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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-
JXUDO�¶SKRWR�HVVD\·�VHFWLRQ��ZKHUH�ZH·YH�JLYHQ�RXU�H[-
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.
$V�HYHU��GURS�XV�D�OLQH�LI�\RX�ZDQW�WR�JHW�LQYROYHG
6WD\�+$5'�India
EDITORS LETTER
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2
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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
3
?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
?8I;Q@E<%:FD
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.”
7KH�LQÁXHQFH�RI�FKLOGKRRG�PHPR-
ULHV�LV�FOHDU�LQ�WKH�¶:HQG\·V�:RUOG·�series. The works incorporate dis-
TOY STORIESINTERVIEW WITH ETIENNE CLÉMENT
8IKJ�&�K?<�=8EK8JP�<;@K@FE
5
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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
?8I;Q@E<%:FD
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�
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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
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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
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one can access the unreality that
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essary to make good decisions
and impulses should be followed
IRU�QR�UHDVRQ�DW�DOO��5HFNOHVVQHVV�LVQ·W�¶EDG�·�EXW�UHIUHVKLQJO\�KXPDQ��
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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
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“studio system has created a cri-
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RI� H[SORVLRQV� DQG� WKHUH� QHHG� WR�be robots and superheroes…”
Masked heroes have occupied
our screens with almost alarming
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dollars, and is set to make more
with the release, later this year,
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WHU� 6ROGLHU� DQG� *XDUGLDQV� RI� WKH�*DOD[\� �DSSDUHQWO\� LW� IHDWXUHV� D�genetically mutated maniac rac-
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-XVW�D�FXUVRU\�JODQFH�RI�WKLV�\HDU·V�releases proves that DiCaprio was
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accompanying the new Avengers
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perman, costumed crusaders have
FDSWXUHG� WKH� SXEOLF·V� LPDJLQDWLRQ��however their popularity has ris-
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controversial, and easily accessi-
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NOT SO SUPER...
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11
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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
14
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NONSENSE
ILLUSTRATION: ARTIMIS VERGOU
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TRIPPING ON REALITY
16
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9IFB<EB R O K E ND R E A M S
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
19
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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
21
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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
22
?8I;Q@E<%:FDJ?FFK�&�K?<�=8EK8JP�<;@K@FE
STYLISTS: ADELA IACOBOV + AHMED KHAESTYLISTS ASSISTANTS: NOWRIN HOSSAIN + ROBBIE HODGES
MODELS: RORY CARTWRIGHT, LAVINIA ANNABEL ZANITA-CARTER OWUSUAND HANNAH BENNET
MAKE UP: CHERRINE CHENPHOTOGRAPHY: THOM CORBISHLEY
WITH THANKS TO ORILLO PRODUCTION
RORY WEARS: OPPOSITE -JUMPER, GIVENCHY; TROUSERS, H&MTHIS PAGE - JUMPER, NOM DE GUERRE
23
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LAVINIA WEARS :OPPOSITE - DRESS, BOUTIQUE; GLOVES AND HAIR
BOW, STYLISTS OWNTHIS PAGE - DRESS AND NECKLACE (WORN AS
HEADPIECE), STYLISTS OWN
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HANNAH WEARS:OPPOSITE PAGE: DRESS, ASOS; GLOVES AND MASK, STYLISTS OWNTHIS PAGE: FAUX FUR COAT, MANGO
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Spring AwakeningSpring Awakening
SpringAwakening
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Stylis
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Awakening
30
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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
25
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INTERVIEW WITH ETIENNE CLÉMENT
?8I;Q@E<%:FD8IKJ�&�K?<�=8EK8JP�<;@K@FEG?FKF�<JJ8P�&�K?<�=8EK8JP�<;@K@FE
SUBMERGED IAgatha Torrance
SUBMERGED IIThom Corbishley
35
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SUBMERGED IAgatha Torrance
SUBMERGED IIThom Corbishley
36
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PHOTOGRAPHY: INDIA BLOCK
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MYBEAUTIFULDARK
TWISTEDFASHIONFANTASY
39
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
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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
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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
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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
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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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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