Editor’s
Note
For me, the word ‘neighbourhood’ reflects what I want this magazine to be: a celebration of likeminded people and the community that creates. Neighbourhood hopes to showcase the intersection between talented, young creatives and those who want to become more socially conscious. I hope after reading their interviews and essays, you can understand why I wanted to give this community a platform. Hope you enjoy, Bella x
Contents
6__Dyed and Deadstock: A Conversation with sssilk666 12__Supporting Survivors of Sexual Violence: A Conversation with a Violence Against Women and Girls Researcher 16__New Neighbours: the Work of Young Creatives 18__Two Sides of the Same Record: A Conversation About the Role of Music in Friendship 24__Clothes Swapping and the Future of Sustainable Fashion
4
Can Women Enjoy Lingerie Adjacent__28 to the Male Gaze? A Quick Look at Victoria’s Secret vs Savage X Fenty New Neighbours: the Work of Young Creatives__32 Community and Collaboration: exhale and its Alternative Approach to Events__34 New Neighbours: the Work of Young Creatives__40 My Ladye with the Mekle Lippis: __42 An Analysis by the Artist Further Reading and Recommendations__48
top left: @sssilk666, bottom left: @simran_k_01, top right: @exhale.lds, bottom right: @photosbyknox 5
Neighbourhood
Dyed and Deadstock: sssilk666
(she/her)
is
an
A Conversation with @sssilk666
independent
fashion designer who uses deadstock and recycled materials for her expertly crafted pieces. She embroiders and hand-dyes lots of her garments, which range in style from gothic and structured to floaty and fairylike. She also wishes to raise awareness for factory workers and small businesses who
are
exploited
by
fast-fashion
brands. We had a conversation with sssilk666 about how she got into designing and why she strives to be socially and environmentally conscious.
7
How did you get into designing?
trends, which is damaging. Ultimately, it’s
I’ve always been obsessed with clothes. I
about moving away from always having to
realised it could become a proper business
change what you wear and encouraging
about a year ago, when I sold my first piece.
people to develop their own taste. I also
Lockdown really helped because I had so
think, when people do want to switch their
much time to sew.
style up, renting is a good idea.
What
would
you
say
are
your
main
Do you think the development of micro-
inspirations for your designs?
trends has been influenced by the growth
I used to collect antique and Victorian
of social media and influencer culture?
pieces – I love really old garments. They are
I
all unique because there wasn’t as much
contributed to a ‘trend’ culture. The haul
mass production and clothes were usually
trend is particularly damaging because it
made at home. So, in terms of inspiration,
encourages people to consume excessively,
I like to think of my pieces as being unique
which results in people getting bored of their
in that same way. There are also designers
clothes quicker.
definitely
think
social
media
has
I’m obsessed with like John Galliano and Charlotte Knowles. I love Galliano’s use of
You’re also a very talented embroiderer
bias-cut dresses and the theatrical nature
– how did you get into sewing and what
of his pieces.
inspires the images you embroider? I started embroidering in my first year
Why do you use deadstock materials
of university. I got really into 1930’s silk
instead of new fibres?
embroidered jackets and used to go to
It’s
about
being
sustainable
and
not
Portobello Road Market and hunt them down
financially contributing to the production of
just to get a close look at them. That informed
new materials. It definitely isn’t a perfect
the intricacy of my embroidery. I was also
way of creating as there are arguments
inspired by this book which documented the
against using virgin fabrics, but it is more
designs of a Victorian illustrator which were
environmentally friendly. I also really like
quite cartoonist, intricate and way before
the fact that deadstock fabric has limited
their time. That book has definitely informed
quantities, which add to the individuality of
the way that I draw and embroider.
the pieces. You’ve recently started a charity Instagram In what other ways do you believe the
page, @garmentworkerstories, focused on
fashion
calling out fast-fashion brands which copy
industry
can
become
more
sustainable?
smaller designers and the situations of
I think we need to get rid of seasons.
their factory workers. Why do you believe
Designers
4
these issues are so important to publicise?
collections a year, which I think is madness.
I think that we shouldn’t act as if we exist
Also, because of our throw-away attitude to
in a vacuum where calling for the demise of
clothing, there’s been a huge rise in micro-
fast-fashion brands wouldn’t have a negative
8
can
be
producing
up
to
Cover Images: Photography @savanhazzz Styling @fastudioss Make Up @christelkbeauty_ Hair @sleekedbykb Jewellery @p_lanet_b Model @tnatswa Blue Image: Photography @sommerhannah Model and prosthetics @god.herself Collage Images: @sssilk666 9
effect on their factory workers. So far, the narrative regarding fast fashion has mainly focused on environmental issues, evidenced by
brands
releasing
more
‘sustainable’
collections by using organic cotton etc. Unfortunately fast fashion factories have a bad record with paying their workers fairly, so just because an item may be made in a more sustainable way, the worker won’t necessarily be paid fairly. Are you hoping to raise money as well as awareness for these causes? And if so, how? I want to do a raffle where people are able to bid for pieces made by independent designers who want to donate their work, and the profits would go to Labour Behind the Label. I got the idea after participating in a similar thing organised by Bleaq, and I thought it was really great. Thank you so much for speaking with us. You can find sssilk666 on Instagram as @sssilk666 and @garmentworkerstories.
Neighbourhood
11
Supporting Survivors of Sexual Violence: A Conversation with a Violence Against Women and Girls Researcher
Rape Crisis is a Leeds-based
TRIGGER WARNING: The following piece
charity
contains mention and discussion of sexual
which
acts
as
the
umbrella body for a network of
independent
Centres. in
Rape
They
helping
and
violence, which some may find triggering.
Crisis
specialise supporting
Hey Sumairaa, thanks for agreeing to talk to us today. In short, what is Rape Crisis?
survivors of sexual violence.
