Aside from the first day of Fashion week - which I have yet to tell you about - I haven't really made it out to too many events so far this year; one because my health has not been conducive to making it outdoors and two, because I have been completely immersed in writing my debut novel. But as the fashion calendar starts to fill, there can be no denying that the shows are all on a rise, and so, out the likes of Yours Truly will trudge, to tell you all about what's been going on.
Yours Truly ready to face the day...
Last week for instance, there were two particular events of note that drew me away from my laptop (aka Hazie...cuz she's electric purple, a la Jimi Hendrix...?!) Well, the first was a Psychology in Fashion conference that I was convinced that I could not miss because of the Keynote Speaker - the one and only Caryn Franklin OBE whom, longtime readers will know that I am floored by, over and over again, having been a childhood icon of mine, that I have been blessed to interview twice on this very blog.
Unfortunately, my residual night pains and the daily difficulties that I suffer with as a result of the Fibromyalgia +12 (conditions); that I have been diagnosed with meant that getting to Central London from the outback in which I live, was a feat too impossible to surmount by 09:30 that day and, not wanting to disrupt the goings on, I decided to aim for the after lunch crowd, instead. My lovely Carer Kat and I were treated to five student presentations, all posing equally important questions to the world of comparative thinking. As interesting as they were however, it wasn't until an emergency stand in by Dr Carolyn Mair, Consultant in Psychology for Fashion, that the event really came alive for me.
Dr Mair gave a rousing presentation intended for another audience the following day, on the sustainability, but more importantly, the responsibility we have as fashion partakers; not just sitting back on our laurels and accepting what is fed to us, but also questioning what we think, read, and buy, for the good of our own land. I was glued not just to her every word, but to her gorgeous sense of style - her outfit of a pleather, black, capped sleeved tunic, with skinny black jeans with frayed edges and the most to die for gold patent pumps that I think I have ever seen!
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Fast forward two days and I was the one donning black and gold, this time for Pop PR, who kicked off the Autumn Winter season for their roster of artists on this side of the globe and off of it.
Andrew Majtenyi
Headed to Fitzrovia, this time with the beautiful Daniela in tow to take care of me, we headed to the Oui Group UK studios, to look at such items of beauty that I was lost for a moment in time. Beginning with the beautiful works of Andrew Majtenyi, I was entranced by his idyllic patterns and bodycons that had me wishing that I was the exact circumference of slimmest finger to fit into them. Next came the sumptuous furs, leather and suede of Hallie Sara for that essence of glitterati glamour to fully wash over you.
Hallie Sara
Shoes by Ganor Dominic followed and the designer herself was on hand to talk through her creations; unfortunately, we did not get the chance to share more than a cursory few words, but I found her to be very open and sweet as I eavesdropped! Framing her table were racks by the talented Laura Theiss, whose mesh, wool and crochet work were definitely the styles you want keeping you warm this so-called Spring (nee Winter). Leave it to my personal favourite, Ashley Isham to turn my eyes with teal blue gowns, amber mesh jackets and gold, sequinned jumpsuits that had me hankering for the male side of the wardrobe.
Jayne Pierson
Responsible for the Piece de Resistance, Jayne Pierson and her old Hollywood coat of peach-coloured, ostrich feathers, that wouldn't have been out of place on the backs of Rita Hayworth, Dorothy Dandridge, or Marilyn Monroe, made a new school convert out of me. Wanting to try on almost everything on her rack; it was her grafitti-covered leather jackets, one with rubber studs, the other with mesh sleeves, that brought loving tears to my eyes. Danslavie were to be found on the next railbut - being that her entirecollection was made out of snake-skin (which I personallyhate), I'm afraid you won't see much of what were some otherwise fantastic designs and cuts here!
Misa Harada London
Belle Sauvage and their statement garments caught my eye next, right before I was taken on an adornment journey - courtesy of millinery designers Misa Harada london. They had a design for every mood and some sparkle to cap it off...(see what I did there)? Okay, okay, well before you have me hung, drawn and quartered, let me first tell you that Sorapol delivered in all of their pearly iridescent finery.
Malan Breton's brilliance couldn't be confined to one rail; and so his New York and London collections were both there to be gasped at, along with a skincare and cosmetics range that just screamed 'Try Me'. Haircare brand Colour Proof were on hand for makeovers, before you reached the home stretch of jewellery makers Pyrrha for some elegant, ethereal vintage designs that wereat once unique and delicate.
