Contents Editor’s Letter
3
Editorial
4-7
Interview
8-9
Review
10-11
Collaboration 12-13 Think Piece
2
14-15
Letter from the Editor... There have been two things I have noticed when looking into the media and everyday life: 1. People love to gawp and stare at others (and sometimes make it very obvious they are doing so) and 2. People don’t like being gawped or stared at. Two things that seem to contradict themselves yet seem to coincide together on a daily basis. Why do we Gawp? Why do we stare for so long at one thing and fixate to the point that it can come across as being rude? These are the questions I wish to answer. The focus of this Zine is to delve into the common pastime of gawping and is designed to celebrate and give exposure to those things in life people usually choose to gawp at. A written piece by art student Jack Lane explores gender fluidity and why people question it. We review Diane Arbus’ exhibition: ‘in the beginning’, a famous photographer known for her exploration of marginalised people. We interview Tess Pedersen-Merrall, an individual who explored Punk in her youth, all accompanied by a playful editorial piece questioning but encapsulating what people associate with the word Gawp. By bringing all these pieces together I hope to explore the subjects that people would normally question and not accept and give exposure to ‘The Outsiders’. 3
Editorial OMG!¡ ! ¡ WHy ArE
yOu sTariNg @ mE?!?! Although we all love to do it, have you ever thought about what you look like to other people if you are gawping at them? Even a quick side-eye glare can come across the wrong way. Rude, obnoxious and offensive are some of the words to describe it. But is it just a natural human reflex? If we see something that is interesting to us will we do nothing but fixate on it? If you haven’t thought about the fact that you might stare at people from time to time have you thought about if people gawp at you? Now you just might. 4
yEaH...aNd WhaT?
5
yES tHiS iS My rEAl hAir dO yOU haVe a pROblEm wiTh tHAt??
It’s also important to think about what it is that people are staring at. Is it anything in particular? Hair? Makeup? Clothing choices? These are some of the aspects explored within this piece. With graffiti and urban backdrops, this editorial also makes you question what objects people gawp at; People create graffiti to get across a message and to be heard so why can’t people do that with the way they choose to express themselves within society and everyday life?
6
DoEs it BOther yOu tHAt
i’M WeariNg mAkeup beCAuse I’m a gUy?! 7
Interview Before
After With her bedroom like her own studio, the creative hub of a Fashion Design student, filled with ideas and sketches from floor to ceiling, the setting for my interview with Tess was inspiring, making me immediately want to jump onto a sewing machine even though I haven’t touched one in about five years. I also couldn’t help but admire the various pinks and creams that graced her wardrobe in the forms of knits, silks and faux fur, a very different wardrobe to what had been portrayed in images of her circa 2012 ‘Punky Merrall’ phase. Back then Tess was taking the residents of the small Welsh town Barry by storm with her truly eye-catching and individual approach to fashion and styling. Now, with her taking a degree in Fashion Design, she talks about how this also provides her with inspiration when it comes to her recent styling choices, peaking an interest in choosing garments, also because of how they are made. 8
I began by asking her what defined her previous style with her being very quick in answering that she easily defined herself as an Emo for the first year of her ‘style phase’ and then became more influenced by Punk for the remaining years. Mainly due to her circle of friends who were all influenced by this previously very popular trend of the 70’s, which had been recycled in the 2000’s to become a new-wave of Punk trend. Alongside her friends being big influences with them being (in Tess’ words) of the ‘alternative scene’ she also reminisced on how she used to listen to a lot of Emo and Pop Punk music with The Sex Pistols being a large influence for her during this phase. “Even though Punky Merrall is gone I still love to listen to that kind of music on full volume just instead of making sure my Mohawk stays intact, my main issue now is making sure I don’t rip a seam on my silk shirt”. As we spoke it became evident that Tess was aware that many people didn’t understand her styling choices especially in school as this can be a very hostile environment for young teens experimenting with style. “I had a lot of the girls in school call me a f**king weirdo because of how I dressed, and that was even without the Mohawk because I wasn’t allowed to wear that up in school”. As the years of her phase progressed, I wanted to find out if her reasons for dressing this way had changed. “Would you say you always dressed for yourself or did you ever dress to provoke a reaction in someone?” which she immediately replied to as “Both”. “For myself because I felt comfortable dressing as an