Rape Crisis is a feminist organisation which
Sumairaa
supports
(she/her),
who
is
the
work
of
39
autonomous
currently a researcher at the
centres across England and Wales which
organisation, was kind enough
provide support for victims and survivors
to sit down and chat with us.
of sexual violence. Rape Crisis also aims
We discuss what Rape Crisis
to raise awareness and understanding of
does, how we can be doing
sexual abuse publicly and within the political
more to prevent sexual violence
sphere.
and better help those who are What is your particular role within the
survivors of it.
charity? DISCLAIMER:
opinions
I’m a researcher, which means I conduct
expressed in this article are
primary and desk-based research to inform
Sumairaa’s own opinions and are
our
not necessarily representative
relating to violence against women and girls
of the opinions held by Rape
and sexual violence and abuse. My work
Crisis. She is speaking on behalf
closely relates to our work trying to influence
of herself, not the charity.
the public and policy makers.
12
The
organisation’s
wider
policy
strategy
Can
you
elaborate
on
what
primary
On
Rape
Crisis’
website,
they
have
research means?
highlighted a recent UCU report, published
Yeah sure - primary research includes
in December 2021, which shows the vast
collecting data from people directly within
extent of sexual violence on University and
our network. That includes professionals
College campuses. In your opinion, what
that work closely with victims and survivors,
measures should Universities and Colleges
as well as survivors themselves.
take in order to stem this endemic? Interestingly,
that
report
focuses
Rape Crisis has recently published a report
predominantly on staff sexual violence and
on how they adapted during the pandemic.
abuse, rather than student sexual violence
Can you explain the changes that had to be
and abuse. So, firstly, I think there needs to be
made to deal with
wider
the
roadblocks
into the student
created by Covid?
experience and
Sure! So, after the pandemic, face to face
interactions
weren’t really able to happen, which had a huge impact on
victims
and
survivors because they able
weren’t to
their counselling
research
“The way women have
how
sexual
been targeted by drink
students
on
spiking just exhibits the
campus.
In
reference to the
violence impacts
amount of misogyny they
abuse
that’s
face on a daily basis”
b e t w e e n
h a p p e n i ng members
of
access
staff, staff have
regular
been pressured to
and
sign
non-
advocacy services. This meant that our
disclosure agreements, so they don’t speak
centres had to adapt to this, and they took
up about these instances of sexual violence
face-to-face counselling online, so those
and
sessions could continue virtually. They also
rid of this and overall making University
created and developed innovative ways to
establishments safe spaces for women to
offer this support. For example, one of our
come forward and disclose what’s happened
centres developed a walk and talk method
to them.
harassment.
So,
definitely
getting
of offering counselling, so sessions could take place outside. One of our centres
Recently, there has been a lot of discussion
in Bradford also purchased phones and
and media coverage of spiking in clubs
laptops for asylum-seeking and trafficked
and bars, stemmed from the rise of
women who access our services, to enable
injection spiking in October 2021. How do
them to continue receiving the support they
you believe we can better tackle this and
needed through online means.
ensure more support for victims?
13
I think that the way women have been
that funding is offered on a short-term basis
targeted by drink spiking just exhibits the
which means centres are constantly having
amount of misogyny that they face on a daily
to bid for money to sustain themselves. This
basis. We need to see a stronger effort from
means they can’t plan ahead because they
police and from night clubs to ensure that
don’t know whether their members of staff
women are safe and can enjoy themselves
are going to have jobs. So, flexible funding
without being potentially blamed for what
that not only covers service provisions but
happens to them. We need to take reports
also the costs of running the centres, so the
from victims and survivors seriously, bring
services can grow, and offer more support.
them forward to court and process their
I also think a key part is tackling the lack of
cases effectively and efficiently. I also think
awareness and understanding regarding the
nightclubs have a responsibility to put
misogyny within the criminal justice system.
forward a plan of action to say what they are
There needs to be specialised training for
going to do to make their spaces safer for
officers so that when they deal with c ases
women.
of sexual violence, they aren’t perpetuating rape myths whilst interacting and engaging
In your opinion, what are the ways these
with victims and survivors. This is so key
clubs can make the welfare of women a
because this can make the experience of
priority? Perhaps having more female
reporting an incident so unappealing, and
bouncers
so
that
victims
feel
more
comfortable reporting what has happened
therefore less people are likely to come forward.
to them, for example? Yes, definitely more female bouncers but
Can you tell us about some of the projects
also training for bar and club staff in order
Rape Crisis have on at the moment?
to understand the problem of violence
We launched our first
and
spaces.
event, which is called Step Out in Solidarity,
This would mean they would have a better
on the 7th of February. It’s a month-long
understanding of how to act if a woman were
event, where we are encouraging people to
to disclose something to them. They would
pick up a new skill or physical activity for 30
also be better placed to recognise signs of
days. The time frame is notable because
unusual or predatorial behaviour, so they
its during Violence Against Women and
could diffuse a situation before something
Girls Awareness Month and the last day is on the 8th of March, which is
harassment
within
those
worse happened.
ever
fundraising
International Women’s Day. In what ways do you believe the Government could be doing more to help victims of
Can you give us some specific examples
sexual violence?
of what people within the organisation are
First
and
foremost,
it’s
funding.
The
thinking of doing?
government needs to commit to long-term
Our CEO is trying to do 30 walks and talks
funding for specialist services such as Rape
over the time frame, so she wants to go on
Crisis. Currently, one of the biggest issues is
30 walks with different people. and have a
Neighbourhood
chat with them. It’s up to you to be as creative as possible! How can people support and get involved with Rape Crisis? If you would like to volunteer, get in touch with your local Rape Crisis centre and see what roles they have available. The roles vary from campaigning to advocacy to helpline support etc. Also, follow us on social media to keep up to date with content and events. Our website is also a great resource for anyone who wants to learn more about the organisation or how they can get involved. Thanks so much for talking with us, Sumairaa. Thanks for having me.
