SUBCULTURED. Issue 4: Diversity - December 2017 by subculturedmag

Editor’s Letter Diversity has always been a topic close to my heart. Born and raised in London, I grew up surrounded by different cultures, races and ethnicities. I am also from an incredibly diverse background – with my grandparents originating from Ghana, Germany, Sierra Leone and Anguilla. Although SUBCULTURED has always been in favour of diversity, as we aim to include a wide range of faces and body types in our photo-shoots, it seems that now is the right time to celebrate this topic in our magazine issue. Despite the extreme political climate and the rise of the Far Right, society appears to be becoming more inclusive, particularly in popular culture. For example, Spring/Summer 2018 was the most diverse season on the fashion runway yet, Edward Enninful was appointed as British Vogue’s Editor-

In-Chief and Rihanna’s new makeup line, Fenty Beauty, with 40 foundation shades, marks a new era in the beauty industry. In our fourth issue, we continue to celebrate and advocate for diversity through our feature #BlackStudentsOfBritishInstitutions (page 19), where we gathered students of African and Caribbean descent to celebrate black excellence in higher education, our article and photo-shoot exploring the definition of diversity (page 55) and a glance at the British hip-hop scene with a review of a Loyle Carner concert (page 51). After reading this issue, we hope you are able to recognise and celebrate the beauty of diversity with us.

SUBCULTURED. Editor-In-Chief and Creative Director REBECCA COFIE Managing Director (Editorial, Art/Design, Videography, Photography) Alice (Vasiliki) Papadopoulou DIRECTORS Art and Design Director Esther Woodbridge Events Directors Shyla Gautam, Chimuka Mukonka Online Director Juliey Pham Marketing Director Olivia Mitchell Marketing Assistant Juliey Pham Editorial Director Katherine Frances Skippon Editorial Assistants Florrie Reeves, Holly Butteriss Photo Director Setareh Sanjarani Street Style Director Alim Haque Street Style Assistant Diana Shaplyko Picture Researcher/ Instagrammer Donna Darafshian Illustrator Wiktoria Wojtaczka Videography Director Niki Ho Videography Assistants Ana-Maria Udriste, Shelly Waksman WRITERS Alice Papadopoulou, Katherine Skippon, Kellie Sadler PHOTOGRAPHERS Black Students of British Institutions: Setareh Sanjarani Diversity: Setareh Sanjarani Fenty Beauty: Setareh Sanjarani Cover Photography: Setareh Sanjarani MODELS Black Students of British Institutions: Alex Mitcham, Alexa Miyoko, Arvin Taylor, Hareef Asunramu, Joyce Bongardt, Kate Nwokorie, Nabil Toure, Rhoda Manu, Toussaint Gervais, Gloria Kalunga Diversity: Tyler Mondesir, David (Zavid) Egbue, Inès Prévost, Haris Qureshi, Diana Chu, Chengfan Cao, Abi Cynthia Arunthavaratnam Fenty Beauty: Sharmin Ahmed, Sara Etemadi, Judith Magambo MAKEUP Diversity: Onika Khatun Fenty Beauty: Onika Khatun POST-PRODUCTION Black Students of British Institutions: Kendrick Foo Diversity: Ira Igoshina Fenty Beauty: Shelly Waksman

8 Kellie Sadler

Diversity - Or Lack Of - On The Catwalk

FASHION

16 Florrie Reeves

Positive Re-AppropriationOf Fashion

Alice Papadopoulou

The New Vogue

SUBCULTURED. - CONTENTS DECEMBER 2017 -

CUL

Alice Papadopoulou

Black Students of British Institutions

LTURE Chloe Crossley

Fenty Beauty Review

MUSIC

Saneaah Muhammed

56 Diversity: A Jigsaw of Beauty

Ellie Hamill

Loyle Carner in Hamburg

ART

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Diversity - Or Lack Thereof On The Catwalk Text: Kellie Sadler Illustrations: Wiktoria Wojtaczka

odelling has been around since the 1900’s, and yet in the 21st century there is still a lack of diversity within the industry. There has been some slow progress in breaking down barriers in terms of race, size, age and gender orientation, but there is still a long way to go. ut with the media increasing their coverage the issue of diversity in the fashion industry, alks are starting to challenge model types by creating a more diverse runway.

’s Spring/Summer 2017 runway shows ne of the most diverse seasons in ry. the most diverse models walk their more women over 50 than have e. 25% of models were also as truly a celebration of the ion. Ghanaian model Adwoa e most cast models overall, igns including GAP. She in various designers’ n Dior and Miu Miu. Aboah said “In 2017, to be beautiful and URED agrees with.

Supermodel Naomi Campbell is one of the most famous models in the world, and has also noticed the challenge of a lack of diversity in fashion. “I do feel that I will not shut up until it gets to the point where it’s equal, balanced.” Campbell argues that magazines and designers should feature diverse women because they should and not because they “have to cast a girl of

let that stop them; they are changing the face of plus size modelling. Ashley has become an inspiration for plus size girls, with her cover of the special plus-size edition of Glamour representing women who don’t necessarily fit conventional beauty ideals. This magazine edition was aimed at

UK Size 14 and beyond, and was announced to show “efforts to elevate the plus size market” says Lane Bryant. The partnership between Glamour and Lane Bryant is meant to send a message of selflove for their ‘This Body’ campaign, which aims to be relatable to all women. Glamour is a fashion magazine which typically features slimmer models on their cover and within their content. Perhaps they are making up for lost time and therefore created a plus-size edition to celebrate those who may not have been given the same attention and have most likely been excluded from many catwalks and magazines.