Emo and a Punk, all my friends were dressing the same and it made me feel a part of something, but it’s also the shock factor that I found exciting, seeing a girl walking around with a 10inch Mohican is going to make people react”. Before I could even finish asking if she’s ever caught someone staring at her she replied with a very confident “Yes! So many times! But it eventually got to the point where I wouldn’t notice that people were staring at me anymore, it happened so often that I just got used to it.” Now that she lives nearer to London in Kent, far away from the quiet town of Barry I wondered if she felt like her previous style would be more accepted here. “I think in London for sure, less people would be likely to gawp at me as people pushing style boundaries happens quite a lot in London. I even had tourists asking to take photos with me as I represented the ‘London Punk Scene’ that they remembered hearing about. But, with that being said it was still my style and how I enjoyed dressing, so I didn’t ever think to make a different choice with what to wear depending on where I was going.” Then, it was finally time to address the elephant in the room. Tess was here telling me about her wild teenage years whilst sitting here as a 22-year-old with a very different style to what she was describing, so I had to ask, “Why the huge change?”. “I think I just grew up” she explained “Back then I had a lot to say, I still do but with a lot less aggression. I grew up and so did my style, it evolved. I kinda just got over the idea of always having to dress how people expected me to, now my style is much more fluid, and I can dress how I feel. I think moving away also helped me to fade out of the Punk phase without people accusing me of being fake”. And just like that the ‘Punky Merrall’ that everyone used to gawp at was no more. 9
Review
Diane Arbus- in the beginning.
D I A N E A R B U S _
10
Located at the Hayward Gallery at the Southbank Centre in London and organised by The Metropolitan Museum of Art, over 100 photographs of the iconic works of Diane Arbus, American photographer born in New York City in 1923, are being displayed on exhibition for just under three months between the 13th February- 6th May 2019.
H A Y W A R D
K A D E R
G A L L E R Y _
A T T I A
L O N D O N
As you entered the exhibition space you were met with what I could only describe as pillars of wonder. Placed in the room with no particular order, it allowed the viewer to roam free and explore each piece, reflecting Arbus’ approach to finding her subjects in everyday society.
It was clear that although the subjects within her images were quite complex- the names of the photographs were not. The whole concept entered a whole new idea of juxtaposition. ‘Corpse with receding hairline and toe tag’ for example was the name of one piece. A very obvious name for what was being shown in the image however I can assure you the receding hairline and toe tag were not the main focus of this image. The viewer was forced to gawp at other gory aspects of the photograph. But why was it that the only two things that are highlighted in the name of the image are the least important parts? Is it a technique used to try and make the viewer engage more? I certainly did.
The pieces were mounted beautifully in black marble frames, the photographs a gelatine silver print creating beautiful black and white images each with their own story. The collection of images were from her early works and featured the likes of contortionists, stage performers, female impersonators and children. Even though all the images featured their subjects in their natural environments with the images often being candid, each individual was just as captivating as the next, evident by the stunned silence of the gallery’s visitors, often only small murmurs could be heard. The photographs were personal but not invasive. With Coney Island and New York City being the prime backdrop locations for these images, some were often blurred which told more of a story by showing the subjects in a more natural environment and on the move, and even though these images were blurred and black & white you still remained so fixated on the imagery. Although some would consider Arbus invasive due to the subjects of her photographs she took a very respectful approach to her photography, to stand back and let the subject act as they normally would. This level of respect is also highlighted in the titles of each piece as for example; Drag artists and strippers are referred to as female impersonators and entertainers, a much more positive way to describe their profession. At the end of the exhibition there was a separate room dedicated to displaying the limited-edition portfolio- ‘A box of ten photographs’ that Arbus put together showing a small selection of her most famous photographs including ‘Identical Twins’ an image that graces the front of many of her books. These images were much bigger, and it was great to see these all displayed together in a more private area. An undeniable must-see for anyone excited by the extraordinary.
