Chapter Z Magazine Issue 001

AUGUST 2021

Issue 001

August 2021

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CHAPTER Z 001

NOTE FROM THE EDITOR Chapter Z is a publication that serves to entertain and educate the entire spectrum of people that comprise Generation Z. There is no single voice for our generation; no single face. We are a glorious amalgam of abilities, gender identities, ethnicities, ideas, passions, fears and curiosities. What we want and we are interested in is as varied as we are.

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This is a magazine that is written by a diverse group of creators, for a diverse generation of readers. We are committed to telling stories relevant to as many cultures and communities as we can and each issue will broaden the perspectives we offer.

We will bring your stories that will surprise you, educate you, entertain you and give you a new perspective.

Please,

enjoy

our

first

issue!

Henry

AUGUST 2021

CONTENTS Page 5

TERRENCE HIGGINS TRUST: FREEDOM TO EXIST

Page 9

100 YEARS OF AM-DRAM

Page 14

ONE MONTH MENTORS

Page 27

DON’T SHOP, SWAP!

Page 30

#FREEDOM TO CHOOSE

Page 34

NADINE (2021)

Page 35

LONG LIVE PRIDE

Page 40

FRIENDS: DESERVING OF A CHANCE?

Page 44

CARTE BLANCHE

Page 47

FIVE THINGS MUSIC HAS TAUGHT ME

Page 51

A TIMELESS TALE

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AUGUST 2021

TERRENCE HIGGINS TRUST: FREEDOM TO EXIST Nwora Emenike

I don’t know about you but after 2000 years of lockdown I’m ready to crack out my Pat Mcgrath highlighter, throw on a string vest, and hit the streets for a hot girl summer. Part of my hot girl summer plan was London pride, Nottinghill Carnival, and celebrating another year of being undeniably queer and unapologetically Black at UK Black Pride but alas, the ponderosa has had other plans. Yes, we may not be able to celebrate and gyrate in the streets and really make the most of what this great city has to offer but that doesn’t mean we should lose focus on what Pride month is really about.

It’s about freedom of expression, freedom to exist, and learning how to do all that safely and consensually.

“THE FIRST PRIDE WAS A PROTEST” As well as celebrating our community we must make sure that those who come after us and those who are just discovering their magic have the support and tools to do so. Charities like the Terrence Higgins Trust are here to ensure those of us in the LGBTQ+ community are equipped with the tools we need to enjoy good sexual health. THT is the UK’s leading HIV and sexual health charity and was the first charity set up in the UK in response to the AIDS

epidemic which took the lives of many of our queer brothers and sisters, especially sex workers and our trans sisters. As the years go by and technology improves, we forget that many people are still living with and dying from this disease.

Terry Higgins was among the first people in the UK known to have died from the AIDS virus and this charity was set up in his name to not only end the transmission of HIV in the UK but to empower & support those living with the disease and amplify the voice of those affected by HIV across the public and political arena to eradicate stigma and discrimination. p136), the reflective notions that only personal memories can provide. The theatre is a mnemonic device formed in one’s mind, attributing important memories to a spatial locus. How my memories came to affect my spatial predilections is defined as the ‘Aesthetic Cocoon’, a psychological spatial perceiver. It allows one, to either assimilate, or differentiate environments depending on their sense of belonging.

This paper moves against innateness and uses a development through engagement, defined

by Piaget’s active learning theory. The mind observes physical space as though it were a theatre, the stage is malleable.

Before it is supplied with a context, the mind is free to roam, unmoved (Sontag,1966,p31). People have a need to connect with the unknown, always attempting to assimilate new information (Piaget, 1948). When viewing a theatre production, the connection in space is continuous,

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Photos: Courtney Philip Makeup: Dolli Glam Models: Dolli Glam and Rocky Try Styling: Nwora Emenike Creative Direction: Nwora Emenike Set Design: Henry Tolley

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The Terrence Higgins Trust is more than just a quaint boutique, stuffed full of objet d’art and designer fashions, nestled in the heart of Pimlico. THT has grown tremendously since its inception in 1982 to reach and support more of the community. They have centers up and down the country for HIV & STI testing, support for people living with HIV, therapy services, and a hotline for advice and support if you should ever find yourself in a situation.

We as queer people (and allies) must keep up the good fight.

Just because I can walk the street hand in hand with both of my partners, a crop top and a full beard doesn’t mean that we are all free. Donations are still needed, education is still needed, activism is still needed. We must support charities that have supported us and those that came before us.

Parkerson (1993), states “In mainstream media, gay men and lesbians of colour are either woefully presented or predictably absent”. Almost 30 years later, images of queer womxn of colour are still few and far between.

By choosing to use majority queer artists of colour, this shoot is a celebration of intersectional queer bodies and queer creativity. Everything in the shots, the clothes, the props, and the set are all on sale now in the Terrence Higgins Trust store. As well as supporting the charity, our aim is to champion sustainability because you should not have to buy new to look fresh and cute.

AUGUST 2021

100 YEARS OF AM-DRAM Hannah Oliver

In current society, there seems to be little environments left in which people of all ages can come together in pursuit of a shared passion. With the Intergenerational Foundation (IF) reporting that ‘the intergenerational divide has been exacerbated by the COVID-19 crisis’, it seems that people of different age groups have never felt more distinctly separate.

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Researchers at the IF suggest that, in order to bridge intergenerational borders, we need to create more spaces which facilitate people of all ages; if these researchers were ever in need of a blueprint for what this might look like, they would only need to look as far as the rehearsal room of Dinnington Operatic Society, and they would immediately find what they were looking for.

Based in Sheffield, South Yorkshire, this amateur-dramatics group, which typically produces a pantomime, a musical, and a student production every year, hold a longstanding reputation as a successful and welcoming space for all age groups.

With 2022 marking their centenary year as a society, it’s clear that this reputation is nowhere close to fading.

Recently, I interviewed 3 different generations within the society on their experiences with DOS, and what it’s like being a part of a society with a 70-year age range.

Images: Andrew Saunders via Dinnington Operatic Society

One of the most longstanding members of DOS is retired 77-year-old Ann Jones who, together with her husband David, has been a member since 1975 when their daughter (then aged 5) performed in her first pantomime, ‘Humpty Dumpty’.

