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INSPIRED INSPIRATION , CREATIVITY, FASHION, ART, FREEDOM AND MORE

THE AMNESTY ISSUE

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THE AMNESTY ISSUE

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CONTENTS 9 PROTECT THE HUMAN 2 OUR CREDO

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27 THE FASHIONED BODY 29 THE FASHIONED BODY

2 AMNESTY INTERNATIONAL

56 NO LOGO

17 PROTECT ME

11 TAKE ACTION

36 BE INSPIRED

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24 SHOPPING

40 BE BRAVE


OUR CREDO


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todayA N

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tomorrow


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about

Inspired

our World

WE KNOW OUR READERS ARE NOT AFRAID TO VOICE THEIR OPINIONS AND ARE PROUD OF THEIR VALUES AND INDIVIDUALITY AS ARE WE. INSPIRED IS COMMITTED TO GIVE VOICE TO YOUR VALUES AND PASSIONS, CHALLENGE YOUR THINKING, INSPIRE YOUR DREAMS IN CONJUNCTION WITH AMNESTY INTERNATIONAL, INSPIRED STRIVES TO RAISE AWARENESS ON THE KEY WORLD ISSUE OF HUMAN RIGHTS AND FREEDOM. IN THIS NUMBER WE TAKE A LOOK AT AMNESTY IS AND WHAT PROTECT THE HUMAN IS ALL ABOUT. INSPIRED..…STANDING UP FOR HUMANITY TAKING ACTION TOGETHER FOR HUMAN RIGHTS


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Editor’s Letter

INSPIRED wants to be an independent art, image and fashion publication about art,

image, fashion and creativity. In creating the magazine I wanted to keep a very personal point of view and at the same time bring my personality and concerns to the surface. This issue has been Created on the Amnesty International theme of Protect the Human as an interactive platform and from a very personal and Passionate point of view. The Magazine mixes personal artwork and photography with special emphasis on Humanitarian issues and Amnesty International

INSPIRED invites you to to explore this interesting journey

in the hope that this will be ‘breathtaking’, ‘poignant’, ‘engaging’, ‘nourishing’ and ‘unruly’. These Words and the emotions are defining Inspired and we hope you will want to be part of it.

Antonella Flavia Festa


Protect the

Human Protect The Human is brought to you by human rights activists Amnesty International UK. Amnesty International is a movement of people from around the world standing up for humanity and human rights. Protect The Human is an online community for people who care about human rights. It uses the power of many to campaign for big changes

www.protectthehuman.amnesty.org.uk

Amnesty has designed this site to make it really easy to find human rights links and images from around the web and to share your finds with the community of users here.

http://youtu.be/Q1IoryUAMSs


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take Action


Actions are small things you can do to make a difference. Whether you have 1 minute or a whole day to spare, there's something for everyone. From sending an email, to signing a petition, to sharing a human rights issue with a friend; it all helps to make the world a slightly better place.

Inspired

What are actions?

ACTIONS: PRACTICAL STUFF TO DO RIGHT NOW

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U NITED AGAINST DISCRIM INSPIRING INITIATIVES May 17th is International Day against HOMOPHOBIA. In support of the Law against HOMOPHOBIA record a video clip and upload to the Facebook group ANTIOMOFOBIA or send to antiomofobia@hotmail. com. If you want to support the fight against discrimination and Spread the word. If you believe in it...PUT YOUR FACE ON IT Enjoy the list of videos on www.youtube.com/watch?v=irPK4Qh MIC4&feature=autoplay&list=ULTqEE 6yAorzA&index=20&playnext=1


MINATION

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our Balance

‘the“Osheer le!’ to you, just for having human love and

stubbornness to keep showing up.” Elizabeth Gilbert

Elizabeth Gilbert on nurturing creativity, genius, and how we ruin it. Elizabeth Gilbert muses on the impossible things we expect from artists and geniuses and shares the radical idea that, instead of the rare person "being" a genius, all of us "have" a genius. It's a funny, personal and surprisingly moving talk that inspires us to believe in our creative gifts without being immobilized by them. Fear of failure and fear of success are often the most unproductive and unfair creativity killer. She shares her views on how to gain new freedom from these fears. The author of Eat, Pray, Love, Elizabeth Gilbert has thought long and hard about some large topics. Her next fascination: genius, and how we ruin it. Listen to her talk on www.ted.com/talks/elizabeth_gilbert_on_genius.html


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Protect

Inspired

Me

Gown: stylist own Photography, Styling and make up Antonella Festa. Model Joanna Lieber


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Genuinely not leather! Beyond skin Minnie Black zigzag £159.00 Retro 70’s style wedge with t-bar straps and adjustable pewter buckle to fastenBella - zigzag print mini clutch

Amber - Turquoise raffa £168.00 The slingback construction offers a secure fit & the wedge gives you stability & height.