Malan Breton
Earrings by Zhang Yue
Additional hustle and bustle at the next table indicated something extra special was taking place. Fashion Crossover's London Team were representing a selection of creative talents from China who had created some of the most beautiful accessories I had seen all day. From hair adornments to jewellery, the display and background talk were definitely worth taking in. Back to the racks and the simple subtleties of Mimi Tran were next. Her embroidered range was stunning and not at all overpowering because the garment cuts themselves were simple canvases, clearly chosen to let the detailing shine, and that it did; a lovely collection.
Mark Fast
The works of Mark Fast were immediately recognisable because of his glamourous feather detailing. Like Jayne Pierson before him, he made sumptuous work of the ostrich feathers, until each piece screamed red carpet glamour. I reached Vivienne Pash, on the final rack just as the team were shutting up shop, and relished the symmetrical, column lines of her velvet and sequinned designs.
Reaching the end of the line was like coming down from a high, and so I had in mind my next fix. I had been double-booked to attend the press day of another professional friend of mine, only I hadn't noticed the time creep by until there wasn't enough time left to attend my second engagement! What that said was kudos to the ever lovely Portia 'Pop' Shaw and her team for putting on such a spectacular, prosecco-filled event, that allowed me to completely lose my sense of space and time - Cheers, my friend - here's to the next one!
For a look at the displays last week, head on over to the ESintheP Facebook Page, where you can revel in all the splendour.
Until the next...
ES
All images by Erica Sharlette for EricaSharlette Promotions Ltd.
After the panel had closed, I got my opportunity to ask three burning questions to the two ladies in the media, who were best placed to tell me what I wanted to know...
Parsons School of Design encourages its students to create convertible garments that can change the world. How do you think that we could create a feat like that here; do you think All Walks could do something like that, and what do you think it would take for the big fashion houses to follow suit?
Caryn Franklin MBE
Caryn Franklin MBE: "I think the key things for all creatives to know, is that they influence thinking. Art is where we can really challenge boundaries, push boundaries. And so if we're talking about designs for the body - I mean Parsons might be talking about a whole range of design from product design to structural building design, all kinds of things, I'm not sure but, if we're applying it to the body, what we've really got to think about is empowering the wearer. Now many designers think that they're doing that, but maybe there's a sort of unspoken element - the white elephant in the room if you like - where they're not looking at the uniqueness of people's bodies, and the diversity of people's bodies; and so empowering someone who has the shape of a catwalk model, who has been on a very strict diet, and has a very freakish body shape is one way that they use their skills, but actually, that's not their market. Their wider market is ordinary human beings who deserve recognition of their difference.
I think that's one of the hardest things for designers, to think about how they apply their skills. Many designers don't have a skillset to work across a diverse range of bodies, because they've never been taught how to do that. So a lot of designers come out of college having never really worked on a voluptuous body; they don't know how to design for breasts and hips, they don't necessarily know how to design for an older body, they don't know where the change is that that body goes through in age. And so rather than expose themselves as not able to design for those types of bodies, let alone other types of bodies - as you know, a wheelchair presents its own challenges to do with fastenings, and places where the garment needs to lie flat against the body - and these are things that they again, don't know, unless they've been able to educate themselves.
So one of the things that I've been doing as Director of All Walks is to say that designers can acquire a broader range of skills - we're not suggesting that all these skills be forced upon every single designer; but that by bringing designers closer to an understanding of who their customer will be, and appreciating their own physical difference - because most designers are really able to grasp this very quickly - they don't look catwalk models, so why are they designing for catwalk models? Female designers get that quite quickly, and begin to look at how they can contribute their skills to making humankind feel good.
One of the projects that we found really early success for was The ICON Project that we did at Edinburgh, on a regular basis with Mal Burkinshaw, who was the Director of the Diversity network that we helped set up. He said to his students 'I want you to choose someone to work with, who simply does not embody your average catwalk shape, and I want you to get to know about them as a human being, and what it is that they need from fashion, and what fashion could do for them. And the students all cite that; they made amazing garments, and they had a brilliant catwalk show with all of the people that they'd picked. Some were working with their Grandmothers, some just ran after people that they saw in the street. And they said that it was one of the most educative experiences that they'd had. So we feel that all design colleges could really pick up that and open up an awareness for design students.
