Beyond the binary

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Figure 1: The Inverto Project - Edited, (Bennett, 2014), (Jorden, 2015)

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How is the rise rise in positive attitudes surrounding non-binary genders being translated within the 1 UK? 0 1 0 1 0 1 1 This report aims to rival the common misconceptions’ that gender exists merely within two entities - male and female, in an attempt to challenge the ideals of social normality and conformity.

How is it possible to comprehend the concept of space travel, 3D Printing or Google Glass, yet 1 1 gender can 1lay a little (or 1a lot) outside 1the common binary 0 1 not the notion 0 that a person’s assigned sex most of us are born with?

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Grace Jorden N0432752 Negotiated Project: Stage 1 1 1 FASH30001 1

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B B1 2 3 4 B B5 6 7 8 B B B 9 B B Contents

Gender

The UK

Trends

Within the Fashion Industry

Primary Insights

The Big Idea

Executions

Sweden

The Solution: Creative Concept

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What Is Gender?

Figure 2: Flexible Gender Identity, (FYSOP Gender Focus, 2013)

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Se x Vs Gender: Nature Vs Nurture Gender is commonly confused with sex; the biological assignment we’re born with to allow for reproduction. The vast majority of the world’s population falls in to one of two ‘sex’ categories, male and female. All five sex based characteristics (including reproductive organs, genitalia, sex hormones, sex chromosomes and the type of gonads belonging to the individual - either ovaries or testicles) must all be male, to be assigned as male, or all be female to be assigned as female.

Persons with a combination or variation of male and female sex based characteristics are classified as intersex (Knox and Schacht, 2013). The technical term which defines a person’s gender aligning with their born sex is Cisgender, this can also be combined with male, female or intersex (e.g. Cisgender Male). Despite its controversial nature; Intersex people are often surgically or hormonally altered during infancy or childhood, giving them the potential to fit into the more socially acceptable

male or female classifications.

(Money and Ehrhardt, 1972) This choice is usually made by the child’s parents shortly after discovery, however Intersex people can sometimes remain unidentified until failed attempts at reproduction and fertility issues are investigated.

Moving away from Sex; the term Gender is defined by Oxford Dictionaries as: ‘The state of being male or female (typically used with reference to social and cultural differences rather than biological ones)’ (Oxford Dictionaries, 2015).

Many sources also include the term or category ‘neuter’ as well as male and female - literally translating to neither male nor female as well as biologically defining the term for having no reproductive organs.

Despite the fact (as stated above) that the term gender is technically applied in a ‘social and cultural’ sense as opposed to a literal biological sense, this seems to be completely misrepresented

within the masses of modern day society, As human beings, we have a problem with comprehending things that we don’t understand; we instinctively believe what we know to be true; in this case with the naïve presumption that people are born into either the male or female category for gender. The idea that a person’s identifiable gender can be any number of things (such as Transgender, Transsexual, Gender Neutral and Bigender etc.) As represented within (Figure 2) - (See Appendix J) is a challenging social taboo that is slowly improving.

The term ‘binary’ literally means comprised of two pieces or parts.

The term is used most commonly when referring to Binary numbers; in mathematics, or binary code; in computer programming terms.

Binary numbers and binary code both use 0 and 1 as their ‘parts’. In terms of gender, the word binary is used to classify the two most common gender types - male and female, forming the equivalent of 0 and 1. In more recent years, as more gender’s have been

recognised, all those which lie outside of the binary (male or female) are referred to as ‘genderqueer’ or ‘non-binary’, forming ‘umbrella terms’ for all genders that do not conform to the binary social norms including Transgender, Gender-Neutral, Agender, Pangender etc (Cook, 2013).

The Inverto Project (Figure 3) was set up by Australian photographer Alison Bennett, documenting ‘the process of physically aligning gender identity and embodied presence’ (Bennett, 2014) via photographs, taken monthly over a 2 year period. The images were put together in the form of an animation and convey the transition from pregnant female to Transgender male, documenting the effects of hormone treatments and gender reallignment surgery. Despite the subject of the imagery choosing not to be named; the project showcased within the likes of Forever Now and The Deakin University, Melbourne and shows how the improvements in science behind physical gender characteristic alteration is improving in positive correlation to the increase in recognition to the fact a person’s gender does not neccesarilly align with theirborn sex

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B Figure 3: The Inverto Project, (Bennett, 2014)

Gender Politics Over the past 10 years, issues surrounding gender identity have begun to be better represented within the UK political system. As of the 4th April 2005, the Gender Recognition Act (2004) came into effect within the UK. The act allows transsexual people to gain legal recognition as their desired sex and gender, and acquire a new birth certificate. (Legislation. gov.uk, 2004) ‘Under the previous law, transsexual people were not recognised in their acquired gender under the law of any part of the United Kingdom. Although transsexual people could obtain some official documents in their new name and gender, they could not obtain new birth certificates or enjoy any rights confined by law to people of the gender to which they feel they belong’ (UK Trans Info, 2014).

