KULTUUR MAGAZINE by Toyin Lawrence

KULTUUR

RUUTLUK

KULTUUR

EDITOR-IN-CHIEF TOYIN LAWRENCE

ART TOYIN LAWRENCE

6 Indian Culture 17 High End to High Street Article 26 Interview: Jadore Fashion 30 African Culture 40 The ‘Black Issue’ 4

48 Street Scene 52 Accessories 54 Amnesty International

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CONTENTS

PICTURES TOYIN LAWENCE

ARTICLES TOYIN LAWRENCE

CLOTHING/ ACCESSORIES ANGELA LAWRENCE

All fashion is in some way influenced by culture. The culture of India is incredibly diverse and unique. Home to some of the most ancient civilizations and four major world religions, India is a country like no other. Labelled as a decade of rebellion, nonconformity, counterculture, and above all a period of youth, the 1960’s witnessed the influx of Indian culture in Western society. The social and cultural changes that occurred in the 60’s embraced everything from culture to politics. Many fashion traditions were broken in the mirroring of social movements, and a more diverse fashion community arose. Fashion became one of the biggest ways for the youths to express their alternative attitudes, symbolising rejection of the middleclass culture and assertion of a counterculture.

During the 60’s and early 70s, America experienced a widespread interest in Indian culture in art, philosophy and religion. The culture was introduced through the study of Eastern religions by Alan Watts, whilst lecturing at colleges around the country. Musicians such as the Beatles and the Rolling Stones also showed interest in Indian religions, which later influenced their music. The Beatles travelled to India in 1968 to study transcendental meditation with Maharishi Mahesh Yogi. At this time their fashion was heavily influenced by Indian culture, which saw the rise of collarless. Indian influence on western textile design began as early as the 1600s. Indian shawls made of silk and cotton became popular during the 19th century continued British invasion of India; as soldiers would send shawls back home. However its prominence really came to light in 1968, as both British and American musicians began popularising it. Fashion is an important aspect of all cultures. Behind each style is a meaning and history, with a mixture of cultures.

One particular Indian inspired fashion ‘must have’ on today’s high street is the headband (or turban). During the golden age of Hollywood, the turban was a staple in any starlet’s wardrobe. Greta Garbo, Elizabeth Taylor and Coco Chanel were all fans. It has featured on the catwalks for the likes of Prada, Giorgio Armani and Jason Wu. Although now a certified member of the fashion accessory club, the turban was originally not created or worn for the sake of fashion. Instead it represents significance of the Indian lifestyle. It was initially tied to keep the head cool, as way to escape from the blazing heat, and hot climatic conditions of the desert. The long piece of cloth was soaked in water overnight and then tied in the morning. The style of turban draping differs in each region, with Sikh turbans being especially popular. The turban has a lot of reverence and significance in the Sikh religion. People who join the Khalsa Panth are forbidden from cutting their hair. So the turban is worn to manage their hair. It is often evocative to the position and status of the person in society. People in the Middle East, Central Asia and South Asia are known for tying turbans. Falguni & Shane Peacock made quite an impression with silk turbans during last Septembers fashion week.

Eastern countries such as India and Asia have played significant roles in the rise of jewelry. Now a huge part of our daily fashion lives, India was the first culture to discover the art of bead making where they would dig to find rough stones. It became a local trade for Indians, where people became rough stone traders. As time moved on the Indian culture become popular for its production of glass and clay jewelry. An essential component in Indian bridal wear, crystals, beads and stones soon appeared in western fashion, inspiring brands like Swarovski to turn Indian culture into a fashion phase for the Western world. Asian fashion designer Mani Kohli has a lot to do with the Asian influence on the Western fashion scene. She learnt the clothing trade in London, and her son followed in her footsteps by graduating in fashion at London College of Fashion, before launching Khubsoorats menswear. International superstar Jay Sean promoted the Khubsoorat menswear, giving the Asian fashion brand a push into Western society. Mani’s collection for 2002 film hit Bend it like Beckham, gained worldwide recognition.

Jewellery is an essential part of the adornments worn by Indian brides. There is a variety of different jewellery which covers almost all of the vital body parts. In particular the Maangtika/tikka a pendant that hangs from a chain is worn to help ward off evil and bad luck. It falls down the middle part of the bride’s hair, which is the reason most Indian bridal hair styles bear centre partings. It often resembles a crown. Women wear them on their wedding day as it signifies the unity of two souls becoming one. American TV star and designer Kim Kardashian is often spotted wearing such designs.