Supermodel Naomi Campbell is one of the most famous models in the world, and has also noticed the challenge of a lack of diversity in fashion. “I do feel that I will not shut up until it gets to the point where it’s equal, balanced.” colour” to fill a quota. However, Campbell did admit that she feels as if diversity in the industry is “getting better” and that she hopes “it’s not going to go backwards”. Despite these developments, there is still progress to be made - only a small figure of plus size models walked the runway, with only a (ironically) slim percentage of 0.54% of overall castings being plus size models. However, models like Ashley Graham don’t

However, the plus-size edition has received backlash from other publications and even actress Amy Schumer. Schumer criticised Glamour magazine for including her name on the cover of the special edition. She is listed along the names of Melissa McCarthy, Adele and Ashley Graham as ‘Women Who Inspire Us.’

describe clothing, but now it describes far more than just clothing. Ashley Graham, whilst acknowledging that the plus size industry was a platform she used to help her rise to fame, claims that the term is “outdated” and that she prefers being called “curvysexylicious.” It seems to be about reinforcing the positive outlook

She went on to say on her Instagram “I think there’s nothing wrong with being plus size, but plus size is considered a US 16, I’m a US 6-8. If young girls see my body type as plus size, that is not cool Glamour. Bottom line seems to be we are done with these unnecessary labels which seem to be reserved for women.”

of the term, as many feel as if the term still holds negative connotations. On the contrary, Plus Model Mag Editor-In-Chief, Madeline Jones has a different point of view: “We adopted this label because we were invisible to the fashion industry. Many of us embrace it and wear it as a badge of honour because we have come from the darkness and are being seen.”

This creates a debate as to whether the term ‘plus size’ does more to help or hinder the plight of diversity. The term plus size has been around since 1922 when Lane Bryant started the term through advertising “Misses Plus Size,” originally to

It seems that a truly diverse fashion industry remains elusive, yet slowly changes are becoming more apparent and we at SUBCULTURED hope that these steps towards a more diverse industry continue.

Yet Amy Schumer is a size UK 12, and has argued that including her name on this edition has sent “the wrong message to young girls who would see her body as being plus size.”

Ashley Graham, whilst acknowledging that the plus size industry was a platform she used to help her rise to fame, claims that the term is “outdated” and that she prefers being called “curvysexylicious.”

The December Issue: The New Vogue Text: Vasiliki Papadopoulou (Alice Vily) Illustrations: Wiktoria Wojtaczka

dward Enninful’s inaugural issue hit the newsstands in November and, even if you didn’t want to notice it, you couldn’t stop the Insta-storm of models and celebrities posing with it or the pictures from the fabulous party that was thrown to signpost the beginning of the new era. New Vogue is here, better than before, more diverse and inclusive, ‘an old friend with a fresh face,’ as Enninful put it… but how successful was the make-over? The cover is the most obvious way to make a statement about diversity and Enninful of course took that road by casting Adwoa Aboah, a mix-raced model and activist with a turbulent past. He has upped the Vogue game with some amazing content: Zadie Smith’s piece on ‘Mrs Windsor’ is an interesting take on Queen Elizabeth II and Salman Rushdie’s narration of the celebration of Christmas in a multifaith family describes the reality of many diverse families in Britain, while Gwendoline Christie pens a wonderful

piece on subverting female stereotypes through the characters she portrays (including Captain Phasma in Star Wars). In addition, it was a delight to read the interview with Sadiq Khan (also filmed for Vogue’s You Tube channel), where he and Naomi Campbell talk about their beloved city of London; finally, Anton Gorbijn’s conversation with Glenda Jackson was one of the most interesting interviews of the issue. All that is laid out amongst beautiful photography, such as Adwoa’s 70s-inspired cover (a collaborative effort from Enninful and Steven Meisel), the intriguing ‘Remain’ shoot, where no words are used, leaving the reader alone with a tattered British flag, and the fantastic Gingernutz illustrations, a tribute to Grace Coddington. And, of course, Patrick Demarchelier never disappoints, focusing his lens on Millie Bobbi Brown, among other upcoming talent, and capturing her loveliness with ease.