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Surprisingly, the act does not require sexual realignment surgery of any kind to have taken place, but does require the person to have transitioned (lived as their desired gender, alternate to their assigned sex within every aspect of life) for at least 2 years. In conjunction with this; the applicant must also provide psychological evidence or proof that they have been affected by gender dysphoria - a recognised psychological condition where ‘persons with gender dysphoria may desire the anatomy, the sexuality or the social role of the opposite sex, or any combination of these’ (Carroll, 1999).

However, despite the acceptance that The Gender Recognition Act is a positive step in terms of human rights, many discriminatory issues have been raised since, including the fact transsexual persons can only ‘realign’ themselves as one of the binary; male or female -

‘whilst the majority of trans people and cross-dressers exist within agender binary system, identifying as either male or female, there are a range of other people who are gender diverse’ (Monro, 2005), and wish to be recognised in this way. On top of this, each applicant must divorce or annul any previous marriage or civil partnership before gaining a ‘gender recognition certificate’ (needed to gain a new birth certificate), and will only be able to partake in a civil partnership as opposed to marriage in the future, even if one persons gender is female and the other’s is male.

Gender Recognition Act 2004

Figure 4: UK Gender Recognition Act, (National Archives, 2004)

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Historically - playing around with gender is a trend that crops up multiple times. Most prevalent within recent history within subculture movements such as Punk and New Romanticism where gender nonconformity is seen as an escapism and differential from the masses in strive of individuality.

Ambassadors for gender play include David Bowie’s maximalist alter ego Ziggy Stardust (Figure 5); first appearing as a conceptual character in 1972 with the album ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars and founded ‘Glam Rock’ as an aesthetic rock music was ‘given a campy and flamboyant sense of humour never seen before’ (Rock and Vogue: Ziggy Stardust and the Gender Benders, 2009) Punk shortly followed in the UK in 1974 (despite being established years earlier in the US), and the opening of Vivienne Westwood and Malcolm McLaren’s Kings Road boutique; Sex was born (Figure 6). Their bondage and anti-fashion aesthetic embodied the Punk ethos to oppose and confront dominant norms of mainstream politics, propriety and taste’ (Leblanc, 1999) perfectly.

Whilst McClaren’s music industry links with The Sex Pistols ensured the boutique attracted ‘the right’ clientelle.

New Romanticism surfaced in 1979 - with a different aesthetic and tribe, yet the same concept as its predecessor; of confronting the social norms, especially those around gender and individuality.

As examined above - playing with gender is not a new concept, but it’s also never formed part of a mainstream ideal, which represents how todays changes in attitude are not just history repeating themselves.

Pl aying with Gender

Figure 6: Sex Boutique, (Rock, 1974)

Figure 5: David Bowie (Ziggy Stardust), (Rock, 1973)

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Trends

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The rise in social media and subsequent sharing has caused for us to behave as groups as opposed to individuals, the theory behind this can be examined when looking in to the effects of herding. ‘In herding, some level of uncertainty is associated with the decision (to copy others), and the individual does not know why he or she is following the crowd’ (Zafarani, Abbasi and Liu, 2014) However the increase in online connectivity is also starting to cause a rise in individuality, counteracting the effects of herding - people are choosing to shed social norms in seek of

defining their (WGSN, 2014)

true

identities.

This seek to cast social stereotypes is represented within gender identity, as people choose to digress from the social norms of male and female - it’s not about flamboyancy or show off culture, but more about gaining confidence, open-mindedness and being accepted for who you are.

Figure 7: Who Said Pink Was For Girls?, (Celikdag, 2013)

In terms of literal ‘trends’, WGSN have identified ‘Soft Pop’ as a Macro Trend for Spring/Summer 2016; the consumer’s ‘focus on a world no longer constrained by gender, sexuality or ethnicity and how these global shifts are creating a label-less society’ (WGSN, 2014)

In early 2014 social media giant Facebook added the option to customize your gender and personal pronoun to their UK site after a its successful integration in the US. This includes 3 pronoun options; ‘he/his’, ‘she/her’ and ‘they/their’ - the new gender neutral pronoun, and over 70 preset terms to describe a persons gender (See ‘Facebook Gender Options in Appendix), as well as the option of ‘custom’.

Facebook’s UK policy director Simon Milner told The Independent: ‘It’s all about Facebook enabling people to be themselves, and making users feel comfortable in how they express themselves and how they talk about the issues that matter to them’ (Milner and Vincent, 2014) recognition of the fact that gender is personal to each individual, and in order to remain ahead of the game, multi-billion dollar companies such as Facebook need to nurture their users, or risk losing them to competitors offering greater individualisation.

Understandably, the social media site received mass praise for embracing the rights of Trans and other non-binary gender identifiers.

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Figure 8: Some Facebook Gender Options, (Jorden, 2014)

Facebook

Figure 10: Arcade Fire Catch Tram to Blackpool Gig, (BBC News, 2013) Figure 9: Reflektor Album, (Arcade Fire, 2013)

The band headlined Glastonbury festival, and despite some pre show negativity; received mass praise from journalists following their controversial, conceptual and cultural show.

