PHANTASMAGORIA - Sophie Corbett - Research Book 2

primary research product three

phantasmagoria

2.0

Sophie Corbett Fashion Communications Publication Research Document

6-7: BRIEF AND MANIFESTO 8-35: SHOOT PREPARATION: EXPLORING ALTERNATIVES 36-37: MODEL TEAM 38-85: SHOOT NARRATIVES AND FINAL OUTCOMES 86-143: CONTENT CREATION: ARTICLES, INTERVIEWS AND GRAPHICS 144-145: REFERENCES 146: SPECIAL THANKS

c o n t e n t s

my brief

The aim of my publication is to demonstrate the need for exposure to a world out-with the gender binary. With this, acceptance and the elimination of gender or sexual boundaries, can be slowly disintegrated.

Through this publication, the voices of Gen Z and the queer community can be heard and respected. It is their open-minded nature that will drive change and increase diversity within society.

However, this does not need to be limited to this relatively small population , this can become more widespread with education and exposure. This is what I aim to achieve through my publication.

This aim will be achieved through the combination of contemporary imagery and informative text. Both elements will explore the history of the queer community, to show how changing attitudes towards gender and sexual orientation has developed over time, thus showing that current attitudes can also be altered to be more inclusive.

However, I will be taking a contemporary approach to my image making to show the connection between our history and prospective future. A publication of such is one step towards creating a vast archive of educational tools, supporting the development of an increased understanding of gender identity, now and in the futre.

I hope to show that a world where we are free to identify as anything that best represents who we are, without fear or judgement, may appear ‘utopian’; together we can make this a reality.

updated manifesto 14/01/21 1. 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.

2. Because we must use our creativity to tackle the lack of heterogeneity demonstrated within the media and fashion industries.

3. Because I believe that a world where all individuals – regardless of their gender identification or sexuality – are naturally accepted, should be seen as an achievable realisation.

4. Because in order to be seen, heard and hopefully accepted, the TGNC and LGBTQ+ community must pervade all media platforms.

5. Because I aim to encourage and to be encouraged by other members of the ‘queer’ community, in order to feel comfortable to express one’s authentic self through exposure to relatable individuals via printed or digital media.

6. Because in order for future generations of the TGNC community to feel a sense of belonging and membership, we must create content to be used as historical reference as evidence of existence out-with the binary. There is currently a lack of resources demonstrating the existence of such individuals.

7. Because all individuals deserve to be celebrated and portrayed creatively, regardless of their gender identities or sexuality.

8. Because with capitalism, came the restrictive notion of gendered roles and stereotypes, disregarding the importance of authenticity and pleasure.

9. Because it is important to exercise the innovation muscle of the brain, which encourages acceptance, as the mind will have a broader perspective of how the world should look.

10. Because the notion of an alteration to the gender binary is neglected in academia and the media, due to a lack of understanding and willingness to explore the subject.

model casting garment selection

1

mash - ups

In this chapter, I will document the processes behind the preparation of my shoots. From contacting models to organise dates, to collecting garments for styling, and selecting locations. During this time, I have also collected more inspiration in regard to lockdown photography, which is something I may need to consider with current COVID-19 restrictiopns.

location selection

shoot preparation

LOCKDOWN PHOTOGRAPHY

looking for alternatives

With the pandemic testing our creativity and familiar techniques, it is important to consider alternatives to our ususual practises. It may be difficult to meet models and conduct physical shoots, therefore, I have researched methods of lockdown photography. Even though I may be unable to follow my original plans, the alternatives can be contemporary and reflective of the current climate, while also demonstrating my theme.

image by Sonny Malhotra.

e r o t i c

imagery by Lauren Hillebrandt.

While it may not be possible to show my theme through simply the use of models, it may be possible to depict a similar narrative through the use of inanimate objects. Similar to how we can demonstrate emotion and sensualtiy through expression, we can do the same using texture and strategic composition.

image by Harley Weir.

“A lot of my work is about exaggerating those mundane elements in life, making them beautiful and so allowing people to take notice. In this story, I wanted to hold up a mirror to the grotesqueness of young desire.”

Harley Weir -

I have been inspired by the use of organic subjects to model accessories, as demonstrated by both Harley Weir and Carla Marcia. For my own work, it will be important to use objects with significant meaning in order to relate to my theme and to effectively convey the message I want to portray through my photography. Therefore, research into the potential symbollism of various objects will allow me to find connections to my theme.

image by Carla Marcia

Image by Elizaveta Litovka.

With still-life imagery becoming more prominent in my publication due to the pandemic, I have been looking for various ways to use this in portraying my theme. I like the way in which Litovka has used the vegetable as an accessory itself, rather than accessorising the vegetable.

It could be interesting to recreate this shoot using a male model, this will relate to my theme of androgyny while still remaning cohesive with my use of organic materials as a substitute to models.

I feel that this shoot would also work well with the psychedlic and alien aesthetic which will be running throughout the publication, as the natural curves and texture of the pepper in itself is unusual and distorted.

image by Sophie Corbett.

PREVIOUS STILL-LIFE WORK I have worked with fruit in the past to create structural still-life imagery. I found it to be quite effective in portraying a sensual and contemporary, aesthetic when paired with the right typography and graphics.

In future still-life shoots, I have to consider how I can make an inanimate object appear as erotic and sexually driven as a model could.

This has to be achieved without spoon-feeding the reader or directly copying what has already been produced by other photographers.

To make the still life relatable to my theme, in the event we are unable to use models, I will have to consider various objects that may be appropriate in the portrayal of my underlying message. Therefore, I have considered combining fruits with other objects, such as accessories and intimates such as underwear and toys. I was particularlly inspired by the image provided by Harley Weir in this sense.

Fruit provides tactility and texture which is comparable to that of the human body, in some instances this may make the image more relatable regardless of the lack of models. I experimented with this in the imagery that follows.

To convey my theme of gender fluidity and androgyny, I took a fruit that could be manipulated subtley to represent both genitilia.

The banana would commonly be associated with the penis, however, I hope that this abstract piece shows how the fruit can also represent femininity. Just as an individual can be both masculine and feminine.

image by Sophie Corbett.

experimental still-life.

O U T C O M E INITIAL EXPERIMENT I feel that my first experiment with still-life photography in the attempt of portraying my theme has been relatively successful, showing potential for developments.

My thought process was to use the same fruit to depict both the male and female anatomy, this is symbollic of one vessle being able to adapt and display varying identities. It is the same as one body or individual having the ability to display characteristics classed as both masculine and feminine, just as the banana could be constructed and altered to symbolise both the male and female anatomy.

Some struggles I faced when conducting the shoot, were regardiing lighting. Without access to the studio, I had to rely on the lighting available in my own home. Therefore, it will be worthwhile investing in some of my own lighting equipment.

R E F L E C T I O N S NEXT STEPS Having experimented with a quick still-life, it is evident that my theme can be portrayed without relying solely on human subjects. I am keen to explore this concept more in the development of my shoot concepts and graphics. This will add a different and unexpected element to my publication.

Moving forward, I want to experiemnt using different fruits and objects to explore how they interact and portray my message in varying ways.

This will indicate what the best solution will be for the final product, should the use of models not be an appropriate option under the circumstances.

To ensure the highest quality within my images, I will have to source my own lighting equipment and back drops to mimic a studio setting within my own home, this will prevent any lighting technicalities.

ALESSIO ALBI “Social distancing doesn’t mean stopping creating.

We are lucky to live in an era that offers all the resources needed. Stay in. We’re in this together.”

Facetime photography had to become the new normal during the pandemic in order to adhere to social distancing guidelines.

