PHANTASMAGORIA - Sophie Corbett - Publication Research 1 by camillelemoine

an androgynous utopia secondary research product one

phantasmagoria

1.0

contents

5: the Manifesto. 6-9: The concept. 10-13: Secondary researchbooks and articles. 14-19: PUBLICATION INSPIRATION. 20-25: GRAPHICS AND TYPOGRAOHY INSPIRATION. 26-29: graphic experimentation.

30-43 mock-up. 44-57: designer inspiration. 58-65: stylists. 66-69: other inFluencers. 70-75 model team.

76-103 narratives and shoot concepts.

contents

104-105 references.

106: qr code.

p h a n t a s m a g o r i a noun a sequence of real or imaginary images like seen in a dream.

Sophie Corbett Fashion Communications Publication Research Document Heriot Watt University

manifesto 07/12/20 1) because every human being deserves to be positively represented. 2) because in order to be seen, heard and hopefully accepted, we must PERVADE all media platforms. 3) becAUse i aim to encourage and to be encouraged by others to feel comfortable to fully express ones self. 4) because we will not falter under societal expectations of who we can and cannot be. 5) because the more representation we receive, the more likely we are to be understood. 6) because gender should not have the power to restrict the lives of human beings or prevent life being lived to the fullest as a result of assigned anatomy. 7) because gendered sterotypes and expectations were formed simply to quench the thirst for capitalisation and to push favouring reproduction and work over authentic pleasure. i believe pleasure should be at the forefront once more. 8) because media, whether it be magazines, music or motion picture, are historical references. hOWEVER, CURRENTLY THESE REFERENCES ARE UNREPRESENTATIVE OF EVERYONE IN SOCIETY, WHICH IS SOMETHING THAT MUST BE CHANGED NOW. 9) BECAUSE WE MUST USE OUR CREATIVITY TO TACKLE THE LACK OF SEXUAL HETEROGENEITY DEMONSTRATED WITHIN THE MEDIA. 10) becaiuse i believe that a world where all individuals are accepted should no longer be seen as a fantastical utopia, but as a potential reality.

androgyny will revoke the concept of the gender binary 06.

THE CONCEPT

narrative

The gender binary is a concept which has always been present in life as we know it, segregating society into men and women with various gendered roles to which we are expected to conform. However, this concept has also always been up for interpretation,

What would a world look like if the gender binary and gender expectations had never existed in the FIrst place? hOW WOULD HUMANS LOOK AND INTERACT IN THE PRESENT IF THIS NOTION OF ASSIGNED BEHAVIOURS AND CHARACTERISTICS, based on gender, HAD CEASED TO EXIST? WITH THE TERM “ANDROGYNY” BECOMING INCREASINGLY understood and accepted within current society, this seemingly unrealistic and fantastical concept could slowly become a reality.

In my publication, i will explore through a creative lense what a gender non-conforming world may have looked like now and into the future. Taking inspiration from those throughout history who took it upon themselves to challenge the regimented expectations of gender, and to demonstrate to those without the conFidence to do it yet themselves that thier feelings are valid and shared. The publication will be a visualisation of how i imagine this utopian world - without stereotypes and societal expectations - would appear in the modern world we currently live in, taking into consideration modern technology and contemporary fashion.

“The Gender Binary cannot really be broken because the binary has never really been whole”. - Sarah Geffen.

NON-FICTIONAL BOOK BY SASHA GEFFEN “How Popn Music Broke the binary” To gather research regarding where androgyny originated and how it was expressed throguhout history, i turned to this book by sarah geffen which highlighted music as a form of expression that acknowledged the existence of genders beyond the binary since before pop music even existed. she shares the stories of people throughout history who have had a cultural impact on music and adnrogyny as we know it today, such as Gladys bentley, Sister ROsetta Tharpe and alessandro Moreschi of the sistine castrato.All of whom had androgynous qualities which allowed them to break the gendered stigmas society imposed on them. Geffen identifes the gender binary as a societal and political concept which was fabricated to assign various human activities to two differing groups, suich as “who can get pregnant and who can’t, who should have power and who shouldnt”. regardless of this, throughout history, there have been individuals doing what they can to prevent cis men and women from extinguiushing their existence. taking inspiration from such individuals, through my project, i will show an alternate reality where their identities and sexuality would have been naturally accepted by all, where gender and sexuality were not seen as a “matter of opinion” within society.

