UN_FOLD Magazine Vol 4

V_04

SEX

POLITICS

(ART)

MONEY

#WE ARE FASHION

WE_ARE_FASHION brings you UN_FOLD Magazine – an experiment for the fashion voices of tomorrow.

ISSN 2398-2713

HELLO

Welcome to the fourth issue of UN_FOLD Magazine; our award winning publication – all conceived, designed, written, photographed and styled by our very own Fashion Design and Communication Students here at the School of Art & Design, Liverpool John Moores University.

This year we have been talking about Fashion, Design, Retail, Art, Music, Current Affairs, Hype, People, Popular Culture, World News and generally all the things that make us tick. In this edition, our students delve into the world of SPAM aka Sex, Politics, (Art) and Money. They present all the stuff we should(n’t) be talking about.

SPAM is about CULTure, MASS media and the need to OBEY, CONSUME, CONFORM and question AUTHORITY, question anything, question everything. Fake and Real. Fashion and Anti-Fashion, self-critical and serious (maybe). Relevant, objective and responsive... turn the pages and enter this Brave New World Paul Owen Creative Director & Editor in Chief WE_ARE_FASHION & UN_FOLD Magazine

In 2015 the WE_ARE_FASHION initiative was born from the BA (Hons) Fashion degree here at Liverpool School of Art & Design. The concept aligned higher education with industry practices in the context of the creative services industry. It was about providing an educational experience that was stimulating, rewarding and reflective of the fashion industry today. In essence we created an environment for fashion students to work together in a space that had an ethos and felt more than just a studio or a classroom. Whilst nurturing as well as challenging our students, emphasis was placed on intellectual concepts and narratives with a sense of purpose.

Experimentation and development of ideas was integral, and the chance to ‘make mistakes’ as part of the design process was fundamental. For our students to take ownership and have a sense of credibility in the world of fashion, we launched our very own publication; UN_FOLD. UN_FOLD Magazine became the platform for this initiative, dubbed as an experiment for the fashion voices of tomorrow it explored relevant and current themes from diversity, culture, identity, digital media, popular culture, trends, to sustainability and environment. All of which was a result of the current thinking of our students. Indeed, everything from the magazine title to the content is conceived, designed, produced, written, edited, photographed and styled by our own students. As a testimony to its’ success, it won Best Publication at Graduate Fashion Week with its’ debut issue. Since then, the magazine and its’ practice has grown stronger, and has built upon the intellectual and technical skills our students need for industry, from creative problem solving, critical awareness, collaboration and strategic thinking to the soft skills often forgotten, such as presentation, communication, the pitching process, time management, confidence building, motivation, responsibility, flexibility and working under pressure. In the lead up to our Degree Show and Graduate Fashion Week, this year we take another step closer to our ambitions, our students have continued to take on the opportunity to contribute, collaborate, and speak up to inspire others. It’s been an exciting journey so far

04 |

| 05

SEX

10 | Men in Make-up 17 | Love letter to Liverpool 18 | HISKIND x UN_FOLD 28 | Private IN Public 36 | Hide & Seek

ART

42 | LGBTQ+

76 | At One

84 | On Display 88 | Max/ 94 | /Min

POLITICS

50 | The Bigger Issue

100 | On the Eighth Day

54 | The Edwardian Era 62 | Analogue Life 66 | Appreciation Appropriation

70 | Interview with Eve Betts

MONEY 108 | Rise of the Hypebeast 120 | We Love this Sneaker City 122 | Sponsored Content 126 | The New Adolescence 130 | Sound, Lad 132 | Homegrown

Illustration: Jess Morris

06 |

CONTENTS WE_ARE_FASHION brings you UN_FOLD Magazine – an experiment for the fashion voices of tomorrow.

UN_FOLD Magazine allows our students to collaborate and contribute to something real, something tangible. It empowers them to gain ownership. They are our next generation of Art Directors, Designers, Copy Writers, Trend Forecasters, Stylists, Editors, Photographers, Communicators, Bloggers, Hashtaggers, Risk Takers, Curators, Researchers and much, much more.

This year we see UN_FOLD bring together four super talented, razor sharp editors to analyse and decode what the class of 2018 have been talking about. They have successfully managed to shape the content of this issue to be much more than just a collection of words and images – like me, they have no interest in creating throw-away media. They want to make this magazine feel treasured, ending its days on your bookshelf or lying on your coffee table for months on end. So put down your tablet and read on

Creative Director | Paul Owen Editors | Hollie Bradbury | Lucy Fletcher | Megan Storey Guest Editor | Daisy Scott

| 07

Artwork & Poem: Hollie Bradbury

natural, hello.

let it take over you, for those few seconds.

Queer TABOO.

public / p eer p r es s u re ,

f e e l y our b loo d p re s s u re .

not

stimulate,

generate -

overexposed,

08 |

From challenging gender roles, 15 years on from the abolishment of Section 28 and the shift of erogenous zones, we delve into SEX through a rush of pink and orgasmic red

SEX

Foreword by Hollie Bradbury

It’s the new era of meaningful win-win situations.

Journeys are what we learn from, think of this as the

start.

community, desires, conserved rights not laws. icons and their bodies, o u r c o n s t a n t wa n t f o r mo re . don’t flick too fast, Celebrate moan.

nothing happened in a

rush.

let your face flush.

F*CKING FLUTTER embrace it.

This, is you.

Take the direction you’ve always wanted to.

| 09

10 |

Martha Hollingsworth x Megan Storey

Men have worn make-up for centuries. Look at the likes of David Bowie and Marilyn Manson, who are icons of music history, or ancient Egyptian culture in which make-up played a big role in masculinity. Whether it be for purely cosmetic purposes to conceal a blemish or to make a statement, men wearing make-up is nothing new.

Men in Make-Up

| 11

Some may say this topic has been addressed more times than necessary, but it shouldn’t really be an issue at all. We live in the 21st century, people have done way more controversial things than using make-up.

Fortunately, the industry is moving in a positive direction, with the industry taking strides to challenge stereotypical gender roles, taking the leap from on screen to mainstream.

Gender barriers are dropping and brands are beginning to celebrate this, gender diversity is becoming more and more inclusive in both the fashion and beauty worlds. And why shouldn’t they? Brands and consumers will both benefit from diversifying themselves, 12 |

it’s a win-win situation. After all, unbeknown to popular belief it was men who shaped the beauty industry in the first place.

The beauty industry may be viewed as female dominated, but it was men who actually spearheaded the brands which still sit on retail store shelves today, including Rimmel, Max Factor and Revlon. Despite the benefits, the definition of beauty has remained very narrow and almost discriminatory - diversity is far broader than it was 30 years ago, incorporating all kinds of people, genders, religions, cultures and sexualities. Cosmetics companies such as Kevin Aucoin and Giorgio

Photography & Styling: Martha Hollingsworth

Armani Beauty are represented by male figureheads, so why shouldn’t their customers be? This taboo subject has recently been identified by a multitude of other mainstream companies, taking steps in the right direction and championing diversity. It appears brands are seeing the benefits of having a diverse and inclusive approach, especially when it comes to using male make-up artists from platforms such as Instagram.

The production and marketing of maleorientated cosmetics, particularly foundations and concealers is long overdue. Alex Dalley, owner of MMUK, a brand producing make-

up aimed at men, states that 20-30% of customers still want their products put into discreet packaging, highlighting the stigma around men wearing make-up.

“We like to focus on the positives, but we do need to take into consideration whether this is just a trend.”

Will this be something which passes and dies? We hope not, but like anything in this industry, brands do need to survive. It’s no secret that celebrities and influencers regularly wear makeup for events and promotional work. So why shouldn’t every other Tom, Dick and Harry feel comfortable doing just the same? | 13

Photograhphy & Styling: Dani Jeffrey

14 |

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Photography & Styling: Georgina Bailey

16 |

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Photography: Emily Keogh

18 |

sexuality

liberation

gender

According to a 2015 YouGov study, 49% of British 18-24 yearolds, when asked to plot themselves on a ‘sexuality scale’, chose something other than 100% heterosexual.

People are embracing the new normal of no normal. www.trendwatching.com

We are moving beyond traditional demographics in a way in which we are beginning to see a shift towards a more neutral portrayal of key indicators of identity, such as race,sexuality and gender.

independence

x Fashion is constantly changing and the role fashion plays in society and culture has become increasingly more important. The realisation of the recent ‘No Normal’ mindset provides society (us) with a new baseline of expectations and experiences. This year, we have had the pleasure to collaborate with Josh Fletcher, the founder of HISKIND magazine, exploring how we can provide a fresh approach to the way gay media is portrayed. Over the next few pages we look at the role of image making, and how it can be used as a mechanism to investigate themes of independence, inclusion, liberation, freedom, gender, sexuality, culture, youth and tribes and create new, more relevant and meaningful content for contemporary audiences

inclusion

Paul Owen

“HISKIND are always very excited about collaborative projects with creative people.

Working with UN_FOLD proved to be authentic, honest, meaningful and thought-provoking - just the thing to get you talking... they exceeded our expectations again this year.” Josh Fletcher

freedom

tribes youth

www.campaignlive.co.uk | 19

Photography: Emily Keogh

20 | | 122

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Photography: Sophie Parry

22 |

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Words by RenĂŠe Charles Edited by Daisy Scott

.

“I’M NOT CRAZY I’M BEING WHO IDENTIFIES AS AN RELEASING A N D R O G Y N O U

THE MASCULINE AND FEMININE TRA ONE MORE DOMINANT THAN THE OTH

BEST LIFE. T H I S

DOESN YO U ’ R E S U P P O S E D TO

EVERYTHING AIN’T FOR EVERYBO FITS A DIFFERENT LOCK. TO ME TO RE-PAINT MINE BY CHOOSIN HOW I FEEL AS AN EVOLVING SOU YES, FEMININE BOYS EXIST. F E M

E X I S T . PEOPLE OF COLOUR

I AM AN ANDROGYNOUS BOY FROM LIVERPOOL. N

NO, I WON’T BE SILENCED. MY IN EXTERNAL WHISPER - I ’ M D E A O F S O C I E T Y ...DO YOU PA 24 |

M NOT CONFUSED. I’M A HUMAN N EVOLVING SOUL; CURRENTLY U S ENERGY. ANDROGYNY IS WHEN

AITS ARE BALANCED RATHER THAN HER. THIS IS HOW

I LIVE MY

N ’ T M E A N I T ’ S T H E W AY L I V E YO U R B E S T L I F E .

ODY, KINDA LIKE HOW EVERY KEY CLOTHES ARE JUST A DOOR. I LIKE NG COLOURS THAT REPRESENT UL IN A HUMAN EXPERIENCE. SO

MININE GHETTO BOYS

R CAN BE GENDER FLUID. YES,

S

GENDER

FLUID

BLACK

NO, I WON’T BE BYPASSED.