But I think that other creatives as well need to get on board. One of the other projects we had done was with photographers to say that being conscious about the way you portray clothes - always just thinking that the only right way, is just a tall, thin, white, young woman, is again, operating in a very closed mindset. We brought scientific studies to the table, to say that studies show that consumers are looking to engage in relatability with the person that they see in the image, and if they can see shared characteristics between themselves and that model, they're more likely to move towards intention to purchase. So all of those things are what industry needs to grasp. I do believe that design can contribute towards wellbeing, mental health, our perception of ourselves, our experience of ourselves; and I don't believe that it's superficial. I do believe that creatives are hugely influential."
Charlotte Gush and Yours Truly
Charlotte Gush: "I think All Walks is really specifically focused on diversity, and that's amazing that someone is finally making clothing specifically to deal with the issues faced by homeless people. All Walks actually does work in Universities up and down the Country, I think there are about 37 Universities that take part in 'Diversity Now'; which is a national student competition that kind of challenges students to show us their vision of what a diverse fashion future would look like. A lot of the tutors who have really gotten in to it have kind of paired the students up with muses from their community; and part of the project is that they speak to this woman about what she needs, and so I know that Edinburgh college have really taken to this, and they had a group of women come in. There was a pregnant woman, there was a woman in a wheelchair, there was a woman who was older, and had difficulty walking; and so the students worked individually with them, to create fashion that worked for them.
So I think our student programme is already making those things, and Mal Burkinshaw, who is the Director of the Diversity programme that All Walks and Edinburgh College of Arts set up, is really leading the way on driving those kind of student projects. In terms of big designers, they kind of already do; we have to remember that all we see is the catwalk, so there are problems with just seeing their catwalk collections; actually a lot of big designers, particularly the really big ones, make their money making bespoke clothes for actresses on the red carpet, but also rich women who may be united in their wealth, but are diverse in their bodies and their needs. So actually, the original aim of a Couturier, is really to work with a woman and her body, and make something that works for her. But those principles could definitely be more represented in the catwalk fashion that we see."
Is there a future in disabled fashion as well as plus-sized?
Caryn Franklin MBE: "I think there's a future in anything where there's a niche market. If there's enough people to support the economics of a market, then there's a future. I don't know what the percentage of people who have bodily difference is, what their needs might be, and whether they are a wide variety of needs, or whether they can be narrowed down to something that can be mass-produced; because that's obviously where the financial interest would be. I don't know whether designers have yet looked at that market as a viable market? I certainly know from speaking to people for whom clothes are an important part of their identity that they've used clothes to say much more about themselves than their physical presence can. But we all do that - when I get out of bed, there's a whole process of choices that I make in order to leave the house and present myself as I want people to see me. Turning up to an important job, just sort of rolling out in pyjamas - people wouldn't read us in the right way, from our hair, to the way we presented our skin, to the way we presented our uniform, or our clothing.
I met an amazing woman, Louise Wedderburn, she had a Channel 4 programme made about her, and I think I met her four or five years back, because she has a rare condition that solidifies all her bones and her joints to the point where she simply has no flexibility. And she said that she made a conscious choice to dress in such a highly visible, noticeable way, by really being into fashion, and really having her own take on it - she was very interested in the trends - that when people looked at her, as they did all the time; she could say to herself that they were probably looking at her clothes, they were interested in her style, and that she could feel that they were taking information about who she was from her clothes, as opposed to stereotyping her because of her disability. That was a huge teaching, to see the power of clothes.
I often feel that the designers are fighting to say 'look, we do want to do good things, we do care...' but then they keep using this template and this format. They don't quite know how to say 'we do care'. Were they to start emboldening people with physical difference in such a way that we could begin to see ourselves differently through the use of clothes, and stop stereotyping each other, that would be a brilliant service they could provide. They could do one-offs on the catwalk; and they could say that they could be made to order, but then it would be very hard to do something in a bespoke way, and then just get all the stores to order it and roll it out, it's very, very hard. But they could make a stand if they wanted to."
Charlotte Gush: "Yeah, absolutely - there are disabled people who need clothes! Correct me if I'm wrong - and I think I'm not - but disabled people want to look great the same as anyone else; so I think it's an interesting thing in that a lot of fashion, and some of the problems of fashion, is that it's all done in economies of scale, and that's why we have women in Bangladesh working themselves into the ground sometimes, to make those clothes cheap, cheap, cheap, and mass produce stuff. But what we absolutely need is for businesses to see that there is a customer there, and business needs to see that making clothes that work for a diverse range of people makes business sense, as well as ethical sense.