Kader Attia- Museum of Emotion As well as the Diane Arbus exhibition, The Hayward Gallery was also exhibiting the equally as ‘gawp-worthy’ work of French visual artist; Kader Attia. For his series called ‘The Landing Strip’ he documented the lives of a group of Algerian transgender sex workers living in Paris in the 90’s. These images were displayed largely across the white exhibition wall which I felt reflected the individual’s characteristics as they were expressing themselves with such confidence in every photograph. The images were informative as they also took a candid approach like Arbus’ work, and they explored and allowed exposure for a community of people that would ordinarily be judged and marginalised within society due to ignorance. A great exhibition to visit alongside the Arbus exhibition for anyone interested in culture clashes and hidden lifestyles of alternative individuals. 11
Collaboration
Better suited to wear a suit Than I am a dress What I choose to wear You still oppress. I present a statement, Mirrored in my clothing. Fashion has no gender Don’t force an agenda. ~Jack Lane
@lanyeah
12
Gender Fluidity by Jack Lane... Fashion; a conceptual art form to which can be perceived by individuals and has evolved to become an artifact of cultural representation. A modern recurring fashion trend is ‘androgyny’. Defined as ‘the combination of masculine and feminine characteristic into an ambiguous form’, although through observation, not accepted in its prime in societal views, the ‘trend’ still has progressed into runway and highend clothing. Some of the most dominant artists showcase their own image through gender fluidity, most noticeably David Bowie, who wore vibrant stand out clothing that held no branding other than himself.
To me fashion has no label, I personally shop in the womenswear section as much as I do in menswear. My clothing is a means to express myself visually. Ranging from the occasional crop top or subtle accessories, my wardrobe predominately consists of women’s clothing. My interest mainly stemmed from growing up in a household of women, being enticed by the clothing I found, not understanding the feminine characteristic they held, I would try them on. Through secondary school, I was berated for my looks, due to the fact I looked ‘too feminine’. Often having people openly gawp at me, I was lambasted for my individuality and style. To me, this was fine. Fashion is a statement, personifying you as a person, the judgement only fuelled my interest for the industry. If people want to gawp, let them, but don’t let them stigmatise your creativity. 13
Think Piece Is the Drag Scene finally becoming
more accepted within modern society? What is a Drag Queen? Defined in the dictionary as “a man who ostentatiously dresses up in women's clothes.” but is there much more to it? A point never mentioned within a dictionary definition. For many years, Drag Queens were disapproved of and were often the laughing stock of society, but nowadays this seems to no longer be questioned as frequently. Could this be due to the fact that media exposure has led to this whole concept becoming more accepted or is the acceptance of these people just become a trend? Fashion, beauty and politics can also be heavily considered. As fashion has evolved, crazy fashion choices of eccentric people like Drag Queens are questioned less. Many beauty brands such as Milk Makeup and L’Oreal are now supporting the idea of men wearing makeup by featuring them within their beauty campaigns. All of these ideas are fundamental parts of the growth of acceptance for these people within society, but will the most extravagant of these people like Drag Queens ever be fully accepted by those who have very traditional ideologies? Historically, the idea of men dressing in women’s clothing was never seen as an unusual thing. Men began dressing in women’s clothing during theatre productions of the Elizabethan times especially within Shakespeare’s plays due to it being illegal for women to perform on stage.
14
Nowadays it has become increasingly popular to accept and support the Drag Queen movement, but why? Many would put this down to reality T.V. series RuPaul’s Drag Race. The popular series has had continued success since it began resulting in the Drag lifestyle becoming more understood resulting in more acceptance within modern day society. Another influencer of this scene is American internet personality, Jeffree Star who is famous for his makeup tutorials and reviews on YouTube. Due to the growth and popularity of his channel he has become a huge influence within modern media for men wearing makeup. Even though Star doesn’t identify as being part of the Drag community, he is still a huge influencer in helping men feel more comfortable in expressing themselves in the form of wearing make-up. In terms of fashion, Jean-Paul Gautier famously challenged the acceptance within the industry of gendered dress by pushing the boundaries within his menswear collections. Although his collections created a gawpfactor when on the runway, his ideas often did not go any further than the catwalk. This shows that within the fashion industry it was very hard to break the boundaries between traditions and gender, which is still apparent nowadays. It still rings true that femininity within menswear and ideas that have connotations to Drag, may never fully be accepted even though well-respected designers like Jean-Paul Gautier backed those ideas and gave them publicity. Overall, I feel that there are many aspects that show the progression and acceptance of the Drag scene within society. Modern media and internet celebrities play a huge role in influencing individual’s views of these people and celebrates those who cross fashion boundaries; the androgynous Drag Queens. However, like it did in previous years, the recent trend of embracing the Drag scene and men in makeup may be moved away from. So maybe the question of whether Drag Queens will ever be fully accepted can never really be confidently answered as it is all down to the minds of society. Maybe time will tell. 15
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