Bangles (Chooda) are worn as the symbol of the nuptial rituals. It is customary to be worn at least 40 days by the bride. It is worn to remind people that she is a new bride and should be treated like a princess - meaning minimal housework. Many Hindu women believe it is inauspicious to be bare armed. The colour red is worn as it is the traditional colour of good luck and auspiciousness. Each piece of jewellery holds a significant meaning which derives from a combination of superstitions, cultures and religions. Bindi’s, one of the most widely adopted pieces of Indian culture. Represents the mystic 3rd eye and central point of which Hindu’s believe is the base of creation. It is traditionally worn by women to show they are no longer available - married women. The red bindi is meant to bring prosperity to a woman’s home. It has long been the festival must have for bohemian chic in western society.

High-End to High-Street: Media and the promotion of fashion.

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Media always has an influence on public perceptions. I would like to discuss how it manipulates consumer’s choice and choices in a multi-million pound industry. Now the fourth largest industry in the world, in 2008 the fashion industry brought in $400 billion, including revenues from old established companies and a host of new clothing lines introduced by the urban market. Designers share the same milieu, clubs, holidays, art; common themes emerge from the different fashion houses and are displayed on the fashion week catwalks.

These tend to be picked up by the fashion journalists and fed into the main stream media, through various channels. That is how consumer choices seem to be determined. The actual choice we make will be heavily influenced by ad campaigns financed by the clothing industry. The fashion industry uses the media to promote a particular line. Fashion journalism, itself a multi-million pound industry, derives its advertising revenue from the retail industry. Magazines like Vogue, Elle and Cosmopolitan feature high-end campaigns whereas Look, More and various other gossip mags feature the high-street lines. TV shows like ‘Gok’s Fashion Fix’ popularise the catwalk trends and high street bargains. Electronic media’s (TV, radio and internet) main income is from advertising revenue. For instance, “according to recently released figures from eMarketer, Facebook’s revenue for advertising alone - which excludes revenue for virtual currencies and other sources - came to an astonishing $1.86 billion for the year 2010.

For fashion to move from highend to high street the high-end designers must quickly move into action with particular sectors of the media to introduce the lines through interviews, catwalk debuts and willing celebrities. A consensus begins to emerge on what trends will be favourable on the high-street. The in-house designers working for the clothing retailers strip down the high-end designs creating a more basic, cheaper and lower quality garment for the fashion public. Production is largely done by cheap labour in the Far East (but that issue would be the subject of another essay). Once this production chain is in place high intensity promotion is begun. This is done through ad campaigns, in magazines and TV. Working in a symbiotic way the media, advertisers and designers are able to determine the fashions that are available and influence our choices from within them. The process is driven by money. Profits for the media, retail industry and designers, salary for the journalists, fees for celebrity endorsements and who-knows-what bribes and kick backs. And supporting all of this is the cheap labour producing the garments. Very low pay is the norm in the clothing industry of the Far East, as has been widely documented in the media.

A major pressure on buyer’s choice is TV programmes, hoardings and music videos. Be it obvious or subtle, our buying range is also influenced through product placement. Shows like Hollyoaks and 90210 are frequently showcasing the new season’s trends and ‘must haves’. Through the mention of designers they also contribute to our perceived choices. Artists are now featuring the high-end outfits in their music videos and often have cameos of models in catwalk gear. The media hit us at every angle, and are not satisfied until their advertising abilities are exhausted. Having the fashion public pounding the pavements in a bid to get their hands on the hottest trends must make everybody happy. It makes you wonder how big their general advertising budgets are (not easily found through internet searches). The marketing budget for Asos is estimated at a massive 10% of all operating costs! Celebrity endorsements are also being used as a way of advertising. For example L’Oreal is reported to have signed a “$4.7 million endorsement deal with Beyonce Knowles. The fiveyear contract calls for her to work 10 days a year for photo shoots and to make promotional and personal appearances within that time”. We can only assume advertising budgets are huge.

Another way to understand the focus of the advertising is through the age distribution of their target audience: means such as blogs, festivals and gossip magazines help propel the brand’s popularity to the younger generation (also known as the up and coming fashion moguls). Magazines such as ‘Woman’, ‘Red’ and ‘Essential’ have different copy and target audience. Media exposure is crucial for retail sales. The promotion of a particular fashion trends is top-down whilst production is bottom-up. Both are geared towards maximising sales through creating intensive demand on the one hand and low retail prices on the other. The ebb and flow of money within the whole fashion and retail industry washes us like corks on an ocean. In general these currents push us in directions over which we have little control.

Bright colours form an important part of Indian fashion.

Aspects of Western fashion have become common among Indian men, particularly in the professional community.