Feature Image: Vogue December 2017 cover by Steven Meisel and Edward Enninful, from bbc.co.uk

Therefore, despite Enninful’s background as a stylist, the magazine had quite a bit to offer in terms of content and that is partly due to the brilliant theme of the issue: ‘Great Britain.’ A traditional idea is given a modern spin and ends up describing a blend of the characteristics that Enninful himself identifies with: being black and British. ‘Great Britain’ is a celebration of the current British society, a hotpot of multiculturalism with one common thread that unites everyone: the pride of being British. From Enninful to Campbell, from Cara and Poppy Delevigne to Steve McQueen, from Victoria Beckham to Christopher Bailey, British talent uses the Vogue pages to send love letters to Britain. The issue unites diversity and British sentiment, creating the new British identity, which is characterised by the intense love one feels for the country, not where their parents hail from. So yes, on a first look, it seems that British Vogue has unveiled a new, more inclusive face. And yet there is still a feeling that the face is a façade. In an interview with the BBC on November 8, 2017, the new EditorIn-Chief set out his mission for a more ‘open and friendly’ magazine, aimed at ‘showing different women, different body shapes, different races, different classes [and] tackling gender.’ And yet different body shapes are not present in the first issue. There are visibly less white models, but that is how far the issue strays. The models are tall, thin, young and stunning, just like the fashion doctor

ordered. The occasional modelling veterans like Kate Moss, Jourdan Dunn and Stella Maxwell are scattered across the pages, but they feel more like a celebrity token. And we are still far from being comfortable with photographing older models, compared to the ease with which Dries Van Noten cast older women for the brand’s 100th fashion show in Paris for example. As for class, Vogue seems to be inevitably linked to elitism. Alexandra Shulman took offence at the suggestion that her Vogue was a ‘posh cabal’, but a photograph of the staff, which constituted of 54 white employees, coupled with Lucinda Chamber’s explosive piece, in which she revealed she hasn’t read the magazine she works for in years, as it has become irrelevant, paint a different picture. Admittedly, as a younger reader, when going through Vogue I had the faint idea that I a spectator to a world of privilege that does not seem real – except for the select few who do use Vogue as their shopping-list Bible. But is the new Vogue different in that respect? Adwoa is a unique beauty, more rough-around-the-edges than sexy and charming, and while she is a spokesperson for commendable causes, she is still the daughter of Camilla Lowther, founder of a transatlantic agency that represents the industry’s best talent, and the goddaughter of Edward Enninful. One cannot help but think there is an

“The issue unites diversity and British sentiment, creating the new British identity, which is characterised by the intense love one feels for the country, not where their parents hail from.” 13

One cannot help but think there is an element of favouritism in choosing her as the cover model; for instance, does Nora Attal, a British model of Moroccan dissent, who just walked the Chanel Métiers d’ Art show, not embody the New Vogue spirit? And while the photographs did not disappoint, a less-than-a-page-long Q & A session in the place of the hefty interview piece we are used to for the cover star certainly did. And it is no wonder that Kate Moss and Naomi Campbell have joined the team as contributing editors… straight from Enninful’s Instagram. Has the old clique just given way to a new one? That does not seem all that inclusive.

It seems that Vogue might be more diverse, but a distinct air of elitism still haunts its pages. Perhaps that is part of the charm? Would asking for more destroy the fantasy? Or would it democratise fashion beyond our wildest dreams? We can only wait and see where this new direction will lead us and whether any further steps will be taken towards a truly inclusive Vogue.

Feature Image: Vogue December 2017 cover by Steven Meisel and Edward Enninful, from bbc.co.uk

Positive Reappropriation of Fashion Text: Florrie Reeves Illustrations: Wiktoria Wojtaczka

he contemporary adolescent is often a key contributor to positive re-appropriation of fashion, yet is also frequently a perpetrator of negative reappropriation in the industry. In terms of clothing, there are boundaries we have to overcome and battles yet to face. The turbulence of 2017 has been a period of intense social change, and has not stayed in the sidelines. Fashion can, indeed, represent social change. Re-appropriation is the process of reclamation that which was previously derogatory has adapted something from its original purpose. A simple example of this re-appropriation is one

of our most fundamental garments, a staple piece in everyone’s wardrobe irrespective of gender, age and many categories; a pair of jeans. Now developed into an array of forms and fits, the simple ‘blue jeans’ have come a long way since their invention in 1871 by Levi’s. Despite their original purpose for the workingman, jeans remain popular from the beginnings of their re-appropriation in the 1950s among teenagers. This simple generally unthought-of item of clothing goes to show that even the most simple of things has the capacity to be unknowingly appropriated (and now re-appropriated).

“A simple example of this re-appropriation is one of our most fundamental garments, a staple piece in everyone’s wardrobe irrespective of gender, age and many categories; a pair of jeans.” 16

Sportswear is another subculture of fashion that has boomed within recent times. With trainers a daily essential, being one of the most worn types of shoes in the mainstream youth market, stepping outside without seeing someone wearing Adidas ‘trackies’ or some other sportswear brand may be verging on impossible. Daily wear has re-appropriated sportswear from its origins into purposeful fashionable wear. However, these labels (such as Puma, Fila and Nike) were commonly associated with the working class, thus today’s re-appropriation has caused a stir from many who believe that the new generation are mocking the less fortunate. This prior negative judgment has now developed into a sort of fetishisation. Online retailers are thriving under this new nostalgic reformation of retro within mainstream fashion. With the multiple negative comments regarding this re-appropriation, responses have accumulated surrounding the UK street aesthetics re-appropriating multiple items from the upper classes, such as leopard print and jewellery strewn with diamonds / their diamante counterpart.

