Vol 1: Empowering Women
E N S E M B L E.
Acknowledgments I’d like say a huge “thank you” to my family and friends for their continuous support. My parents for their eternal love and encouragement and Rob and Taihra for all of their help in the creative process. To the D’Souza family for helping to make it all happen and acting as an arm of the extended family. To all of the contributors to this publication, whose work is equally as incredible as it is beautiful. And finally to my Mother, Leena, my Baba, Neena, Molly and all of the other wonderful women who continue to inspire myself and other women in our community everyday.
E N S E M B L E. Vol 1: Empowering Women Editors Robert Bremner Lexi Baikie Alison Bremner
Contributors Stephanie Alexopoulos Lexi Baikie Jess Baikie Leena Bakshi Jessica Clausen Esha D’Souza Isabella Head-Gray Stephanie Henly Georgia McCormick Jessica Nguyen Zara Sengstock Anna Theris All artwork remains in the ownership of the artists and is not to be published without consent.
Interested in contributing to our next issue? Contact us at hi@ensembleapparel.net
Based in Melbourne, Australia. www.ensembleapparel.net IG: @ensembleapparel_ FB: facebook.com/EnsembleApparelCollective
Personally, I feel like there are key points in your life where you are almost guaranteed to feel a bit lost. For me, one of those times was my first year out of university. I loved my degree, as it allowed me to obtain a bit of insight into all the pieces of the puzzle that come with running a fashion business. However, there were a few other things I learnt throughout my studies that made me realise the industry I onced loved for it’s creativity and known for its boundary pushing may actually be the exact opposite of that. A fully functioning multimillion dollar paradox. Intellectual property theft, a lack of basic human rights and severely damaging environmental impact were all hot topics that I just could not simply sweep under the rug. When raising my concerns to certain people in the rag trade or having questions asked from the crowd to industry speakers in regards to concerns about these issues in class, we were too commonly faced with a response of the same sort: But that’s the business of fashion. Having experienced being a number in a large profit driven retail company that endorses those exact practices with no consequence, understaing the dealings of fast fashion brands and knowing this is just shrugged off by industry professionals, I felt like that was it. My time is fashion was over before it had even begun. I was not about to compromise all of my beliefs in order to get an entry level job where I’d be punching numbers into Excel for a company whose values I strongly disagreed with. A wise lady once said to me “bad things happen when good people sit around and do nothing.” I was over being a part of the bystander effect, so I decided to start my own business. Suddenly, I didn’t feel so lost anymore. I was sitting with my Mum, my friend Esha and her mother Leena in a café in Guildford (A West Australian town close to
where we all live) and we’re all doing that thing where we give an update of what’s going on in our life. It was my turn, I simply voice the truth: I’m fed up with my job, I’m fed up with just accepting the industry as it is and I’m fed up with not pursuing something I’m passionate about. I told them about the idea for my business, which was unnamed at the time. About working with local artisans, working on sustainable innovations and throwing every preconceived idea of how a fashion brand should operate out the window. It was here that we pieced it all together. Being of Indian descent, Leena knew all about the amazing textiles India had to offer. She’d also recently caught up with her former high school friend, who happened to run several Non Government Organisations in India working on conquering exactly what I was also hoping to achieve. Coincidentally, Leena’s friends were making a visit to Melbourne and there we were in an apartment in St Kilda discussing textiles. We spoke about when would be a good time to go and see their projects. It was settled, December was it. I caught the tram back home and spent the whole journey thinking “is this really happening?”. After contacting Leena and filling her in on my morning, she was overjoyed to have an excuse to visit home. Within a matter of weeks I quit my full time job and our journey began. I was met in Mumbai by smog, over populated spaces and a bank note demonitisation. We were certainly not in Melbourne any more. Being faced with extremes of poverty, wealth, humidity and population each day meant my thinking was constantly challenged. However, the beautiful sense of community was equally overwhelming. Everyone I met along the way was so eager to help with the project. Previously there had been instances where I’d felt like I was viewed as just a young girl with an idea. Now, I was in a meeting with a supplier
where my vision come to life. But that’s enough about my story. ENSEMBLE. is not about myself nor any single being. It’s about the issues, the discussion and the movement. Some of the most influential communication channels come from the fashion industry. Being a social influencer is now a job title. I feel like it makes sense to use the communication channel created by ENSEMBLE. to discuss prevalent concerns in our global community. As corny as it may sound, don’t ever feel restricted by a set of existing societal norms. If you’re passionate about something, put your idea out there. Trust your instincts. When you feel disillusioned, you will find like minded people who have similar beliefs and values as you do. If you’ve picked this up and read this far, thank you for giving ENSEMBLE. some of your time. Now, as I sit here in a café in Melbourne to wrap it all up, it seems like all good things start and end with a great breakfast and a chai latte.