I saw some amazing designs of someone who had made really chic coats that stopped at the lower back, and came around into a train at the front, so that it wouldn't get in the way of a wheelchair, for someone who was sitting down, so I think there are definitely designers who are taking it into account; we should see more of it on the high street and in high fashion, and I think the visibility of women like Jillian Mercado, the woman who modelled for Diesel; the more we see people like that in high fashion advertising, the more people realise ok, obviously cool people like her, who just happen to be in a wheelchair, also want fashion that works for them. So I hope we do, and I think if fashion businesses are sensible, they'll realise that there is an opportunity there."
Do you think certain areas of Diversity are more accepted than others?
Caryn Franklin MBE: "Yeah, I think as we get to the stage where we're breaking down more and more boundaries, people become more open, and it takes time. So if we give ourselves an example of how society, on the whole, is quite unprogressive in many ways...Fifty years ago, if you weren't married and you had a child, that was extremely challenging for society, and the woman who was expecting a child was shamed. We've got over that boundary. There are some elements of racism that we now call out, and the person who is promoting or embodying that racism is shamed, not the person who is their target. We've got over that.
There's still a long way to go, with many things, with racism, with sexism, with ageism; we're at an exciting place for understanding gender right now, that there isn't a binary system for gender, and gender variance is something we all need to get our heads around. I think people are doing that very quickly and I'm really excited by that. Interestingly, that's an area where fashion has helped. Fashion has promoted gender variant models - see whatever fashion does, it gives it a cool factor. So fashion's found gender variance very interesting - partly because it has a high proportion, I expect of people who are sexually, and gender diverse, looking at its own community. What we don't have in fashion, is a high proportion of women in positions of power, a high proportion of black men and women in positions of power, and a high proportion of people with disabilities in positions of power. It's not really until you get more diversity in decision-making that things will begin to change - that's what I truly believe.
Professor Richard Crisp
There is a psychologist called Professor Richard Crisp who has dedicated twenty years to looking at Diversity, and has designed studies to support the fact that where there is more diversity in decision-making, there is often more creativity, because the brain is being challenged to work in a different way. When we're reducing things to stereotypes and templates, where we're not working in a high proficient way, we're just working in a systematic way, that's when we're our least creative. So I would have thought that challenging ourselves to think in a more diverse way is what every creative would like, and is the future."
Charlotte Gush: "Yeah, I do; I've been working with All Walks Beyond The Catwalk for six years, and one of the things that has niggled at me in that time, is that Diversity is a conversation now, and that's a wonderful thing; we can see a black model in a high fashion thing, we can see an older woman, we can see a disabled woman, but it seems to me that you can't be two of those things (AMEN! - ES), so I think that kind of proves to me that we have only made slight progress. You don't see many older, black models; you do see older models, but they're predominantly white, and they're predominantly thin.
I think that's a real litmus test in how far we've come in accepting diversity, and I hope we can start to change that; that's exactly why I wanted to emphasise the feminist voices that we hear, because intersectionality is something that feminism has begun to grapple with in a way that this kind of like, hot celebrity diversity initiative has not. Feminism is a critique of the male gaze, and I think a lot of diversity in fashion has hinged on 'Well she's still fuckable' and I think that's really problematic, that we're accepting diversity still through the lens of what men find fuckable - that's not radical, and we need to move into a much more radical position where we see beauty through other lenses, and make our own lenses."
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That's it for Part Deux folks, I hope you enjoyed the insightful answers from these fascinating women! For the final part in this monsterthree-part instalment, find yourself back here Monday, 3 October, where we go visual with the remainder of the day. See the Ryan LO retrospective, read about the shenanigans in Lea Anderson's choreographed dance troupe; see the People's Catwalk where someone you might recognise took a turn, and finally, stay tuned for what the gorgeous MAC Twins had to say about Diversity. Over and out!
Until the next...
ES
Photos courtesy of EricaSharlette for EricaSharlette Promotions Ltd., All Walks Beyond The Catwalk, Edinburgh College of Art, and Aston University.
When I first learned of Fashion Undressed, I was super excited about an event that would look at Model Diversity in such great detail. I did, however, think that there would be a hardcore focus on trends in the current climate.