This appropriation from the working class subculture has inspired the 90s revival, high-low wardrobes and the sneaker renaissance. In fact this quick U-turn in trends has saved Burberry from a catastrophic collapse due to the popularity of the brand from the designated nuisances of society, ‘chavs’. A largely British style h developed

“This appropriation from the working class subculture has inspired the 90s revival, high-low wardrobes and the sneaker renaissance.” 17

A largely British style has been developed into a fashion phenomenon with key non-sportswear brands recreating inspired looks such as Stella McCartney (collaborating with Adidas) and Givenchy (collaborating with Nike). Furthermore, the recent surge in bondageinspired clothing has reappropriated the erotic subculture of the BDSM community. Quite a statement look, this dominatrix-esque style is a brazen representation of confidence and sexuality. A previously hidden and forbidden subject has radicalised the subculture into a re-appropriated format, an ideal form to express the modern individual through the stretching of social barriers. Moreover, ntroduction of more sexualised garments, such as knee-high boots, fishnets and lace bodices, exudes confidence and selflove, a theme prevalent in millennial life.

Oxford Union stating that this limiting political correctness could potentially threaten expanding creativity. He goes on to acknowledge what he learnt: where and if a culture is appropriated, the original should be credited. Ultimately, style exists to push against boundaries. With the burden of history, decisions made by previous generations, a simple but effective rebellion for the contemporary youth has been, and will continue to be, the

However, there have been many negative circumstances surrounding appropriation in the fashion industry itself, such as cultural appropriation. For example, Marc Jacobs recently was accused of cultural appropriation during his New York fashion show for casting an array of white models to wear dreadlocks. Jacobs has since spoken at the

Alexa Massengo, Queen Mary University of London, Maths and Economics

he day began in traditional London fashion: gloomy, freezing and rainy… the ideal setting for photographing people we haven’t met before. We had invited black students from distinguished institutions of higher education to meet us in London, but how many would actually respond to our invitation in such a miserable day was a bit of a guessing game. Yet surely enough, despite the rain and the cold, we managed to get fantastic shots of our ten shivering subjects; soon afterwards, gathered around a table, our black students from countries such as the Congo, Nigeria, Ghana, Jamaica, Anguilla, started discussing diversity in UK universities and what their uni experience is like. Drawing from the success of hashtags regarding the academic excellence of the black community in the Twittersphere (BlackMenOfYale, BlackMenOfCambridge), we decided to widen the search and engage with the black community of highranking universities in general. That was the starting point of the discussion, but, as often happens when bringing people from different backgrounds together, the conversation soon dug deeper, looking at the lack of representation, the black attainment gap, the future of black students post-university, tolerance and casual racism in England, and how deeply stereotypes might still be ingrained in modern society. Starting off with the application process, the students were not discouraged from applying to high-ranking universities, but there were the odd hiccups that made them second-guess their decisions: ‘I remember that during sixth form we were encouraged to speak to careers advisors before applying to university, one of which initially told me that I may not be a suitable applicant for university…

Whenever I meet someone new and the topic of university comes up, I am almost immediately told either, ‘You don’t look like you go to Imperial,’ or, ‘You don’t look like you study maths.’ In my mind, I can take this one of two ways; either I don’t appear smart enough to be studying my degree, or that I don’t look like the stereotypical Imperial maths student. I’m actually happy to choose the latter of the two options as it gives me a sense of pride that I am able to study at this level while maintaining who I am.’ ‘I remember going to summer school before applying [to my university]; there were only 3 black people! I was put off because it wasn’t as diverse as I was told, but I did go on to apply anyway.’ ‘[Before going into uni] I specifically remember saying: I have a feeling there’ll be a lot of white people! Which is obviously quite different to the way I was brought up in London – I had a very diverse upbringing.’ ‘[Moving into graduate study], I find that many postgraduates in Masters are white people, most black people are looking for a job instead.’ Asked about their university experience now that they have been accepted into the institution of their choice, questions are raised about how much support is given to black students and whether the acceptance rate has grown. Toussaint name-checks the University of Surrey as having a diverse student population and credits that for his adjustment to uni life; a point of view shared by our Editor-In-Chief Rebecca. London-based universities operate in a much more diverse environment than Guildford town and Lexa, President of the Queen Mary African Caribbean Society, has witnessed significant progress since she

has witnessed significant progress since she joined the university. Gloria, a fellow Queen Mary student, was similarly optimistic: ‘As I moved into the second and third year of my undergrad, the ACS grew bigger and more people started to join. When I first started it was like 3 – 5 black people on my course, but I wasn’t sad to see only these people in the room; I thought, this is just the start and its gonna get bigger and bigger, and more people will come.’ Nabil is also satisfied with the growth of the Imperial ACS, noting how it is bringing together people from many backgrounds, not only African Caribbean. Rebecca, a Londoner, also praises the ACS activities of her city’s universities. Yet for certain students the reality is a bit different. As a member of the group pointed out: ‘I feel like [some] institutions do not make a space for you until you make one for yourself. If someone who does not really understand tries to put something together Black History Month, it won’t work out well, so you need to reach out to people who could put a good event together, to [black students] who could give them the insight to make something better.’ Things seem to not change until there are people in positions of power that make more space for black students; the issue is, there are not many such people. Another issue that was brought up was the black attainment gap. ‘We focus so much on getting people into uni, but half the people in re-sit periods are black. Black people are less likely than their white counter-parts to get a 1.1 or a 2.1, more likely to re-sit exams and not get the grades they aim for. Once we get into universities, we are not achieving the same grades that other people from different backgrounds are. And it’s about looking at why that is the case, because, clearly, we got the same grades with other people to get into the uni. So what happened after we got in? Why are we not graduating with as high