IMPORTANT INFO AND HELPLINES Rape Crisis are on Instagram as @rapecrisisew and online at www.rapecrisis.org.uk National Telephone Helpline for sexual violence: 0808 802 9999, open between 12:0014:30 and 19:00-21:30 every day of the year. If you’ve experienced any form of sexual violence, help is available for you at your local Rape Crisis centre. Head to their website to find out more information. 15
New Neighbours The Work of Young Creatives Black Lives Matter Protest These film photos were taken by Sumairaa Kazi (she/her) at the Hyde Park BLM Protest in 2020, which was triggered by the murder of George Floyd by police officer Derek Chauvin. People protested against his death, as well as the systemic oppression black people have faced for hundreds of years, which has paved the way for Floyd’s murder and many others. Neighbourhood wanted to include these images as to shine a light on the role of young people in activism and how creative practices, such as photography, can be used to portray this.
Robyn Harvie (she/they)
@ robyn_harvie
Robyn is a photography student at Edinburgh Napier. This project, entitled ‘Family Albums’, is inspired by anonymous family albums sold online. She uses her own disposable photos to create a visual of failing and changing memories.
Elysia Violet Dallard (she/her)
@elysiadallard
Elysia is a photographer studying fashion, image and styling. Her featured work, ‘Bric-a-Brac Catalogue’ aims to find the beauty in items given away to charity shops. The French term bric-a-brac describes miscellaneous items that have no value, yet are curious, artistic and characterful. Through this work, Elysia mixes her love for second-hand items with fashion, using her amazing collection to display an environmentally friendly way to shop. She’s particularly inspired by the layouts of dELiA*s 90’s fashion catalogues.
Simran Kaur (she/her)
@simran_k_01
Simran is a surrealist still life, creative portrait, fashion photographer and artist based in London. These images are taken from her series, ‘rendezvous’, which portrays the intersection between a person’s past and present. The project was inspired by @sam. rah_ibrahim’s fashion collection, ‘Truth’.
Designer: @sam.rah_ibrahim Model: @charoen_wsk
Models: @florenceludgrove_ @jdhslp
17
Two Si Sides of the Same Record Will
(he/him)
(he/him)
are
producers Shropshire.
and
Harry
both
young
DJs
from
About the Role of
They’ve
been
Music in Friendship
and
friends for over 10 years and
both
love
listening
to, sharing and producing music.
Neighbourhood
sat
down with them to discuss how this mutual love has bonded them and played a role in the strength of their friendship.
Neighbourhood
A Conversation
How long have you known each other?
How did both of you get into music, mixing
H – since we were around 13. Maybe
and producing?
too long. We’re plateauing. Originally, our
W – Quite early actually, I kind of did it
friendship was just going biking. It was only
accidentally. I always loved playing and
the summer before I started Uni, when Will
sharing music, so I really wanted to start
had just come back from first year, that we
making it. I asked my Mum for some decks
properly started hanging out.
for Christmas when I was 13, thinking I could make music with them, totally
How would you describe your friendship?
misunderstanding that they were actually
W – I’d definitely use the word chaos,
for mixing. I was like “ah fuck, I’ve got the
especially when we mix together.
wrong thing here”. But I did start mixing
Tula, Will’s long-term girlfriend, chimes in
with them, found it a lot of fun and haven’t
with the word ‘slow’.
stopped since. I started mixing publicly
H – Yeah, definitely slow. Slow chaos. Going
when I was 15. I was even on a pirate radio
a bit deeper, we have similar outlooks on
show, where I played some awful stuff, but
life. We approach situations in a similar way,
I’ve slowly filtered it out. What about you,
which is why it makes so much sense DJing
Harry?
together. There are often weird coincidences
H – Well, my family are all musical, so I’ve
when we are mixing. Sometimes one of us
played instruments from an early age.
will play an original and then the other will
W – I remember, at house parties whilst we
play a different version of it. Once I played
were at school, Harry would be in the band
McFadden
and I would DJ afterwards.
and
Whitehead’s
‘Ain’t
No
Stoppin’ Us Now’ and then Will played the
NM – You used to have bands play at your
Brazilian version of it straight after.
parties at school?! That’s so fun!
NM – A very symbiotic relationship
H – Yeah, it was. That was actually how I got
H - Exactly.
into more electronic dance music because Will was playing disco and house. W – I have a distinct memory of a party at college and I played you Jamiroquai at 6am,
"We did a stream every
and you just absolutely loved it.
Saturday during lockdown
sical awakening, Harry?
NM – So basically Jamiroquai was your mu-
and that really kept me
H – Apparently so. I also started getting into
going ... it was a good way
I nicked his old iPod and it had lots of old
to connect with people"
electronic music because of my brother. house music on it, so I just listened to that. Truly the beginning of a beautiful friendship. Do you feel like your mutual love for music has made your friendship stronger? H – Definitely. 19
W – That’s true. When I first went to Hopeworks in Sheffield it definitely inspired me to look into techno a lot more, as that was constant techno all the time. I was obsessed with Room 2 there, as it was always really dark and had lots of minimal techno. Ever since then, I’ve gone to find @dancepolicy
more of it. I don’t know if you found that in Manchester, Harry? H – Manchester’s a funny one. I wouldn’t
W – Yeah, throughout Covid especially. We
say there is one type of sound particularly.
were doing a stream every Saturday during
When you’ve got small clubs like Soup
Lockdown, which really kept me going when
Kitchen, in comparison to massive events
there was fuck-all to do. It was a good way
like Warehouse Project, it’s hard for it to
to connect with people when everyone was
have a specific sound. So, for me, it hasn’t
at home.
particularly shaped me. The type of music I like listening to has developed more from
How would you describe each other’s taste
searching on the internet, record shopping
in music? Are there any major similarities
and looking through Discogs.
or differences? W – I would say we are pretty similar, aren’t
Do you find you are often inspired by the
we? You definitely like more white males.
other when it comes to developing your
H – Yeah, white, male, 80s, new wave,
music taste or finding new music?
droney vocals. I wouldn’t say I particularly
H – Yeah, for sure. We are always sending
like it, just like it more than you. To be fair,
each other tunes. Particularly when it comes
Will likes it too. He’ll stick on a Bryan Ferry
to producing.
record from time to time.