Stockists of vegan shoes, vegetarian shoes and vegan footwear Beyond Skin is a Brighton based ethical fashion label creating beautiful handmade ladies designer vegan shoes and boots in the most environmentally friendly manner. Vegetarian footwear is made from some of the finest, recycled fabrics and they work closely with factories to ensure reduced carbon footprint Put a guilt-free spring in your step with veggie shoes and be the change you wish to see in the world...

Bella - pink faux suede £87.00

Gorgeous, vegan glamorous shoes

Tilda - Lilac zigzag £166.00 Retro 70's style wedge with t-bar straps and adjustable pewter buckle to fasten. ♥ Wedge heel approx 11.5cm

www.beyondskin.co.uk Jay - Red & Blues faux snake £150.00 Elegant heel sandal - looks fab with a summery dress ♥ Stiletto heel - 4 inches


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Artisan Life

the Good

Fashion

Products sourced on a fairtrade basis using natural and sustainable materials. We have selected two online eco-boutique that made sustainability their credo

www.artisanlife.co.uk

Artisan Life Retail Store


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Women's rights are human rights


BODY

THE


The Fashioned body

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Inspired

Has the body become the new form of entrapment for western women? I have recently come across “The beauty myth� and re- read some chapters of the poignant book written by Naomy Wolf in the early nineties which made me reflect on how the subject remains an evergreen issue to be explored Although Women are poorly represented and objectified through their social and cultural representations, it remains to be said that any social interaction is ultimately a reflection of the relationship we have with our self. I would not deny the pleasures and choices derived through the consumption and production of the beauty and fashion industry, but the lack of diversity and inclusion in the production of these images has to be questioned. I find also alarming to encounter amongst women themselves, a diffuse inclination not only to tolerate but even condemn or disapprove of those representations that do not comply with normative ideals of beauty. Perhaps modern culture is exploitative and oppressive, classist and racist once images have become reified in our collective imaginary. Scholars like Bordo, (2003) Wolf, (1991) and Faludi (1991) were writing in the early 90’s. During the last twenty years, with the advent of the web and other media technologies, the power and reach of mass communication has multiplied exponentially. Virtually every image is modified, edited, digitally retouched and airbrushed. While the frontiers of technology get pushed further and further, so it seems to be the ideal of body. It is then not surprising that virtual outlets like facebook are becoming the preferred choice to interact with the outer world and represent ourselves. Has the beauty myth become so unattainable that the self can only be created and controlled through a safe space which is only virtual? We are now entering the second or third generation of women virtually bombarded by media messages and it has to be questioned how these messages have been passed onto our daughters and how they are being affected not only by media representations but by the choices we have made and make every day in relation to our bodies. In this sense, being a feminist today should start by changing the way women perceive themselves.


power of mi tity hitherto tham in Bart


ind over mind, in a quanwithout example.” (Bentky, 1988:58) and

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Our Brain Where Faludi (1991) and Wolf (1991) conceptualize this form of power as owned by masculinity and a more traditional feminist model of patriarchy, Bordo (1993) and Bartky (1990) see power as an anonymous structure. In this sense Bordo (1993) criticises Faludi’s approach as a misappropriation of the Foucaldian theories of power that she describes as a dynamic force not owned by the masculine, but by privileged groups and ideologies. (Bartky, 1990; Bordo, 1993; Faludi, 1991; Wolf, 1991et al.) It as been argued how the model of oppressor- oppressed of patriarchal domination could not be appropriately applied to these social contexts as women actively participate in the use and consumption of fashion and by engaging in of self disciplining activities they contribute to their own objectification. (Entwistle, 2001; Wilson, 2003) Bordo (2003) conversely explain how freedom to choose is contaminated by the social construction of identity and therefore becomes no choice at all but conforming and very often failing to attain these goals. (Bordo, 2003) As a result, the body is the Panopticon or what Bartky (1990) submits as “a new mode of obtaining