Imagine my surprise then, when I arrived at the Southbank Centre's Royal Festival Hall in late July, with my carer, only to find myself being ushered in front of the camera, instead of taking up my comfortable position behind it? Mother and daughter team, Elisa and Lily formed StyleLikeU; an organisation that declares war on trying to fit in with 'the norm' by saying stick to your own style, and take note of the exhilaration you feel when you realise you've broken the mould, just by being Urself. The two have formed the #iAmWhatsUnderneath movement, which asks volunteers to take off their masks and armour to the world, with each layer of clothing they remove, until they free the burdens imposed by fashion by freeing the weight of their individual styles. As the first visitorof the day, Assistant Mona was keen for me to be the first British guinea pig of their #WhatsUnderneath campaign...
When she couldn't convince me to shed my kecks for the camera, Mum of the duo, Elisa came out to make sure that I understood the cathartic experience that occurs through shedding the shackles of clothing and just opening myself up to the moment, and being free. I explained (again) that I was happy to go through all of that, but unfortunately, on this occasion, it would have to be with my clothes ON. Reiterating what I had just got through telling Mona; I explained that this event was only my third time outdoors for something other than a hospital appointment and/or treatment since October 2014. I was just getting used to the concept of being outside of my flat again after 13 chronic illnesses left me so debilitated, that I am forced to spend most of my time in bed, recovering from the exertion it takes to complete the simplest of endeavours. I'm taking baby steps; and getting undressed in front of their cameras for YouTube, was a distinctive leap ahead that I was just not ready to take yet - not least of all because getting dressed and undressed is something that my Carers help me with twice a day, minimum, as I am no longer capable of performing those functions alone. Obviously disappointed, but realising that I wasn't budging, Elisa went back inside to finish setting up with the team, and within moments, I was informed by Mona that they were ready for me. Sat beneath an errant microphone that was causing not only the duo, but their production team a headache by refusing to work; I made my introductions with as many as possible, before being told by Lily that we may as well go on with the questions I had come prepared with for them, whilst we wait. Here's what I found out: What, if anything, do you feel is authentic about today's Fashion industry? Elisa made the sign of a zero with her hands. There's still a certain amount of beauty being made within clothing, I guess, it's just for me, the overall is just so bad...There are pieces here and there, but it's just such an overall mess? A really talented person like Marni - she's a very talented designer - but the very, very talented people can no longer produce things that aren't so extravagantly expensive...it just makes no sense anymore? It's just all become so disproportionate in terms of things being made that are beautiful, that are worth keeping for your life, from people like that, that would make things like that for you? As opposed to disposable fashion, and fast fashion, but those people can't afford to do what they want to do anymore; so they then have to charge so much money that no-one can afford it.
Marni AW16 Ready To Wear
So it's not like they don't exist, it's not like there's no artistry or talented people anymore, there's just not a model for them to exist in, that they can create in a way that enough people can actually participate in it, and express themselves through it - that's the problem. It's not like there isn't good artistry, it's just that it's unaffordable, and therefore elitist; and I've lived long enough, and I'm old enough to say, not even as well made, and as great, and as worth the money. So like, 20, or 25, or 30 years ago, these same designers - that's going to bring me to another point - like Marni was around, they were making things - they were on the expensive side, but they weren't on the side that would make you flat broke. It wasn't obscene. So you could actually invest in things that you would have for a lifetime, quality, beautiful things that were well made, that you would have for generations to hand down and all of that, which is what I think it should be, and made in a way that's not cheap themselves, so it's worth you spending that money - your hard-earned money - on that thing, y'know? That doesn't add up anymore; it's not worth it anymore. I have things from 30 years ago, that I still have, that Lily will have, and the make of those things, from those designers, was worth it. Somehow that exchange was a worthy thing, because I'm still wearing it, but that's not happening anymore. Because they can't afford to exist, they can't afford to sustain; it's just all very, very, out of control in terms of economics. The other problem is that the fashion industry is so top-down, and so led by greed and corporations who control, that there's not enough new designers; it's still the same people as 30 years ago, the same people are still governing the whole entire thing. Where is all the crazy, wild voice of youth? Where are the new ones? They were the crazy, wild voice of youth then - where are the new generation? They haven't been allowed; they haven't been given a platform, they've been completely controlled, there's no place for them to exist, because you have to have a lot of money to start, you can't come from nothing anymore, you already have to have a business plan, you already have to have a lot of money...and I think it needs to be completely reinvented, and it's being reinvented, I think, the future