W – Definitely in terms of producing. I learn
W – I think I also like world music slightly
a lot from watching how you make music.
more and you definitely play more hip-hop. H – Yeah, more hip-hop and more reggae. Our taste in electronic music is the same though; disco, house, techno, jungle etc. Will, you went to university in Sheffield, whereas Harry, you went to Manchester. Did these places have any impact on your respective music tastes? H
–
I
would
say
both
Sheffield
and
Manchester have quite good scenes for electronic music. Sheffield’s probably more electro and techno. 20
When you say you learn a lot from how the other one makes music, can you elaborate on that? How do you both make music? W – Just little tips really, Harry may use particular plug-ins which will affect the sound in a different way, which I would never think to do. H – It’s definitely more the technical stuff @dancepolicy
that we learn from each other. When I started making music, Will had been doing it for a while, so it was useful in terms of learning
H – I think making music together has
how to put together a functional dance track
definitely taught us how to make music with
or something like that. We helped each other
another person. There has to be a certain
learn how to put together patterns, sending
level of intuition. You can’t necessarily
each other samples and one-shot loops etc.
express everything vocally. I guess that's
This might be getting a bit too technical now,
why we work, because we are really similar
but it helped when it came to producing. It’s
people and the intuition is naturally there.
funny because I can definitely pick out a
W – You’ve definitely just got to roll with it a
Will Madeley tune because he uses a lot of
bit. You can’t be too hung up about the way
kickdrums and snares.
a track is going.
Will, do you think you could identify a song
Do
that’s Harry’s just by listening to it?
share music as a way of expressing an
W – I think so, he got this synth over lockdown
appreciation for another person? Kind of
and I could probably tell from that. He uses
like a Love Language?
it in almost everything now.
H – Haha, yeah, there’s definitely a lot of love
either
of
you
ever
feel
that
you
involved. I’m always trying to drive a wedge Aside from the technical stuff, what is the
between Will and Tula through tunes. No,
main thing the other has taught you when
but seriously, it’s just a good way of keeping
it comes to producing?
in contact by sending something we know the other will appreciate. NM – Thanks so much for speaking to us guys, this has been great.
As this interview centres around sharing music with one another, we thought we would take this a step further and do just that. We asked Will and Harry to give us their top record of all time and three of their current favourites, so we can enjoy them as much as they have... @danpolicy
c 21
Will
Top Record: Arthur Verocai - Arthur Verocai (self-titled album) Brazilian Jazz, Funk, Soul Sicaria Sound - Quondam Dubstep
Overmono - Diamond Cut Electronic, UK Garage, Breakbeat
Mike and the Censations There is Nothing I Can Do About It Funk, Soul
Thanks to Dance Policy for providing us with photos for this article. Dance Policy is a Manchester-based magazine exploring music culture through photography. You can purchase their latest issue from their instagram, @dancepolicy. Neighbourhood
Harry
Top Record: Oli XL - Rogue Intruder, Soul Enhancer Electronic, Experimental, Abstract, Grime
Elis Regina - Montreux Jazz Festival Jazz, Latin
LOZP - Do Cats See Ghosts? Vol. 3 Electronic, Drum & Bass, Jungle
The Beatles - Julia Rock, Psychedelic Pop
You can find Harry on Soundcloud as Foley and Mixlr as debris_83. Will is on Mixcloud and Soundcloud as Steel Traxx. 23
Clothes Swapping
and the Future of Sustainable Fashion
By Bella Koopman (she/her) It’s
no
insider
secret
that
shopping
sustainably has become an increasingly desirable concept over the past couple of years. Second-hand marketplaces, such as Depop and Vinted, have grown exponentially, with top sellers making successful careers purely out of reselling second-hand clothing. In fact, in a 2021 report, thredUP predicted that the resale market will double in the next 5 years, reaching a total market value of $77 billion, growing 11 times quicker than the broader clothing sector. Therefore, it’s understandable why platforms which specialise in other methods of acquiring second-hand clothes are coming to the fore. The one that I am most interested in, and the topic of this article, is clothes swapping. I was first introduced to clothes swapping when I started interning for the online platform, Don’t Shop, Swap (DSS). DSS is a clothes-swapping business which allows customers to send in clothes in exchange for virtual coins. Started in 2019 by Lydia Hartley, the aim of DSS is to become the go-to place for Gen-Z to acquire clothes, focusing on the burgeoning trends surrounding 90s and 00s fashion. Throughout the time I have been interning, people have sent in some really high-quality items; a Dior tank top and John Galliano skirt, to name a few. After a quick search on Depop, I found that similar 25
items were being sold
becoming increasingly bloated. For instance,
for £180 to £250,
the search ‘rare Brandy Melville’ chucks up a
whereas
DSS,
post from a seller who is selling a camisole,
you can ‘purchase’
which originally would have cost less than
pieces
this
£25, for £85. There’s also a plethora of
clothes
sellers who mass buy items from fast-fashion
own.
labels such as Shein or AliExpress for £3 a
This case highlights
pop and then sell on those items as ‘vintage’
the first benefit of
or ‘unlabelled’ for £20 each. Although most
clothes
;
of the items on Depop are quality vintage
it’s an economically inclusive way to acquire
pieces which deserve a higher price point,
clothes sustainably.
unfortunately, second-hand selling platforms
using you
on like
the already
swapping
haven’t found a way to filter out those who are Swapping is economically inclusive because
intent on hiking up the prices for items that
the clothes you already own act as a currency.
simply don’t deserve it. As coins assigned to
Therefore, less disposable income
DSS donations are based on their
is needed in order to acquire new
average price across all reselling
clothes, as you cover the majority
platforms, value can’t increase due
of the cost by donating clothes that
to personal preference and thus is
you don’t want. In a 2018 article,
more economically accessible.
Times journalist Andrew Ellson highlighted that, on average, a
Secondly, swapping is time efficient.
person throws away 8 items of
Uploading items onto second-hand
clothing each year, equating to
selling platforms takes time and for
£500
those who specifically clear out their
per
household.
