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PROJECT PORTFOLIO

‘GMIHP’

The brief is comprised of three components; Written research outcome, Portfolio of creative practice and a Research and Development file

Creative Research Project Leeds, UK

Gay Men In High Places

THEMSELVES.

“GAY MEN DESIGN FOR

THEY DESIGN FOR THE WOMAN THEY WANT TO BE.”

GOALS

Initial Planning Research

Initial planning of the project and development of ideas.

Outcomes

Secondary and Primary research into the chosen topic area.

Portfolio

Detailed planning and progression of final outcomes.

Curation of final creative portfolio and website.

Module Breakdown

“After you reflect on the skills and knowledge you have acquired during the first two years of your studies and your personal interests and future aspirations, you will choose an area of interest within the fashion branding with communication discipline and you will propose a research project in it.

Upon negotiation with the tutors, you will produce a portfolio of work with creative and textual research outcomes. Both your creative and written work should showcase your critical awareness and understanding of contexts within fashion branding with communication and serve as a point for consideration regarding your future professional practice.”

Module Breakdown

“The aims of this module are:

-To enquire into the fashion branding with communication discipline and your place within it

-To question, review and evaluate fashion branding with communication practices

-To establish a framework to guide you in your creative practice.”

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The brief is comprised of three components; Written Research Outcome, Portfolio of Creative Practice and a Research and Development File.

-Written Outcome Research:

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Can be any form of written literature that works to comment/reflect the chosen topic of interest.

▪ Needs to reflect and compliment the subject matter and is therefore not a stand alone piece.

▪ Must be referenced using Harvard conventions and submitted via a PDF format.

▪ 5,000 Words

▪ 12pt Arial

-Portfolio of Creative Practise

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Most practical element of the module, which will work to visualise and communicate all areas of practical research and creative outcomes.

▪ Should demonstrate an overall application of critical and effective processes.

▪ Must be presented as a functioning website that can be hosted across any platform.

-Research and Development File

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A supporting research and development file with evidence of your learning journey, experimentation, research, critical analysis, reflections through the module in response to sessions and independent work for both components.

Initial Ideas:

-How does Packaging/Presentation work to influence the acquisition of a product?

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Would focus strongly on fashion psychology and visual merchandising theories/practises.

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Could use brand based research to determine new ideas and innovations for the industry.

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Strong focus on how the brand works in response to fashion stimuli as well as the continuous fashion cycle.

Could research trend theory and how this has worked to regulate/change the industry.

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May be hard to create a range of final outputs.

-Does sexuality influence the creativity of designers?

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Inspired by personal experiences at the Mugler Exhibition in Paris.

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Would have basis’ in fashion criticism, sexuality theory and fashion psychology.

Could use iconic imagery to determine photoshoot inspirations as well as content.

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Allows the opportunity for the essay to be very investigative and full of reference points and theories

PMI

‘Sexuality Vs Creativity’

Positive:

◦Interesting topic that is very prevalent within the industry.

◦Opportunity to play upon and then further comment upon different stereotypes within the industry.

◦Has a very personal element to its discussion as I myself are a gay man entering the fashion industry.

◦Scope to explore a lot of different areas that I haven’t yet touched upon within my previous work.

◦Large amounts of commentary/discussion that can be used to inform the written element.

Negative:

◦Could be considered to be a sensitive topic as some may want to deny the research ideas presented.

◦Opportunity to become distracted/diluted due to the sheer volume of commentary presented.

◦Possibility of becoming biased in relation to the research I am discussing to being a gay man myself.

Interesting:

◦May need to decide what role I would want to take when discussing and presenting ideas

Brodie Willis

5 W’s:

Who?

Based upon current creative directors present within industry, overall fashion criticism and generalised fashion psychology.

Where?

Often based in creative director roles within the Paris sphere. To research the topic I will need to utilise journals from the library as well as the internet. Why?

When?

Utilising research from 1900’s to present day, with most research being based off of work from recent creative directors.

What Next?

Research into the commerciality of different creative directors throughout their tenures at their respective houses.

Project based on upon a personal topic of interest. Having already highlighted the issue within my personal development it feels right to explore it.

Sift through academic research on the topic as a whole and then sexuality itself. This will then lead into reasoning as to why so many gay men are already in the industry.

Initial Ideas

House Code Comparisons - Based upon my experiences of visiting the Mugler Exhibition in April. Will look to compare and contrast the various historic house codes presented and how these have changed and developed overtime. This will link to the project due to the fact Mugler was a gay man and the house is now under the creative direction of a gay man. This is the starting topic of the project.

Ballroom/Drag Culture - Will look to assess how ballroom culture has worked its way into the fashion scene and how many gay men would use ballroom as a way of expressing themselves. This was one of the only places in which many LGBT individuals were able to express themselves truly so therefore is a great basis for historical discussion. Could look towards local drag queens for shoots/inspiration.

Evolution of Dress Codes - How have LGBT cultures worked to influence how fashion is approached within the industry. References to the hiding of sexualities and how silent revolutions were used to signify different sexual orientations. This would be based within a historical context and would work to add context to the entire project.

SWOT

Written Element:

-Combining fashion psychology, fashion criticism and academic writing around the topic.

-More of an explorative and investigative, than argumentative tone.

-Will need to ensure that I narrow down topic areas so as to keep the point of view focused.

-Harvard referenced throughout

Creative Portfolio:

-Lots of different tiles that work to visualise all areas of the research and areas of interest.

-Mixture of photography and blog based content.

-Needs to be demonstrate how multi disciplined I can be as a practitioner.

-Will need to be able to be transferred into a website format, that is both visual and engaging.

Reflections:

-Still maintain reflections throughout the project in order to show the progression.

-Work to show the journey of the project and how it has progressed throughout.

-Incorporate throughout research pack to be more conclusive.

Shoots:

-Re-imagining outfits with a more of a human centred focus.

-Based upon research and theories, as well as stories that I have found interesting and inspiring.

-Look to collaborate with other individuals within the uni, as this is an aspect I have shied away from in previous projects.

Class Feedback

As a way of gathering feedback on our ideas we were asked to take part in various activities that looked to assess our ideas. These included:

PMI - In this exercise we went around the room looking at brief idea summaries everyone had put together. In this we then used the PMI analysis to offer our input on the topic. In response to my intial ideas the feedback was often very positive with several of my peers commenting on as to how they thought the concept suited me as a person. Several of the interesting points looked to offer suggestions of various designers and points of reference that others had come across. The minus’ of the exercise looked to highlight that ethical concerns may need to be considered due to the sometimes sensitive nature of the topic.

8 Squares - In this exercise our ideas were passed around the table and expanded upon by those around us. The exercise worked to gather additional interpretations and reference points for each of our projects. The feedback I received related to highlight additional topic areas and further reinforce my proposed use of blog posts in order to best communicate my ideas. Several individuals commented upon whether I would look to include my own opinions/assessment’s of the topic, highlighting that this would be an area they would be interested in understanding.

In terms of the overall feedback I left the session feeling confident in my ideas as a whole. With several of my peers commenting as to how interesting they themselves found the idea, I am now sure that this is the topic I should focus upon and move forward with.

Mockup

When looking to visualise how such an idea would look within my creative portfolio, my tutor suggested creating a library like setup. This would work by grouping all of my different avenues of research, inspirations and outcomes into one easily accessible output. I feel as though this will look the best in terms of blending both blog posts with visual outputs as they’ll be able to be easily seen alongside each other.

By creating a wireframe I wanted to better explore how I would envision the site looking before I begin getting into its research. Additionally, I felt that by doing this I would feel better prepared when it came to choosing a new hosting platform. At this point I am drawn towards using SquareSpace as I now know how to use the platform and feel as though it best represents the vibe that I am going for. However this is an aspect that I will need to further research when the time comes.

Creative Portfolio Wireframe

Presentation

As a way of finalising our ideas we were tasked with creating an presentation that looked to visualise all of our creative outcomes. We then had to present this to the class and to the course leader. When creating my presentation I wanted to make sure that I was able to clearly communicate my ideas and give as much understanding to the idea as possible in order to ensure that the audience were able to understand my intent as well as the initial progress of the project. Main points of feedback were:

-Positive Interactions: Several audience members commented upon how they liked the initial ideas and felt as though there was a large amount of scope for development and progression.

-Clarification on outcomes: Some queries were raised about how I would like to present such a project. With the research being so diverse, I stated that I wanted to utilise a mix of blog based outcomes combined with unique visuals. In this way I would be able to present both unique interpretations alongside visual aids in order for my points of view to be better interpreted.

-Doing too Much: Before closing my course leader suggested that I may need to refine my approach and queried as to whether focusing upon drag culture may be too wide of an approach. With large amounts of research into sexuality based research, she suggested that focus on such a topic may be looking to cast the focus over too broad of a subject area.

