AW_NEWS 2014 - Allwalks.org

OVER 30 UNIVERSITIES AND COLLEGES ACROSS THE UK ENTER DIVERSITY NOW!
FASHION EMBRACES BODY AND BEAUTY DIVERSITY
ALL WALKS NEWS
GRADUATE FASHION WEEK 31ST MAY – 3RD JUNE 2014
ALLWALKS.ORG
DIVERSITY NOW!
BIG NAMES CALL FOR CHANGE
Naomi Campbell
rates
ALL WALKS
RICK OWENS
“I am so proud of all the ladies I work with.
I wanted them to know they are my ideal”
FASHION IS BORING
WHEN EVERYBODY LOOKS THE SAME
NICK KNIGHT THRILLED TO SUPPORT ALL WALKS
ALL WALKS NEWS
Illustration
Victoria Smith London College of Fashion
Sophie Pittom Liverpool John Moores
University Suzana Salihu Bradford College
Leila Coulibaly University of East London
Fern-Rebekah Bywater Liverpool John Moores
University Akinbolaji Osunsina Leeds College
of Art Charlotte Colin London College of
Fashion Hana Mohammed New College
Nottingham Karla Stevens Leeds College of Art
Laura Wilson Cardiff School of Art & Garment
Design Hae Sang An Winchester School of Art
Dmitry Gotsfrid London College of Fashion Holly
Barnes New College Nottingham
Zine
Alice Firman Edinburgh College of Art
Chloe Taylor University of East London
Helena Lester-Card Northbrook College Sussex
Isabel Nascimento Nottingham Trent University
Molly Mildren Plymouth College of Art
Photography and Styling
Christina Davydova Instituto Marangoni Scholl
of Fashion Aina Franklinos Liverpool John Moores
University Cara Hayward Southampton Solent
University Jessica Bevan University Of West
England Orsolya Luca London College of Fashion
Jakub David The University of West Bohemia
Aaron Davison University of Creative Arts Epsom
Polina Kuprina London College of Fashion
Valerie Masalevich London College of Fashion
Joshua Cooper London College of Fashion
Ginevra Saraswathi Menon Instituto Marangoni
School of Fashion Gabrielle Davies
Liverpool John Moores University Nicole Helm
Instituto Marangoni School of Fashion
Clothing Design
Charlotte Wood Arts University Bournemouth
Charlotte Knowles London College of Fashion
Rhys McKenna Edinburgh College of Art
Arianna Luparia London College of Fashion
Victoria Smith London College of Fashion
Sing Yu Chan London College of Fashion
Alice Firman Edinburgh College of Art
Peach Grove Carmarthen Wales Isabella Mcleod
Edinburgh College of Art Helen Ash
University for the Creative Arts Epsom Lizzie
Atkins Arts University Bournemouth Lavinia
Cadar University for the Creative Arts Epsom
Tianyi Li University of East London
Fashion Film
Marilina Tsitsa Kingston University London
Mica Willgrass Northbrook College Sussex
Lynnly Benson London College of Fashion
Rebecca Roberts, Sam Nelson, Jasmin Chong,
Sophie Corkhill Liverpool John Moore University
Journalism
Alexandria Baily Central Saint Martins
Amy Monteith Northumbria University
Courtney Leigh Norman Nottingham Trent
University Max Tuson Central Saint Martins
Pierre M’Pele Central Saint Martins Chloe Walker
Nottingham Trent University
FA S H I O N F O R A L L
RICK
OWENS
on
3
“WOMEN OF AVERAGE HEIGHT
WITH BUSTS AND HIPS”
Interview Elspeth Merry
Cover Image Rick Owens AW 2014
“I am looking for beauty that isn’t shoved down my
throat,” says Rick Owens when asked by All Walks
why he joins us in challenging the fashion industry’s
dependence on narrow and limited body ideals.
Blunt and vigorous, you wouldn’t expect anything
less from the designer who has made ‘Diversity,’
a standard delivery two seasons in a row at Paris
Fashion Week.
effort in grooming, fitness, and the right attitude
can make anyone shine. Doing something inventive with what you’ve got is, to me, the definition
of that overused word, chic.
Whenever I do something, it’s usually a response
to something personal. The step team production
was really about looking at the women I work
with in the factory and thinking about what we
could do for them; women of average height
with busts and hips. I knew the race thing would
press some buttons, which was a fun side effect.
But it was really about addressing a wider range
of figures, and celebrating energy and the power
of feeling connected to each other.”