Instead
of losing this money, swapping provides
wardrobes in order to upgrade what they
an avenue where people can refresh their
wear, it seems like an unnecessary step.
wardrobes without having to lay out masses of
Items also might take a while to sell, whereas
extra money, thus making it more accessible
with swapping, once you’ve sent in
to those with less disposable income. This is
your clothes, you can ‘purchase’
so important because wanting new clothes
new
or
developing
immediately.
Furthermore, utilising other means
shouldn’t be limited to
of buying second-hand clothes,
those who can afford
such as charity shops or car boot
to consistently buy.This
sales, also take up a lot of time.
is specifically becoming
These
a
the
risky in regard to sourcing clothes
selling
for specific events: a festival, a
industry, as the prices
birthday, a wedding etc. It’s highly
on
platforms,
unlikely that one day of charity
specifically Depop, are
shopping will result in you finding
second-hand
Neighbourhood
almost
style
problem
resale
a
ones
within
methods
are
especially
exactly are
what
you
acquire used clothing, so to not contribute to
looking
for.
overproduction and environmental damage.
DSS collates all the clothes
one
Therefore, swapping is a worthy partner to
place, so it is less
reselling in the sustainable fashion boom.
time consuming to
With one aiding the other, I’m hopeful that
find items you want.
both buying and swapping second-hand
Fur thermore,
items will become the primary way people
swapping
can
shop in the years to come and the fashion
the
industry subsequently becomes increasingly
actually
into
aid
growth of second-
environmentally
and
socially
conscious.
hand selling by offering an avenue through
Clothes swapping proves that one person’s
which
stock
trash is indeed another person’s treasure,
by donating unsold items. This is a key
and DSS is definitely a treasure I’m excited
point because second-hand sellers have
for more people to discover.
sellers
can
refresh
their
contributed greatly to the growth of the sustainable fashion market, and swapping
You can find DSS on Instagram as @dont_
shouldn’t aim to harm that. The most
shop_swap.
important thing is that everyone is working towards the same goal - acquiring clothes in an environmentally friendly way. This brings us onto the final point of this article; swapping is equally as sustainable as reselling. Buying new clothes, especially from fast-fashion brands, is detrimental to the environment and its ecosystems. Synthetic materials used to make cheap clothing sold by fast-fashion companies, such as polyester, are the primary reason microplastics get into our oceans. These microplastics then create a toxic substance which damage our marine ecosystems (Princeton
Edu,
2020).
Furthermore, 57% of disregarded clothing ends up in landfill, which consequently
gets
burned
Credits: Photography @gretavichiute
and
Models @daisyflowersjessop,
releases harmful emissions into
@moody_mani and @sourtai
the atmosphere (Princeton Edu, 2020). Swapping allows people to
Clothes used for shoot: DSS and Sourtai
27
Can Women Enjoy Lingerie Adjacent to the Male Gaze? A Quick Look at Victoria’s Secret
By Mimi Khin (she/her) Forty years since the concept of the male gaze was introduced by scholar and
VS
film-maker Laura Mulvey in her famous es-
Savage X Fenty
(1975), the topic of restriction and sur-
say Visual Pleasure and Narrative Cinema veillance of women, both from the self and the public, remains one of interest. When inspecting this continuation in accordance with two major players in the lingerie industry, Victoria’s Secret caters to the male gaze, whereas Savage X Fenty does the opposite. Rihanna has created a lingerie brand that looks at what women want, something which she describes as ‘re-defining sexy’. Offering theatrical and exciting lingerie, Savage X Fenty makes Victoria’s Secret seem outdated, disciplined and somewhat boring. Take the fashion shows, for example. While Savage X Fenty includes models of all shapes and sizes strutting out in daring two pieces and fishnets, the angel wings and size 4 bodies that Victoria’s Secret hold so close no longer have an impact. Ultimately, what makes Savage X Fenty a pioneer in
28
this industry is that it is representative of
amongst
all women, rather than only women who fit
models, and Victoria’s Secret lost its appeal
within a patriarchal fantasy.
to a generation increasingly concerned
these
unattainably
beautiful
with self-love, body confidence and greater When Victoria’s Secret (VS) first arrived on the
awareness of the male gaze. In contrast,
market in 1977, they interestingly branded
Savage X Fenty creator Rihanna is a proud
their store as a place where men could shop
immigrant and woman of colour, who does
for women without feeling ‘uncomfortable’.
not exclusively promote being tall and
The centrality of the male experience has
skinny, but complete self-love, whatever
remained rife in their marketing until this
your shape, size or skin colour. She focuses
current year. Not only is this ethic
damaging,
it’s
also
ironic. I think it is fair to say that most VS lingerie is not focused
on
comfort,
but
female sexuality, according to the male gaze. Thus, this buyer
experience
seems
quite misplaced in the wider context of VS’s lingerie design and is further evidence for
“Lingerie can
or
exclusivity.
Thus,
feminist
act...
for all. It also endorses
to do this
conventional models such
but
gender and
norms
consumer culture
their business model around
Savage
provides the
X
Fenty
representation
use
of
more
non-
as those who are pregnant or a
non-binary, few.
to
name
Rihanna’s
vision
was built on the premise that
lingerie
empowering
must be
male, rather than female, shine a light on the fact that
tokenism
certainly be a
the fact that they centre
pleasure. Ultimately, I aim to
on inclusivity, rather than
should for
be
women,
and that those wearing it
dismantled”
just because something is
should own their sexuality, rather
than
mould
it
dependent on the male
female-focused, it does not make it female-
gaze. She understands that sexuality is so
friendly or have female interests in mind.
integral to who women are, they deserve lingerie that shows it.