In relation to this feedback, I feel as though I need to look back over my initial reference points look to refine my initial ideas.

Finalisation

To build upon comments made by course leader I now need to look to refine my core ideas before moving forward with research. Due to my chosen topic area being very broad I need to ensure that my central ideas are both relevant and of interest to my investigation into such a topic. In this sense, I agree with what my tutor stated about the discussion of ballroom being a bit too far outside of my chosen field. To combat this I have looked back over my notes and came to conclusions surrounding areas of focus I know I definitely want to focus upon. These include:

-House Codes Discussion: Based upon personal experiences of visiting the Mugler exhibition. This has wider implications relating to how the different creative designers look to interpret historic brands as well as how gay creatives have been able to succeed within such an industry.

-The Current Landscape: Discussion surrounding current gay creative directors and brands of influence. This especially relates to Demna’s work at Balenciaga that has garnered large amounts of media attention due to its outlandish takes on modern streetwear. This also has wider links towards the profitability of different designers and discussion concerning gender inequalities.

-Donatella’s Comments: Cross examination of Donatella’s comments concerning gay designers. This looks to branch out towards wider critique on such a topic. These areas of discussion will work well within the curation of my written element and will most often be founded in genuine theory.

Research

“With a particular focus in self-directed learning, you will independently research and develop work around your chosen topic of interest. Seminars will introduce you to practical considerations regarding your research and assist you with managing your project. Group critiques and individual tutorials will ensure you receive regular formative feedback in order to support the development of your project.”

Due to the projects heavy reliance upon varied and appropriate research, I decided to create a different section in order to clearly demonstrate the progression of my research.

As a way of categorising my research I wanted to created a system in which to be able to easily identify sources of interest. This will work to benefit the writing of my essay and will allow me to easily identify notable sources when it comes to curating my written element. This system goes as follows:

-Source of Value: A source that I will refer back to multiple times/use within the written element or to help develop final outcomes

-Relevant But Not Of Value: Information that links back to the main topic but may not present information of value.

-Not useful: A source that has no relevant information despite initially appearing useful.

I will use this system to help demonstrate my reflective practise. This will be a useful tool to refer back to, in relation to the development of my project as a whole.

Donatella Versace: ‘All the crazy stories about me? Mostly, they are true’ - ‘The Times 2016’

It was within this interview that Donatella stated her infamously controversial comments surrounding her assessment of gay designers. Her comments are as follows:

“I love gay people. My friends are all gay. But some of the designers, when they design for a woman, they design for the woman they want to be, you know. They are thinking of themselves. But themselves and the woman are not the same.”

These comments are an integral part in the development of my project. First discovered before I had even begun the semester even I felt as though they were quite out of turn for such a figure to be making.

The rest of the article works to discuss Versace’s late brother as well as her development of the brand as its creative director. The article looks to offer a personal reflection of the designer in which she looks to recount several anecdotes concerning her career.

Due to such this is an integral source that I will most definitely refer back to within the further research of my project.

Reference: Leitch, L. (2016) Donatella Versace: 'all the crazy stories about me? mostly, they are true', The Times Magazine | The Times. The Times. Available at: https://www.thetimes.co.uk/magazine/the-times-magazine/donatella-versace-all-th e-crazy-stories-about-me-mostly-they-are-true-jd3z79kv7

‘Buyology: Truth and Lies About Why We Buy’

By Martin Lindstrom (Full Book) 2009

This book was loaned from the library due to wanting to better understand the psychology behind marketable products. I thought that by loaning it, I would be able to understand as to why some designers look to create unusual products and if there would be any basis as to why gay designers are favoured. However the books main basis, despite interesting, wasn’t really suited to the focus of my project.

-What is the main point of the book? = To inform readers about the link between neuroscience and shopping habits.

-Who wrote it? = Martin Lindstrom

-Why was it written? = To culminate all of Lindstrom’s main research and findings from his career into one place with a loose narrative behind it.

-When was it written? = 2008

-Has the context changed since it was written? = The main messaging and findings remain the same however external influences will have moved on/developed. For example research into visual stimuli and marketing will only be relevant towards the examples of the time.

-Is the evidence presented robust? = Very robust, had a lot of funding behind it however one could argue that some of the findings are based upon personal interpretation in response to the findings presented.

-How did the authors come to their conclusions? = The author utilised relevant research as well as the research of his peers, both present and past, in order to draw conclusions based upon their industry experience.

-Do you agree with the conclusions? = Due to the experience of the author I want to agree with the conclusions, however this is based upon the fact that I don’t have much industry experience myself.

-Why does it add to your knowledge? = The book has added to my knowledge in multiple ways due to the fact that it is split up into a large quantity of sectors e.g religion, sex etc. This worked to cover all areas of different

‘Thierry Mugler: Courtissime’ exhibition at the Musée des Arts Décoratifs in Paris

Having personally visited the exhibition in April, I was amazed at the rich history and expert craftsmanship presented. Having been a fan of the current interpretation of the brand under Casey Cadwallader’s creative direction, I remember leaving the exhibition feeling conflicted. With the archival pieces appearing to have so much more thought and consideration put behind every single aspect of their design, Cadwallader’s interpretations appear mass market in comparison.

Visiting the exhibition allowed me to gain first hand experience of the Mugler brand and develop a deeper sense of appreciation for Manfred Mugler’s work.

From this, I feel as though I will be able to utilise such an experience in order to curate final outcomes. My interpretations and takeaways from the exhibition link to wider areas of interest such as gay men within higher level positions as well as corporate structures.

Brodie Willis

‘Thierry Mugler: Courtissime’ exhibition at the Musée des Arts Décoratifs in Paris

“When You’re A Boy”

Mens fashion Styled by Simon Foxton 2009

I decided to loan this book in order to try and gain inspiration concerning the development of my final outcomes. Knowing I wanted to curate a shoot at some point, I thought that by exposing myself to gay centric fashion photography would work to further encourage the development of my ideas.

However due to the imagery being more male focused and portraiture based, I felt as though the wider topics I am looking to explore weren’t really shown. Despite the images being interesting to look at, I felt as though none of those presented were able to help inspire my project base or facilitate interest in another topic area.

Due to this, the source was not of use and will not be referred back to at a later stage.

“Fashion Since 1900” Valerie Mendes

I originally loaned this book as I thought that there would be some sort of reference to homosexual designers and/or movements created by such. I believed that by engaging in such content I would be able to better understand the history surroudning homosexual’s impact upon the industry.

However the content was very much focused on the industry as a whole, with vast amount of detail put into considerably small developments within industry. Due to this I really didn’t give the source much attention and began to look elsewhere.

Due to this, the source offered little to no development in relation to my wider reading.

Tutorial

In my most recent tutorial, I raised concerns about my research topic being too broad and feeling overwhelmed with trying to cover every possible avenue. We discussed that this was an unachievable feat and that I would need to redefine my focus to ensure that I stay on track.

Off the back of this we discussed Donatella’s comments and looked to interpret if they have any gravity to them. We referred back to garments shown within the Mugler exhibition and looked to interpret the intent behind such designs. This led into discussion relating to human based design and how this practise is utilised across the industry. We discussed that several iconic fashion moments are often not wearable and how this relates to a creative director’s intent.

Another aspect of the tutorial discussed trying to understand the intent behind my research. Looking to explore what I want to get out of the investigation and how this will inform the curation of my portfolio; we discussed how creative outcomes will look to compliment my creative practise.

Reflection

Based on the discussion’s I had just had with my tutor I now need to reassess how I continue with my research, in order to ensure my research remains directed. These new points include:

-Research human based design - This will be used to inform a photoshoot surrounding a re-imagination or interpretation of an iconic fashion moment. We first discussed focusing solely upon the Mugler ‘Lizard’ look however this would be an unrealistic outfit to try to recreate within the time frame. This led me towards Balenciaga’s tape look, as it could be easily recreated and is entirely non-functional.

-Intention - Need to ensure that there is a specific focus/intention behind my investigation. Despite my research being first based upon a unique personal interest I need to think more widely as to how such an investigation will develop my creative practise. Having been encouraged to create both a mix of engaging social media copy as well as blog content within my freelance work, I feel that developing this skill within this specific project may be beneficial towards the greater development of my skills. In this sense my overall portfolio will look to explore various topics of interest in different ways.

-Need to always ensure that I am referring back to my written element and how research can be implemented to better develop the curation of the work. With the essay being a large element of the hand in, I need to ensure that enough sources/different viewpoints are referenced and referred to in order to build a sufficient argument.

Human Centred Design

Based upon the core principles of putting the user in the forefront of the designing process. Extends far beyond the fashion industry and is becoming a much more widely adopted approach within design fields. The core principles include putting the human perspective and scope of emotion into all areas of the design process.