Founder | Alison Bremner
PROJECT 1 Empowering Women
India is a nation with a rich history of design, dating back thousands of years. Typically known for their longstanding and remarkably skilled artisans, strong sense of pride comes ingrained in the work of such creators. This pride paired with varying environments and cultures creates a catalyst for an infectious and inspiring artistic energy. The element of design, particularly when it comes to textiles, has a significant role in Indian culture. Globally, India is known for their incredible and diverse textiles, hence why they are one of the world’s leading exporters in this industry. Not only is this nation praised for their quality of textiles, but different regions with varying influences due to differences in culture and environment allow for varying arts and sources of inspiration. These differentiating influences stem from a range of internal cultures, religion and climate and external cultures from colonisation. Thankfully, globalisation is yet to solely dilute the strong elements of traditional design as It’s past continues to inform current design practices.
India can be summed up as a nation of coexisting extremes. Some of which are juxtaposed right before your eyes and some of which are not so blatantly obvious. In one state you will experience a tropical haven, whilst in another you may be surrounded by a desert. In large cities such as Mumbai, you will find some of the most expensive property in the world and at its base will be slums. These extremes can be very fascinating but also very challenging and thought provoking. In terms of design, these varying extremes in each environment serve as a source of inspiration. Each region essentially has their own crafts that they specialise in, varying from prints to weaves. Some of these crafts are becoming more and more scarce. When visiting a weaving village in Gujarat called Bhujodi, we discovered a form of weaving with knotting that is now only practiced by one family in this single village in the whole of India. Unfortunately if crafts are not required and are being replaced by easier crafts to mass produce, then they die out. That’s why there are Non Government Organisations dedicated to preserving traditional textile production methods. Even when visiting the cities and interacting with those that were not directly involved with textile production, it was clear that most people still personally identified with textiles. They are a part of Indian culture that needs to be preserved. To put it simply, the fashion industry has some very contradictory values. Fashion is about freedom of expression. For many it’s about an individual’s take on an artform and how they represent themselves is essentially a creative outlet. How does an industry that so strongly bases its core values around freedom allow for its processes to take away exactly that from those who work to create our wearables behind the scenes? When developing this project, our immediate thoughts were to have the
product manufactured here in Australia. While providing jobs locally is always a positive for our economy, is simply taking the job away from offshore manufacturers solving the problem? The harsh truth is, even in such poor environments and earning such low wages, these jobs can still provide much better conditions for mistreated garment workers than other options. Rather than taking the work away, ENSEMBLE. made a concious decison to manufacture responsibly in India. Visiting the C.C. Shroff Self Help Centre was an important part of the process, so we could look at the facilities and how they operated, meet the people who work there and make the project as collaborative as possible. Founded in 1979, the C.C. Shroff Self Help Centre, situated in Goregaon in the state of Maharashtra, aims to eliminate the previously discussed unfair and unsustainable manufacturing practices by providing economic independence by teaching skills to those who are either socially or physically challenged. A member of the World Fair Trade Organisation and acredited for Social Accountability 8000 (SA 8000), the centre provides not only a safe and fair workplace but also a hub to nurture and inspire creativity. Training programs are carried out in tailoring, embroidery and handcrafts with special focus on women to become self-supporting by either joining the manufacturing team at the centre or becoming independent entrepreneurs. The Self Help Centre is instantly welcoming. The immediate energy from the centre was extremely positive, which was reassuring. The facilities were clean and modern, the people were happy. We had a look at products the centre had previously made and what they are currently working on. The products allowed for experimentation with a great range of crafts to develop one’s own skills and sense of
C.C. Shroff Self Help Centre | Goregaon
Silk Threads | Kutch
style. This is where we learnt about the clean up initiative in Bhuj. The Shroff family originally come from Kutch, the locality in which Bhuj is found. In 2001, an extremely devastating earthquake hit Bhuj, from which they are still recovering today. Unfortunately they do not have the infrastructure and resources to recover from the destruction as easily. The plastic waste especially, is a major issue. This is not just from the affected structures at the time, but also from the packaging of the resources that were brought in. An initiative was created to upcycle this plastic waste and make it a part of something wearable. The unique beads on the zips of our clutches were collected as a part of this initiative, hence why not all beads are the same. We sat down with Harsha, who looks after the Self Help Centre, and discussed possible clutch and tote designs over a cup of chai. Small quantities were not an issue, as the centre was not all about big business and mass production. Each project is tailored to a manufacturer’s individual needs. They valued our textiles as much as we did. We were fortunate enough to be introduced to Neena, a couture gown designer in Mumbai. Neena knew all the spots to find even the most intricate of textiles. We went to a few markets to gain a bit of insight of what was available, saving the best until last. We were told of a store where Neena gathered her specialty textiles. They were all artisan made and one offs, so the chances of finding the same textiles again the next day were beyond slim. Immediately, the the store was full of energy. Colours from floor to ceiling. An
abundance of textile knowledge and a store full of eager buyers. The only hard process in this store was narrowing down our choices. A clear pattern was forming. Neena, Harsha, Leena, the women in the centre, our Mothers, their friends and colleagues, with children balancing work and family. We are surrounded by an amazing set of empowering women doing amazing feats. Unfortunately, women in all corners of the globe will experience a form of marginalisation or discrimination due to their gender. Does this mean we should dwell on such injustice? No, for what would such dwelling actually achieve? We use this as an opportunity to empower each other. To feed off each other’s energy and support one another when support is needed. In this publication, the empowerment of women has been enhanced by collecting submissions and conducting interviews with a range of women in our community. We hope that by sharing opinions and inspiring others with art and personal stories, we can engage with our community and start a discussion focussing on the progression of women’s roles in our society. In the future, we plan to go back to the Self Help Centre and reinvest in their community by continuing to build and develop artisanal projects in India. There is still room for vast improvement relating to the fair treatment of manufacturers and the role that women’s rights plays in this battle. We hope this project will help stimulate much needed conversation in regards to both of these issues and result in a proactive approach to change.