SECONDARY RESEARCH

GLITTER UP THE DARK:

the topic i have chosen to study through my honours project is relevant within the fashion industry - as well as society in general - as we are alaways striving for increased diversity and social recognition. as the new generation of designers and creatives, it is our duty to drive this course of positive change, in a way we are the red blood cells of the fashion world, eager to repair the Flaws within it and heal the damage it has caused for many. to do so, we must understand why these biases exist in the first place and then challenge them.

“Dismantling racism, sexism and all other barries to inclusivity”. This notion is vaguely discussed within caryn Franklin’s blog, “franklin on fashion”, and then further developed within her interview with psychologist richard crisp. in this, they discuss the “challenge of diversity” in terms of racism, however they also recognise the issue of sexism within the industry. and question how the race and gender bias can be effectively challenged when the teams working within the industry fail to include -

“Race and gender bias become firmly entrenched when they are not challenged.”

members of varying identities. Professor crisp highlghts that exposure to diversity exercises what he calls the “innovation muscle”, which in turn makes the brain have a broader perspective of how the world should look. With this, “social perspectives, creativity and opportunities for innovation” are simultaneously heightneed. This is where we come in, by engaging in topics such as this and visually demonstrating an alternative to the world we live in and see now, we will exercise the brain to become accepting of diversity.

FIXING FASHION

Exercising the innovation muscle through increased diversity.

typography publication inspiration

graphics

in this chapter i will explore inspirations in regard to the overall design of my publication, this includes researching current contemporary publications that i enjoy, graphic design practitioners and typography/ fonts.

publication development

publication design.

publication inspiratio

Beauty Papers Beauty Papers in always at the forefront of innovative photography and concept ideation when it comes to styling. Theur imagery is always very off-the=cuff and stands out amongst other popular publications. They often feature celebrities of the moment and portray them in an unusual manner which sets them apart from other communicators. I enjoy the simplicity of their graphic design and content layout, as this allows for the focus to be on the subject and the photography. The imagery should speak for itself, which is something i aim to achieve in my own publication.

Dazed Beauty Like Beauty Papers, Dazed Beauty always covers contemporary topics and follows relvant inspising individuals who are prominent in today’s society and driving change. I look to Dazed Beauty when I am in search of information on niche contemporary issues and conversations, while also feelijng inspired by their unique use of typeface and graphics. The publiucation is altogether well-rounded, and includes a good mix of visually stimulating imagery/ photography, insightful conversation topics as well as exceptional graphic awareness. I strive to achieve this success in my own publication.

Antidote Antidote is a French publication that enticed me through its strong use of contemporary and unique fashion imagery. Thisis where i found some of the photographers which inspire me as they were currated within this publication, all flowing cohesively together. Antidote is where i F first gained inspiration in terms of typeface, as i found theit cover typography bold yet simplistic, which is something that I aim to achieve myself. I also particullarly enjoy the paper selection of this printed publication, the texture is almost soft to the touch with a warmy creamy hue which adds to the overall outcome of the printed imagery.

King Kong King Kong has always struck me due to their use of incomparable use of fashion imagery and styling. Those that they incorporate have always inspired b=me to be more daring and to push my creativity in terms of image creation. They also have differing variations of their publication logo for every issue, as well as multiple cover images to choose from, making their print appealing to any individual coffee table.

Oyster I enjoy the creative layouts Oyster applies to it’s issues, making interviews and large areas of text more stimulating to read. While it is not a magazine i would pick up often to skim through for visual enjoyment, I find that their covers are always eye catching and differ to other publications which focus on similar stories.

Summary: Overall, i have concluded that the publications that persoanlly interest me are those that are cutting edge in terms of photography, typeface and general content. The imagery iI have selected to summaries each publication features some form of oddity, wjether it be the model used, the styling or the typography. Therefore, my own publication should embody this .

