Showing posts with label opinion. Show all posts
Showing posts with label opinion. Show all posts
The 16%: The upper-class’ refusal to move further up the map and why our arts are suffering because of it
Tuesday, 29 November 2022
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Money talks. It’s something we’ve heard time and time again, and it couldn’t be more prevalent than in the arts industry, where just 16% of creatives are from working-class backgrounds.
In the capital, over 96% of creative economy jobs are taken by people with more advantaged socio-economic backgrounds, leaving barely a slice of wiggle room for anyone else to get through the door. To those of us who are working-class, this sadly isn't news. But what you may not know is that back in the 80s, the creative industry was dominated by work-class forces. By 2011, the numbers told a very different story. It begs a very important question: Why does the arts dig its heels in at the notion of class diversity? What would be so bad about that?
The recent news earlier this month that the ENO (English National Opera) may be pushed into relocating to Manchester due to funding issues was met with widespread backlash, with boss Stuart Murphy turning his nose up at the prospect of the institution moving up north. If you’ve been following the story, you may have also seen national headlines describing the potential move as ‘absurd’ and 'insane', among other things. But I can’t help but feel like this directly contradicts the values underpinning why the ENO began in the first place - to make opera more accessible to all. It could also mean talented people up north may not have to pack up their life and flock down to London, with opportunities arising on their doorstep.
Following the heat, a spokesperson for the institution later claimed that they aren't against moving to Manchester, but rather against 'plucking a location without any consultation'. While concerns about funding and job losses are completely valid, all the London-centric who-ha has left me wondering: why does a move up the map seem to infuriate people so much?
This, of course, makes up just one thread of the larger tapestry surrounding the arts’ class problem, which some have gone as far as to call a class crisis. Whether it’s in fashion, music or the silver screen, it almost feels like a silent scandal. While painfully obvious to anyone trying to break into the industry, it still feels somewhat invisible to others sleepwalking their way in. This makes sense, especially since recent statistics have shown 80% of people in journalism come from an upper-class background. The press - who we turn to for our news and information - has the exact same problem, so of course we barely hear about it. How can you be the mouthpiece for the many, when you largely live in an echo chamber of the minority? It’s easy to turn a blind eye, especially if you have reaped the benefits of class privilege, but it’s a hugely vicious cycle, and to really unpick it we need to begin in the classroom…
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| Opera? In Manchester? God forbid. Credit: Wikimedia Commons |
Let's start at the beginning: education inequality
As London’s Deputy Mayor for Culture & the Creative Industries Justine Simmons previously pointed out in an article for GQ, the problem can be traced back to our national curriculum in schools, which has taken a major hit due to government cutbacks.
What happens when state schools have money stripped away? Well, extracurricular activities and creative subjects take a back seat. In 2018, a study found that the uptake of core creative subjects for GCSE level at state schools had declined by 30% from 2010, in turn dampening the value of the arts and adding a whole other layer of privilege to those who do study them. I know that I personally felt like creativity wasn't nurtured at school, and was even discouraged to take up more than one creative subject for my year 9 options. I felt backed into a corner and even chose to study science further, despite having no real interest in it. After all, if you studied GCSE fine art, you just wanted 10 hours off timetable to doss around, right?
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| It all starts in the classroom. Credit: Unsplash |
Again, being pushed into illusions of 'security' throughout education only ends up perpetuating the idea that the arts are 'not for people like us' and keeps the industry stagnant, remaining as a place only for the 1%.
Many of these kids suffer from chronic imposter syndrome as a result, with little to no understanding of how to break into the industry, and limited access to materials and resources. Not to mention that kick in the gut when they come across people more well-connected than themselves. How is it fair to limit people's imaginations so much? Well, if you don't fit the mould, it seems anything goes...
'It's not what you know, it's who you know'
It may be a trendy buzzword that’s found its way onto your TikTok algorithm, but nepotism is a big player in the arts. If, like me, you’re someone who is in the creative industry or trying to break into it, you’ll have probably been told you needed to work for free, get an internship or sat through a conversation where someone talks at you about how it’s all ‘who you know’. They aren’t wrong, though. Those who have the luxury of financial security have the freedom to explore their creative talents much more easily, and thus are able to get recognised a lot quicker. They can afford the best schools, drama clubs or instruments that nurture their creative endeavours, and have no financial barrier when it comes to taking up that lucrative fashion internship that offers no liveable salary. For the rest of us, there's no denying you have to work harder to get noticed and push your way through a door that's been firmly slammed in your face.