Figure 11: We Exist Clip, (Arcade Fire, 2014)

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As seen within the 60’s, 70’s and 80’s subculture’s identified in a previous section of this report; Gender trends are also translating the current music scene. The likes of Canadian indie rock/art pop band Arcade Fire are renowned for creating controversy, most recently on their 2013 Reflektor album and tour, the band challenged the roles of gender within society. The band started the tour playing under an alternate name ‘The Reflector’s’ in more ‘intimate’ venues (for their UK gigs) such as Blackpool Empress Ballroom, London Roundhouse and Glasgow Barrowland with a compulsory dress code of either ‘fancy dress or formal attire’ - tickets were limited to 2 per person with a distinct emphasis on creating a community of people seeking an escape from bog standard, mainstream gigs and events. The band themselves even caught the tram to their blackpool gig, and appeared bonning oversized papier-mâché style heads, playing on the fact anyone could be under the mask.

We Exist was the highlight of the show with dancers in drag, sequins and glitter balls.

According to the band, the song itself tells the story of a ‘young person’s struggle with their gender identity’ (Butler and Michaels, 2014) and telling their parents they don’t fit into the social norms.

Following the release of the video, the band received criticism from Transgender activist and front woman of ‘Against Me!’ Laura Jane Grace for using actors as opposed to genuine transgender persons within the video (Michaels, 2014), evidence that proves tackling social taboos and issues is not always as straightforward as it appears.

We Exist

‘Walking around head full of sound, acting like we don’t exist, walk in a room stare out through you, talking like we don’t exist. But we exist. Daddy it’s true, I’m different from you, but tell me why they treat me like this? You turn away, what could I say, not the first betrayed by a kiss’ (We Exist, 2015)

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The Fa shion Industry The majority of the references discussed in previous sections of this report explore in more of a social and political sense.

However, where is gender more prominent than within an industry defined by it?

The fashion industry is renowned for its controversial attitudes, whether this be about race, body size or in context of this particular report; gender.

Continually receiving both fantastic and horrendous press; in many senses the industry is not (because it can not be) afraid to take risks.

The idea of gender nonconformity within fashion is not a new one. There are multiple luxury designers who’ve made their fame from the controversy and in many cases receive praise

for focusing on unisex or androgynous garments and collections - as opposed to the stereotypical, or ‘Binary’ constraints (in gender terms) of ‘Menswear’ or ‘Womenswear’.

‘One can’t ignore that gender roles are being questioned more than ever in fashion.’ (Sherman, 2014) For the brands that like to take a more subtle approach, this is more about androgynous styling or models (Balenciaga or Calvin Klien respectively), the ones moving ahead of the game recognise that ‘fashion is moving beyond the straight forward notion of borrowing from the boys towards a freewheeling, fabulous grey area where clothes are gender-neutral’ (Weir, 2014) as reported by Vogue as part of their equal opportunity trend for this season.

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Figure 12: Lara Stone, Calvin Klien Fall 2010, (Mert & Marcus, 2010)

Figure 13: Rick Owens Fall 2015 Menswear Look 17, (Vlamos, 2015)

Figure 14: Unisex Anatomy, (Hourani, 2014)

One of the best-known ‘High-end’ designers behind this is Rick Owens. The American designer is held in high regard for his continual use of androgyny, especially in menswear. Always one to aim for controversy, his most recent Autumn/Winter ‘15 men’s collection in New York caused a stir as models walked the catwalk with their penis’ exposed. After accusations of ‘bad taste’ and #dickowens began trending worldwide, the designer told Womenswear Daily ‘I pass classical marble statues of nude and draped figures in the park every day, and they are a vision of sensuality – yes, but also of grace and freedom’ (Owens and Szmydke, 2015) Maybe this isn’t the best example to follow, but if nothing else the message behind the stint gives off a ‘who cares’ attitude, giving a conceptual ‘two fingers’ to social conformity.

More recently, Paris based, yet Canadian born designer Rad Hourani made his debut in 2007 with his first couture unisex collection. Unlike many artists and designers exploring similar areas through their designs, Hourani are much more than just aesthetically appealing, or ‘on trend’ - ‘The Rad Hourani unisex process advocates nonconformity as the essence of individualism’ (Rad Hourani, 2014). He chooses to focus on technical anatomical aspects for references within his work, initially spending a year prior to his debut collection studying both male and female anatomy.

Many of his reference points combine scientific knowledge and discovery, from Davinci’s Vitruvian Man, to Michelangelo’s David. His ability to ‘understand human morphology, and by its deconstruction he reconstructs garments that unify both sexes and transcend age, race and religion’ (Rad Hourani, 2014), and as of 2013; ‘He became the first fashion designer to be admitted to La Chambre Syndicale de La Haute Couture for unisex clothing’ (Wooster, 2014), an indication of the recognition and prestige newly available to designers outside of binary menswear and womenswear collections.