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Lessons from fashion’s free culture

O

ne of the magical side effects

of having a culture of copying is the establishment of trends. People think this is a magical thing. How does it happen? Because it’s legal [in the fashion industry] for people to copy one another.” (Johanna Blakley) Did you know that there is very little or no Copyright protection in the fashion industry? Who owns the look and who owns the design? Legislation has often gone nowhere with this because it would take a lot of

To whom does an idea, a poem or design really belong to?


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court and litigation time to even attempt to establish the boundaries in areas of creativity. But what are the cons or an industry which is copyright protection poor ? What she argues is that is in fact especially because there is very little or blurring copyright protection in this industry that designers are constantly pushed to reinvent or innovate themselves. What she concludes is that there is a very open and creative ecology of creativity. Law’s grip on film, music and software barely touches the fashion industry ... and fashion benefits in both innovation and sales, says Johanna Blakley. At TED , she talks about what all creative industries can learn from fashion’s free culture. www.ted.com/talks/johanna_blakley_lessons_ from_fashion_s_free_culture.html

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Be Creative

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Be Brave

Corset: Honour Trousers: TopShop Photography, Styling and make up Antonella Festa. Model Johanna Lieber


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How To Climb The Mountain Of Your Dreams Inspired

A) Choose the mountain you want to climb: don’t pay attention to what other people say, such as “that one’s more beautiful” or “this one’s easier”. You’ll be spending lots of energy and enthusiasm to reach your objective, so you’re the only one responsible and you should be sure of what you’re doing. B) Know how to get close to it: mountains are often seen from far off – beautiful, interesting, full of challenges. But what happens when we try to draw closer? Roads run all around them, flowers grow between you and your objective, what seemed so clear on the map is tough in real life. So try all the paths and all the tracks until eventually one day you’re standing in front of the top that you yearn to reach. C) Learn from someone who has already been up there: no matter how unique you feel, there is always someone who has had

the same dream before you and ended up leaving marks that can make your journey easier; places to hang the rope, trails, broken branches to make the walking easier. The climb is yours, so is the responsibility, but don’t forget that the experience of others can help a lot. D) When seen up close, dangers are controllable: when you begin to climb the mountain of your dreams, pay attention to the surroundings. There are cliffs, of course. There are almost imperceptible cracks in the mountain rock. There are stones so polished by storms that they have become as slippery as ice. But if you know where you are placing each footstep, you will notice the traps and how to get around them. E) The landscape changes, so enjoy it: of course, you have to have an objective in mind – to reach the top. But as you are going up, more things can be seen, and it’s


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no bother to stop now and again and enjoy the panorama around you. At every meter conquered, you can see a little further, so use this to discover things that you still had not noticed. F) Respect your body: you can only climb a mountain if you give your body the attention it deserves. You have all the time that life grants you, as long as you walk without demanding what can’t be granted. If you go too fast you will grow tired and give up half way there. If you go too slow, night will fall and you will be lost. Enjoy the scenery, take delight in the cool spring water and the fruit that nature generously offers you, but keep on walking. G) Respect your soul: don’t keep repeating “I’m going to make it”. Your soul already knows that, what it needs is to use the long journey to be able to grow, stretch along the horizon, touch the sky. An obsession does not help you at all to reach your objective, and even ends up taking the pleasure out of the climb. But pay attention: also, don’t keep saying “it’s harder than I thought”, because that will make you lose your inner strength.