Upon entering Neena’s textile store, we were immediately drawn to the pattern used on the clutch. As mentioned earlier, Neena informed me that you don’t simply buy a textile with the hope of coming back the next day for more, so I knew I had to get it there and then. Different eyes see different objects within the pattern as your mind makes connections to the shapes and colours. Water falling, and melting snow on mountain peaks are suggestions that frequently pop up when people describe the clutch. All of which are patterns taking form from our natural surroundings, which local artisans gain their inspiration. In addition to textile production, India also has a rich history in artisanal embroidery. Intricate designs are often embellished onto the surface of textiles, revealing exquisite patterns or imagery of the surrounding environment. This clutch is lined with silk sourced from the Self Help Centre, and this metallic aesthetic is continued on the interior. A unique bead sourced from the Kutch earthquake rubble further enhance the magic of this clutch. Versatility in a product allows for increased usability. If you don’t have the contents to completely fill your clutch, let the top fold over and down. The fabric has been sewn in a way that allows for the pattern to continue even when the clutch is folded to become more compact.
As the efficiency of some commonly used natural fibres is beginning to be questioned, due to the rise in cases of negative environmental impacts, more attention is being focused on alternatives such as jute. Whilst traditionally used for homewares, Jute can easily make its way into the fashion scene. Not only is jute a natural fibre that is praised for its biodegradability, but it also requires less space, fertiliser, pesticides and herbicides than most well known natural fibres, such as cotton. It also provides an agricultural industry to developing communities in rural India and Bangladesh, as these areas provide the best climate for jute production. All of these factors play a part in deciding to make our tote bags from the incredibly strong and sustainable fibre. The exterior is a weave with foil printed squares. Foil printing is a traditional method seen featured on garments throughout Indian culture. The squares, a subtle approach to such a dazzling embellishment. The interior is lined with burgundy silk to create contrast. When discussing how to line products at the Self Help Centre, all of the workers agreed that every bag requires a beautiful inside. You need to look inside and feel happy each time you open the bag. The rich burgundy is pleasant on the eyes whilst the silk used is an exquisite textile on its own. Totes brace the shoulders of many, as they’re practical, versatile and incredibly efficient. Made to fit a variety of lifestyles, this tote fits an A4 notebook and 13 inch laptop, or can just be used to hold your day to day items, like a wallet and phone.
Stephanie Henly Australian Emerging Designer of the Year 2016. Melbourne, Australia
was into sport and a long and lanky child, therefore clothing design and fashion was never anything I looked for! Though I used drawing and painting as a creative outlet and for my self-confidence.
Tell us a little bit about what you’ve been working on. After finishing my Honours Degree at RMIT last year in fashion design, my graduate collection has received ongoing attention, which saw me showcase at the Virgin Australia Melbourne Fashion Festival earlier this year.
My interests began to change and I saw fashion design was equally a creative process as art itself and a more practical way to showcase. I began to sew my own clothes as neither my budget or accessibility allowed me to purchase the seasonal runway trends. I enrolled in a nightly sewing class whilst at high-school and was lucky that my school offered fashion design as a practical class.
This has been my biggest recent project preparing and refining the looks for the runway presentation. From customising the shoes, making the accessories and fitting each garment to the model, it’s a laborious process that contributes to a final presentation. Now that’s over I’m establishing a routine for myself by working part time for a couture fabric designer and supplier, interning for one day a week and working in my studio for the remaining two.
I threw myself into sewing, textile printing and designing. I was known to always wear a garment of my own at events. Christmas day outfits were highly commended. I entered as many fashion design competitions as I could. My natural progression was to look into universities interstate as I’m from Adelaide. RMIT University was my choice for their international opportunities, facilities, industry mentors and regarded graduates. The rest is history!
This year for me is a learning and explorative year, aiming to gain more business knowledge, practice and industry experience, whilst continuing to work on my designs - still encompassing hand embroidered details.
What do you love most about what you do?
What made you want to enter the industry you’re in? My involvement within the fashion industry was a natural progression from my interest in art. I was always a tomboy growing up. I
It wasn’t until early high-school when my dad bought me my first YSL Baby doll perfume that I was prompted to ‘google’ who this Yves character was. I distinctly remember dialling up on the internet and watching the pages load of these whimsical designs and flood my screen. That captivated my love of art within a wearable form.