NNER VOICE DROWNS OUT THEIR

A F

TO

T H E

O PIN IONS

AY MY BILLS? BETTER YET,

DO | 25

AS A BLACK FEMALE MYSELF, I HAVE GROWN UP HEARING HOMOPHOBIC COMMENTS FLOAT ABOUT CASUALLY. IT HAS ALWAYS ANGERED ME, REGARDLESS OF BEING STRAIGHT MYSELF. DURING THIS INTERVIEW SHANTE EILLINE KAMUTAUNDI PROVIDES A DEEPER INSIGHT INTO THE EXPERIENCES OF A BLACK, BISEXUAL FEMALE IN 2018.

How did your parents react to you coming out as bisexual?

When I told my mum that I was bisexual, she freaked out a little bit. Her first initial reaction was, “Oh you’re joking” and I said “No I’m serious”. I remember her saying “You’re already black, you’re a woman, and now that you’re bisexual. What about work, school? You’re going to get made fun of, bullied and discriminated”. I explained saying that it wasn’t a choice that I made, I just happen to like girls and boys. We had an argument about it. She was convinced I was going through a ‘phase’ saying it’s ‘popular’ right now.

When did you realise you were bisexual?

When I was younger there was this girl I grew up with, and around the age of nine, I thought she’s really pretty, I like her; but I never told anyone; nobody talks about it. I remember talking to one of my best friends. I asked her, “What if I had friends who are gay?” and she said “You’re going to go to Hell”. I thought, Jesus Christ. If I’m going to burn in Hell then all of us are.

I’m not Christian myself, I’m quite liberal.

I believe that as long as you’re good to other people, loving other people and not hurting other people; then that’s all that matters.

Her way of coping is just joking about it; she’ll say things like; “Oh have you met a new girl yet” or “You’ve been dressing like a boy recently”. She is coping, but when I talk to family members and friends they’ll say she’s not really okay with it.

To be honest, if she can pretend, it’s better than nothing...

Do you think homophobia within the black community is still a big issue?

Yes, I think so... because looking at my mum, she’s quite chilled in her own way.

She doesn’t make a big deal out of it, maybe she does in her head. But her friends on the other hand, think differently.

She’s always talking about wanting grandchildren and pushes it onto me.

To her it’s better that I’m bisexual than lesbian because she still has something to hold onto – ‘maybe she’ll fall in love with a guy’.

26 |

Why do you think there’s homophobia within the black community and where do you think it’s come from?

Culture and tradition. In my culture it has always been said that a relationship should be between a man and a woman.

Black culture has instilled an intrinsic belief that our ancestors practiced.

IT DOE ME HUM THIS IS

They brought up this ‘issue’ like ‘we need to talk’ because my cousin and I both identify as part of the LGBTQ community.

They said, “We heard you both are bisexual”. “Yeah, what’s wrong with that?”

They thought we were going through a ‘phase’ and said it is a ‘sin’. It got quite heated, so I just walked away because I didn’t want to argue with my elders... With my mum, she doesn’t talk to me about it anymore. In this particular situation, she was quiet; but she confides in her friends and relies on them to talk to me about it.

I feel it’s still a big issue within the black community (I feel my mum hasn’t fully accepted it yet).

How has being black and bisexual affected you?

I haven’t experienced hate, personally.

I don’t choose to be bisexual... I hate the thought of having to come out to my grandparents. They’ve always thought that their grandchild is going to get married. On the other hand, my mum wants grandchildren... The question I ask myself is how am I going to explain this to everyone? You feel like you’re disappointing your family.

BLACK. FEMALE. BISEXUAL. Do you think it was harder coming out being black?

Of course it was! Initially I told my best friend who’s also my cousin, and she identifies as pansexual. She said that she always knew. I knew I had to tell all of my friends and they were all cool with it.”

I’m black, I’m bisexual, I dress a certain way and you’re friends with me. It doesn’t make me less of a human being. This is who I am

RENEE CHARLES MET WITH SHANTE EILLINE KAMUTAUNDI TO TALK ABOUT THE STRUGGLES OF COMING OUT.

ESN’T MAKE E LESS OF A MAN BEING. S WHO I AM. Daisy Scott

| 27

The estimated number of people in the UK with undiagnosed HIV is around 10,400 Terrence Higgins Trust 2018

28 |

Private IN

Public The transmission of HIV and AIDS, was first recognised as a global issue from the early 1980s, which disrupted the gay community, resulting in the label - the ‘gay plague’. This undermined homosexual males and their basic human rights to same-sex relationships. Still to this day, the lingering stigma leaves confusion as to how the virus is spread as media has presented us with both factual and false information, causing misconceptions and stereotyping within society.

The introduction of Section 28 of the Local Government Act (1988) “banned local authorities, schools and other establishments from ‘promoting’ homosexuality through image and print.” Consequently there was an injustice for homosexuals to display their relationships publicly with pride. This significant prejudice and the relationships has been explored by Ryan who depicts a true presentation of their public and private lives Ryan Rogers-Hinks x Hollie Bradbury

| 29

1981 - The UKs first known HIV and AIDS case is reported.

1982 - Terry Higgins died of AIDS and his partner founded the Terrence Higgins Trust, the UKs first AIDS charity.

1983 - In April 1983, the British Medical Association produced informative leaflets for GPs nationwide.

1984 - As HIV was identified as infectious, gay men were asked to stop donating blood in Britain.

1987 - Princess Diana opens a purpose built HIV unit that caters to patients with the virus at London’s Middlesex Hospital, a first for the UK. - The National Aids Trust is founded.

- Britain’s ‘AIDS: Don’t Die of Ignorance’ television campaign is broadcast.

1988 - Section 28 of the Local Government Act is introduced to the UK. - Stonewall UK is formed in response to Section 28 and other barriers of inequality.

- The first World AIDS Day is introduced annually on Decemeber 1st with a red ribbon worn to show solidarity.

1998

- Th e House of Commons votes to lower the age of consent for same-sex relations between men from 18 to 16 in England but it is defeated in the House of Lords.

30 |

HIV Human Immune Deficiency Virgus AIDS Acquired Immune Deficiency Syndrome

| |127 31

CULTUR

IN 2003, SECTION 28 W US THE FREEDOM TO C HOMOSEXUALITY AS PART “Politics was very much part of being gay in the 80’s, because we didn’t have equality.”

AND 32 |

RE

Liverpool Voices Archive, Museum of Liverpool, 2016

WAS ABOLISHED GIVING CELEBRATE AND ACCEPT T OF EVERYDAY LIFE. “It felt like a community”

“People were generally feeling energised and politicised.”

Photography & Styling: Ryan Rogers-Hinks

D | 33

34 |

Photography & Styling: Hollie Bradbury Collection: Tyan Borrell

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Photography & Styling: Dani Jeffrey

36 |

& hide

seek

The act of getting dressed is to prepare the body for the world - making it presentable, acceptable and maybe even desirable.

Every piece of clothing is designed with meaning behind it.

An erogenous zone is an area on the body that stimulates a sexual response such as relaxation, arousal and orgasm. There are two types of erogenous zones across the female body: the primary zones, such as the genitals, and then the secondary zones such as the breasts.

However, through recent social and cultural construction, body parts such as feet, legs, the waist and neck have all become erogenous areas.

James Laver, a costume historian, was the first to press the idea of erogenous zones within clothing. The sixties saw the sexual revolution, including the establishment of the mini skirt in stores across the UK. The skirt places the focus on the legs, while the cold shoulder top also focuses on the neck, collar and chest. He says that the fashion world’s focus on a particular part of the body lasts around seven years before quickly moving onto another, making the cycle of erogenous zones a key player in the way that fashion trends shift.

Alexander McQueen is highly regarded to be a designer who played on the idea of these sexualised zones in his designs. In the 90s, he evoked an erogenous trend in the denim world by pushing the low waisted jean, exposing the bottom of the spine and the curvature in the lower back. He argued that “that part of the body - not so much the buttocks, but the bottom of the spine - that’s the most erotic part of anyone’s body, man or woman.”

Trickling up from street style, it was in 2014 that flashing the ankles (or ‘flanking’) became the newest trend. The high street was awash with ‘ankle grazer’ jeans, cropped culottes and midi skirts. Fashion forward teens were rolling up and cuffing their trousers to flash the joint connecting their leg to their foot. Designer Nicole Farhi took this further in her SS15 collection, exposing the ankles through V-shapes slits at the bottom of jean legs.

Most trends across the fashion industry, whether sexually enticing or not, can be traced back to the catwalk. But today, these trends and the ideas of what is, and what isn’t, sexual are trickling down from somewhere different…

body selfie. In response, millions of women followed suit and have exposed their breasts, midriff and bosom in online images, creating a new erogenous era.

Kim Kardashian. The social media and reality TV tycoon with over 100 million followers on Instagram, famous for her tiny waist and ‘peachy’ behind. She posts images of herself, in some cases overtly explicit, showing off her style online for those who keep up to date with her every move to emulate.

In the era of the ‘side-boob’, ‘under-boob’ and even ‘side-butt’, the act of looking naked has become an art form. Celebrities such as Rihanna and Kendall Jenner are even turning up to red carpet events with exposed nipples. Pretty Little Thing have released jeans with slashes that reveal the bottom and the return of bodysuits have converted lingerie to outerwear.

In 2015, Kim ‘broke the internet’ with a cover for Paper Magazine and at the same time, started the craze of the ‘belfie’, the near naked

So, have women normalised the idea of erogenous zones, through over-exposure?

Lucy Groom x Lucy Fletcher

| 37

Artwork: Isobelle Binns

38 |

Photography: Isobel Pownall

| 39

Photography & Styling: Lucy Hayes

40 |

Photography & Styling: Martha Weaver

| 41

LG B T Q + Growing up in the small conservative seaside town of Scarborough, Nathan Wackett felt like he was in the minority.

Whilst still in secondary school, Nathan came out as a transgender gay man.

“When I came out at fourteen, I was the only trans person at my school,” he explains, “and the only trans person that most people in Scarborough my age (or otherwise) even knew of. I had to be a constant source of trans-based knowledge in order to avoid any kind of criticism or misgendering from my peers, and that need to constantly educate out of fear of being misunderstood has been carried into my adult life.”

Secondary school can be a playground for bullies - in fact, most of us experience it to some degree during our teenage years.

However, in such a small town with a small town mind, explaining to your peers that you are transgender when there is a lack of LGBTQ+ education in schools is a difficult task. “[I was bullied] a little bit,” says Nate. “I was lucky enough to be liked in school because I was funny, so the majority of my peers respected my pronouns of He and Him. They treated me like they would treat anyone else, but there were the strange micro aggressions present that you get with being in any sort of minority group.”

Like what?

“Questions people think are appropriate to ask a trans person, but are thoroughly inappropriate to ask just about anyone:

42 |

“How big is your dick going to be after surgery?”

“How do you have sex?” - not the kind of questions I was ready to answer as a fourteen year old.”

On the flip side though, Nate says he feels very lucky to have been able to meet a lot of his closest LGBTQ+ friends, including his partner Will in Scarborough as there’s a severe lack of queer safe spaces in and around the area.

“As isolating as it can be, it’s a good place to stand your ground as an activist for queer spaces and trans rights, as you can quite easily organise events like what charities such as MESMAC (MEn who have Sex with Men – Action in the Community) or QUEER SPACE York (LGBTQ+ mental health performance events) are doing as there’s such a demand for any sort of safe space for queer people to express themselves.”