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DREAM

Inspired

H) Be prepared to climb one kilometer more: the way up to the top of the mountain is always longer than you think. Don’t fool yourself, the moment will arrive when what seemed so near is still very far. But since you were prepared to go beyond, this is not really a problem. I) Be happy when you reach the top: cry, clap your hands, shout to the four winds that you did it, let the wind – the wind is always blowing up there – purify your mind, refresh your tired and sweaty feet, open your eyes, clean the dust from your heart. It feels so good, what was just a dream before, a distant vision, is now part of your life, you did it! J) Make a promise: now that you have discovered a force that you were not even aware of, tell yourself that from now on you will use this force for the rest of your days. Preferably, also promise to discover another mountain, and set off on another adventure. L) Tell your story: yes, tell your story! Give your example. Tell everyone that it’s possible, and other people will then have the courage to face their own mountains. by Paulo Coelho


FREEDOM


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DONATE www.amnesty.org.uk


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‘The greatest challenge to women’s rights and the elimination of discriminatory laws and harmful practices comes from the doctrine of cultural relativism’ UN Special Rapporteur on Violence Against Women


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Women's rights are human rights


No

Logo Big corporations as much as Branding and marketing are often associated to sources of profound cultural changes in modern society, consumption and lifestyle but also issues of inequality and sweat labour perpetuated by one overarching brand under which we consume. In her book “no logo” Naomi Klein describes the “real goal” of global corporations as the “divestment of the world of things”. (Klein, 2000, p.4) Discuss with reference to branding, marketing and consumption and sweated labour. Naomi Klein (2000) in her highly influential book provides an insight into great corporations and the dynamics of Branding and marketing as sources of profound cultural changes in modern society, consumption and lifestyle but also issues of inequality and sweat labour perpetuated by one overarching brand under which we consume. Contemporary debates around branding, mass production along with questions of production and consumptions will be here


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discussed as an arena for enjoyment and par-

The increasing of strategic focus onto

ticipation but also guilt and exploitation to

advertising as the core media to com-

understand the social structure they support

municate corporate meaning, becomes

and how these are negotiated in relation to

the most conspicuous part of an image

more contemporary issues of the last decade.

making, need-creating industry rotating

Klein’s (2000) approach in discussing the

around image and no longer commodi-

divestment of the world of things is thought-

ties. However, the need to free capital

fully argued as being strictly interlinked to

from production to concentrate into

the boom of the branding concept in the

marketing and corporate image has led to

west and the progressive outsourcing of

a race to purging assets and outsourcing

manufacturing and relocation of labour to

of the key manufacturing processes across

offshore of the late 80’.

every sector to developing countries where

Big corporations have progressively

labour laws are somehow blurred if not

morphed into hollow brokers that brand

inexistent, salaries extremely inexpensive,

goods bought and produced elsewhere to

and work conditions poor. What the legacy

focus on the profits winning concept that

of the 80’s branding and outsourcing phe-

customers buy brands and not just products.

nomena has left to the western world is the


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belief that systematic reduction in ownership and the focus on creating images and sell concepts, lifestyle and dreams rather than just goods are the perfect recipe to stay competitive. (Klein, 2000) While It might be argued that the lavish spending in advertising of the Nineties as much as the 400% mark up might be memories of the past, this might not be the case for the Nike model and the offshore manufacturing standard. Advertising, sponsorship and marketing remain a rewarding strategy still growing trough the new millennium while production remains delegated to a complex web of subcontractors and offshore sites. Globalization, mass production and economic recessions have produced profound changes in the western culture and social and economic influences have unveiled perhaps the birth of a new consumer driven, but also more cynical consumer. Consumers and women especially, as the historically preferred target of global marketing and branding activities have bought into the phenomenon of a society that breeds freedom and identity in terms of consumption. The production of consumption trough Branding and marketing reveals that vir-

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tually no private or public space is left untouched by the adman and shopping as a leisure activity of its own, not satisfying any basic need is a cultural trend produced by careful, continuous and targeted advertising. The voracious need to shop and the growing demand for goods witnessed in the 90’s is a multifaceted arena where complex discourses of status, class and identity come into play and lead to question what brands mean to consumers from a psychological and anthropological perspective and why these have evolved into such a core value for corporations. It is to be questioned if concept that manufacturers produce goods but customers buy brands is this still actual in view of the recent economic recession of the late Noughties particularly when global media have recurrently shed light onto the poor working conditions of offshored manufacturing and realities of sweated and child labour. Hit hard by recessions of the eighties and now again in the Noughties, the war to price slashing has certainly witnessed moment of crises for Brands leaving companies in a rising anxiety caused by dramatics shifts in consumer trends. However, As Klein (2000) so arguably


argues time proved that there was never a

product by branding cease having its

brand crisis but only “brands that had crisis

weight in crisis periods but the promise for

of confidence” (Klein, 21:2000) and the com-

freedom and lifestyle remain a strong con-

panies that survived the economic down-

cept even during the worse cases of “brand

turns were those that were “branded to the

blindness” prompted by recession.

