HARD Magazine // THE FANTASY EDITION

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THE FANTASY EDITION

description

Work HARD, Play HARD. HARD is a tri-annual glossy magazine with a constant digital presence that explores the worlds of fashion, art, film and culture from an original perspective. Our dedicated young team is a creative collective of student writers, photographers, artists and design enthusiasts with a shared passion for quality media. We work HARD to bring our readership inspired and unique content with a playful edge.

Transcript of HARD Magazine // THE FANTASY EDITION

THE FANTASY EDITION

1

FANTASY

When we talk about going to university,

we often liken the experience to living

in a bubble. Cloistered from the out-

side world, our lives revolving around

trips to the library and cheap liquor,

LW·V�HDV\� WR� ORVH� WRXFK�ZLWK� UHDOLW\��7KH� ¶UHDO·� OLIH� WKDW�waits for us after graduation can seem an alien and

scary concept, as well as a place full of the potential to

achieve our dreams.

,Q�RXU�ÀIWK�HGLWLRQ�RI�+$5'�0DJD]LQH�ZH·YH�H[SORUHG�every aspect of fantasy, from the fairy-tale world of

FRXWXUH� IDVKLRQ� �¶0XVW�+DYH� 0DNH�%HOLHYH·� 3���� WR�WKH�OXFLG�GUHDPLQJ�RI�WKH�VXUUHDOLVW�DUWLVWV��¶+LJKWDLOLQJ�5HDOLW\·�3����

Often, fantasy helps us to understand the reality of our

lives in a more heightened way, from the use of non-

VHQVH�ZRUGV�LQ�RXU�HYHU\GD\�OLYHV��¶:RUG�1RQVHQVH·�3�����WR�WKH�PDVK�XS�RI�KLVWRU\�DQG�IDQWDV\�LQ�ÀFWLRQ�SURPLQDQW�LQ�SRSXODU�FXOWXUH��¶+LVWRULD·�3�������

7KHUH�DUH� WKUHH� IDQWDVWLFDO� IDVKLRQ�VKRRWV� IRU�\RX� WR�

feast your eyes on in this edition, as well as our inau-

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ceptionally talented photographers free reign to create

their own fantasy image.

%HIRUH� ¶IDQWDV\·�VWRSV�VRXQGLQJ� OLNH�D� UHDO�ZRUG��JHW�sucked in to the phantasmagorical world created by

photographer and artist Etienne Clément, as Emma

3LNH� LQWHUYLHZV� KLP� DERXW� WKH� EL]DUUH� DQG� EHDXWLIXO�worlds he conjures up behind the lens. Finally, I talked

ZLWK�.HHQDQ�)ROH\��&UHDWLYH�'LUHFWRU�RI�2ULOOR�3URGXF-

tions about how he made his dream career happen.

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6WD\�+$5'�India

EDITORS LETTER

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CONTRIBUTORS

EditorIndia Block

Deputy EditorBethan Sweeting

Head of Production

Grace Marsh

Fashion EditorsAdela IacobovAhmed Khae

Arts EditorEmma Pike

Film EditorJoseph Harrison

Fashion DeputyNowrin Hossain

Arts DeputyNadia Husen

Film WriterGeorge Norman

Fashion AssistantRobbie Hodges

Culture WriterVictoria Rooke

Hard Talk EditorRachel Thompson

Head of IllustrationArtemis Vergou

Head of PhotographyAgatha Torrance

DesignIndia Block

IllustratorsSelina Pope

Will Sharples

AdvertisingGeorgia Mackay

Photo EditorThom Corbishley

Managing DirectorCaitlin O’Kelly

PR + EventsGeorge Johnston

Marketing DirectorGeorgia Mackay

With Special Thanks to Orillo Productions

Hard Magazine is published by:Mixam, Colne Way, Watford, WD24 7ND

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?8I;Q@E<%:FD

38My Beautiful Dark Twisted Fashion

FantasyAhmed Khae

4Toy Stories

Emma Pike

28Spring Awakening

Thom Corbishley

40The Death of Luxury

Robbie Hodges

34Submerged

Agatha TorranceThom Corbishley

42Blog Life

Grace Marsh

6Hightailing Reality

Nadia Husen

8Dream Catcher

India Block

10Not So Super

Joe Harrison

12Historia

George Norman

14Word Nonsense

Victoria Rooke

16Tripping on Reality

Bethan Sweeting

18Broken Dreams

Agatha Torrance

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CONTENTS

22Monochrome

MetamorphosisThom Corbishley

36Must Have Make

BelieveAdela Iacobov

44Trans*forming

FashionRachel Thompson

4

“We all live in

the world

as we im-

agine it, as

we create

it.” These revealing words from

Etienne Clément disclose entirely

what his work evokes: absolute

and unrestrained fantasy stories.

(WLHQQH� &OpPHQW·V� EDURTXH� VW\OH�of photography has been earning

him global interest and acclaim for

over a decade. In 1997, he was

awarded European Architectural

Photographer of the Year. He has

exhibited across the UK, ranging

from the BALTIC Centre for Con-

temporary Art to the Victoria &

Albert Museum of Childhood, ap-

pearing alongside Damien Hirst

and Andy Warhol. He is currently

a member of the Contemporary

Art Society, and in addition to his

numerous solo exhibitions, Clé-

PHQW·V�ZRUN�KDV�HQWHUHG�PDQ\�FRO-OHFWLRQV� LQFOXGLQJ� WKH� %LEOLRWqTXH�Nationale de France, The Geffrye

Museum, Vivendi Universal, Bou-

ygues Immobilier and the Foreign

DQG� &RPPRQZHDOWK� 2IÀFH�� +LV�PRVW� UHFHQW� ZRUNV� LQFOXGH� ¶%RX-

doir: An Exhibition Private View

�����·�VHOI�GHVFULEHG�DV�´FRPSOHWH�debauchery, lustful powdered

wigged men and drunken gallery

girls doing business.” His work fre-

TXHQWO\� LQFRUSRUDWHV� DUFKLWHFWXUDO�LQÁXHQFHV� DQG� PHGLWDWHV� XSRQ�the theme of childhood memories.

In our conversation, Clément ex-

plained to me how he rises to the

challenge of producing narratives

and the dichotomy between fact

DQG� ÀFWLRQ� LQ� KLV� SKRWRJUDSKV�

Having studied at La Sorbonne

DQG� O·(FROH� GX� /RXYUH�� &OpPHQW�established himself as an architec-

tural photographer, his art evolving

to create his striking yet surreal,

and at times sinister tableaux.

His interest in photography was

SLTXHG�E\�KLV�WHHQDJH�DQWLFV��&Op-

ment reminisces about “the kick I

got when nicking photo magazines

from my local newsagent,” which

offered him “a window wide open

onto the world.” He continues to

explain, somewhat mysteriously,

that later his attraction to photogra-

phy was kindled by “hours spent

in the darkroom as an alchemist”.

Clément describes how painting

LQÁXHQFHV� KLV� ZRUN�� LQ� SDUWLFXODU��KLV� ¶:HQG\·V� :RUOG·� VHULHV�� +H�notes that “the starting point for

some pieces is a painting - the

non-verbal thinking par excellence,

LWV� WKHPH� LV�VRPHKRZ� ¶FRQWHPSR-

UL]HG·�� LQWHUSUHWHG�� H[WHQGHG�� SHU-VRQDO�H[SHULHQFHV��UHDO�DQG�ÀFWLRQ-

al, fantasies are added”. Amongst

other things, Clément cites trash,

pop culture and childhood mem-

ories as inspiring his work: “a

personal experience, memorable

events, a trip, a dream, a fanta-

sy, a memory from childhood can

alone also be the starting point.”

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ULHV�LV�FOHDU�LQ�WKH�¶:HQG\·V�:RUOG·�series. The works incorporate dis-

TOY STORIESINTERVIEW WITH ETIENNE CLÉMENT

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THIS PAGE: LA VIERGE DE MIS FABRICORDE !2007", ANNUNCIATION !2007".