Key fabrics used for Indian outfits include; crepe, georgette, silk, satin, cotton and chiffon. The type of fabric used is matched with the type of embroidery which is often hand-stitched using thread, sequence and stonework embroidery. Using stonework embroidery is increasingly popular in modern Indian fashion.

This image was taken from jadorefashion website http://www.jadore-fashion.com

aiting to hear back from Stella (fashion blogger and stylist) I contemplate what it must be like to lead her life. With regular updates and blog postings of her newly styled outfits Stella always leaves you wanting more. Currently completing a graduate degree in Finance with intentions of starting a Doctorate program, she’s come a long way from her Nigerian home town. Stella went to a boarding school at the beginning of high school, and was known as the ‘quiet girl’ as she shied away in unfamiliar environments. Admitting she’s a NERD at heart, Stella decided to combine her ‘early’ love for fashion with a business course. Growing up in West Africa Nigeria in a state called Enugu, is where Stella’s love for fashion first began. Throughout her childhood she was constantly exposed to the vibrant prints and fabrics of African clothing. “My favourite African fabric is called Ankara” she admits. And so it is no

coincidence that her blog is heavily influenced by her African heritage. During her teens, Stella’s parents decided to move to Minnesota, Oregon, where she lived for several years before relocating to Maryland where she met her husband. I was keen to find out the inspiration behind Stella’s blog, along with her views on African influence in fashion. Blogging since 2008, her posts regularly reflect her heritage and current fashion trends. “Being aware of my culture and who I am plays a part in my daily activity. Seeing African inspired designs on the catwalk is great, as it brings attention to Africa and its fashion. You can see it in prints, designs and crafts…including styling and dressing” With top high end designers showcasing such designs in their collections, its clear inspiration can come from anywhere. “I love interior decorations; it inspires me in styling as well as my blog. My identity is made up of loads of things. This also applies to my

Jadore Fashion 25

blog, be it trends, collections or simple styling, they are all influenced by a variety of factors. This is why I decided to create a mood board every month, with clips of what is currently inspiring me. I currently love neon’s, ethnic prints, leopards and zebra prints and checkered pumps. My inspiration comes from almost anything”. Stella’s love of fashion combined with her school schedule doesn’t make for easy blogging. But she always has time for fashion. “I can’t say it is easy, but it is dedication. When you love something, you create time: so i make time for everything and i try to keep a balance of it all. My Ipad is used for 99% fashion...i have folders with pictures of clothes, interior decors, styles and any fashion related thing” she confesses. “I am very enthusiastic about fashion” And it would seem that Stella isn’t the only one. With a huge increase in fashion blogs over the past two years, it has become one of the most used fashion outlets available. Which is why the frequency of updates has become incredibly important, to accommodate the eager awaiting fashion public. “I spend a lot of time blogging, especially at night after work and school. Sometimes i squeeze some time throughout the day. I write and edit a lot of my posts at night and weekends.

I take most of my pictures during the day and weekends. Knowing that i have a lot of supportive readers, I feel a sense of duty to maintain a level of frequency an quality. Also, blogging is a way of showing my personality through style” And that it is!! Stella’s own street style shots have featured on internet websites like chictopia, solestruck and envishoes. “It was such an amazing time for me when i appeared on chictopia, to have my individual style recognised was an honour”. Stella’s facebook page and tumblr are both widely received by fashionistas all around the world. This fast-paced outlet has been a hit, being recognised by successful fashion magazines, there have been many transitions from blogger to columnist. “I will always have a love of fashion. Its a part of me! I’m excited to see how my blog will progress in the fashion industry. I think its important to make a name for yourself as opportunities can come from anywhere”. I wish you all the best Stella!

Q&A Who or what is your style inspiration? My style is inspired by so many things from street styles, arts, to the Olsens, Carrie Bradshaw from Sex and The City, Audrey Hepburn, Jackie O…

Which designers inspire you? There are so many designers that inspire me constantly and I also have season designers that I love. Currently inspired by Prabal Gurung, Stella McCartney, Jason Wu, Chloe, Jewel by Lisa, Alexander Wang, Chanel… What are your seasons must have? In this current season, I will have to say pencil skirt, pointy toe pumps, floral, and pastels. Are you a person who buys everything new or do you like vintage clothing? Both, at long as I see some that I can apply to my style. What’s the most worn item in your closet? Right now, it has to be my black ankle skinny jeans. Are there any shops that you favour? It varies…I shop online a lot and sometimes I discover new stores. I shop Zara, Jcrew, Asos, Warehouse, H&M and so many others. What style tips would you offer other fashionistas? Be confident in what you wear and know what colour, silhouette and design that works for you body.What is next for you? Continuing to learn and improve in fashion and styling.