First, The Steppers: curvaceous women of a range
of skin tones stormed the runway last year in a
step-team production, giving authentic life to his
lux-grunge collection. Now for Autumn/Winter
On the fashion industry’s obsession with
2014, Owens has detonated the conventional Parisiexclusion, rather than
an catwalk offer right out of
inclusion, Owen’s had
the pool with a reality blast. “IT WAS REALLY ABOUT
this to say:
Older women...the ones
CELEBRATING A WIDER
who support many of our
RANGE OF FIGURES.”
“Everyone is titillated
favourite fashion houses
by a velvet rope we
are on his ‘greydar.’ From
aren’t allowed past – that’s never going away.
company employed factory workers to his immediate employees, Owens wanted to honour the women Consumers value rare and unobtainable things
that not everyone can have. I want to be tolerant
he worked with by featuring them in his shows,
of that, but I can be a counterbalance. Realisti“they are my ideal,” he proclaims with conviction.
cally, I think we need that tension. I’m not out to
condemn anyone or teach anyone a lesson, but
As undisputed high-fashion master of
authenticity and individuality, Rick Owens can chart after celebrating with the steppers, it just seemed
logical to turn the mirror around on our team. I
a journey full of equally idiosyncratic style. Dropam so proud of all the ladies I work with and I
ping out of art school, designing that leather jacket
wanted to celebrate them. I wanted them to know
worn by Kate Moss and photographed by Corrine
that they are my ideal.
Day, Owens won the Council of Fashion Designers of America Perry Ellis Emerging Talent Award
Does Diversity sell? I think genuine warmth and
2002, and the same year became artistic director
logic is never a bad idea in any pursuit.”
at French fur company Revillon. He moved his
business from California to Paris and is projected to
generate $120 million this year.
Right now, discussing fashion’s power to celebrate
difference for this year’s Graduate Fashion Week
readers, is high on his list.
“I have always profoundly believed that absolutely
anyone, anyone, anyone, can have allure – some
FASHION FOR POSITIVE CHANGE
Krasimira Ivanova-Stoyneva, University of East London Finalist Photography & Styling
Photograph by kind permission Naomi Campbell
AND THE
FINALISTS ARE...
ALL WALKS NEWS
Photograph Adrien Dirand
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“When I started modelling in ‘86 there were Asian,
Black, White, Indian and Chinese beauty ideals for
us all to enjoy. It was very diverse back then, but
modern tastes have become more limited. This impacts
on the self-esteem of women who don’t see themselves
reflected in popular culture. We need change.
It is crucial that the next generation of creatives
recognise the opportunity and responsibility they have
to promote all types of beauty. That’s why I support
All Walks Beyond the Catwalk who have been working
since 2009 to challenge the fashion industry’s
dependence on such limited beauty ideals.”
Naomi Campbell
FASHION FOR POSITIVE CHANGE
ALL WALKS NEWS
“My love of fashion was born out of feeling different, feeling like I didn’t belong or fit
in. What attracted me to fashion was the freedom to express myself through attire and
that it is an industry full of designers, photographers, stylists and creatives who all have
unique points of view. It’s incredible that the very industry that is bursting with diverse
creativity and supposedly fosters uniqueness, is actually promoting conformity –
be it in size, race, background or aesthetics. It’s not the same fashion industry that I fell
in love with. When fashion becomes prescriptive, that’s the death of creativity.”
Susie Lau, Founder Style Bubble
“It is vital that the fashion industry
promotes more healthy body imagery.”
Professor Ulrike Schmidt,
Royal College of Psychiatrists
Cara Hayward, Southhampton Solent
University Finalist Photography
& Styling
“i-D has always valued
individuality and uniqueness
and All Walks raises important
questions around diversity
and difference, which are vital
for the next generation to take
on board.” Holly Shackleton,
Editor in Chief i-D
“The Diversity Network’s promotion of diverse bodies; Scottish Government support; and presenting of our
philosophy at the National Eating Disorders Awareness Week proves our students really care about body image
issues and that they want to change the fashion world.” Mal Burkinshaw, Programme Director,
Fashion Edinburgh College of Art and Director Diversity Network.
“Uniqueness is beauty;
it really is OK to be you.”