The ideology was first traced back to Professor John E. Arnold the founder of the Stanford University Design Program back in 1958. It is believed the professor thought that engineering design should be human focused; which subsequently coincided with the creative design processes of the 1960’s. The ideology was later developed by Mike Cooley, who is said to have first coined the term “human centred design systems,” in relation to economics, computing and design.

In order for the concept to be adopted properly it requires full user participation, consultation and feedback at all points of the process. It is believed that this approach not only highlights areas that designers may have not yet considered or thought of but also add an element of emotional transparency. However due to users needing to be compensated for their time, input and experience the approach is often discarded. Additionally, in some industries the creative process is considered to be individual and a unique form of artistic expression. This often results in outcomes that are a direct reflection and extension of the designer; a process that doesn’t often allow for third party input. The approach has also been criticised for only providing present-day solutions, whilst almost ignoring the possible implications of the future.

Human Centred Fashion

In relation to the fashion industry design that is human centred refers more to functionality of the end product rather than the process. Often functional qualities are the main focus of marketing campaigns as brands look to differentiate from the competition. This has led to the invention of new fabrics and treatments that work to resolve user related problems. Industry leaders in this area can often be found in the outerwear category with industry leader such as Arcteryx and The North Face being praised for their technological advancements.

However in terms of modern day functionality the main debate comes in the form of the differences between men’s and women’s clothing; especially in relation to the inclusion of pockets in clothing. With Christian Dior having been allegedly quoted as saying “Men have pockets to keep things in, women for decoration,” it becomes easy to see the disparity between the two sexes. The desire to leave pockets out of women’s clothing is said to have been a result of men wanting to maintain power. By not allowing women the option to carry any tools or belongings with them it was believed that they would be less likely to try to escape. As the style of the 1800’s turned towards a slimmer silhouette, pockets in women’s clothing were to be deemed socially inappropriate. It wasn’t until the The Rational Dress Society campaigned for more comfortable women’s clothing in 1891. We then saw Coco Chanel begin to show pockets into women’s clothing in the 1920’s.

*Will need to refer back to such research when beginning to develop my final outcomes.

“The Glass Runway: How Gender and Sexuality Shape the Spotlight in Fashion Design.”

Allyson Stokes 2015 (Full Paper)

Through my research into human based design I stumbled across the work of Allyson Stokes. Having spent several years researching both sexuality and gender based topics, her 2015 study investigating the impact of gay men within the fashion industry is not too dissimilar from my own investigation.

The main basis looks to compare the accreditation of gay males within prestigious fashion awards (particularly CFDA awards), with those won by women. This is then cross referenced with both fashion history and media conversation to determine the reasoning’s behind such widespread accreditation of white gay males within the fashion design sector.

The commentary surrounding the study looks to build upon the ‘Glass Escalator,’ theory, first developed by Christine Williams within 1992. In this original study, Williams looked to assess how male figures who work within traditionally female professions are not only accepted but pushed ‘up’ the escalator to maintain stereotypical assumptions of masculinity. Stokes looks to build upon these findings and offer further contextual references in relation to a basis within the fashion design sector.

Stokes’ study looks to provide vital commentary and opinion in relation to the development of my investigation. Offering both industry based commentary as well as several jump pads onto further studies of interest, this work will be very useful in terms of informing my written element.

Reference: Stokes, A. (2015) “The glass runway,” Gender & Society, 29(2), pp. 219–243. Available at: https://doi.org/10.1177/0891243214563327.

Notable Subject Matter/References:

-“Fashion is a feminized occupation, widespread occupation, widespread perception that gay male designers are advantaged in receiving awards, publicity and praise. ”

-“Gender markers warrant long hours and intense commitment as being valued however female counterparts may not be able to afford these hours whilst gay men can (e.g childcare etc).”

-Between 1981 and 2013 98 men received CFDA awards vs 29 women”

-Feminist scholars have long argued that patriarchal cultures afford men the power to determine aesthetic standards of femininity.

-”Their success poses little threat to hegemonic masculinity, being limited to the boundaries of a feminized field that heterosexual men are less inclined to enter. Gay men benefit from masculine privilege relative to their female peers, but only because the space fashion design offers exists in a context of broader hegemonic masculinity and heteronormativity.

The Glass Runway Stokes 2015

Further Areas To Look Up

-Carole Cadwallader 2011 via The Guardian “Vogue is not a magazine for children”: Is a very personal and negative assessment on gay designers and would look to add wider discussion surrounding negative opinion.

-Eric Wilson 2005 via The New York Times ” In fashion who really gets ahead“: Look to assess the landscape and offer visualisation of the very obvious differences in approach by both male and female designers.

-Andrew Whitty 2012 via Gay Star News “Why gay men love creating women’s fashion”: Offers fashion critique on gay designers and offers reasoning as to why they are in such a profession.

-Christine L. Williams 1992 “The Glass Escalator: Hidden Advantages for Men in Female Professions”: This is the original study that Stokes’ research was based off of. This study would look to add theoretical research to my project through its commentary on wider workplace cultures and organisational design.

Glass Escalator: Hidden Advantages For Men In ‘Female’ Professions .”

Christine L. Williams 1992 (Full Paper)

Used as the main basis for Stoke’s research into such a topic, Williams’ approach was a lot more practical and based within research. Despite being a dated study the assessments of workplace cultures are still relevant within the current landscape.

The main basis of the study revolves around several 99 interviews that took place across four different sectors: nursing, teaching, librarianship and social work. These interviews predominantly focused on male workers within such professions but also included several female voices in order to add wider discussion.

It was from these interviews, Williams developed the glass escalator concept. Said to be founded on invisible pressures, expectations and patriarchal qualities; Williams suggests that men within female professions are seemingly pushed up the escalator.

Williams provides large amounts of contextual research alongside her theory and utilises the interview answers to better inform her opinion.

This paper is very informative as to wider workplace cultures and theories. The concept of the glass escalator in itself appears very tangible and would work well to inform either a creative concept/output.

Reference: Williams, C.L. (1992) “The glass escalator: Hidden advantages for men in the ‘female’ professions,” Social Problems, 39(3), pp. 253–267. Available at: https://doi.org/10.1525/sp.1992.39.3.03x0034h.

“The

Notable Subject Matter/References:

-“Stigma associated with homosexuality leads some men to enhance, or even exaggerate their “masculine” qualities, and may be another factor pushing men into more ‘acceptable’ specialities for men.”

-“Several men had stated that their female colleagues had facilitated their careers in various ways.”

-“ Despite their intentions they face invisible pressures to move up in their profession. As if on a moving escalator, they must work to stay in place.”

-“The negative stereotypes about men who do ‘women’s work’ can push men out of specific jobs.. Instead of being a source of discrimination these prejudices can add to the glass escalator effect by pressuring men to move out of the most female-identified ideas, and ‘up’ to the most more legitimate and prestigious for men.”

-Note: Despite being based in theory and second hand accountants of personal experiences; the main ideology of the ‘glass escalator’ is a manufactured concept. This needs to be remembered when applying such research to further inform creative outcomes and the written element.

The Glass Escalator Williams 1992

Further Studies To Look Up

-Reskin 1988 “Any dominant group in an occupation will use their power to maintain a privileged position”: This interpretation would look to provide sociological theory as to the reasoning behind so many gay men in industry.

-Jacobs 1987 “ In some ways, men in female dominated occupations experience the same difficulties that women in male dominated occupations face.”

-Christine L. Williams 2013 ‘The Glass Escalator, Revisited: Gender Inequality in Neoliberal Times.’: A reassessment of the glass escalator and how it would apply within a more modern workplace culture.

“The Glass Escalator, Revisited: Gender Inequality in Neoliberal Times.”

Christine L. Williams 2013 (Full Paper)

Looking to build upon and reassess her initial 1992 research, Williams revisited the research in 2013.

This reassessment is quite damning and demonstrates that the theory was static and failed to consider tropes that are now an integral part of workplaces cultures. Two of the main issues with the research were its inability to consider intersectionality as well as how rapidly changes workplace cultures have now changed.

Unlike Williams’ original study this paper is considerably short in comparison, and looks to provide an academic update to her work.

Williams, C.L. (2013) “The Glass Escalator, revisited,” Gender & Society, 27(5), pp. 609–629. Available at: https://doi.org/10.1177/0891243213490232.

Notable Subject Matter/References:

-“The glass escalator relies upon the existence of racism, and will persist as long as racism exists.”

-“ Intersectionality is an approach to studying gender that takes race/ethnicity, class and sexuality into account... Common to all is that gender is not an abstract and timeless essence, but an embodied and historical practise that is structured by other forms of inequality.”

-Conforming to heteronormative practises can easily push men into leadership positions women into support roles.

-‘Gay Friendly’ workplaces may accept gay and lesbian workers only if they conform to conventional gender practises.

-Managers draw on gendered stereotypes when developing organisational charts and job descriptions which reward characteristics associated with men and masculinity, and devalue ones associated with femininity.