GAMA PORTRAYS A SIMILAR SCI-FI AESTHETIC TO CASTRATO BUT IN A MORE SUBLTE MANNER WHICH I ENJOY. HER COLOUR PALETTE IS AT TIMES MORE MUTED AND SOFT, WHICH CONTRASTS PLEASINGLY WITH THE BOLD TYPOGRAPHY AND GRAPHICS SHE PAIRS THIS WITH. HER TYPOGRAPHY HAS AN AMBIENT HUE AROUND IT, WHICH IS SOMETHING I AM KEEN TO EXPERIEMENT WITH IN MY OWN GRAPHICS TO AGAIN ADD TO THE FUTURISTIC APPROACH I AM AIMING FOR.

ana GAMA gama ANA

I WAS DRAWN TO THE WORK OF ANA GAMADUE TO HER FANTASTICAL TYPEFACE CHOICES AND COLOUR PALETTES. LIKE CASTRO, SHE USES CONTEMPORARY TYPOGRAPHY COMBINED WITH MODERN GRAPHICS/ IMAGERY TO CREATE VISUALLY STIMULATING AND HYPNOPTIC DESIGNS. I WAS ABLE TO COLLECT SIMILAR TYPEFACES,, WHICH WILL BE USED THROUGHOUT THE PUBLICATION AND WITHIN MY GRAPHICS.

TYPOGRAPHY

INSPIRATION

GRAPHIC INSPIRATION

jonathan CASTRO castro JONATHAN

Seeking inspiration for my graphic design elements, i came across the work of jonathan castro. I was particullarly inspired by the utopian colour palettes and the SCI-FI AESTHETIC HE APPLIES TO HIS DESIGNS. I ALSO ENJOY THE TEXTURAL QUALITIES HE HAS ACHIEVED.. A similar style coULD be CREATED using Adobe software, however i would not be against the idea of creating visuals by hand and adapting these digitally to bring texture and colour to my OWN graphics. Imagery like this would be appropriate for my publication as i am aiming to achiveve a futuristic aesthetic. I COULD APPLY THESE TECHNIQUES/ STYLES TO MY MASH-UPS WHEN VISUALLY PLANNING MY SHOOTS. I ALSO PLAN TO APPLY A SIMILAR COLOUR SCHEME TO THE IMAGES SHOWN THROUGHOUT MY PUBLICATION.

i have been inspired by this ideaology in terms of how i use human textures to enhance my graphics, further emphasising that underneath we are all made of the same materials and textures regardless of our assigned genders. in doing so, i will achieve the desired eerie and futuristic aesthetic i am aiming for.

@makeupbrutalism

“Maekup artist” eszter Magyar uses unconventional materials and objects to create looks that don’t conform to society’s ideals of beauty. she uses her face as a 3d structure to create “conceptual worlds” using discarded objects or utilising photoshop to form otherworldly imagery.

@makeupbrutalism

“did you ever think about how weird it is that we adore texture when it comes to art, or specifically makeup, but we are uncomfortable with our own human shapes and textures?”

TEXTURAL

INSPIRATION

experimental graphics.

Taking inspiration from the previously explored practitoners, I have created some of my own imagery using secondary sources to experiment with methods I may apply to my Final publication. For this piece, i wanted to explore textures and experiment with an eerie alien-like aesthetic that i wish to achieve through my graphics and photography. i layered textural images of areas of the body, such as the tongue and eyes, inspired by the techniques demonstrated within the work of jonathan carlo and Eszter magyar. the result is contemporary and unsettling yet portrays awareness of stong fashion imagery.

putting my own spin on the typography style of ana gama, i selected a font that is contemporary and bold and then adapted this to create a more visually stimulating area of text. I again used human textures, this time cells and blood, to experiment further with the use of texture within a standard portraiture image. i also like the sense of Fluidity created through my editing of the text, which relates to my topic exploring gender Fluidity. Like the first cover of dazed beauty shown previously, i enjoy the grotesque aesthetic adopted and hope to experiment with this myself to create a publication which does not conform to societal views on what beauty should look like. this will be further developed through my model selection later in my project.

experimentation with typography and texture for front covers.

publication development

mock - up Taking inspiration from magazines like antidote and neauty papers, i wanted to experiment with interesting typography as the focal point of the front cover, combined with simple portraiture photography for a clean and sleek Fiirst page. I added a grainy texture over the entire page to give the illusion of how my paper choice may affect the image. Like antidote magazine, i would prefer to use a paper which is matte with a slightly rough exterior,, as i feel it adds appealing tactility while Flicking through the pages, which is satisfying and keeps reader engagement. .however, to avoid spoon-feeding the reader, i may consider changing the title of the publication as it is too obvious in relation to my theme.

front cover mock-up

Layout experimentation: i am enjoying a more simplistic layout for the content of my publication and allowing the imagery to speak for itself, i like the combination of striking imagery with bold, yet simple fonts/ typography.

FUCKING

YOUNG! 02.