She reminisces, “I’ve never been on stage but have been Ticket Secretary, Society Secretary and Front of House Manager.” Anne’s husband David was also involved throughout the last 45 years, taking on roles such as Stage Manager

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“I thought I’d give it a go and instantly fell in love.” and Chairman before helping Front of House. Of those 45 years, Ann highlights ‘Oliver: The Musical’ as a standout show for her, remembering how her husband David built the complete set from a box set model using discarded pallets.

Like everyone at DOS, Ann happily admits that her life was completely changed by the decision to get involved in theatre.

She admits, “It’s been our life since 1975, and although our daughter left to go to University in Reading, we have continued to work everything around rehearsals and shows. It’s been our family and still is now, even though we are slowly handing things over.”

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Ann and David’s committee roles have shown them firsthand how challenging it can be to run an intergenerational society, and to have to navigate so many different views and opinions.

However, Ann maintains that these issues were always worked through reasonably, recalling how “There was no strategy as such, just discussions and then a fair show of hands.”

Finally, I asked Ann how being a part of an intergenerational group had affected her. Perhaps the most heartwarming of all answers can be found in her response: “It’s kept us young.”

“We have friends now for life, of all ages,” she states, “and I don’t think anybody other than perhaps two more are older than us or have been involved longer than us.”

However, despite her association with DOS stretching almost 50 years behind her, Ann insists that new and young talent are always made to feel just as welcome as established, regular members.

Ann sums it up simply in saying, “It’s our future. Being made Life Members certainly does mean that to us.”

The second member I interviewed was Ashley Booker, aged 36, who currently works in HR. He has been a member of DOS for 25 years, and often takes roles within the production team as well as continuing to perform on stage.

He describes joining, aged 12, after having seen a call to audition for ‘The King and I’ in the local newspaper, and confesses, as a self-proclaimed theatre addict, “I have been hooked ever since.”

Although every show offers a new and unique set of challenges and rewards, Ashley identifies two in particular which had the largest impact on him personally. The first to gain a special mention is ‘Copacabana’, performed in 2008, as Ashley fondly reminisces, “The casting was perfect, the dancing was phenomenal, and it was directed by my idol, Trish Probert.” The second is ‘9 to 5 - The Musical’, performed more recently in 2019, characterized for Ashley by the strong, interpersonal bonds formed within both the cast and production team. “I’ve directed a few productions for DOS,” he recalls, “and this one truly has a place in my heart.

This cast worked together so well that it really did become a family.”

AUGUST 2021

Having known and worked alongside life members such as Ann and David for a quarter of a decade, Ashley has more experience than most with close, intergenerational relationships. For Ashley, it’s been a wholly positive and enriching experience, as he describes, “It’s inspirational to listen to the older generation, to hear how the society was years ago, and to have a sounding board of people who have successfully been there and done it.”

Yet again, Ashley is another member who will happily admit that being part of theatre has changed his life, and all for the better. “I’ve made lifelong friends of all ages,” he shares, fondly. “We’ve shared good times and bad times, but at the end of it all we will always be there for each other.”

Finally, I spoke to Ella Seal, age 15, who’s currently a GCSE student in Year 10 and has been with DOS for 5 years. Ella originally wanted to join DOS after witnessing the effect it had had on others. She recalls, “I saw how people had made lifelong friends, and found something they thoroughly enjoyed, and I was yet to do that, so I thought I’d give it a go and I instantly fell in love.”

Having roughly 12 shows now under her belt, including pantomimes and student productions, Ella, like many others, can’t help but reserve a soft spot for the last show she performed before COVID: ‘Aladdin’. She describes how it was made more memorable by her own love of the film, and the immense chance for involvement offered to those much like herself who enjoy being in the chorus.

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For Ella, one of the main advantages to joining DOS comes from just how much it has improved her confidence. When describing how this gain in confidence has impacted her life, she openly confesses, “Theatre has helped me to believe in myself, and helped me to realize that I can do anything when I put my mind to it.” Ella attributes much of her recently discovered self-confidence to the intergenerational nature of the group, as she suggests, “Being able to interact with different ages has changed my perspective on a lot of things, and I 100% believe I’ve benefited from listening to other people’s views and perspectives on even the smallest of things. I believe that the adults have really helped guide me in the right direction.”

At only 15, it’s truly inspiring to see that Ella, with wisdom beyond her years, is still at the very beginning of what will hopefully be an extremely exciting journey through theatre. She credits much of this wisdom again to members older than her, as she muses, “I feel like I’ve learnt so much

AUGUST 2021 from the adults of the society during many different situations, and I see them as role models to me.”

It is clear just how large an impact her role models have had on her, as Ella expresses her hope to grow in return into a role model for those younger than herself, as she states, “I hope to pass on my love of theatre and how it’s changed my life to those younger than me. I also hope to pass on the message of how much dedication goes into putting together a performance, and how hard everyone works to make the quality of the show the best it can be.”

I personally count myself extremely lucky to be yet another person who has been touched by the DOS effect. My ‘first debut’ with DOS was in 2005, aged 3. My dance school would join the society every year for their annual pantomime, and until January of this year, I’d been in every pantomime since.

My ‘second debut’ was in 2019, aged 17, when, after years of plucking up the courage to audition for a musical, I finally did, and landed the role of Judy in ‘9 to 5’.

Having that part, and being surrounded by people who inspired and uplifted me, gave me the confidence to finally open up and share my passion with others, to let my voice be heard, and to go on less than a year later to land a job which had me performing solo gigs every weekend.

In this way, I can testify how much it matters to be invested in intergenerational communities which will invest in you in return. I grew from being welcomed and nurtured by the society as a young child, to being welcomed and nurtured by the society as a young adult. This is an invaluable support system which has benefitted the lives of so many people, and I can only hope that as the world slowly reopens post-COVID, we remember the impact of these organizations and continue to build upon them.

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ONE MONTH MENTORS: PRIDE Henry Tolley

Growing up as a closeted, queer person in the early 2000s, being educated on LGBTQ+ culture was a struggle.

