ISSUE 01

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