“The gender binary cannot really be broken because the gender binary has never really been whole.” 04.

within my publication, i do also wish to include elements of fashion writing in the form of either interviews of short pieces. i want the areas of text to be clean and crisp, the layout and style has been insoired, again, by antidote magazine, who use bold typography in areas with blocks of text kept well structured.

interview. 01

In New York City in 1999, I heard a talk in which Riki Anne Wilchins (self-styled ‘transexual menace’, and described in the Gender Variance Who’s Who as ‘one of the iconic transgender persons of the 1990s’) declared that feminists had no theory of gender. I thought: ‘what is she talking about? Surely feminists invented the concept of gender!’ Fast forward ten years to 2009, when I went to a bookfair in Edinburgh to speak about The Trouble & Strife Reader, a collection of writing from a feminist magazine I’d been involved with since the 1980s. Afterwards, two young women came up to chat. Interesting book, they said, but why is there nothing in it about gender? From my perspective the book was all about gender—by which I meant, to use Gayle Rubin’s 1975 formulation, ‘the socially-imposed division of the sexes’. Feminists of my generation understood gender as part of the apparatus of patriarchy: a social system, built on the biological foundation of human sexual dimorphism, which allocated different roles, rights and responsibilities to male and female humans. But by 2009 I knew this was no longer what ‘gender’ meant to everyone. To the young women at the bookfair, ‘gender’ meant a form of identity, located in and asserted by individuals rather than imposed on them from outside. It wasn’t just distinct from sex, it had no necessary connection to sex. And it wasn’t a binary division: there were many genders, not just two. I thought: ‘I remember when gender theory threatened the teachings of the Church by suggesting that women’s traditional roles were not ordained by God and nature’. I also thought: ‘OK, this is the tipping point’. I’m not going to lament the fact that ‘gender’ means different things to different people (though clearly it does, and one consequence is a lot of arguing and talking at cross-purposes). Like everything else in language, word-meaning varies and changes: always has, always will. The question I’m interested in is how we got to where we are. Where did the two competing senses of ‘gender’ come from? When did they start to be used, by whom and in what contexts?

{TEXT USED IS TO SHOW LAYOUT ONLY AND WAS NOT WRITTEN BY MYSELF, THE WRITER HAS BEEN CITED IN MY REFERENCES.|

05.

I would also like to include pages of graphics and typography, which in some way tie in with the general theme and aesthetic. this will allow me to cover all bases throughout the publication, from photography to fashion wirting and graphic design., this will add to the aesthetic i will continue throughout.

the binary restriction

08.

GENDERED RECOGNITION in both antidote and king kong, i have enjoyed their use of bold contrasting colours in terms of typography and graphics. to make areas of text more engaging to readers, i plan to use a lot of colour to break up the pages and to highlight areas of importance.

christina coral.

09.

RELATIONSHIP EXPECTATIONS

10.

continued... In New York City in 1999, I heard a talk in which Riki Anne Wilchins (self-styled ‘transexual menace’, and described in the Gender Variance Who’s Who as ‘one of the iconic transgender persons of the 1990s’) declared that feminists had no theory of gender. I thought: ‘what is she talking about? Surely feminists invented the concept of gender!’ Fast forward ten years to 2009, when I went to a bookfair in Edinburgh to speak about The Trouble & Strife Reader, a collection of writing from a feminist magazine I’d been involved with since the 1980s. Afterwards, two young women came up to chat. Interesting book, they said, but why is there nothing in it about gender? From my perspective the book was all about gender—by which I meant, to use Gayle Rubin’s 1975 formulation, ‘the socially-imposed division of the sexes’. Feminists of my generation understood gender as part of the apparatus of patriarchy: a social system, built on the biological foundation of human sexual dimorphism, which allocated different roles, rights and responsibilities to male and female humans. But by 2009 I knew this was no longer what ‘gender’ meant to everyone. To the young women at the bookfair, ‘gender’ meant a form of identity, located in and asserted by individuals rather than imposed on them from outside. It wasn’t just distinct from sex, it had no necessary connection to sex. And it wasn’t a binary division: there were many genders, not just two. I thought: ‘I remember when gender theory threatened the teachings of the Church by suggesting that women’s traditional roles were not ordained by God and nature’. I also thought: ‘OK, this is the tipping point’. I’m not going to lament the fact that ‘gender’ means different things to different people (though clearly it does, and one consequence is a lot of arguing and talking at cross-purposes). Like everything else in language, word-meaning varies and changes: always has, always will. The question I’m interested in is how we got to where we are. Where did the two competing senses of ‘gender’ come from? When did they start to be used, by whom and in what contexts?

