Has Vogue Italia's Black Issue Changed Anything? Part 2: Fashion Editorial

Welcome to part 2 from my examination of the lack of racial diversity in fashion media (for part 1, click here). This time I'll be looking at the horrendous use of 'Blackface' in editorial, which is a problem that many editors refuse to acknowledge. Personally I find it upsetting that this kind of insensitivity is continuing in the 21st century and it made me determined to expose these incidents.

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If you pick up any fashion magazine, it is more than likely that there will be a dearth of white models and public figures within its pages but only a handful of examples from other races. There are many successful non-white celebrities and models that could easily grace the covers of a fashion magazine, but are simply not given the opportunity. For the magazine editors and advertisers, this is simply justified by the knowledge that a black cover star results in lower sales figures, meaning that the magazine makes less profit, so it is logical from a business angle to continue to use white cover stars. The financial burden of running a magazine means that advertisers are necessary to provide crucial support; without the endorsement of those advertisers, the magazines would not be able to make a profit. Therefore black models will continue to merely make rare cover appearances in order to placate the ethnic minority audience and keep up appearances of political correctness. With this in mind, I would like to examine several controversial photo shoots employing white models made to adopt the image of their black counterparts, and look at the possible reasons behind these being published as fashion. 

 [Taken from Vogue Paris].

The first of these images is Lara Stone, photographed by Steven Klein for Parisian Vogue. The photo shoot showed Stone in a variety of guises, sometimes coated in dark paint and sometimes in cracked white paint which bore the appearance of emulsion. However, the main difference between these two is that the white paint was obviously not true to any skin colour, but the ‘blacked up’ photographs made any viewer unfamiliar with Stone believe that she was non-Caucasian. Furthermore, she was dressed in a fur headpiece and gloves which were reminiscent of stereotypically ‘ethnic’ clothing and, though carrying a cane, this could easily have been mistaken for a spear as its tip is out of shot. This gave the impression that the shoot was mimicking the tribal roots of Africa, but not in a flattering light. If Stone had been painted in heavy black, crackled layers, as in the white paint images, the criticism might not have been so harsh but, as the photograph on the left proves, she was made to imitate a person of African descent. Claire Sulmers, journalist and editor in chief of the website The Fashion Bomb, wrote that ‘Though Lara Stone is missing the white outline around the mouth or bright red lipstick [used in ‘blackface’], this photo shoot definitely strikes a raw nerve’. She goes on to add that ‘Ms. Stone is the only “woman of colour” who scored a multipage editorial’, which makes the photo shoot more offensive because it highlights Parisian Vogue’s inability to take non-Caucasian models seriously in editorial content. Sulmers has worked for Parisian Vogue’s website in the past, making her viewpoint even more important, as she would have struggled to criticise an institution she had been employed by unless she felt it essential. 

 [Taken from V Magazine].

The second image is taken from Visionnaire, or V, Magazine, and features Sasha Pivovarova in full body make-up, embracing an unpainted model in a monochrome photograph. Both girls are naked and are accompanied by the caption ‘Black is the new black’, which is a quote taken from James Kaliardos, the Creative Director of L’Oreal, when discussing beauty trends for 2010. As writer Laura Kenney asked, ‘Why didn't the magazine use a darker-skinned model instead of painting a white model black?’, and she also noted that V Magazine proclaimed "2010 sounds like the future, and this is what it will look like," (2009). The shoot is obviously designed to be artistic and visually arresting for the viewer, but does that mean the future of beauty is to appear black but to outlaw black models? It is hard to believe that many readers would find ‘blacking up’ to be creative or challenging; instead it's merely outdated and embarrassing to look at.

 [Taken from L'Officiel Hommes magazine].

The third example of ‘blackface’ in editorial content is unusual because it involves a man, rather than a woman, being made to appear non-Caucasian. This is the first publicised instance of male ‘blackface’ in a fashion publication and it is probably the most shocking of the three images I’m analysing, mainly because of the high quantity of photographs and also the unambiguous nature of the resulting shoot. Milan Vukmirovic directed Arthur Sales for L’Officiel Hommes magazine’s feature, Keep It Goin’ Louder, in which Sales was painted to resemble an African-American, complete with a large afro wig and glowing white teeth. The feature was designed to explore the return of Americana influences in men’s fashion, but Sales’ appearance completely dominates the entire shoot.There is no logical reason to have chosen Arthur Sales over a photogenic African-American model. The addition of the afro wig also seems to be even more culturally insensitive. 

What’s wrong with ‘Blackface’?