Kelly Knox, International
Model and All Walks
Ambassador
“I find beauty in all shapes and sizes, colour and creed. I feel that the diversity of
my models is what gives my work extra life and energy. This inclusivity is the viewpoint shared and expressed by All Walks Beyond the Catwalk, who work tirelessly
as a constant mentor to those in the fashion industry with more limited ideals and
awareness.” Pam Hogg, Designer
“It’s very important that
we question the
parameters that define
beauty. I’m thrilled to
support the All Walks
initiative.” Nick Knight,
Photographer
The Beauty of Difference
It’s been five years since All Walks Beyond the
Catwalk launched ‘Size Me Up,’ in 2009.
Difference is good, exciting and the market place
loves it... just ask M&S, our original sponsor.
young fashion creatives tell us and so do mental
health experts. In fact, an overwhelming 92% of
last year’s entrants to Diversity NOW! confirmed
that seeing a range of bodies and beauty ideals as
they were growing up would have helped them
feel more confident about themselves now.
Rick Owens and Naomi Campbell have already
said their piece in this very publication but
Mind-blowing when you really engage with the
now over to the colleges and students who’ve
POSITIVE impact that
engaged with
fashion could have – just
Diversity
“MIND BLOWING WHEN YOU
by being interested in the
NOW!
REALLY ENGAGE WITH THE
end user.
POSITIVE IMPACT THAT FASHION And why miss important
We are all
access to new markets?
working
COULD HAVE – JUST BY BEING
With research showing
together,
INTERESTED IN THE END USER.”
us the benefits of making
aiming for
long-term
a more enlightened
normalisation of the beauty of difference. We
fashion message, diversity is more than just a
novelty fix for fashion light-weights, soon to be
already know it is good for self-esteem because
jettisoned in pursuit of the next big thing.
Difference has to be here to stay. This year,
Diversity NOW! provides a platform for the next
generation to speak out about hyper-sexualisation, lack of gender awareness and the limited
race, age and size diversity that currently exists
in our fashion media. Most importantly, the next
generation of creatives combine a powerful artistic rebellion with a contemporary and visionary
training to re-imagine a fashion dynamic that is
an intelligent force for good.
Next year, what will you do?
Caryn Franklin, Debra Bourne and
Erin O’Connor - Co-Founders All Walks Beyond
the Catwalk.
FASHION FOR POSITIVE CHANGE
Arrianna Luparia, London College Of
Fashion Finalist Design
5
Photograph courtesy of Nick Knight, Chantelle Winnie and SHOWstudio
ALL WALKS NEWS
Susie Lau Photograph Daniel Sims
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ALL WALKS NEWS
ALL WALKS NEWS
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Diversity NOW! 2014
For Diversity NOW! 2014, All Walks’ national student competition, we lectured across the UK
and invited students from over 30 top colleges to “Design a world that empowers you and the
next generation of fashion lovers”.
Students have reported increased empathy with the women and men they will design for and new knowledge
of what consumers feel when they engage with fashion and fashion imagery. Tutors feel the project has helped
them understand what students are thinking, giving them a valuable language to engage in a different way.
This year’s finalists in journalism, design, photography and styling are showcased through out the following
pages. Zines, films and much more work from all the categories can be viewed on our site allwalks.org.
We start with illustration – a visionary medium with no boundaries whatsoever.
Sophie Pittom, Liverpool John Moores University
Finalist Illustration
Leila Coulibaly, University of East London Finalist Illustration
Left to right: Akinbolaji Osunsina - Leeds College of Art, Hana Mohammed - New College Nottingham, Suzana Salihu - Bradford College Finalists Illustration
I AM A BLACK PERSON
Pierre M’Pele Central Saint Martins
Finalist Journalism
I
am a black person. Not a ‘coloured’ one and
certainly not a ‘darker-skinned’ one or any other
politically-correct, given appellations to describe
my skin tone. Why are words so problematic and
how are they creating a hypercritical bubble of
so-called tolerance?
speaking-up about their under-representation
on the catwalks in Paris, Milan, New-York and
London. A letter was sent to the fashion councils
of these cities and it turned out to be more efficient than years of politically correct speeches.
To illustrate the positive response and a sense of
awareness: in their next catwalk show, Calvin
Klein cast six black female models, when they
did not have a single one the previous season. A
clear improvement to the cause of diversity. But
do powerhouses cast a larger number of models
from different ethnicities not to be labelled as
racists or is it an actual fight for the ideology
of aesthetic fairness? Either way, at least it is
happening.