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Barne ys tr ansgender ca mpaign

Figure 16: Paul Morris

Figure 15: Bruce Weber, (Brown, 2012)

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On the 10th February 2014, Barneys New York - a chain of highly reputable luxury department stores throughout America, premiered ‘The Window - Brothers, Sisters, Sons and Daughters: The Film’.

The Documentary, created by world renowned New York based photographer Bruce Weber after a call from creative director Dennis Freedman asking him if he’d ‘like to take some photographs and make a film with a group of transgender men and women for Barneys’ (Barneys New York, 2014). Weber compared his excitement surrounding his involvement with the campaign to that of his when approached to photographing Candy Darling when he first moved to New York.

Candy, born James Lawrence Slattery in 1944 was a young Transgender woman in New York, now an icon for the continually growing Transgender and Gender

Non-conforming communities; she was best know to the masses for her integral participation in ‘The Andy Warhol Factory Scene’ - ‘The Factory’ being the name of his New York studio, and the home of the creation of many of his works. Darling became somewhat of a muse within the 60’s, both to Warhol himself, and also to the likes of Lou Reed. Reed proceeded to reference her within 2 songs, the first for The Velvet Underground - ‘Candy Says’ and the second during his solo career; the second verse of ‘Walk on the Wild Side’ depicts Candy ‘giving sexual favours’ to friends, with each other verse referring to other trans frequenters of ‘The Factory’ - Holly Woodlawn, Joe Dallesandro, Jackie Curtis and Joe Campbell (referred to by his nickname ‘The Sugar Plum Fairy’ in the song) At the time of her approach to

Weber, Candy was photographed by the likes of Cecil Beaton and Richard Avedon - two of his ‘hero’s’ at the time, Bruce was overjoyed by the opportunity for him too to photograph her. She was part of a group of people who refused to conform and challenged the notions of what was socially acceptable in terms of freedom of expression and creativity.

Unfortunately, she died at the age of 29 from Lymphoma, some say the disease was brought on by a now banned hormone substance she was taking in the follow up to her death.

In a note intended for Warhol, Candy wrote of her boredom of the state of all things; ‘Unfortunately before my death I had no desire left for life... I am just so bored by everything. You might say bored to death. Did you know I couldn’t last. I always knew it. I wish I could meet you all again.’ (Darling et al., 1997)

Figure 18: Candy Darling On Her Death Bed, (Hujar, 1974)

ssey, Joe Dallesandro and Candy Darling, (Avedon, 1969)

In this particular campaign, Barney New York partnered with ‘The National Centre for Transgender Equality’ and the ‘LGBT Community Centre’ in New York in an attempt/hope to ‘break stereotypes and build social acceptance of the transgender community’.

(The Window, Barneys, 2014)

A key reference noted throughout the film was ‘The Boy with the Green Hair’ (1948). Despite being based around a child left as an orphan after WWII, making a subtle yet intentional point of the frivolous nature of war on all things, the key point referred to within ‘Brothers, Sisters, Sons & Daughters’ however, was the ‘frightening prospect of being ostracized by friends and society should your hair suddenly turn green’. (Williams, 2010) - a clever interpretation of how it must feel to exist beyond the normal social constraints of gender.

Figure 19: The Boy With Green Hair Original Poster, (1948)

Figure 17:Katie and Arin, (Weber, 2014)

The film itself features 17 transgender model’s - most relatively unknown, their ‘transition stories’ and family support units an aim that was ‘Clear from the start’ (Lee, 2014) according to Mark Lee (Barneys CEO) in an attempt to emphasize just how important support, awareness and subsequent acceptance is for a group that undoubtedly will be seen as the vast minority for the foreseeable future.

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Figure 20: Gender Neutral Sign, (imgkid, n.d.)

‘Gender equality is on of the cornerstones of the modern Swedish society. Global Gender gap index ranks the Swedish society 4th in the world when it comes to gender equality’ (Sujaya, 2014). behind equally ‘Scandi’ Iceland, Finland and Denmark, it’s no surprise Sweden is also a pioneer in LGBTQ rights. From social and educational aspects such as gender neutral nurseries (for children from the age of 2) and schools, to gender neutral bathrooms and clothing. The idea of a person’s existence beyond the binary gender stereotypes of masculine and feminine appears to be much more understood, accepted and embraced there, than it is here in the UK.

Sweden

The key is that by embracing gender non-conformity, and translating that into a child’s development leads for a dramatic increase in awareness,

26 acceptance and individuality.

Figure 21: Hen, (Reich, 2013)

freedom

of

In general, Sweden appear to take a ‘typically Scandinavian’ understated approach to all things, becoming one of the first countries to adopt a national typeface ‘we say lagom, which is not too much and not too little.

You’re happy with something in between.’ (Shapiro, 2015). A statement that could easily be metaphorically translated into their attitudes towards gender.

Although it first emerged in the 1960’s, as of July 2014, Sweden has officially adopted the gender-neutral pronoun ‘Hen’.

‘Hen’ is the equivalent of ‘Their’, and it’s use spans in reference to all generations, from infants and children within the genderneutral nurseries and schools, to adults who’ve chosen to embrace gender non-conformity.