With online resources that may have offered some queer pedagogy being flagged as ‘inappropriate’ by the family laptop’s parental controls, desk research was a no-go.

My parents, although loving and caring, offered little conversation about the issue. They opted, as many parents do, to let me ‘figure things out for myself’ rather than overwhelm a son blatantly in denial. But I couldn’t expect them to offer help when their involvement in queer culture consisted of watching Graham Norton swirl a glass of wine for an hour on a Friday evening.

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So, Graham Norton became the extent of my knowledge of queerness, too. Don’t get me wrong - the Nortons, Carrs and Wintons of our television screens were fabulous, albeit stereotypically gregarious role models. But the education needed to truly reconcile my queer identity was something I didn’t discover until later in my teens, with the advent of queer YouTubers. My story is just the tip of the iceberg here; the problem of the lack of queer role models is even more prevalent in the lives of the those who are gender non-conforming, or who are raised in more conservative households.

Hence why I leapt at the chance to get involved with the One Month Mentors Pride programme. Headed up by the brains of Shannie Mears and Ore Olukoga of The Elephant Room, this mentorship scheme partners young people with successful people in their field of work that belong to the same community as them.

This summer, the chosen community was that of the alphabet mafia: the LGBTQ+ community. With the generous partnership of Clarks, the scheme was a great success.

For the duration of the programme, mentees who were successful in their applications were partnered with queer people who are making waves in their field. These professionals gave the mentees oneon-one sessions throughout the month and offered them invaluable advice on how to succeed.

Growing up as that closeted, queer person in the early 2000s, I’d have traded my most prized Nintendo game for a rolemodel like that. Not only being advised by, but simply witnessing queer being open, proud and successful is invaluable for us. But don’t just take my word for it; go ahead and read the testimonies of our fabulous mentees and wonderful CMO of Clarks, Tara.

AUGUST 2021 “As many companies are right now, Clarks are on a journey as a brand in addressing diversity and inclusion internally and externally. We hope that we learn more about how we can evolve with every project, program, connection, and conversation. This program allowed us to do that. We hope to learn more about how we can foster young creative careers within the footwear industry.

“Brands have a responsibility to support underrepresented communities.

Especially since they are our consumers. The great thing with us is that community has been at the heart of our brand for over 195 years so us doing this is just part of who we are. To support LGBTQ+ people, brands should roll up their sleeves and get involved. Making a bold marketing statement, putting a pretty rainbow on things, and donating money is appreciated as it brings awareness, but to truly make an impact to advance the careers of the LGBTQ+ community, I think they need to roll up their sleeves and get involved. Listen and learn and then make needed changes.

Again, this program is a perfect example of how to make an impact.

“Thinking about the highlights of my experience with One Month Mentors, I must say the best has been getting to know my mentee! Hands down the best part! I have learned so much in the past few weeks about a community that I am a part of and how we can do better as a company to foster talent within it. I am very grateful to the Elephant Room, Brand Advance and my beloved Clarks for this opportunity.

TARA (she/her)

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MATHEUS (he/him) “I applied for this scheme for the opportunity to network and have professional support since I’m on the cusp of launching a new music platform called Effervescent Sounds.

Since I am a gay Latinx from Brazil, I also want to provide opportunities for artists still underrepresented in the industry, such as the queer community, ethnically diverse people, women, Latinx, and immigrants.

“I am very grateful that my mentor has been key to put me in contact with people from different areas that can expand my horizons, debate my ideas and challenge my certainties.It’s truly inspiring to see queer professionals in leadership positions and understanding that LGBTQ+ people like me can occupy those roles and spaces. It’s very cliche, but 100% true. It’s that sense of belonging to a place and seeing ourselves. If they made it, I could make it as well.

“In three Exciting,

words, my eye-opening

experience and

has been: encouraging.”

Photography: Connor T Egan Make Up Artist: Evanne Alarnah Creative Direction: Henry Tolley

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ALEX (he/him/legend/king) “One Month Mentors attracted me initially because it was specifically for the LGBTQ+ community! Knowing that I was going to be a part of something that would be a safe space for me, as a man of the trans experience, was so important. I also genuinely wanted help with progressing my career and the fact that a company like Clarks were involved was huge.

“The application asked what kind of career help I wanted and I still struggle to answer, but I guess I’m at a stage where I would like to feel confident as a freelance content creative. I want to take my career to the next level and be doing photography full time! It was very refreshing to see people from the LGBTQ+, working for top companies such as Facebook, talking about their experiences and journey getting to where they are today. Very inspiring and motivating!

“In three words, my experience has been: insightful, vibes and refreshing!”

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JENG (they/them) “I’ve always believed that mentors are invaluable for personal career development so when I saw this opportunity, I instantly applied.

This past month has been full of brilliant talks and meetings, being able to meet my mentor, the other mentees and the speakers has been so inspiring, and it’s great to see brands such as Clarks working hard to support underrepresented communities.

“Beñat is a lovely mentor and we’ve spoken about life experiences, working with different personalities and working in new environments. It’s been so nice to learn from him and I look forward to continuing to learn from him in the future. LGBTQ+ people are a wealth of wisdom, kindness and joy, it’s an honour to learn from others, especially people with shared experiences and spaces.

“In three words, my experience has been: educational, genuine and wholesome.”

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FRANCISCA (she/her)

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One Month Mentors was a chance to try my hand at networking, pretty much for the first time, in an environment that looked welcoming and judgment-free, whilst surrounded by my community. When applying I wanted to learn more about what kind of professional relationships and dynamics are at work. Getting to know how LGBTQ+ professionals are faring, and how they’re living their truths and making great work because of that, was also a point of interest.

From my mentor, I’ve learned that it is fundamental that we find our voice and stick to our beliefs. Being authentic and determined will always transpire in the work we do and help create a strong brand. Though we are all very different as individuals, I believe the LGBTQ+ community shares a particular outlook on life.

I feel more easily understood around queer people, regarding my vision, my outset, and my goals. This honestly creates the perfect learning environment.

In three eye-opening,

words,

my experience has stimulating and

been: fun.