of fashion, in the 21st century of fashion, and how it's being reinvented, is by individuality. It's people like you; individuals, and the choices that they make, and how they choose to express themselves, are creating the new fashion. It's not the companies or the designers. What do you feel are the tell-tale signs that someone is being negatively affected by Fashion? Elisa: If I see someone wearing...I mean first of all I see it everywhere in masses and masses and masses...wearing what everyone else is wearing. One of the things that comes to mind are skinny jeans with the slits pre-made en masse. Definitely like, all black all the time... Lily: But mostly, it's also like...super self-conscious all the time, and never good enough - that's the biggest thing, I think. Elisa: But like, how do you see that? Lily: Well I guess you can't see that, but you hear it all the time. Elisa: I feel like it's just everywhere, y'know? The same pant, the same boot, the same bag; it's like an army of people in the same exact thing, or some iteration of that thing? And it's not the original thing - it's like this desperation...they want so much to buy into this, but the fashion is just created as 'what is fashion'? And there is this notion of fashion being this certain thing and it's a certain kind of bag - an iteration of that bag - black generally...it's like this very homogeneous, monotone sort of look that has no colour, or ethnicity, or indigenous feel...just a very bland kind of homogeneous sort of look....there's nothing very real about what they have on...worn, real from somewhere that they might have picked - a premade look to it. Lily: Or someone who's keeping up with every sort of trend. Elisa: Yeah...but a trend, now, is another pet peeve for me, because a trend used to be something that came from politics and war and passion, and trends were kind of cool. They came from your feelings about something. Now trends come from the boardroom. From people that are just trying to get your money; as opposed to a trend that is coming from culturally verdant and fertile, and passionate - there's a look to that. It's come from a corporate boardroom, not a soulful person doing something very passionate. And then there's another thing that I wanna say about it too; with women, there's a look that they have, when the look is for the male gaze. Kind of an overt sexuality, a look that has been created by men, again a corporate boardroom of men, and what women think about how they're supposed to dress, than men are going to like. That, to me, is a negative sign.
What do you feel has been the most negative aspect of the #WhatsUnderneath campaign, and is this something you feel that you can change? Elisa: Oh we want to change everything. Lily: The thing that we can change, is that we can awaken people to realise that they can feel good about themselves, they don't have to hate themselves. We can't change the whole industry, or the fabric of the economy, but it will change at the most, that each person recognises their own power to wake up to the fact that they don't have to hate themselves. Elisa: We want people to understand that self-love is a right, and is how it's supposed to be. We are supposed to love ourselves, because then we are in our highest potential, and then we can do anything. So we feel that if we can get people to understand that, and to work on that, and to awaken themselves to that, then everything comes tumbling down, and the world changes. So it's coming from a place that's inverse to how it is right now; right now, it's created for everyone to hate themselves, so they buy things. That's the biggest problem.
(From l-r) Lily, Youra Truly, Elisa
Spurred on by the honesty of their questions and responses to my answers, I was raring to go by the time Lily had to reach under her own dress to detach her microphone so that I could affix it under my own clothes, in lieu of the overhead mic,that had given up the ghost (or every memory card they had, at least). Initially planning to stay for half an hour, it was over an hour and forty-five minutes later that we emerged from the Pavilion; me feeling decidedly lighter for the catharsis mission collectively nailed by the team I now viewed in the highest of esteem for their continually encouraging and supportive responses to my answers. Here are just a few so you can get the gist of the interview:
Feeling quite ready to take on the world, my newfound strength was tested by returning to the lift that really was not built with wheelchairs in mind. Determined not to let the lack of forethought by the organisers, to allow for wheelchair access at a Diversity event, by not placing the StyleLikeU Studio on the sixthfloor that could only be accessed by a lift barely big enough to fit four adults; I would soon learn that this would not be the first instance where an event casting a light upon Diversity in the Fashion Industry, failed to plan for wheelchair users on the day. Until then, I'll return to my Carer and I speed racing our way to The Clore Ballroom for the Diversity Panel. Thankful for the many staff on hand to direct visitors around the poorly signposted complex, I managed to find the wheelchair ramp that would allow me to join the other visitors assembled for the same talk. Trying to find a spot to slide into, I will say that I was almost instantly approached by a member of staff, who asked me whether I needed him to create a space for me between the reserved benches and narrow seating space set up for the expected audience. Unaware of the awful angle, and not wanting to cause a fuss that would result in an audience of my own, I kindly declined the offer of uprooting anything, and wheeled myself to the end of the row, not realising I had selected a spot behind the panel chair, whom I had expressly come to see - the inimitableCaryn Franklin OBE.