Photography & Styling: Lucy Fletcher

| 43

The recent years leading up to 2018 have definitely seen a growing wider acceptance of the LGBTQ+ community and their fight for equal rights. From the little things such as gender neutral bathrooms, to the big things like transgender politicians in leading roles.

“Femme is a very powerful word and I love the implications behind it. I had a conversation recently with my boyfriend about how I dress, and it boiled down to this: I’m a man, I’ve always been a man and for all I know I always will be, and I don’t think the way I dress defines that whatsoever.”

When Nathan came out in 2012, the general reaction was that “people had never heard of anyone transitioning before.”

He explains “some days I want to wear a velour crop top and fishnets and show my squishy belly, and some days I want to sit in my boxers and show my hairy legs. I love my strange, wonderful body, and I love strange wonderful clothes, and it just so happens that the majority of cool clothes are made for the women’s section.”

“It took my family a combination of some time and some therapy to come to terms with having a trans child, but now they’re my biggest supporters. My friends at the time didn’t care and never questioned my gender whatsoever, it was almost like I got a new haircut or something. We talked about it briefly but then it became the new normal. Dealing with the general public and my teachers was less ideal though.

A lot of correcting pronouns, vehemently stating that my name was Nathan now, etc. It took time, and I still get misgendered after about five years of living as male, but it gets easier to brush it off with time and age.”

“We’ve come a long way as a country since then in regards to LGBTQ acceptance,” he continues, “and although it’s not come as far as having queer people be treated and represented fairly all the time, I do feel safer holding hands with another man in the street.”

FASHIONABLE, ARTISTIC AND FEMME Though presenting as male, Nathan does not identity with the ‘hyper-masculine’ ideals behind being a man, and expresses himself through dress. From nail varnish to dresses, boxers to literal handcuffs - he doesn’t allow the gender binaries that come along with dress codes to limit his style.

“It’s funny to put a label on the way I dress but I don’t discourage it at all.”

44 |

As we push toward a fairer society, where members of the LGBTQ+ community are treated as equals, what can we do to ensure we’re doing the best we can to support our peers?

“Love your queer friends. Celebrate them. Cherish them. Stand up for them in arguments and be vocal.

Ask them questions about their lives, get to know each other and share secrets that have nothing to do with sex or gender. Treat them like anyone else, regardless of who they love. Support your local queer businesses, explore your boundaries in regards to gender expression and presentation, and eat more vegetables. (That last one is just good advice)” Lucy Fletcher

| 45

46 |

Photography: Lucy Hayes Collection: Tyan Borrell

| 47

SEX

ART

POLI MONEY

48 |

TICS Currently, it feels like politics is more important than ever.

The year is twenty-eighteen, the twenty first century has seen us being led into wars, witness the refugee crisis and a fight against the far right. Britain has had a change of hands at No10 with four prime ministers, and the U.S. has inaugurated a television star. We’re almost out of the European Union and, honestly, does anyone really know what’s going on?

But politics isn’t all about politicians. It’s also about us.

We’re now living in the #TimesUp era where women are fighting back against sexual harassment and the policing of their bodies and style. Men are breaking free from the ideals of hyper-masculinity. Women of all shapes and sizes are ‘beach body ready’. We’re protesting in the streets for equal rights, for gun laws and against nuclear wars. The Golden Globes were a sea of black as celebrities lent their support to the #MeToo campaign, while fashion also played a huge political role elsewhere - from white roses to embroidered worker bees to simple slogan T-shirts, clothing came with a cause.

This section of UN_FOLD explores the ideas of politics in fashion, youth, religion and race through the lens of Gen Z. We look at the appropriation of class and culture, from designers such as Vivienne Westwood and Kanye West taking inspiration from homeless youth whilst ignoring the issue itself, to young girls wearing bindis at Summer festivals. We look at how young people are yearning for the past as their futures begin to look more and more bleak, taking comfort in the simplicity of childhood and returning to nostalgic media and physical music. We look at the politics of hair and the heel, and being a woman under the pressure of perfection. And we reflect on how we thought change, diversity and inclusivity was finally on the horizon as Edward Enninful became Vogue’s first black male editor. Has this been the case?

Foreword by Lucy Fletcher

| 49

NEW YORK 76,411

LONDON 8,000

THE

BIGGER

ISSUE MILAN 12,004 50 |

PARIS 29,000

NEW YORK: www.inman.com/ LONDON: www.streetsoflondon.org.uk MILAN: www.homelessworldcup.org PARIS: www.insee.fr

As one of the most influential industries in the world, fashion tends to speak out about social issues that affect all of us.

The industry itself believes that it can provide a voice for those that often can’t speak out. Social issues such as; police brutality, LGBTQ+ rights, racism and gender disparity all issues that have been taken on by many designers across the world. But why is the fashion industry refusing to tap into a social issue that is seen on many streets across the world, something that we have all witnessed – but continue to profit from ‘inspiration.’

HOMELESSNESS Key social issues that have been given the privilege of being broadcast across the world, in terms of the catwalk tend to be those that designers relate to. For example, Gay Rights and Christopher Bailey, who showcased his last collection with Burberry with model, Cara Delevingne ,wearing a faux fur rainbow cloak surrounded by rainbow strobes.

Pyer Moss gave police brutality a voice at New York Fashion Week back in 2015. Using unnerving footage of police violence against black men and women from officer’s body and dashboard cameras behind the catwalk.

However, homelessness is often probed and picked apart to find the most ‘usable’ aspects of a social issue.

Around 4,751 people bedded down outside overnight in the UK in 2017, an increase of 15% on the year before. Homelessness is an issue that doesn’t personally affect us all, but whether you are living in a city or small town you will have seen it.

Cities that are labelled as ‘fashion capitals’ which many industry workers travel to each year – often up to four times a year for seasonal fashion weeks, have some of the worst statistics for homelessness. It comes under scrutiny whether those that are in a prominent influencing position are choosing to ignore a major issue?

Both politically and socially active Dame Vivienne Westwood. A key designer to the London Fashion Week schedule. In her 2010 collection she spoke about the themes behind her collection, stating: “quilted bombers and snug hoodies that also work well in keeping the vagrant warm.” However, she is yet to become vocal on homelessness.

Often criticised for over-priced ripped t-shirts and basics, Kanye West’s duo fashion-personality, Yeezy, continues to take inspiration from those that consider themselves to be in a situation of homelessness. He himself admits to taking inspiration from a homeless youth, Tweaky Dave. In New York statistics claim that there are currently an estimated 76,411 living on the streets.

However, it’s not all designers that are taking inspiration from those less fortunate. Often put under the spotlight is Demna Gvasalia.

His collections are often described as ‘homeless chic,’ and Gvasalia deserves to be questioned on his inspiration – for example he has sent models down the catwalk for Vêtements with plastic raincoats, trailing belts and sleeping bags. Of which could be interpreted as a signifier of someone who has to live on the street.

Yet, under Balenciaga, Gvasalia consistently has unveiled merchandise that is supporting the World Food Program. After using the WFP logo, Gvasalia made sure that he has provided a positive change.

Stating himself:“Purchasing a cap means WFP could provide more than 200 packets of high-energy biscuits to people in an emergency, and a wind breaker could provide kitchen sets to feed 100 families. This support will be added to the US$250,000 donation Balenciaga has already provided towards WFP’s work. We consider this partnership to be an important step in making fashion useful in a different way.”

It goes to show fashion can provide positive change and give a voice to the bigger issue in society

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Photography & Styling: Helen Kearns

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As of the 10th April 2017, it was confirmed that Edward Enninful would become Editor in-Chief of British Vogue. He would be the first black, gay, male editor of British Vogue – a historical appointment in itself.

Enninful himself, stated in his first Editors Letter that he wanted to celebrate diversity, and implement how “we are all so diverse”, but has he provided a more diverse British Vogue?

The first issue under his appointment was released in December 2017, with model of the moment Adwoa Aboah on the cover.

However, this was met immediately with controversy, with many people questioning whether the British-Ghanaian model had been ‘whitewashed.’

The use of models on the covers of fashion magazines is a business coup, with the right model on the cover of the right month topping up the sales. However, previous editors of Vogue have stated that you have to recognise the person you are casting for the cover, and according to author, Jennifer Nelson, if you were to put a black model or celebrity on the cover who was not instantly recognisable, “you would sell fewer copies.”

In the time that Enninful has been in his highly respected position, he has given two single covers of British Vogue to models and celebrities of colour, and as of May 2018 he had curated the cover; ‘New Frontiers’ with nine models who are of colour. He has now been in the position for over a year and we question if this has had a positive effect on the industry?

Ex Editor-in-Chief of British Vogue, Alexandra Shulman stated that the fashion magazine industry is separate from the real world, and magazines are “not to represent reality” later stating that, “in a British society where the mass consumer is white and where, on the whole, mainstream ideas sell, it’s unlikely there will be a huge rise in the number of leading black models.”

However, it is said when black models are used in fashion editorials they are often fetishised. Often models of colour are used, but appear in portraits that make them look less like humans and more like mannequins or robots. Additionally, models of colour are often used to implement a cultural change, without those models actually being from that culture. For example in the June 2017 issue, an editorial was used aptly named, ‘Escape to Goa’ shot by Mario Testino, the editorial used model Ellen Rosa, a Brazilian model – who is not from Goa – but has the correct skin colouration to be used.

This criticism of magazines’ use of models of colour continues back for over a decade.

However, here at UN_FOLD we addressed this topic in our debut issue by casting a black model on our front cover. When considering the dehumanisation of models in fashion publications, perhaps in retrospect their approach to representation may not have changed as dramatically over the last ten years as we expected.

Through the introduction of Edward Enninful, there has been a noticeable difference in the way that editorials and articles are using models and celebrities of colour and providing them with a title that doesn’t include lexis relating to their heritage or skin colour. Under Enninful there has been an increase of article titles that show this such as, Adwoa for the December issue of British Vogue and a tribute article for Alaïa, titled Remembering Alaïa.

Fashion magazines according to Jenny McKay, a pioneer of the academia behind the magazine industry, stated the industry still cater for the “western-orientated, socially liberated and relatively economically well off citizen” and therefore, the industry will have a long way to go before diversity is well implemented.

Research by Kimberly Ann Davis concluded that on average, women are reading around three magazines on a regular basis, and spending an average of two hours reading magazines weekly, due to this the underrepresentation of women of colour through fashion magazines will have a significant effect on its readers.

If the main function of a fashion magazine is to give readers a sense of community and pride in their identity, so why are large groups left out?

If this under-representation of ethnic minorities continues with an Editor, who is part of that community - where does this leave the fashion industry?