According to Grazia, Albi was the original photographer to experiment with this technique, before it became so popular.

With this comes a heavy reliance on your model and a need for concise direction throughout the shoot. It may be worthwhile asking models to wander around their homes to identify any unique spaces that may be of interest as a backdrop. It will be important to communicate with models and work together to utilise their space and any objects they may have to enhance the overall experience and outcome.

Albi demonstrates through his work that strong fashion imagery can be achieved through communication with models, this is evident as powerful poses were captured regardless of how the shots were taken. However, it is important to realise that the images may not be as high a quality or resolution as they would be on a DSLR camera. This will require some experimentation in terms of lighting and editing to play on this “disadvantage”.

FACETIME PHOTOGRAPHY

imagery by Alessio Albi.

image by Aleksandra Modrzejewska.

image by Dark Room Memoir.

Some other examples of Facetime photography, created

by Aleksandra Modrzejewska and Dark Room Memoir during the first lockdown. They photographed models and band members in their natural environment, sometimes piecing them together to create one image despite their segregation. This may be a technique I will have to apply should I wish to develop my original plans of capturing group shots.

I enjoy the vulnerability and simplicity of these images, with lockdown altering our creative abilities, we are forced to strip things back and resort to the basics in some cases.

While it may not be possible to use a studio space, there is the option of setting up and outdoor studio, using nature and natural light as an alternative to artificial studio lighting.

This may be a great alternative for the shoots I had originally planned to conduct in a studio setting. It would be worthwhile investing in a good quality reflector to effectively utilise the natural light. A backdrop - as shown in the image right - could be easily set up and hung to achieve a blank backdrop if required. Through this method, I can still adhere to social distancing guideloines with my model/ assistant.

outdoor studio image by Peyton Olivia.

0.1

0.2

0.4

0.5

0.7

0.8

0.6

0.9

model team

0.3

synchronised

SHOOT PREP CHECKLIST Narrative One 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 stereotyping of the artistic sport.

GARMENT SELECTION: • Source both vintage swimming cap and bathng suit.

LOCATION: • Email Govanhill Community baths to enquire if it will be possible to use their facilities and on what dates. (confirmed that the pool will be closed due to restrictions and renovations).

• Back-up Location: a similar look will be achievable at another community swimming bath, such as Western Baths.

MODEL SELECTION: • Contact Kyle McAuley to discuss availability.

• I have selected Kyle to be my model for this particular shoot due to his adrogynous appearance on his socials.

He has a delicate face and small frame, which I feel will work well in the garments I will be providing.

• I feel it is important to use models who practise androgyny in their every day lives, in various manners, to ensure the authenticity of my publication. Kyle is a successful drag artist, which will ensure that the execution of his makeup look for this shoot will be of a high standard.

STILL-LIFE ALTERNATIVE Due to the extension of lockdown in Scotland, I was unable to go ahead with my original shoot plan.

I felt that a studio setting would not have the same impact on this occasion, as the location was essential.

Therefore, I have decided to include my mash-up as a graphic page within my final publication instead.

I have also decided to experiment with a still-life shoot, this will allow me to utilise the garments that I had sourced for my model. To ensure my publication aesthetic is cohesive, I will be using organic materials within this shoot as a replacement for my model.

I tried to incorporate the garments that I had sourced for my original shoot concept, however, I felt that the outcome was not of a high standard and failed to effectively portray the narrative.

Therefore, I decided to replace this with a still-life inspired by Carla Marcia and Lauren Hillebrandt.

Like Harley Weir, I wanted to show pleasure in an abstract and slightly “grotesque” manner.

With the lack of representation of all gender identities and sexual orientation, society is forgetting that it is pleasure for every human that is what should be important and openly discussed.

The colour palette of the imagery ties in with the remainder of my publication, however, with editing, I want to ensure that this shoot is also reflective of my futuristic aesthetic, as it currently appears too soft in comparison with my other shoots.

O U T C O M E

E D I T I N G

I feel that by adding the harsh saturation and liquified areas ensures that this shoot is cohesive with my other imagery. It has created a more futuristic and psychedellic aesthetic. Therefore, this effect will be applied to the other final imagery I use in the final publication.

SHOOT PREP CHECKLIST Narrative Two Following on from sychronised swimming, I thought it may be interesting to show how a “male dominated” sport may appear without the inconvenience of toxic masculinity, instilled through societal expectations. I visualise this shoot comprising of a “team” of models dressed in flamboyant kits, wearing makeup and sporty accessories if they wish.

They could be shot in action on a pitch, as well as posed for a team shot. To continue with my futuristic aesthetic, I think it would be interesting to play with contacts and altering the eyes of the models to bring an alien-like quality.

This will result in an unusual and contemporary outcome.

GARMENT SELECTION: • Source some old football kits that can be altered and styled, or general sports clothing.

• Can be paired with softer fabrics and unexpected accessories to add to the flamboyant look.

LOCATION: • Preferably on a football pitch. Would be interesting if the pitch or park area was derelict and neglected to add a distopian aesthetic to the background, which will contrast with the futurustic quality of the concept and styling.

MODEL SELECTION: • Due to COVID restrictions, I had to shoot using just one model to adhere to the rules. i chose to use a female for this shoot, to again reinfoce that football can be feminine.

I will be using model 0.6 - Jennifer Gunn - as she has a slender frame and access to football/sporting garments.

Les Vetements de Football.

The Les Vetements de Football brand sought inspiration from the history of the football jersey particullarly from the 70s through to the 90s - while providing a visual analysis of how the generational subcultures of the period influenced the aesthetic of the game’s apparel. There was a collaboration with iconic fashion brands such as Balenciaga and Burberry - to allow for a re-interpretation of the garment.

I appreciated that the brand chose to photograph both men and women in the jersey designs, as women’s football is often highliy criticised.

Through my own styling and photography, I wish to show my own interpretation of the sport’s aesthetic, where binary logic is not evident.

O U T C O M E

SHOOT PREP CHECKLIST Narrative Three This shoot 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 same-sex, or gender fluid persons. The shoot will also not conform to what society has classed as gendered roles in terms of a bride and a groom.

GARMENT SELECTION: • “Bridal” attire will be sourced either through collaboration or sustainably sourced from second-hand shops (or from family).

LOCATION: • My original plan was to shoot in a registry office, however, this may not be accessible depending on restrictions and guidelines.

• An alternative to this would be outside a church.

MODEL SELECTION: • Contact Daniel Jarvis (0.4) and Daniel Maher (0.7) for availability.

• I think using two very contrasting models for this shoot could be interesting, they both express elements of androgyny in differing ways. I think in unison they will create a strong fashion image and will pull off the garmnents I have selected.

O U T C O M E

SHOOT PREP CHECKLIST Narrative Four In this shoot, 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, “Non-Binary” through its futuristic and alien-like aesthetic.

GARMENT SELECTION: • Garments will be bold in colour and pattern, with areas of texture to simulate alien skin. This has been inspired by the garments worn by Fecal Matter.

LOCATION: • Preferably in a studio setting, however, with changing restrictions this may not be possible. Ideally, I would use studio lighting to mimic the harsh lighting associated with surgical rooms.

• An alternative to this may be a tanning salon. This will allow me to create a futuristic look through the utilisation of the UV lighting in the tanning beds. This will add to the alien aesthetic.

MODEL SELECTION: • Contact Jack to discuss availability (0.1).

• I selected Jack to to be my model for this shoot, as his physical appearance and lack of hair is suited to my “alien” aesthetic. His personal style also indicates inspiration from Fecal Matter - who I was also inspired by during my research period - so therefore he should have a personal interest in this topic and the styling.