@tiffbaira Not all models start from the same place but we should be honest about the journey! #fyp #modeling #celebs #nepotismbaby #lilyrosedepp #famousmodels #modelingtiktok ♬ Elevator Music - Bohoman
Nepotism in the arts may be part of the silent scandal, but it's plainly obvious to anyone who wants to open their eyes.
Fixated while disenchanted
If we turn our heads to fashion specifically, there's something really interesting going on. On one hand, the industry almost fetishises working-class culture, on the other, it snubs it entirely. From big-budget editorials, models draped in four-figure garments posing in front of a council estate to the explosion of the work-wear trend (if you're willing to foot the three-figure bill) and even a pair of Gucci trainers designed to purposely look worn in and 'dirty' - whether it's an attempt to call out to a wider range of people, or capitalise on some kind of interpretation of an urban, street-style aesthetic, I have to say it's gone down like a lead balloon. If they think illustrating the so-called culture as bleak, sombre and, well, 'dirty', it goes beyond missing the mark, only serving to alienate people more.
Strangely, this seeming fixation - and if we're being honest, appropriation and outdated stereotypes - seems to exist as a paradox to the wider picture of the industry. We're going to take elements of your 'culture', but you ain't buying it.
Like many other parts of the creative industry, fashion is plagued with elitism, because by being working-class, you're instantly at a disadvantage. Sadly, being an exclusive, 'high culture' playground hinges on keeping people out.
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| They'll set you back over 700 quid. Credit: Gucci |
Strangely, this seeming fixation - and if we're being honest, appropriation and outdated stereotypes - seems to exist as a paradox to the wider picture of the industry. We're going to take elements of your 'culture', but you ain't buying it.
Like many other parts of the creative industry, fashion is plagued with elitism, because by being working-class, you're instantly at a disadvantage. Sadly, being an exclusive, 'high culture' playground hinges on keeping people out.
The irony of people who are openly classist trying to dress alt when it’s a direct appropriation of working class culture eh your fashion sense was literally derived from the people you frown deepest upon goodbye
— Aoife 🍒 (@ViperDHiggins) January 25, 2021
Putting a plaster over the problem
Succumbing to box-ticking culture can be equally as damaging, with some working-class creatives speaking out over allegedly being kept on lower wages for longer than their middle or upper-class counterparts. By the same token, advertising yourself as an equal opportunities employer but still expecting people to march down to one of the most affluent parts of central London for a minimum wage internship, again, is not the same as actual inclusion. We need to be so careful to avoid performative change - remember, empty words result in empty actions. It's not about just clearing your conscience.
Succumbing to box-ticking culture can be equally as damaging, with some working-class creatives speaking out over allegedly being kept on lower wages for longer than their middle or upper-class counterparts. By the same token, advertising yourself as an equal opportunities employer but still expecting people to march down to one of the most affluent parts of central London for a minimum wage internship, again, is not the same as actual inclusion. We need to be so careful to avoid performative change - remember, empty words result in empty actions. It's not about just clearing your conscience.
Many of these institutions seem to just be chucking in a few people for diversity so they can toot their own horn about how they're for 'everyone'. We need to move beyond tokenism and box-ticking to create real, equal opportunities and accessibility for the arts. Has anyone thought about just asking what working-class creatives need?
All is not lost
It’s so important we create an environment in which everyone is welcome and diversity of voice is championed. That way, the arts will thrive; more people will turn up, invest and ultimately enjoy it as it’s relatable and accessible for the majority. Hammering down the structure, reformation, acknowledging the privileges you have, and uplifting all voices is the new door we have to carve out for ourselves. Of course, there are already organisations out there aiming to empower all voices like the British Fashion Council, for instance, but there's no doubt we need to see more.
It's important not to forget that some of the industry's best creative souls have come from working-class backgrounds. Inclusion won't water anything down, it'll make the industry richer, fresher, and quite frankly, more interesting.
It’s so important we create an environment in which everyone is welcome and diversity of voice is championed. That way, the arts will thrive; more people will turn up, invest and ultimately enjoy it as it’s relatable and accessible for the majority. Hammering down the structure, reformation, acknowledging the privileges you have, and uplifting all voices is the new door we have to carve out for ourselves. Of course, there are already organisations out there aiming to empower all voices like the British Fashion Council, for instance, but there's no doubt we need to see more.