bone”. (Klein, 21:2000)

The temporary backlash to Great Corpora-

Image and branding are pivotal to the

tion and the legacy of “Malboro Friday”

image-creating marketplace because they

have only created a race to price-cutting

ascribe value to the object bonding into

and bargain seeking customers that exacer-

more complex realities of aspirational sta-

bated the research for cheaper manufactur-

tus, escapism and fulfilment of unanswered

ing but proved that the decline of brand-

needs and anxieties.

ing was and is far from being proclaimed.

What is critical to the critique of brand-

(Klein, 21:2000)

ing is the concept that selling a product

Sign value and prestige ascribed to the

will fulfil a need, but selling a lifestyle is a


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promise land that decades of advertising have somehow morphed into the illusion of happiness “exploit and prey on the weakness and insecurities that are perhaps within us all�. (Nelson, 2010:3) Ultimately what concept and lifestyle stores leverage in order to attract and retain customers iss the symbolic value ascribed to objects and the role it plays in our relationship to consumption. The I buy therefore I am jingle is a mantra

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sues of production. (Debord, 1967;Marx, 1867;Bordo,2003 Klein, 2003 et al.) While consumers are tendentially shifting towards a revaluation of what constitutes value by putting more significance on experience rather than material good, escapism and other complex factors elicit intellectual distancing from the obscure and unfair practices of sweated produc-

that permeates every aspect of our life from

tion.

the earliest stages of our life. It is somehow

demand goods characterising sectors

questionable how after decades of natural and economic disasters, public denounce and consumer confidence decline it might still possible to conceive branding as isolated from is-

The voracity with which consumers

like fast fashion as the largest and fastest changing industry in the world, has left consumers with the burden of choice between ethical desertion and guilty consumption


It is also true that the globalization of brands

On the other hand this almost as the “ado-

and phenomenon of Diffusion ranges and low

lescence� of women buying power, emerges

cost fashion goods in the late 90’s and 21th

from centuries of deprivation and exclu-

century assumed new meaning in the last de-

sion from fashion consumption once only

cade.

strictly territory of the more affluent class-

The rise of the high street chains and low cost

es.

garments produced by manufacturers has also

Class distinction in western culture how-

acted somehow as a social leveller by granting

ever, is always certainly far from being a

access to less affluent classes.

memory of the past as the person shopping

Fashion became fast and also arguably demo-

or buying in Primark might share the same

cratic and chains like Primark, while exploit-

taste but will continue to have a different

ing third world countries labour, made possi-

Status awareness from the person shopping

ble to any woman to gain access to mainstream

in Gucci.

fashion and the associated pleasures of con-

This contrived democratization and the

sumption. Fast fashion has in this way almost

purging of corporate material goods and

acted as a social leveller by blurring - at least

employees have not come without any

superficially, the boundaries of class distinc-

cost and along with other forms of social

tion.

oppression broadly analysed by cultural

Access to consumption becomes in this con-

and feminist studies, have partly shifted

text a marker for social identity but also piv-

realities of social inequality and issues of

otal in the affirmation of women as consumers

discriminations and exploitation from the

and their associated buying power.

west, to offshore sites. Our right to shop in


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order to affirm our identities and reassure

ed to produce one overarchingInspired brand under

our status anxieties has promoted sweated

which we consume to let us buy into the

labour as an institutionalized practice, a

fabricated gratifications that endorse pos-

form of guilty trade within democracy in an

sessions as a sign of accomplishment and a

industry led by exploitment

marker for social status.