Taking inspiration from Arca’s music video, shown right, I want to create blue UV lighting to enhance the futuristic aeshtetic within my final images. I feel that this will allow me to contunue to explore the alien theme I have adapted in all of my shoots, in a different way.

I could do this using lens gels or by creating a blue ambient light in the studio. This can then be enhanced through editing to create a similar effect the UV lighting in a tanning salon would have created. However, due to COVID restrictions, I don’t think it will be an option to shoot within this location, therefore, I feel these alternatives will be a good option.

O U T C O M E

SHOOT PREP CHECKLIST Narrative Five I hope to shown an alternative to the expectation of how a family should look with this shoot, while giving a possible insight into what a family may look like in the future.

GARMENT SELECTION: • Garments will be preferably vintage and sustainable, as though they were passed down from the parents to the children. I will use varying textures and contrasting colours (red and black with potentially a hint of green for contrast). This will ensure the colours are cohesive throughout my publication.

LOCATION: • I will be setting up a studio space outside to replicate the typical “family portrait”. My original plan was to do this in a photography studio, but due to restrictions, this will not be possible.

Model Selection: • My plan is to use four models in one sitting, however, with social distancing guidelines, I may need to shoot models individually and photoshop them together during the editing process to create a group shot.

• Contact Bethany (0.8), Louie (0.3), Jodie (0.5) and Reece (0.9) to discuss availability.

• Collectively, I feel these models will work well together to act as an uncoventional “family” due to their unique features and hairstyles. Their “unity” will be demonstrated through using garments of the same colour scheme.

DINA LYNNYK Following further research, I came across the work of Dina Lynnyk. Her collection - “Creepy Kids”- is an accurate representation of the imagery I hope to create through this shoot.

I want my models to be posed as though they were participating in a ‘family photoshoot’, which is typically stiffly posed with a minimal background. However, this will be enhanced with editing to create an alien-like appearance to follow the established aesthetic of my publication.

“CREEPY KIDS”

O U T C O M E

Film Shots

content creation This chapter will collate the research and information I have collected which will form the foundation of my other content, such asgraphics, interviews and articles. The derived narratives and interview responses will also inspire my graphic design concepts.

articles

graphic design

STILL-LIFE

interviews

2

interviews and Q&A’s

In order to get a broader perspective of how other’s view androgyny within society, and how this may alter our perception of gender stereotypes and markers, I felt it was appropriate to collect insight from individuals of various pronouns. This will give me an indication of what androgyny means to others and not just myself, making my publication more thorough in its investigaion.

I created a Q&A as a starting point, which was sent to various individuals via Instagram. Responses were collected through audio messages or written responses.

1. Can you first of all confirm your pronouns?

2. At what age did you decide to identify as these pronouns publicly? Had you considered doing this at an earlier stage in your life? (applies only if you decided to alter your pronouns assigned at birth).

3. What does the term “androgyny” mean to you?

4. Do you express androgyny personally? If so, how do you do this?

5. In your opinion, have more individuals been showing signs of androgyny within society recently? If so, why do you think this may be?

6. Current academia explores the notion of eliminating gender as an identification marker, or offering a wider variety of markers to ensure everyone is accurately represented. What are your thoughts on these opinions?

Disclaimer: These questions are regarding the term androgyny and the subject of gender identification.

Due to the sensitive nature of these questions, if you do not feel comfortable giving a response, then please skip this section.

RESPONSES GEORGIA STARK, 20, FALKIRK. 1. She / They.

2. 20 years old, I had considered doing this for a few months, may three or four months prior.

3. Androgyny means to me, showing or expressing characteristics of both male and female.

4. I try to, I’m kind of new to being able to fully express myself in how I dress. I do this by wearing looser fitting clothing and lots of layers.

5. Yes, I think they have. I think that might be because our generation is more accpeting and we tend not to stick to societal norms.

6. I agree that there should be more gender markers to ensure that everyone is accurately represented, as more and more people are coming forward and wanting to express their gender identity.

AMY GRAHAM, 21, FALKIRK. 1. She / Her. 2. These are the pronouncs I have identified with my entire life.

3. To me androgyny is not identifying as male or female, instead picking up aspects of both and neither. For some reason, the first thing that comes to mind for me is androgynous perfumes.

I think of a scent that anyone can wear and you don’t think it’s particullarly masculine or feminine.

4. I don’t.

5. I think they have! I think this is due to our generation expressing their open views and accepting people for who they are, there’s less stigma around boys and girls dressing androgynously.

6. I feel the idea of offering a wider variety of markers to ensure everyone is accurately represented. So often the only options available on qustionnaires etc are male or female. This doesn’t cover everyone and can leave people feeling excluded and hurt. i also don’t think we should eliminate gender as an identification marker entirely as personally I feel the lines between sex and gender can be blurred at times, and having safe spaces for people who identify as female is important. However in the fashion industry I think it would be amazing and more inclusive to go onto ASOS, for example, and see more options than simply male or female clothing.

BRON SPROAT, 17, WOODSTOCK. 1. She/ Her. 2. N/A. 3. Your appearance being such a balance of feminine and masculine, or gender is unable to be determined by outward appearance alone.

4. Personally no.

5. I believe so. It is slowly becoming more socially acceptable for people to not present themselves as their biological gender.

6. I think society would greatly benefit from removing gender identity lables, but that may be harmful to the trans community as gender labels make up a big part of their identity. So instead a wider spectrum of gender labels would benefit society.

LOIS MACLEOD, 24, GLASGOW. 1. They/them 2. Only close friends know this because I feel society isn’t currently accepting enough of non binary people. It would make parts of life awkward (work and family life). I’ve never felt comfortable presenting as societies idea of female.

3. To me, androgyny is the ability to give off both femme and masc vibes 4. I feel uncomfortable showing any feminine sides, I don’t wear make up, I wear masculine clothes and have short hair.

5. I think we’ve seen people in the public eye showing signs of androgyny, but there have been celebrities playing with androgyny in the public eye for years, lots in the 80s. I do feel like you see more androgynous members of the public now, especially in big cities. Part of me thinks things are going backwards in society for the likes of trans and non binary people.

6. I think normalising more gender markers is a great thing to do.

People just need to get comfortable with the fact it’s not just M/F. But maybe removing it all together would relax people more, so you’re not defined by your gender identity.

JODIE PARK, 22, ALLOA. 1. I don’t identify with any gender, so they/them by default but I still go by she/her with family and some friends because it doesn’t really bother me. People usually just call me by name anyways.

2. I really only told certain people about my pronouns in 2020. It was difficult for me and it felt like coming out all over again. I’ve only really told a few close friends but it’s in my social media bios, it’s easier when you don’t have to see people to tell them.

3. To me, it completely defines who I am. I want people to see me how I see myself, not female or male and not in the middle either.

Just completely myself. It gives me a sense of purpose, like my outside finally matches my insides.

4. I didn’t really associate myself with the term at all. My friend once described me as an “androgynous queen” and from that day it really stuck. My vibe just fits the criteria I guess. But I would now actively say that I identify a lot with the word and it is who I am.

5. I think we’ve always been here, and throughout time there has been people constatly breaking the mould and not afraid to go against the grain because that’s just who they are. I do think people are becoming their authentic selves and that’s just due to those people from the past and social media, which gives us a chance to be ourselves. I think having that representation and being able to see that there are people like you just living life and enjoying it, being unapologetically themselves, allows you to do the same.