Yours Truly with the ICON that IS Caryn Franklin MBE
After a discreet word with my childhood hero, and the promise of another selfie later, the panel got underway. Consisting of i-D magazine News Editor and All Walks Beyond the Catwalk campaigner, Charlotte Gush; transgender model Tschan Andrews, and beauty standards activist, Harnaam Kaur, Ms Franklin drove straight into the heart of matter after introducing each panellist. Starting with fashion's enormous power to influence taste, emotion, and even our own sense of identity, Ms Franklin suggested that there is an importance in opening up a language that suggested empathy among young creatives that allows them to discuss the issue of gender, before asking Ms Andrews for her thoughts on the subject. Andrews acquiesced, but also pointed out that the topic of gender was much wider than just men choosing to become women; which was the main source of questioningshe receives on a regular basis. Andrews suggested that there was a wealth of gender equality stories that were not being told, and if mainstream magazines would showcase these examplesof stories that existed in the world, then those conversations would create a stepping stone for that language to exist. Ms Franklin suggested that this may be because institutions of power have a very limited and narrow hierarchy, selecting representatives who don't have an experience of diversity, who don't look for it, and don't represent it, despite psychological research showing that diverse organisations with diverse opinions from diverse individuals, create a better launchpad for creative thinking. After a quick pollof the audience on body confidence, Ms Franklin asked for stories from each of the panel on acceptance of their individuality. Beginning with Harnaam Kaur, the audience learned how this beautiful lady, who also happens to have a beard, and had had one from a young age, contemplated suicide because she was unable to control it's growth. Kaur further explained that she decided rather than living with the negative energy of suicide, she would instead try to live positively, and stop trying to remove her beard. It came with more bullying, and more bodyshaming from her peers because of it's visibility, but she found that her journey of 'self love' began. In starting her own journey, she began to notice the individuality of her peers and learned a respect and love for them, and society as a result. Kaur received no counselling or mentoring, instead changing from within using her own strength. Tschan Andrews' turn, we heard that it was not until around the age of 21, when she became free of her parents, that she was able to start truly embracing her inner self. Suffering from anxiety, Andrews explained that the effects of imposed opinions caused her to suffer from extensive trauma for a long time, even when she wasn't in danger. Ms Franklin thanked Andrews for opening the door to the many types of vulnerabilities social pressures can create within us, before asking the previously quiet Charlotte Gush about body hair acceptance within beauty magazines.
(From l-r): Charlotte Guth, Tschan Andrews, Harnaam Kaur and host Caryn Franklin MBE
Telling us of her love of fashion magazines, Gush explained her increasing unease with the singular ideal of thin, young, white models on every page. Growing up in Manchester, Gush said that this ideal did not match the world that she grew up in; having gone to a school filled with mixed ethnicities, genders and religious cultures which she identified as "the joy of life". She found increasing confusion in this lack of representation, and although, as a thin, young, white woman she saw herself represented, she "felt bad that everyone was missing out on that representation". Ms Franklinused this opportunity to interject that it should be recognised that men also face the same issues in lacking representation, and that women should perhaps be reaching out to men to spread the message that we understand what they are going through, and perhaps demonstrating some of the tools of change, and coping mechanisms that we have adopted up to this point. Conversely, Gush raised the point that a lot of the violence facing those who supposedly do not fit the mould comes from men, and cited that as a fact that could not be ignored, along with the question of whether that response came from a place of seeing examples of difference from themselves so challenging that they are forced to react in a violent way. Kaur responded by explaining that she used to feel angry when people stared at her, but eventually reconciled to the idea that people do not know who she is as a person, they simply cannot marry the idea that she has "boobs and a beard!" So now takes it upon herself to approach people with love and compassion. She has experienced problems with menandwomen in the past; but it is actually thewomen, who are more unkind, which shocked her. Society and media impose such pressureon women to remove their body hair, that she feels that the women may be intimidated by the idea of her, and that it is actuallymen who are slightly more accepting of her. At this Ms Franklin suggested that we learned an important lesson, that we not assume stereotypically, based on Kaur's statement. Ms Franklin then went back to the issue of understanding gender variant language, asking Tschan Andrews if she had ever been able to turn something around that had been put in her way? Andrews gave an example where she had given an interview to a major broadsheet who, at the end had asked a question about gender, and ended up making the entire interview about that, by the time that interview went to print. Andrews then went on to ask Kaur about the reasons she thought people saw her as a threat, and whether she thought it had anything to do with social conditioning? To which Kaur responded by explaining that she thought the majority of people who attacked her were insecure women with a greater need for their own self-acceptance, and that she never had that problem with strong women who were comfortable within their own skin.