The fashion industry allows me to express myself as a whole, whilst still considering the people around me. Design has the ability to transfix and allow the viewer, or in my case wearer, experience a range of emotions. In my chosen design aesthetic I found in myself the beauty and detailing of embroidery and hand techniques stirs positive feelings of lust and admired beauty.
However, the fashion industry is also the development. I have not set in stone exactly second largest employer in the world and it when, where or what I’ll be doing in 1, 5 or has a huge amount of control and influence 10 years time. However, I have established over the lives of their employers. I have my current work commitments, cohort of written my thesis on how hand-craft within professional mentors and time for personal the high-fashion industry can positively development in line with my design ethos.
impact the community whilst empowering women, preserving a craft, encourage slow fashion consumption and provide employment.
I know I want to continue to be involved within high-fashion design that uses hand crafted details. I intend to travel to India, Pakistan or Vietnam to gain a better understanding on the hand-crafted processes. This understanding Where do you draw your inspiration and insight into the way they work will allow from? me to produce my own designs and work on my innovated processes in a translatable My design inspiration comes from various and practical application. art-based sources and very rarely from the fashion industry itself. As my interest at a Who are the empowering women in your young age was always in the practice and life? application of art and drawing, I find my doodles, colour combinations, line drawings The women in my life are equal parts and photographs inspire the compositions nurturing and driven. I have my grandmother of my work. I use my embroidery techniques to thank, she taught me sewing from the age as a fashion based application of drawing, of 11. In her eyes sewing was a practical using the garment or fabric as my canvas. skill, a necessity to create clothes for your family. Her primary commitment in life was to My long-stitch collection was inspired by look after the children whilst my grandfather several artists such as Kazuko Miyamoto, was a honourable man in the air force. Never David Wojnarowicz & Nico Schroeder for their learning how to drive or being employed work in dimensional and installation string whilst having a family, she never ceased to art. The way they consider space, line work, stop sewing. volume and composition can be applied to a canvas through fashion design. Nana never takes enough credit for her skills and practical knowledge of sewing, to which At the core of my design practice was the I have been honoured to learn and be guided intention to use hand stitching as a means by her. She has passed down her sewing of preserving craft through recontextualising machines, vintage cutting scissors and her the application of the embroidery method knowledge, which will always be at the crux the ‘long-stitch’. In my collection and going of my passion for sewing and design. further I plan to continue using embroidery as a means of function and form, as opposed Where can we find out more about what to the traditional methods of decoration. you’re working on? What are your long term goals/some things you hope to achieve?
My website and Instagram features recent collaborations, on-going works and personal connections to me and my work.
I have positioned myself to considered my long terms goals as a means of long- www.stephaniehenly.com term learning and a natural progression of @stephanie_alyce
Bhujodi | Gujarat
Leena Bakshi Urban Designer Perth, Australia
Where do you draw your inspiration from? I have worked with some amazing women both here and in Bombay who have inspired me greatly. I have also had the opportunity to work alongside women who have come here as refugees and they are an immense source of inspiration. I find their strength, conviction and optimism is truly amazing. What are your long term goals/some things you hope to achieve?
Tell us a little bit about what you’ve been working on. At the moment, I have gone back to study and am currently completing a Masters Degree in Urban Design. I am passionate about democratic public spaces - by that I mean public spaces that are accessible and useable by all members of the community. I also do bits and pieces of academic and social research and also volunteer in the community. What made you want to enter the industry you’re in? Like I said earlier I am passionate about public spaces. As a community activist one kind of knows issues that face disadvantaged communities, but has no skills or the language to talk about the spatial aspects of a community. By choosing to take this path of study I would like to think I am beginning to think socially and spatially. What do you love most about what you do? I really love working with people, so I’d have to say that’s my favourite part.
I wish to continue to contributing to the community in any shape or form. Can you think of some challenges you’ve come across along the way? I suppose they would have to be the challenges that come with migrating as an adult, having to prove that you are a capable woman, the challenges of being a woman of colour and that come with being a woman in general. What keeps you challenging times?
motivated
through
I am the eternal optimist... the sun always shines every day and there will always be a new morning. Who are the empowering women in your life? My grand mother, my mother, my friends, my daughter and my daughter’s friends, my nieces... These women have taught me wisdom and equanimity. I am inspired by their commitment to what they do and their commitment to their passions.