11.

to continue with the eerie theme established within the front cover, i plan to use very dark imagery with contemporary styling like that of the s/s19 campaign for dilara Findikoglu. looking at this image, you wouldn’t question the gender of the individual as the styling appears natural and genderless regardless of what society may stereotype as feminine or masculine.

ALL- INCLUSIVE BRIDAL ALL- INCLUSIVE BRIDAL

ALL- INCLUSIVE BRIDAL ALL- INCLUSIVE BRIDAL 13.

practitioner research in this chapter i have collated a selection of various practitioners that have inspired me in differring ways. this includes designers, stylists and

stylists

inFluencers

designers

The work of Findikoglu has always involved an element of surprise, and you can expect the unexpected. I was First drawn to her designs after seeing her spring 2020 catwalk show where she sent models down the runway looking otherwordly, wearing red eye contacts and pale makeup as though they were a mythical creature. This brought me to her earlier collections such as the “bridal collection” she created in 2018, titled “die for love”. The collection ditched the concept of traditional virgin white and instead celebrated all kinds of love, from gay to lesbian and even individual self-love. i enjoy the Flamboyancy of styling i n the images (styled by ellie grace cumming and shot by casper sejerson) AND THE FACT THAT THE INDIVIDUALS ARE NOT CONFORMING TO SOCIETAL EXPECTATIONS OF LOVE AND MARRIAGE. I COULD CONSIDER ADAPTING SUCH NARRATIVES INTO A GENDERLESS ALTERNATIVE STATE THROUGH MY OWN STYLING AND MODEL SELECTION.

designer 1.0

Dilara Findikoglu

THE BRIDE AND THE GROOM?

ALL- INCLUSIVE BRIDAL

s/s19 dilara Findikoglu

designer 2.0

harris reed

reed explores the concept of gender by designing garments which are designed neither just for men or women, but for non-binary. reed himself is gender Fluid and highlights that being gender Fluid allows him to be “whatever he wants to be”. i particullarly enjoy the “victoriana” aesthetic of reed’s work, which reflects upon a time when ruffles and delicate fabrics were not stereotypically assigned to females. this is something i will explore further in my portfolio. in my publication i want to elevate the concept of fantasy and interpret this in realistoc settings, to emphasise that increased gender Fluidity is not an unrealistic future and that we as society cannot regulate how we live based on assigned anatomy. this glamour is evident in the Flambouyant pieces designed by reed, which encapsulate historical and futuristic fashion.

the work of charles jeffrey first caught my eye when his spring 2018 collection emerged.. he works less as a singular designer and has formed a community of creatives to evolve the loverboy label, which celebrates the lgbtq+ community through its bold and cheerful prints and diverse model inclusion. i love how his club-kid aesthetic is evident in his contemporary designs. i was partcullarly fascinated with his spring 2021collection, photographed by tim walker. it was a celebration of all bodies, genders and identities through both styling and photography. there is an element of retro within the garments, a style that i enjoy delving into in my own styling myself. i have also taken note on how the campaign was photographed by walker, the angles and lense have allowed for the bodies to become distorted and exaggerated in varying ways, which is a phtography style that i had planned to explore through my own shoots.

designer 3.0

charles jeffrey

photography by tim walker.

danielle van camp

stylists.

danielle van camp is a contrubuting fashion editor as pop magazine, working with clients such as dior, kenzo and miu miu. van camp describes her work as focussing not so much on current trends, but more on “art and visual expression.” i was inspired by her particular aesthetic which is evident throughout the mass of work presented in her online portfolio. there is an element of fantasy combined with androgynous styling and sexually driven narrative evident within her imagery. all of which i plan to adopt within my own work through the expression of my chosen theme.

YANN WEBBER

STYLIST: ANTIDOTE MAGAZINE

webber was one of the First stylists that i ever came across that particullarly inspired me with his work being a prominent feature within antidote magazine. i enjoy the alien-like quality of his imahery and styling as well as the utilisation of unconventional every-day objects to create unexpected looks. hair and makeup also plays a big part in the overall outcome of webber’s creations, often using unusual contact lenses and hairstyles to elevate that futuristic aesthetic which he has adopted. likewise, this will be very important in the execution of my own narratives and shoots. therefore, it may be wise to collaborate with a makeup artist.

