When Whyte began Form Fitting while still in the closet, unaware of the queerness she would soon uncover in a piece that began as an observation on misogyny and the capitalism perpetuated by it. Struggling to fit into the ideas of what she believed carved her a place within a male dominated society, Whtye continuously found herself on the outside looking in – she wore the clothes and bought the skateboards, but still felt the absence of an identity she was trying to co-opt from men. Through the process of trying to squeeze herself into an identity that did not represent her, she created an identity which eventually would.
Within these male desire coded clothing items, Whyte was able to uncover an innate queerness present throughout her pieces. She tells not only her story of mandatory heteronormativity, but her process of becoming the person she is today. Her sculptures portray the process of trying to fit in – they vary in size, are incohesive, confusing, yet unified through their sense of the uncanny valley. Playing with bright colours and child-like visuals, the clothes look as if they are worn by an invisible body, ready and waiting for someone to try and take their shape.