After running it’s infamous Victoria’s Secret Fashion Show since 1995, the show ended
In a post #MeToo society, Victoria’s Secret’s
in 2019, following a drop in sales and
credibility and relevance have come under
controversy around diversity. Promoting the
question, especially with its close affiliation
‘most beautiful women in the world,’ the
to Jeffrey Epstein. It was reported that
brand continued to leave out women who
former
did not fit the narrative of predominantly
others, created a culture of misogyny within
white, slim, and ‘feminine’ women. As a
the brand, and were aware of the abuses
consumer,
and sex trafficking committed by Epstein.
watching
the
fashion
show
chair,
Leslie
Wexner,
amongst
or scrolling through their website, it was
This breached Wexner’s
unlikely that one would see themselves
and trust, causing serious harm to Victoria’s
responsibilities
29
Secret’s brand. John Berger discusses the male gaze in his book, Ways of Seeing (1972), arguing that “men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus, she turns herself into an object – and most particularly an object of vision: a sight.” Thus, our patriarchal society has embedded the male gaze into our culture, leading young women to believe that how she looks to men is crucial to success. This is what Victoria’s Secret built their brand on. The idea that women can ‘own’ their sexuality is a complicated debate. What we have come to understand sexy to be, is rooted in serving the male gaze. As a result, sexuality cannot be wholly divorced from inequality. VS took advantage of this narrative, pushing the idea that to be sexy, one must be desired by a man and thus focused their products and marketing accordingly. This model was particularly successful during VS’s heyday in the 90s and 00s. Consumers were less aware that their insecurities were being capitalised on because discussion of female sexuality and the male gaze became much more socially widespread after the rise of social media in the 2010s, after which VS’s tactics became more blatant. So, I question if the male gaze did not exist, would women commit themselves to lingerie, specifically types by Victoria’s Secret, and similarly, would it have been as successful as it once was? Most lingerie brands have always looked towards this idealistic fantasy of gender being binary; that to be a feminine woman, one must be below a size 12 and emulate sexiness. Looking at the notion of what femininity is under the male gaze, this seems Neighbourhood
all too familiar. To view a woman from the male gaze, she should be aesthetically pleasing and sexually arousing. Simply put this is objectification, rather than being viewed as being.
In
a
human
contrast,
Rihanna talks about the
creation
of
lingerie as an art and that can be used to portray creativity rather than sexuality, according
to
the
male
gaze. Thus, Savage X Fenty ensures
that
their
lingerie
looks and feels good across a wide range of sizes, from 30A to 42H in bras and XS to 3X in underwear and nightwear. Hence, it has taken the world and specifically the lingerie market by
storm,
Celebrating
as
everybody
fearlessness,
is
included.
confidence,
and inclusivity, Savage X Fenty is far more radical than Victoria’s Secret ever was. I stress that it is not necessary to ‘cancel’ Victoria’s Secret to successfully be a feminist or to only shop at Savage X Fenty to feel good about yourself, but that consumer choice is deeply affected by societal expectations. As modern society is built upon white supremacy, racism, sexism and a myriad of other discriminatory systems, our actions and ideas are inherently influenced by this, as much as we may think they are autonomous. Thus, lingerie can certainly be a feminist act, and sexuality is a wonderful thing, but to do this, gender norms and consumer culture must be dismantled to ultimately overthrow the power of the male gaze. Thus, while lingerie may not be inherently feminist, Savage X Fenty is moving in the right direction by arguing that sexuality is personal, and it cannot be owned by anyone but yourself.
31
New Neighbours The Work of Young Liberty Rose (she/her)
Creatives
@libertyrosestudio Liberty Rose is a mixed media artist based
in
Brighton
who
creates
fashion collage, illustration, styling, photography, animation and film. The piece below is entitled ‘Breathe Out’ and was inspired by Liberty’s Pinterest feed.
Featuring: @dionjerzane_ (he/him) @itssalute (he/him) Featuring: @vickrossi_ Photography: @polkurucz
Alexander Hall (he/him) @alexanderh.2001 Alex is an analogue photographer. This body of work is called Flamboyant Glamour. It is a self-portrait project exploring the significance of the glam rock movement and the influence it has had on society. Glam rockers glorified acts against the rebellion whilst shaping the rock and roll industry to be what it is today. This project pays homage to glam rock icons such as David Bowie and Freddie Mercury for inspiring queer youth to be unapologetically themselves.
H. Feather (they/she)
@hf.pphoto
H.Feather is a Leeds based photographer with a wide range of interests in their field. Their recent work entitled Salute and Blacid uses socio-documentary photography to highlight themes of community, hedonism, safe spaces and euphoria within the queer community. These images create a narrative that displays the relationship between two best friends who often perform in drag together showing the scene the energy, queerness and chaos, they never knew they needed.
33
Poster credits: @luc.ipina 34
Community and Collaboration: exhale and its Alternative Approach to Events exhale is a community-based
What is exhale and what makes it different
events
from other event organisations?
initiative
set
up
in
Leeds by Misha Karmiloff (he/
exhale is, what I hope, a project that is going
him/they/them). Having held
to be life-long. It is a place for me to play with
their initial event at Rainbow Junktion,
a
community-led
space aiming to tackle food poverty, it was evident Misha’s goals for exhale centred around having benefit.
a
distinct
societal
Neighbourhood
sat
the power event spaces have in bringing people together, providing new experiences, creating conversations and impacting a local area. exhale started by focusing on my local area of Hyde Park, Leeds, and considering what sort of events and spaces can be of service to and work with the diverse local population. With particular tensions existing
down with him to discuss the
between the locals and migrating students,
vision for exhale and his views
exhale hopes to provide a space to build
on how event spaces should
bridges and create moments of celebration
change in the future.
for all. I think it is important that exhale strives to be fundamentally anti-capitalist and de-colonial in nature through actively encouraging
community
participation
at
every level, investing all profit directly back into the community and fully committing to building spaces that encourage inclusivity and diversity. Accountability is key and being able to adapt to specific needs 35
“Clubbing
and
amazing events and spaces that centre
event spaces offer
locals like Sable Radio and its affiliates, Love
people the chance
community and inclusivity - big shoutouts to Muscle, Rat Party to name a few. Massive inspiration is taken from these spaces and
to fully connect with
others which are built for/by minoritised
themselves, connect
much harder to build environments that
with
to be as successful as they have been in
others
celebrate
and
culture.”