AMAZING!!! @SalfordArts has LIFTED the ≤25 age bar from the Shelagh Delaney New Writing Award for Manchester-based woman writers - an important step in supporting working-class women like Delaney herself
— noentry (@noentry_arts) November 26, 2022
If @salfordarts can do it, everyone can do it!https://t.co/qljZuRaiXJ pic.twitter.com/xjLjgF2FoD
Right now, in an attempt to preserve itself, the arts industry is facilitating its own suffering. We can no longer look the other way.If we see more Social Mobility in the Arts we will see it reflected in life. Brilliant podcast about working class comedy writing @teresa_burns and @SamanthaLyden. Two incredibly talented individuals making magic together and smashing ceilings. #BritishComedy
— #jenlongden99 (@JenLongden99) November 26, 2022
It's important not to forget that some of the industry's best creative souls have come from working-class backgrounds. Inclusion won't water anything down, it'll make the industry richer, fresher, and quite frankly, more interesting.
From Cottonopolis to Indie style hub: Manchester’s tug of war with fashion
Tuesday, 15 November 2022
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Credit: @afflecks_manchester/Instagram/ITV |
If I ask you to think of the fashion industry, you might immediately be drawn to images of a scowling Miranda Priestly in the big apple, a young designer pushing their way onto a packed-out tube with a million garment bags in tow, or perhaps you think of the star-studded London fashion week, or even the Met Gala. .png)
However, as quickly as it had taken off, Cottonopolis came to an end. Production branched out to the surrounding towns of Bolton, Blackburn, Oldham and Stockport, to name a few, but soon enough, the reliance of importing cotton from distant locations became unfavourable, with production rising in countries closer to the raw material, which could also offer cheaper labour.
But what if I told you that 200 miles from the capital, a new fashion hub is brewing under the surface, ready to claw its way onto the fashion map?
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That's right, Manchester's impact on the fashion industry is a great - but often completely overlooked - one. It feels almost criminal that we still expect up-and-coming creatives to flock like sheep to London when, right under our noses, a new fashion revolution is unfolding in our rainy second city. But to understand where we are now, we have to rewind back over two centuries, when the UK's Cottonopolis was born.
Cotton, cotton and more cotton: The rise and fall of Cottonopolis
At the turn of the 19th century, Manchester cemented itself as one of the biggest international players in pure cotton production, at one point boasting a staggering 108 cotton mills. By 1841, the city had reached its heyday, with imports of raw cotton ballooning to over 200,000 tonnes. The landscape of the city changed, and with it came its new nickname - Cottonopolis.
While the ghost of the redundant trade still lingers along the cobbled streets of Ancoats, Manchester's fashion story doesn't end there.
Its Cotton-laden history has crafted the perfect environment for the fast fashion sector to thrive, but of course, I couldn't write this piece without turning my attention to the obvious - overconsumption. Anyone who has taken a scroll through their TikTok or Instagram will probably be aware of the issues fast fashion poses to the planet. Overconsumption, alarmingly fast trend cycles (Uggs, I'm looking at you!) and the underuse of clothing are just the tip of the iceberg, with over 350,000 tonnes of clothing heading to landfill every year in the UK alone. That's not to say change isn't brewing, and there's no doubt that people are beginning to open their eyes to sustainability issues.
Shopping more consciously and carving out our own personal style so as to not conform to fleeting trends is a vital act of change, and it could start by walking into just one of NQ's offerings. .png)
The factories have fallen silent. What came next?
Off the back of Manchester's booming cotton trade came the formation of The Cotton Board in 1940, which birthed the Colour, Style and Design Centre aimed at encouraging designers and manufacturers to use the material. At the time, cotton was embroiled in a tug of war with nylon, the new 'it' fabric rising in the ranks amongst fashion buffs. In a bid to keep cotton in the now, the organisation held a fashion show in Ancoats - an idea which quickly snowballed throughout the fifties. Many of the items showcased at the time have since found a home in The Gallery of Costume in Manchester's Platt Field Hall - little pieces of history still available to view today.
A second wind: Madchester
Picture this: a sea of baggy flared jeans, bucket hats, funky shirts, cagoules and casual sportswear-styles boogying under the Haçienda roof. Welcome to Madchester - the cultural zeitgeist of the 80s and 90s that spawned the time-transcending indie and hipster fashion scene we still see today.