-Note: Despite being based in theory and second hand accountants of personal experiences; the main ideology of the ‘glass escalator’ is a manufactured concept. This needs to be remembered when applying such research to further inform creative outcomes and the written element.

The Glass Runway (Revisited) Williams 2013

Further Studies To Look Up

Given that this study was based in refection additional studies were not referenced. However, the study in itself looks to inform me that not all research should be assessed as legitimate. For Williams to feel the need to go back and evaluate her initial work suggests that I too need to be more critical of research and not assume that an academic basis automatically means that all accounts are to be trusted.

“The Gay-Friendly Closet”

Christine L.Williams, Patti A. Giuffre, Kirsten Dellinger 2009

(Full Paper)

Within this paper, the authors look to discuss attitudes and workplace strategies through a homosexual viewpoint. Looking to explore both political, social and economic policies that have strived towards social acceptance in the workplace, the paper has an incredibly academic basis.

As well as assessing organisational policy, the paper looks to reflect upon homosexual individuals may be required to minimise their homosexuality in order to be accepted within the workplace.

This was investigated across semi structured in depth interviews across 16 men and 16 women in which participants were questioned about working in gay friendly organisations.

This study aims to offer a broader comment on workplace cultures across a broader context. This will be a valuable resource when it comes to the curation of my written element.

Notable Subject Matter/References:

-“Around the year 2000 those with negative attitudes toward gay and lesbians became the distinct minority.”

-Between 1998 and 2002, for example, the number of US fortune 500 companies extending domestic partner benefits to gay and lesbian employees more than doubled.

-Since 1980, the importance and influence of the close has waned considerably.

-Those who live beyond the closet may at times choose to conceal their homosexuality in order to avoid stereotypical judgemental reactions.

-Most sociological perspectives posit that sexuality is socially constructed.

-Discussion of homosexuality is prone to replicate the logic of heteronormativity.

-Moreover, workers were sometimes required to tone down their sexuality in front of clients, indicating the pervasiveness of heteronormativity, even in these contexts

The Gay-Friendly Closet Williams et al. 2009

Further Areas To Look Up

-Seidman (2002) “Gay life today is defined by a contradiction: many individuals can choose to live beyond the closet but they must still live and participate in a world where most institutions maintain heterosexual domination.

-Dellinger & Williams, 1997 et al ”Empirical research has demonstrated how lesbians and gay men face significant barriers to organisational success that their straight colleagues do not have to confront because heterosexuality is privileged.

“Is There A Gay Advantage In Creativity”

Noor et al 2013 (Full Paper)

In this paper a broad basis of research is presented in response to how creativity and homosexuality is linked. Looking to assess previous research into the topic, the researchers then undertook their own research to further investigate the topic.

72 Male participants took part in the investigation with 38 of them being homosexual and 34 heterosexual. They then undertook a questionnaire in which measures of creativity were discussed.

The findings concluded that there was in fact no significant difference between the two groups, therefore suggesting that there is not a biological link between creativity and sexuality.

This study looks to provide more of an scientific approach in relation to my project. With most of my prior research being grounded within the fashion industry and/or personal assessment; research of this kind is incredibly valuable.

Additionally, research of this kind is invaluable in terms of the development of my written element, as it looks to underpin/combat all forms of fashion criticism that may suggest a natural attraction towards the industry does not exist.

Reference: Noor, A.M., Chee, C.S. and Ahmad, A. (2013) “Is there a gay advantage in creativity?,”

International Journal of Psychological Studies, 5(2). Available at: https://doi.org/10.5539/ijps.v5n2p32.

Notable Subject Matter/References:

-Common speculations hold that homosexual individuals can be more creative, considering the over-representation of homosexuals in the artistic and creative pursuits.

-Gender based research has shown that females have been found to be more creative.

-Creativity is a natural process thought to occur in response to something missing, lacking or being incomplete.

-Creativity requires both originality and effectiveness for its application.

-Not unreasonable to suggest that a link between sexuality and creativity does exist.

-Creativity is multifaceted and hard to measure.

-If females are more creative scientifically, does this apply to gay men who often hold stereotypical female personality traits?

Gay Advantage in Creativity Noor et al 2013

Further Studies To Look Up

-Domino 1977: Very similar study that utilised a similar method. Findings were the same, suggesting that the link does not exist.

-Lippa 2008: Suggests that gay men sharing female typical personality traits results in their attraction towards artistic industries. This researcher also has various other studies that look to research both sexuality and gender.

“Challenging Racism in the LGBT Community.” Via Stonewall Pav Akhtar 2019 (Full Article)

A common theme across all of the research papers I have looked at, and discussed, is that of racism existing within the LGBT community. To investigate this further I looked towards discussions within LGBT based media and organisations.

A key source I found on the topic was that published by Stonewall. Known to be a reputable organisation within the community, I knew that the information in this source would be able to give me an accurate and academic report on the issue.

Within the article it is stated that “over half of all black, Asian and minority ethnic LGBT people (51 per cent) report experiencing discrimination or poor treatment within their local LGBT network because of their ethnicity.”

Another point states “The discriminatory behaviour presents itself within black and Asian communities as well as in LGBT communities. For instance, in 2010, acceptance levels of homosexuality among the general black and Asian population in the UK stood at 42 per cent, as compared to 88 per cent acceptance among white respondents.”

With these findings it is becoming increasing clear that the acceptance of white gay males within the fashion industry does have ties to racism. Despite this topic being quite challenging to research, I understand that for my investigation to be accurate I need to ensure I am looking beyond the source material in order to generate a holistic understanding.

Reference: Akhtar, B.P. (2019) Challenging racism in the LGBT community, Stonewall. Available at: https://www.stonewall.org.uk/cy/node/79901.

“Improving Questions on Sexual Partnerships: Lessons Learned from Cognitive Interviews for Britain’s Third National Survey of Sexual Attitudes and Lifestyles .”

Aiken et al 2011 (Full Paper)

As a follow on from the stonewall article, I decided to look deeper into the references it used. One of the main samples of research it discussed was that of the National Survey of Sexual Attitudes and Lifestyles.

Taking place every 10 years, the NATSAL surveys are one of the largest surveys of sexual behaviour in the world. The surveys use a probability sampling method to randomly select participants from across Britain. This in itself means that the results are broadly representative of the general population. The surveys are administered by an interviewer face-to-face in the participant’s home. The consistent methodology and repetition of the surveys have made it possible to look at differences in sexual behaviours over time.

The survey offers an overall assessment of current and past sexual behaviours meaning that it is probably the most reliable source in order to fully comprehend LGBT behaviours in the UK.

In terms of my personal project, this paper looks to offer a more comprehensive view of LGBT behaviours. From this I was able to gather relevant facts and figures relating to minorities, with several participants recounting prejudices and discrimination.

Reference: Aicken, C.R. et al. (2012) “Improving questions on sexual partnerships: Lessons learned from cognitive interviews for Britain’s Third National Survey of Sexual Attitudes and lifestyles (‘natsal-3’),” Archives of Sexual Behavior, 42(2), pp. 173–185. Available at: https://doi.org/10.1007/s10508-012-9962-2.

Outcomes

“The brief is comprised of three components; Written research outcome, Portfolio of creative practice and a Research and Development file. These components represent a synthesis of both theory and practice. That is to say, in order to complete this brief successfully, you will need to consider all parts in conjunction with each other. Do NOT treat them as separate tasks.”

Based upon the research I have conducted, I now need to curate my intended outcomes. Such outcomes can be based within any artistic field but must remain relevant towards the intended subject area.

Creative Portfolio Outcomes:

Having already discussed possible intended outcomes for this project I now need to finalise which ideas/research points I want to develop further.

Glass Escalator (Shoot)

Balenciaga Tape (Shoot)

Would be a shoot based upon recreating the look and then utilising human based design theories to comment upon its impracticality.

Donatella Versace (Blog)

Blog based investigation into Donatella’s comments surrounding gay designers. Would have to be quite compelling to be effective.

Mugler Exhibition (Blog?)

Personal recount of how the Mugler exhibition facilitated my criticism of the topic. Looks to be a main basis to the investigation.

Interview series (Video)

Imagery inspired by the concept of the glass escalator and its adjoining theories. This would be very conceptual and look to explore the diverse implications of such a theory.

Anna Wintour? (Blog)

Written around how Wintour has been able to gain her status within industry? Inspired by the mention of gender based studies mention in Noor et al’s study.

BDMWILLIS

Consumerism Vs Creativity (Blog)

Based off the back of the Mugler Exhibition and would look to explore how designers are either restricted or encouraged by sale targets.

Written Element (Essay)

Interviews with young gay designers based around their interpretations on the research I have collected + the criticism gay designers have received.

Academic writing based upon the multiple sources and references I have discovered. Would look to be argumentative and based in theory/research.

No.1 ‘Balenciaga Tape’

Inspired by research into Human Based Design practises.