Acne, although not strictly a ‘Gender Neutral brand’ launched in 1996 as a Stockholm based ‘multidisciplinary digital filmdesign-creative consulting collective’ (Yaeger, 2013).

Acne take a ‘typically Swedish’ approach to design, and have been involved in multiple projects surrounding the ideals of non-binary gender’s - From ‘the modest production of 100 pairs of unisex jeans for family and friends in 1997’ (Hess and Pasztorek, 2010) - which fuelled Acne’s initial jump into the fashion industry, to the ‘Acne Candy Collection’ in conjunction with Transgender publication Candy (aptly named after Warhol muse and Transgender icon Candy Darling (as discussed within the section on Barneys Transgender Campaign) launched exclusively to Selfridges on the 10th December 2010. Luis Venegas editor and publisher of the

magazine ‘wanted the shirts to be items that could be worn by both men and women, but not be unisex - stating that he liked the idea of clothes that create some kind of confusion’ (Venegas and Bobula, 2010) Most recently, Acne’s Autumn/Winter 2015 collection at Paris Fashion Week oozed forward thinking, with hints of Androgyny - ‘the boys wore scarves emblazoned with “EQUALITY”, “FEMINIST” and “GENDER”, nodding to the fight of feminists and LGBT activists’ (Stansfield, 2015) The largest market for genderneutral fashion exists within children’s wear. Unsurprisingly; Sweden are leaders in this market, with brands such as ‘Duns’ providing clothing for babies and children, retailing across 36 countries around the world - including the UK.

‘Indikidual’ forms a UK/Swedish children’s gender neutral hybrid, describing themselves as ‘a unisex capsule collection for all kids aged 3 months to 7 years.

The range allows for layering and encourages mixing and matching to create individual looks and styles’ (Indikidual Tumblr, 2015) The brand was founded by British born mother Syreeta Johnson and her Scandinavian born partner Robin and, taking influence from Syreeta’s background in fashion within the UK and Swedish market - the brand aims to aid the development of a child’s personal style and encourage experimental individualism. The brand is now stocked within 14 different countries both online and within a vast array of quirky children’s boutiques including UK based ‘the burp boutique’, ‘olive loves alfie’ and ‘the dandy kid’.

Br ands

Figure 24: Indikidual Leggings, (Indikidual, 2014)

Figure 22: The Role Models Issue, (Vivanco, 2014)

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Figure 23: Gender Equality Scarf, (Acne Studios, 2015)

Odeur

In terms of ‘grown up’ gender neutral fashion with a slightly more accessible price tag; think of Stockholm based brand Odeur.

Founded by Petter Hollström in 2006, the brand use an alternative approach to a logo, by infusing each garment with a particular brand scent - said to be ‘White, Clean and Light’ (Odeur, 2015) is now stocked internationally in over 20 countries, online, and also within 3 UK based boutiques; Autograph in Birmingham, Intro in Manchester, and The Unconventional in Norwich.

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The brands website itself portrays everything you would expect from a gender neutral brand; each garment featured is modelled by both a (seemingly) male and female model, in order to show how each of the garments silhouettes would work with a persons anatomical physique.

The main line; Odeur, moves adult gender neutral fashion away from sportswear, with a focus on creating interesting clothing by playing with the silhouette, the brand focus on a neutral monochrome colour scheme with the occasional pop of colour within each of its collections, whilst the brands diffusion ODR (launched in 2013), focuses on basics incorporating long line and oversized tees with graphic prints and the occasional artist collaboration.

Figure 25: Odeur Logo, (Odeur, 2006)

Although, as mentioned previously, the brand don’t incorporate a logo within each of their garments; they do use one for some promotional and other branding elements. See Figure 25. The triangular shape is used to represent the base, middle and top note of the brands ‘logo scent’.

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Figure 26: Unisex Silk Blazer - Male Model, (Odeur, 2014)

Figure 27: Unisex Silk Blazer - Female Model, (Odeur, 2014)

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The UK

Figure 29: Coming Soon: Agender (Selfridges, 2015)

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Figure 28: Boy London Unisex T-Shirt, (Boy London, 2014)

The current UK unisex fashion market is sparse. When excluding high-end designer brands, only a handful exists outside of children’s wear. With the entirety of the adult unisex clothing market dominated by sport and street wear brands such as Boy London, they fail to challenge social norms, with the presumption they’re more about a relaxed fit as opposed to blurring the lines between gender stereotypes.

In January 2015, luxury retailer Selfridges announced the launch of the Agender project, a gender neutral pop-up shopping experience due to launch within the London, Birmingham and Manchester stores on the 1st March 2015 and will run through April.

The brand are scrapping conventional gender based mannequins as well as the separated menswear and womenswear departments across three floors of it’s Oxford Street store in aid of an experimental new integrated gender concept and will feature exclusive gender neutral brand launches from Bodymap, Nicopanda, VFiles, Rad Hourani and Footwear line Underground in conjunction with clothing from a further 40 brands that can be worn by any sex, including Meadham Kirchoff, Ann Demeulemeester, Yohji Yamamoto, Comme Des Garcons and Gareth Pugh.