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| Credit: ITV |
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| Credit: ITV |
What was once an old textile factory was transformed into Manchester's iconic Haçienda nightclub by New Order and Factory Records' Tony Wilson, marrying a whole new musical and fashion movement right where it began all those years ago. The venue reached its peak during the Second Summer of Love, filling the room with party-goers, great music and great fashion. Drawing inspiration from rave culture, retro 1960s styles and hipsters, the term 'baggy music' was coined, sported by the likes of The Stone Roses, Primal Scream, The Happy Mondays, and as we moved into the Britpop era, Oasis too.
The influence of Madchester can still be seen today, joining up two great jewels of the city - music and fashion.
The elephant in the room
If we fast forward right through the 21st century, Manchester's Cottonopolis legacy seems to have come to the surface more than ever before - albeit, in digital form. Many big-name fast fashion brands including Boohoo have taken the plunge and made Manchester their home - the city now at the forefront of the multi-million-pound e-commerce business. And while the city has once again put its stamp on textile production, there is something of an elephant in the room.
Luckily, just one grain of change could be 15 minutes down the road in Manchester's Northern Quarter.
The new Indieopolis
Anyone who has taken a walk through the Northern Quarter will know it's home to a plethora of vintage shops and independent brands. From Pop Boutique to Gone Fishing Vintage, COW to Oi Polloi, and of course, the beating heart of NQ - Afflecks. There's a beautiful tapestry of sustainable, pre-loved clothing at our fingertips, weaving together the soul and youth culture of Manchester today.
Is this the unofficial fashion capital?
From its rich history within the textile and cotton industry, to its unique street style and plethora of independent vintage labels, it could be argued the city - and indeed, the North West in general - has played a much larger role in the fashion industry than many give it credit for.
The footprints of those that walked before are still visible, whether it's in the cocktail bar and restaurant named Cottonopolis, the gangs of kids donning the baggy music style brushing in and out of Afflecks, or the mills still standing like familiar shadows over Ancoats.
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Cottonopolis may be over, but there's no doubt Manchester
is still putting its pin firmly on the coveted fashion map.
A few days ago I asked on my Instagram for questions about anything. But, the two main themes seemed to be journalism and my reading habits. So, while it may seem like an unusual thing to dedicate a whole Q&A to - that's kind of why. Plus, it's a nice light-hearted post to write and a way for you to get to know me a bit more!
Anyway, on with the questions...
Books/reading
How many books have you read in 2020?
So far, I think I have gotten through about 11. To be truthful, I don't really keep count, although I definitely had a bit of a reading slump throughout January and early Feb!
What did you want to be when you were younger? And what is your favourite thing about bookstagram?
When I was younger I was all over the place with regards to what I wanted to be. I've truly been all round the houses - but no matter what, I always seemed to gravitate towards English-y stuff - ranging from being an author, English teacher and, eventually, journalist. No single profession really seems to stand out to me from when I was younger but I do really remember wanting to be an author - I used to write stories all the time.
In terms of why I like bookstagram (for anyone who doesn't know what that is - it's just a community of people who post on Instagram about books), I think it's how supportive the people are. You get a real sense of community from bookstagram and people love interacting with each other. In my experience, it's a really positive space.
Have you always been into reading (or for how long)?
It feels like such a cliche to say but ever since I can remember I've had my head in a book. My dad, in particular, always ensured I was read to/was reading myself so that's was a huge influence. When I was around 7 I enrolled in a book club and as a welcome gift, I got the complete collection of Roald Dahl books which I remember being absolutely over the moon with. And who remembers those reading challenges you could do at your local library? I used to live for those. So, yep, for as long as I can remember I've loved reading!
What was the very first book or series that you remember reading?
If I really think about it, the actual first book I can remember reading is the Night Before Christmas - I must have been about 5 or 6? I can't totally remember. But some huge standouts for me were Roald Dahl's Charlie and The Chocolate Factory, The Twits and, when I was slightly older, Bad Girls by Jacqueline Wilson. Interestingly, I never read the Harry Potter series as a child. For some reason, I never really cared about it and didn't read it until I was in college (I did love it by the way - I was just a little late to the hype).
What was the first book that made you realise you loved reading?
Hmm, this is a tricky one. I can't really pinpoint one specific book - more so collections, series or authors. Michael Morpurgo and Jacqueline Wilson were biggies for me.