OPPOSITE PAGE: LA INFANTA !2008".ALL FROM ETIENNE CLÉMENT’S ‘WENDY’S

WORLD’ SERIES

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EMMA PIKE

6

The moment I rush off the tube and pass through the threshold of the Victoria & Albert 0XVHXP�� ,�ÀQG�P\VHOI�

FRQVFLRXVO\� UHOD[LQJ�� 7KH� SURE-OHPV� RI� UHDOLW\� EHFRPH� QRW� MXVW�GLVWDQW�� EXW� HQWLUHO\� LQH[LVWHQW�as I wind between the marble ÀJXUHV�� $UW� VLQFH� LQFHSWLRQ� KDV�DOZD\V�EHHQ�D�PHDQV�RI�HVFDS-LVP��LJQRUH�ZULWLQJ�WKDW�HVVD\�E\�picking up a paintbrush; watch WKDW� %HUJPDQ� ÀOP� LQ� RUGHU� WR�IRUJHW� \RXU� KHDUWDFKH�� $UWLVWLF�PHGLXPV�SURYLGH� IDQWDV\�ZRUOGV�

LQ� ZKLFK� WKH� SUREOHPV� RI� UHDOLW\���DQ�XQQHFHVVDU\�DQG�XQZDQWHG�DSSHQGDJH�� FDQ� EH� OHIW� EHKLQG��Nowhere is this more possible than when submerged in Sur-realist art; works of Dalí, Breton DQG�.DKOR� IRU� H[DPSOH�� VR� YLYLG�LQ�FRORXU��FDSWXUH�QRW�RQO\�WKH�H\H�EXW�DOVR� WKH�PLQG��7KH�RQORRNHU�HQWHUV� LQWR� D� IDQWDV\� VR� OXFLG�WKDW� LW� EHFRPHV� WKH� QHZ� UHDOLW\��(YHU\WKLQJ�HOVH�FHDVHV�WR�PDWWHU�

In a world where the average individual owns a cluster of elec-WURQLF� GHYLFHV�� UHDOLW\� LV� QHYHU�

HIGH-

TAILING

REALITY

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7

far away. Social boundaries have

become more rigid; life is to be

lived in a particular way that is

dictated by our fear of social iso-

lation. Branching out by being

¶GLIIHUHQW·� LV� QRW� D� YLDEOH� RSWLRQ��and this 21st century fear has led

WR�DQ� LQFUHDVH� LQ�ÀFWLWLRXV� IDQWDV\�worlds (think Harry Potter and the

Hunger Games) in which escape

DQG� LPDJLQDWLRQ� LV��KHUH�DQG�RQO\�KHUH�� VRFLDOO\� DFFHSWDEOH�� 2QH�quick glance at any Surrealist art-

ZRUN�� DQG� LW� LV� FOHDU� WKDW� WKHUH� LV�no absence of imagination. Sur-

realist works are undeniably be-

ZLOGHULQJ�� VWUDQJH� DQG� FDQ� RIWHQ�induce frightening thoughts never

considered before. It is exactly this

aspect that fabricates the fantasy

world that we force our way into.

7DNH� 6DOYDGRU� 'DOt·V� 3HUVLVWHQFH�RI� 0HPRU\�� SHUKDSV� KLV� PRVW�well known work. Melting pocket

watches pool in a barren waste-

land – hardly the most comfort-

LQJ�XWRSLD� WR�ÁHH� WR��%XW�'DOt�KDV�UDLVHG�TXHVWLRQV� IRU� WKH�RQORRNHU��namely the relationship of time

to our lives. The viewer is sub-

PHUJHG� LQ� TXHVWLRQV�� D� IDQWDV\�in which reality is to some extent

forgotten. The markers of time in

the painting are features of our

OLYHV�WRR��DQG�VR�'DOt�KDV�FOHYHUO\�created a fantasy world within our

reality - not separate from it. The

perspective is changing. The ways

in which we view our problems

and reality is altered the longer we

spend immersed in the painting.

An avant-garde art movement

ZKLFK�HYROYHG�LQ�WKH�����V��6XUUH-

alism evolved through the process-

es of Psychic Automatism. The

subconscious was what mattered

WR�FUHDWH�DUW�RI�PHDQLQJ��RI�LPSRU-WDQFH��DQG�RI�WUXWK��%\�FRQQHFWLQJ�to the very basics of who they

ZHUH�� DUWLVWV� OLNH� 0DJULWWH�� (UQVW�and Duchamp created art that was

more truth than anything else they

could have produced. How exactly

they accessed their unconscious

self to unlock these worlds within

WKHP� LV�� RI� FRXUVH�� SHUKDSV� WKH�most intriguing part; alcohol and

drugs in excess goes a long way in

LPSDFWLQJ�WKH�DUW�VFHQH�LQGHÀQLWH-

O\��%UHWRQ·V�6XUUHDOLVW�0DQLIHVWR�UH-

DOLVHV�¶IRUELGGHQ�LV�DQ\�NLQG�RI�WUXWK�which is not in conformance with

DFFHSWHG�SUDFWLFHV�·�7KH�VWLJPD�RI�drugs to create meaningful works

still exists and it is precisely these

socially enforced rules of compli-

ance that were to be destroyed in

6XUUHDOLVW�DUW��LQ�PHWKRG�DQG�LQ�WKH�result through and through. Nar-

cotics meant that any problems

of reality were irrelevant; the fo-

FXV�ZDV�VROHO\�RQ�WKH�DUW��RQ�ZKDW�could come out of the end of the

pencil without conscious thought.

¶([TXLVLWH� &RUSVH�·� ZDV� D� JDPH�in which Surrealist artists of the

����V�ZRXOG��XQGHU�WKH�LQÁXHQFH��GUDZ� RQ� D� SLHFH� RI� SDSHU�� WKHQ�fold and pass it to the next player

without looking at what was previ-

ously drawn. The result would be

one drawing made from collective

GUDZLQJV�� UHYHDOLQJ� WKH�SV\FKH�RI�WKH� HQWLUH� JURXS�� 2EYLRXVO\�� WKLV�process would draw on things

from the arguably mundane real-

LW\�� EXW� E\� FRPELQLQJ� WKHP�� WKH\�created otherworldly inventions

DQG� SRVVLELOLWLHV�� DQG� WKH� IRUFHG�perspective of their lives could be

completely altered. Breton claims

LQ�KLV�PDQLIHVWR�WKDW�WKH\�ZHUH�¶OLY-

LQJ�XQGHU� WKH� UHLJQ�RI� ORJLF�·� �7KH�manacles that logic has imposed

RQ�VRFLHW\�IRU�VR�ORQJ�GRHVQ·W� MXVW�prevent escape from rules and

UHJXODWLRQV��EXW�PHDQV�VRFLHW\�IRU-JHWV�KRZ�WR�XQORFN� WKH�PDQDFOHV��though the key is clasped tightly

in the very same bound hands.

From the founders of Surrealist

art to modern Surrealists such as

%MRUQ�5LFKWHU��WKH�DUW�RI�WKH�PRYH-

ment realises these borders and

distorts them until they no longer

H[LVW�� E\�PDNLQJ� WKHP� D� VHPL�UH-

DOLW\�� :RUNV� OLNH� 5HQp� 0DJULWWH·V�¶/D� 7UDKLVRQ�·� DUH� VHPL�UHDOLW\� ²�

they retain enough resemblance

WR� WKH� OLIH� FRPPRQO\� OLYHG�� EXW�are far enough from this life to

encourage spectators to explore

WKH� SRVVLELOLWLHV� EH\RQG�� WR� HQ-

courage them to break free. As

'DOt�VDLG�� ´7KH�ZRUOG�QHHGV�PRUH�IDQWDV\�� 2XU� FLYLOLVDWLRQ� LV� WRR�mechanical. We can make the

IDQWDVWLF� UHDO�� DQG� WKHQ� LW� LV�PRUH�real that which actually exists.”

%\� WDSSLQJ� LQWR� LPDJLQDWLRQ�� DQ\-

one can access the unreality that

H[LVWV� LQ� WKH� ZRUOG� ZH� OLYH� LQ�� QR�matter how long or hard limits and

UXOHV� KDYH� EHHQ� LPSRVHG�� WU\LQJ�WR�IRUFH�OLIH�WR�EH�OLYHG�LQ�WKH�¶ULJKW·�ZD\�� �7KHVH� FRQÀQHV� FDQ�EH�GLV-

PDQWOHG��DOORZLQJ�XV�WR�OLYH�OLIH�QRW�MXVW�WR�WKH�IXOOHVW��EXW�DOVR�EH\RQG�DOO�LPDJLQDWLRQ��ORJLF�HQWLUHO\�WKURZQ�DZD\��6RPHWLPHV�VHQVH�LVQ·W�QHF-

essary to make good decisions

and impulses should be followed

IRU�QR�UHDVRQ�DW�DOO��5HFNOHVVQHVV�LVQ·W�¶EDG�·�EXW�UHIUHVKLQJO\�KXPDQ��

NADIA HUSEN

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THIS PAGE: LA TRAHISON DES IMAGES !1928"RENE MAGRITTE.