6. I truly believe that gender doesn’t exist. It’s a social construct that we literally made up, and because of this it has caused quite a number of issuesthat wouldn’t have occurred had we not made this up. That doesn’t mean I think everyone should have their identities stripped away from them. If you identify as a woman or a man I have no issues with that, but I do believe there should be other “gender” options for people like me and others because we exist just as much as everyone else.

REECE BEVERIDGE, 24, EDINBURGH. 1. He/Him or They/Them.

2. I guess my whole life. Although I identify as male, I have no issue with gender neautral terms like they/them, so I have always welcomed them.

3. To me it can kind of say a lot about someone’s character, each androgynous person has always had a sort of story around the way they look. I find that so interesting, it is a social expression and not conforming to social normalities. I found androgyny myself at a young age through music, before primary school even, through seeing videos of people like Placebo and Marilyn Manson. I remember being super young and wondering if these characters were boys or girls and I found it really fascinating and cool how they were doing something different. I identified a lot with that.

4. I never really think about it for myself unless someone comments on it but I suppose I do? i don’t really conform to the kind of mens section / woman’s section in stores, I just wear what I like. As a teen I was really skinny and preferred the fit of woman;s jeans, which sounds strange but I suppose to me it was convenient and comfortable. I got to wear stuff “normal” guys wouldn’t wear, so this was fun for me as an angsty teenager. So yeh, I guess I do.

5. My opinion may be quite controversial, I feel we may jave regressed with the amount of individuals who are androgynous. I guess the reason for that is thinking of the 70s, we had this NYC music scene where we had bands like the New York Dolls and a lot of this scene that were very glam, drag and punk. Then in the UK we had figures like David Bowie and the world were going crazy for people like that, or identifying with it as a movement. As a population I would say it was larger then than it is now, but maybe it is less noticeable as it is maybe less shocking amongst our generation, so I’m not too sure.

6. On the topic of gender identification, I feel like I still have a lot to learn - I think we all do - but I would not oppose iliminating gender as an identification marker or offering a wider range as i know this would benefit a lot of people who have daily in struggles in how they identify. If something was to be put in place, hopefully more people could be educated properly. You identify how you identify, but people seem to be confused, so offering these options is benefitial as education would have to be invoilved and that is key to the population. I would leave it in the hands of those affected as its important and valuable to them, I’m lucky not to have an issue with this.

JOSH MACRAE, 20, GLASGOW. 1. Commonly referred to as he/him, but I am comfortable with any pronouns!

2. I have always identified as CIS male (he/him in my social bios) but as I’ve grown older and become part of the queer community, I am comfortable with people referring to me as whatever.

3. The term “adrogyny” to me has changed a lot over the years, I used to use it in the context of gender bending and not fitting into the conventional societal norms of appearance or dress code.

Now I define it more as a lifestyle and deliverate political act to go against the grain to defy gender stereotypes. I study Fashion Communications and it’s pretty much just expected to push these societal norms to the extreme to create an inclusive and exciting world for everyone to live in.

4. I personally express androgyny within my own work as a creative, I really enjoy queer culture as a whole and have made a point to include this in all aspects of my life. In terms of expression, I often shop in charity shops and don’t really care for the segregated sections of meswear and womenswear (this goes for all clothing outlets; online, in-store etc). I’m trying to experiment more with my own personal style rather than just through my work.

5. I definitely think the pandemic has encouraged a lot of people to become more androgynous, in the first lockdown I noticed a lot of people stepping back and reflecting on life. People on social media platforms have started experimenting with gender identity. i feel like this is partly due to the fact that queer and gender nonconforming individuals don’t have that fear of society judging them in the real world, there’s a real confidence to be learned by just living your own life for you and not caring what everyone else thinks, as long as you’re confident, healthy and happy.

6. I’ve had a lot of conversations throughout lockdown on this topic; my views are that if someone tells you they identify as whatever pronouns, however confusing it may be to you (the older generation or closed minded people), respect their decision and take on board corrections to make yourself a more respectable person.

Someone else’s pronouns should not have a direct affect on your life, plain and simple. This also goes for sexuality etc, be a good person and treat everyone how you would want to be treated.

However, I feel like eliminating gender markers altogether has a long way to go and there’s still a lot of sociel progression to be done before we can fully eliminate the identity markers. I feel this could be a major struggle for trans people as there could be increasing strain on gender dysphoria and more controversy created around the idea of transitioning if there are no “gender markers”.

HANNAH SWEENEY, 21, GLASGOW. 1. My pronouns are she/her, but I also feel comfortable being referred to as they/them.

2. I was definetly assigned my pronouns at birth and had never thought about them or what they truly meant until a few years ago. Although I still identify with she/her I do believe that it’s because that’s all I’ve ever known.

3. i think androgyny can be a very empowering term especially when someone self-identifies as androgynous. It signifies progress in our heavily gender biased society, especially when it comes to clothing and beauty standards.

4. I’m not entirely sure if I do! I think as someone who has never really questioned their gender identity (as a CIS straight female) it is easy for me to wear ‘masculine’ clothing and it looks like a consious fashion choice, which no one bats an eye at, rather than an expression of androgyny. However, when it comes to men it is much less widely socially accepted. It may comes across as more rebellious or more of a statement to show signs of being anything other than ‘masculine’.

5. I do think more people are showing signs of androgyny today and I think that it’s amazing. I think social media plays a massive role in shaping what we see as socially acceptable. the more people connect through social media, the more they begin to accept that everyone is entitled to feeling comfortable in thier own appearance and identity and that they deserve to.

6. I’m very torn that we should be striving for a world where gender identity is based solely on the individual’s preferences rather than what they are assigned by others. I do believe that clothes, toys and interests have gender and we should start with eliminating gender boundaries society has put on them. however, I believe that gender is a very personal thing and some people really identify with a specific gender and therefore want it to be respected. Especially for trans people who deserve to have their true gender acknowledged, which often isn’t the case. Therefore, although I can understand why some academics are calling for gender to no longer be an identification marker, I believe that wider representation of all gender identities is probably more appropriate.

EMI MARSHALL, 20, BELGIUM. 1. First of all, my pronouns are she/her.

2. N/A. 3. I think for me, if I’m being really honest, the first thing that comes to mind is sort of really gender fluid females? But this is when it gets diffcult, because then I’m saying they are female? To me it means a person who is extremely gender fluid but more on the masculine side. For example, I see a female who also identifies as a female but you could say is more of a tomboy and feels more comfortable in a more masculine setting and clothes. Maybe with short hair and masculine style. Some people think I am androgynous but I don’t identify myself as androgynous, which is weird.

4. I think I do subconciously express androgyny, but I don’t really mean to, not that I have any problems with it! But for me when I look in the mirror I see just a girl, and a girly girl at that. But I know a lot of people don’t view me that way because I have short hair, I wear more manly clothes you could say, but I view myself completely differently because I still feel girly. I maybe wouldn’t wear a dress, I am always going to wear more gender neautral or masculine clothes. That’s a hard one!

5. 100%! Particullarly in the last year during lockdown I have seen so many young people - and old people, but mostly young - like Gen Z, coming out as queer on social media. I think it is influenced by social media and i think a lot of people aren’t so scared anymore - which is good - but young teenagers have no idea who they are yet and have a long way to go. I think young kids are too heavily influenced by social media, which isn’t always a bad thing, but there is a level of self discovery needed and I appreciate that. Some kids are now seeing so many people coming out as queer, and because they don’t yet know how they identify themselves; they decide to come out via Tik Tok or at school, to then realise maybe they are not. I have had this experience and wondered why I did that, I only did it because I was exposed to it by my friends. There is this perception that being queer is “cool” and “unique”, but we aren’t any cooler than straight people? We are exactly the same and shouold be treated equally. It annoys me!