Despite its seemingly controversial nature, the retailer has so far seemingly received praise from all angles;

with the brands creative director Linda Hewson commenting that the Agender project “is not about har nessing a trend, but rather tapping into a mind-set and acknowledging and responding to a cultural shift that is happening now. The project will act as a test bed for experimentation around ideas of gender — both to allow our shoppers to approach the experience without preconceptions and for us as retailers to move the way we shop fashion forward.” (Hewson and Jones, 2015) Although the purchase of clothing within the luxury department store is inaccessible to the masses in terms of price tag, it is undoubtedly a household name with thousands of consumers and tourist’s alike setting foot through its doors each day. If nothing else, the Agender project has begun to create intrigue in terms of challenging the gender stereotypes set by society and although its reach will be limited, it’s at least a positive step in the right direction.

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As an initial response to the findings from secondary research on this subject, a survey around the idea of Gender Neutrality & Androgyny was published via survey site ‘Typeform’ and posted on a combination of social media sites and also non-binary gender forums such as Transforum.org. uk and nonbinary.org, with the intention of gaining further insight into the current state of opinions and knowledge for people within the UK. (*For the full content of primary research data, please refer to the appendix document, all primary research figures have been rounded in order simplify and clarify the data) This initial Survey reached 37 people between the ages of 18 and 55 years old, with an average age of 24. 65% of respondents were female, whilst 24% were male, 3% identified their gender as ‘demigirl’ (meaning they only partially identify as a girl or woman) interestingly the only non-binary response, and 5% did not specify their gender.

Some of the most interesting insights came from the question ‘In your

‘Demi-Girl’ The Only Non-Binary Response

40% Said There are Only 2 Gender’s

Initial Surve y

Figure 30:How Many Genders Are There ?, (Jorden, 2014)

opinion, how many genders are there?’, with the answer choices of ‘1’, ‘2’, ‘3’, ‘4’, ‘5’ and ‘more than 5’. Whilst thankfully not one person answered ‘1’, over 40% said in their opinion there are only two genders, all of which described these as ‘Male and Female’. The remaining 59% of people stated in their opinion there are 3, 4, 5 or more than 5 gender’s. Beyond the binary of male and female, answers began to become more and more varied. 2 respondents confused gender with sexuality (referring to heterosexuality, homosexuality and bisexuality), and whilst almost all of the respondents identified Transgender/Transsexual as the third gender (after male and female), the level of awareness and knowledge beyond this became extremely inconsistent from all age groups, despite most terms being technically recognised as genders, no 2 persons who answered 4, 5 or more than 5 gave an identical response. (See ‘Primary Research Survey Results’ in Appendix for the full list of responses)

92% Didn’t know Their Were Over 60 FB Gender’s

When asked ‘did you know there are more than 60 gender options available on Facebook?’, an overwhelming 92% said ‘No’.

Respondents were also asked if they had ever purchased an item of clothing designed for an alternative gender to the one they identify with, 73% said ‘Yes’, and when asked if they felt their was a taboo attached to purchasing in this way, 70% said ‘Yes’. When asked to specify any specific groups or types of people they felt this taboo was driven by, there was a distinct emphasis on education. The most common responses included ‘older generations’, ‘people over 35’, ‘people from working class backgrounds’, ‘young females who are impressionable’, but seemingly the most relevant way to categorise all of the above was the response that it ‘depends on the persons background or upbringing and what they’re exposed to throughout their childhood or teens’ - a key consumer insight.

Although many good insights were gained from the ‘Gender Neutrality & Androgyny’ survey; in retrospect, a further survey could have been completed, in order to target a more specific demographic, and enhance the consumer specific insights. Whilst the older correspondents (over 35) did give some useful responses, as a whole they were more likely to skip questions and also were never (even at the very early stages of the project) classified as a target consumer, with the main aim of this project being to raise awareness and inform.

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Word A ssociation

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Figure 31: Gender Neutral Word Association Results, (Jorden, 2014)

As an initial attempt to name this project, a word association task was completed physically, within both Nottingham and Leeds city centres. The task gained 38 respondents, and despite its simple and naïve initial undertaking, proved to be useful in confirming the major insights.

People were asked to state the first thing they thought of when thinking of the term gender-neutral; some of the responses were as follow: ‘a bit of both’, ‘tranny’, ‘equality’, ‘avoiding discrimination’, ‘weird’, ‘grey’ and ‘greedy’ - reiterating the notion that people don’t understand the idea of being neutral of gender, or not conforming to the gender stereotypes set by society.

Figure 32: Interview Subjects, (Jorden, 2014)

The initial survey gave the option for respondents to leave their contact email addresses should they wish to be contacted further regarding the subject area of the project. 9 people chose to do this, and from this interviews were arranged with 3 individuals.

The poor initial analysis of the original survey lead the interview questions to be very fashion and brand based, and despite identifying the need for an accessible unisex or gender neutral brand outside of sport and street wear, upon further analysis, it became obvious that the key insights lied within the area of increasing awareness and much of the discussion (each interview lasted around 35 minutes) remained relevant and useful.