In response to my research into human centred design, my tutor suggested recreating impractical runway outfits in a practical way. This would work to create something informed by my research and would also work to be reflective of Versace’s main comment.

In this discussion the main idea resounded around Mugler’s ‘Lizard’ look due to its fantastical nature. However due to obvious limitations, I wouldn’t be able to recreate a look of this extravagance to a notable degree. Due to this I then had to look at other looks I could recreate and then spin to be more user friendly. This led me towards the recent Balenciaga tape look

Contextual References:

Kim Kardashian March 2022 at the Balenciaga Winter 22

Show - Remarking upon how hard the look was to walk in and remarking upon her worries of the tape ripping, Kardashian was the first individual to be seen in such a garment. Causing a media sensation at the time, Kardashian could be seen struggling to walk and sit whilst she was ‘taped.’

Lizzo for Elle UK Magazine Front Cover for the September 2022 issue - Having worn the look to be Elle UK’s September cover star, Lizzo posted a TikTok video of her seemingly struggling to move in the garment. Unable to properly move her arms and legs, the singer struggled to dance to her viral hit “About Damn Time,” amusing her audience and seemingly poking fun at the garments impracticality.

The common theme across both iterations of the garment are that of its restrictive and impractical nature. This in itself works to prove that such a garment has definitely not been designed with the wearer in mind; the complete opposite of human based design practises.

Main Inspirations

When creating this mood-board the imagery that stood out the most to me were that of those done by singular creatives in relation to reinventing the use of the tape itself. The first image was styled by @brettalannelson for CR Fashion Book. I really like how the tape appears to have movement/life despite often being considered a cheap and inexpensive material. In this sense, the imagery really goes to show Demna’s intention behind the garment, however also demonstrates its impracticality. The second image was created by @erwinwurm for T Magazine. I like this image due to the fact it plays upon the apparent lack of consumer based design in an almost comical sense. The tape isn’t fully attached but yet supports these unusual materials; demonstrating the paradoxical methods of using such a material. In terms of my own project I think this image best describes my intentions with the upcoming shoot.

Test Images

In order to first establish lighting, posing and styling we decided to undertake a manner of test shots. These were valuable in deciding upon which lighting setup’s best worked to compliment the outfit. To determine this we took a number of shots where the tape was only half wrapped. This helped us become aware of how the model would be able to move in such an outfit and allowed us to add and manipulate the tape as we went. In terms of taping objects onto the model I decided to bring with my a selection of ordinary objects that would appear quite comical strapped to the model. These included:

-A sellotape dispenser

-Egg Carton

-Packet of Biscuits

-Packaging Box

-Love Heart

-Telfar Bag

Final Edits

Final edits looked to enhance the natural shape of the garment, colour correct the background and remove blemishes from the studio floor. Due to the caution tape buckling in places, I wanted to ensure that the shape of the models body could still be appreciated under the several layers of tape.

Final Images

In relation to the final images, I am beyond pleased. Despite having to wait a number of weeks to be sent the raw images, I feel as though my edits have really worked to strengthen the imagery.

I feel as though the images inspired by @erwinwurm look to provide a sarcastic comment upon the inspiration of human based design. I especially find the use of the Telfar bag and sellotape dispenser to be quite comical. Additionally, the imagery with just the model is also incredibly strong. With simple styling and dramatic lighting I feel as though such imagery could be utilised within campaign work and would attract social media attention.

Reflection:

In terms of the shoot as a whole, I am incredibly proud of the work I have achieved. Working with Maddy Law (Model), Molly Oxley (Assistant) and Jack Carr (Lighting and Camera Setup); proved to be a truly collaborative process which in turn allowed for such strong imagery to be created. In terms of the images created I do feel as though the images which feature the model without objects strapped to her; are in fact the strongest out of the batch. Despite this, all of the final images will be able to be featured within my portfolio.

One of the issues concerning this shoot was that of having to wait for the images to be sent to me. This was due to matters outside of my control, that meant the development of this shoot took a lot longer than I had hoped. However, upon communicating with tutors and my photographer we were able ensure that the images were sent. Another issue was that of editing. Having worked with a photographer, they had their own idea of how the final images should look. This meant that their edits didn’t match my visions of how the project should develop. To rectify this, we agreed that my edits would be used within the final presentation of the shoots due to the entire creative direction being down to me.

Brodie Willis

No.3 Interview Series’

Filmed interview series based around young Leeds based designers.

Wanting to add a more contextual basis to my research, I felt as though I needed to heard from those based within the industry. This meant looking towards designers currently within their chosen roles or those currently studying fashion design.

Having been made aware of a large amount of designers I am hoping that by contacting as many as possible, I will be somehow able to setup so in person interviews that can be recorded. This will add a more personal and honest take on my research.

:

Designers to Reach Out To:

-Luke Neil (UAL)

-Oliver F. Jones (Freelance)

-David Roberts (Freelance)

-Kamaal Barnaway (LAU)

-Fabrizio Corbino (LAU)

-Bxn (LAU)

-Andrew Bann (LAU Lecturer

Example Message:

‘Hi *insert name* hope you don’t mind me contacting you! For my third year uni project. I’m looking into the links between sexuality and creativity, gay designers and their treatment within industry. I was wondering if you’d open to being interviewed about your personal experiences/doing an editorial based upon them? Let me know what you think!”

Possible Interview Questions (39)

Due to having not much luck with hearing back from any of the designers I had contacted, I thought it would be best to ensure that my number of questions were already prepared. Wanting to cover the numerous lines of enquiry I had uncovered within my research, I decided to list as many questions as possible.

Within my questioning I wanted to make sure I included the overarching stimuli of this investigation which is that of the links between sexuality and creativity. I think this question will prove to offer a range of interesting responses, that will work to greatly benefit my research.

Additionally, instead of ensuring all interviews are in person and follow alongside an editorial shoot; I will now try to conduct interviews digitally to try and ensure a greater response rate.

Possible Interview Questions:

Who are your main design inspirations?

Have you always been interested in fashion design?

Some critics have suggested fashion is a “woman’s industry,” what do you make of this?

Do you feel as though there are differences between gay and straight designers?

Do you feel as though gay men in the industry  are represented fairly within media?

In my research it has been found that women’s designs are approached as being made meaningful by consumers whereas male designs appear driven by creative vision. What do you make of this?

Do you think your sexuality has helped you in your work?

How do you think your sexuality has influenced your work?

Do you feel as though you have ever been treated differently/favoured within industry because of your sexual orientation? Do you think it has been an advantage?

Do you think that there is a link between sexuality and creativity?

Roberts (39) Designer and Retail assistant

One of the first responses to that of my interview questions was from Leeds based designer and retail assistant David Roberts. Having had varying success with his design work, Roberts is now a managing a very successful high street retail store. It is through these experiences that he has been able to maintain a interpretation of the industry.

However, his responses to my lines of questioning were very short in places and often didn’t give much scope for expansion.

In this sense, his input is rather limited meaning I probably won’t be able to make anything out of his responses. With this said, I will still be able to feature such viewpoints within my written element.

Who are your main design inspirations?

Saint Laurent, beatnik, 70’s

Have you always been interested in fashion design?

Not until I started collage

Some critics have suggested fashion is a “woman’s industry,” what do you make of this?

I feel like it is. But there is not much female representation at the top! (Bring back Phoebe)

Do you feel as though there are differences between gay and straight designers? No

Do you feel as though gay men in the industry  are represented fairly within media? Feel like they can get away with a lot more being a “gay” male in the industry. (Looking at you John Galliano, Alexander Wang).

In my research it has been found that women’s designs are approached as being made meaningful by consumers whereas male designs appear driven by creative vision. What do you make of this?

I feel this used to be the case. I would like to think it is getting better. Women’s suiting.

Do you think your sexuality has helped you in your work? Yes.

How do you think your sexuality has influenced your work?

Being a gay man in retail. I find it easier to sell to my company’s target market. Mainly older straight cis women.

Do you feel as though you have ever been treated differently/favoured within industry because of your sexual orientation? Do you think it has been an advantage?

Yes. Working in retail, fashion design and product design I feel it has helped. Fitting stereotypes and all.

Do you think that there is a link between sexuality and creativity?

Yes. Mainly from my experience a lot of my gay friends did not enjoy sports and would rather do creative subjects.

David

Fabrizio Corbino - Interview Responses

Who are your main design inspirations?

My main design inspirations are probably Rei Kawakubo, Issey Miyake, Raf Simons, John Galliano and Daniel Roseberry

Have you always been interested in fashion design?

I was always interested in Politics trying to follow my families steps but part of me way always interested in fashion, being raised in Milan and being surrounded by gorgeous models towering over me in the streets of my city during Milan fashion week, the mystique of the buildings these models walked in which were unbranded fashion houses where designers kept their garments secret from the media in anticipation for the runways always had a magical appeal to me.