results, why are we scraping to get these grades, why do we resit more than other students?’ Student engagement and a ‘white’ curriculum are some of the factors blamed for the phenomenon. Eurocentric compulsory history modules, for instance, can alienate a reader of nonEuropean dissent and the volume of Euro-centric reading in those courses can discourage students. The matter has been brought up before: in June 2017, students wrote an open letter to the University of Cambridge, asking the English faculty for de-colonisation of the curriculum. That is the obvious way forward; students that feel they gain something from their reading on a personal level, because they feel represented and they can understand the module from their cultural perspective, will engage with the subject more organically. So even though there is a stronger push to embrace the diversity of the student population with every academic year we check off our calendars, we are definitely not there yet. But what is even more worrying is what comes after. A large part of the group expresses their concerns about the impact their race may have on their professional lives. Britain is credited as a diverse and tolerant society, but there are small things underneath the surface that still cause unjustifiable difficulties for black students. Nabil notes that he is in the process of applying for jobs and, having witnessed African people being rejected from top companies and being forced to choose a casual job instead, he wonders about his future. There is a stark contrast between being on a diverse university campus and being in an office, where senior management is white and you often find that you are the only black person in the room. Additionally, there is still ignorance about

Additionally, there is still ignorance about certain things that employers should be paying attention to by now; African hair, for instance. It is not acceptable for a manager or a colleague to say that someone ‘did not make the effort’ because they do not have sleek, neatly arranged hair, the professional hairstyle choice of the corporate world. Kate sums up the frustration in a few sentences: ‘It is absurd that you have to fight to just wear your hair up, to just be who you are. This is your hair, it just grows out of your scalp like this. There are professional and non-professional hairstyles depending on your hair type, but you cannot define the professional hairstyle of a black person by the professional hairstyle of a white person.’ On a positive note, Rebecca is a strong believer that the change that has started by hiring more black people, as there are companies that attract more diverse personnel, means that black people will eventually become senior figures – much like Vogue’s Edward Enninful. At the end of the day, it is about getting into these spaces and re-defining what professional means for every individual who is invested in their work. Having this discussion opens our eyes once again to the fact that racism is, indeed, ingrained in any society. Some people will not change, because they don’t want to; they don’t believe their behaviour is disrespectful or they are unware that they are doing something wrong. But racism is our past and no matter how much of it is still present today, we can change the mentality of our society. England is a multicultural society and one cannot simply stay inside their bubble, ignorant of the different cultures surrounding them. Progress cannot be made without both sides engaging fully in the fight against discrimination; the responsibility does not just lie in the hands of the black

community. Indeed, black students seem tired of being expected to advocate for everything all the time; ‘If you said something ignorant I don’t have to educate you and guide you through the steps of how to be a good person that’s not my role. It is hard to place the burden on us, the responsibility to initiate change in other people… [In the end] it is about being visible in that space, seeing black lecturers and students going about, being normal people.’ In short, how many times can we reiterate that we still have a way to go, to wear the ‘tolerance’ label with pride? It seems obvious by now. So the only way to get ahead is to rebel, the way Alex, one of the students in our shoot, believes black people can: ‘Black excellence to me is about rebellion. Not rebellion in the traditional sense, but rebellion in the sense of success. Rebellion in the sense that a person of colour can be successful in whatever they choose to pursue, despite systematically being held back. While it is important to tell society that we are capable of excellence, it’s more powerful to show it.’

Alex Mitcham, Imperial College, Mathematics

Hareef Asunramu, Imperial College, Medicine

Arvin Taylor, Imperial College, Biochemistry and German

Nabil Toure, Imperial College, MSc Economics

Rhoda Manu, Queen Mary University of London, History and French

Joyce Bongardt, Imperial College, MSc Strategy Marketing

Toussaint Gervais, University of Surrey, Physics and Mathematics

Kate Nwokorie, University of Lancaster, Law with Politics

A Makeup Dream Come True? Text: Chloe Crossley

‘Fenty Beauty’, derived from Rihanna’s surname, represents her progressive, inclusionary vision for the beauty industry.