How often would you say you read on a weekly basis?
This can really vary depending on what mood I'm in. I can read more than one book in a week or go a month without reading anything. But, on average, I would say I tend to read for an hour before bed on a near-daily basis - on a weekend I will do the same in the morning too. But of course, it depends on how much I'm enjoying the book and what mood I'm in. I've been known to literally sit there and read for 8 or 9 hours straight!
Do you like poetry?
I do, but I don't read it that often, generally because I can sometimes find it a bit hard to consume.
What's your favourite genre?
I actually had to really think about this one because, to be honest, it can fluctuate as I read pretty much every genre. But, generally, I love contemporary fiction, fantasy (I can be very picky with this though) and non-fiction (I tend to like memoirs from people who aren't famous, per-say, but have something to say - some of my favourites include Educated and Boy Erased). But like I said, because I read such a broad range, they'll often be hidden and unexpected surprises for me.
Journalism/blogging
What motivates you to blog even though there seem to be fewer people reading blogs?
My answer to this is pretty simple - I don't do it for the views/number of reads. I write blog posts because I genuinely enjoy it and that's why I carry on - if I didn't write this blog I'd probably be writing down the same things in a journal or something! If I had hundreds of thousands reading my blog, but I didn't enjoy it anymore, I'd stop. So, the same notion is applied here. Of course, it's nice to get feedback on posts and to see that people want to read what I have to say, but, ultimately, it's not the reason why I do it. Interesting question though, it did make me think about something I hadn't given much thought to before.
How did you get into journalism?
You definitely don't need to go to uni to get into journalism, but because I wanted to go to uni anyway, I decided to go and study journalism. My course was a BA(Hons) in Multimedia Journalism and I graduated last year. Throughout my degree, I did a ton of work experience at places like the BBC, local newspapers, and The National Student and just started to feel out what kind of journalism interested me. I really enjoyed writing about fashion (this is still something I love) and wrote about fashion pretty much exclusively for The National Student during my final year at uni. But ultimately, when it came to looking into masters, all of the fashion journalism courses were in London and long story short, I decided it wasn't for me. So, while working on my major project (which I did on fashion, surprise surprise) I decided to start looking for online/multimedia journalism jobs in Manchester.
It's a super competitive industry so I expected a lot of rejections. In fact, I got really down about it at one point because I knew that if I didn't get a job, I'd have to move out and go and live back at home. So, after a lot of rejections (which I'm actually grateful for because I wouldn't have the job I have now otherwise) I struck gold when, after a lengthy new writing test, I got offered an interview as a trending news writer the day I handed in my final piece of university work. It stands out to me because I was eating Pad Thai at the time lol. I, unbelievably, was offered the job and I've been there ever since (it will be a year at the end of this month)! Although now, as well as writing articles, I do some social media bits and am an overnight editor part-time.
I'm well aware that it's extremely rare to get a graduate job straight after finishing uni but, that is what (much to my own disbelief still) happened and I couldn't be more grateful. Though, I'm not going to shy away from the fact that I worked really hard too!
What do you like best about working in journalism?
Hmmm, this is actually a tough one because there's no one single thing. I love writing and having my work read by an international audience is pretty cool! I don't really do any interviewing as part of my current job, but when I was in university, I loved hearing people's stories and giving them a platform to be heard, especially if it was something close to my own heart. I really felt this when I was creating my major project.
How did you get your job in journalism, do you have any interview tips?
I've kind of already gone over how I got into journalism so I'll just try and offer a bit of advice? (I put a question mark because I don't really know how useful it will be, but I'll do my best).
One of the big things for me was getting as much work experience under my belt as possible - email literally everyone multiple times - even if you feel a bit creepy doing so. Don't be afraid to be a tiny bit of a beg - I even asked family and friends if they had any contacts who could help... you never know. Plus, if you're in uni, tutors and the uni itself might have some connections too.
In terms of the interview/application process, I think a tip that isn't talked about that much is making your CV/resume look as creative as positive. If you're heading into the media industry, people are going to expect something to make you stand out. I've seen tons of people who I went to uni with curate really fun, colourful and even interactive CVs - canva is a good website for this.
I also think it's a good idea to make yourself a website. I personally had to do mine as part of my uni course, but creating any kind of free website on Wix or Squarespace etc where you can upload your portfolio, online cv and overall, just showcase your work in one place is good to catch people's attention. Mine's www.chloerowland.co.uk if you were interested!