Let’s time travel: in the late 1940s, when Christian Dior, Pierre Balmain and Elsa Schiaparelli
added African American Dorothea Towles
The problem is that today, intellectuals tend to
Church to their much-praised collection of muses avoid issues with embellished expressions or
in Paris, they were not referring to her as being
what I call ‘syntax appeal’. To the point where
mixed-race, which in fact she was. No, instead,
I once asked myself if I was indeed black or
Dorothea was called black by tolerant people and coloured, and what were the differences between
a Negro by less open-minded ones – the latter
these two. It started with a good intention and a
being an utterly disrespectful appellation. The
fight for equality, but it gradually became a way
only community she could assimilate into was
to say ‘Hi, I use the expression coloured people
American of African descent. The rise of a black
therefore I am not racist’ and it’s the same with
woman as a muse was very hard to accept for the the classic ‘I have a lot of coloured friends’.
then Caucasian-only Parisian
In today’s collective unconfashion world, but the seed was “I ONCE ASKED MYSELF scious, the new expressions
IF I WAS INDEED BLACK and words that describe
planted by three of fashion’s
most influential designers. Dor- OR COLOURED, AND
diversity, whichever form it
othea passed away in 2006, aged WHAT WERE THE
takes, are intended as proof of
83, having paved the way and
DIFFERENCES BETWEEN tolerance. It is not about celeinspired generations of young
brating differences, but about
THESE TWO.”
black women to ‘feel good
proving to your neighbours
about themselves’.
that you are not racist.
Left to right: Charlotte Colin - London College of Fashion, Dmitry Gotsfrid - London College of Fashion, Karla Stevens - Leeds College of Art Finalists Illustration
FASHION FOR POSITIVE CHANGE
More recently, in 2013, supermodel Naomi
Campbell became a leading, vocal figure who
supported the cause of non-Caucasian models,
beautiful and opaque handheld fans, hiding a
simple and obvious truth or fact. When the Editor-in-Chief of a magazine said - while I was in
the room - that he wanted a black model on the
cover of the next issue, he hesitated, then looked
at me before continuing speaking with a stylist,
manifestly embarrassed. Awkward. For me. Or
for him? Well, both of us felt a sudden tension
in the room. An elephant so big that it would
knock down the four walls. By focusing on black
models and muses, my point is not to say that
it should be the main issue of the industry. I
believe a person should raise the case they know
best. What I am putting forward in this article is
applicable to any human being with a physical
difference that is largely not accepted by the
fashion world, whether it is weight, height, skin
colour, hair type or ability.
S TO P P R E S S
All Walks, Diversity NOW! In association with i-D Magazine
AWA R D S C E R E M O N Y
As a journalist, I understand that words are
extraordinarily significant; they can be massive destruction weapons but they can also be
FASHION FOR POSITIVE CHANGE
Awards presented by founder of Style Bubble
Susie Lau
On Tuesday 2nd at 6.15pm for 6.30pm
in STUDIO 1, GFW LIVE
Tomorrow’s creatives shape the future
COME AND JOIN US
8
ALL WALKS NEWS
ALL WALKS NEWS
9
SIZE HERO OR
SIZE ZERO?
Max Tuson Central Saint Martins
Finalist Journalism
A
s a man I am expected to be strong. As a
man I am told that if I want to be attractive, my
muscles should almost be ripping through my
skin. If I am not athletic, toned or look like I’ve
been carved from stone then I must try harder.
Diversity within fashion has never been more
important. As we now live in a global community, the imagery that we create should be
representative of this. While gender boundaries
and conformities are being broken down and
blurred, skirts and dresses are slowly working
their way onto the catwalk and into the wardrobes of some of fashion’s braver male dressers
(my own included), while a vast array of men’s
fashion magazines have sprung up to support the
heralded ‘most exciting time in menswear.’
Don’t get too
excited though.
The reality remains: men’s fashion is black and
white. Uncultured.
Endorsing Admiration
Courtney Leigh Norman
Nottingham Trent University
Finalist Journalism
S
lender Caucasian: the petite ideal of beauty; the industry stereotype to which we all aspire.
Standing at 5’5”, squeezing into size 12 jeans,
I am far from the stereotypical figure deemed
attractive. The sad realisation that follows is the
uneasy public revelation of my size; a number
that once provided an indication of perfect fit
now possesses an underlying sense of
disapproval.
The ideal combination of Karlie Kloss’s height,
Cara Delevingne’s complexion and Kate Moss’s
figure is a far cry from the proportions of the
average woman, yet it is this unachievable
standard that we strive to meet. What drove us to
such insecurity? A lack of self-worth based on a
misconstrued ideal of perfection?