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Guest speakers and visiting lecturer Lou Stoppard – Editor of SHOWstudio Nina Manandhar – Photographer / Be – International Marketing Manager, To Strategist, LOVE Creative / Agatha Con Mellor – Senior Booker, Boss Model Ma Director / Jermaine Francis – Photogra Elvin – You Magazine / Liv Siddall – F Fletcher – Founder, HisKind Magazine Liverpool Football Club / Jane Crowthe Management Deco Publique / Si Scott – Craig Lawrence – Knitwear Designer / Richard Bruce – Designer / Brigitte S Westwood / Rosie Findlay – Author / L Rafter – Style Counsel / Nathan Mathe Kenzo / Grace Wales-Bonner – Designe Archive – Jewellery Designers / Paige Writer / Sam Nelson – H&M Buyer / Ros 56 |

rs we’ve had the pleasure to host/ o / Jamie Hawkesworth – Photographer en Whyman – Curator / Lottie O’Malley opman / Neil Bennett – Senior Brand nnelly – Freelance Fashion PR / Lauren anagement / Jon Emmony – Digital Art apher / Iain Foxall – Foxall Studio / Jo Founder Rough Trade Magazine / Josh e / Jemma Volp-Fletcher – Senior PR er – G.F. Smith / Elena Gifford – Events – Illustrator / Alistair Blaire – Designer / David & Kirsty Longshaw – Designers Stepputtis – Head of Couture, Vivienne Laura Hypponen – Filmmaker / Hannah ews – Wonderland / Safwann Motara – er / Duro Olowu – Designer / Adornment Earlam – Plexus Cotton / Emily King – sie Davis – Founder of LFA / | 57

Photography & Styling: Lyn Dizon Collection: Nadia Mohamed

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Photography & Styling: Isobelle Binns, Lyn Dizon Collection: Sian Evans

nostalgia

noun: nostalgia; plural noun: nostalgias a sentimental longing or wistful affection for a period in the past.

Old is the new new.

Millennials have the whole world at their fingertips. The simple touch of a button can bring about any amount of information, and it becomes easy to feel overloaded with digital media.

The cycle of nostalgia, where we yearn for the past, used to come around every forty years or so - but recently, it’s becoming much, much shorter. As millennials suffer from a compressed sense of time due to this digital overload, and as they feel the stress of pressing issues such as youth unemployment rising, they look toward the past for comfort; the simplicity of childhood, the bliss of being a carefree kid.

This romanticisation has lead to young people to buy into retro trends. Instant cameras, vinyl, fax machines and flip phones have made a comeback. In 2017, 14.32 million albums were sold on vinyl worldwide.

In fact, vinyl is now more profitable than YouTube and Spotify. For millennials who love analogue, vinyl provides a beautiful, crackling and authentic sound that can’t be replicated through a streaming service.

The collectability and stunning artwork of

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various record sleeves has given people a hobby - music becomes a slow and sensory experience.

At this moment in time, the 90s appear to be the ultimate period we yearn for, the same era millennials were either born in or grew up through. MTV Classic only airs episodes of television shows from this decade, and Friends has been brought into the real world with Friends Fest - a convention that celebrates the TV show, despite having now been off air for fourteen years.

So, is the digital detox era nigh? In 2015, this was pushed as a trend but failed to take off.

But, as the pressures of becoming an adult becomes heavier and heavier and we become tired of reading the news and checking our ‘story’ views on Instagram, its resurgence might just be around the corner Lucy Fletcher

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Photography: Dani Jeffrey

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In the current social and political climate, where the ongoing fight for racial equality is more persistent than ever, respecting culture and acknowledging correct ownership of it is often regarded to be a small yet essential step in the constant climb to equilibrium.

Although culture can be appropriated at any point, come Hallowe’en and festival season, elements of culture are appropriated by people outside of it for the sake of aesthetic and costume, especially amongst young people. Girls will wear bindis at a festival because of their pretty, glistening effect, while they are unaware of the sacred cultural significance they hold in Hinduism. Boys that are not of Native American descent may wear

This year, the Met Gala was held with the theme ‘Heavenly Bodies: Fashion and the Catholic Imagination’. Celebrities of no (or other) religion appeared in religious dress, mocking, sexualising and commodifying elements of Christian culture and using them for ‘fashion’ and personal gain. Rihanna turned up in a sparkling diamanté papal outfit, complete with a mitre. Sarah Jessica Parker wore the nativity on her head. The ‘my

Appreciation Appropriation In the words of actress and activist Amandla Stenberg, “Appropriation occurs when a style leads to racist generalisations or stereotypes, but is deemed as high fashion, cool, or funny when the privileged take it for themselves. Appropriation occurs when the appropriator is not aware of the deep significance of the culture that they are partaking in.”

Taking inspiration from and possibly appropriating cultures sped up in the twentieth century when people were able to move easily from one part of the world to another. It especially became even more prevalent in the late twentieth century and into the twenty- first with media such as films, television and now social networking sites like Instagram, Facebook and Twitter giving some people some visual access to other communities without even needing to set foot from their own.

When the British first began to travel, especially during the colonialism of other countries in the nineteenth century, they would wear the traditional dress of the country, but it was the stationing of residential troops that brought about change. Soon, traditional, ethnic clothing became a sign of disobedience. People were shamed for wearing the clothing and styles of their own country. It is the discrimination that ethnic minority groups were subjected to due to their own ways of dressing that it is now deemed offensive for those of European descent to now emulate such styles.

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a war bonnet, not knowing that in the culture they come from they are strictly only to be worn by those who have earned the right to do so; they are of great spiritual importance and each feather and bead must be earned by the individual.

Justin Bieber wore dreads in his hair in 2016, which sparked controversy. To black people, hair styles such as dreadlocks represent a reclamation of their identity, and they are rooted in Rastafarian and Hindu culture.

It was Bob Marley who commercialised dreadlocks; but he is also responsible for, through singing his songs of peace and freedom, reclaiming them and reverting them from being used an insult, to an empowering style giving power to formerly colonised and oppressed people.

“What would the world be like if we loved black people as much as we love black culture?”

Around 2013, cornrows were adopted as a fashion trend again and seen on the runways under brands such as Alexander McQueen and Marchesa. They were described as a ‘new urban hairstyle’, disregarding their history and cultural significance to many people.

This was around the same time that police brutality against black people had come to the forefront. The murders of Treyvon Martin in 2012, and Tamir Rice and Eric Garner in 2014 and many others sparked protests.

Whilst this movement was beginning, white hip hop artists such as Iggy Azalea who had adopted black characteristics and styles failed to speak on the racism that comes along with black identity.

religion is not your costume’ argument was sparked, as more and more celebrities turned up in sexualised versions of Catholic figures.

Some people say this was okay; it was revealed that the Vatican had been working together with the Met for over a year to procure over forty items from the event: they had been given ‘permission’. But can permission from just a few people of one of the world’s biggest religions allow this sort of exploitation of it?

However, some do doubt the existence of cultural appropriation at all. In an article written for The Observer, journalist Eric Ruiz states that “to claim cultural appropriation is to claim your group is above the mixing and influence happening when cultures meet”.

In this article he quotes Yuval Noah Harari’s book Sapiens, in which he states that there are no authentic cultures left, if by ‘authentic’ we mean something that was independently developed, with no external influences nullifying the idea of cultural appropriation altogether.

So is it okay to wear a kimono, or a bindi, or a Native American war bonnet? It is seen by most as only okay to wear an item of another culture if the country you are in requires you to do so, or if a member of that culture invites you to dress up in, for example, henna.

This is where an act of appropriation can turn into an act of appreciation: exploring and enjoying a culture, respectfully, within its community Lucy Fletcher

Photography: Kendall Breen Collection: Emily Boag

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Photography: Georgina Bailey

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Last year, a petition of 152,000 signatures calling upon companies to remove high heels from their dress codes was delivered to parliament.

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PL A I T S BEEHIVE The fashion industry has an immense amount of control over what the general public perceive to be “beautiful.” It can alter perceptions of a young adolescent and implement dissatisfaction over confidence levels. But how can we, as consumers change the way the fashion industry portrays what, and who is beautiful?

Especially when it comes to hair(styles)

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In terms of beauty and the hair industry we have seen slight changes, as L’Oréal casted Amena Khan as one of their faces for their campaign – the first model to wear a Hijab and also the main focus of a hair campaign. But why are we only beginning to see some changes now, and who can we look to who will make a change?

In an episode of Channel 4s First Dates last year, Eve Betts revealed, by removing her wig (on live TV) to her date that she suffered from Alopecia and, then decided to do the rest of the date without her wig on after positive comments from her date. In this case, Eve may feel the pressure of the fashion industry more than any of us. Stating that the typical idea of beauty is instilled on those that are “tall, thin and have long blonde hair,” and this is not the case for herself.

Recently models such as: Cara Delevigne, Adwoa Aboah and Jazelle Zanaughitti have chosen to shave their heads and have then risen to fame. The trend between them all is their choice of haircut. This trend has trickled down the fashion industry and is now being seen on the everyday girl. But does this suggest that the industry is slowly changing?

As someone who has been catapulted into the role of a spokeswoman for Alopecia, Eve stated that she is focusing on social media as a form of campaigning, “I’m just trying to post as many pictures as I can and trying my hardest to try and reply to all the messages that I get.”

It isn’t just Eve that is providing the fashion industry with the conversation about hair loss, Claire Namakolo the founder of the Urban Hair Show which “aims to celebrate hair as well as the arts, while raising the ‘#Alopecia is fashion’ campaign.”

Claire believes that there is an underlying pressure put upon both men and women to not speak about their issues with hair loss. She believes that if the fashion industry was to promote this idea then there would not be such a negative stigma attached to hair loss. She continues to talk about her work at the Urban Hair Show stating that she was in an industry that, in her words, “relies a lot on look, and perception,” continuing on to state that “everything was superficial.”

Photography: Lucy Fletcher Styling: Lucy Hayes

The Fashion and Beauty industry seems to be slow in tackling mainstream issues that face a large majority of the population.

Having both suffered to some extent with hair loss, they both talk about their use of wigs. Claire stating that the use of wigs for herself affected her in a way that she felt like she didn’t want to go out in public.

The use of wigs may feel like the only option for people that have suffered from hair loss, but Eve believes that wigs can be both a solution and a problem.

Stating that she feels like she is “confident now” when she isn’t wearing one.

Since going on the show where Eve has gained the attention of the public, Claire has helped to support her in raising awareness of Alopecia. Her organization Hair Heals, helps to assist people and build confidence in those that suffer from hair loss. Talking about her work with Eve, she says: “Eve was the first person that I have worked with through this project and she has gained so much confidence, and now she feels like she can go and work in the fashion industry.”