Lily Bling tackling toxic masculinity by expressing through her work that men can also be glamorous and Flamboyant; lily bling pairs together contrasting objects and garments to discard the notion of the “manly man”, portraying that men can do both. i enjoy the almost comical side to bling’s work as well as the diverse range of models she includes in her imagery, making for a very contemporary and inclusive portfolio. i think an element of humour can be beneFitial in conveying a serious topic or issue to aemind readers that the subjects are still human and seek ordinary pleasures.

To encourage a radical change in how we view fashion, in 2016 Steven Raj Bhaskaran and Hannah Rose created the brand titled “Fecal Matter”, titled to emphasise how dispoabl fashion has necome. I have been heavily inspired by the superhuman, almost alien-like quality behind the aesthetic of those behind Fecal Matter. Tjeir futuristic and genderless approach to fashion is something i wish to adopt within my own work, inspiring both graphics and styling within my publication.

i n f l u e n c e r s

FECAL MATTER

X E N

ARCA

X E N

Like fecal matter, arca - non-binary hip-hop musician and producer - adopted this alien-like aesthetic as a performative persona. the image left shows xen, a genderless being arca created as a teenager to artistically express their diffculties with their assigned gender and sexuality. however, to Arca xen was more than just an alterego, it was a method of resisting labels and the binary. physically, arca themselves appears to be an otherworldly being, apearing genderless and beyond the spectrum of masculine or feminine and their music videos usually demonstrate a theme of rebirth and transformation, something i am keen to explore in my publication.

0.1: jack 0.2: Brone jay murray 0.3: daniel john jarvis 0.4: Robbie campbell 0.5 josh macrae 0.6: lauren katie hardie 0.7 ewan burns 0.8: cal 0.9: daniel maher 0.10: gaynor carson 0.11: sean collie 0.12: michael sneddon 0.13: Kuzi 0.14: jennifer gunn 0.15: caitlin mackenzie 0.16: sally pri 0.17: jimmy Fitzpatrick 0.18: fatima benjellon 0.19: amber dean 0.20: jam eye abbot 0.21: scott mcwilliam 0.22: abbey elizabeth campbell 0.23: bethany watt 0.24: frazer

developing a diverse model team

in this section i have grouped together various individuals of varying ethnicities, genders, identities etc to create a diverse and authentic model team to effectively portray my vision and concept. this may be subject to change depending on availability and the current health crisis.

0.2

0.5

0.6

0.9

0.10

model team

0.1

0.3

0.4

0.7

0.8

0.11

0.12

0.14

0.17

0.18

0.21

0.22

model team

0.13

0.15

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0.19

0.20

0.23

0.24

in the Final chapter, taking into consideration all of the above secondary research, i have developed individual narratives to effectively portray my concept and statement in a visual manner. each narrative will include photographer inspiration, details of locations, styling and model selection.

styling

inspiration

narrative creation

model selection

locations

narrative 1.0

competitive synchronised swimming - originally known as “water ballet” - began in berlin and london between 1891 and 1892, when only men were allowed to compete. however, it was soon noted that women were more buoyant and therefore were deemed more suited to the sport. The sport was glamorized by actress esther williams in the 1940s and 50s, when she performed a sychronised swimming scene in “million dollar mermaid”. it was at the beginning of the 20th century that sychronised swimming reached its popularity competitively. ever since, men have been Fighting to compete in the aquatic sport at the olympics, who barred males from entering into the competitons. All sports are now open to female contestants, yet men are still forbidden to compete to this day in both sychronised swimming and rhythmic gymnastics, it is still uncertain whether this gender discrimination issue will be resolved for the next olympic games, which should have been in tokyo this year.

GENDERED

SPORTS through this shoot, i hope to create a contemporary visualisation of how men would look in the future of sychronised swimming. i have noted that men are rarely photographed in this sort of environment, therefore i will be tackling the issue of model diversity as well as exploring the gendered stereotypes of artistic sport.

for this shoot, i have taken inspiration from the work of rineke diijkstra. her work particullarly focusses on the social pressures we face in regards to our bodies, demonstrating the challenge of youth and growing into adulthood through her imagery. her photography shows a deep understanding of traditional portraiture and art, with her images often compared to the paintings of botticelli, particullarly the birth of venus. dijkstra shot these images on a 4x5 Field camera with a wide-angle lens, usually shooting from a low angle which elevates the background of the image as well as the subject. therefore, these techniques are something which i will consider when performing my own shoot to create similar compositions. however, my shoot will be styled very differently to give a more contemporary editorial image rather than documentary-style.