Black artists are just one group encouraged to
counterproductive. What other industry goes
suppress themselves to sell. Some of the most fa- out to alienate a large proportion of its potential
mous black celebrities in both music and fashion
market?
promote a manipulated reflection of the “correct”
Caucasian image, with ironed hair and controver- The largest fashion agencies continue to cast gesial rumours circulating about the bleaching of
neric European blondes with legs that don’t stop.
skin. This is a dramatic way in which influential
The constant exposure to these unrepresentative
black icons can alter their outward appearance to images erodes a sense of normality; creating a
gain a more positive public response, enhancing
hyped-up representation of what defines beauty.
employability and promoting
“ANY DEVIATIONS
sales.
This is where it falls upon you to
shape your fashion industry. This
WITH REGARD TO
Race is not the only issue
WEIGHT, ABILITY AND is your chance to positively shape
driven by media agendas.
the definition of what beauty realAGE OFTEN SUFFER
Any deviations with regard
ly is. A call for Diversity NOW!
A FORM OF SOCIAL
to weight, ability and age
A time to embrace all supposed
often suffer a form of social APARTHEID. THE
‘flaws’ as individuality, with an
apartheid. The industry still
appreciation of all shapes, abiliINDUSTRY STILL
appears to cast models using APPEARS TO CAST
ties, races and ages.
a tick-box system, if only
MODELS USING A
subconsciously. As conAs a generation of social influTICK-BOX SYSTEM.”
sumers, we are developing
encers, we have the ability to
mental hang-ups about our
steer creative outcomes. So let’s
bodies, and are trying to change our image to
celebrate the empowerment of women, your
match those seen in fashion promotion. This is
Nan, your best friend, your neighbour’s sister,
FASHION FOR POSITIVE CHANGE
the women worth more than the prejudiced tags
wrongly placed upon them. Endorse the beauty
you see that others may not.
As awareness continues to increase, the unethical
fashion practices begin to falter. For every wrinkle, every curve, every lump and bump does not
define who you are.
I am in fact a size 14 in jeans.
My fear is that as the world of menswear grows,
it will follow the trail of it’s bigger, older sister
into the darkness; emerging with it’s own narrow
perception of beauty and body ideals. If we don’t
do more now, I fear the pendulum will swing
only one of two ways.
The moment David Gandy emerged from that
blue ocean, wearing only those tiny white trunks
and his muscles for D&G, both ladies and gentlemen across the world no doubt drooled. The resulting alpha-male model has since saturated the
market. Men are constantly subjected to abs and
biceps and muscles we didn’t even know existed!
Pleasing to the eye, perturbing to the mind and
a constant favourite among creative and casting
directors everywhere.
Swing the other way
and the alternative,
it would seem, is exactly that: alternative.
Again thanks to the
aforementioned Saint
Laurent rebranding, Hedi Slimane has infused
fashion with the male equivalent to the size zero.
Men fill leather trousers with legs thinner than
most people’s arms. While their own even-thinner arms are tattooed with words and pictures
that elevate them to a whole new level of socalled ‘edginess’. Slimane has only encouraged a
generation of youth, who were already covering
their bodies in art and are now surviving on ten
Marlborough and a Mars bar a day, just to get
their hips to fit his ‘ideal’.
“THE COVER DEPICTS ONE WHITE,
MUSCULAR MALE IN 24 DIFFERENT
POSES. DIVERSE? I THINK NOT.”
Like the vast
array of magazines, there is
also a vast array of men. From all-muscle Nolan
Funk, the fresh-faced actor and new face of
Versace, to Marilyn Manson (skinny, white and
alternative) heading up Hedi Slimane’s reimagining of Saint Laurent Paris. The shapes and sizes
of menswear thankfully fluctuate much more
than their female counterpart, but while size matters; it isn’t the be all and end all of diversity.
L-R Jessica Bevan - University Of West England, Valerie Masalevich - London College Of Fashion Finalists Photography & Styling
major fashion capital across the world different
cultures are living side by side. In London alone,
one only need take a stroll down their local high
street to realise the extent of multiculturalism. If
we see it in our day-to-day lives, why are we so
blind to the idea of projecting it through global
campaigns?
Perusing the pages of some of the so-called
boundary-pushing menswear publications;
Fucking Young!, Hero and Arena Homme+ to
name but three, I am met with page after page of
handsome men with cheekbones jutting out of
their faces, in the ever diverse range of two skin
tones: black or white.