and requirements for those who want to attend. This links to a drive to be open for collaboration at any point, with exhale intending to be a space for anyone to come and bring an idea to life and shape how exhale exists. Event spaces, clubbing and much of the music played have become continuously diluted and appropriated from the radical and community-based settings and moments in which many were born from. The majority of clubbing experiences these days suffer from commercialisation and capitalisation. Clubbing and event spaces offer people the chance to fully connect with themselves, connect with others and celebrate culture. The desire is to foster that as much as possible. In terms of what makes exhale different, that is difficult to answer as I don’t think I’m necessarily trying to be different, that isn’t the driving force as to why I’m doing it. It is a reaction to what I’ve experienced in the club space, challenging certain elements while bringing others together. I want to specify that I don’t see myself as someone who’s doing something completely new and revolutionary. Many people already create Neighbourhood
peoples who consistently have to work that provide safety and comfort. exhale hopes creating environments that encourage and facilitate freedom and comfortability of self in a diverse and inclusive manner. How did you first get involved with Rainbow Junktion and why did you decide to partner with them for your first event? So, I’ve lived within the vicinity of the church where Rainbow Junktion operates three out of the four years I’ve lived in the area and was aware of what it was. I had never engaged with it before the first Supper Club, but I had this idea for a sountrackeddinner-and-dance and realised it would be perfect to hold it there. I think the work they do is great and pre-lockdown, there was a pretty good relationship between Rainbow Junktion and the student population but because of Covid, that relationship broke down. The generation of students that had originally engaged with Rainbow Junktion have graduated and left Leeds. There’s not a lot of reasons as to why students, who aren’t necessarily in vulnerable positions where they would need Rainbow Junktion’s help, would know about it. As a staple within the Leeds-based community it felt like the perfect location for exhale’s first event as a way to start engaging with the local community as a whole. For the future, I’m hoping to do as much there as I can, as I
think it’s a beautiful space and really works
There is a lot at play here. It is very much an
with what we are trying to do.
institutional issue that has problems rooted at every level, from the attendees, to DJs, to
What other types of events do you wish to
those who operate the spaces and how they
host in the future?
are designed, to the media and how they
As I mentioned before, I really want to get
report about the scene. I understand the
to a point where people are using exhale to
clubbing experience to be fundamentally
facilitate their own things. I’m trying to start
about freedom of expression and a space
that now by suggesting to friends certain
to explore those possibilities in terms of
events which I think they could lead, and
identity and movement among other things.
I could just provide the organisational and
When you look at most club spaces, I think it
financial support. For example, one of the
creates anxiety on many levels, particularly
ideas that will happen sooner rather than
with how they are designed. Things like the
later is a movement workshop. The idea is
position of the DJ and sound and how that
that there will be a guide and a DJ and a
pulls people in certain directions. For a lot of
very loose set or designed space. The guide
people, it might make them feel like they have
will provide participants with a certain level
to engage in the space and the experience
of direction and inspiration as to how they
in a particular way. The positioning of the DJ
can engage their body to the sound, actively
also bolsters a sense of idolisation that is
encouraging open interpretation. I want to
partly manufactured through social media
give people the chance, specifically those
and ‘hype’. This can create scenarios where
who aren’t necessarily ‘dancers’, to use the
people attend certain events and take up
sound and space to explore the way they
the space more to feel or be perceived to
move. I also want to do an arts club where
be part of a ‘scene’ rather than to dance
anyone of any level of artistic experience
or particularly experience sound in space.
can come, collaborate, and produce work.
This
ultimately
hinders for
the
I’d love to do talks and film screenings as
opportunities
those
well. However, nothing is set and always
who see the club space
open to change. It matters a lot for there to
as a place for freedom-of-
be a collaborative element at all times. We
had
an
interesting
conversation at the Supper Club, where you
explained
your qualms with the
atmosphere
created by most music events – can you expand on this for our readers?
37
self and a place to experience sonic (and
key here. Spaces (the venue staff, event
maybe even visual) art forms. Furthermore,
promoters, the dance floor and punters)
a lot of the time the music and the DJs
need to operate in a way that seeks to
are representative, or part of, minoritised
actively encourage participation at every
groups yet the people holding the space are
level, especially for people from marginalised
cis-white males. This ultimately discourages
communities. Engaging a diversity of people
people from engaging with certain clubs
in the conversation around how the events
and acts as a barrier to a culture which is
industry operates may help to reshape the
very much theirs.
problem of inclusivity.
How do you think the events industry could
Where do you see exhale in 5 years time?
become better at adapting to being in
I would love to put on a week-long festival.
communities which aren’t natively theirs
My favourite festival experiences have a
and become more inclusive as a whole?
really good mix of going out, dancing etc.
The best way I can think of is donating
but also going to talks, workshops and films.
money made from the events to important
For me, 3/3.5 days is nice but think of the
local charities – and I’m not saying that to
potential when you have 5-7! In terms of
try and be a saint, I just genuinely think that
short-term goals, I’d love to throw a street
is a positive way events can adapt. The best
party. When you think about community-
thing you can do with the money is invest
based events, that’s one of the ones which
it back into the area and the local spaces.
has a lot of history. I think if it engaged the
Brudenell
example.
local community as well as the student
As far as I’m aware, all of their profits go
population, I think it could be really great. I
to local charities, and it was founded
wouldn’t want to piss anyone off, I just think
predominantly by white, male southerners
a lot of people could have fun with it if it
who didn’t originate from Leeds. They were
was done in a respectful way which brought
socially conscious people, didn’t want to be
everyone together.
Groove
is
a
good
millionaires, just wanted to put on a good party for their mates and pay as much
How can people get involved with exhale if
respect as they could. In terms of becoming
they wish to do so?
more inclusive, that’s a topic so big we
Literally just message me. I’m not the best at
need a separate conversation for it. As
networking but anyone that messages would
mentioned above, I think the problems with
have my absolute, undivided attention. I’m
the events industry are institutional, which
here to learn from them and help them do
means there are so many barriers that are
they want to do.
hindering fair and equal opportunities for all, from the punters to the venue owners.
Thanks so much for talking to us Misha.