6. I think this would be so good! If gender just didn’t exist anymore and didn’t matter or you didn’t have to explain to anone who you are - you could tell them your pronouns - but it wouldn’t matter!

This may sound contradictory, but if the world was like this and we didn’t have this whole “gender thing” going on, where we must explain if we are a boy or a girl, or misgendering - which has happened to me - then the world would be a free and lovely place where no one would have to “come out”. It’s the coming out thing for me!

INTERVIEW WITH EIRINN HAYHOW To be conducted via Facetime or Instagram, depending on what the interviewee is most comfortable with.

DISCLAIMER: due to the sensitive nature of this subject, if the interviewee should not wish to answer all, or any, of these questions, then please do not hesitate to express your discomfort.

Q1: You describe your brand as a “high-vibe gender fluid” clothing brand. Why is gender fluidity so important to you personally?

My inspiration comes from my mother who was elegant and androgynous, fashion was her armour, even when she faced a life threatening disease...

I hope my consumers feel empowered when wearing my garments, without gender constructs. I love fashion to be creative and versatile, and for everybody to be able to wear it. I also never enjoyed the impact of the male gaze when wearing sterotypical feminine garments.

Q2: D o you believe that gender fluidity is becoming more oprominent and widely accepted within society?

There is a huge rise of people favouring more fluid garments, fashion is becoming much more inclusive and I hope this continues.

Q3: What are your top three favourite mushrooms and why?

I was mostly inspired by certain mushrooms for their colours, as well as their well-being properties for humans. Reishi is known as the elixier of life and great for imunity... and Amethyst defender is a beautiful purple colour!

“Mushrooms, “Mushrooms, unlike unlike other other plants plants and and animals, animals, are are a a completely unique completely unique species.

A Magical Magical species. A Kingdom.”

Kingdom.”

Imagery (right) shows stills from the fashion film launching Eirinn Hayhow’s recent collection, “Magic Mushrooms”, which was broadcast by LFW. Magic Mushrooms A/W 21 High- Vibe Genderless Fashion, Salvaged with Love.

Fascinated by mycology, EIRINN HAYHOW based each garment in this collection on a specific mushroom. Inspired by their colours, shapes and textures as well as their wellbeing properties for humans and our ecosystem. She creates her own natural dyes, from foraging plants and berries, and reusing fruit and vegetable waste. Everything has been made from salvaged cotton and sustainable fibres such as pineapple leather and hemp fibres. ​EIRINN HAYHOW has been inspired by mycologist Paul Stamets, his knowledge of mycelium and his wonderful book ‘Fantastic Fungi’ which unearthed this collection.

All Mushrooms are Magic!

(Extraced from LFW webpage).

Stills from the fashion film screened via London Fashion week. Filmed by @dream_safari.

“Meanads” by Lieve Prins.

“Aquarium” by Lieve Prins.

- Lieve Prins (1948 - 2019).

While watching the launch of “Magic Mushrooms”, I was reminded of the work of Lieve Prin due to the mutual colour palette and textural qualities both Hayhow and Prin’s work share. These pieces, coincidentally, come under the title “Androgyn”.

Prin created her works utilising the scanner / photocopier, to capture the essence of touch and the true texture of human or organic flesh. Just like Hayhow, Prin used food waste as well as human subjects as sources of inspiration.

As I aim to create a “dreamy” and “erotic” aesthetic within my publication, I feel that experimentation with the scanning technique could be an interesting approach to still life / lockdown photography. This will allow me to include more variety when it comes to my image making, even though we are in the middle of a pandemic. While I plan to use organic matter to portray my theme in an unusual way, I may also consider experimenting with scanning my own body.

“ A N D R O G Y N ”

“ It’s dreamy, it’s erotic -- but fresh squid on a warm scanner or photocopier? “Yes -they stank! I see my work as ‘nice torture.’

It’s hot, dirty work; I slosh water around and wrap things in plastic. Sometimes I have to make ten copies or scans before I get the right image; my [human] models are lying on their backs on a warm glass plate, twisting into strange positions. But it’s also rewarding for us -- with anything hard, such as giving birth, one’s love for the result is intensified.”

My take on Eirinn’s Magic Mushroom concept, created by collaging various mushrooms to create abstract imagery of the anatomy of the male and female organs. In Eirinn’s description of her work, she talks about a “magical kingdom” and genderless fashion, which both relate to the concept of my publication, Phantasmagoria. I feel that our concepts, while they vary and are executed differently, encapsulate similar messages of a vibrant utopia.

collage organic mushroom mushroom collage

Through this, I have combined my own theme, the concept of Eirinn’s recent collection, while also incorporating texture and still-life imagery. Texture is something I am eager to utilise to enhance the eerie nature of my work, as discussed in product one, as it creates an alien-like aesthetic and unique graphics.

While I am still very much inspired by magazines like Antidote and Dazed Beauty in regards to my fashion imagery and typography, I also found inspiration from Broccoli, due to their psychedelic aesthetic and use of still-life imagery. This effectively ties in with the work of Eirinn Hayhow and Lieve Prins, from whom I have found inspiration in regards to my own image making.

These will be coherent with my alien aesthetic, while also demonstrating that we are all made of the same material, regardless of our gender or identity.

I feel that my outcomes show my alien / psychedellic aesthetic effectively and will add bold colour and graphics within my final magazine.

This will allow me to break up areas of text and keep the reader engaged.

I created these using shapes and effects on Photoshop, utilising the colours that run through my publication within my shoots and typography.

The first image shows the process of fertilisation, again showing we all begin life from the same two cells. While the second shows the multiplication of the cells

human cells: graphics concept

Following on from the psychedellic imagery created by Broccoli, I tried experimenting with Photoshop to create human-like cells to be featured as graphic pages within my publication.

At first, I tried closing the lid of the scanner over the pear, which created an uneven background. I found that having the scanner uncovered worked a lot better, which resulted in a black, almost galaxylike, background. This works well in regards to my theme, as I aim to achieve a futuristic aesthetic.

I also reflected on the work of Harley Weir.

I used an earring of the female symbol and inserted it into the fruit - which I had carved to resemble the vagina.

However, with the imagery shown left, I wanted to show the concept of transition as the fruit is moved and altered to become a completely different shape. Much like the transition from female to male. The pear - like the banana - can be used to represent both the male and female anatomy. This visually represents the notion of androgyny without the use of human subjects.

SCANNER IMAGERY

Taking inspiration from Lieve Prins and her art, I experimented using the scanner to create “erotic” still-life imagery.

Imagery After Editing.

ARTICLE WRITING Having researched thoroughly into the TGNC community (Transgender and Gender NonConforming), I feel the inclusion of some of the information I have gathered in the form of a written article piece will assist the understanding of my message within this issue. I will explore the ways in which the gender binary is being challenged at present, as well as what could be done moving forward in ensuring society is exclusional.

Article One: Music Culture and the TGNC Community.

During my secondary research, I discovered the impact that music culture and history has upon binary thinking and changing the perception of gender. This inspired me to conduct my own research into how contemporary music artists of the TGNC community are encouraging the accpetance of their community through their art.

During my Q&A , it was noted that music is a medium for individuals to express their gender identity through lyrics and styling. This has been evident for some time, with notable artists including Bowie, Prince and many others being recognised by many.

I feel that an article piece on this subject will enhance the educational qualities of my publication, allowing readers to reflect on the history of gender expression and the individuals who paved the way for a more inclusive society.