While the first may be an unrealistic and mostly
unachievable depiction of health, fashion has always had a penchant for the skinny and a plume
of smoke. As a man, it would seem you have two
choices: size hero or size zero.
More laughable still is the Editors letter of
Seventh Man – in which the Editor writes that
he feels their cover “encapsulates diversity.” The
cover depicts one white, muscular male in 24
different poses. Diverse? I think not.
Praise be to Gap then, who most recently caused
controversy with its use of Sikh model Waris
Ahluwalia in their campaigns. Pictured in full
turban, shirt slightly unbuttoned, with a female
model hanging off his arm; the image presented was something rarely seen in fashion and
commercial imagery. It was culture and religion.
Not in a Dolce & Gabbana overly-lavish editorial
of Catholicism kind of way either, but reality.
Yes, backlash may have poured in from members
of the Sikh community, but in terms of fashion
imagery it shows progress, and a little controversy goes a long way.
Perhaps these purveyors of fashion need to open
their eyes to the culture around them. In every
FA S H I O N F O R A L L
Top Ginevra Saraswathi Menon - Instituto Maragoni School of Fashion, Bottom
Orsolya Luca - London College Of Fashion Finalists Photography & Styling
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ALL WALKS NEWS
ALL WALKS NEWS
FASHION NEEDS FEATHERED LEGS
E
Alexandria Bailey Central St Martins
Finalist Journalism
ivery day, people choose the accessories
they do or do not want to wear. These addons define their personal sense of style, be it
minimal, chic, edgy or extravagant. But what if
you no longer had that choice? What if you were
forced to wear permanent accoutrements that
didn’t necessarily express your style at all and
instead inhibited your ability to express yourself?
When double-amputee and former Paralympian
Aimee Mullins first ventured into the world of
modelling and fashion, she was often approached
with comments like “You know, you’re really
pretty, you just don’t look disabled!”. Comments
like this expose a society that is accustomed to
seeing only the ‘ideal’ body represented in fashion. Alexander McQueen shocked audiences in
1998 when he used Mullins alongside non-disabled models for his show. More than a decade
later, in 2014, the McQueen show continues to
be the only high-fashion collection featuring a
disabled model. Mainstream fashion campaigns
are slightly more inclusive, with a grand total
Clearly, acceptance of unique bodies has gained
momentum in recent years. Swiss organisation
Pro Infirmis launched an awareness campaign to
celebrate the International Day of Persons with
Disabilities on 3 December 2013. Titled “Who
is Perfect? Come Closer,” Pro Infirmis commissioned five mannequins, precisely measured and
sculpted to resemble the bodies of people with
conditions such as scoliosis and shortened limbs,
as well as wheelchair users. Created in the image
One designer currently taking advantage of
of Germany’s ‘Miss Handicap 2010’ Jasmine
this untapped market is Ann Oliver, founder of
Rechsteiner, radio
Xeni. Before completing a fashion “IF THE FASHION INDUSTRY
host and film critic
design course at Central Saint
CONTINUES TO ACCELERATE
Alex Oberholzer,
Martins and launching her label
ITS PROMOTION OF DIVERSITY,
athlete Urs Kolly,
in 2010, Oliver was an architect.
blogger Nadja
She was diagnosed with multiple ADOLESCENTS AND PEOPLE
EVERYWHERE CAN BECOME
Schmid and actor
sclerosis, requiring her to use a
ACCUSTOMED TO A NEW
Erwin Aljukić, the
wheelchair and leaving her with
NORMAL, INSTEAD OF FEELING mannequins were
the problem of getting dressed
displayed in shop
with little or no ability to stand up. PRESSURE TO FIT THE IDEAL.”
windows on the
Now, she uses her architectural
high streets of Zurich for the enlightenment of
background and the work of several experienced
passers-by. Mark Zumbühl, Head of Communitailors to design clothes specifically for those
cations and Funding at Pro Infirmis, said “It is a
who have difficulty getting dressed: coats and
campaign to sensitize the public to the situation
dresses are made with detachable seats, trousers
and the needs of disabled persons. Mannequins
are cut longer in the back for seated customers,
in the stores are the embodiment of the ‘norm’,
and the garments also have the option of accomand ‘norm’ is not too far away from normal/
modating prosthetic limbs and other medicalabnormal.” As a child in the United States during
ly-required accessories.
of five: Principles at Debenhams (2010), DiDi
in the Netherlands and Belgium (2011), Adidas
(2012), Marks & Spencer (2012) and Debenhams
again in 2013. Considering that disabled people
make up 15% of the world’s population, with
an estimated total of 1 billion people, they are
severely under-represented, and as a result, are
under-consuming.