ihanna stunned the beauty world when she dropped her makeup line ‘Fenty Beauty’ on September 8th 2017; a line that included a foundation range with no less than a groundbreaking 40 shades. In the promotional video for the new line, Rihanna recruited a vast number of women of all different ethnicities and religions to display her products, helping to challenge the often restrictive mainstream definition of beauty. ‘Fenty Beauty’, derived from Rihanna’s surname, represents her progressive, inclusionary vision for the beauty industry. Built around the concept of diversity, Rihanna explains, “Fenty Beauty was created for everyone - for women of all shades, personalties, attitudes, cultures and races. I wanted everyone to feel included”. With her ‘Pro Filt’r’ foundation shades ranging from very fair to very deep, Rihanna has set the bar high for other makeup brands when it comes to making their products accessible to everyone. Not content with just providing makeup for tanned, white skin (as so many other makeup brands do) Rihanna took a huge sales risk in releasing so many foundation shades. Considering Fenty Beauty is a new, unheard of makeup line, Rihanna

was brave to go against the norm of releasing a few shades of foundation and then expanding the line if it was successful. However, this risk has paid off with her receiving tremendous praise for the diversity of her line from beauty gurus, industry experts and, mostly importantly, customers. Despite her celebrity status meaning she could have justifiably sold her products with a much more luxury price tag, Rihanna has positioned Fenty Beauty in the mid-market with prices ranging from £8-46. Considering most high end foundations are in excess of £30, Fenty Beauty’s foundation sits comfortably at £26, making it a bit friendlier on a student budget. The most talked about product in the range is undeniably the Fenty Beauty ‘Pro Filt’r’ foundation; a lightweight feeling, pore blurring foundation with a soft matte finish. The product contains no SPF, so will not cause you any dreaded flashback if you happen to get in a few too many drunken Rubix photos! Also, if you plan on buying the foundation, your best bet is to go a shade lighter than you think you will be as it has been known to oxidise slightly.

The formula is designed to be long-wearing, sweat and humidityresistant. Hence, it will last you throughout the day and is excellent at repelling those assignment-induced tears; even if your grades are not looking too fabulous, at least your face will! Next to her foundation, Fenty Beauty’s ‘Killawatt Freestyle Highlighters’ (£26) come in 6 shades with options to suit all skin tones. Four of these come in split pans, with two highlighting colours in them, whilst the remaining two ‘Trophy Wife’ and ‘Metal Moon’ are large, single pans. With a limited amount of highlighters suitable for darker skin on the market, ‘Trophy Wife’ is a beautiful deep shimmering gold shade, perfect for those with a complexion like Rihanna’s or darker. Alternatively, ‘Metal Moon’ is an ideal shade for fair skin tones due to its white, silvery hue.

Additionally, to apply the makeup products, Fenty Beauty offers a range of makeup brushes and a beauty sponge. At only £13 the ‘Precision Makeup Sponge’ is a slightly cheaper alternative to the cult favourite beauty blender. Overall, the range caters for a fantastic array of skin tones. However, with many of her products being oil free, mattifying or possessing blotting qualities, the range is undeniably geared towards those with oily skin. Therefore, those with drier skin may feel that the range does not live up to its hype. Hopefully, as Fenty Beauty grows Rihanna will expand her range to not only suit a diverse range of skin tones but a diverse range of

Built around the concept of diversity, Rihanna explains, “Fenty Beauty was created for everyone - for women of all shades, personalties, attitudes, cultures and races. I wanted everyone to feel included”

Fenty Beauty also has a range of ‘Match Stix’ cream stick products that make contouring, concealing and highlighting effortless. These can be bought separately for £21 each or in trios for £46 (available in light, medium, tan and deep sets). Other products in her line include the ‘Pro Filt’r Instant Retouch Primer’ priced at £24, which creates a pore-diffusing, shine-minimising, smooth base for under foundation. The product not only prolongs foundation wear time, but its slight pink hue helps to blur imperfections across all skin shades.

skin types. If you’re looking for ideas Rihanna, a hydrating primer, dewy foundation and illuminating setting spray would be a great addition for us dry-skin types! In the U.K Fenty beauty is exclusively sold in Harvey Nichols stores and online at: https://www.harveynichols.com/

Photography: Setareh Sanjarani Models: Judith Magambo, Sara Etemadi, Sharmin Ahmed Makeup: Onika Khatun

ÂŠ https://www.gosee.us/news/agencies/london-grime-rapper-loyle-carner-in-mix-mag-photos-by-matthias-wehofsky-c-o-julia-waldmann-40285

Loyle Carner glistens as the ‘Sun of Jean’ Text: Ellie Hamill Illustrations: Wiktoria Wojtaczka

ojo Club, Hamburg. The stench of urine outside was rank and the weather was relatively mild for an autumn night in Hamburg; not cold enough for your new UO puffer jacket, but not warm enough to get your shoulders out, just a cosy cool. As people waited with their friends to follow the winding steps down into the underground club, you could feel the excitement brewing amongst the halfwaved faces of those who had bought a ticket to see the first stop of newcomer Loyle Carner’s European Tour. The half-Guyanese, half-English, South London-born rapper (real name Benjamin Coyle-Larner) has built up a substantial following since the release of his funk and hip-hop infused debut album ‘Yesterday’s Gone’. He is playing some of the biggest festivals of the summer and is already nominated for the prestigious Mercury Prize, joining the likes of Stormzy, Alt J and Kate Tempest; all this at the tender age of 22.