My article will take into account the data I collected from my Q&A samples, as well as the information I gathered from my secondary research, in order to create an engaging piece.

Headline:

How is music culture impacting the increase of acceptance towards the TGNC community?

“Abstract”: Despite i n c re a s e d visibility of individuals identifying out-with the gender binary, there is a clear lack of understanding and recognition of such individuals both socially and politically.

Music created within the TGNC music scene is encouraging a broadened understanding of the community and the issues faced by its members. artists, who identify as part of the community, have a responsibility to effectively display that they are not subject to binary thinking, positively expressing the concerns and experiences of TGNC individuals to demonstrate reassurance, while promoting greater acceptance within wider society many are doing so through various methods, however, there is still room for more artists to come to the forefront in order to represent a growing community.

1

There has been an increase in differing terms to identify oneself, however, recognition and understanding of those identifying out-with the gender binary continues to be seriously lacking.

Current representations of such individuals have been identified as detrimental to how society views the TGNC community. This is said to be particularly evident within film, as many of us were horrified to learn having watched the Netflix original, Disclosure.

However, it is through media and the arts that those nonconforming to the gender binary can accurately and creatively express their true selves, as well as their emotions and experiences, to encourage a positive degree of acceptance and recognition, ; thus reforming the gender binary into a versatile and non-restrictive state..

The issue of recognition is at the forefront of this topic, as a lack of this fails to acknowledge the existence of a person who does not conform to the gender binary the s t ru g g l e for the recognition of a human’s existence, is also a struggle for a human’s basic human rights.

The community is comprised of individuals who do not identify themselves within the gender binary or feel they were assigned the wrong gender at birth. At least twentyfive to thirty-five percent of the TGNC community reject the dichotomy of the gender b i n a r y.

It is a common misconception that transgender simply means to transition from one sex to the other, but it is adaptive to individual or social context.

TGNC can be considered the “umbrella term”, which is the amalgamation of various gendered identities. These include: agender, genderfluid, third gender and many more.

These terms are deemed more authentic in encapsulating the true identity of the beholder.

The community is driving further political discussion regarding the issue of restrictive gender markers.

Many transgender youths have expressed they do not feel a need to legally or physically change their assigned gender.

It can be as simple as altering their appearance that is openly visible to others in order to communicate their identity, in turn creating the notion of authenticity.

However, for the purpose of identity documentation – such as passports and birth certificates – medical evidence is also required in order to determine an individual’s conformity to the binary standards, meaning those who do not conform are exempt from legal recognition, which in turn causes issues with social acceptance and is a direct infringement of their human rights. It is imperative that the community continues to open up discussion to encourage a cultivated understanding of gendered identity in

order to push for effective legislation to be put in place to support TGNC individuals.

With the emergence of an increase in population living as trans or out-with the gender binary, came a space within the industry for the development of a new music scene, which revolved around the portrayal of identity more so than musical genre alone. Art offers a space for interdisciplinary expression of varying ideas and lifestyles, with the capacity to reach the public on a wider scale. With the evolution of electronics and the internet, musicians under the TGNC umbrella have the ability to spread awareness to their audiences and distribute messages of encouragement further afield. This promotes the sense of community and acceptance, in conjunction with the benefits of social media, as individuals who identify as neither male nor female have the ability to communicate with others like themselves, without the strenuous and financial efforts of relocating to the cities.

Musicians have found ways of expressing their identities though their art in unique ways, such as vocal augmentation through complex technology, or the clothing they choose to adorn their bodies with, in both their online presence and live performances.

Gender display, as a “social construct”, is a form of nonverbal communication that is

adopted naturally by individuals to depict masculinity and femininity in social situations, showing that gender can be seen as a “performance”.

Artists, of all mediums, have a responsibility to depict gender with caution in music videos to avoid stereotyping and demonstrating a negative representation of various gendered identities.

Many artists have been praised for the positive impact that they have had on the community through their art.

Electronic-pop artist, known as SOPHIE, came out as transgender in 2018 during an interview with Paper magazine. She was assumed to be male due to the fact she concealed her identity for the first five years of her career.

Many have mourned the loss of SOPHIE after her passing in February 2021, both fans of her music and the TGNC community have paid trubute to the inspiration via social media, as well as around Glasgow City, where SOPHIE was born (see opposite).

Another admirable pop artist, identifying as gender-fluid, is Dorian Electra, who is famed for drawing on a moustache and writing songs that they consider to be lyrical essays.

Sasha Geffen also praises a number of TGNC and LGBTQ+ artists for their effectiveness in sharing positive lyrical messages to the community through their work in her book, Glitter up the Dark: How Pop Music Broke the Binary”,

which explores why music is so frequently associated with the expression of gender: “In this music, I hear a refusal to force the body against its true shape. I hear instead the willingness to let the body choose itself, to let the voice surge up and away from the expectations that would box it in. In their slippery, confounding, and transcendent music, these artists – and the hundreds of others that join them on this path – cast off the claustrophobic moulds that would keep them from themselves.

Their music twists into new shapes without names, shapes that open a way into a world that lets in the light”.

Sasha

Geffen

(2020).

Music created

by TGNC artists highlight that the community seeks acceptance and recognition of their existence on a worldwide scale – both legally and socially – and the freedom to express their true identities without fear. This is emphasised through the repetition of words such as “real” and “free” across multiple pieces of music.

It is a concern that artists should demonstrate that they are not restrained by binary beliefs and stereotypes in the execution of their songs and the language they choose to include in their lyrics. It is notable that many

artists do not use specific pronouns, such as she/her or he/him, in their song writing, They instead choose to focus on personalisation and creating a sense of community, using language such as “we” and “you”, which allows for seemingly direct interaction between performer and audience, thus reflecting kinship through their shared troubles and identities.

It is evident that music and gender expression go handin-hand due to the valuable communicative powers that musical expression enables between audience and performer, allowing for positive messages of reassurance and the promotion of awareness to be spread on a vast scale via music cultures. Whether or not this has a positive impact upon the development of a broadened understanding of the community, depends solely on the ways in which the artists display themselves and the connotations of the lyrics they write.

Meanwhile, artists have a duty to continue to distribute messages of encouragement through their mediums, with music culture shown to have an immense impact upon influencing the beliefs of an audience. Therefore, through the arts we can promote a world where those outside the binary are widely accepted, and gender will no longer remain an exclusive term within society.

Quotes and Fan Art: Will be used to show the impact that artist, SOPHIE, had on the community.

“SOPHIE’s music has been, and will continue to be, an incredibly important part of my life - specifically my queerness and how she helped me embrace my identity. She was like no other and the world needed her. Rest in peace.” - @beckscoad “RIP SOPHIE. Beyond being an incredibly talented and visionary producrer, to me her concept art was incomparable. In her music, she explored topics like identity, humanity, expression and transformation, concepts with which I connect deeply. Her creative legacy will continue to inspire people everywhere.”

- @narabatos

@frvgmentsofart

@beckscoad

@yu_qi_e

@sosserpenti

@nateiar

@katianna.mua

“I distinctly remember as a teenager, a time of my life where Music was the only thing that got me by, thinking sometimes “how will I react when a musician I look up to passes away?”

Well, it happened. Last week, one of my favorite music producers of all time, my introduction to PC Music and one of the most gentle and kind souls out there, passed away. I have been a fan of @sophie_msmsmsm for about 7 to 8 years, and her music was really special to me. I have danced to her music, lipsynced, cried even. I even wrote a university paper on her. As you can understand, she was an important part of my life.