Despite each participants interest in the subject matter (hence leaving contact details), open minded-ness

Intervie ws

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and embracive attitudes; all 3 were unaware of the vast majority of genders available on Facebook when shown the relevant documents (See ‘Transcripts’ in Appendix document). It became obvious that the lack of exposure to non-binary genders throughout each person’s lifetime was the cause of this, and their knowledge was alarmingly similar regardless of their background, upbringing and class.

All 3 interview subjects also agreed that there needed to be some sort of change within the UK, despite all of them identifying with a binary gender, all expressed concern and empathy towards the people identifying with a non-binary gender classification, and felt that something was definitely needed in order to change and confront the current social understandings of gender.

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Creat ive Concept

The creative concept for this project was formed in decision to execute an awareness campaign, initially as part of an Unincorporated Association (a type of non-profit organisation). is based on the insights and recommendations identified within the primary and secondary research within this report. The most consistent and frequent insights represented a distinct lack of awareness; people often presumed their level of knowledge regarding gender to be much greater than in matter of fact it was; again reitterating this distinct lack of awareness.

Although obviously, government backed campaigns are more likely to be acknowledged by the masses, the idea behind this awareness campaign is to begin with a small community type group of loyal supporters. Although initially a method of saving money, the initial consumers (See Consumer Profile - Appendix) seek more individual and personal experiences and like to feel as though they’re the first to hear about something, subsequently becoming more involved.

Figure 33: White Noise, (Jorden, 2015)

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The decision to focus on this type of non-profit organisation, as opposed to a government backed awareness campaign, is that it does not have to be registered with any regulatory body (Rescource Centre, n.d.), and also, as the campaign is not intened for monetry gain or charitable purposes, it saves much of the initial set up costs.

Initial Consumer

often recirculating controversial articles they themselves have been shared online.

In terms of interests; they are very opinionated, and frequently debate common affairs among friends, whilst preffering to pursue controversial topics around social and political and cultural issues.

Figure 34: The XYZ’s, (Jorden, 2014)

The consumer tribe most prevelant and supportive to the research presented are identified as The XYZ’s.

Falling into an age category of between 21 and 30, The XYZ’s are generally well educated, they most likely have a university degree or equievelant but favour creativite subjects as opposed to those deemed as ‘traditional’. Despite a variety of different upbringings and social class identifications, they are continually striving to better themselves. Brought up in the digital age; this tribe take a back seat approach to activism, they’re seceptable to social media marketing and check their personal profiles across Facebook, Twitter and Instagram continually throughout the day. They like to be ahead of the game in terms of social trends, and demonstrate this via their contribution to share culture;

This tribe seek escapism from social conformity; they aim to express individuality through their appearance, from clothing to tatoos, if asked they would describe themselves as leaders as opposed to followers (even if that is not the case).

They enjoy the use of artistic and conceptual interpretations and references. This is fuelled by their desires to continually bettter themselves, as they see these kinds experiences and messages as more exclusive; a reitteration of their strive for individuality.

However they often over-estimate their level of knowledge, skimming over a mass of information in an attempt of ‘one-upmanship’. In order to really get into something, there must be something unique, exciting and compelling about it; once this niche is established they often become vital advocates and ambassadors.

The XYZ’s will form the primary target consumer for the Beyond The Binary campaign.

The XYZ’s

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Visual Inspir ation In terms of the awareness campaign; the main contextual idea, is that as gender is not technically defined by physical characteristics; but by social and cultural factors (See what is gender section of report) - you can’t tell a persons gender just by looking at them.

It’s presumed by society that people should comfrm to the social norms of either male or female, with little recognitin of how a person can exist beyond this.

The awareness campaign will be executed via multiple social media sites; such as Facebook, Twitter and Instagram in an attempt to entice ‘The XYZ’s’ - the initial primary consumer. With the main execution in the focus of a viral animation video.

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When initially seeking visual inspiration in terms of an awareness campaign one of the major points that stood out was the concept of fear campaigns. Their shock tactic and subsequent persuasive nature allows for instantly recognisable campaigns.

Although fear campaigns have been used as reference points, their harsh nature takes away from the emotive content of this campaign, Beyond the Binary is more about increasing intrigue, knowledge and empathy as opposed to shock tactics.

The main visual inspirations when considering executions came from looking into artists whom incorporate projection and/or collage into their work. This idea of incorporating a juztaposition if mediums and or content allows for intrigue and individual interpretation of said work, a factor of high importance for this campaign; as Beyond the Binary embodies the idea of individual expression and interpretation of gender – stepping away from social conformity and mass market marketing.

Figure 35: Visual Inspiration Moodboard, (Jorden, 2015)

Beyond The Binary - Abstract Art Linder Sterling, an artist famed mostly for her taboo stricken post-punk collages combining pornographic images with everyday household objects (Banash, 2013) forms one of the main sources of inspirations behind the executions for the awareness campaign. The controversy surrounding her work creates the same kind of impact, intrigue and shock factor desired within the awareness campaign, and in terms of aesthetics the abstract representation creates a juxtaposing softness.