"I'm sorry to say, but a lot of the time, women step on each other to move up, instead of empowering one another to move forward."
Harnaam Kaur
With Charlotte Gush
Ms Franklin went to Charlotte Guth with the suggestion that we were moving forward to progress, and a time of social acceptance which could, in turn, be making us more accepting of ourselves. Referring to Guth's volunteer position within All Walks Beyond The Catwalk, Ms Franklin asked what more Gush felt we neededto address? Gush explained that seeing other empowered women, empowered her; for instance seeing iconic singer Patti Smith on the front of a magazine with her armpit hair out made her feel not only empowered, but equally proud of her own body hair. She went on to comment that fashion has the power to spread the message that it is okay not to fit the mould, and to accept difference around the world, and encourage racial diversity, so that women around the world can look at a magazine and see a role model that matches them, and encourages strength in their own convictions. At this, Ms Franklin discussed companies who were looking to the next generation, ie. 12-19 year olds as their target audience for sales. She asked the panel whether schools could play a role in promoting good mental health, and self-appreciation as individuals, and getting students to ask themselves where they fit in, in the world, when teachers are so pressed for time in the classroom? Harnaam Kaur agreed that we should definitely see more of this in schools. Tschan Andrews felt that in the same way that there is sex education in schools, there should be a subject matter that looks at the different types of people that there are in the world, ie. gay, straight, transgender, etc. She also suggested that children should be taught different types of history that match their ethnic background, so that they may be able to findstronger ties within their community. Moving on to the contribution of Film and the Arts, Ms Franklin asked whether we are seeing a positive move towards diversity and individuality? Charlotte Gush stated that although there are definitely some adverts (in support), coming from a position of privilege there is an inclination in the whole of media towards a default of white and male. Gush felt that we all had a conscious responsibility to tear ourselves away from that ideal, and collectively work to shift that default until there isn't one. Closing out the panel with final comments: Harnaam Kaur said: "On the topic of schools and education, in Sociology, let's just say, if teachers taught children more about diversity, and being of a different culture, being transgender, having body hair - those sorts of thing as opposed to the stuff I don't even remember now, but, if the people that I was educated with, like the other students, were taught about diversity and being unique, then I would not have gotten bullied as much as I did. Also, to the next generation that we were talking about, I would just like to say, know your worth, and know the gems that you have actually, inside of your heart. Know the power that you have inside of you to just be yourself; the media and society will portray an unrealistic image, but bear in mind that we have Photoshop that gives women big bums and slender waists, and big boobs, so I would like to say know your bodies, accept your bodies, know your self-worth, and actually love yourself for who you are, because you're all so perfect. I'm looking around and I can see beauty in each and every one of you, and I think once you accept that, embrace that, and just capture that essence of yourself, no-one can take you down once you've accepted yourself." Charlotte Gush said: "Seek out inspiring role models...there is so much literature that can show you the different perspectives to mainstream fashion magazines and there are amazing groups that you can go and meet. There is a different narrative; and if you have a privilege that enables you to seek it out without violence, then you should do that, and you should work to make the world a better place for everyone, and more accepting of everyone." Tschan Andrews said: "I definitely wouldn't change my path, because I feel that going through that has made me know myself greater than anyone has..." Kaur added: "I always say to people that once you hit Ground Zero, you can't go any further, you can only hit rock bottom, the only direction you can go from there is up, so regardless of everything that we've gone through, it was a powerful journey, but it's allowed us to be right here and inspire everyone."
That's it for the first half of this mightyevent! Catch the second part - aka THE BIG INTERVIEW, where I talked to Ms Caryn Franklin MBE, and MissCharlotte Gush, News Editor of i-D magazine on my thoughts surrounding diversity - thirty minutes from now. Part three will be out next Monday, 3 October where we move onto the visual portions of the day; as part of MusicMonday's BIG REVIEW, lookout for the Ryan LO retrospective, the dance performance choreographed by Lea Anderson, the People's Catwalk where someone familiar found herself in front of the outdoor masses, and a greatmini-interview with the hilarious radio babes, The MAC Twins to round off - don't miss it, or you'll miss out! Until the next... ES
Photos courtesy of EricaSharlette for EricaSharlette Promotions Ltd., Harpers Bazzar, Shopify.com and Tschan Andrews.