OPPOSITE PAGE: THE PERSISTANCE OF MEMORY !1931" SALVADOR DALI.

8

What are you going to do once you leave university? ,W·V� D� TXHVWLRQ�ZH·YH� DOO� KDG� WR�

stumble through the answer to at OHDVW�RQFH�IURP�HQTXLULQJ�UHODWLYHV��tutors and friends. Even if you KDYH�D�GUHDP�MRE�LQ�PLQG��D�VWDQG-ard grade graduate job with its 23K salary can feel like the only correct answer to give after racking up so much debt for a degree. Keenan Foley knows this feeling all to well. Bursting with ambition to go into WKH�ÀOP�LQGXVWU\��KH�NQHZ�WKDW�WKH�traditional option was to start out

as a runner and slowly work his way up for years before gaining a modicum of creative control. In-VWHDG��KH�DQG�KLV� IULHQGV�GHFLGHG�to eschew chasing the white rabbit RI�D�FRUSRUDWH�FDUHHU�ODGGHU��PDNH�the leap into the unknown and start XS� WKHLU�RZQ�ÀOP�SURGXFWLRQ�FRP-SDQ\��2ULOOR�3URGXFWLRQV�ZDV�ERUQ��with Foley as its Creative Director.

Relaxing on comfy sofas in the achingly trendy renovated Chap-el that Orillo Productions calls KRPH�� \RX� FDQ·W� LPDJLQH� )ROH\�and his co-workers ever crav-LQJ� D� WUDGLWLRQDO� RIÀFH� HQYLURQ-

ment. It has a built in bar for one. 6SUHDG� RYHU� WKUHH� OHYHOV�� WKH�FUHDWLYH�VSDFH�FRPH�RIÀFH� SUR-vides a comfortable launch pad IRU� WKH� WHDP�� ZKR� DUH� FRQVWDQWO\�rocketing all around the country – and often the globe – shooting their projects. Having started out at an incubation hub at York St -RKQV�8QLYHUVLW\�� WKH�PRYH� WR� WKH�Apollo Street studio “has been RXU� VSULQJERDUG�µ� )ROH\� H[SODLQV��´LW·V� DOORZHG� XV� WR� H[SHULPHQW��WR� WU\� WKLQJV� RXW� DQG� WDNH� ULVNV�µ

7DNLQJ� ULVNV� LV� 2ULOOR·V� VSHFLDOLW\��Keenan knew from the outset that

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DREAM CATCHERInterview with Keenan Foley

9

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INDIA BLOCK

10

In a recent interview with Simon

Mayo on Radio 5live, Leonardo

'L&DSULR�UHÁHFWHG�RQ�KRZ�GLIÀ-

cult it was to get Hollywood to

IXQG�KLV�QHZ�ÀOP��7KH�:ROI� RI�:DOO� 6WUHHW�� ,Q� WKH� LQWHUYLHZ�� 'L-Caprio touches upon the epidemic

WKDW�KDV�RYHUZKHOPHG�+ROO\ZRRG·V�output throughout the 21st cen-

WXU\�� +H� DUJXHG� WKDW� +ROO\ZRRG·V�

“studio system has created a cri-

WHULD� IRU� ZKDW� QHHGV� WR� KDSSHQ�IRU� ODUJH� VFDOH� HSLFV�� DQG� WKDW�needs to have a certain amount

RI� H[SORVLRQV� DQG� WKHUH� QHHG� WR�be robots and superheroes…”

Masked heroes have occupied

our screens with almost alarming

IUHTXHQF\� LQ� UHFHQW� \HDUV��PRVWO\�

WKDQNV�WR�WKH�IDQWDVWLFDOO\�OXFUDWLYH�$YHQJHUV� IUDQFKLVH�� :LWK� HLJKW�ÀOPV� LQ� ÀYH� \HDUV�� WKH� VHULHV�KDV�collectively made over 5½ billion

dollars, and is set to make more

with the release, later this year,

RI� &DSWDLQ� $PHULFD�� 7KH� :LQ-

WHU� 6ROGLHU� DQG� *XDUGLDQV� RI� WKH�*DOD[\� �DSSDUHQWO\� LW� IHDWXUHV� D�genetically mutated maniac rac-

FRRQ� YRLFHG� E\� %UDGOH\� &RRSHU��

-XVW�D�FXUVRU\�JODQFH�RI�WKLV�\HDU·V�releases proves that DiCaprio was

QRW� EHLQJ� ÁLSSDQW� ZKHQ� GHVFULE-

LQJ� WKH� FULWHULD� WKDW� D� ÀOP� VFULSW�UHTXLUHV� LQ�RUGHU� WR�JDUQHU� LQYHVW-PHQW�IURP�+ROO\ZRRG��7KHLU�RXWSXW�RI� VXSHUKHUR� IHDWXUHV� LV� UHOHQW-less, bordering on the ludicrous;

accompanying the new Avengers

ÀOPV�DUH�7KH�$PD]LQJ�6SLGHUPDQ���� ;�0HQ�� 'D\V� RI� )XWXUH� 3DVW��7UDQVIRUPHUV�� $JH� RI� ([WLQFWLRQ��DQG�7HHQDJH�0XWDQW�1LQMD�7XUWOHV��

6LQFH�������ZLWK�WKH�FUHDWLRQ�RI�6X-

perman, costumed crusaders have

FDSWXUHG� WKH� SXEOLF·V� LPDJLQDWLRQ��however their popularity has ris-

HQ� H[SRQHQWLDOO\� LQ� UHFHQW� \HDUV�

7KHUH� DUH� QXPHURXV� UHDVRQV� IRU�WKLV��WKH�LQWURGXFWLRQ�RI�FKDULVPDWLF�$�OLVWHUV�VXFK�DV�5REHUW�'RZQ\�-U��to play the main roles; the grad-

XDO� DFFHSWDQFH� RI� WKH� ¶QHUG·� DV� D�FRPPHQGDEOH� ÀJXUH� ZLWKLQ� SRS-

XODU� FXOWXUH�� PDNLQJ� LW� OHVV� RI� D�JXLOW\� SOHDVXUH� WR� HQMR\� WKH� ÀOPV�LQ� WKH� ÀUVW� SODFH� DQG�� RI� FRXUVH��WKH�QDWXUDO�SURFOLYLW\�RI�VXFK�ÀOPV�IRU� H[SORVLRQV�� ���FHUWLÀFDWH� YL-ROHQFH�� DQG� WLJKW� ÀWWLQJ� RXWÀWV��

'HVSLWH� VRPH� UHFHQW� HIIRUWV� WR�UHLQYLJRUDWH� WKH�JHQUH� IRU� D�PRUH�WKRXJKWIXO� SXEOLF�� DV� VHHQ� ZLWK�&KULVWRSKHU� 1RODQ·V� 'DUN� .QLJKW�WULORJ\�� WKH� PDMRULW\� RI� VXSHUKHUR�ÀOPV�UHO\�KHDYLO\�RQ�PLQGOHVV��XQ-

controversial, and easily accessi-

EOH�DFWLRQ�VHTXHQFHV�WKDW�W\SLFDOO\�overshadow the more interesting

DQG� FRPSOH[� WKHPHV� DVVRFLDW-

NOT SO SUPER...