Claire states, “hair loss can happen to everyone,” and with that she believes that her continuing work with the Urban Hair Show and her charity Hair Heals will be able to open a conversation for the fashion industry about their representation of what ‘beauty’ really is Daisy Scott

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Photography & Styling: Dani Jeffrey

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Photography & Styling: Martha Weaver

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POLITICS

ART Artwork: Ryan Rogers-Hinks

SEX

MONEY Here we focus on Art, and how more people are beginning to represent their true selves. The section discusses the impact of what we wear and whether through this, you decide to load yourself up to protect yourself as a metaphorical shield, or strip yourself down to the bare minimal to represent an emotionally intelligent being. Additionally, the rise in raw emotion and sense of empathy through film sequences has led to Oscars, Golden Globes and even a black-out on the red carpet; leaving us questioning current issues that may not directly affect us. This movement of selfawareness is a current trend and hopefully it will continue on Foreword by Daisy Scott

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MONOTONY. EVERY DAY THERE IS TEDIOUS REPETITION AND ROUTIN A GREAT NEED FOR CHANGE. EMOT At One RESENTMENT, ANNOYANCE, AGGR OBJECTS: THERE IS A STILLNESS W CALM, WITH ROOM TO THINK. AT QUIET, CALM. HER. THERE IS A STI FEELING. BEING PRESENT IN THE N. EMOTIONS FELT: CALM, ST HAPPINESS. INSECURITY, UNCOMFO NTERNAL CONFLICT. LOSING CONT TIREDNESS, RESENTMENT, ANNOYA CALM CONTENTMENT. A STATE OF MOST SIMPLE ACTIONS BRING THE OVERLOOKED. EMOTIONS FELT: PEACE, RELAXATION, WARMTH DE We live in a society dictated with and around technology, and more often than not it can become overwhelming and exhausting.

Instead of fighting against it, we should be able to adapt to what is developing around us, in a creative and empathetic way. Perhaps as a society we should feel more open with our emotions and promote open mindedness, personal wellbeing, selfawareness and emotional intelligence.

We need to feel at one with ourselves and our surroundings.

It could be said that capturing emotion in moving image is easy, watching the way the eyes crease with laughter; the way the corners of someone’s lips curl upwards into a smirk or a smile; the way the eyeballs glisten and sparkle with sadness. But, to capture the perfect moment in which an emotion is truly felt as a still photograph requires skill, patience and a level of empathy.

The following atmospheric images capture these emotional moments and experiences of our subjects Isobelle Binns x Lucy Fletcher

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S LACK OF VARIETY AND INTEREST; NE. THERE IS NO SPONTANEITY BUT TIONS FELT: BOREDOM, TIREDNESS, RAVATION, NUMBNESS, STILLNESS. WITHIN THE ROOM. IT IS QUIET AND TMOSPHERE: CALM, STILL, PEACE, ILLNESS WITHIN HER. SHE IS JUST E MOMENT, TAKING EVERYTHING TILLNESS, PEACE, COMPOSURE, ORTABLE, A CONSTANT BATTLE, AN TROL. EMOTIONS FELT: BOREDOM, ANCE, AGGRAVATION, NUMBNESS, F HAPPINESS AND SATISFACTION. E E MOST SERENITY YET ARE OFTEN CONTENTMENT, JOY, HAPPINESS, ESPAIR. THE COMPLETE LOSS OR | 77

TION AND ROUTINE. THERE IS NO T NEED FOR CHANGE. EMOTIONS ESS, RESENTMENT, ANNOYANCE, , STILLNESS. OBJECTS: THERE IS A OM. IT IS QUIET AND CALM, WITH HERE: CALM, STILL, PEACE, QUIET, ILLNESS WITHIN HER.SHE IS JUST THE MOMENT, TAKING EVERYTHING STILLNESS, PEACE, COMPOSURE, UNCOMFORTABLE, A CONSTANT L ICT. LOSING CONTROL. EMOTIONS ESS, RESENTMENT, ANNOYANCE, , CALM CONTENTMENT. A STATE ACTION. E MOST SIMPLE ACTIONS Y YET ARE OFTEN OVERLOOKED. TMENT, JOY, HAPPINESS, PEACE, 78 |

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Photography & Styling: Isobelle Binns

LIVERPOOL JOHN MOORES UNIVERSITY IS 8TH FOR THE IMPACT OF ITS BIG DATA PUBLICATIONS, WITH 17% IN THE GLOBAL TOP 10% (WITTY REVIEW)

5TH MOST POPULAR CITY FOR OVERSEAS VISITORS

TEN YEARS ON WE HAVE THE 2ND HIGHEST RATE OF STARTUPS IN THE UK

www.visitliverpool.biz www.liverpoolvision.co.uk www.liverpool.ac.uk/media/livacuk/impacts08

OUR CITY IS HOME TO 3,500 BUSINESSES, ADDING A GROSS VALUE OF £878M AND EMPLOYING 18,906 PEOPLE

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Illustration: Megan Storey

10TH ANNIVERSARY OF ARENA AND CONVENTION CENTRE LIVERPOOL AND LIVERPOOL ONE

20TH ANNIVERSARY OF LIVERPOOL BIENNIAL

LIVERPOOL CAPITAL OF CULTURE

15TH ANNIVERSARY OF FACT BUILDING

30TH BIRTHDAY OF TATE LIVERPOOL

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DISPLAY In current society, the general consensus is that you should display yourself as somebody that is of high value and importance.

If you are overtly on display, then this must mean that you are somebody – and that that somebody is of high self-worth.

Although this representation of the best version of yourself can be difficult with the current economic and social climate – some people may not be able to buy the most expensive clothes that would provide this image. This best-version of you is not just judged by the general public, but often your future employers and peers.

Photography & Styling: Martha Weaver & Martha Hollingsworth

ON

As a generation we are all on display, and we can’t escape this matter.

Whether you are walking down the high-street or you are showing off your latest purchase on Instagram - you are putting yourself on display for a plethora of people to judge you based on your choices. But if you are confident in what you are doing, what does it matter what other people think?

Our current generation suffer with lower self-worth and self-confidence more so than any other generation, especially with the added toxicity of social media.

The relentless pressure of constantly putting yourself ‘on display’ is often too much to bear.

However, whether you chose to show your confidence through the clothes you wear, the food you eat or the places you visit, what you choose to ‘display’ should not define the judgement that will then follow you Daisy Scott

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Photography & Styling: Lyn Dizon

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MAX / Maximalist, collector or hoarder?

No matter what you call them, these are the people who like to be surrounded by the objects they love. Ignoring order and embracing pandemonium, the space in which they live is made only to be filled, a reflection of the chaotic and cluttered yet rich and beautiful life they have built for themselves.

As reaction to the influence of modernism and technology in the home, the sixties saw an affect in the establishment of maximalist theory in the home. Interiors saw an increase in the addition of fabrics and decoration in a conventional living space. The typical image of an interior of the time bringing across a vivid picture of a bright, floral and colourful living space.

As air travel became more accessible to the upper-classes, interior designers were beginning to travel abroad to seek inspiration, particularly to design-conscious countries such as Sweden and Denmark – who, themselves had already embarked on their minimalist mission. But also travelling to countries that had evocative décor such as Italy and Morocco.

Towards the end of the decade, interior design became progressively bolder and increasingly psychedelic. Unlike the decade before, the sixties see a proliferation of different decorative style emerging at the same time.

A key print which whittled its way into home is florals. Fabrics used in the home were wild and wonderful, and often influenced by the cultural revolution – one which focused on the hippie movement and psychedelia. But the floral print also had its political connotations, with the symbol of the flower often being a catalyst for the idea of peace – something that was juxtaposed through the impact of the Vietnam war.

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A key image that might reflect the impact of the flower through the sixties, is when hippies were seen handing out flowers as a sign of peace and love to police forces, and protestors shoving carnations into the guns.

As a decade, the sixties offered an escape from the harsh realities of the world, meaning that individuals often wore print to express their emotions and political thoughts.

Moulding into subcultures and movements, allowed the post-war generation to come together in the loosest ideal and gave them an alternative to the city life craze and a peaceful insight to life Ruth Donnelly x Daisy Scott

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Photography & Styling: Hollie Bradbury

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/ min If it doesn’t spark joy, throw it away.

The act of living an intentional and minimal life is a recent phenomenon, inspired by the Scandinavian lifestyle and encouraged by authors such as Marie Kondo and filmmakers, The Minimalists.

Minimalism goes beyond the idea of white walls and wooden floors. Imagine living in a space that only contains the items constantly used: a sofa, a lamp, a second hand book you’ll donate again once read, a capsule wardrobe of no more than twenty items, one pair of shoes for the day and one for the night. Minimalism isn’t a trend - it’s a lifestyle.

Post-war Britain followed the Scandinavian aesthetic to promote a new Britain with the end of austerity and a more independent society, which could celebrate art, science and technology.

The modernist structure encouraged the interiors of buildings to be open, progressive and democratic – much alike the political change of the time.

The influx of modernism in British culture integrated into the home, with the idea of modernist interiors helping to promote wellness in the home, by creating a clean, calm and clutter free space, to escape the stress from everyday life.

What appealed to British society, is that due to the general public now having a disposable income for the first time, the introduction of contemporary design was being produced to a mass market at an affordable price, following a long period of austerity.

The addition of Habitat, Ikea and Chase to the high-street allowed Scandinavian design to become noticed, although the idea behind traditional modernism might have become morphed. The aim to promote this theory of design lead to the idea of bringing more beautiful things in to your home for everyday use, promoting inclusiveness rather that exclusiveness and integrating everyday mundane objects with an unpretentious beauty.

Perhaps due to the pressures on austerity from the general public now, and the incessant need to feel inclusive within a large community, this is why modernism is coming back into our homes Isobelle Binns x Daisy Scott

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Photography: Erin Tisdale

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Photography & Styling: Hollie Bradbury

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Photography & Styling: Isobelle Binns

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“ On the eighth day God created Doncaster” Between the bustling cities of Sheffield and Leeds lies the market town of Doncaster, South Yorkshire. Referred to as ‘Donny’ by its locals, it is a place often stereotyped and overlooked; student Lucy Hayes depicts the true spirit of the town through a series of documentary and fashion photography.

It’s famed for its involvement in sports, with its racecourse, women’s football team and place on the Tour De Yorkshire route, where enthusiastic residents line the streets to cheer in unison. It’s a town awash with culture, paving the way for days out at the Doncaster Museum and Art Gallery, Aeroventure, Trolleybus Museum, Markham Grange Steam Museum and Cusworth Hall.

Cultural nights out take place at Cast and The Dome; boozy nights down Silver Street, Cleveland Street and High Street.

From McAuley Catholic High School, where “lessons were meant to be learnt but probably weren’t”, to the grandparent’s house, where the act of growing up “really took place”, the project ‘Dons of Donny’ peers between the cracks of the ordinary to find the extraordinary. It explores typical locations and personal havens - breathing a new life into the urban town Lucy Fletcher

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Photography & Styling: Lucy Hayes

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In the fashion sector, money is a hot topic. Injecting huge amounts into the economy and providing jobs for millions, it plays a pivotal role in every aspect of the industry. In this section of UN_FOLD we examine some of the key issues surrounding money in the ever-changing business of fashion. Exploring the modern fads effecting consumer behaviour, we delve into the inner workings of Hype culture, question the effectiveness of YouTuber endorsements and review the UK’s independent craft scene. As a subject very relevant to many of us, we target the recent study declaring a change to the age of which adulthood begins, giving our take on the truth behind the reports.

Finally, to tackle the often-avoided topic of social class we spoke to Dr. Rob Drummond, Senior lecturer of linguistics from Manchester Metropolitan University to discuss the impact of dialect on everyday life Foreword by Megan Storey

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Illustration: Jess Morris

ART

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Hypebeast, also known as “sneakerhead”, “sneakerholic” or “sneaker pimp”, is the name given to the modern subculture of streetwear enthusiasts and collectors.