The dimly lit club was starting to fill up and the Adidas-clad fans flocked to the bar to fill up on their whisky and vegan cola faster than you can say ‘top-knot’, so as not to lose out on the perfect spot to watch the show. The support act ‘Füffi’ had the task of hyping up the crowd with his catchy German hip-hop bars and a freestyle that not everyone understood, but bopped along to nonetheless. With the stage set out somewhat like a 1970s living room and the support act receiving his last loud applause, it was time for the piece de la resistance, the don dada, the man of the moment. Although not specifically a grime artist, LC has mentioned the genre’s importance in his development as a musician and the influence it had on him when starting out, citing the classic grime and urban music channel ‘Channel U’ (now Channel AKA for all the newer viewers) as an after-school favourite.

As well as being a musical Wunderkind, Loyle Carner also runs a cookery class with the ‘Goma Collective’ called ‘Chilli con Carner’ for kids who have ADHD. Having been diagnosed himself with ADHD and dyslexia as a child, Carner subtly alludes to the struggles and the stigmas that are often lumped along with the conditions in his songs, and is vocal about the benefits that cooking and song-writing share in dealing with these conditions. And then you heard it…the gradual fade in of the soulful gospel choir that characterises one of his most well-known songs ‘The Isle of Arran’. The lights flashed and the crowd went wild. The first thing to note about LC is his enchanting energy, then there’s the confident and playful swagger he carries off so handsomely when reciting his lyrics - you’d be lying if you said he wasn’t a 10/10 spice. Onstage with his producer and righthand man/all-round bezzie Rebel Kleff, Carner delivered each song as if it were his last performance, throwing in a cheeky freestyle to the mix and some

jokes, which were probably understood by 50% of the crowd thanks to his comforting London drawl. He ended each song with a ‘big up’ and a story about the meaning behind the words, taking you on a 360 tour of his emotions - the ups and the downs. The heartfelt lyrics in ‘Sun of Jean’, a song written about his mother, who recites a poem about kid Ben at the end of the track, hits you right in the feels when you learn that his late father had promised him that they would tour the world together and that by featuring his dad in the track this promise was fulfilled. The closing song was performed in unison by LC, Rebel Kleff and the audience. A chorus of voices chanted along to the funky and upbeat ‘NO CD’; one last buzz for the audience before the performance ended and it was time to head for home, or for cocktails in some cases. 2017 has been a big year for music, but even more so for grime; the genre finally received some well-overdue recognition in the mainstream thanks to albums from the likes of Dizzee Rascal, J-Hus and Little Simz, and the Brits were substantially #Lesswhite.

“The first thing to note about LC is his enchanting energy, then there’s the confident and playful swagger he carries off so handsomely when reciting his lyrics - you’d be lying if you said he wasn’t a 10/10 spice.” 53

“So, the important thing now is to make sure that grime isn’t just a short-lived trend that we stop appreciating once people have grown bored of using the newly learned slang in their vocabulary, but a movement that has deeply embedded cultural roots and meaning.” Grime and UK rap have finally been put on a pedestal in the music industry, often shedding light on the prejudices that young black Britons face in their everyday lives and conveying the black experience - mainly of the working-class - through one of the most modern forms of poetry and lyricism that exists in the present day. Grime artists, such as Stormzy, Jammer and NoLay are also using their platform and music to speak out about the stigma of mental health in the black community, with the aim of encouraging young people to be more vocal about issues like depression and anxiety. It’s very easy to overlook the origins of a genre once it emerges out of the underground and flows into the

mainstream. So, the important thing now is to make sure that grime isn’t just a shortlived trend that we stop appreciating once people have grown bored of using the newly learned slang in their vocabulary, but a movement that has deeply embedded cultural roots and meaning. It’s a rare thing to see an artist live and think they’re better than the CD or Spotify or however you blare out your sounds nowadays, but one thing’s for certain: This album does just that. Yesterday may be gone, but the days ahead look very promising for Mr Carner and young black Britons alike. The world really is his, big up.

Diversity: A Jigsaw of Beauty Text: Saneaah Muhammad

he Oxford Dictionary defines diversity as ‘a range of different things’ - not a very descriptive definition. Sure, it’s true, but it sums up something that simply cannot be summed up. You cannot place diversity

in a box because it will explode with, well, diversity. You cannot compress a thousand different things into one. Diversity is everything all at once and without it our world would be pretty bleak.

Models: Haris Qureshi, InĂ¨s PrĂŠvost, Tyler Mondesir, Abi Cynthia Arunthavaratnam, Chengfan Cao, Diana Chu, David Egbue Creative Direction: Rebecca Cofie Photography: Setareh Sanjarani

The Oxford Dictionary defines diversity as ‘a range of different things’ - not a very descriptive definition. Sure, it’s true, but it sums up something that simply cannot be summed up. You cannot place diversity in a box because it will explode with, well, diversity. You cannot compress a thousand different things into one. Diversity is everything all at once and without it our world would be pretty bleak. Not only is diversity a beautifully incredible concept, it is also extremely important in this world. Diversity has allowed us to accomplish so much, it has given rise to new ideas, new cultures, new beliefs. Honestly, let’s see where we would be without it… Malorie Blackman. Female. Black. 55. Writer. First black children’s laureate. Author of Noughts and Crosses, one of the most influential dystopian novels. A world without Malorie Blackman would surely cause children and teenagers to remain uneducated and unpassionate - unmoved from her stories that had such an impact on their life. Nick Vujicic. Disabled. Australian. 34. Born with tetraamelia syndrome. Famous author. International speaker. Breaking boundaries and normalising diversity. A world without Nick Vujicic would have never allowed so many people to understand disabilities, or opened their eyes to the power of motivational speaking and simply communicating. Malala Yousafzai. Female. Pakistani. Muslim. 20. Activist. Youngest Nobel Prize laureate.