In terms of the actual interview, I sadly don't have an awful lot of advice. Every job is different and I've heard many journalism jobs are a multiple-step application process. Looking up the company on glassdoor to see what other people got asked during their interviews is maybe a good one. Researching the company, in general, is key as well. I think a lot of the focus in interviews is your work experience and skills so just emphasise those. I don't know... I'm sorry if that wasn't too helpful!
Aaaand... breathe. Congrats if you got to the end of this mammoth post. Feel free to ask me any questions in the comments and let me know if this is something you'd like to see again!
if lockdown, (at least the way it's presented on glossy, rose-tinted social media) was something tangible it would be an instagram influencer who posts throwbacks of herself posing in front of palm trees, bikini bottoms pulled up high, cocktail in one hand, on her eighth luxury holiday of the year. she has her life (seemingly) together and has hundreds of thousands of followers eager to watch her next venture. while at home, she's definitely baking banana bread - and is sure to document the whole thing on Instagram stories. she doesn't sleep in. she's really getting into yoga and meditation and carefully talks us through her brand new manuka honey face mask she splurged on in the name of self-care. oh, and she's learning italian too. she's aspirational, but unattainable. you look at her and think "damn, i want to be like that".
you get the picture, right?
hustle culture is absolutely rife right now in the online world. we may be firmly in the clutches of a global pandemic, but social media isn't short of reminders that we should be being productive - seizing the day, taking advantage of all this spare time. after all, William Shakespeare wrote one of his best works while the plague wrecked havoc across England. i'm sure you've heard that one floating about.
This has been a topic weighing heavy on my mind the last week or so, so i thought i'd jump on here to convey my own grievances with so-called hustle culture right now and my personal experience coming to terms with the fact that it's okay to do nothing.
don't get me wrong, i'm sure for some people, having time on their hands has been a real positive and perhaps helped the creative juices flow. heck, if it makes you feel better, you do what you need to do to get through this challenging time. but, that doesn't mean everyone has to be filling this time with new languages, business ventures or producing something of great importance. it's okay to do nothing, in fact, it's very understandable. sadly, (and i'm sure this isn't just me) there seems to be an increasing pressure to be productive - and that's not realistic for everyone. personally, I'm someone who relies on socialising and distraction as a main tool for keeping my mental health in check - since this lockdown, more days than not, mundane tasks such as simply getting out of bed, showering and washing my face are big wins. i'm struggling, and i'm not afraid to admit it.
it feels like everywhere i look, however, i'm being urged to take advantage of a global pandemic - to use it as an opportunity for self improvement.
there's a bitter irony to the fact that while everything we used to do in order to be productive has been taken away, we're still expected to fill our time. and if we don't, we find ourselves plagued with guilt and a series of why's. why can't you be like her on instagram? why can't just just start that blog post you've been writing for well over a week? why won't you just get up early? c'mon, get up, it's time to create. to exceed and excel. you've got so much time on your hands, let's not waste it. you'll thank yourself when this is all over.
yes, those of us at home have time at our disposal. but it feels as though if you don't come out of this pandemic having written a future Sunday Times Bestseller, abs defined enough to see you compete in the next crossfit games or fluent in french - you've lost, in a way. though, i never quite understood what competition i signed up for in the first place.
that being said, if fitness, writing, languages, whatever it may be, is your thing, then of course do it. i'm not trying to make anyone feel bad for using their time to be productive or to do things that make them happy. but if you don't feeling like smiling, you struggle to get out of bed before 3pm and find yourself never ticking anything off your to-do list beyond cleaning your teeth, that's fine too. that's the point i'm trying to make.
we can't blame ourselves for lack of motivation or concentration. after all, we're constantly being bombarded with news that is changing each and every day - personally, part of my job is to report on it, so i know this fact all too well. if your mind (like mine) is tossing and turning with spiralling thoughts and a chronically "meh" mood - you're not alone, and don't let anything you see online fool you into thinking otherwise.
basically, all I'm trying to say is give yourself a break. if you come out of this having acquired an exciting new skill or inspired to start a business, whatever it may be, then, as long as it wasn't at the detriment of your mental health, that's amazing and clearly helped you get through lockdown. but, by the same token, those who are struggling - sinking more than swimming so to speak - if when you come out of it, all you can say is that you simply got through it, then that's equally as commendable.
as the pandemic brings the world to a screeching halt, for myself at least, the feelings that come hand in hand with this have curated a less than ideal headspace to breed substantial amounts of productivity and motivation. i've just enough to get through the tough days having (by the textbook) achieved nothing in those empty hours.
take it day by day. we will find our way again, once the world isn't in crisis.
