne Hollander described its portrayal in art as “a hilly and lustrous landscape of flesh.” 

However, later on in history, fatness deterred from the newly-held standard of beauty. A desire to emulate the thin, fair-skinned physique of Greek and Roman individuals spread alongside white supremacy, racism, and slavery. Fatness became associated with Blackness, citing the bodies of many African women. Suddenly, fatness was considered inferior to thinness. The racist and incorrect notion that there are fundamental differences between Black and white individuals largely upheld this ideology.

Fat oppression and pervasive bias quickly developed throughout the 20th century based on the belief that fat folks were lazy, unhealthy, and unattractive people. This created a stigma against fatness. Insults like “fatso” and “fathead” shunned fat folks during the time. Additionally, the underrepresentation of fat folks in art, literature, and positions of power increased.  

In the 1970s, researcher Ancel Keys revamped Quetelet’s Index from its initial intention of deriving a mathematical population average to now calculate the constraints of a “healthy” height-to-weight ratio. During the time, medical professionals were in pursuit of identifying factors that affect mortality. searched for a scientific explanation that linked poor health to “excessive” flesh.

The Body Mass Index scale argued the connection between mortality rates and fatness. The scale — still used presently — is harshly overgeneralized, and its value is largely useless in proving health status. 

The term “obese,” which arbitrarily describes the condition of being extremely overweight or possessing a Body Mass Index of 30 or higher, hadn’t regularly been used by healthcare professionals before 1975. Suddenly, the World Health Organization labeled “obesity” an epidemic. 

In the 1980s, the National Institutes of Health incorporated Body Mass Index into pediatrics, widespread medical phenomena, and hospital practice. This ignited a new era of fatphobia that targeted fat folks medically, socially, and economically, citing fatness as a shameful disease.

Around the year 1998, the politicization of an on-going “obesity epidemic” occurred in the United States. Oppressive systems like diet culture promoted hate speech toward fat folks and spread the fear of fatness, referred to as fatphobia. With this, anxiety about “obesity” and its health consequences skyrocketed. 

During the 21st century, fatness has been used as a marketing tactic to fuel weight loss culture. Television programs like The Biggest Loser, Too Fat for Fifteen?, and The Big Fat Truth makes willingly criticize fat folks for sport, contributing to the ideology that fatness is an inhibitor to happiness and general prosperity. This narrative contributes to internalized and interpersonal fatphobia, damaging individuals of all sizes by putting them at risk for bullying, eating disorders, and lifelong discomfort with their bodies.

Both the fat acceptance and fat liberation movements have made strides in reclaiming fat pride and taking the power away from oppressors. Activism groups like The Fat Underground, The National Association to Advance Fat Acceptance, and Health At Every Size fight against the oppression of fat folks in healthcare, fashion, and employment, notably. Additionally, these movements advocate reclaiming the word “fat” as an identifier, rather than an oppressive tool to shame fat individuals.

Actor and drama teacher Rick Westercamp deals with negative experiences in which peers and superiors used the word “fat” against him in a derogatory manner. These comments led to feelings of insecurity, but by taking ownership and pride in the word “fat,” he took back the power that the title had once exuded over him. While “fat” is not Westercamp’s go-to identifier, he feels authentic in using it to identify his work as an actor. 

“I have started with myself and my ownership of the word,” Westercamp said. “It takes a lot of vulnerability. It isn’t easy by any means, but it's amazing how a little ownership and reclaiming of the word in spaces that traditionally fear the word fat will influence how the word is used in that space moving forward.”

The negative effects of fatphobia are felt universally. Understanding that the stigma surrounding fatness stems more from fear than reason is an important step in loosening its hold on society. Language should never be used to ostracize folks. It’s time to reclaim the power, beauty, and freedom behind the word “fat.”