“Through my own experiences I have come to an understanding that there will no doubt be obstacles in life. People will be illogical, unreasonable and self-centred, love them anyway. If you’re successful, people may use you and backstab you, succeed anyways, If you do good, It may be forgotten tomorrow and you may be accused of selfish motives, do good anyway. People who want your help may just be taking advantage of you, help them anyway. You give your heart into a relationship and what you spend years building may be destroyed overnight, build anyway. Give the world the best you have and you may get. Give the world your best anyway.” - Jessica Nguyen @justknowingyou
Photographer | Steph Alexopoulos | @cxrnersof
“Found on the inside or the outside, the surfaces of our buildings work like the clothing that covers our bodies; both are coded to enable us to articulate the various identities that we assume every day.�
Photographer | Isabella Head-Gray | @b.issi
AN ANALYSIS OF SUBJECT X. Jessica Clausen is an Australian writer whose work is inspired by and addresses contemporary social issues, with particular focus on those issues affecting millennials. A recent study undergone by the ------------------ at ---------------- was intended to shed further light into the lives of adolescents, focusing specifically on younger generations, commonly and informally titled ‘millennials’. The study would investigate the thoughts and feelings (using new methods) of millennials in order to get a better idea of how to best cater societal changes for them. Due to great social, environmental and economical changes in the past decade, the actions and reactions of the young adults of recent generations differ significantly to those before them. Unfortunately, due to general disinterest and the attitude that this evaluation and understanding of this generation would be deemed unimportant, the funding was cut only days into the study. Despite funding cuts, however, investigators chose to still release the information on their first few investigations, focusing on one particular subject. For confidentiality purposes, this subject will be identified as subject X: a young woman in her early twenties, medium height and build, and from a working class family. The test was established in a mimicked social setting: a house party celebrating a peer’s birthday (whose identity won’t be given) with guests encouraged to bring alcoholic substance if they so decided. An investigator was placed among the crowd, disguised as another guest, and was required to keep watch of vulnerable party-goers that would be susceptible to the task, these subjects would be lured into a private room for the analysis. The task was harmless to subjects, similar to a combination of hypnosis and counselling. After establishing the proper instruments, the investigator began recording subject X and compiled a list of notable points revealed. The deconstruction of X was a difficult one due to its convoluted nature. This was why X was chosen as the case study, as her thoughts demonstrated the complexities of the true ‘jaded millennial’. Subject X’s thoughts were lengthy and complicated, so, instead of reproducing them in full, a number of soundbites and brief summations have been noted. However, these only scrape the surface of what was revealed:
X wants to change the world, but she’s not quite sure how. X is angry about her inability to change the world due to the common understanding that she is only ‘one person’. She is conflicted with a combination of apathy and hubris that, in turns, only achieves a sense of powerlessness. X’s deep insecurity and self-reflection means she is very careful with what she says. Most of the time, she finds herself replaying scenarios in her head where she feels she ‘fucked up’, and, in turn, finds herself ‘falling into a deep ditch of resentment’. Her sense of self-awareness also helps her ability to read other people, but this only causes more problems. She feels the people around her are confident and self-assured, but she doesn’t feel like most of them deserve it. She hears the things they say and cringes at how thoughtless they are. She feels angry that they are free in their ignorance of their own value as a person. She hates who she is and how she acts, but she still believes she’s more considerate than others. When she talks to these people, she gets aggravated and hateful, but she wonders if this is her own doing. She is constantly torn between believing others are the problem and believing she is the problem. Subject X is terrified about her own ignorance, and wants to absorb as much information as possible. She doesn’t believe good grades determine intelligence, but that also might just be indicative of her disappointment at her own grades. Because of Subject X’s background, she has anxiety over money. And due to the financial issues only her generation has faced, she is afraid she will never feel at ease over it. X doesn’t want to be so controlled by societal and social validation, but she wonders if she could ever be happy with her own self-validation. X is under the impression she doesn’t have anything ‘sorted out’ and so cannot take full advantage of her youth. This is because she feels herself battling contradiction after contradiction, with each solution only bringing out more problems. It’s because the thought of living at a desk job for a majority of her life terrifies her, because she gets bored easily and needs constant stimuli. And because she’s afraid that if she doesn’t acquire that desk job that she will forever be
forced to work in unfulfilling and demanding hospitality jobs on a casual basis. Because she’s afraid her constant worry for the future has left her ignoring the present. Because she gets bored in conversations and finds herself slowly picking apart the flaws of every person she meets. Because she’s also picking apart her own flaws. Because she feels lonely sometimes, but she needs to be alone as well. Because nothing is quite right in your twenties but you have to pretend that it is. Because she is scared she will never ever properly connect with anyone, but she isn’t sure who to blame for that. X is in fact, not an outlier in the study. While some of her thoughts are exclusive to her, a number of other students during the study expressed similar thoughts associated with isolation, hopelessness, fear and dread. The continuity of these thoughts (that differed to a previous study undertaken by other generations), makes the investigators curious as to what the cause is. There are a number of theories as to what could resolve this existential crisis epidemic, but as Subject X expressed in her own thoughts, they are all a number of contradictions, and rather, express no true solution that would truly be workable in today’s society. Following funding cuts, volunteers will continue to endeavour to learn more about today’s youth. However, this project will be placed as last priority over other, more serious, investigations.