Those involved in the movement believe the right shoe or garment defines an individual as a part of this social group, fuelling a desperate desire to get hold of the right item.

The ‘sneakerhead’ term derives back to the pre-Jordan era. In 1984, the Nike Air Jordan trainers were designed for basketball player, Michael Jordan, before being released to the public a year later to a mass of excited fans. Before this era, sneakers as everyday wear were only worn by people of poor neighbourhoods, predominantly amongst racial minorities.

Post-Jordan, the commodification of sneakers intensified, the underground subculture beginning to reach the surface and become a mainstream style.

Today, Gen Z are at the forefront of this ever-evolving subculture, using the internet and new technology as a communication tool to spread information about the latest hype news. To target the third wave of Hypebeasts, ‘hype brands’ such as Supreme, Palace and Off White rely on social media and digital projects to advertise their products. Stock deliveries, or “drops”, are unpredictable, and tend to be announced on social platforms, allowing the brands to create anticipation, excitement and desire amongst their customers. Due to most of the stock being limited edition, the re-sale value tends

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to be much higher than regular high end brands, making people even more desperate to get their hands on products at face value, immediately upon release.

Classed as pinnacles of Hypebeast culture, Rappers like Kanye West and A$AP Rocky are at the top of the fashion hierarchy and their style trickles down to the sneakerhead masses. Once it reaches those perceived as below them in this hierarchy, they become disinterested in the garment or brand, making it a fast-moving image to keep up with. Initiation into the hypebeast world can involve purchasing the latest hype items, or appearing to “understand” what is “in” by posting second hand images on social media.

This obsession with spending inordinate amounts of money to keep up with the hype is further strengthened by the crossover of streetwear and luxury brands.

The line between the two is continually becoming blurred, streetwear brands are being taken more seriously by the fashion elite and even showing at fashion week.

As a result, brands can sell a t-shirt for £200 and get away with it.

One of the main goals of hype culture is staying as high on the social hierarchy as possible. To achieve this goal, members of the movement, particularly Gen Z, are spending more than ever before and pushing this ‘subculture’ into the mainstream Jess Morris x Megan Storey

Illustrations: Jess Morris

RISE OF THE HYPEBEAST

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Photography & Styling: Dani Jeffrey

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www.visitliverpool.biz www.liverpoolvision.co.uk

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Illustration: Megan Storey

LIVERPOOL CAPITAL OF CULTURE RETAIL

LIVERPOOL IS NOW THE 5TH BEST PERFORMING RETAIL DESTINATION IN THE UK AND THE 5TH MOST POPULAR UK CITY FOR OVERSEAS AND DOMESTIC VISITORS. ONGOING SUCCESS OF LIVERPOOL ONE HAS BUCKED THE NATIONAL RETAIL DOWNTURN AND MAINTAINED A FOOTFALL OF 26 MILLION PEOPLE

£55.6 MILLION FASHION & RETAIL

INVESTMENT THE VISITOR ECONOMY, WORTH £4.3BN AND SUPPORTING OVER 51,500 JOBS, CONTINUES TO DEVELOP AS A MAJOR GROWTH SECTOR BRINGING BOTH ECONOMIC BENEFITS AND REPUTATIONAL ADVANTAGE TO THE CITY REGION

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Photography & Styling: Martha Weaver Collection: Jess Forber

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Photography: Lucy Hayes Collection: Jess Forber

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Photography & Styling: Georgina Bailey Collection: Ruth Donnelly

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Photography & Styling: Martha Hollingsworth Collection: Ruth Donnelly

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Photography & Styling: Reshma Jose

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Photography & Styling: Lauren McCambridge Collection: Luke Rogers

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we love this sneaker city

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UN_FOLD sat down with Liverpool’s No.1 deadstock independent trainer retailers, Brendan “Jockey” Wyatt and Jay Montessori from Transalpino to talk about collaborations, the Kirkdale shoe and finding that perfect pair.

Located in Liverpool, a city widely regarded as the pioneer of trainer culture, Transalpino has fast become the UK’s destination for sourcing rare trainers and shoes globally.

Established in 2005, the retailer was far ahead of its game.

This phenomenon started back in the late seventies when devoted Liverpool FC fans would travel to support their club across Europe. While on their domination of Europe, fans would spend their spare cash on trainers they had not seen before, bringing them back to the streets of Liverpool, which lead to a footwear frenzy.

Transalpino is named after the Liverpoolbased student travel agency of the same name that in the early 80s aided this cross-continent travel. A ticket from Liverpool to Oostende in Belgium would set a fan back £13, but by slyly using break fluid and an ink rubber, the destinations on the ticket could be changed to any European city of choice.

This crime that Transalpino were unknowingly enabling has had an impact on fashion and culture to this day - who knows what streetwear would be like now had there not been a group of football mad teens shopping around Europe, bringing back the likes of Forest Hills, Sergio Tachinni and Fila?

TERRACE CULTURE The city indulges itself in terrace culture.

With the quarterly football magazine, Mundial, which celebrates past and present football culture and sells out almost instantly – to LACES OUT! Trainer festival which brings together collectors and traders of box fresh, deadstock and vintage footwear to affiliate the casual sportswear movement.

The reinvention of this culture across the UK has taken many by surprise. However, what is special about the revival is that it has created a strong community, filled with people who are truly passionate about all things boxedup and ready-to-wear. Jockey explains that

we are just witnessing the beginning: “I think it is going to get bigger and better. It’s not going anywhere.” Although he goes on to say that the only way the hype can continue is if it is going to grow outwards to all cities. That is if brands start working with underground sellers and collectors, “rather than going back and forth between big names”.

“A lot of it comes down to the name, like Yeezy,” he says, talking about the collaborations that have recently dropped stating that “not all collaboration goes down so well,” but even if they don’t, “it’s the people at the top of the industry that are scratching each other’s backs.”

Due to this revolution in footwear, along comes the price tag and the ominous ‘soldout’ label. Inevitably there has been a rise in fake versions to make sure everyone is involved in the hype. Jockey explains, “when it comes to Adidas I am pretty good at spotting the fakes.” Later explaining that he has seen fakes being made in China, “there is this misconception that they all come from the same place, but they don’t – you can always spot a fake.”

Like every product-based community there is an ultimate piece that collectors and pundits pine for. In this case Jockey explains that his holy grail shoe would be the Adidas Trieste, or a pair of Adidas SL 82s, stating that he is “always on the hunt.”

He reveals that he is travelling to Asia soon to scout out the new styles to bring back to Liverpool, something which he has continued to do since he formed a contact with an equally-passionate sneakerhead who also supports Liverpool FC.

of nostalgia. “I think they are a nod towards all the kids from the area back in the 80s, who used to go abroad and come back with new trainers.”

With the history that Liverpool has with the streetwear and the footwear hype across the city it is hard to understand whether Transalpino would be successful anywhere else. Jockey explains that the store has had requests to go to other cities such as; Dublin, London, Manchester and Glasgow, but it’s never even crossed his mind. Although the store has an identity rooted in the Liverpool scene, Jockey doesn’t see the store as being “stuck” in the city.

“So many people were happy when we opened in Liverpool, they came and spoke to us about the trainers they had in the 80s – it was great.”

Jockey explains that his favourite stores across the world “are the ones that are tucked away, unknown.” This explains why Transalpino is a destination store for those that are seeking the ultimate pair. However, instead of moving the store they want to make sure that they expand their online presence, “I want to show my spirit of sourcing shoes. I don’t just sit online; I get out there.”

Jockey does not need to explain why he is passionate about footwear, or why Transalpino will continue to stay part of the Liverpool streetwear scene. He stated, “Jay and I were there at the beginning of this culture. We’ve got a history.”

Erin Tisdale x Daisy Scott

In an anecdote he states that once he came back with a pair of Japanese Athens which he sold almost immediately. To his dismay he later found out they were one of only two pairs in the world.

Talking about trainers that are unattainable and iconic we come onto the subject of the Adidas Kirkdale, which continues to stay out of stock across the internet. They still remain the only pair of trainers that have been created with inspiration coming from Liverpool.

The colour combination of the Kirkdale is Blue and White to acknowledge the part that Merseyside football fans played in the rise of the UK trainer scene. Jockey is from Kirkdale himself, so the pair provide a sense | 121

Lym Dizon x Megan Storey

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In the past, vloggers have hidden the fact that the content they’re producing is paid for. As audiences tend to be passive and can be influenced on an unconscious level, this secrecy leads to an ethical

The line between expert and vlogger is becoming increasingly blurred, with brands questioning whose opinion is more valid? However, as an increasing number of YouTubers are being appointed as brand ambassadors, the statistics speak for themselves. When reviewing the consumer behaviour of viewers after watching a video from successful YouTuber, Zoella, the brief mention of a drug store blusher led to a 40% click through rate of the product.

Due to this celeb-like status, vloggers have become the ideal avenue for brands to promote their products. Considered ‘ordinary people’ by viewers, their relatability and genuine passion enables them to influence their audience. Deemed the ‘celebrity endorsements of the future’, YouTube stars are often held as idols to their fans, many of which want to imitate their clothing and characteristics. This cult-following makes them an attractive option for brands wishing to target impressionable audiences.

Going even further than first imagined, Youtube has created a platform for brands to endorse their products in a meaningful way to new audiences.

With the ever-growing cyber-landscape, it begs the question, what’s to come?

Brands are increasingly aware of the power held by these seemingly ‘ordinary’ people, looking to collaborate whenever the opportunity arises.

Even high profile designers like Dior and Armani work closely with vloggers to endorse their products, aiming to attract audiences on a more personable level.

debate on consumer buying behaviour. However, under the new terms of YouTube, vloggers must make paid promotions, #AD apparent to their viewers, confirming the participation of a third party as it is unfair to falsely promote a product.

YouTube was created in 2005, aiming to break the technical barriers of video sharing. Branded the next step for ‘generation television’, its effect on consumer behaviour has been unimaginable.

Initially just a means of easily uploading video content, this growing platform has now transformed into a way to broadcast yourself into fame and fortune, with popular ‘YouTubers’ being just as recognisable as Oscar-winning celebrities.

#AD #AD #AD #AD #AD #AD

#AD #AD #AD #AD #AD #AD Imagery: Jess Morris

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Photography & Styling: Lyn Dizon

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The New Adolescence I am 21. A recent graduate of university, about to go back home to live with my mum. Currently my list of worries includes: getting a job, getting a mortgage, saving money, buying a house... I’m supposed to be an adult but currently feel incredibly out of my depth.

Whilst newspaper headlines proclaim that teens are having sex less, using drugs more, hacking computers and glued to their phones, a new study by The Lancet Journal has confirmed that adolescence now lasts until the age of 24.

This demographic of almost-adults is scrutinised more than ever by the media, their peers and their elders as they remain confused and unprepared for grown-up life. Less and less twenty-somethings are partaking in the traditional coming of age rituals. Like landing your first job or getting a mortgage, the milestones of adulthood are getting reached later and later in the growing up saga, if they are reached at all. We’re bombarded by media depicting millennials as Generation Hopeless and this study may explain why.