rineke dijkstra

self-potrait, marnixbad, netherlands, june 19, 1991”.

lily bling

image styled by lily bling, photographer unknown.

i i was also particullarly inspired by this image styled by lily bling as i feel that it is one of the few images i was able to source that captured the aesthetic i am aiming to achieve in this shoot. i enjoy the extravagance of the garments which portray the character in a more contemporary and fashion-forward manner. this is the style i am also hoping to portray through my own styling. the boldness of the colourful garments against the grey background is effective as it allows for the sole focus to be on the subject, i plan to use a similar backdrop to that seen in the image, left, which in a similar notion, is simplistic yet relevant to the narrative i am conveying visually.

Shoot speciFications. Model: Model 0.4 (Robbie Campbell). A MORE ANDROGYNOUS MODEL WEARING TYPICALLY FEMININE SWIMWEAR will CREATE A CONTEMPORARY IMAGE while projecting my vision of the future. location: Govanhill community baths (exhibition centre) A SUITABLE LOCATION CONSIDERING THE NATURE OF THE NARRATIVE; THE VINTAGE AESTHETIC OF THE BATHS WILL CREATE AN INTERESTING BACKGROUND. STYLING: TO REFLECT ON THE HISTORY OF THE SPORT, THE MODEL WILL BE DRESSED IN VINTAGE SWIMWEAR IN STEREOTYPICAL “FEMINE” COLOURS. makeup will be heavily exaggerated to give a contemporary and futuristic look to remain coherent with my aesthetic.

Marguerite Radclyffe and her partner

the following shoots will be based on the historical unions of same-sex or genderless couples, while portraying a contemporary image of how marriage would be had we as a society accepted the love between those of the samesex or gender Fluid persons. the shoots will also not conform to what society has classed as gendered roles in terms of a bride and a groom.

dating as far back as the 14th century - and possibly further - men would be partnered in what was called “voluntary kinship”, almost a formalised friendship or brotherhood, however, it is unclear whether the men involved shared sexual relations. yet many are divided on the relationship between king EDward the ii and piers gaveston, as the king expressed love towards him and showered gaveston with lavish gifts as kings would with their mistresses. same-sex partnerships were particullarly common amongst women, who were banned from even sharing a single occupancy as two females in the 16th century. as a result, women would often disguise as men in order to marry and lived secret lives as married couples. court records of jamestown also show that a particular individual named thomas hall (who had grown up as thomasine) was ordered to crossdress as both a man and woman as he was deemed androgynous by the court. likewise, maria van antwerpen lived as a man most of her life and claimed she “was in appearance a woman, but in nature a man”. showing that gender Fluidity and homosexuality has been evident for centuries.

narrative 2.0

the 21st century brought the legalisation of homosexual marriage in twenty-nine countries, however, for centuries, same-sex couples have been united though various methods..

PHOTOGRAPHY BY KRISTIN-LEE MOOLMAN; ART DIRECTION AND STYLING BY IB KAMARA.

similarly, i hope to use two “masculine” models in a similar notion to this shoot by moolman and kamara, to show marriage between two men or gender Fluid individuals. i love the honest human nature of the image shown right as the posing shows true connection yet in a fashionable and contemporary manner. i enjoy the conbination of traditional garments with unexpected or unconventional accessories, by pursuing a similar look in this shoot, my futuristic and contemporary aesthetic will be cohesive throughout my image creation and styling.

KAMARA X MOOLMAN

Shoot speciFications. Models: for this shoot i hope to use models 0.13 and 0.20 as both models have a similar build to those shown in my inspiration and will allow me to create a comparable Final image. location: taking inspiration from the story of king edward 11 and his lover piers gaveston, i plan to conduct this shoot on the grounds of linlithgow palace to represent their royal love story. STYLING: the garments will combine the wedding traditions we are familiar with with Flamboyant accessories to create an adrogynous look for each model, again emphasising a sense of royalty with a futuristic edge.

narrative 3.0

to many, gender is simply a way to categorise who can get pregnant and who cannot. however, there have been cases where transgender men have fell pregnant. some transgender men even after their transition aim to fall pregnant, altering our perception of who can and cannot conceive. for example, freddy Mcconnell - named “the dad who gave birth” - fought hard to become a man and bafFled his family when he did the very thing that is percieved to define womanhood, this being falling pregnant. in the short Film mcconell made to document the journey of his pregnancy, he is seen screaming “i feel like a fucking alien” as his body altered the bare the child. there is also the potential for two women to conceive through the use of stem cells, which is being used in experimentation to create human sperm cells. this means that a male figure would not be required in the process of conceiving. this has the potential to alter the gendered roles of mother and father entirely.