=@CD�&�K?<�=8EK8JP�<;@K@FEILLUSTRATION: WILL SHARPLES

11

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JOESEPH HARRISON

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Fantasy is all around us. %RRNV� DQG� ÀOPV� LQ� WKH�IDQWDV\� JHQUH� DUH� EHLQJ�FKXUQHG� RXW� FRQVWDQWO\��DQG� HYHQ� VXE�JHQUHV�

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HISTORIA

ILLUSTRATION: ARTEMIS VERGOU

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erature, as seen in the cinematic reimagining of Erebor. Most nota-bly, perhaps, was the recent Harry Potter series; although the books are comparatively historically neutral in the way in which they DUH�ZULWWHQ�� WKH�ÀOPV�GUHZ�RXW�WKH�NH\�WKHPHV�DQG�WROG�WKH�VWRU\�LQ�D�KLVWRULFDO� FRQWH[W� WKDW�ZRXOG�KDYH�EHHQ� LPSRVVLEOH� WR� GR� VR� LQ� ZULW-ten form. More overtly in the later ÀOPV�� WKH�VHWWLQJ�VHHPHG�V\QRQ\-mous with the 1940s. Of course, HYHU\� ÀOP� DERXW� DQ� RPQLSRWHQW�DQG� PDOHYROHQW� RSSRVLWLRQ� OHDG-HU��DV�9ROGHPRUW�EHFRPHV��KDV�WR�borrow something from that era of WRWDOLWDULDQ�GLFWDWRUVKLSV��EXW�LQ�WKLV�case, it was very obvious. Cos-WXPHV� VKLIWHG� DQG� EHFDPH� PRUH�¶YLQWDJH·�ORRNLQJ��7KH�VFHQH�LQ�WKH�ÀQDO�ÀOP�� LQ�ZKLFK�RXU�KHURHV�HQ-WHU�WKH�QRZ�VXEVHUYLHQW�¶0LQLVWU\�RI�0DJLF�·�ZDV�ODFHG�ZLWK�V\PEROLVP��WKH�VKRZ�WULDOV��WKH�QHHG�IRU�¶SXUH�EORRG·� VWDWXV�� WHUULÀHG� LQGLYLGXDOV��DQG�D�VWDWXH�GHSLFWLQJ�WKH�WULXPSK�of power were clear allusions to a EURDG� ����V� WRWDOLWDULDQ� FRQFHSW��,QGHHG�� WKH� ¶UHVLVWDQFH·� PRYH-ment that seems to have sprung XS� LQ� YHU\� LVRODWHG� SRFNHWV� VLPL-larly echoes such movements as WKH�)UHH�)UHQFK��ZLWK� WKHLU� UDGLRV�DQG� VHHPLQJO\� SRZHUOHVV� IRUFHV��

But why make such an allusion? Clearly there is little historical point EHLQJ�PDGH��EXW� LW�GRHV� IRUFH� WKH�DXGLHQFH� WR� EDFN� +DUU\� DQG� KLV�companions that little bit more, because we know, from our col-OHFWLYH� KLVWRULFDO� NQRZOHGJH�� WKDW�totalitarianism in the 1940s was not a pleasant force – to put it PLOGO\��3HUKDSV� LW�ZDV�DOVR�D�ZD\�RI�PDNLQJ� WKH�DXGLHQFH� WKLQN� WKDW�¶0XGEORRGV·� ZHUH� EHLQJ� VHULRXVO\�SHUVHFXWHG�� ZLWKRXW� DFWXDOO\� KDY-LQJ� WR� VKRZ� WRR�PDQ\� KRUULÀF� LP-DJHV��7KH�VKRZ�WULDO�VFHQH�PDNHV�YLROHQFH�DQG�GHDWK�DOPRVW�LPSOLFLW�

Despite the occasional serious-ness, history within the fantasy

JHQUH� VWLOO� GUDZV� LQ� WKH� FURZGV��8QGRXEWHGO\�� IDQV� RI� IDQWDV\� HQ-joy many parts of the genre, with one of those many parts being IDQWDV\� ÀOPV� DQG� ERRNV� PDNLQJ�SOD\IXO� QRGV� WR� KLVWRU\�� )DQWDV\�fans enjoy seeing references to SDVW� KLVWRULHV� �DQG� WUDGLWLRQV�� LQ�ÀOPV� DQG� ERRNV�� EHFDXVH� RI� WKH�QHHG� WKDW� DOO� RI� XV� SRVVHVV�� WR�FRQQHFW�WR�RXU�FROOHFWLYH�SDVW��$QG�fantasy presents those of us with a small preconception of the past ZLWK� DQ� DFFHVVLEOH� DQG� HQMR\DEOH�ZD\� RI� OHDUQLQJ� DERXW� DQG� VKRZ-LQJ�RII�RXU�KHULWDJH��7KH�ERRN�DQG�79� VHULHV� ¶*DPH�RI�7KURQHV·� KDV�recently swept across the USA, connecting Americans back to their European routes through its quasi-historical presentation RI� ¶:HVWHURV�·�� ZKLFK� UHDGV� DO-PRVW� OLNH� D� JHQHULF� PLG�0HGLHYDO�state; its rebellious, semi-auton-RPRXV� ORUGV� DQG� SURYLQFHV�� DQG�EUXWDO� SUHVHQWDWLRQ� RI� D� ZRUOG�constantly at some level of war.

+DYLQJ� VDLG� WKDW�� ¶*DPH� RI�7KURQHV·�LV�DOVR�D�ÀQH�H[DPSOH�RI�that other pitfall of history in fanta-V\�� LQWHUSUHWDWLRQ�� $V� D� SUHVHQWD-WLRQ� RI� D� VWDQGDUG� PLG�0HGLHYDO�European state, it has a certain VODQW��:LWK�WKH�IRFXV�RQ�ORUGV�DQG�kings, the lower, peasant classes are pretty much non-existent. Un-GRXEWHGO\��WKH\�DUH�LPSOLHG��DQG�WR�SXW� WKHP� LQ� ZRXOG� KDYH� SUREDEO\�MHRSDUGLVHG� WKH� SORW� OLQH�� EXW� WKH�wilful passing over of what proba-bly is, in the book, the single larg-est group of people in the whole LPDJLQDU\� ZRUOG� ZRXOG� KDYH� KDG�+REVEDZP� DQG� 7KRPSVRQ� VSLQ-QLQJ�LQ�WKHLU�JUDYHV��7KDW�PLJKW�QRW�seem like the most important thing, DQG�LW�PD\�ZHOO�VHHP�UDWKHU�SHGDQ-tic, but it is important. If people are UHDGLQJ�RU�ZDWFKLQJ�D�ERRN�RU�ÀOP�VHW�LQ�WKH�SDVW��WKH\�GR�WDNH�WKLQJV�IURP� LW�� DQG� WKHVH� WKLQJV� EHFRPH�LQJUDLQHG� LQ� SRSXODU� XQGHUVWDQG-ing of the past. But a fantasy book QHHGV� QR� UHIHUHQFHV� RU� ORJLFDO�

argument to come to those con-FOXVLRQV�� ,W� FHUWDLQO\� GRHVQ·W� QHHG�the peer reviewing that forms the EDVLV� RI� PRGHUQ� KLVWRULFDO� VWXG\��$QG� VR�� VRPH� IDQWDV\� ÀOPV� FDQ�VSUHDG�EDG��SRRUO\�UHVHDUFKHG�KLV-tory to the masses, unconsciously.

It is important to remain aware of historical subtexts, as it is more useful to think about the past in the fantasy genre even if we are RQO\� VOLJKWO\� LQIRUPHG� DERXW� WKH�WLPH� SHULRG��1RW� RQO\�ZLOO� \RX� JHW�more out of the story, but also you are less likely to sleepwalk into believing, for instance, that HYHU\RQH� LQ� WKH� PLG�0HGLHYDO�SHULRG� ZDV� D� PHPEHU� RI� WKH� DU-istocracy. Ultimately, the history LQ� IDQWDV\� ÀOPV� DQG� ERRNV� LV� DQ�integral part of the genre. Yes, it LVQ·W� DOZD\V� SHUIHFWO\� DFFXUDWH��EXW� LW� LV� D� JRRG� ZD\� RI� HQJDJLQJ�people with events of the past.