“BEING AWARE OF MY CULTURE AND WHO I AM PLAYS A PART IN MY DAILY ACTIVITY”

“I WILL ALWAYS HAVE A LOVE OF FASHION. ITS A PART OF ME!”

or years high end fashion designers have continuously tapped the heritage of Africa when searching for inspiration. Yves Saint Laurent’s iconic 1967 ‘African’ collection was one of the first to hit the mainstream catwalks. Burberry, Donna Karan, Michael Kors and Bottega Veneta are amongst the handful of designers whose lines were inspired by African culture for S/S 2012. Often labelled ‘tribal’ the African influenced trends have been gracing our high streets for quite some time. Its bold prints and statement jewellery mimic the trials and tribulations faced everyday by African tribes. They’ve managed to turn African culture into a major fashion style.

Fashion professionals are making efforts to merge authentic African techniques with high fashion; this influence will continue to rise. It has even been the main inspiration behind whole clothing lines.

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frican style prints focus on elaborate motifs that capture all the colours of this extraordinary country. Two of the most popular dyeing techniques used to achieve this are tie and dye, and resist dye. The dye solutions are typically made from vegetable dyes. Indigo plants are used for deep blue dyes, while reddish brown dyes are extracted from cola nuts. This truly authentic process has been used for years by the native tribes. Its colour is its identity! The artistic prints and beadwork capture the essence of what it means to be African.

Designers began to look at the country as a whole, drawing inspiration from not only the tribes, but the land and the animals. Michael Kors’s ‘Affriluxe’ spring 2012 collection embodied the earth tones with occasional bursts of sunset hues. Complete with animal prints and hand-dyed fabrics.

Donna Karan’s spring collection titled ‘The Artisan Stroke’ was inspired by her time in Haiti and what she saw there. She previously visited with the Clinton Foundation - which focuses on the opportunities for creative business development. “My two worlds come together...translating the vibrancy of tribal elements into sophisticated, sexy urban clothes” The earthy palate of browns, blacks and clays brought out the sexy side of Haiti.

Vogue’s Black Issue: Sincerity or Publicity?

ould it be that the very first black issue of Vogue was merely printed to heighten its profile or congratulate the black community’s achievements? I intend to look closely at the actions of those who surrounding its issue and interpret with evidence the drive behind Vogue Italia’s decision to go to print with it. The fact that prominent black figures – including designers, agents and models –combined to form a pressure group in New York to highlight the issue of low level exposure for black women in the fashion industry. The group was successful in influencing Vogue Italia editor Franca Sozzani’s decision in 2008 to produce an issue featuring only black models, highlighting the issue of race and fashion”. (Quoted in Varsity Online – 25/04/11).

Critics could argue that Vogue Italia took a worldwide approach to releasing such an issue centered on black culture. Vogue was ahead of the game and knew such a controversial issue would increase their profile internationally. Their desire to push this issue further than most, with more than the usual volume of magazines printed in both the US and UK, (and its country of origin - Italy - “rushed to reprint 30,000 copies “) indicates that they anticipated the reaction to the release. They seem to have taken it as their chance to reach a wider readership. With “newsstand distribution of the special issue up by 40 percent in the US” they intended to make the most of their triumph. Being promoted as the “special” issue also allowed for an atmosphere of anticipation to build during the weeks leading to its release. This shows that they looked at this from a marketing angle in order to reach a wider audience, which many may perceive as a tactical move to encourage more moneymaking.

However, it may also be interpreted as encouraging awareness of black culture. This has for some time been tackled by black models, designers, editors and others in the media. That Nigerian designer Duro Olowu “fought to cast black girls in his show for the past three seasons” demonstrates that there was already an issue of black models not being widely employed in the industry, and this needed to be addressed. The decision to highlight black achievements within the magazine could be perceived as a publicity agenda thriving on Barrack Obama’s recent worldwide rise in popularity after his 2008 Presidential election. The rise in black culture and its achievements became a force to be reckoned with. The mention in Italia Vogue of successful black magazines like Essence and Ebony also shows Vogue’s desire to incorporate relevant news from within the black community. Vogue’s continuing interest in black models suggests that they do consider racism within the fashion industry to be a problem, which could be interpreted as sincerity. However, as Jezebel’s Jenne Sauers so aptly points out, “All of Vogue Italia’s — or even the entire various Vogues’ — all-white spreads still seem to pass without comment.” Vogue Italia has also launched a companion website