Her passing did leave a genuine hole in my heart. I have been thinking of her a lot this week , and this sense of sadness and grief fills my heart. Because we lost someone who I felt was just starting to bloom. It was so, so soon. Way too soon. She was 34 years old, but it was only a couple of years ago when she first publically revealed her face and came out as transgender.

And I feel like she passed during a time when she was starting to get widely recognized for her amazing talent, being the first transgender woman who was nominated for a Grammy. Her star was shining so bright, she truly died in her prime.

It especially hit me hard that she had been living in my home town during the past couple of years, which I had no idea of, and that’s where she passed away, as she was trying to climb to get a good view of the full moon. It makes me think that she might have walked along paths that I’ve been on, or that in the future I might cross the ones she left behind. It’s such an odd feeling, that my nowhere town is where she chose to live. It just feels like I have one more connection to her that I didn’t know of before. Anywho, I am aware that I started rambling but it’s hard to process feelings that you have never had before in your 26 years of living.

All I know is that the music industry will never be the same without her. Rest in power, SOPHIE.” - @katianna.mua Not going to get over this any time soon.

I was really lost when I heard her music for the first time years ago: making music outwith the landscape of the country you’re from can often make you wonder if there’s any audience for you out there at all but learning about SOPHIE pushing past such barriers and worse to become such an icon gave me the confidence to find my audience and I owe her such a great deal for that. Her sheer bravery still astounds me.

Scotland’s lost a true visionary. Her music occupied this incredible space of being simultaneously sonically confrontational and infectious as hell. I was looking forward to what she was going to do next and I can’t believe we won’t get to hear it.

Gone

far,

far

too

soon.”

-

@kapilseshasayee

Headline:

Gendered stereotyping and discrimination within the sporting industry.

“Abstract”: When we think of discrimination in terms of sport, the mind typically wanders to women’s football and the discriminatory judgement they face from both a homophobic and physical perspective. However, gender stereotypes have been assigned to various sports throughout history..

Such stereotypes have changed and evolved from the increase in women’s rights, with more women participating in sporting activities more than ever.. Yet the argument regarding the participation of transgender individuals still lingers, this is due to the accusation of trans individuals having an “unfair advantage” or disadvantage, depending on their transition. While for those identifying as non-binary, there is a grey area as to which category such individuals should compete.

2

Many competitive activities are categorised by male and female sporting segregations, which are both mutually exclusive to those identifying out-with the gender binary.

Sporting associations lso question whether trans persons should be allowed to compete within the category of the gender they transitioned to, over concerns of physical advantage or disadvantage.

This is due to males being seen to have physical advantage in sporting activities over women due to the presence of higher levels of testosterone, women are viewed as “:weaker” and physically disadvantaged. Therefore, a transgender woman receives increased criticism due to upholding any remaining “masculine” characteristics.

Scottish Athletics introduced a policy which made the inclusion of a third category, which allowed for non-binary participants. This emphasised the government’s efforts to have the term non-binary recognised as a third gender option.

However, the UK decided that as the number of individuals identifying as non-binary was “so low”, a lack of legal protection did not pose as a threat to such individuals and that they were in no detriment as a result.

This called for a moment of activism, with non-binary persons sharing the negative impact that the lack of legal recognition has had on their lives, via social media.

It was noted that the sporting sector is a space where nonbinary and trans individuals were met with barriers.

W h i l e c o m p e t i t i ve s p o r t is said to measure and recognise sporting excellence, the strict categorisation of gender prevents talented individuals from receiving the recognition they deserve.

Competitive synchronised swimming - originally known as “water ballet” - began in Berlin and London between 1891 and 1892, when only women 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 synchronised swimming scene in “Million Dollar Mermaid”. It was at the beginning of the 20th century that synchronised swimming reac he d i ts p o p u l a r i t y c o m p e t i t i ve l y.

Ever since, men have been fighting to compete in the aquatic sport at the Olympics, who barred males from entering t h e competitoions. All sports are now open to female contestants, yet men are still forbidden to compete to this day in both synchronised

Khadijha Red Thunder

swimming and rhythmic gymnastics. It is still uncertain whether this gender discrimination issue will be resolved for the next Olympic Games, which should have taken place in Tokyo last year.

Gender segregation in sports is due to the assumption that men are always bigger, stronger and faster than women, who are considered the weaker sex. However, we know that this is not always the case.

Gym spaces are also segregated into male and female orientated spaces, with the male sections focussing on weight and tone, while the female spaces tend to include mainly cardio machinery. This is again with the presumption of what the genders should be concerned about in regards to their physical health and fitness. However, again we rarely see any safe spaces for those outwith the gender binary.

The argument against having transgender persons participating in sporting events revolves

around the idea of fairness.

Those who have transitioned to a female have higher levels of testosterone in their body, however, it is proven that testosterone does not heighten physical performance, therefore making this argument against the inclusion of transgender competitors invalid. It seems that the issue of “fairness” lies with the excluded persons, not those who have the ability to compete without judgement.

It is evident that there is a lack of inclusion across the board within the sporting industry, towards all genders.

If “fairness” is truly at the heart of the industry’s concerns, and that the aim of competitive sporting is to recognise and reward individuals for their skills and excellence, then there has to be a change in how sports are currently being categorised. there is no reason why men should be unable to compete in artistic sporting events, like synchronised swimming and gymnastics, if they wish to do so. With scientific evidence demonstrating that women have the ability to be equal in physicality in regards to sports, then judgement and assumptions of weakness have to be stopped. Finally, for the sporting industry to become a diverse space, there is a need for an increase in categorical titles, to ensure those outside the gender binary can demonstrate their skills while being also being a c c u ra t e l y re p re s e n t e d .

“ Passion of the bitten peach.”

A painting from the Quing Dynasty, showing a woman spying on two men having sex.

Gender and Homosexual Euphemisms.

Duke Ling and Mizi Xia

The “passion of the bitten peach” is a euphemism in China for homosexual relationships, which derived from the story of Duke Ling and Mizi Xia. Xia was actually a criminal, as he forged the Duke’s signature in order to have a carriage to travel to his sick mother. However, instead of punishing Xia, the Duke found himself charmed by his good looks, the two quickly fell in love.

Their relationship was tolerated by the Chinese community, with the Duke said to be very open about their marriage and sex life. This tells us a lot about queer culture and the views of the population at this time. However, it was still considered “unideal”, and there was a demand for the Duke to fulfill the duties of a heterosexual relationship, which meant producing heirs. It was uncommon for men to have both a wife and a lover, who could be either male or female.

While walking through their garden, Xia picked a peach and took a singular bite, passing it to the Duke upon realisation of its sweetness. The Duke exclaimed: “How sincere is your love for me! You forgot your appetite and thought only of giving me good things to eat!” Hence the formation of the euphemism of the peach.

With age, Xia’s beauty diminished and so too the love of the Duke. The Duke turned on his lover and charged him with his past crimes, meaning Xia lost everything.

Had he been the wife of Duke Ling, this would not have been allowed to happen, as the wife was considered family. This demonstrates that while homosexual relationships were tolerated in Chinese culture, they were still not deemed equal to that of heterosexual relationships.

C H I N A

493 - 534 BC

Headline:

A Brief History of Homosexual Relationships and Acceptance.

“Abstract”:

In history, it is rare that we learn about the lives of those who lived outside the gender binary or swayed from tradition. However, for centuries, people have been fighting to have the right to love who they choose to love, or identify as who they wish to be.

Homosexual relationships have been recorded as far back as 490 BC. To appreciate and acknowledge their existence is pivotal in encouraging acceptance within today’s society, and to question why opinions have changed repeatedly over time.