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SAMANTHA (she/her)

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I have always wanted a mentor having known a few colleagues with one.

I struggle with focus and so a mentor is perfect for me. When I applied I was seeking help in deciding what my next steps are after my degree, to see how science and retail can blend.

My mentor really helped me to learn that there are many roles out there that would suit me, that I am more versatile than I think and that people are extremely kind and generous with their time. This whole experience has made me feel truly part of a community.

In three exciting,

words, my beneficial

experience and

has been: eye-opening.

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JAMIE (he/him) I’m queer, I’m an artist, and I work for Clarks so this scheme was perfect for me! I wanted help with getting into video production and animation because I had just graduated from art school and needed guidance on how to get into the industry.

My mentor, Tara, has helped me to realise that in order to be more creative, you have to be authentic to yourself. Listening to everyone else’s stories – from my mentor, the other mentees, and all the speakers – has made me realise that there are LGBTQ+ adults out there who are happy and successful. Growing up I didn’t see any successful LGBTQ+ adults in everyday life or represented in the media. This mentorship experience has given me hope that I could be myself, have a successful career, and a family.

In three words, my experience has been: inspiring, exciting, and life-changing.

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AIMEE

CHAPTER Z 001 Really wanting to challenge myself to step outside of my comfort zone, I applied for One Month Mentors to engage with other creatives. It has certainly helped with expanding my horizons and engaging with people from a range of creative industries that I probably wouldn’t have met otherwise. I hoped to learn more about leading a sustainable creative career as a freelancer and it’s safe to say I’ve got something in the works now and I feel more inspired and confident in taking the next steps forward.

My mentor has taught me to not be afraid to put yourself out there as the face and visionary behind the platform through which you are creating this community.

It’s absolutely essential and so valuable to see LGBTQ+ people in positions of power. That kind of representation and visibility is incredibly inspiring and empowering, especially when you see those people actively fighting to make space for others like them.

In three words, my experience has been: enlightening, empowering and invigorating.

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ANTONIA (she/her)

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AOIFE (she/they) Having only recently left university, I was keen to gain some knowledge on entering the film & media industries.

Seeing as my passions lie within queer film & writing, listening to and learning from the LGBTQ+ talent across the month, both from the mentors & mentees, provided immense education and insights across multiple disciplines.

My mentor, Kevin Tewis-Allen, provided extensive help and support across the month, and has been an open-book when it comes to the industries we both love. Amongst other things, Kevin has shared his inspirational journey with me & has instilled some much needed confidence in my abilities.

A massive part of what attracted me to put my name forward for this cohort of One-Month Mentors was the knowledge that most people involved were part of the LGBTQ+ community in some way. As queer people, we all have a unique standpoint and a shared knowledge of the difficulties/ obstacles we may face in any industry, so it was incredibly inspirational to hear from queer speakers & mentors who have been making waves in their respective careers.

CHAPTER Z 001 Producer: Lydia Hartley @lydiaahartley Photography: Alida Bea @alida_bea Fashion Assistant: Tashie Webb @tashie_webb Model: Julia Glossop @juliaglossop Model: Reece Davey @houseofdvey Model: Killa K @kkwtj Model: Henry Tolley @hennerzt Model: Lisa Lutgen @lisalutgen

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DON’T SHOP, SWAP! Chapter Z sat down with the founder of the new London-based clothes swapping initiative, Don’t Shop, Swap. Lydia Hartley, a 26 year old marketing manager turned full-time fashion sustainability wiz, give us all the detail on why she started the initiative and the bumps in the road along the way.

When did the idea for Don’t Shop, Swap occur to you? Has it evolved from something else?

I started Don’t Shop, Swap (DSS) as a clothes swapping events initiative.

At a clothes swap, people come with clothes that they don’t want anymore and exchange them for items that their friends or complete strangers have brought with them. Clothes swapping was a new-ish, but established concept at the time, so I cannot say I created it, but I definitely worked hard at the beginning to put my own spin on things.

I was initially drawn to the idea of events, as living in London, I think a

lot of young people can end up feeling lonely and disconnected. Obviously high street shopping is a very sociable and often bonding exercise, so I wanted to take that and apply it to a circular fashion activity.

For me, it was paramount that we created a memorable and premium experience for our guests. I wanted to take the curated retail experience that trendsetting brands had created in their own pop up spaces and apply it to our swaps. I put effort into finding cool warehouse venues, DJs and food partners to create that added value and shape the perceptions of ‘clothes

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CHAPTER Z 001 swapping’ as a cool and fun thing to do. Then of course COVID hit, and all events came to a grounding halt. During my free time at home, I started figuring out how I could scale the business, without having to rely on events. I eventually came up with the idea for the DSS virtual platform - a gamified clothes swapping platform, that offers members a curated collection of preloved, vintage and designer clothes.

Are you passionate about sustainability/ sustainability in fashion?

I am strongly passionate about the topic! I have personally felt quite angry about the way that powerful retail corporations have taken advantage of the unregulated textile industry. These business practices have helped them to achieve obscenely high profit margins, but at a serious human and environmental implications. To cut costs, companies have outsourced their production lines to factories in far-away

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AUGUST 2021 group. I have so much respect and admiration for the young resellers, entrepreneurs and activists out there making a living through sustainable fashion on their own terms and in their own way.

Of course, it’s understandable why fast fashion is popular amongst young people, given the quick reaction that these brands have to celebrity trends, their influencer endorsements, and their extremely low prices. I just think that those who do buy from these brands should perhaps give time to thinking about the longer term impacts of their decision making, and the reality that sits behind the glitz and glamour of these brands. Because behind that model dancing around on a beach in that fast fashion advert, is a much darker scene, and I guess people need to ask themselves if they want to be part of that narrative. It’s easy to turn a blind eye, I think!

Where going countries that pay garment workers extremely low wages, and who are often physically as well as sexually abused by their employers.

They purposefully churn out huge volumes of clothing, manufactured with extremely low quality materials and harmful chemicals, to sell at astonishingly low prices. But as we all know the clothes do not last long. They are itchy, fit badly, and the material is so poor that when you wash them for the first time, they shrink. This is the reality of ‘fast fashion’. The clothes are completely disposable and so cheap that we accept this pattern of wear and spend, wear and spend! So yes, I want DSS to provide a new, progressive way forward. By driving respect for possessions, people and planet through swapping.