Rising house prices and the climbing levels of unemployment are playing a big role in our changing views on the age of adolescence.

Unable to get a foot on the property ladder, Generation Hopeless are left marooned in their parents’ homes, lucky to get together enough money for one month’s rent never mind a mortgage deposit. Lack of education in schools means we are financially illiterate, ill-equipped to face the bank statements, wage slips and mortgage documents of the complex adult world.

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On top of that, individuals attending university feel the levels of debt thrust heavily on their shoulders make starting a family and growing up ‘properly’ even more difficult.

Uneducated on the terms and conditions of student loans, graduates can feel suffocated by their insurmountable sums of debt, unable to progress through the conventional stages of adulthood at a normal rate.

As the definition of adulthood changes, the ‘almost-adults’ of the world deserve greater empathy and more help in dealing with seemingly adult issues. This delayed independence results in a lack of confidence and a generation financially lost, waiting longingly in adolescent limbo until 24 Megan Storey

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“ University is probably one of the only times you can truly do whatever you want and have complete creative freedom, so make use of it.”

- Erin Tisdale

“ Think outside of the box - even if you have no money, that can sometimes lead you to some of your most creative ideas.”

- Megan Storey

“ Be prepared, be motivated and be confident.”

- Nadia Mohamed

“ Don’t be afraid of trying new things, as that’s how you begin to develop your own style. Also try to remember that not everything has to be made in Photoshop or Illustrator - make physical outcomes as well as digital, it’s even more rewarding.”

- Jess Morris

“ There will come a point where you don’t feel so creative but that’s okay, it can’t be forced. Have that one thing that distracts you for an hour. This way when you come back to it, you have a fresh mind.

Don’t be afraid to play around with your style and put everything into the development of an idea.

You have to want it, try harder than you ever have before and make it yours. Only then will this be the best thing you’ve ever done.”

- Martha Weaver

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“ If you can gain as much experience through Summer or working around university at internships and placements, it will pay off and look amazing on your CV.” - Emily McMorran

“ Really make use of being in Liverpool and all the surrounding places, the building, the facilities and the tutors.”

- Dani Jeffrey

“ Use your time wisely, but make sure you get your sleep to start each day energised. It is important to retain a good work/ life balance.”

- Amelia Smith

WORDS OF WISDOM Our graduating third years share their best advice to those starting on the course this September.

“ Utilise everything available to you because you’ll miss it when it’s gone, such as all the help our technical staff give us, the access to equipment, the tutors’ personal knowledge and visiting guest speakers.”

- Carly Young

“ Always be creative and when times feel stressful never give up. Work on themes and subjects you enjoy and/or feel strongly about. And if you ever feel like things haven’t gone right, everything happens for a reason.”

- Lucy Groom

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SOUND, LAD WE INTERVIEWED DR. ROB DRUMMOND, SENIOR LECTURER IN LINGUISTICS FROM MANCHESTER METROPOLITAN UNIVERSITY ABOUT THE IMPACT THAT DIALECT CAN HAVE ON YOUR FUTURE AND THE IMMEDIATE CLASSIFICATION OF SOCIAL AND ECONOMIC CLASS THROUGH SPECIFIC ACCENTS. INTERVIEW BY CARLY YOUNG. WHAT IS YOUR OPINION ON THE UK’S NEED TO CLASSIFY PEOPLE? FOR EXAMPLE, THE SOCIAL CLASSES SUCH AS: THE MIDDLE CLASS AND WORKING CLASS. I THINK IT’S QUITE SAD THAT THIS IS STILL SUCH A BIG ISSUE WITHIN THE UK. I DO THINK THAT IT HAPPENS LESS THAN IT DID, ESPECIALLY FOR THE MAJORITY IN THE MIDDLE. BUT THE TWO EXTREMES ARE THOSE THAT ARE AT THE TOP AND BOTTOM, THEY’RE MARKED THE MOST.

DO YOU THINK THAT NEGATIVELY JUDGING PEOPLE ON THEIR SOCIAL CLASS, PARTICULARLY PEOPLE OF A LOWER INCOME, SHOULD BE TAKEN AS SERIOUSLY AS JUDGING SOMEBODIES RACE OR SEXUALITY? YES, I DO. MY INTEREST IS OF COURSE THE ROLE THAT LANGUAGE PLAYS IN THIS. BUT YES, ‘STRONGER’ ACCENTS OFTEN INDICATE A LOWER SOCIAL CLASS AND ANY KIND OF DISCRIMINATION ON THIS BASIS, SHOULD BE CHALLENGED. DO YOU THINK THAT DISLIKING THE SOUND OF NORTHERN ACCENTS IS DUE TO SIMPLY THE SOUND OF IT OR IS IT BECAUSE IT IS LINKED TO PREJUDICE OF THEIR SOCIAL CLASS? NEGATIVE JUDGMENTS OF ANY ACCENT ARE PURELY SOCIAL. THERE IS NOTHING LINGUISTICALLY BAD ABOUT ANY ACCENT. IT’S JUST THAT ACCENTS ARE ASSOCIATED WITH CERTAIN GROUPS OF PEOPLE. IF YOU ATTACK THE WAY SOMEONE SPEAKS, YOU ARE REALLY ATTACKING THE PERSON. HOWEVER, IT IS OF COURSE OK TO HAVE PREFERENCES, IN THE SAME WAY WE ALL PREFER CERTAIN TYPES OF MUSIC, COLOURS AND SOUNDS.

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WHAT WOULD YOU SAY TO PEOPLE WHO FEEL INFERIOR OR THAT THEY CANNOT SUCCEED IN THEIR CAREER DUE TO FACTORS SUCH AS UPBRINGINGS OR REGIONAL ACCENTS? THEY ARE AN EXAMPLE OF WHY WE NEED TO CHALLENGE THIS UNFAIRNESS IN SOCIETY. SHORT TERM, THEY MAY HAVE TO ADJUST THE WAY THEY SPEAK IN ORDER TO GET ON IN A CAREER, BUT IN THE LONG TERM WE NEED TO CHALLENGE THIS INEQUALITY SO THAT SUCH ADJUSTMENT IS NOT NECESSARY.

AS A SELF-DESCRIBED MIDDLE CLASS CITIZEN, HAVE YOU EVER FELT LIKE YOU NEEDED TO ‘LOWER’ TO A MORE ‘WORKING CLASS’ PERSONA? YES. WHEN I TALK TO WORKING CLASS, STRONGLY ACCENTED, LOCAL [BOLTON] PLUMBERS AND BUILDERS, I AM VERY AWARE THAT I SOUND UNCOMFORTABLY POSH, AND THEN I DO ADJUST THE WAY I SPEAK.

THROUGH YOUR RESEARCH INTO DIALECT, CAN YOU THINK OF ANY OTHER ACCENTS OTHER THAN A SOUTHERN ONE, IN WHICH PEOPLE ASSUME THAT THEY ARE WEALTHY. FOR EXAMPLE, A NORTHERN CITY? MOST ‘WEALTHY’ ACCENTS ARE SOUTHERN I THINK. EVEN POSH CHESHIRE ACCENTS ONLY SOUND POSH BECAUSE THEY ARE PERCEIVED AS LESS NORTHERN. MAYBE SOME SCOTTISH ACCENTS SUCH AS EDINBURGH CAN SOUND POSH? BUT REMEMBER, THIS IS JUST A SOCIAL INTERPRETATION - THERE IS NOTHING INTRINSICALLY POSH ABOUT ANY ACCENT, WHETHER SOUTHERN OR NORTHERN.

DO YOU THINK THAT IN THE UK, WE WILL ALWAYS NEGATIVELY JUDGE PEOPLE DEPENDING ON THEIR CLASS, ESPECIALLY BY ACCENT? HOPEFULLY NOT, AS MORE PEOPLE BECOME AWARE OF THE INHERENT INJUSTICE OF DOING SO.

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homegrown

Liverpool is a rapidly-evolving landscape of creative flare. From the newly rejuvenated Baltic Triangle to the up-and-coming Fabric District. A city immersed in the independent craft scene.

Some still see the craft trend as a cutesy, hipster economy, fuelled by grannies knitting mittens for Sunday market. This is certainly not the case. The craft and making sector has quietly built up a £3.4bn making economy, influencing everything from the fashion industry to smartphones. Craftsmen and women who often go uncelebrated for their carefully nurtured abilities and for keeping their unique crafts alive.

Although this ‘niche’ industry is often labelled cute and folksy, it is in fact a hub of intelligent collaboration and innovative design. An ecosystem of highly-skilled individuals, transforming our economy and reinjecting life back into the manufacturing industry. Their deep understanding of materials and processes means they contribute to a range of fields, making a difference to how we think about production.

As a generation hyper-aware of fast fashion and throwaway culture, artisan craftsmanship is a step in the right direction.

It’s a trend that could be responsible for exponentially changing the future of the UK manufacturing industry. As a society, are we changing our careless buying ways and opting for thoughtful curation? Do we want a relationship with the products we purchase and the makers behind them?

As a city and a nation, we have a rich heritage to draw upon as well as cultivating new talent, passionate about craft. Forget hipster economy, the artisan industry is growing exponentially, prime to play a pivotal role in the UK’s social and economic growth. If we continue to champion the movement, the way we think about purchasing could be changed for the better

Home to a number of leading educational institutes relating to craft, the UK is continually moulding fresh talent specialising in fields such as textiles, ceramics and silversmithing. As well as a plethora of homegrown makers, brought up with their craft, taught the ropes by the generations before them and creating products steeped in tradition.

Megan Storey

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Photography: Megan Storey

craft

is not

dead

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HOW DO WE MEASURE VALUE IN FASHION DESIGN

SOURCE/ THE DESIGN COUNCIL SOURCE/ BRITISH FASHION COUNCIL

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BRITISH FASHION IS IN A BETTER STATE THAN EVER BEFORE THE DIRECT VALUE OF THE FASHION INDUSTRY TO THE UK ECONOMY IS

£28 BILLION THE UK FASHION INDUSTRY SUPPORTS AN ESTIMATED

8 8 0 , 0 0 0 J O B S I N FA S H I O N A N D I S T H E LARGEST EMPLOYER OF ALL THE C R E AT I V E I N D U S T R I E S I N T H E U K .