Some critics have suggested fashion is a “woman’s industry,” what do you make of this?

By looking at statistics it surely seems that way, I’m sure through your research you have found many sources informing of the incredible disparity between men and women in the industry and I certainty agree that women do dominate the industry in numbers. But I have noticed that though many women make up the workforce of the industry the few male designers that enter the industry seem to emerge with great success as opposed to their female counterparts. With the menswear industry lacking behind womenswear it’s understandable how male fashion designers can be successful nowadays, bringing forward newfound ideas and creative processes not seen before.

Do you feel as though there are differences between gay and straight designers?

It a big step for a straight man to decide to study fashion design, there is a sort of stereotype which assumes that if a man takes up a creative career which is seen as being very centred around womenswear that this male designer must certainly be gay. I announced to my friends and family I wanted to study fashion before I came out and I noticed an influx of queries as to whether or not I was gay after such an announcement. I am also aware that some of my straight fashion design coursemates have also received such questions doubting their sexuality, but to the creative core, everyone is different and unique in their own way, whether it's our lives that inspire us or our sexuality we all have something to bring to the table.

Do you feel as though gay men in the industry are represented fairly within media?

I think the media is a dangerous thing to use when trying to understand a person, or a group of people for that matter, nobody is truly represented fairly if the monetization of views for a story is considered, some aspect of famous people's lives will always be dramatized, whether you’re a designer gay or straight. I don't think the media does a good job of portraying men or women in the industry, women are shown as cruel and hard to work with as seen in movies like ‘The Devil Wears Prada’ and made designers are seen as narcissistic and full of themselves. Confidence is no longer seen as an advantage and being assertive is seen as rude. Ultimately the perception people around us have is not our responsibility, as long as we show people our true selves then that’s all that matters, the media will try to find ways to make money off of things designers have said and that is not likely to change any time soon.

Fabrizio Corbino - Interview Responses

In my research it has been found that women’s designs are approached as being made meaningful by consumers whereas male designs appear driven by creative vision. What do you make of this?

I disagree, creative vision is an energy that flows through all designers, Guo Pei is a clear example of how her emotions, heritage and creative vision has transpired in her work, and for men, John Galliano and his collections which are built around a story with a deeper meaning than seen through your own eyes shows a clear use of creative vision. The meaning behind garments is given by both the designer and the consumer, the designer will create a garment with a customer in mind, and with a vision in mind, but ultimately the consumer is the one who will wear the garment and feel a certain emotion while wearing it, and the meaning that garment has is in the hands of the consumer.

How do you think your sexuality has influenced your work?

I do not, it may have allowed me to experiment more with garments that seem unconventionally only for women, i have adapted a women’s corset to fit the shape of a man, and have experimented with skirts on male silhouettes, but ultimately my sexuality has not had a direct impact on my work, at least, not that I can tell.

Do you feel as though you have ever been treated differently/favoured within industry because of your sexual orientation? Do you think it has been an advantage?

As of now, I think the only evidence of my gender or sexuality affecting my work was only in the application process at Leeds Arts University, when I came for my interview I was the only man among 20 women, it was difficult to think whether or not I was chosen because my professors saw something in me or because in the male sector there was not a lot of competition. It is undeniable that universities and brands need to have a relatively equal amount of male and female students, I hope that my being selected was not just to even out the numerical disparity but who knows? As of the industry, I have not been in the industry yet to have the necessary insight.

Do you think that there is a link between sexuality and creativity?

There is no denying that there is a link between sexuality and creativity, but the two are not mutually exclusive, you can have creativity without your sexuality influencing your work, and vice versa, but I think that understanding your sexuality also means you understand yourself better and by having a stronger self-awareness means that you have more personal knowledge to influence your work, I am yet to find however a runway where the creative focus was sexuality and gender roles which has changed the way we view fashion

Fabrizio Corbino (20)

3rd Year Fashion Design Student

This set of responses comes from Fabrizio Corbino, an Italian born fashion design student. His input on the topic is incredibly insightful and looks to expand my interpretations to a much greater extent than Roberts did. I find his assessment of being treated differently just for studying fashion design works to play into the theories surrounding the glass escalator I had recently discussed. Additionally, his assessment of how sexuality and creativity play into each other is of a unique nature.

Due to how earnestly Corbino looked to answer my questions, I feel confident in using his responses to curate blog based content.

Independent Survey

Due to the fact that I had received very little interest in designers wanting to take part within my interview series, I decided I needed to further expand my understanding on the topic and create an independent survey.

Looking to mirror the line of questioning I had curated within my interview questions, I broadcast the survey in various social groups. In order to maximise the output I also asked several of my peers to take part in the survey also.

After two whole weeks of the survey being live, I had only received a small manner of responses. Having had a similar response when asking those to be interviewed, I started to reflect as to how the subject topics may be a sensitive area for some to discuss so openly.

Reflection:

Due to little interest across both my interview series as well as the survey, I began to feel pretty disheartened. Having had all of my research based within theory and academic study,I had put a lot of hope into uncovering a real world interpretation on the topic. Despite receiving two responses via email to my interview questions, only one set of responses is detailed and offers an insightful viewpoint. Additionally, those that did respond to my essay often skipped several opportunities for further comment.

If anything these responses only looked to clarify that my chosen topic area carries several different opinions. With both interview and survey responses being incredibly varied, it can only be assumed that the subject itself is polarising. This may be due in part to the fact that some individuals may have never considered the differences between gay and straight designers, due to the fact that sexuality has never been a topic of discussion. Another interpretation could be that sexuality is of a sensitive topic, that some may not wish to discuss. This would look to add reasoning behind so many declined to be interviewed or offer their opinion on the matter in the first place. Nevertheless, I will be able to utilise Corbino’s responses in order to create blog content and use the other response/survey content to help inform my written element.

Creative Portfolio

Brodie Willis

Core Ideas

Creativity Vs Profitability

How does the profitability of a major fashion house limit/encourage different creative takes within the highest level of industry. Would allow comment on major players within the industry such as Demna and Jacquemus who are currently in the spotlight.

The Donatella Story

Assessment of how Donatella’s comments on the topic were perceived and what led her to make such comments. Allows for comment on Versace’s history, design inspirations as well as wider commentary/theory on the topic.

Nuclear Wintour

Story that pertains to the link between Anna Wintour’s masculine traits and her success within the industry. Discussion surrounding her career as well as her wider criticism of the vogue editor. Could also discuss the next steps for the editor/possible replacements.

Nuclear Wintour.

Known to rule with an ‘iron fist,’ the success and approach of the worlds most recognised woman in fashion is a topic of constant debate. This blog post will work to research the American Vogue editors rise to the top of fashion foodchain and how her cut throat techniques relate to stereotypical characteristics of masculinity. Inspired by the findings presented within ‘The Glass Runway,’ paper, the article will need to constantly refer back to theory in order to ensure an impartial tone of voice is adopted throughout.

Content:

-Early Career

-Life as a Journalist in London -Family connections to the industry -Failed friendships and fueds -Devil wears Prada -Career Highlights -Position and development of Vogue America -Possible Replacements -Longevity of her position

Links back to project: -Need to link all discussion points back to masculine stereotypes -Link this back to the glass runway theory and how Wintour works to defy this theory.

Relationships - A big part of the wider discussion surrounding Wintour has come from those she has had close relationship’s with and then later scorned; most notably Talley and Graydon Carter. Comments made by the pair have garnered large amounts of media attention and should be discussed in depth.

Discussion Points

Early Life - The article needs to first lay out how Wintour was able to garner such a big name for herself. This section will detail the quirks of the character as well as the steps she took early on in her career. Working to be more autobiographical then opinion based, the opening paragraphs should remain quite neutral in order to setup later discussion.

Brodie Willis

Romantic relstionships should also be discussed. During her first marriage to David Shaffer it was reported that Wintour was secretly dating business exec, entrepreneur and venture capitalist Shelby Bryan who was married to Katherine Bryan at the time. It is this relationship that reportedly ended her marriage, with Bryan divorcing Katherine in 2001 and then marrying Wintour in 2004. The pair reportedly split in 2020. An interesting discussion point would be how divorce was viewed at the time and the effects of the glass ceiling on the acquisition of Wintour’s success; as some would suggest that divorce/adultery have male centric stereotypes.

Other areas of interest include that of the rumoured film adaptation of Wintour - ‘The Devil Wears Prada.’ This should be followed up by official media presentations such as the ‘73 questions series,’ that worked to play upon/mock the stereotypes associated with Wintour and her career.

Point Of Reference

Gender Equality Law Centre - “Examples of Gender Stereotypes

As a way of linking the subject matter back to the main focus of the project, I will need to ensure I refer back to the masculine qualities of Anna Wintour. In this article by The gender quality law centre, gender steretypes are assorted by age and demographic. Due to the creator of the source being a reputable organisation, I believe these stereotypes to be free of bias and reflective of the times. Since Wintour works to defy/play into several of the types presented, I believe this to be an interesting spin on the subject, who has been scrutinised by many.