Author | Jessica Clausen
Photographer | Stephanie Alexopoulos | @cxrnersof Model | Louisa Ceglia | @louisaceglia
What Does Gender Equality Look Like to Me? Author | Georgia McCormick I grew up playing sport, specifically gymnastics and soccer. It taught me important skills like goal scoring and a back handspring. It taught me about discipline, perseverance, commitment, hard work, team work. It also taught me very early that, when it comes to sport, girls are not as important as boys. Gymnastics, with our ribbons and leotards, was the perfect place for a little girl. But certainly not a long term path for a woman. When I first started playing soccer, there wasn’t even a competition for girls. We could play, sure, but with the boys or not at all. We did eventually get our own competitions and tournaments. On the furthest, most decrepit soccer pitches each facility had to offer. My local club didn’t even have girls change rooms. Fast forward 15 years, things have certainly improved. Competitive sport of all varieties is now a legitimate past time for women. It feels like we’re entering a new era. An era where that concept of males and females being treated and respected equally is one that is not all that crazy. Boys can even wear pink soccer boots! But gender equality and the sporting industry fit about as accurately as our “unisex” soccer uniform on my 5’1 female frame: practical enough, looks ok from a distance, but ultimately, designed for a man. Sport is just a game though, right? It’s the least of our worries. We should be focusing on pay parity and eliminating gender stereotypes. We need to be looking in workplaces, schools, not on footy ovals. While we live in a society consumed by sporting culture, it will always be more than just a game. It’s a way of life, a spectacle that so many of us orbit around. It’s also a microcosm of society’s ills.
In a mediated world, perception is reality. So now have a think about how we receive female sports stars. There’s an acute quantitative difference in the coverage of men’s and women’s sport. Horseracing receives more airtime in Australia than all of women’s sport. Women get approximately 7% of sports coverage. Women’s sport is discussed in significantly less reports and when mentioned, for significantly less time. Ironic, considering the Opals habitually rank higher than the Boomers, the Matildas above the Socceroos. Women out-performing male colleagues but receiving less attention and praise for it. Sound familiar? Granted, women’s sport gets more and broader coverage than it did a decade ago. But there is still a persistent bias toward male sport, and it is not an accurate reflection of the product on display or its popularity. Where we see more male sport, it says: this is more significant, it is more newsworthy, it’s more important. In the little coverage women do receive, there is substantial asymmetry in production value. Where high-expense, highproduction male sport presents a dramatic, sophisticated spectacle, women’s sport is presented as low-budget and less-thandramatic. The problem: in Australia there are so many business links between ownership of sport and broadcast media that the power and money behind sport has a vested interest in success of the men’s game. An old boys club, rooted in tradition and long-standing partnerships, squeezing out women. Sound familiar? BRB polishing the glass ceiling.
Men’s sport broadcast rights deals consume prime time slots, huge promotion and time commitments on the major networks. Women’s sport is relegated to the leftovers, ancillary exposure, if at all. Media organisations contend it’s simply a business decision: women are not as good at sport and people want to watch the best. This argument cannot be used any longer. Because it’s not true. Men will mostly be taller, stronger and faster than women but if this were the only measure for quality in all sport there would be no market for women’s tennis, surfing or most Olympic events. We have to re-evaluate how we assess the quality of women’s sport, performance is continually judged on male standards which is plainly stupid if your market includes women. Australian media has slight progressed in presenting women’s sport in a professional tone; however, it is still packaged for the male gaze. Since the decline of traditional patriarchal institutions, sport has offered a lens for understanding dominant gender narratives about femininity and masculinity. It is important in developing public understandings and constructions of gender. Historically, women who played sport were masculine. To counteract such stereotypes, women have had to assert their femininity through the media and embrace sexualisation. However, this has entrenched patriarchal structures because it compels women to be sexual, passive, and feminine, which reinforces male dominance. It degrades their accomplishment and athleticism. Visual aesthetic is inherent in sports marketing across genders, but a sportswoman’s economic outcomes are significantly more affected by her physical appearance and mainstream beauty standards than men’s. Sound familiar? Ellyse Perry is arguably Australia’s most marketable sportswoman. She is persistently referred to by her appearance: ‘she is a beautiful 25-year-old Sydney University student … long fair hair and bluegreen eyes, long legs, smooth skin and an
easy, even smile. She looks like an ideal-type Australian who might have been generated in a laboratory’. She is also the first Australian, male or female, to have played at World Cups in both cricket and soccer, but this is an afterthought. Google Perry and you won’t even have to scroll to read about her personal life, and husband Matt Toomua. Google Toomua and the reverse is not true. Female athletes are more likely to be packaged as mothers, wives, sisters or girlfriends because sportswomen simply cannot be recognised for their elite athleticism. Sportswomen are still made to fit within hegemonic representations of women. Katinka Hosszu obliterates the 400 IM world record and her coach husband is ‘the person responsible’. The Olympic final of women’s judo is a ‘cat fight’. Corey Cogdell-Unrein wins her third Olympic medal and is ‘Wife of Chicago Bears Lineman’. The Gold Medal winning US Gymnastics team ‘might as well be standing in the middle of a mall’. Venus and Serena Williams may have won four Olympic gold medals, but in 2016 Andy Murray is ‘the first person to ever win two Olympic gold medals’. Marion Bartoli won Wimbledon in 2013, but is ‘not a looker’ according to BBC’s John Inverdale. Sportswomen are repeatedly presented as “women first, athlete second”. Look at the Australian Government’s “Girls Make Your Move” campaign. We see a variety of young women engaged in physical activity. Instead of focusing on how exercise reduces stress, increases physical strength and co-ordination, we are told ‘sweat now, be sweet later’ and to ‘snapchat this’. Similar campaigns are seen across sports marketing: the “This Girl Can” campaign in the UK told women to ‘sweat like a pig, feel like a fox’ because ‘damn right, I look hot’ if I exercise. Under Armour’s “I Will” campaign features ballerinas, gymnasts and a supermodel. Reebok’s “Women Run the World” campaign is narrated by a man, telling women why sport is beneficial. Is it too much to ask that a campaign targeted at women find reason for physical
activity beyond the ‘cult of body worship’ and perfecting self-image for the benefit of others? Sport is a microcosm of society. The sporting industry, and society broadly, is still too uncomfortable with the ways female athletes challenge traditional notions of gender. While we continue to tell girls their sport is not important, we tell girls they are not important. What does gender equality and female empowerment look like to me? A “unisex” uniform that fits.