Since 2013 UK sales of online fashion have increased by an impressive 18% to reach £12.4billion in 2015 / Fashion’s wider contribution to the economy by influencing spending in other industries is calculated as more than £22.5 billion / The forecast for the market remains strong with sales expected to reach £19 billion in the UK by 2019 / The number of industry jobs has grown by 5% per year since 2013 making growth over twice as fast as the economic average / Total annual revenue of UK’s fashion magazine industry in 2009 £410million / The womenswear clothing market is worth £27billion with a predicted growth of 23% by the year 2020. | 135

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SAVILE ROAD

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Photography & Styling: Lucy Hayes

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Photography & Styling: Isobelle Binns

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Photography & Styling: Isobelle Binns Collection: Amie Dolphin

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// OUR STUDIO CULTURE IS FOCUSED ON CREATING AN INDUSTRY ATMOSPHERE. A PROFESSIONAL AND CREATIVE ENVIRONMENT WHERE STUDENTS WILL ALWAYS BE CHALLENGED. PROJECTS OFTEN INVOLVE WORKING COLLABORATIVELY MIMICKING NDUSTRY PRACTICES. THIS FIRST HAND EXPERIENCE IS VITAL, IT HIGHLIGHTS THE EXPECTATIONS OF A COMMERCIAL WORLD, FROM MEETING CLIENT DEADLINES, PRESENTING IDEAS, AND TALKING TO SUPPLIERS, TO MANAGING OTHER ARTISTS AND DESIGNERS. CRITICALLY, THIS PROCESS BUILDS ON THE SOFT SKILLS OFTEN NOT ALWAYS SEEN IN THE TRADITIONAL TEACHING ENVIRONMENTS; TEAMWORK, COMMUNICATION, ADAPTABILITY, PROBLEM SOLVING, TIME MANAGEMENT, ATTITUDE, CONFIDENCE, LEADERSHIP, AS WELL AS BEING CREATIVE AND WORKING UNDER PRESSURE. THIS ACCELERATES THE LEARNING PROCESS AND PREPARES STUDENTS FOR THE REAL WORLD. 142 |

BA(Hons) F ashion Design and Communication

www.ljmu.ac.uk

Liverpool John Moores’ Fashion Design and Communication (BA Hons) programme is proud to present the fourth edition of UN_FOLD Magazine. We hope you find inspiration in this issue from our next generation of creatives. Fashion at Liverpool John Moores University is an established area, introduced to the Art School as early as 1936, and we are proud of our design heritage. Innovation and originality are at the heart of our course, and the city of Liverpool is a key resource for our students to grow and prosper as creative and forward thinking individuals. Following on from the European City of Culture in 2008, the city has flourished to become a key destination for fashion and the visual arts. The Art School has direct links with arts organisations such as TATE Liverpool, Biennial, and FACT. Students are able to undertake local placements in the North West, as well as working in London, Europe, and beyond. Placements over the past year have included: Bite Magazine, NME, Resurrection, The Essential Journal, IPR London, Coney’s Loft, Adornment, Archive, Silverback Creative, Graduate Fashion Week, London Fashion Week, Pretty Little Thing, BBC Merseyside, Best Dressed Secret, F Ciment Pleating Ltd, Wonderland Magazine, The National Student, Peter Pilotto, Elle Magazine, Pretty Green, Fashion East, LFA, Purple PR, Carousel PR, Aintree Racecourse, Kirsty Doyle, West End Clothing, Superdry, The Fashion Hub, British Style Collective, Liverpool Urban Hair Show, Bido Lito Magazine, tmrw magazine, Chic PR and Gigslutz.

Our fashion course is known for its vibrancy and celebration of diversity in student work. For graduates to compete in the fashion sector, they must have belief in their own style, as well as having a broad understanding of how the industry works. The two pathways – Fashion Design and Fashion Communication – complement each other and students are able to work on several collaborative projects during their study. In Fashion Design, students work from concept through to pattern cutting and final garment construction. Research is essential to innovation and we embed fashion studies to further our student’s individual interests. Holistically, this knowledge is empowering and allows our graduates to go onto work from High Street to Couture. In Fashion Communication, our students work across the syllabus which includes branding, trend, PR, marketing, editorial, photography and styling, with knowledge from location sourcing to designing strategically diverse campaigns. We have a dedicated studio environment in our purpose built and RIBA award winning John Lennon Art School, where students are able to develop and explore new technologies as well as rediscovering traditional skills. Our aim is to produce confident motivated graduates who can work as professionals and compete in a world-class arena.

WE_ARE_FASHION | 143

SAY HELLO TO OUR STUDENTS

The fashion industry is constantly evolving. Today, our graduates need to know everything about the fast paced world.

From styling, photography, brand development, and social media, to garment construction. Everything we do is about giving our students the skills to be successful in their future lives. Our ethos is to encourage work experience, internships, and new job opportunities.

P A S T “ This year has helped me discover what I enjoy and what my strengths and weaknesses are. I believe this course has give me the skills and confidence to apply and get a career in the fashion industry.”

- Hannah Mcauley

“This course has taught me so much, about fashion, myself and my own ability. It has given me the opportunity to learn new skills and expand my knowledge.”

- Jade Maule

A N D “ Studying Fashion Communication over the last three years has really helped me to not only become more confident in my own work, but develop my own style. When I began at university, I didn’t know what I wanted to do or what kind of job I wanted to end up in, but through feedback from my tutors and various projects focusing on different sectors of the creative industry, I now know my strengths and leave University a completely different person to who I was when I started.”

- Lucy Fletcher

E N T

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“ The ability to make my space in the studio my own has been invaluable - we can use the wall space to create moodboards, allowing us to see our ideas more clearly. In the past three years I’m proud of how much I’ve grown and how my designs have developed since the beginning of my first year at LJMU.” - Emily Forshaw

“ In the 3 years, we have had a wide range of guest speakers from graduates to senior fashion leaders. I enjoyed this course as it has helped to grow my personal style and taught me a lot of things that I lacked when coming on to this course. The tutors are a great support and helped to grow confidence in my work.”

- Reshma Jose

“The facilities that are open to students provide fantastic opportunities to experiment in different mediums.

The course is really broad and varied so you get to cover a variety of subjects. The course brings in top industry professionals to speak to students and have the opportunity for us to show them our work and ask them questions about their area of expertise and gain an insight into the industry.”

- Isobelle Binns

“ For once in my life, I know what I can do and what I am good at. I feel confident, proud and successful looking back at what I have achieved and how I’ve grown. This couldn’t of happened without being pushed out of my comfort zone and the continual support of my tutors.”

- Hollie Bradbury

P R E S “ The Fashion Communication course has really helped me to find my desired pathway as a curator and director using a range of different skills learnt across my 3 years at LJMU. This includes photography and fashion authorship which has really prepared me for the industry and enabled me to play on my strengths throughout projects, with the support from the entire fashion team.”

- Ryan Rogers-Hinks

“ The tutors on the course have helped me push my ideas and develop my skills further, helping me find what I’m good at. No matter what time of day it is, they’re constantly in touch, giving us more and more ideas to expand and broaden our concepts, helping you think outside the box! I’ve had the best three years at LJMU!” - Lyn Dizon

±

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UN_FOLD Magazine_VOL 04 WE MADE THIS

Acknowledgments

I would like to thank the following people for their generous support and input on our fourth edition of UN_FOLD Magazine – this wouldn’t have been possible without your hard work and dedication: Our Design students: Laura Mar Bamentos McQuirk, Emma Bebbington, Emily Boag, Tyan Borrell, Jess Carr, Sophinah Cassidy, Molly Catton, Natasha Coggill, Rhian Davies, Lucy Dixon, Amie Dolphin, Ruth Donnelly, Hollie Evans, Sian Evans, Jessica Forber, Emily Forshaw, Helena Green, Sarah Guerin, Daniel Haywood, Demi-Leigh Jacques, Shannon James, Harriet Law, Jade Maule, Hannah McAuley, Shannon McCafferty, Georgia McGee, Nadia Mohamed, Amelia Parkes, Romaana Patel, Adam Pepper, Luke Rogers, Heather Rowland, Amelia Smith, Bethan Terry, Melissa Wilkinson, Ruby Wong and Our Communication students: Georgina Bailey, Isobelle Binns, Kendall Breen, Victoria Burns, Sophie Cheetham, Hollie Bradbury, Nicola Curran, Lucy Deakin, Lyn Dizon, Laura Downey, Holly Doyle, Melissa Every, Katie Farrell, Lucy Fletcher, Lucy Groom, Lucy Hayes, Martha Hollingsworth, Lauren James, Dani Jeffrey, Reshma Jose, Helen Kearns, Alicé Macé, Lauren McCambridge, Emily Mcmorran, Lizzie Mitchell, Jess Morris, Michaela Moss, Shannon Murphy, Isobel Pownall, Ryan Rogers-Hinks, Jessi Stirrup, Megan Storey, Guneet Takhar, Erin Tisdale, Martha Weaver, Carly Young.

All the fashion team, from garment design and dissertation writing to photography and visual communication: Andrew Ibi, Kayla Owen, Margaret Woodley, Paul Robinson, Dr Lee Wright, Fiona Armstrong-Gibbs, Lesley Peacock, Jacqueline McAssey, Marc Provins, Carol Ryder, Jeanette Tunstall, Julie White, Nicole Watkinson, Guest lecturer: Sophie Benson. Technical staff: Cathy Reilly, Ann Jones, Lol Baker, James Nixon, Carlos Santos Barea, Milos Simpraga, Hannah Fray, Paul Davidson, Graham Gildea, Kevin McCormack, Maria Hardie, Nathlie Taylor.

Our models: Zoey Asemota, Sara Wolff, Laura Smith, Jason Jacobs, Michelle McCormack, Chidozie Obasi, Sienna Thomas, Chelsie Hackney, Banji Chona, Sarah Dokter, Daisy Summer, Sania Mahmood, Zoe Dowd, Zac Berger, Aaron James, Jordan Hayes, Sarah Garvey, Kate Davis, Mathew Humphreys, Indie Kelly, Elle Hannan, Aweng Chuol, Oakleigh Elizabeth Briscoe, Elliss Eyo-Thompson, Megan Bloxsome.

Our friends, and those who generously gave up their time and resources: Claire Namukolo of Urban Hair Show, Eve Betts, Josh Fletcher of Hiskind Magazine, Fashion and portrait photographer Jermaine Francis, Jane Crowther of GFSmith Papers, Brendan ‘Jockey’ Wyatt and Jay Montessori of Transalpino Store, Fashion East, Victoria & Albert Museum, Tate Liverpool, The People of Doncaster, The Makers of The North West, Liverpool’s Fabric District.

Special thanks must also go to our dedicated Fashion Editors Lucy Fletcher, Hollie Bradbury and Megan Storey, and our Guest Editor Daisy Scott.

Sorry if your name has been missed, but thank you, everyone appreciates your help and contribution.

Thank you Paul Owen Creative Director & Editor in Chief WE_ARE_FASHION & UN_FOLD Magazine

Fashion_LJMU wearefashion_lsad

www.wearefashion.co.uk www.ljmu.ac.uk

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The views expressed in UN_FOLD Magazine are those of the respective contributors and are not necessarily shared by Liverpool John Moores University or its staff. Whilst every effort has been made to ensure the accuracy of the information in the magazine, Liverpool John Moores University cannot be held responsible for any errors or omissions. All rights reserved. No parts of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publishers. First Published in the UK, by Liverpool John Moores University.

#WE ARE FASHION #WE ARE COMMUNICATORS #WE ARE DESIGNERS #WE ARE TREND SEEKERS #WE ARE RISK TAKERS #WE ARE INNOVATIVE #WE ARE AMBITIOUS #WE ARE COLLABORATIVE #WE ARE CREATIVE

Sex – Politics – Art – Money Kindly sponsored by GFSmith Colourplan 270gsm

Liverpool School of Art & Design John Lennon Art and Design Building 2 Duckinfield Street Liverpool, L3 5YD www.ljmu.ac.uk www.wearefashion.co.uk