Brands are spectacles mediating one’s rela-

In this context brands become a recurrent

tionship with the self and other people in

fantasy revolving around inanimate objects

society, what they represent and their signifi-

that communicate specific discourses of

cance denote one’s cultural capital but also a

identity, body, gender and status and become

sign of class alienation, and cultural homog-

central to maintenance and communication

enization. (Debord, 1967;Marx, 1867;Bordo,

of the social self (Debord, 1967; Bourdieu,

2003 Klein, 2003 et al.)

1984;Bordo, 2003 Hennessey, 2000; Marx,

While poverty, inequality and decent wages

1867;et al.)

are far from being banned from western

If Consumption is a process of identifying

societies, where women still account for the

oneself with the object of desire for what it

majority of the world labour, much of which

represents and not its practical use, it re-

is still rendered invisible in a capitalistic,

mains to be questioned in a society where

commodity value based world, the phenom-

the majority of our goods is produced in

enon of branding and fast fashion are an in-

conditions of extreme poverty and exploi-

dicator of shifting cultural realities that have

tation what kind of value, from an ethical

shaped individuals and forged new trends of

perspective is being added to these objects

social distance and detachment.

through design or labour. Therefore if the

This mass consumption phenomenon is

things we consume play a big part in creat-

almost a “global hallucination” of identities

ing and communicating our lifestyles, mak-

marked by possession and symptomatic of

ing ethical choices about what and where we

constant, targeted marketing and intrusive

choose to buy and with what consequences

branding. This need for goods that Marx’s

should not escape anyone conscience.

(1867), remarkably described as commod-

Some might argue that the constant research

ity fetishism is the belief that value is trans-

for cheap manufacturing are a consequence

ferred to the commodity.

of discourses of power and consumption and

The Nike, Starbucks, Coca Cola and Gap

is a positive and necessary step in step in the

concept and lifestyle brands have contribut-

economic evolution of developing countries and an economic accelerator for progress


We are somehow entering new phases of branding where brand and corporations are expected to make the right choices making ethical status of brands a core component of mainstream culture. However the desire to make the right choices is often again being commodified by morphing ethical consumption into an expression of individuals’ credentials and ethical brands are worn as a badge of honour and a free ticket to disavow guilt free consumption. . (Krugman, 1997) The eco or organic t-shirt advertised on the American Apparel site as Made in Downtown LA through Vertically Integrated Manufacturing not only is somehow a form of class distinction and a marketing fad showing the fashionable faces of eco-chic consumer icon culture but also feeds the same insecurities and gratifications that concept Brands have always endorsed. Shopping for echo goods and wearing them, as a badge of honour, becomes a new form of fetish capitalism where ones value is shifted on to the goods. While it is evident that sustainable production and consumption is an ever-growing issue, consumer’s reaction to sweated labour and its reality of subordination and inequality remains somehow ambivalent and more shifting towards expectation to indulge in practices of consumer gratification while delegating to corporations this responsibility.

Ethical responsibilities and the reawakening from a decade of fear and austerity, natural, economic disasters and wars have changed lifestyles created cultural shift so deep and strong within society with an important impact on consumer conscience but it seems uncertain that consumer culture will ever embrace a puritanism stance in favour of a more ethical status because of the multiple ideology and sociological discourses coming into play along with a greater desire for escapism both produced and commodified by materialistic culture and mass media. While consumers have built a certain extent of immunity from capitalistic addiction, the desire to consume is a sign of a bigger social dysfunction where objects become the surrogate for core values and a diversion from a deeper status of lack, The


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quick and superficial fix captured in Krueger’s (2007)photography is emblematic of our behaviour resembling more a form of induced addiction and social delusion rather than gratification. (Bordo, 2003; Henessy, 2000;McRobbie, 1997) Consumers’ memories are bleak and want to be able “to pursue happiness on the terms of the culture they live in ” and while they want to be reassured that they are not deprived of agency “to go against this normalizing directive is to truly go against our culture” (Bordo, 2003: 299)

Antonella Flavia Festa Photography, Styling and Make up Antonella Festa. Collages and Artwork: Antonella Festa Articles and Essays : Antonella Festa

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Women's rights are human rights Inspired

'As long as girls and women are valued less, fed less, fed last, overworked, underpaid, not schooled and subjected to violence in and out of their homes - the potential of the human family to create a peaceful, prosperous world will not be realised.'

Hillary Clinton,UN Fourth World Conference on Women, Beijing 1995


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www.antonellafesta.webs.com

Photography, Artwork and Articles by Antonella Festa

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INSPIRED ...manual for creativity