Georgia is a final year Law Student at Monash University in Melbourne with a passion for all things sport. She enjoys writing on issues that affect young people, specifically young women. When time permits, Georgia writes pieces for her blog: Georgia at Midnight. midnightgeorgia.blogspot.com.au
Juhu Beach | Mumbai
Artist | Anna Theris
Esha D’Souza Pilot in Training Perth, Australia
Tell us a little bit about what you’ve been working on.
Can you think of some challenges you’ve come across along the way?
I’ve recently completed by Bachelors Degree of Aviation. I’m currently working towards obtaining my Commercial Pilots Licence.
I have come across many challenges along the way. The flying program that I was part of did not work out, my flying school then closed down and I had fourteen different instructors whilst trying to obtain my first licence. Although there has been many challenges, I think they have made me more resilient and have made me want to work harder to achieve my goal.
What made you want to enter the industry you’re in? Since I was a young girl, I have walked around saying that I want to be a pilot when I grow up. I’m not exactly sure what triggered this dream, but since I can remember I’ve had a fascination with planes and air travel. What do you love most about what you do? I love the freedom and the novelty of being able to jump into a plane and take myself anywhere. There is a saying in aviation, ‘1000m of road will only take you 1000m but 1000m of runway can take you anywhere!’ What are your long term goals/some things you hope to achieve? My long term goal is to be a Commercial Pilot, I would love to work for any large airline.
What keeps you motivated through challenging times? My family and friends are probably the biggest motivators in my life. They keep me feet grounded and ensure that I continue to focus on my sky high dreams, sorry about the aviation analogy Who are the empowering women in your life? I draw my inspiration from all the amazing women that I know both within my field of study and outside of it. My mum is definitely one of them, my flying instructor is also another. There are also women like yourself who are forging their own path in incredible ways.
Artist | Lexi Baikie | @lexbai
HEART OF THE HOME Changes in domestic architecture and the spatial arrangement of the primary dwelling shows a correlation to cultural perspectives of gender roles and changes to a females position in the home. The evolution of the public and private spheres of female labour is no more visible than in the changing architecture of the family home, where the kitchen has moved from a small room divided from the other living areas by long hallways, to the modern open-plan kitchen and living area. In separating the kitchen from the living areas, these hallways operate to divide the female homemaker into two distinct selves – confining her hard physical labour to the kitchen, therefore rendering it unworthy of comparison to the paid work undertaken by men. Outside of the kitchen, the female homemaker would wash away the grime of the small dingy kitchen, before presenting her pristine public persona throughout the rest of the home. Second and third wave feminism swept across the world, followed by a silent architectural shift – the opening of the kitchen to the rest of the home. Today, the kitchen is twice the size it was in the 1920s, with most homes now investing significant time and money into their cooking areas. The communal nature of today’s family kitchen recognises the increased role of men in the private domestic sphere as the room grows and swallows whole areas,
Author | Jess Baikie
such as formal dining rooms, to reflect a more casual space – thus entwining the public and private spaces into bright and airy open plan living areas with kitchen, dining and lounge rooms all in one. The growth of the kitchen has, of course, not provided us with a full reprieve from institutionalised gender oppression, with women still performing the vast majority of domestic work and systemically excluded from public spaces – enforced through the misogynist crowing of “get back in the kitchen!” With more women in the workforce than ever, females are seen taking on the double or even triple burden of paid employment, domestic work and child minding. It’s great to celebrate how far Australia has progressed in gender equality, but we must also recognise how far we’ve got to go. Through design choices, does architecture have the ability to continuously develop the living area into a modern day sanctuary? As the kitchen is opened up, filled with light and centrally located inside the home, the negative connotations associated with retreating to a kitchen could be destigmatised and transformed into an empowered role.
Zara Sengstock Film Maker. Melbourne, Australia.
family of victims as well. Before finalising the official script we also got in contact with Rape and Domestic Violence Services Australia Executive Officer, Karen Willis who personally read the script and gave me feedback. RDVSA offer an amazing free phone counselling service 1800 RESPECT, who have also partnered with our film and feature in the end credits. Boyfriend stars a few up and coming amazing Australian talents including Laura Grady, Joe Klocek, and Jack O’Reilly.