It is really important to look at your local
If anyone would like to get in contact with
scene and understand where the privilege
ideas, the address to email is exhale.
lies and then look to challenge that. I think
lds@gmail.com, or DM on Instagram at @
accountability and being adaptive are also
exhale.lds.
38
39
New Neighbours The Work of Young Creatives
Viki Babczyk (she/her) @filmbyviki Viki is a film photographer and creative director focused on editorial photography. These images are taken from her body of work, ‘The Bored Housewife Series’. This
Violet Angelica (she/her)
@violetangelica__
series was the result of a collaboration between Viki and stylist @katieross_xx
Violet Angelica is a sustainable fashion designer who reworks
(she/her), who were both inspired by the
items such as pillowcases to create pieces such as corsets,
location which fitted their creative visions
waistcoats and tote bags. This particular piece is called her
perfectly.
‘Dolly Waistcoat’.
Neighbourhood
Stylist: @katieross_xx Model: @jximee_
Immie Lapsley (she/her)
@immiesfilm
Immie is a film photographer who has predominantly been inspired by the modern-day youth culture in her university city of Bristol. She tries to capture unique moments from life with her friends, or at clubs and events. She hopes to document special memories that anyone can recount from their own experience as a young adult.
Rebekah Knox (she/her)
@photosbyknox
Rebekah is a film photographer from London who has always been passionate about photographing people. She currently also works in film, TV casting and radio.
41
42
My Ladye with the Mekle Lippis: An analysis by the artist Josie Ko (she/her) is a British Nigerian multi-disciplinary
artist
primarily
working in sculptural practices. She graduated from the Glasgow School of Art in 2021 and now continues to practice in Glasgow. Her work speaks towards Black histories and the Black presence in Britain. In this article, she analyses one of her most recent pieces.
In this piece, I have responded to a poem by Scottish poet William Dunbar titled ‘Of Ane Blak-Moir’ which records the documentation of the presence of an African woman in Scotland in the 16th century. By integrating craft practises into my work, I use its relegated status in the art world to address the identity politics of marginalised groups. In addition, by interacting with craft practises, my work celebrates the art from these communities that is often left out the canon of art history. 43
Neighbourhood
45
This rejection of the Western art canon and the white gallery space, is a theme that perpetuates throughout my work as I incorporate mixed media techniques to present a new reimaged depiction of the Black body. The collection of these materials and embellishments makes the work loud, seducing the viewer into looking at it. My figures consequently become unavoidably noticeable, counteracting the erasure of Black women in art history. My construction of the women with irregular limbs and glittery
bodies,
glorifies
the
handmade
and rebelliously drifts from the norms of Western painting traditions, re-evaluating conventional Western art ideals. Significantly, this autonomy I have towards my work speaks through the figures as they are similarly raised to a high status and stand independently as I capture the Black figures on my own terms. I do this by reimaging racist caricatures and stereotypes placed on the Black female body and turn these ‘Mammy’like figures into empowered, historically significant symbols. At the same time, with cheap blonde hair which is clearly a wig, make up and dresses that have western origins, I consider the physical and mental changes that Black bodies go through to be seen by a predominantly white audience. The contrasting ideas within the work, with juxtaposing materials brought together in one cohesive piece, attempts to mimic the same duality of being Black and European at once and illustrate a shared Black experience of living with that dichotomy.
46
47
Further Reading and Recommendations __PODCASTS The Polyester Podcast - The Sleepover Club: The ‘Toxic’ Femininity Deep Dive Part One, Why We Love ‘Evil’ Women’ __A dive into why we love seeing ‘messy’ women being depicted in various art forms and how this can often be confused with evilness. The Women’s Podcast – Men Who Hate Women: Laura Bates __Dive into the ‘manosphere’, the term used to describe a collection of websites, blogs and online forums promoting masculinity and hostility towards women, with English feminist writer and founder of the Everyday Sexism Project, Laura Bates. __EXHIBITIONS Waste Age __Design Museum, open until Feb 22nd. A look into how different designers are attempting to use discarded materials to create new products in order to stem the environmental damageof a throw-away culture. __BOOKS __What We Talk About When We Talk About Rape – Sohalia Abdulali __Ways of Seeing - John Berger Neighbourhood
MAGAZINES__ Dance Policy, Issue 05 __5th instalment of this zine, dedicated to showcasing photography centred around electronic music, including feature interview with record label Discostan. Wax Poetics, Volume 1, Issue 17 - J Dilla Cover __Wax Poetics speaks in-depth with J Dilla’s peers to delve deep into his musical life. They also honor hip-hop production masters, Public Enemy’s Bomb Squad. Reload Magazine __A magazine dedicated to showcasing young creatives, created and edited by Jemima Farrow.
FILMS__ The First Monday in May __A documentary directed by Andrew Rossi which investigates the lead up to the 2015 Met Gala and the ‘China: Through The Looking Glass’ Exhibition that it was themed around.
ARTICLES__ Vogue Business - Gen Z’s Ambition? Create a new fashion system __An article detailing how Gen Z is making fashion more sustainable, highlighting businesses owned and run by young people such as The Phat Cherub, SusaMusa and Planet B. The Guardian - ‘A wake up call to the industry’: the artist homes blazing a trail for affordable UK housing __An article written by Oliver Wainwright regarding housing projects in Barking and Dagenham which aim to provide affordable accommodation and studio spaces for artists and creatives. It’s Nice That - “I should fuck it up”: Sasha Velour on the importance of staying true to drag’s creative roots __A piece written by Joey Levenson where drag queen Sasha Velour is interviewed about her background and her view on the intersection between drag and art.
49
Editor/Creative Direction : Bella Koopman Layout/Illustrations : Ella Armitage Graphic Design, Logo and Cover : Megan Allcock Feature Writers : Mimi Khin Josie Ko Contributors : Alexander Hall Elysia Violet Dallard H. Feather Harry Ruxton Immie Lapsley Liberty Rose Misha Karmiloff Rebekah Knox Robyn Harvie Simran Kaur Sssilk666 Sumairaa Kazi Viki Babczyk Violet Angelica Will Madeley
FEB 2022