Do you think that Gen Z needs to be more awoken to the dangers of fast fashion?

Looking more broadly across the generations alive and kicking today, I think that Gen Z are actually the most proactive and conscious demographic

do you see DSS in the future?

I am incredibly excited for the official launch of the DSS Virtual platform this September. To mark the event we are hosting a huge launch party in East London - where guests will be invited to swap clothes, and Depop sellers and independent upcycling designers will be selling their best clothes. We will be piloting the platform with fashion university students in London to begin with.

DSS Launch party: Saturday 18th September - Lock Studios, in Hackney.

Instagram:

@dont_shop_swap

Join the waiting list for a half-price membership to the swap platform when it launches in September. https://www.dontshopswap.co.uk/signup

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#FREEDOMTOCHOOSE

Something Unattainable Now The EU Decided To Ban Religious Headgear Hiyah Zaidi

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Credit: Illustration by Mallory Rentsch

“We’re not free until we’re all free”. A simple quotation resonating with me since I saw it on Jameela Jamil’s Instagram page from what feels like eons ago now. The quote has no certain origins, but rather passed down like parental advice by the likes of respected authors and activists – see Emma Lazarus, Dr. Martin Luther King Jr and Maya Angelou.

Sounds simple, right? How can one group of people be “free” whilst another is oppressed? Because we’re not alone in who we are, our identities stitch together to create this grand tapestry we call the story of our lives. So no one is free until everyone is free.

If you’re PoC and queer – but queer people have no rights – then you can never be free. If you’re PoC and you think you see progress until England miss out on penalties in the Euro Cup, followed by racism gripping the comments section by its throat – then you can never be free as a person of colour. Do you get what I mean?

It’s so simple to understand, anyone with an ounce of

AUGUST 2021 empathy can comprehend it.

So why are our rights still being snatched from us? Why, after all this time, after decades of revolutions, empty promises, and unfiltered, undeserved hate, are we still fighting for basic human rights?

Can you tell I’m angry? Or just tired? On the 15th July 2021, ANOTHER infringement on human rights came into fruition. In a blatant act of discrimination, EU companies can now ban religious headgear under certain conditions.

As a Muslim woman, I’ve always admired the strength it takes to wear the hijab in public. Britain has always had racist undertones, a hue of gangrene in thought based on a preconceived notion Muslims are terrorists or job sucking leeches.

I mean, often it’s the very people who love a Friday night curry are the very same who bark obscene racist chants. So to proudly wear a hijab in an environment like that takes guts – objectively speaking, I’m not even being biased.

Credit: Muslim.co

But the European Court of Justice thinks a little differently to me. In a decision paralleling France’s call to ban the hijab in public for under 18’s, the court has called for people to “dress neutrally” – which forces Muslim women who wear the hijab to make the unfair decision between their career and their faith. In a time where modest fashion is blossoming into a multi-billion dollar industry, it’s obvious the number of Muslim women around the world are increasing and are seeking employment. After all, in Europe, there are 44 million Muslims – Islam is the secondlargest religion in Europe after Christianity.

Modanisa.com is a modest fashion company “established ten years ago to give Muslim women agency to decide what to wear, when, where and how. Modest dress means our globally diverse customer base can pursue a life of their choosing without having to compromise their religious beliefs. As a result, today’s hijabi woman has the confidence to step into parts of society they had previously refrained from.”

Having headquarters in Turkey they understand the counterproductive and discriminative nature of banning the hijab – a law they had which was revoked in 2013. They said, “the legislation not only created resentment among those who were denied higher education and employment, it also polarised society,” and now, “calls into question the EU’s claims to respect fundamental freedoms and human rights.”

Modanisa will be “launching a major campaign on this issue in the coming weeks” about the ban.

It is important to note this ban includes all religious garments, from Turbans, Kippahs and any other religious headgear. Naturally, those people whose right have always been questioned are horrified by this, so I turned to ask a few other people their thoughts:

Credit: Muslim.co

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CHAPTER Z 001 “I think it’s disgusting that they have made that decision. If it is not harming anyone, then people should be able to make their own choices.”

Sophie, 24, based in the UK.

“I think it’s important to listen and understand the history of hijab and the reasons behind many women who choose to wear it. Growing up thinking the hijab was a sign of oppression, I’m glad to know women have the choice to be free of religious rules and traditions in Europe. It should remain a choice that comes along with education and resources.”

Maria, 24, based in Greece.

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“Haven’t read up on the recent news on this but my automatic feeling is that it’s an infringement on human rights. Article 8,9,10 &14 are rights to private life, freedom of expression, freedom of thought, belief, religion, and freedom from discrimination. Wearing a headscarf is a personal choice and not a political one. I don’t see how it negatively affects the enforcers/nonheadscarf wearer other than their prejudices. I just don’t see their reasoning behind enforcing the ban and why they feel it’s necessary.”

Mollie, 26, based in the UK.

“Just wondering where the equality & diversity policies in the workplace have disappeared to.

It’s generally appalling how they’re giving out this preconceived judgement that anyone who wears a hijab could be pushing their religion or idea onto others or could be a threat. Their reasoning is ‘to present a neutral image’. What difference does it make to them? It’s just a stupid decision backed by nations who believe in selective freedom. Also makes it difficult for other people who might be thinking of starting wearing a hijab and now have to consider that they might lose out on job opportunities or be put into unappealing situations.”

Maria, 24, based in the UK.

In 2021, we’re still fighting for the same rights our ancestors did. It seems like there has been no progress and we’re being spoon-fed illusions of change. The decision to “dress neutral” diminishes individuality. If people are stripped of their rights to express their religion, we’re so clearly not living in the democratic society we thought we were.

With laws like this, it feels like we’ll never be free.

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Photographer: @kairo.key Model: Nadine Reoberts Producer/Creative Director: @neve_hope Make Up: @calliefx Designer: @senja.bymaddie

AUGUST 2021

LONG LIVE PRIDE Jason Jarvis

June 1969.