GEORGE NORMAN

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NONSENSE

ILLUSTRATION: ARTIMIS VERGOU

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TRIPPING ON REALITY

16

“If the doors of percep-tion were cleansed everything would ap-pear to man as it is, LQÀQLWH�� )RU� PDQ� KDV�

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STYLISTS: ADELA IACOBOV AND AHMED KHAESTYLISTS ASSISTANTS: NOWRIN HOSSIAN AND ROBBIE HODGESMODELS: VICTOR MAURICIO, AIMEE NAZROO AND PIPPA STACEY

MAKE UP: ANJA PEEBLES BROWNHAIR: JORDAN BONNER

PHOTOGRAPHY: AGATHA TORRANCE

18

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STYLISTS: ADELA IACOBOV AND AHMED KHAESTYLISTS ASSISTANTS: NOWRIN HOSSIAN AND ROBBIE HODGESMODELS: VICTOR MAURICIO, AIMEE NAZROO AND PIPPA STACEY

MAKE UP: ANJA PEEBLES BROWNHAIR: JORDAN BONNER

PHOTOGRAPHY: AGATHA TORRANCE

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VICTOR WEARS: VARSITY JACKET, TOPMAN, CAMO JACKET, CARHARTT; VEST, TOPMAN; TROUSERS, BARENA VENEZIA; BOOTS, MODELS OWN

AIMEE WEARS: DRESS AND LEATHER JACKET, WAREHOUSE; TOP, WAREHOUSE; LEGGINGS, YUMIPIPPA WEARS: BALLET WEAR, MODELS OWN

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VICTOR WEARS: VARSITY JACKET, TOPMAN, CAMO JACKET, CARHARTT; VEST, TOPMAN; TROUSERS, BARENA VENEZIA; BOOTS, MODELS OWN

AIMEE WEARS: DRESS AND LEATHER JACKET, WAREHOUSE; TOP, WAREHOUSE; LEGGINGS, YUMIPIPPA WEARS: BALLET WEAR, MODELS OWN

MONOCHROMEMETAMORPHOSIS

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STYLISTS: ADELA IACOBOV + AHMED KHAESTYLISTS ASSISTANTS: NOWRIN HOSSAIN + ROBBIE HODGES

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MAKE UP: CHERRINE CHENPHOTOGRAPHY: THOM CORBISHLEY

WITH THANKS TO ORILLO PRODUCTION

RORY WEARS: OPPOSITE -JUMPER, GIVENCHY; TROUSERS, H&MTHIS PAGE - JUMPER, NOM DE GUERRE

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LAVINIA WEARS :OPPOSITE - DRESS, BOUTIQUE; GLOVES AND HAIR

BOW, STYLISTS OWNTHIS PAGE - DRESS AND NECKLACE (WORN AS

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Spring AwakeningSpring Awakening

SpringAwakening

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Stylis

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This page - Hannah wears: Skirt and Jumper, both Topshop. Lucinda wears:Skirt and Tops, all Topshop

Overleaf - Hannah wears:Jumper and Jeans, Topshop; Shirt, Vintage.Lucinda wears: Cardigan, Topshop; Shirt, Vintage; Skirt, Stylists own. Shoes, Model’s own

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INTERVIEW WITH ETIENNE CLÉMENT

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SUBMERGED IAgatha Torrance

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SUBMERGED IIThom Corbishley

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The rise of fantasy and fantastical elements in hip-hop style over the SDVW� ÀYH� \HDUV� LV� DQ�interesting develop-

ment in a culture that, not even a decade ago, was championing the cool of overly baggy denim DQG� 7RPP\� +LOÀJHU� WKURZEDFNV��

As hip-hop acquired increasing-ly capitalistic ideals towards the end of the 1990s and beginning of the 2000s, the styles of many VWDUV�EHJDQ�WR�UHÁHFW�WKHLU�JURZLQJ�

EDQN�EDODQFHV��7KH�HXUR�WUDVK�WUL-fecta (Dolce & Gabbana, Versace and Armani) began appearing RQ� PRJXOV� VXFK� DV� 3�� 'LGG\�� ���&HQW� DQG� -D\� =�� )DQFLIXO� IDVKLRQ�WUHQGHG�� LQGLYLGXDOV� OLNH�&DP·5RQ�WRRN� WKH� FRQFHSW� RI� SHDFRFNLQJ�WR� QHZ� OHYHOV� E\�ZHDULQJ� SLQN� RQ�a regular basis, and Kanye West developed an obsession with SLQN� 5DOSK� /DXUHQ� SROR� VKLUWV��

In fact, it was Kanye who would go on to instigate one of the great-est paradigm shifts for fashion in hip-hop, particularly the rise of WKH� IDQWDVWLFDO�� +LV� ����� UHOHDVH�¶���V� DQG� +HDUWEUHDN·� SURGXFHG�trends that reverberated through-out hip-hop and helped to trigger the shift in fashion that occurred DW� WKLV� WLPH�� .DQ\H� ZDV� DOUHDG\�an outsider in hip-hop, sporting an ivy-league inspired wardrobe and displaying middle class sen-VLELOLWLHV� ZKHQ� EUHDNLQJ� LQWR� WKH�PXVLF� VFHQH� ZLWK� KLV� GHEXW� ZRUN�¶7KH� &ROOHJH� 'URSRXW·� LQ� ������

¶���V·� JDYH� XV� WKH� LFRQLF� LPDJH�of Kanye, a weird world illustrat-HG� E\� WKH� LQIDPRXV� JUDIÀWL� DUWLVW�KAWs, with his perfectly tailored KHUULQJERQH� JUH\� VXLW� DQG� /HJR�ORYH�KHDUW��7KH�HVFDSLVP�FRQMXUHG�E\� WKH� DOEXP� ZDV� YHU\� UHDO�� MXVW�three months previously Kanye KDG� ORVW� KLV� PRWKHU�� EURNHQ� XS�ZLWK�KLV�WKHQ�ÀDQFpH�DQG�EHJXQ�WR�VWUXJJOH�ZLWK�KLV�QHZ�IRXQG�IDPH��7KH�HVFDSLVW�QDWXUH�RI�KLV�SURMHFW�had blurred the lines between art, IDVKLRQ�DQG�PXVLF�LQWR�D�GDUN�IDQ-WDV\� ZRUOG� RI� .DQ\H·V� FKRRVLQJ�

This idea of an otherworldliness and detachment from reality is vividly reimagined in his current <HH]XV� WRXU�� 7KH� DYDQW�JDUGH�DÀFLRQDGRV� DW� WKH�+RXVH� RI�0DU-WLQ� 0DUJLHOD� KDYH� FRQVWUXFWHG�

KLV� HQWLUH� ZDUGUREH� IRU� WKH� VKRZ��:HDULQJ� WKH� QRZ�LFRQLF� 0DUJLHOD�PDVNV� RQ� VWDJH�� .DQ\H� DSSHDUV�DV� D� IDQWDVWLFDOO\� DOLHQ� SHUIRUPHU��The singer has also displayed his willingness to defy gender norms E\� GUHVVLQJ� XS� LQ� VNLUWV� DQG� NLOWV�GXULQJ� WKH� WRXU� IRU� KLV� ¶:DWFK�WKH� 7KURQH·� DOEXP�� ZKLFK� WR� WKH�¶WUDGLWLRQDO·� KLS�KRS� FRPPXQLW\�seemed an absurd fantasy becom-LQJ� UHDOLW\� EHIRUH� WKHLU� YHU\� H\HV�

By executing such concepts with QHUYH�DQG�ÁDLU��.DQ\H�KDV�RSHQHG�WKH� ÁRRGJDWHV� IRU� RWKHU� DUWLVWV��who have also begun to toy with WKH� LGHD� RI� GUHVV� LQ� KLS�KRS��7KH�rise of cloud rap, an ethereal, drug-hazed form of the culture (most notably demonstrated by $�$3� 5RFN\�� KDV� DPDOJDPDW-HG� LWVHOI� ZLWK� .DQ\H·V� JUDQGHXU��bringing fantastical reality to its consumers via the dress that its SURSRQHQWV� DGRUQ� WKHPVHOYHV� LQ��

True, this is a fantasy for which the reality is not available to the PDMRULW\� RI� WKH� FRQVXPHU� EDVH��with expensive brands such as Balmain, Balenciaga and the JRWK�QLQMD� 5LFN�2ZHQV� RFFXS\LQJ�D�PDMRU�SODFH�LQ�WKH�ZDUGUREHV�RI�LQGLYLGXDOV� OLNH� .DQ\H�� +RZHYHU��the elegantly blurred nature of the genre lends itself well to some of the outlandish pieces that these in-dividuals wear, adding immeasura-EO\�WR�WKH�IDQWDVWLFDO�HIIHFW��7KHVH�KLJK�HQG� ODEHOV� KDYH� HYHQ� LQÀO-trated mainstream hip-hop, with SRSXODU� UDSSHUV� VXFK� DV� 'UDNH�DQG�)XWXUH� WDNLQJ� LQVSLUDWLRQ��7KH�proliferation of these fantastical el-HPHQWV�VKRZV�QR�VLJQ�RI�DEDWLQJ��Perhaps, in our recession fuelled time, such fantasy in dress may be necessary in order to allow us an experience of the world of es-FDSLVP� .DQ\H� H[SORUHG� LQ� �����

AHMED KHAE

?8I;Q@E<%:FD

MYBEAUTIFULDARK

TWISTEDFASHIONFANTASY

40

As you saunter through the hotel lobby, the clack of your shoes keeping rhythmic pace whilst you dart over

trains of crepe and slide past countless satin lapels, you call, in your hot-honeyed voice, to the bartender “shaken not stirred” – he NQRZV�ZKDW�\RX�PHDQ��´,·YH�PDGH�LW�µ�\RX�WKLQN�WR�\RXUVHOI��\RXU�ÀQH-ly dressed arm poised on the chic DUW�GHFR� EDU�� :LWK� D� ÁRXULVK� RI�his hand, Jeeves passes you the Apple Tango and vodka you or-dered. In turning to collect it you trip on your frayed shoelace and catch your jacket on the corner of the bar thus unravelling reams of second-rate stitches. Cursing, you EHQG�GRZQ� WR�À[� WKH�XQUXO\� ODFHV�to the symphony of ripping gar-ments as your thighs are instanta-neously liberated from the in-sea-VRQ� VNLQQ\�ÀW� IRUPDO� WURXVHUV� WKDW�you shelled out for yesterday.