As Adults

- Victims of intimate partner violence are weak because they stay in the relationship

-There is something wrong with a woman who doesn’t want children

-Assertive women are unfeminine and are "bossy," "bitches” or “whores”

-Women are natural nurturers; men are natural leaders -Women don’t need equal pay because they are supported by their husbands -Women who appear less feminine or reject advances from men are lesbians

-Women with children are less devoted to their jobs

-Men who spend time with family are less masculine and poor breadwinners

-In heterosexual couples, women should take time off to care for children or elders

-Men who are not aggressive and/or assertive are unmanly and likely gay -Same-sex couples cannot make good parents

-A transgender or gender non-confirming person is profoundly wrong

-Women are too emotional to undertake certain kinds of work, especially while pregnant -Men are too impersonal and not emotionally apt to take on tasks "better done by women"

Point Of Reference

Divorce Theory - Social views on how divorce affects a woman’s career. Due to Wintour enduring a questionable divorce but yet still being regarded highly within her chosen field, I thought it would be interesting to analyse the societal views surrounding the breakdown of a marriage. Some would suggest that a divorce/accusations of infidelity would have a negative impact on an individuals career although it only seemed to add more impact to Wintour’s. Additionally, are such levels of infidelity considered to be more masculine in nature?

The Donatella Story.

Known to be the legendary creative director of the Versace house, Donatella’s 2016 comments gay designers in 2016 didn’t go down well within wider industry. Suggesting that gay men are selfish in their presentations and work; many were outraged by her comments. Given that many would argue Versace was only able to achieve her levels of success due to her brother Gianni Versace, who was himself a gay man, many viewed the criticism as unnecessary critique. In this post I want to re-evaluate her comments as well as her position and impact within industry.

Brodie Willis

Content:

-Discussion concerning the comments that she made

-Evaluation of how the comments were received

-Biography

-Connection/relationship to brother

-Other notable relationships/gay figures within her life

-How do these comments fit with those relationships

-Personal opinions on the comments?

-Have the comments affected the brand/consumerbase?

-

Links back to project:

-Discussion on the topic will link back to the project due to Versace’s comments concerning gay male designers.

-Since Versace’s brother was also a gay man the discussion will be very poignant.

A further point of interest needs to relate back to Donatella’s acquisition of the brand as well as her interpretation of central house codes. For example she has described herself as looking towards the younger generations in order to develop her own adaptation of Versace.

Discussion Points

One of the central points of discussion within the article needs to relate back to that of Donatella’s close relationship and bond with her brother, Gianni Versace. Having founded the label, Gianni Versace was hailed as a visionary and pioneer of his time. Having been openly gay before his assassination, I’ll need to discuss how Donatella’s observations play into such a discussion.

Other areas relate to how Donatella sees women in business. Often described as being thrown into her role, the success of the Versace brand under her leadership is commendable. In recent years she has also gone as far as to discuss the differences between men and women within high level positions, with comments even being made as recently as 2022.

Personal relationships and brand aesthetics are also an important fixture to determine. Said to have been very focused on utilising ripped male models in campaigns, could there be an element of hypocritical thinking. Does she only like men in fashion if they are mute and have a six pack? Additionally, Donatella was also married to a male model for 7 years and has made several comments concerning the importance of abs. Could these be used to argue that she is a perpetrator of the same mishaps she was discussing when she is designing for men? Contextually these comments were made to GQ, a male centric magazine so there may be an element of bias within such an assessment.

Point Of Reference

Brand Reputation and Client Base

Assessment of brand consumer base goes to show that the consumer base is female centric and mostly aged from 25-32. With a cult following, it could be argued that such comments wouldn’t have really affected the consumer-ship, however would have had an effect on brand reputation within industry. With a central discussion concerning gay designers having already taken place within the early 2000’s the comments worked to only reignite the controversial discussion.

Point Of Reference

Versace Vs Cavalli

Having mentioned Roberto Cavalli by name within the original interview it could be interpreted that the intention behind such comments were to make a point about the brands current creative director, Peter Dundas. Having previously made comments about the Cavalli brand back in 2011 suggesting they were copying Gianni’s work, it could be seen as though Donatella has taken a disliking to their works. This however is a personal interpretation so needs to be made clear when looking to discuss such a theory within writing.

Mission Mugler.

Story based blog based around my experience of attending the ‘‘Thierry Mugler: Courtissime’ exhibition at the Musée des Arts Décoratifs in Paris. Whilst visiting I remarked at how the worlds of archival Mugler and the current iterations of the house are worlds apart. From this, I wanted to explore the evolution of Mugler as a house and how its style has changed and evolved in order to suit the modern consumer base. In this there is also room to comment upon how different creative directors look to shape and bend central house codes.

Content:

-Overview of my experiences at the exhibition as well as personal interpretations

-History of the brand

-Controversy? How was it viewed at the time?

-Manfred Mugler history and departure of the brand

-Creative director history and how these worked to develop brand aesthetics

-Current state of the brand

-How does this fit with brand history?

-Persona/industry interpretations -

Links back to project:

-Discussion on the topic will link back to the project due to the fact that both Manfred Mugler and Casey Cadwallader (current creative director) are both gay male designers

-Relates to wider discussion concerning the criticism of gay designers

The main discussion within this article will be that of assessing the elements of archival Mugler as compared to that of its latest iteration. This can be accomplished by looking back over the images I had taken when at the exhibition. From this research surrounding Mugler’s fascination with the beauty of the natural world can be incorporated in order to further the discussion.

Discussion Points

Need to remember that upon the closing of the ready to wear line in 2003, Clarins continued Mugler’s fragrance line. With varying levels of interest from Manfred Mugler, the perfume line was still widely successful and is still to this day. This is part of the reasoning as to why the brand’s current offering is of such a small and noticeable collection.

Themes concerning the evolution, input and biography of Manfred Thierry Mugler need to be included throughout. Referencing his love of the natural world as well as retirement from the limelight in 2003; further discussion surrounding wider criticism of Mr.Mugler’s work needs to be assessed.

This can then lead into an assessment of the current state of the brand. With Cadwallader taking over the creative direction of the label in 2018, his approach has been based within stretch fabric and stand out silhouettes. Often focusing on trying to enhance the wearer’s body through cut outs and linework, the new Mugler look is instantly noticeable. However, some suggest that it has been overdone, with major celebs from Dua Lipa to Khloe Kardashian all being seen wearing similar pieces. One argument for the continuation of this instantly recognisable aesthetic, is down to the troubled history of the line. Wanting to ensure Cadwallder’s success, Clarins may be looking to keep the line both small and profitable.

Point Of Reference

The Mugler Archive

With the entirety of this article being inspired by personal experience of viewing the archive, I need to ensure that such is discussed thoroughly. This can be done by looking back at the history of Mr.Mugler as well as his progression as a designer. Often combining big supermodel names with over the top theatrical shows, Mugler used the latest materials to construct avant garde and futuristic garments. Asked to first create couture in 1993 the house became a firm favourite amongst the wealthiest of social groups due to its unusual cuts and shapes.

Point Of Reference

Casey Cadwallader

To conclude the article large points of reference need to be made towards Cadwallader’s interpretation of the brand. Being both American and gay, Cadwallader has been able to grow a cult celebrity following with Dula Lipa working with the brand for her Future Nostalgia world tour. In interview, he looked to describe his relationship with Manfred Mugler; suggesting that the retired designer had watched him from afar and was always on the sidelines of the brand. He also commented how he had to earn such a relationship; making reference to Mr.Muglers reportedly volatile nature.

Consumerism Vs Creativity.

Looking to explore the links between creativity whilst still looking to appeal to the average consumer; this article aims to add more of a contextual basis to the project. With large amounts of gay designers being credited with ignoring human based design practises, it can often feel as though the designer is pushing their own creative aesthetics upon the wearer. This post will look to explore how this has come to be and how often designers have to conform to organisational policies in order to release unusual product.

Content:

-What is creativity? How is it marketable?

-How have different creative directors influenced brand codes?

-What is the thought process behind releasing unusual products?

-Focus on Balenciaga: Has been accused of undertaking fast fashion practises due to the amount of releases within the past year. Demna has also been noted as mocking the mass market consumer.

-How do new creative directors become successful?

Links back to project:

-Several gay designers have been accused of creating garments in their own vision that have no use/wearability within the real world. This would look to explore such a theory and begin to understand the creative process within the luxury brand space.

Discussion Points

Look to assess the current landscape of creative directors and instances of creativity being packages within a marketable product. This would link to wider theories surrounding how luxury houses work to introduce new creative direction and products slowly in order to ensure the target consumer remains interested in the brand. Links to reinforcing brand imagery and tone of voice.