A group of queer people decided enough was enough.

Tired, frustrated and ready for a change.

They stood up to the system. They challenged society by saying “We are going to be heard.

We are going to be listened to.

We are going to be respected.”

From this moment the Gay Rights movement was born. In my opinion, Pride represents standing up to society and challenging the social norm by Boldly declaring: ‘This is who I am, and this is how I will stay.’

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Photo by Mercedes Mehling Pride gives LGBTQ+ people a moment to reflect on the past and think about the future. The first Pride protest took place in 1970 in New York City. Since then Pride parades have evolved around the world as a symbol of queer solidarity and sign of shared love. There are around 150 Pride parades across the world each year, with Brazil’s Sao Paulo celebrations attracting the most people. I must say Madrid Pride is the best one I’ve experienced.

In each location these marches started out as a protest movement, a time for queer people to share their outrage at the inequalities they faced, the harassment that was endured daily and laws which prohibited us from sharing the same life experiences as heterosexual people. As the world increasingly starts to raise the balance and provide equality for queer people. And as laws are introduced that allow queer people to have the same protection there is the clear

CHAPTER Z 001 question, “What is next for Pride?”

We have to recognise that although it is a free society for some of us to be our true selves there are some countries around the world where it is still illegal to be an openly queer person. We need to make sure we keep fighting for these people; people that can’t celebrate who they are without fear of persecution.

We have to recognise that although it is a free society for some of us to be our true selves there are some countries around the world where it is still illegal to be an openly queer person. We need to make sure we keep fighting for these people; people that can’t celebrate who they are without fear of persecution.

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Pride is also about celebrating the journey queer people have been on.

It’s about remembering the pioneers of the past who fought so hard to give us the freedom we have today. It is about feeling proud of who you are.

It is about connecting with other LGBTQ+ people who share a similar life experience as yourself and saying, “Let’s keep going together.”

Photo by Leo Manjarrez There have been many questions around Pride and the involvement of commercial organisations, around brands showing solidarity by giving their logos a quick rainbow splash of colour during June.

My thoughts, in all honesty? I’m here for it!

If brands want to show support to the queer community then who are we to cast aspersions? In them saying, “We stand with you, we support you and we care,” I am yet to see the wrong in this. There was a time, not so long ago, when I wished brands I loved would tell me they accept me, so it’s amazing to see how the tide has turned. Fundamentally, though, the brands today that support Pride need to make sure that they are genuinely helping their LGBTQ+ employees and consumers. They must execute internal action, for example making sure their LGBTQ+ employees feel like they are an equal and valued part of the workforce; or for brands that are developing bright and colourful Pride product ranges specifically for the season.

I would say to the marketing managers out there: please ensure that a percentage of your profits from your Pride products goes towards helping build a better world for queer people.

Praise must be given for the creative direction of the current Pride marches - the colours and creativity have turned them into mini festivals in their own right. They are festivals that show support and champion being queer & feeling proud. I have friends and family that go to Pride purely to watch the celebration. No-one is excluded, everyone can join in and feel welcome.

Photo by Mick De Paola

Pride events across the world are truly an incredible experience. I am fortunate enough that I have been to the Tel Aviv, New York, Rome, Barcelona, Atlanta and Madrid Pride events.

They have all blown me away with the amount of creativity and energy that is on display.

AUGUST 2021 I’m now going to share with you my top three Pride events from around the globe. As the world starts to open up again, I highly recommend these three being on your future social calendar. What are you waiting for? Call your crew and start the group chat already.

New York I went to New York Pride in 2018. It was incredible.

Home of the Pride movement, New York City takes this event seriously. The whole of Manhattan was awash with colour. It was one giant party.

So many amazing floats, dancers and marchers. It still gives me goosebumps thinking about it.

It normally takes place around June 28th and is one of the earlier celebrations during Pride season.

Madrid For many people, Madrid Pride is the best in Europe. I have been a few times and have never been disappointed.

The route takes you through the heart of the beautiful city. It feels like a non-stop celebration for 4 days. Everyone is made to feel welcome.

Alongside the parade is the area of Chueca, where a lot of the Pride magic takes place. The entire area is lit up with rainbows and bars doors will swing wide open and play music loudly into the streets to join in with the celebrations.

Madrid Pride usually takes place around July 3rd.

Manchester This is one of the best Pride events I have been to and by far the best Pride event in the UK. The energy is second to none. The street party vibes of Canal Street, the amazing parade and the show with the best headliners all make for an undeniably brilliant vibe. The city is so welcoming and fun, it’s almost as if it was created just for Pride. Just 2 hours from London, it makes for a solid day trip or a super chilled weekend break.

I wholeheartedly recommend this Pride event to everyone. Manchester Pride usually takes place around August 28th at the end of the season.

The question of what Pride means to people has generated a lot of conversation, especially in the current climate. Rather than just hearing my opinion, I am going to share with you some thoughts from two members of my queer family, and what Pride means to them.

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CHAPTER Z 001 “For me personally, attending Pride is a day where people from all walks of life come together to celebrate a day filled with colour and freedom.

“Pride represents freedom of expression and taking pride in being myself. Pride is more than a rainbow of colours; it represents a oneness with all and acceptance of everyone, without prejudice. All the years of hard work and sacrifice that have gone into us being able to celebrate Pride shines through, as many stand in solidarity expressing their own individual self.”

Junior Linden, 38, Hospitality Industry

“Pride has always been a great opportunity to be out in Soho getting wasted and dancing in the streets until the sun goes down. Not to mention bumping into friends you haven’t seen for years! It’s also a time to meet new, interesting people and form new relationships and friendships.

The limitations on mass gatherings imposed due to covid-19, alongside the lockdown hit TV show, “It’s a Sin”, has made me think twice about what Pride means.

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“Pride, as it says in the name, is a time to reflect and be proud of who you are in your skin, or a chance to support someone else who is proud in their skin. An opportunity to celebrate the joys together of how much pain, suffering and suppression that queer people have been through.”