A change is afoot in the fashion in-dustry, one that is placing the fan-WDVWLFDO�SRZHUV�RI�OX[XU\�IDVKLRQ�LQ�

severe danger. It was not long ago WKDW�OX[XU\�ZDV�DFFHVVLEOH�WR�DOO�LQ�the form of individually made and timelessly crafted clothing bought from the local tailor with whom your relationship would mirror that RI�DQ�DUWLVW�DQG� WKHLU�SDWURQ�� ¶/X[-XU\·� IDVKLRQ� WRGD\� VWLOO� UHPDLQV�available to all, but in the form of emblazoned sweatshirts or logo tees offered by brands. Brands founded on values of innovation and individualism, brands estab-lished by designers desirous to spiritually elevate their clients to that transcendental fantasy realm. For a generation strapped for cash and unconsciously craving social validation behind a smokescreen RI� VRFLDO� PHGLD�� VSHQGLQJ� H[WRU-tionate amounts on the smallest VLJQLÀHUV� RI� FXOWXUH� DQG� ZHDOWK��OLNH� ¶OX[XU\·� XQGHUZHDU� RU� D� WHH��is standard. To buy a well-made, artisanal jacket at a respective-ly fair price is not. Most of us are so accustomed to the negotia-tions and disappointments that FRQVWLWXWH� ¶PRGHUQ� OX[XU\·� WKDW�we are numb to the affections af-

IRUGHG� E\� WKH� WUXH� ODS� RI� OX[XU\��

“Bleep”; an online invitation to a formal event. Swamped by im-pending doom, the brisk click of FRQÀUPDWLRQ� LV� UDSLGO\� VXFFHHGHG�by a cyber-sprint through the high street. With no physical or emo-tional connection to the clothes, lustfully you squeal as an indistin-guishable heap of clothing, iden-WLÀHG� DV� D� GHOLYHU\�SHUVRQ� RQO\�WKURXJK� D� )HGH[�EUDQGHG� FDS��knocks on your door. Martyred PRXQGV� RQ� \RXU� EHGURRP� ÁRRU��RII�WKH�UDFNV� ¶OX[XU\·� LV�PLQGOHVVO\�impaled and thrust aside in quest of that one item on which you are willing to compromise. The print may be ugly but hey, your bum looks great. Suppress your hunger for that unforgettable and unaffordable piece that seems to follow you around town, this is way on-trend and so dirt-cheap \RX·OO�QHYHU�KDYH�WR�ZHDU�LW�DJDLQ�

7KH� DERYH� LV� D� ÀUVW�KDQG� YLFWLP·V�report but is no doubt relevant to many. Whilst we mindlessly fall

THE DEATH OF

LUXURY

=8J?@FE�&�K?<�=8EK8JP�<;@K@FE

41

victim to empty high-street prom-ises and deprive ourselves of the euphoric fantasy that luxury has to offer, we turn a blind eye to the crumbling plinth of craftsmanship and aspiration on which the fash-ion industry is founded. Although an enduringly stylish garment that transcends time through its meticulous craftsmanship, such as a Kenzo suit, would be a wise EX\�� LW·V� QRW� JRLQJ� WR�PDNH� \RX� D�VWUHHW�VW\OH�VWDU�ZKR·V�¶UHJUDPPHG·�DQG� VKDUHG� TXLFNHU� WKDQ� \RX� FDQ�VD\� ¶EHGD]]OHG� ORJR� VZHDW�WRS·��For the past decade the question “how has society changed in light of social media?” has been ban-died around, but only now can we see how it has transformed the

fashion world. The shift from the idolisation of eternally beautiful IDQWDV\� SLHFHV� WR� RQH�VL]H�ÀWV�all jumpers is telling of a society KLQGHUHG� E\� DQ� DWWHQWLRQ� GHÀFLW�and an attitude of disposability.

Should we be worried when mod-HOV� KRS� GRZQ� &KDQHO·V� LOOXVWULRXV�FRXWXUH� FDWZDON� FODG� LQ� WUDLQHUV"�As a last-ditch attempt to attract an uninterested and impulsive-ly minded young clientele, yes, we should worry. Is it wrong to ÀQG� +0·V� QHZIRXQG� WLPHVORW� RQ�WKH� 3DULV� )DVKLRQ� :HHN� VFKHG-XOH� GLVFRQFHUWLQJ"� 1RW� DW� DOO�� LW·V�KDUGO\� HWKLFDO� WR� SODFH� +0·V�mass-manufactured fast-fashion alongside artisanal designer col-

lections as exemplars of equally ÀQH� GHVLJQ�� &DQ� IDQWDV\� VWLOO� EH�found in fashion? Whilst the fu-WXUH� LV� EOHDN�� WKH� DQVZHU� LV� VWLOO�\HV�� IRU�QRZ��:KLOVW�ZH� UHÁHFW�RQ�the high-glamour of past fashion with rose-tinted glasses, fantasy is alive albeit on its last legs. It may come in the form of commodity fet-ishism with a vulgar “more, more, more” attitude and not in the form of a luxurious hand-sewn travel FDVH��EXW�ZKHUH� \RX�ÀQG� IDVKLRQ��\RX� ZLOO� DOZD\V� ÀQG� DVSLUDWLRQ�and through association, fantasy.

ROBBIE HODGES

?8I;Q@E<%:FD

PHOTOGRAPHY: THOM CORBISHLEY

42

In our student world of budget

clothing, sale shopping and DIY

customisation, we all need a bit

of escapism. For many, fashion

blogs provide the perfect anti-

dote: we can be transported into a

world free from real-life concerns,

a fantasy realm of material posses-

sions and beautiful people, where

money is no object and designer

clothing comes free. We also want

to be able to relate ourselves to

this world, and imagine ourselves

as a part of it. But searching for re-

ality in the fantasy world of fashion

is not the healthiest undertaking.

Fashion blogs model themselves

as platforms that allow readers

DQ� LQVLJKW� LQWR� WKH� ¶UHDO� OLYHV·� RI�bloggers. Take the example of per-

sonal fashion blogs, which usually

VKRZFDVH� D� EORJJHU·V� GDLO\� RXW-ÀWV��GHWDLOLQJ�ZKDW� WKH\�PD\�KDYH�

¶WKURZQ�WRJHWKHU·�WR�JR�WR�XQLYHUVL-ty or work. However, this attempt

WR�SRUWUD\�¶UHDO�OLIH·�LV�LQ�UHDOLW\��IRU�many fashion bloggers, nothing

more than a façade; a collection

RI� WKH� EHVW� DVSHFWV� RI� EORJJHUV·�lives that present them in the best

possible light in order to gener-

ate blogging success. Readers

GRQ·W� VHH� KRZ� PDQ\� KRXUV� ZHUH�spent preparing for a shoot or

how long it took to achieve a par-

ticular hairstyle, they see only the

ÀQDO�� ÀQLVKHG�� SROLVKHG� SURGXFW��

,W� LVQ·W� RQO\� WKH� KRXUV� RI� SUHSDUD-

tion that bloggers undertake that

is an unrealistic element, but also

the amount of money spent on

products, or rather, in some cases,

products that are given to them for

free in return for a positive review.

Taking for example, a popular blog

DW� WKH� PRPHQW�� ¶$WODQWLF� 3DFLÀF�·�

7KH� EORJJHU·V� PRVW� UHFHQW� SRVW�is a photo-shoot of her, wearing

FORWKLQJ� IURP� -&UHZ� DQG� $626��Valentino shoes and sporting ac-

cessories from Hermes, Cartier,

Karen Walker and Chanel, with

a minimum total cost of at least

������� 7KDW� LVQ·W� UHDO� OLIH�� ,W� LV� D�fantasy world that it is possible

for the average reader to simply

dream of or draw inspiration from.