Another source of visal inspiration came from analysing The Inverto Project (See Section 1 of Report).

Melbourne based photographer Alison Bennett documented a persons Trans-transition each month, over a 2 year period via photograph. These images were then compiled into a distorted ‘glitchy time-lapse animation, reflecting a glimpse into the disjunction of the inner and outer worlds of the subject’s transgender experience.’ (Bennett, 2014). The aesthetic is both poweful and artistic - perfect for that of the Beyond The Binary camaign.

The colour palette used within the Beyond The Binary awareness campaign features monochrome tones with the occasional ‘pop’ of colour. As a general rule ; this pop is red, its dominace and connotatins of fear help to evoke emotions similar to those seen within mre literal cases of fear campaigns. This is in direct reference to ‘breaking the binary’, and is gender neutral by default.

The use of black and white in particular helps to excentuate the visual contrast within the campaign imagery; different sking tones and features become washed out, creating a sense of unity and echoing the main theme of empathy.

Visual Inspir ation

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E xecutions

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The main execution for the Beyond The Binary awareness campaign focuses on a viral animated video.

At intial engagement, it is designed to create more of a lighthearted intrigue as opposed to literal interpretation of the subject matter.

As with the rest of the visuals used wthin the campaign, the video incorporates collage and distortion and is produced in a glitchy animation style (similar to that seen in The Inverto Project. The video was created by photographing peoples faces and disecting them, then layering different people’s facial features (from lips to eyebrows) regardless of any physical characteristics including race and presumed sex. Creating imagery in this way evokes the idea of ‘breaking the binary’ of gender, and challenges the social norms and misconceptions that you can detect a persons gender by your perception of their appearance;

Figure 36: Beyond The Binary Animation Clips, (Jorden, 2015)

challanging its viewers to think as they watch with statements like ‘Normal is not just male or female’ and ‘Don’t be afraid to break the gender binary’.

The above images form some of the animation sequence - the combination of subtle distortion and obvious collage creates a juxtaposition and visual contrast similar to those of Linder Sterling and Alison Bennett (as discussed within the creative concept section of the report)

The appropriate backing track chosen for the video is ‘We Exist’

by Arcade Fire. As the physical content of the video is so subjective, it became apparent that some sort of literal gender reference should be incorporated. The song (as discussed within the trends section of the report) depicts a young person speaking out to their father about struggling with their gender identity. The poineant beat of the track works well with this kind of video animation, as the transitions of each clip are able to align with the sound.

The upbeat temp of the song lightens the mainly greyscale aesthetic of the animated video, and for people that know the song, it reitterates the message.

The video ends with the text ‘embrace life - Beyond the Binary’, a clever play on grammar allowing

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Figure 37: Beyond The Binary Logo, (Jorden, 2014)

the text to be read in two ways.

The viewer either percieves this as a general message of ‘embrace life’ from the Beyond the Binary Campaign, or as the idea of embracing life beyond the binary of male and female. After this, all the relevant social media sharing links, with links to the campaign pages also displayed, and the clip fades out with white noise and the Beyond The Binary Logo (Figure 37).

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Figure 38: Beyond The Binary Instagram, (Jorden, 2015)

As the first social media site to launch tens of non-binary gender options – Facebook will become a vital advocate for the Beyond The Binary brand.

The campaign page itself however will not be used to push the campaign as much as Twitter and Instagram. Whilst it is still a social media site, facebook lacks the level of engagement with likeminded people due to its more formal stance on privacy and friend requests. Facebook is more a site for engaging with people you already know, where as Twitter and Instagram place their main focus n the use of hashtagging in order to allow you to connect with communities with similar interwsts, whom you may never have nown before.

Following the launch of the Beyond the Binary viral animated video, the use of twitter is essential. The

social media site engages with its users more often each day than any other social media platform, ( ) making it the perfect channel to help ensure that something goes viral.

When referring to instagram, the Beyond the Binary camapign focuses on creating a loyal community.

By hashtagging #BTB, users are able to access one anothers imagery, and are encouraged to chalange the social norms of gender, whether or not they themselves identify as binary or non-binary. This campaign is not about pushing people to claim their identification with a non-binary gender but about raising awareness and social acceptance.

In conclusion to the project as a whole, the subject matter has proven to be extremely interesting to research and the need to increase awareness for a

change in attitudes surrounding nonbinary genders has been succesfully identified. The Beyond The Binary Animated Video achieves all of the desired outcomes outlined within the creative concept section. In keeping with the rough, imprefect finish of the campaign imagery, the next step would be to create a Zine. The only thing missing from the media produced within this campaign is something tactile, and as Zine’s are relatively cheap to produce, they could work well for this non-profit organisation.

In the future, it is also essential to try and captivate a slightly younger consumer to those of The XYZ’s, future campaigns could incorporate both the zine idea and the attraction of the younger consumer - this could involve offline engagement such as definition word searches.

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Figure 39: Beyond The Binary Twitter, (Jorden, 2015)

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