Jason

Lee,

35,

Media

Industry

“The first time I went to a Pride of any kind I was 14 years old! It was the summer of 1997 and during a visit to my favourite Aunt, she and a friend of hers took my sister and I to Manchester Mardi Gras. At that time, I had no vocabulary to articulate my sexuality. Fumbles with a neighbourhood friend conflicted with the disdain held towards the LGBTQ+ community in my household. Later in life, I came to learn about the whys behind Pride.

WWhile some of the history has been lost to the commercial pageantry of it all, Pride season can also be that time of year that manages to find a way to let people who don’t feel like they belong know: there is a space for you to be who you are. That is so important to me.”

Craig Cunningham, 37, Education Industry

AUGUST 2021 As we emerge from the pandemic it is the perfect time to reflect on what Pride truly means to us as a community and how we want it to evolve in the future. The celebration of diversity, inclusion, and equality is something that is critical to defining our own humanity. If anyone wakes up fearing for their life because of their sexual orientation or gender identity, then we still have work to do. There is still a message that needs to be championed.

We still have so much more that needs to be changed for the LGBTQ+ community in parts of the world where their voice has been silenced. And even closer to home we still have people being attacked for simply being themselves and living in their truth.

The celebration of Pride represents a moment in time where we as queer people around the world look at ourselves. We look at our journey over the last 50 years and declare we have a right to exWist. Furthermore, we remember the pioneers of the past thus motivating our continuing battle for change and equality in the future.

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FRIENDS: DESERVING OF A CHANCE? Eilidh Johnson

Throughout the story, the cast experience their lives, relationships and careers being derailed and then finding their way forward in unique and sometimes non-traditional ways.

Instead of throwing it all away after something goes wrong, each plot point continues with the question, ‘what comes next?’.

For those figuring out life as an adult over the turn of the millennia, it served as a relatable form of escapism in a time of cautious optimism, much like today.

40 After its 17-year break, the US sitcom Friends has been thrust back into the world’s collective consciousness with its Emmy nominated reunion earlier this year. The episode ‘The One Where They Get Back Together’, was a nostalgiafest for those who watched the show as it came out, calling back to some of the most iconic moments in television history.

However, as I watched it with former fans of the show, I found myself relating to these young adults on screen struggling to make their way through the adult world.

Yet when I expressed this to my Gen Z and late-Millennial peers, I was met with disagreements and judging sideeyes and I couldn’t understand why.

At its core, Friends is a show about a group of friends working their way through the challenges of adulthood and drinking copious amounts of coffee together. It’s a love letter to the friendships we experience and the everyday struggles we face together, as well as the 90s/00s culture that influenced the building blocks of the cultural titan.

Any new adult can tell you about the confusion and frustration they face understanding the world on their own. Between first jobs, leaving home for the first time and living on your own, young people have a lot to figure out in a short amount of time and it can be overwhelming. In the first few seasons of Friends, Rachel is shown to be struggling to adapt to her newfound independence as she tries to find a job and fend for herself with the help of her friends. As someone experiencing their first steps into adulthood, shrouded in the uncertainty of the pandemic, this original plot hit close to home as I had found adjusting to my changing life intimidating.

Many young people today may relate to this sentiment as we are thrust into unfamiliar territory. Learning the ropes of living independently is overwhelming and frustrating as it can seem like your peers have it all figured out, while you’re still struggling. Having a character like Rachel in her mid-20s facing the same difficulties as many other young adults can be comforting, as it shows that everyone progresses at their own pace and that we all struggle with adulthood from time to time.

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What I find to be the most relevant about the show now is its focus on friendship above all else. Today, the way we make and maintain friendships is nothing like we’ve ever seen before. With the technology we have at our fingertips and the restrictions still in place due to the current health crisis, our interactions with our peers have migrated largely online and so it can be difficult to remember to keep in touch.

Friends’ portrayal of the platonic relationships of the cast emphasises the huge role our friend circles can play in our lives, as well as the support you can trust on them for. It’s easy to take your close friends for granted, but Friends reminds us that spending time with your social circle and forming close bonds with them is invaluable and that it can be the key to getting through rough patches in your life. In a time where we are all as isolated as we are, connecting with our peers and spending time with the people we love is crucial especially as young people who are going through a transition from our teenage years to adulthood and need a shoulder to lean on.

The way that the cast are seemingly always together - either in each others’ apartments or down at Central Perk - is reminiscent of the way that young people nowadays are virtually joined at the hip through the phones in our pockets, and how we now have the spaces to interact with each other online so even if we are physically separated, we’re always able to lend a hand or listening ear.

But, watching the show almost 30 years later, the humour and a lot of the characterisation is off putting to put it lightly. The constant fat-shaming towards Monica and the treatment of homosexuality throughout the writing, as well as the focus on an all white cast in a diverse city like New York is sometimes difficult to watch.

Despite this, the story and its lessons don’t rely on these factors and I feel that if you fast forwarded past these points while watching, you would still take away the same messages. Which begs the question, why is it there in the first place?

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CHAPTER Z 001 These aspects of the writing hold little to no plot significance and seem to be there only to elicit a reaction within the audience, that in hindsight perpetuate harmful stereotypes and may alienate a huge potential audience. The only exception to this is the mentions of Monica growing up overweight as it is used to explain her self-consciousness, however it is not handled in a respectful way and is instead used to shoehorn in a fat joke every few episodes.

This was one of the main arguments given by my peers as to why they didn’t enjoy the show and I didn’t disagree with them. I don’t believe that the offensive ‘humour’ woven throughout the show changes the core theme of young adulthood or impacts the messages that can be learned from the show, but it is more than understandable why people can be dissuaded from watching it from beginning to end.

Friends, despite its dated references and problematic elements, is a story about young adulthood and friendship that still rings true today, even if the reality looks a bit different with the ongoing pandemic. The experiences young people have today exploring their newfound independence are mirrored within the show and it’s portrayal of close, supportive friendships teaches us how important it is to have a group of friends around you, no matter what that looks like.

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I believe that more young people should give Friends a go, as its lessons and portrayals are relevant to us today, and knowing that others struggle with ‘adulting’ is something we all need sometimes.