CREATIVES SPEAK
“DIVERSITY CREATES EXCITEMENT AND
SPIRIT, NOT ONLY IN THE CLOTHES ONE IS
WEARING – BUT WITHIN ONE’S SELF. IT GIVES
YOUR HEART JOYFULNESS AND A SPRING
IN YOUR STEP.” DAVID GANT, MODEL
“If fashion seeks to push boundaries why can beauty not do the same? We
love that All Walks challenges our ideal of beauty and what we have been
brought up with and got to accept as our norm. Diversity stands for individuality, diversity stands for creativity and excitement - all
elements that attracted us to fashion in the first place.”
Anette and Dani Felder, Designers Felder Felder
“Diversity NOW! is fundamental to a young creative. It covers a
lot of issues that get ignored. It opened my eyes to things that I
often worry about. It is vital to bring the attention of these issues
to the future of the industry.” Elizabeth Fowle, Ravensbourne
the 90s, I remember feeling frightened the first
time I encountered an amputee in a wheelchair,
because of my lack of exposure to his unusual
appearance. Losing a limb or being physically
deformed seemed like an unreal horror story,
so I avoided looking in his direction at all costs.
Now, if the fashion industry continues to accelerate its promotion of diversity, adolescents and
people everywhere can become accustomed to
a new normal, instead of feeling pressure to fit
the ‘ideal’ figures we currently see in advertisements, high-fashion campaigns and window
displays. Designers such as Rick Owens and
Jean Paul Gaultier have started the conversation about diversity on the runway regarding
ethnicity and size; the next step is acceptance
of every form of uniqueness. In the words of
Aimee Mullins: “Okay, Stan Winston is building
ankles and knees on the terminator and Madame
Tussaud’s museum is replicating Jerry Hall, but
you can’t build me a leg that can be aesthetically
interesting? And it’s not even about necessarily
replacing humanness, but being interesting...
why couldn’t I have glass legs? Or Chanel legs?
Quilted legs? Feathered legs?”
“Thank you on behalf of all of us who don’t conform
to the narrow media goalposts of beauty. What a
great initiative! I do rail against this media and
industry negative pressure, and I hope I can be
fearless with what I do on stage and in my work.
All Walks is like a breath of fresh air and a voice
of sanity.” Immodesty Blaize, Burlesque
Dancer and All Walks Ambassador
“THE ALL WALKS CAMPAIGN IS
BRILLIANT. BROADENING THE
REPRESENTATION OF WOMEN IN
IS SOMETHING I FEEL REALLY
STRONGLY ABOUT IN MUSIC AS
WELL AS FASHION, IT’S SO ONE
DIMENSIONAL RIGHT NOW!”
SKIN, VOCALIST SKUNK
ANANSIE AND ALL WALKS
AMBASSADOR
Opposite page hero image Charlotte Wood - Arts University Bournemouth, Right Top-Bottom Alice Firman - Edinburgh College Of Art, Sing Yu Chan - London College Of Fashion,
Charlotte Knowles - London College of Fashion. Botton Row L-R Lavinia Cadar - University for the Creative Arts Epsom, Peach Grove - Carmarthen Wales, Helen Ash - University
for the Creative Arts Epsom, Lizzie Atkins - Arts University Bournemouth Finalists Design
FA S H I O N F O R A L L
11
12
ALL WALKS NEWS
Childhood Dreams
W
Chloe Walker Nottingham Trent
Finalist Journalism
hen my six-year-old sister tells me she
wants to look like Rapunzel when she grows up,
I laugh and inform her that Rapunzel is not real.
She looks at me absent-mindedly and I know
that what I’ve said is not going to change her
childhood dream of becoming a Disney princess.
As she goes on to play with her toys, I go on to
question whether any of us ever really grow out
of these unrealistic aspirations. Does the reality
make any difference to who we dream of being,
even as we become adults?
Advertisements and models portray bodies and
faces that are often far removed from our real
experiences, yet so many of us fail to recognise
this. Like children we fall into a trap of desiring
to be something unattainable, something edited,
styled and carefully selected to portray ‘beauty’.
The consequence is that many of us fall short and
we become disappointed by our inability to fulfil
these dreams. My sister will soon recognise that
Rapunzel is just a cartoon, developed from the
imagination of an artist and she will understand
that her dreams of being a Disney princess are
futile: her idol is not real. But the fashion industry will suggest that these dreams are not lost,
that perfection is possible as they present us with
flawless models, tempting us back into a world
of fantasy.