- Chloe
From the runway to the high street, it seems feminism has never been so fashionable.
‘Girl power’,‘the future is female’, ‘girl boss’ - slogans that all find themselves on thousands of t-shirts across the globe, and the causes supported by countless celebs. But, in an industry often criticised for being painfully exclusive and unethical, can fashion and feminism truly go hand in hand?
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| CREDIT: OLIVE AND FRANK |
In the last few years, fashion has increasingly been used as a tool to evoke social and political change - we’ve had the red carpet blackout at the Golden Globes in support of the 'Times Up' movement, Chanel’s SS15 feminist runway show which saw Karl Lagerfeld transform the catwalk into a feminist protest march, and seen several brands collaborate with feminist charities.
"There are so many things in the fashion industry that really support feminism, and there is so many things in my opinion that really contradict it and make it an industry that really isn’t fluid and isn’t on point with the political, economic and social values that feminism has"
It might be an industry that unapologetically refuses to shy away from cultural change, but as a magnifying glass is held over its ethics and with consumers demanding more transparency into how their clothes are made, could an industry so desperate to be progressive, be held back by its own historic values?
Hannah Rafter, fashion editor at Enty, thinks so.
"There are so many things in the fashion industry that really support feminism, and there's so many things in my opinion that really contradict it and make it an industry that really isn’t fluid and isn’t on point with the political, economic and social values that feminism has", she explains.
“With the sorts of attitudes towards women, and, I hate to sort of speak of him now he’s passed but, Karl Lagerfeld with his famous feminism catwalk - he could not have been more of a contradiction in terms of the message he was trying to portray and then his behaviour and views in the background, you know, some of the things he’s said about female musicians and models, or women in society.
“He has been completely against the views of feminism, so, for him to then bring out a catwalk on it, is a little confusing to me."
Since the likes of Cara Delevingne and Kendall Jenner were sent down the designer's feminist runway, megaphones and protest signs in hand, it seems as though the lines between cashing-in on a trend and genuinely making a political statement are becoming even more blurred.
New York Fashion Week 2017 saw only seven out of 60 major fashion shows opting to incorporate politics into their clothes, design, or muse. Last year, the number rose to around 25.
But, Lagerfeld is far from the only person to receive backlash from a campaign with seemingly good intentions.
“The same example can be given with Whistles, and the ‘what a feminist looks like’ campaign. Their t-shirt had campaign models such as Ed Miliband and David Cameron who have not always supported the feminist movement", Hannah explains.
“If you are doing something that has so much charity, political, social issues tied to it, if you are going to put yourself out as a brand to do all those things - you have to be so squeaky clean in making sure that everything filters down into the organisation"
In 2014, high-street retailer, Whistles, received criticism following its ‘What a feminist looks like’ t-shirt campaign, after an investigation by The Mail on Sunday revealed the £45 t-shirts were made in sweatshops by women earning just 62 pence an hour.
“You know, I’m a big fan of Jane Shepherdson, and she was CEO at the time, she came out and said ‘I didn’t know anything about that’ and in my opinion, know about it.
“If you are doing something that has so much charity, political, social issues tied to it, if you are going to put yourself out as a brand to do all those things - you have to be so squeaky clean in making sure that everything filters down into the organisation".
According to Fashion United, 75 percent of garment workers in sweat-shops are women, with some earning as little as 1 US cent per hour.
“It has to be in every part of the organisation, not just the consumer-facing ones because people will find out about it - and Whistles is a great example of that", says Hannah.
While some feminist fashion campaigns are accused of being contradictory, on the other side, are the people who feel empowered by wearing feminist slogan t-shirts.
Fashion and lifestyle blogger, Lauren Rosenbaum, uses fashion and slogan t-shirts as a way of expressing that she's a feminist, and through fashion, has found an outlet to publicise her views.
“I’m a very quiet person, I’m really shy and when the topic comes up I do tend to freak out a little bit and just go quiet because I kind of think ‘oh I don’t know enough about feminism' and I don’t want to get any statistics wrong, I don’t want to get facts wrong and start turning people the other way against feminism so, I find that t-shirts are kind of nice middle ground", she explains.