3

The 21st century brought the legalisation of homosexual marriage in twentynine countries, however, fo r c e ntu ri e s , s ame - sex couples have been united though various methods.

In some cases, these relationships have been widely accepted, or tolerated.

In ancient China, the most widely renowned partnership between two individuals of the same sex was that of Duke Ling and Mizi Xia, who were said to be participating in an openly homosexual relationship from 493 BC until 534BC. H o w e v e r, t h i s w a s n o t the only unusual aspect of the Duke’s relationship.

Xia was technically a criminal, as he had committed fraud by forging the signature of the Duke in order to board a carriage to care for his dying mother. Yet instead of punishing Xia, Duke Ling was charmed by both his devotion to family and his good looks.

The two spent a great deal of time together and quickly fell in love. the Duke showed no shame in the homosexual relationship they shared, which was tolerated by t h e C h i n e s e c o m m u n i t y.

However, with this, there came demands that the Duke fullfill his duties alongside his relationship with Xia. This meant creating heirs. At this time, it was not uncommon for men and women to marry while also having lovers.

This gives an indication of the attitudes of the community towards homosexual relationships at this time.

While they were tolerated, heterosexual relationships were favoured due to the ability to procreate.

The term : ”passion of the peach” - which in Chinese culture is a euphemism for homosexual relationships derived from the relationship between the Duke and Xia. While strolling through the Duke’s gardens, Xia picked a peach and took a singular bite.

Upon realisation of its perfect sweetness, he passed it to the Duke. He was said to exclaim “ How sincere is your love for me! You forgot your appetite and thought only of giving me good things to eat!”. Hence the symbolic nature of the peach.

But with age, the looks which once charmed the Duke, slowly diminished and so to did their love. The Duke turned on his lover, and Xia was charged with his past crimes.

What we learned from the relationship between the Duke and his male lover, Xia, is that homosexual relationships - while not as favoured as heterosexual were accepted. Yet the end of their relationship highlights the ways in which homosexual male partners were at a disadvantage to the female spouses, due to their inability to produce children and carry on the family name.

Fast-forward to the 14th century, it was no secret that men would often be partnered in what was known as “voluntary kinship”, a formalised friendship or brotherhood, However, it is unclear whether all men involved in such “kindships” shared sexual relations. Many are divided on the relationship of King Edward II and Piers Gaveston, as the King openly expressed his love towards him and showered Gaveston with lavish gifts. This was expected within heterosexual relationships with mistresses.

Same-sex partnerships were equally common amongst women, although they 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 “cross-dress” as he was deemed androgynous by the court. Likewise, Maria Van Antwerpen lived as a man for most of her life and claimed she “was in appearance a woman, but in nature a man”.

Such renowned relationships demonstrate that gender fluidity and homosexuality has been evident for centuries, although many of their stories remain untold.

Photo by Casper Sejersen.

still - life : shoot one.

Following on from my article regarding homosexual marriage and relationships, I felt inspired by the use of symbollism in Chinese culture to represent gender and sexual orientation. As I have been experimenting with still-life to capture the theme of my publication, I felt inspired to use some of these symbols to portray my narrative in an alternative way. It is of high importance that I use objects with significant meaning in order to effectively portray my theme, without the use of human subjects.

As there was no access to the studio during lockdown, I wanted to conduct a thorough test prior to the still-life shoot to ensure that the lighting and set up would work for the final shoot. With no studio lighting, it was difficult to get the same effect, however, with editing I will be able to enhance the final imagery.

EDITING

While editing the test shots, I referred back to the work of Carla Marcia, as I enjoyed the inclusion of a grain to add texture to the image - alomost similar to that of the fruit - as well as the strong saturation of colour. I feel that in doing this, I can continue to express the “utopian” and alien-like aesthetic that I aim to achieve throughout the publication.

Another way to enhance this could be to overlay human-like textures, as I am unable to use human subjects in some of my shoots due to restrictions during lockdown.

FINAL OUTCOME

still - life: shoot two.

variation one.

variation two.

ta a w in m s Taking inspiration from Elizaveta Litovka, I created this still-life imagery. I wanted to create “heels” using organic materials, to remain cohesive with my previous still-life shoots and scanned images.

I thought that this could symbolise growth, in terms of societal understanding of those who choose not to conform to binary thinking. This could also allude to the phrase “take a walk in my shoes”.

I used a male model to further demonstrate my androgynous theme.

ake

walk n my hoes

variation two.

R E F E R E N C E S

Awlani, P (2020) ‘Meet the Photographer who made Facetime Photoshoots Cool’, Grazia Magazine.

Bianchi, A (2017) ‘Transgender women in sport, Journal of the Philosophy of Sport’, 44:2, 229-242.

Darling, L (2016) ‘The Bitten Peach and the Cut Sleeve’, Making Queer History, available at: https://www. makingqueerhistory.com/articles/2016/12/20/the-bittenpeach-and-the-cut-sleeve Davidson, E.E (2020) ‘Intimate Portraits of Life in Isolation, as seen through Londoner’s Windows’, Life & Culture, Dazed.

Gorton, T (2015) ‘Fashion East Announce Menswear Designers for SS16’, Fashion News, Dazed.

Julia, P (2016) “Belles of the Ball: Meet London’s Female Drag Queen’s’, Culture, I-D. Lauren Hillebrandt – Boredom Inspires Me (2014).

Available at: https://www.phaidon.com/agenda/photography/ articles/2012/april/12/lauren-hillebrandt-boredom-inspires-me/ Les Vêtements de Football – Lookbook Special Edition (2017). Available at: https://www.vrients.com/us/magazine/lesvetements-de-football

Magic Mushrooms AW21 – Eirinn Hayhow (2021). Available at: https://londonfashionweek.co.uk/designers/eirinn-hayhow

Milgrim. M and Sobal, J (2019) ‘Gendertyping sports: social representations of masculine, feminine, and neithergendered sports among US university students, Journal of Gender Studies’, 28:1, 29-44.

Ofiala, R (2018) ‘Les Vêtements de Football Debuts High Fashion Inspired Jersey Capsule’, Clothing, High Snobeity.

Olivia, P (2020) ‘Create Art During Isolation – Self-Portraits

by Peyton Olivia Photography’. Available at: https://peytonolivia. com/journal/createartduringisolation

Owerova, D (2017) ‘NSS Magazine’s Second Drop of Les Vêtements de Football’, Fashion News, Pause.

Pressigny, C (2018) ‘Asai’s Magical Designs Breathe New Life into London Fashion Week’, Fashion, I-D.

Richards, W (2021) ‘DJ and Producer SOPHIE has Died, aged 34 – The World of Music Pays Tribute’, Music News, NME.

Seward, M (2020) ‘The CSM Grads Shaping the Future of Fashion Image’, Fashion, I-D.

Seward, M (2020) ‘This Magazine Celebrating Black Creativity is sure to make you Smile’, Culture, I-D.

Stoyanova, V (2020) ‘Eirinn Hayhow – Another Flower in the Dustbin’, Yugen.

Team Title (2020) ‘Meet Sustainable Designer Eirinn Hayhow From London’, Communities.

SPECIAL THANKS To my models: Jennifer Gunn @jen111fer Daniel John Jarvis @danieljohnjarvis Daniel John Maher @x_danyo Jack @hiijackkk Jodie Owens @_seraph.im Louie Fagan @louiefagan Bethany Watt @bethanywatt._ Reece Beveridge @santa.carla

To my lecturers: David Renato Cavallaro Theresa Coburn

Special Mention: Eirinn Hayhow @eirinnhayhow

@soph.comms