A human rights advocate, especially concerning the education of women. Founder of a Syrian school for Syrian refugees, funded by the Malala fund. Inspiration behind ‘Malala Day’. A world without Malala Yousafzai would surely leave room to question the meaning of bravery, the importance of education, and even humanity itself. #books, not bullets. Colin Kaepernick. Mixed race. 29. NFL quarterback. Famous for taking a stand and refusing to recite the national anthem. A world without Colin Kaepernick would have caused so many people to lack the confidence to stand up for their own beliefs and question the way the world works. Don’t forget to #takeaknee. Last but not least, is the one and only, Jhené Aiko Efuru Chilombo. Female. Mixed race. 29. Singer. Poet. Jhene’s music is an expression of who she is, of her experiences, of life. Though the previously mentioned names have affected a huge population of the world, only some people may be so deeply affected by Jhené Aiko. Without Jhené Aiko in this world, these people wouldn’t have someone to look up to, to help them to have a positive mindset, to find inner peace, and to learn to love who they are.

This is what diversity does for the world. Each of the figures mentioned are so different to one another, each of them have taught us something new. There are hundreds and thousands of names that could be added to this list, because there are so many different people that have done incredible things for, and in, this world. Being from different backgrounds, having different ages, being different genders; each of these factors allows us to think and experience the world in different ways. With everything awful going on in the world today, it is so easy to typecast and generalise people who are different to us. But the people who are determined to ruin this world are only a small minority, and it is so important to remember that no single person in this world is the same. We cannot devalue diversity and its importance based on the actions of a few. Diversity makes the world develop, pushing us to take each step, in order to come as far as we have in terms of technology, science, literature, and even something as simple as self-love. Now, let’s talk about social standards of beauty: Firstly, we all need to give a round

of applause (and maybe even have a minute silence) for the one and only Rihanna. The launch of Fenty Beauty has proven that women of all shades matter, and now they have a diverse range of products available to them. Why has it taken so long to get this far? However, maybe this viewpoint should be less pessimistic, and more optimistic. How about: ‘we’ve come this far!’. We are finally recognising women in fashion who choose to be modest such as Halima Aden, black women with rich dark skin such as Duckie Thot, and Asian women with peachy undertones that few existing foundations match, such as Huan Zhou. So, we are truly grateful to Riri for using her platform to push forward the idea that not only is everyone beautiful, but they exist. They say beauty comes in all shapes and sizes, in all colours, in all orientations. THIS IS TRUE. Because beauty cannot be defined by society’s standards, because trends change constantly. It’s not about trying to fit in and be someone that you’re not (although if this is what you want, by all means, go for it), it’s trying to find acceptance in yourself. Your skin may be smooth, it may

Your skin may be smooth, it may not, but this is still beautiful. Your body may be skinny, it may not, but this is still beautiful. (Although don’t forget that being healthy is the most important thing). Your teeth may be straight, they may not, but this is still beautiful. Your hair may be frizzy, it may not, but this is still beautiful. You may be short, you may not, but this is still beautiful.

Do you see the pattern? Diversity is not simply race; it is so much more. Diversity is in different age groups, different genders, different styles, hell, even different opinions. But the thing is, it is impossible to compare ourselves to one another, to try and be the same, to demote diversity, because every single one of us that makes up a part of this population of 7 billion people, is different. This is such an important thing to remember, especially for young adults who are growing and learning who they are. There can be so much diversity at University, and whilst many have embraced the huge variety of cultures and races, many also experience self-consciousness and anxiety. Society and the rise of social media has constructed a vision for beauty, it has told us what we have to look like. But you don’t have to look like this. You don’t have to fit in, all you have to do is remember the meaning of diversity. So here it is. The meaning of diversity – or at least, our meaning. Scrap the Oxford Dictionary definition, because diversity cannot be described in a mere five words. The truth is, each of us are tiny pieces that make up this massive jigsaw of beauty. The picture may not be perfect, the pieces may not fit together, but truthfully, it’s not supposed to make sense. We are not supposed to fit in. We were not born to be the same, we will never be the same and it is what makes this earth and its inhabitants, so unbelievably unique. We are each beautiful, we are each incredible, powerful and different - so humbly, extraordinarily and exquisitely different. Accept yourself: You are exactly who you are meant to be. I am exactly who I am meant to be.

Written by Saneaah Muhammad I am British Indian, I am female, I am 5’9. I am similar yet I am different. I am diversity.