$V�PXFK�DV�ZH�ZLVK�IRU�¶UHDO�EORJ-

JHUV·� WR� DVSLUH� WR�� IRU�PDQ\� UHDG-

ers, there is an air of romanticism

associated with the admiration of

WKH� PRUH� VXSHUÀFLDOO\� RULHQWDWHG�blogs. The appeal of blogging is

the portrayal of an ideal that we

can dream of achieving in our

own ordinary lives, an ideal that

in reality, is impossible to achieve.

7KHUH·V� VRPHWKLQJ� UHZDUGLQJ�about viewing images of things

=8J?@FE�&�K?<�=8EK8JP�<;@K@FE

BLOG

LIFEILLUSTRATION: ARTEMIS VERGOU

43

that we will never own and know-ing information about people we will never meet, that is simi-ODU� WR� ÁLFNLQJ� WKURXJK� WKH� SDJHV�of glossy magazines; we want ZKDW� ZH� FDQ·W� KDYH�� 7KHUH·V� QR�GHPDQG� RU� LQWHUHVW� IRU� D� ¶VHOÀH·�from a blogger who has just wok-HQ�XS�RU� LV� EUXVKLQJ� WKHLU� WHHWK��:H� FDQ� WDNH� WKRVH� RXUVHOYHV��:H� GRQ·W� FDUH� DERXW� WKH� ODWHVW�FKDSWHU�RI� WKH�ERRN�RI�ER\� WURX-EOHV��:H�ZDQW�WR�VHH�SLFWXUHV�RI�beautiful, well-dressed men and ZRPHQ�� DQG� LI� WKDW·V� QRW� ZKDW�we see, then we move on to the QH[W� EORJ�� DQG� QHYHU� ORRN� EDFN��

Perhaps, then, the world of fash-ion blogging is better viewed as DQ� ¶DWWDLQDEOH� IDQWDV\·�� SRVVHVV-ing the ability to bring us one step FORVHU�WR�WKH�XQWRXFKDEOH�IDVKLRQ�world; readers want to believe WKDW� WKH� IDVKLRQ� LQGXVWU\� LVQ·W� VR�DOLHQ�WKDW�ZH�FDQ·W�IHHO�D�SDUW�RI�LW��,Q�WKLV�FDVH��UHDGHUV�VLPSO\�WDNH�inspiration from the more glam-orous, polished fashion blogs, ZLWKRXW� ZDQWLQJ� WR� DVVRFLDWH�themselves with them or fully em-XODWH� WKHLU� VW\OH��%ORJV�DUH� VHHQ�DV�D�UHIHUHQFH�SRLQW�IRU�UHDGHUV��SURYLGLQJ�D�VRXUFH�RI� LQVSLUDWLRQ�WR�EH�EROG�DQG�FUHDWLYH�ZLWK�WKHLU�VW\OH�� 6XFK� UHDGHUV� DUH� DZDUH�WKDW�PXFK�RI�ZKDW� WKH\�VHH� LV�D�fragment of a fantasy world that does not run parallel with their RZQ� OLYHV��%XW��KDYLQJ�VDLG� WKDW��WKHUH�LV�D�GDQJHU�RI�EHFRPLQJ�RE-VHVVHG�ZLWK�WKH�VR�FDOOHG�¶SHUIHFW�OLYHV·�RI�WKH�EORJJHUV�WKDW�UHDGHUV�VHH� RQ� WKHLU� VFUHHQV�� ,W� LV� HDV\�WR� IDOO� LQWR� WKH� WUDS�RI�FRPSDULQJ�our rather ordinary lives with WKRVH� RI� KLJK� SURÀOH� EORJJHUV��DQG� LW� LV� GLIÀFXOW� WR� QRW� FULWLTXH�ourselves when we see beau-WLIXO� RXWÀWV� DQG� SHUIHFW� ERGLHV��

$�ZRUOG�RI�VWDWV��FRPPHQWV��JHQ-HUDWLQJ�UHYHQXH�DQG�DGV�UHSODFH�the reasons that fashion blogs DUH� VWDUWHG�� WR� VKRZFDVH� VW\OHV�

DQG� LQVSLUH� RWKHUV�� � ,I� SROLVKHG�DQG� SHUIHFWHG� LPDJHV� RI� PHQ�and women are what readers ZDQW� WR� VHH�� WKHQ� ZK\� ZRXOGQ·W�EORJJHUV� SURGXFH� VXFK� FRQWHQW�in order to send their page views VN\� KLJK"� ,I� WKLV� ¶RWKHU� ZRUOG·� LV�what we want to be a part of, WKHQ�WKH�ÀQH�OLQH�EHWZHHQ�IDQWDV\�DQG�UHDOLW\�ZLOO�FRQWLQXH�WR�UHPDLQ�blurred and we must be aware of ZKHUH� RXU� RUGLQDU\� VHOYHV� ÀW� LQ��

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GRACE MARSH

44

?8I;�K8CB�&�K?<�=8EK8JP�<;@K@FE

BHDXW\� GRHVQ·W� KDYH� WR�be restricted by gen-GHU� RU� VH[�� WKH� IDQWDV\�WKDW� IDEULFDWHV� IHPL-nine beauty is being

EORZQ� DSDUW�� 7KH� ERXQGDULHV�KDYH� EHHQ� VKDWWHUHG� DV� PRGHOV�VXFK� DV� &DVH\� /HJOHU� VWUXW� WKH�FDWZDON� LQ� PHQVZHDU�� DQG� DQ-GURJ\Q\� LV� FKDPSLRQHG� VHDVRQ�DIWHU� VHDVRQ�� DV� ZLWK� WKH� WDLORUHG�WKUHH�SLHFH�VXLW� �FRXUWHV\�RI�6WHO-OD� 0F&DUWQH\��� 3URJUHVVLYHO\��WKH� VWLJPD� VXUURXQGLQJ� WUDQV� RU�WUDQV �SHRSOH� LV�EHLQJ�FKDOOHQJHG�E\� WKH� IDVKLRQ� LQGXVWU\�� DV� LQ� WKH�FDVH�RI�&DUPHQ�&DUUHUD��&DUPHQ�LV� D� WUDQV� PRGHO� ZKR� GRHVQ·W� OHW�KHU� JHQGHU�� VH[XDOLW\� RU� RULHQWD-WLRQ�JHW� LQ�WKH�ZD\�RI�KHU�SDVVLRQ�DQG� FDUHHU�� )RU� &DUPHQ� ´JHQGHU�GRHV�QRW�H[LVW�LQ�WHUPV�RI�EHDXW\�µ��

&DUUHUD�� D� UHDOLW\� 79� VWDU�� PRG-HO� DQG�� SRWHQWLDOO\�� RQH� RI� QH[W�\HDU·V� 9LFWRULD·V� 6HFUHW� ´DQJHOVµ��LV��LQFLGHQWDOO\��WUDQVJHQGHU��ZKLFK�PHDQV�SHRSOH�DXWRPDWLFDOO\� KDYH�SUHFRQFHSWLRQV�DERXW�KHU�DQG�KHU�JHQLWDOV��%XW�VKH�LV�SURRI�WKDW�WKHUH�LV� D� ORW�PRUH� WR� EHDXW\� WKDQ� RXW-PRGHG� FLVJHQGHU� LGHDOV�� DQG� DV�D� UHVXOW� VKH� LV� NLFNLQJ� XS� TXLWH� D�VWRUP�LQ�WKH�IDVKLRQ�ZRUOG��:LWK�KHU�PHUPDLG�OLNH�ZDYHV��DQG�HIIRUWOHVV�VH[XDO�DSSHDO��&DUPHQ·V�IDPH�LQ-FUHDVHV�E\�WKH�ZHHN��ZLWK�KHU�IDQV�SHWLWLRQLQJ�WR�KDYH�KHU�EHFRPH�WKH�ÀUVW� WUDQV�9LFWRULD·V�6HFUHW�PRGHO�

.QRZOHGJH� LV� SRZHU�� DQG� LQ� RU-GHU� WR� XQGHUVWDQG� WKH� ÀJKW� WUDQV �SHRSOH�IDFH�LQ�D�ZLGHU��VRFLHW\��OHW�

TRANS*FORMING FASHION

ILLUSTRATION: SELINA POPE

DORQH� WKH� IDVKLRQ�ZRUOG�� LW·V� YLWDO�to understand and use the correct

terminology. To be cisgender is to

identify as the gender assigned to

you by your sex at birth. Whereas

WKH�WHUP�7UDQV�FDQ�RQO\�UHDOO\�FRY-

er the identities of transgender or

transsexual men and women, the

addition of the asterix expands the

WHUP�WR�FRYHU�DOO�SRVVLEOH�QRQ�FLV-

gender identities in the spectrum.