At six years old, my sister’s role model is Rapunzel; this is who she looks up to and who she
wants to be. Mine are Victoria’s Secret models. It
is just as comical because Victoria Secret Models, absent of diversity and imperfections, are no
more realistic than Disney princesses.
Photograph Daniel Simms
In society, we observe women in advertising and
magazines who we idolise in the same way a sixyear-old idolises a Disney princess. My sister admires Rapunzel with her long, flowing hair, her
flawless face and faultless demeanour, while I - a
19-year-old - admire Victoria’s Secret models,
who resemble much the same thing: a perfection
more. Digitally altered models grace the pages
that is not reflected in everyday life.
of the magazines that we read and we become
I had found my sister’s naivety funny as she had
absorbed in a fantasy world of tall, thin, flawless
not recognised the difference between reality
women. We ignore and forget the diversity that
and fantasy, but it seems I am guilty, along with
we see in real life, becoming preoccupied with
many other women, of the same thing. Children
one imaginary ideal of. If we ever want to grow
can be excused for their naivety and ignorance
because they have not experienced enough of the out of the same childhood dream we need to look
around us and
real world to differentiate what is real from “CHILDREN CAN BE EXCUSED FOR THEIR recognise that
what is not, but what NAIVETY AND IGNORANCE BECAUSE THEY those we admire
is the excuse for the
HAVE NOT EXPERIENCED ENOUGH OF THE in real life are
diverse in size,
rest of us?
REAL WORLD TO DIFFERENTIATE WHAT
IS REAL FROM WHAT IS NOT, BUT WHAT IS race and shape;
they do not fit
Cartoonist David
THE EXCUSE FOR THE REST OF US?”
just one ideal of
Trumble recently
perfection.
redrew the Disney
Considering this, I take a look at my own life, at
princesses in the form of modern day heroines,
my friends and those who surround me. Every
explaining that “Our children come to role
girl I know is shorter than six foot; the average
models through fiction before anything else”.
dress size is a ten; and my best friends are of KoHe recognises that the Disney characters are role
rean, Indian and English ethnicity. If I compare
models for many young girls, something I found
these girls to the models in the fashion industry,
out first-hand from my sister. We may believe
I realise how little the models resemble my
that we grow out of these fictional role models,
reality and everyday experiences with people.
but the fashion industry presents us with many
TA K E P A R T
Take part and invite your friends to the
DIVERSITY NOW! GFW TWEET CHAT in association with i-D
On Sunday 1st June 1pm-2.30PM All Walks will be hosting a
live Social Media Debate on Fashion & Diversity, live from our
Pop Up Studio, with i-D magazine.
Come watch if you’re visiting GFW or Join The Debate online.
As the new fashion generation. We want to hear your voice!
FIND US ON
Twitter : @allwalkscatwalk
Instagram : allwalkscatwalk
Facebook : All Walks Beyond the Catwalk
Hashtag : #DiversityNOW
Hashtag : #AllWalks
STOP PRESS An ARTS THREAD portfolio brings the global creative
industry to your door with a vast database of creative clients worldwide, looking
for new graduates, interns and freelancers. Register www.artsthread.com
All Walks Beyond the Catwalk Co Founders Caryn Franklin, Debra Bourne, Erin O’Connor
Graphic Design Lizzie Biggs
Sub Editor Charlotte Gush
Project Manager Tineke De Freitas
Team Michael Williamson, Sheron Williams, Samantha Kay Oliver, Olga Kardasis, Alanna Kaye,
Graciella Fairclough, Olga Chee-a-Tow, Daniel Sims, Sophie Parker, Sadie Clayton, Elspeth Merry,
Annabel Staff, Julia Deutsch.
Special thanks Katie Dominy and Alex Brownless Arts Thread for competition hosting.
Julia Goga Cooke Own Label.
Mal Burkinshaw Director of Diversity Network.
Martyn Roberts Graduate Fashion Week.
Rosemary Ferrier Newspaper Club www.newspaperclub.com for cruical
support and printing of the ALL WALKS NEWS.
Aaron Davison, University of Creative Arts Epsom Finalist Photography & Styling
“After you came in to our university to talk to us
about diversity in fashion and what you do at
All Walks Beyond the Catwalk, it has become a great
influence on all the work I have produced since.”
Ella Sweeney, Student Central Saint Martins