Brodie Willis

Case Study: Glen Martins Diesel Skirt.

Recently garnered several amounts of media attention due a viral TikTok of a girl describing how she couldn’t sit down in the skirt. Works to further comment on how some designs are not made for the mass market.

Simon Porte Jacquemus is famously noted as being told Chiquito line of bags would not sell and that he shouldn’t release the collection. The bags put the brand on the map and have become a central hero item of the brand. This instance proves commerciality is not always the intended direction.

Brodie Willis

Point Of Reference

Demna’s Gvasalia Credited with reinventing the luxury landscape, Demna’s defining run at Balenciaga has looked to poke fun at the structures luxury fashion is built upon. With several instances of this being seen within his history the brand, Demna has been quoted as saying “I am not interested in anything average; including the average consumer. Various product launches have been created under this vision, with the Balenciaga Crocs collaboration and re-imagining of the iconic blue Ikea bag coming to mind. Discussion concerning this brand would look comment upon how certain brands need reinvention in order to ensure success is still achieved.

Point Of Reference

Is There A Gay Advantage In Creativity? 2013 Study

This study looks to explore how creativity is defined as well as if there is a link between a persons creative talents and their sexual orientation. References to this study would look to explore a more academic interpretation of the topic by providing factual evidence. This would also help to ensure the main intentions behind the overall investigation are realised within such a post. I wanted to make reference to such a study due to the fact that a large amount of my research for this post focused upon gay designers and their unusual product launches.

‘Written Element’ Harvard Referenced Academic Essay

The written element of this project needs to consist of 5000 words, feature harvard referencing throughout, feature double line spacing and have an academic basis throughout its entirety.

Essay Planning

When looking to plan my essay I need to ensure I include the central sources I have already looked into. These include:

-Glass runway (Allyson Stokes 2015)

-The Glass Escalator (Christine Williams 1992)

-Is There A Gay Advantage In Creativity? (Noor et al 2013)

These studies all offer valuable insight and discussion points to further build upon within my own writing. Due to the similarity of topic areas I need to ensure that I do not rely upon these studies too greatly as that would look like I am replicating the information presented. In this sense, I need to reinterpret the ideas and link to the several other reference points I have highlighted.

Mock Essay Structure:

-Gay men within industry, how have they benefited the industry?

-Is fashion a feminine industry?

-Stereotypes associated with gay men.

-Glass escalator interpretations/meaning. Wider implications?

-Gay designers commentary on the topic. What is a gay man’s perspective?

-Wider discussion concerning the factors that have allowed gay men to gain such industry wide privilege.

-How have men been able to garner control over womens bodies/body image?

-Discussion concerning Donatella’s comments

-Biological Basis? Is there a biological basis that can be seen. Why are so many gay men in the industry?

‘The Glass Escalator’

Photoshoot based upon the theory

This photoshoot will look to be inspired by the concepts first developed by Williams in 1992. Due to the theory being very conceptual and based in research, my visualisation will need to look to summarise the research in a story based manner.

The main basis of this shoots revolves around the glass escalator theory first devised in 1992. The theory infers that men within feminised professions are able to achieve much greater levels of success due to being ‘pushed’ up the escalator by underlying patriarchal values. The theory has attracted large amounts of academic interest due to its rooting in quantifiable research and second hand recollections.

Through trying to visualise such a theory, I want to ensure that the main qualities of its discussion are clearly visualised. This would look to ensure that the concept of men being present within feminised work are favoured. Being in itself incredibly conceptual, I need to ensure that visual storytelling is very clearly seen throughout.

The Glass Escalator (1992) Christine Williams

Visualisation of All Possible Ideas

Brodie Willis

Possible Concepts/Shoot Planning

3rd Year Fashion Design Student

Having already created a moodboard to help further visualise the several ideas I had created for this shoot, I was left feeling more confused than when I started. Due to the complexity of the subject matter, I wanted to ensure that my ideas look to encapsulate the many ideas presented within the findings; however I now feel as though I am left with too many ideas to choose from. One of my main concerns when deciding upon a concept to develop further is that of outside influences being interpreted instead. Although the concept of the theory is wide reaching, many people may not first understand the imagery and interpret its intention as something completely different. To help with this I should look to further visualise my ideas and gain feedback from my peers.

Example Ideas:

- Man getting sewn together. Would rely upon the heavy use of visual and special effects. Could demonstrate how the women already in his profession allowed him to be able to gain such a position. (Could be linked to commenting upon plastic surgery/body image)

- Man in front of mannequins/sitting on the mannequins. Would look to comment on how men are in control/have an impact upon female body standards. (Might be too boring?)

- Woman seen to be stitching the stairs the man walks on. Heavy use of special effects and green-screen. Would have to use both a male and female model.

- Room full of individuals both a mix of men and women; but the faces of the female models are blurred. This would look to demonstrate how all of the men consistently gain the accreditation over their female peers. (Doesn’t have a direct basis to the glass escalator?)

- Room full of men standing with one woman in front of them as if the men are looking to decide how to dress her. Wider comment concerning how men in industry have the power to decide how a woman should look. Men could be dressed in surgical equipment in order to visualise their authority in the situation. (Done before, might not be the message I am wanting to convey).

- Several male models styled to look like the most iconic gay creative directors of the recent decade. Would look to demonstrate the over representation of gay men in fashion.

- Ethereal and peaceful lighting using silk like fabrics to convey a sense of clarity. Would look to play into imagery typically associated with religion and female purity. (Again, may not be the message I want to convey.

Brodie Willis

Visualisation of second idea that revolves around iconic creative directors

Reflection:

After much consideration about this shoot, I have decided to not carry forward with such an idea. Having come up with several ideas for how such a concept could possibly be visualised, I have been left feeling as though the theory is just too broad to slim down into one single photograph. After discussing several of my ideas with tutors at length, it seemed as though every possible avenue had further connotations/interpretations that had already been explored before. For example, my idea concerning the use of mannequins was liked to academic photography used to help advertise a course in fashion. Similarly my ideas of styling models much like the most famous of creative directors was described as too literal and not abstract enough.

In itself, I feel as though my focus on such a theory could have spurred another investigation in itself. Being both wide reaching and applicable to several different industries, I feel as though I should have put much more emphasis on developing my assessment of this theory. I think I felt as though the only way to summarise such a discussion would be through a visual image; however upon reflection I feel as though this may have not been the best course of action. For example I could have looked to interview peers about their interpretations/feelings and then used their feedback to help further inform the development of my intended outcomes.

Portfolio

“This is the practical element of the module. You are asked to produce a portfolio of work that makes enquiries and investigations of your chosen area within fashion branding with communication in its broadest context. It is important that your creative practice remains investigative yet professional throughout. Through your creative responses you will apply and evidence an awareness and individual capacity for undertaking independent practice-based research. Your creative practice should demonstrate an informed application of critical and effective processes, resulting in a portfolio of work that is both informed by your writing and theoretical research as well as serving to direct and guide your thoughts in the written research outcome.”

Original Creative Portfolio Wireframe

Having already created a quick wireframe at the beginning of this project, I revisited it when beginning to look into the designing of my website. With many of my original ideas being carried forward into final outcomes, I feel as though a website of this design would still look to benefit the type of work I have created. With content being displayed in ‘tiles,’ I really like the simplicity of this mockup

Due to the fact that I have looked to combine a lot of visual elements with that of text based research, I want my final outcomes to be presented equally. This would mean that each ‘tile’ is of a similar size and is easy to navigate. From here I now need to begin looking into different hosting platforms as a way of moving my project forward and to determine whether I will be able to curate a website in this manner.

Option 1 - Squarespace.com

Pros:

-Pre-existing knowledge of how to use the platform

-Drag and drop design

-More support Options

Negatives:

-Is an expensive platform

-Isn’t exactly how I had envisioned site to look

-A bit too sleek

Pros:

-Free whilst at University

-Very much like my original Mockups

-Is intended for creative websites/design

Option 2 - Cargo.com

Negatives:

-No experience of using the platform

-Hard to navigate

-Is based around code rather than drag and drop

Site Development on Cargo

Site mockup utilising stock imagery to better visualise how I could design the setup of such a website.

House Codes - Assessment of old and new house codes.

Written Element - Essay based content

Editorial - Human Based Design

Blog Post - Donatella Versace Comments

Editorial - Student interviews /Studio Images

Blog Post - Consumerism Vs Creativity

Content Mockup

To help further visualise how I wanted my website to look I decided to revisit my use of wireframing and re-imagine what the website may look like look with my content included. I did this to better develop my choosing of a hosting platform.

At this point in time I feel more drawn towards cargo due its creative basis. The platform is incredibly tricky to use but offers a lot more options that look to enhance the content. I feel as though features such as this will work well when trying to transfer my content onto the platform.

Final Website

Final website development with all final outcomes presented.

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