7KHUH�FRXOGQ·W� EH�D�PRUH�XUJHQW�time to discuss this topic. Back in

2009, the athlete Caster Semen-

ya was forced to undergo gen-

der testing by the IAAF because

VKH�ZRQ� D� UDFH�ZKLOH� KDYLQJ� DQ�appearance that is considered

masculine. This prompted the re-

nowned feminist Germaine Greer

to publish an article in the Guard-

ian highlighting the impossibility

of truly delineating between the

biological and the psychological

when sex and gender identities

come under scrutiny. But the me-

GLD�FOHDUO\�GLGQ·W�WDNH�WKH�FKDQFH�to educate itself. Mere weeks

ago, a woman killed herself as a

result of journalist Caleb Hannan

UHYHDOLQJ�KHU�SDVW�DV�D�PDQ�ZKHQ�ostensibly writing about her ca-

UHHU� DV� DQ� LQYHQWRU�� KLV� LQDELOLW\�to separate his subjects gender

LGHQWLÀFDWLRQ� IURP� KHU� DFKLHYH-

PHQWV� SURYHG� KRUULÀFDOO\� IDWDO�

7KLV� RIIHQVLYH� DQG� UHGXFWLYH� RE-

VHVVLRQ�ZLWK�WUDQV �SHRSOHV·�JHQ-

LWDO� DVVLJQPHQW� LV� SUROLÀF� LQ� WKH�media. During an American day-

time TV talk show hosted by Katie

Couric, Carrera was introduced

to the audience as being born a

man, this being the reason she

ZDV� RQ� WKH� VKRZ�� LPSO\LQJ� WKDW�VKH·V� RQO\� IDVFLQDWLQJ� EHFDXVH�RI� KDYLQJ� XQGHUJRQH� WUDQVLWLRQ��She responded by telling Katie

WKDW�WKHUH·V�D�ORW�PRUH�WR�JHW�WKDQ�her genitals. The outcome was a

WULXPSKDQW�YHUEDO�SDUDGH�E\�&DU-PHQ�RQ�ZKDW� LW·V� OLNH�WR�EH�WUDQV��ZKDW� LW·V� OLNH� WR� KDYH�SHRSOH� DVN�you about your genitals on a reg-

ular basis and which issues are

really important to the trans com-

PXQLW\�� 7KH� VKRZ·V� RWKHU� JXHVW�ZDV�/DYHUQH�&R[�ZKR�ZDV�KDUGO\�UXIÁHG�E\�&RXULF·V�SU\LQJ��GHVSLWH�the fact that she was on the couch

DV�WKH�ÀUVW�WUDQVZRPDQ�RI�FRORXU�to produce and star in her own

79� VKRZ� �9+�ȾV� ¶75$16IRUP�PH·��DQG� WKH�ÀUVW� WUDQVZRPDQ� WR�appear in the pages of Vogue Ita-

lia. We learnt from these women

that the preoccupation with geni-

WDOLD�REMHFWLÀHV�WUDQV �ZRPHQ�DQG�distracts us from the real issues.

/DYHUQH� DQG� &DUPHQ� GLVSOD\HG�their substance as well as looks,

and are pioneering the change

as they succeed in an industry

REVHVVHG� ZLWK� WKH� ERG\·V� IRUP�

Carmen stepped into the lime

light last year as a contestant

RQ� 5X3DXO·V� 'UDJ� 5DFH� DQG�her rapid success has seen her

signed with Elite and walking for

WKH� OLNHV� RI� 0DUFR� 0DUFR�� (YHQ�with all this hard work, the me-

GLD� DUH� GHWHUPLQHG� WR� KDYH� KHU�ODEHOOHG� DQG� FDQ·W� JHW� HQRXJK�RI�asking her about her sex change

surgery. She recently said that it

LVQ·W� UHOHYDQW� WR� ZKDW� VKH·V� GR-

LQJ�QRZ��´/LNH��,�ZRXOGQ·W�VLW�KHUH�and ask you about your geni-

WDOV�� ,W·V� LQGHFHQW�µ� &DUPHQ� LV�GHÀQLWHO\� QRW� VFDUHG� WR� WHOO� SHR-

ple to fuck off when needs be.

The fashion industry occupies a

position when it comes to under-

standing identity, and by push-

LQJ� WR� EH�PRUH� LQFOXVLYH�ZKHQ� LW�comes to gender and champion-

LQJ�DOO�IRUPV�RI�EHDXW\��LW�FDQ�VHUYH�to inform society as a whole. Car-

PHQ·V�DLP�LV�WR�EH�D�ZRPDQ�LQ�WKH�entertainment industry and be de-

ÀQHG�E\�KHU�ZRUN��QRW�KHU�JHQGHU�LGHQWLÀFDWLRQ�� 6KH� LVQ·W� ZLOOLQJ� WR�merely be typecast by her status

DV�WUDQV ��%\�XVLQJ�KHU�SURÀOH�DV�a model to speak out, she is at-

WHPSWLQJ�WR�VKLIW�WKH�YLHZSRLQWV�RI�label-judging people, compelling

them to accept the beauty in front

of them, regardless of its particu-

lar form. “Trans people are beau-

WLIXO�� ,W·V�D�GLIIHUHQW�NLQG�RI�EHDX-

ty, and it should be recognised

DQG� UHVSHFWHG�� ,W� VKRXOGQ·W� KDYH�WR� EH�� OLNH�� ¶2K�� WKDW·V� WKH� WUDQV-

PRGHO� VHOOLQJ� WKH� WUDQV� FORWKHV�·µThe fashion industry so often la-

]LO\� UHOLHV� RQ� H[FHVVLYH� OHYHOV� RI�stereotyping. So when magazines

DQG�DGYHUWRULDOV�FKRRVH�WR�IHDWXUH�a trans* model without making the

gender identity of him of her the

IRFXV��LW�LV�D�ZHOFRPH�SURJUHVVLYH�step. The success of models like

Carrera and Lea T (who has mod-

HOOHG�IRU�*LYHQFK\�DQG�IHDWXUHG�LQ�editorials for mainstream maga-

zines such as Vogue, both before

DQG� DIWHU� KHU� WUDQVLWLRQ��� FRXOG�OHDG�XV�WR�EHOLHYH�WKDW�WKH�LQGXVWU\�is displaying signs of learning and

HYROYLQJ� IDU� DKHDG� RI� WKH� PHGLD�LQ�JHQHUDO��7KH\�DUH� OLYLQJ�²�DQG�RXWVSRNHQ�²�SURRI� WKDW� WKH�KHDY-

ily gendered lines drawn around

ZKDW�LV�DQG�LVQ·W�FRQVLGHUHG�EHDX-

tiful are morphing and bending.

The whole construct of gender is

basically one giant fantasy. And

fashion is an industry built on

fantasy, particularly the fantasy

of beauty. So perhaps it is only

QDWXUDO� WKDW� JHQGHU� ÁXLGLW\� KDV�a home in fashion. It may not be

a perfect industry, but when it

FRPHV� WR� WKH� VHQVLWLYH� DQG� QX-

anced inclusion and portrayal of

WUDQV � SHRSOH�� LW·V� D� GDUQ� VLJKW�better than other mainstream

media channels. Gender does

not exist in terms of beauty, and

LW·V� WKLV� YHU\� JHQGHU� EOLQGQHVV�WKDW� JLYHV� IDVKLRQ� WKH� SRZHU� WR�transform attitudes towards trans.

44

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RACHEL THOMPSON

INTERVIEW WITH ETIENNE CLÉMENT

ADVERTISE HERECALL: 07729 999063

EMAIL: [email protected]

Work HARD, Play HARD.

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RI�IDVKLRQ��DUW��ÀOP�DQG�FXOWXUH�IURP�DQ�RULJLQDO�perspective.

Our dedicated young team is a creative collective of student writers, photographers, artists and design

enthusiasts with a shared passion for quality media. We work HARD to bring our readership inspired

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