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| Lauren sporting her feminst T-shirts |
The idea of using fashion to empower women is certainly not new - but in the current political climate, Lauren says the platform for using fashion to get people to pay attention to the feminist movement is only getting bigger.
"I think that using fashion to push the feminist message is actually quite ground-breaking"
"Fashion was something that was kind of dictated for women for such a long time, like back in the Victorian era you weren’t allowed to show your ankles and things like that, so I think that using fashion to push the feminist message is actually quite ground-breaking."
Following the Harvey Weinstein sexual abuse allegations, attendees of the annual 2018 Golden Globes graced the red carpet sporting an all-black dress code in support of the Times Up movement.
The fashion-focused protest saw the likes of actresses Meryl Streep and Saoirse Ronan and singer, Lady Gaga, support the movement, which has so far raised over $24 million - making it the most successful GofundMe page in history, and while it may have not been met with unanimous praise, it certainly made a statement.
"I think that kind of flipping that on its head is actually really helpful- especially at such a big event like the Golden Globes. Everybody is interested in the fashion at these events - you go online afterwards and you see like a million articles on what Meryl Streep wore or whatever- it’s crazy", says Lauren.
“I think that us starting to take that back and saying ‘actually we’re going to use our clothes to portray an important message’ is a really good thing and I think it’ll definitely help with the feminist movement.”
One designer who is infusing her own feminism into her work is Chloe Torpey, the owner of independent fashion label Olive and Frank, who says she wants to empower people through her collections.
“I think running a female-led business, it sort of aligns with many feminist values and it’s just getting across that message to women especially, that you can achieve anything and often I think women can underestimate their own potential and I want to drive that home that you can do whatever you want to do, even if it might be a male-dominated environment - you can still go ahead and do that", she says.
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| Olive & Frank |
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| Olive & Frank |
“I think that’s something that just sort of naturally manifested in my brand and my designs because those values are important to me".
After building up a successful online platform with Olive and Frank, Chloe collaborated with the charity Womankind for International Women's Day to create a feminist t-shirt of her own.
“I actually came across Womankind when I was looking for a charity to work with and I just really liked what their mission statement was, that they strive for lasting change in so many women’s lives and I like that what they do is completely across the board - they go from ensuring women have water and food, through to increasing women’s participation in decision-making in government, so I think that just really was something that aligned with me and I wanted to support.
“I then contacted them and came up with the t-shirt design that was inspired by what they do and being a free woman and shining a light on strong women in everyone’s lives.
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| Olive & Frank x Womankind |
“It was a great campaign - I always get a bit nervous when I start any sort of new project like that because you never know what the response is going to be, but I was really quite overwhelmed with such positive responses and I think people just resonated with the t-shirt and with the cause”.
“At the end of the day it’s clothes, it’s not life and death, but if what I create can have a positive impact, I think that’s the end goal.”
Chloe's clothes are all sweatshop-free, environmentally friendly and meet fair wear standards - something she says is an obvious way forward for brands.
“For me, it’s quite an obvious thing that if you’re creating something that has a supply chain, to do it in the best, most ethical way that you can and that’s always been important and been an ethos of mine" says Chloe.
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| Olive & Frank |
“I think my whole brand ethos is about creating really good quality pieces that last and aren’t just throw away fashion, and then ensuring that every person along the supply chain as much as I can, is treated fairly and has a safe working environment -anything I can do to do that is important."
She continues: “It’s a continual process and it’s something I’m always working to try and improve in every area - the sustainability and ethics of the brand overall in every area of the business.
Looking forward, Chloe says her main goal for her female-forward brand is to simply have a positive impact on her wearers.
“At the end of the day it’s clothes, it’s not life and death, but if what I create can have a positive impact, I think that’s the end goal”.
Can feminism and fashion go hand in hand? Yes and no. It's abundantly clear that many feminist t-shirts aren't truly feminist - how can they be when exploitation of women is very much still rife? However, with people like Chloe, who really are doing it the right way, change could be on the horizon sooner than we think...
*This is part of a series of 3 articles I originally curated for my Final Major Project at university last year. All interviews and graphics have been created by me, and pictures have been used with permission from the owners. Also, please note: the piece had to be modified for this blog so it doesn't look exactly the same as it when it was submitted.
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