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CARTE BLANCHE Alicia Fretter

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ALICIA FRETTER: photography, creative direction, styling @aliciafretter @pr3ttyb4bie she/her ISOBEL WAGER: model @isobelwager she/her RACHEL CROWLEY: model @myoozli she/her WILL CHALLIS: model @willchallis__ he/him DANNY TYE: model @dannytye he/they NANDI PADAMBO: model @n.a.n.d.i she/her KITTY DICKINSON: model @kitty.cattt she/her IMOGEN BROOKS: model @im0genbrooks she/her CHRIS RICHARDS: model @chris__richards_ JESSICA EDWARDS: model @jessedwards1 LEIGH PALMER: model @lilvampo (VAUHAUS AGENCY) AMIE FRETTER: model @amiefrett @amftphoto JOE MUIR: model @joe.muir.50

AUGUST 2021 CARTE BLANCHE is a collection of photography series by Alicia Fretter and other artists based in the UK. It aims to explore the reconnection between the world and humanity, and vice versa, after what feels like the longest time detached from the outside.

Alicia Fretter’s work often takes inspiration from 90s grunge / documentary street photography, and is always rooted in the exploration of what makes us humanconnections, emotions, similarity, and difference- and how we choose to express it. Her main inspiration comes from photographers like Davide and Mario Sorrenti, Corrine Day, and Juergen Teller, and their unique perspectives on capturing the world around them.

She uses the shape of the model’s body as a tool for the expression of tone and evocation of feeling.

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CARTE BLANCHE is the second issue of Alicia’s magazine series, which specifically aims to capture liberated and tranquil mindsets.

It also explores ideas of self-expression throughout the youth culture that surrounds her, all stemming from autobiographical emotions as stimulus, following themes of self-expression, relationships, and nature. It will be available to pre-order off of her website, pr3ttyb4bie.bigcartel.com, from the 9th August.

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AUGUST 2021

FIVE THINGS MUSIC HAS TAUGHT ME Kiah Olowu

My life revolves around music. I’ve risked being late to make sure I have the perfect playlist for the shower. I’ve relinquished all social anxieties to stand crammed in the crowds of my favourite artist’ shows, and I wouldn’t have it any other way.

My favourite rappers have introduced me to everything from samples to regional slang, and my favourite singers constantly help to broaden my vocabulary and general knowledge. Music is the greatest teacher.

Jeeps, Lex Coups, Bimaz & Benz I put Lamborghini doors on that Escalade.

He gon’ make it to a Benz out of that Datsun.

Rolls Royce, b*tch, yeah the doors go dat way.

Nearly everything I know about cars is because of music. The upgrading of a car after a musician reaches success, and the mention of luxury vehicles is present in much of my listening, mainly across rap and R&B. As a Frank Ocean stan, I cannot ignore the multitude of car references woven throughout his lyrics, visuals and cover art.

The first words I ever heard from him were: “that’s a pretty big trunk on my Lincoln Town Car ain’t it?”

I can’t see a Mustang without thinking of American Wedding, and hearing: “you can have my Mustang/ that’s all I’ve got in my name.”

And is it a coincidence that I see Mustangs all the time now? I think not.W

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Words My outfit’s ridiculous / In the club, lookin’ so conspicuous.

Music has taught me many new words and phrases.

Thanks to my mum, I’ve been listening to Usher since the womb. ‘Yeah!’ is one of those songs that we’ve all heard innumerable times whether on the radio, in a certain room at a uni rave, or for me listening to Confessions on a uni run.

Despite having the lyrics embedded into my brain.

I only recently understood what Ludacris meant by conspicuous, even after studying Geoffrey Chaucer’s The Merchant’s Tale at A Level, and learning about conspicuous consumption.

Drip was forever then and drip is forever now.

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Drugs Somebody walked in with a pound of that Bay Area kush.

As an addict, I let Percocet and Xannies relax me.

This feel like a quaalude.

I was first introduced to Frank Ocean by my dad just after Nostalgia Ultra was released. Not only did the mixtape introduce me to a sound I’d never heard before, but Novacane had twelve year old me ask my mum what “she handed me a ice blue bong” meant.

You can imagine the response.

AUGUST 2021

Never admit to running away from something.

Growin’ up, I was a running back/ You never made me ran once: Young Thug - Sacrifices During his verse, Young Thug differentiates between running from something and running for something. In this case, from foe or for football.

I ain’t never ran from nothing but the police: Vince staples - Norf Norf Being “from the city where the skinny carry strong heat,” Staples makes it clear that he would never run from his environment. The police, however, are an exception, and with their track record in Los Angeles this makes perfect sense.

Dog this is chess now, not fetch/ I ain’t runnin’ for a n*gga, ain’t ran since track meets/ That’s the only time I ran from a n*gga: Frank Ocean - Futura Free Like Thugga, Frank only admits to running to or from something because of sport, and not out of fear.

I’ve always joked about not running unless I’m in danger. Although my aversion is due to laziness, it seems I’m not the only one with strong feelings about it.

Triple entendres exist. What Jay-Z said is not one.

Oww, hoes turn they heads like owls/ /I’m the man of the hour/ Triple entendre, don’t even ask me how.

Last summer after seeing someone in their convertible, and of course saying “top down in the winter that’s what winners do,” my mum and I discussed Jay-Z’s famous ‘triple entendre’ from his verse on Drake’s Light Up. As an English graduate, I sheepishly admit to defending the lyrics. After some research I conclude that his wordplay, although smart, is not a triple entendre. And so, it’s probably best that we respect his request and not ask him how.

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Photographer: Shannon Ollinger @sbo.photo Photo Editor: Shannon Ollinger @sbo.photo Wardrobe Stylist: Daria Chez @chez_style Model: Jake Weaver @jake.weavxr Model: Courtney Jelley @0.cxurtney.0 Wardrobe Stylist: Shannon Ollinger @sbo.photo Creative Director: Shannon Ollinger @sbo.photo Make Up Artist: Callie Fulsham @calliefx Retoucher: Shannon Ollinger @sbo.photo

AUGUST 2021

A TIMELESS TALE Exploring fashion and gender fluidity over the last 70 years.

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August 2021 Issue 001