“ I feel like a fucking alien. ”

still from arca’s music video for “non-binary”, showing the artist appearing pregnant in a futuristic hospital while being assisted by robots.

in these shoots i will express the emotional response of freddy mcconnell to his pregnancy which has been inFluenced by society’s perceptions of pregnancy and gender. it will show inspiration sourced from arca’s music video shown above through its futuristic and alien-like aesthetic. i hope to shown an alternative to the expectation of how a family should look (a mother and father and their children) with these shoots, while giving a possible insight into what a family may look like in the future.

@salvjiiia Salvia is often featured in fecal matter, who i previously discussed as a source of inspiration in regard to the eerie alien-like style i am exploring through my work. this aesthetic will be especially prominent within this shoot. salvia ‘s poses are typically very creepy and demonic, enhanced by cgi and photoshopped limbs. using these techniques as inspiration will allow me to direct my mode during the shoot to pose in a similar manner. through photoshop and makeup/ prosthetics, i hope to achieve a similar superhuman look for my model.

Shoot speciFications. Models: model 0.1 would be the ideal candidate for this shoot as they have a similar frame to salvia and they are also bald which makes the application of prosthetics easier and more Flexible, this will also add to the alien-like appearance. location: I hope to conduct this shoot in the studio to create a similar background to that shown in arca’s music video and the image of salvia shown previously through my use of props. STYLING: the model will be mainly naked (but modest) to show vulnerability.

the “disfunctional” family. For this shoot, i was inspired by this particular campaign shot by lee wei swee to showcase moto guo and kinder eng’s aw19 collection. The campaign was titled “feast or famine” as the group expressed the frustrations of surviving in an ever-growing and over saturated industry. i love the use of contrasting colours and patterns combined with bold makeup and hairstyles to create an almost retro yet contemporary look. The setting is similar to that of what i aim to achieve in order to convey the vision i have for the future of families, there would be no better way to show the disfunction of an eccentric futuristic family than round the dinner table. in my own shoot, i wish to use models of a similar aesthetic to enhance the uniqueness of each individual of this Fictional family.

Shoot speciFications. Models: model: the models should be androgynous and unique like those shown in my inspiration imagery, yet be able to work together to represent a “family unit”. i have chosen to use models 0.8, 0.11, 0.17 and 0.23 as they all have unique features and would look interesting together in one grouping. location: shoot will be conducted in a home setting (dining room) that will be decorated in a futuristic manner with unique homewears, echoing the setting shown in my inspiration shown previously. STYLING: models will be dressed in bold colours and patterns that clash and contrast to elevate the disfunction within the Fictional family. to create an Alien-like appearance, models will wear diferent contacts that match their clothing.

R E F E R E N C E S

dabhoiwala, f(2015) “the secret history of same-sex marriage”, lifestyle, the guardian. debuck(2016) “a brief history of ‘gender’”, debuck, wordpress. franklin, c(2016) “messy concepts: the challenge of diversity”, culture, i-d. Geffen, s(2020) “glitter up the dark”, texas, the texas university press. hattenstone, s(2019) “the dad who gave birth: ‘being pregnant doesnt change me being a trans man’, lifestyle, the guardian. hurxkens, j(2019) “malysian label motoguo is creating its own whimsical universe”, fashion, i-d. hutchinson, k(2014) “arca: nothing is off limits emotionally”, hip-hop, culture, the guardian.

kemmer, w(2015) “why cant men be sychronised swimmers?”, bbc news. kinney, b(2019) “harris reed on his gender fluidity and being harry styles gucci co-star”, dazed beauty. lanigan, r(2020) “meet the mua behind ‘most hated’ beauty account on instagram”, beauty, i-d magazine. leitch, l(2018) “seriously spooky, dilara Findikoglu’s haunting halloween house cast a sinister spelly”, vogue. nurrick, j(2019) “know no bounds: 6 non-binary designers pushing fashion forward”, fashion, vogue. radin, s(2019) “make-up activist, eszter maoyar creates conceptual looks without makeup”, beauty feature, dazed beauty. rasmussen, t(2017) “the new exhibition blending masculinity and glamour”, fashion, q=a, dazed.

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