Tell us a little bit about what you’ve been working on.
The short film shot over 10 days in total which spanned over a number of months and has been in the editing suite since October 2016.
Over the past 12 months, in combination with my final year at film school, I have been creating a short 20 minute film about the youth domestic violence in Australia.
We officially picture locked the film (meaning locked off the cutting of clips) last Wednesday night, and well into the Sound design and Music composition phase!
Now in its final few weeks of post production before embarking on a film festival circuit and eventual release online it’s really cool to have the opportunity to speak about the work that went into creating the project but equally as importantly having the platform to share the reason for this project’s existence. The short film I have written, directed and associate produced is titled “Boyfriend”. In short it is a story that deals with 17 year old Zoe’s journey to becoming physically and psychologically abused by the boy who claims to love her. Boyfriend tells a very intimate story within the very large discourse of youth domestic violence. Unpacking the stages of a once happy relationship becoming violent, and exploring the factors that trap the victim in the relationship. To create this film I did over 6 months of intensive research and drafting of the script. I spoke with men and women of all ages who had been not only victims but friends and
What made you want to enter the industry you’re in? Growing up film and television had a huge influence over me. Some kids read books, I was always watching television, whether it was documentaries, soap operas, the News I loved learning in a digital format and found the programs I watched could really influence and affect my understanding of the world and my emotional state. When I was in year 10 I was really interested in Legal studies, business and English but I felt there was something missing. I was also heavily involved in theatre at school but only at a recreational level. I specifically remember having a conversation with my friend when she was on her way to Media Studies and I remember asking her so bewildered, “what the f-bomb even is that?” She started to tell me about the film projects they did, and how they got to write and act and direct and edit all in one class. I went
home that night and told my mum all about it and we both knew straight away “This is what I have been missing.� She encouraged me to meet with the Media Teacher, and after 5 minutes of speaking with him I knew, something about this subject and the opportunities it provided me with to communicate through filmmaking was something profoundly special. Finding filmmaking is what gave me direction in life and allowed me to connect with the world around me- I owe it all to the two years I spent in that media classroom with the most inspirational teacher I have ever had, and my mum for encouraging me to always pursue my passion. What do you love most about what you do? Film allows you to stumble into worlds you may not have ever been exposed to. As a commodity I believe It helps reduce ignorance and builds tolerance and understanding in people by shedding light on stories of humanity. I use film as well as an outlet for my emotions and experiences. Being able to write and work with your hands to creatively deal with my greatest successes and hardest challenges has been a really positive influence over my outlook on life. Where do you draw your inspiration from? To be honest, I draw my inspiration from a little bit of everything. A simple interaction with a person on the tram could have inspired a character in a film or story I write five years down the track. I am always trying to absorb my surroundings. I not only draw my inspiration from my own reality and the reality of others, I think
what inspires me the most is the ability to connect people with stories that may help them deal with their own experiences. If a story whether personal or not strums up an emotional reaction in me, it will form part of my inspiration. I am very passionate about creating content that empowers women of all ages and shedding light on the key social issues underpinning our existence and progression towards equality. What are your long term goals/some things you hope to achieve? My long term goal is to progress into the
industry and be making content which has the ability to connect with a larger audience. I would love to travel with my work and learn from industry professionals from all over the world as well. At the end of the day I want to turn filmmaking from a passion into my full time profession. There are plenty of challenges that arise when making a film, unfortunately money underpins the creation of a film and it can be a very restrictive element holding you back from complete creative freedom. It is a very stressful and at times isolating thing to be doing. There were a lot of sacrifices I had to make in order to meet deadlines that at times took its tole on my personal life. But learning how to balance it all is part of the challenge and the journey and I am so fortunate to be surrounded by so many supportive friends and family members every step of the way. There are so many pieces of the puzzle that need to come into place all at once, and sometimes they just don’t- you constantly have to remain flexible and positive. To be honest the best description of filmmaking is a series problem solving.
What keeps you motivated through challenging times? Being surrounded by some really positive friends and family members who were always there to listen and talk through my problems day in day out was the reason this film came together in the end. My Producer Josh and a few other veryspecial people attached to this project from day dot who have been behind me all the way and are responsible for making my world go round. Who are the empowering women in your life? In my life I am so lucky to be surrounded by talented and independent women, every single one of them has attributed to the person I am today. My mum; Marg and and my Nana; Pat are two of the strongest, most hard working and selfless women I know. They encourage me to aspire to achieve greatness and to embrace the world every day, fearlessly. I admire the work of so many women in the Australian film and television industry; some names that come to mind are Celia Pacquola, Hannah Gadsby, Emily Barclay, Deborah Mailman, Rachel Perkins, Jane Turner, Gina Riley, Toni Collette and Rebel Wilson. Where can we find out more about what you’re working on? Follow The Page “Boyfriend Short Film” on Facebook or look up our website: www. boyfriendshortfilm.com Follow me on instagram @zarasengstock where I release constant updates about the film and future projects
Bhuj | Gujarat
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