Vogue Italia Black. Although many have flocked to the site, others have accused Vogue Italia of “ghettoizing” Black models.It can be noted that most black models in Vogue Italia were light-skinned (Naomi Campbell is striking for the light tone of her skin!) with European features. Ebony skin was not featured on the cover. A blogger comments: “Still Black girls posed as white girls - the white woman dipped in chocolate look”. None the less, the appearance in the magazine of lightskinned black models is better than having no black models at all. The mention of up-and-coming models that were not featured in the issue suggests that Vogue wishes to promote the employment of models with a skin colour other than white. Whether this is anti-racist or jumping on the multi-cultural bandwagon, it’s a step forward both for the magazine and for black women. It remains to be seen how far Vogue’s action influences other fashion magazines. Elle magazine - quite conservative in the field - has recently shown increasing interest in using ethnic models.

The growing trend to employ nonwhite models in the advertising industry, exemplified by Vogue Italia, is a welcome development for black communities. There is still a long way to go. Vogueâ&#x20AC;&#x2122;s bottom line is profit, and publicity helps generate it. We cannot be sure of Vogueâ&#x20AC;&#x2122;s sincerity in the anti-racism of its Italia edition; perhaps we have here a happy confluence of the two.

STREET

SCENE

Eeast End girl Liz wears a vintage aviator to stay warm during the British Winters

Olivia describes her style as the modern day working girl.

Rachelâ&#x20AC;&#x2122;s leather studded biker jacket was an absolute steal! Going for just ÂŁ10 at Brick Lane market.

AMNESTY INTERNATIONAL International human rights organisation, known to many as ‘Amnesty International’ was founded in London by lawyer Peter Benenson. After learning of two Portuguese students imprisoned for raising a toast to freedom in 1961, Benenson published an article, ‘The Forgotten Prisoners’ in the Observer newspaper – launching the ‘Appeal for Amnesty 1961’. Amnesty’s main objective is ‘to conduct research and generate action to prevent and end grave abuses of human rights and to demand justice for those whose rights have been violated’. In 1977 the organisation was awarded the Nobel Peace Prize for its ‘campaign against torture’, and later in 1978 the United Nations Prize in the Field of Human Rights. Amnesty has the longest history and broadest name recognition in the field of international human rights organisations. Making appearances everywhere where human rights are affected. One Amnesty incident that captured my interest was their work during September 2010 in which they urged the Parliament of Bosnia and Herzegovina to

reject a draft law, prohibiting the wearing in public of clothes which prevent identification.

and their views on Amnesty’s involvement in European laws prohibiting full-face veils.

“Under international human rights law the exercise of the right to freedom of expression and to manifest religious belief can only be restricted when necessary and proportionate”. (Amnesty International, 2010) Similar legislations were also opposed by Amnesty in France, Belgium and other European countries.

Harpreet Sharma is a young practicing muslim living in Neasden.

“Amnesty International said it is also concerned that the law may have a negative impact on inter-ethnic relations in Bosnia and Herzegovina as it may be perceived by some Muslim citizens of the country as an attack on their identity”. (Amnesty International, 2010) KULTUUR aimed to explore the fashion side of headwear worn by cultures in India and Africa. But it is important to consider the religious elements their headwear represents. With that, i decided to interview a member of the Indian community on what there headwear means to them

What do you know about Amnesty International?Its a charity that helps international causes, regarding the breach of human rights by raising awareness and money. Are you aware of some of the work they’ve done? When i was at school we were encouraged by Amnesty International volunteers to write letters to individuals who have been incarcerated unfairly before trial, all over the world. Do you support Amnesty? I think they’re doing a great job, however i don’t support them financially at the moment as i am supporting more locally based charities. What does your religious headwear mean to you and what would your response be to non-Muslims who criticise the use of hijab or burqa? As a practicing Muslim i wear a hijab when in public. It is

important to dress and behave modestly in my culture, which i 100% follow and respect. It is a cultural choice that i have made and stand by. The amount you decide to cover up your face depends on how you interpret different ideas from Islam. It is important as a Muslim woman to be respected for your mind. My religion helps women keep safe from exploitation. I am not forced to cover up. Islam uplifts women giving them equality. My religious headwear shows my devotion and respect for Islam and Muslim culture. Regardless of other individuals, it is important to ME! Are you familiar with Amnesty’s involvement in France’s ‘Ban on Burka’s’?I read an article on France’s intentions to prohibit the wearing of Burqa’s and was deeply saddened. They are showing no consideration towards our religion and beliefs. I think that everyone has the right to express their religion freely. Although i understand that a burka could be intimidating during the current climate, we have a right to express ourselves and our religious identity.

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