In order to understand why the black community is offended by ‘blackface’, we must first examine its place in history as a comedic tool used on stage. Performers ‘blacked up’ to demonstrate the stereotypical character of the downtrodden black man, who bore clown-like make-up and had exaggerated facial expressions, thereby ‘caricaturing black people and depicting them as being both stupid and credulous’ (Malik, S., 2010). The Black and White Minstrel Show could be seen on prime-time British television until 1978, giving millions of people a very narrow-minded view of the ‘other’ in society. In the fashion world, some models with non-white ethnicity were able to build a successful career, but these women were exceptions to the unwritten rule that white women should dominate fashion magazines. Today’s society has welcomed black celebrities and models, but not as readily as the public are led to believe, and that is why modern ‘blackface’ scandals are particularly shocking. It is offensive enough to see any race being ridiculed, but to use a white model in make-up instead of a black model is completely unnecessary on a practical level in today's society. All major modelling agencies harbour a small but diverse range of non-white models and it is not acceptable to say that a non-white model is not readily available or professional enough. 

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Stay tuned for part 3, where I'll be asking what academics and industry insiders have to say about racial diversity. 

Fashion Raindrops: The Virgin Suicides

 On the Stairs.

"We felt the imprisonment of being a girl, the way it made your mind active and dreamy, and how you ended up knowing which colors went together. We knew that the girls were our twins, that we all existed in space like animals with identical skins, and that they knew everything about us though we
couldn't fathom them at all." (Jeffrey Eugenides, The Virgin Suicides). 

Every summer I find myself turning to The Virgin Suicides, one of my favourite books, and also the film adaptation by Sofia Coppola. It creates this beautiful hazy American vintage atmosphere, the kind of thing that designers would kill to evoke for a Spring/Summer collection, where people run barefoot and everything's a bit more innocent. I certainly feel like this year is full of yet another evocation of whiter-than-white dresses with lace, of floral headbands and knee-high socks, worn Lolita-style. It always makes me turn back to that book, for a more authentic and beautifully worded slant on sun-drenched afternoons and a little bit of heartache.

The other week I came across this amazing vintage dress at Brighton's Vintage Nation, featuring a gorgeous floral 1970s print and bell sleeves. I was hooked. £25 and a little restoration with some Vanish and I had myself a look that was almost worthy of the Lisbon sisters in the novel. 

So much of the text is about the local boys' perceptions of the girls and their appearance or behaviour, through the briefest of glimpses or through anecdotal evidence from their school-friends who have managed to get inside the sisters' world. When they try to liberate themselves at the school prom, with their sack-like dresses as imposed by the domineering Mrs. Lisbon, we see how they can go beyond the superficial, with conservative clothes unable to provide a barrier to their freedom.

 

Glowing White.

 “It didn't matter in the end how old they had been, or that they were girls, but only that we had loved them, and that they hadn't heard us calling, still do not hear us, up here in the tree house with our thinning hair and soft bellies, calling them out of those rooms where they went to be alone," (Jeffrey Eugenides).

If you get the chance to read The Virgin Suicides, then do. It's one of my favourite summer reads and it stays with you long after the last page is turned. Whether you're a fashion lover or you just like a good book, I can thoroughly recommend it.

[All photographs my own. Please ask before reproducing].

Has Vogue Italia's Black Issue Changed Anything?

The stunning covers for Vogue Italia's Black Issue.

[Image via Vogue Italia].

As part of an ongoing series taken from an essay I wrote to examine the lack of non-white visibility in fashion media, I feel it's only right to begin with one of the biggest game changers in terms of racial diversity for the industry: Vogue Italia's Black Issue, published in 2008. I've been longing to get my hands on this for quite some time as I feel that racial identity is one of the most important fashion issues that we face. I would love to see magazines and catwalk shows looking beyond the Caucasian idea of beauty and realising that they need to end their tunnel vision.

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The fashion industry has never been short of controversy; in fact it tends to revel in shocking the public and going one step further than you ever thought possible. Yet this is also an industry which perpetuates myths about the ideal male and female figure, prompting the media to be horrified at the link between anorexia and fashion magazines, and rightly so. However the same level of press coverage and alarm has not been applied to the issue of racism in fashion, either because the public believes it to be acceptable or it just doesn’t care when a non-white model cannot find work or a European girl is painted black because it is preferable to hiring a non-Caucasian person. Luckily, one fashion publication decided to give non-white women the attention they deserve with the release of the July 2008 edition of Vogue Italia, which was (whether proudly or insensitively) dubbed ‘The Black Issue’, led by pioneering editor Franca Sozzani. That title is indicative of both the magazine’s content and the actual ‘issue’ or problem it is tackling head-on: racial diversity.

The Black Issue’s most obvious difference from other fashion magazines is that it has four alternative cover stars, all of whom are not white. Typically if a magazine does harbour a black cover star then the issue will have several alternative covers, giving the traditionalist consumer that “safe” option of a white model. Instead, Vogue Italia has used Jourdan Dunn (of African British origin), Liya Kebede (Ethiopian), Sessilee Lopez (Dominican, African-American and Portuguese) and Naomi Campbell (Afro-Jamaican and Chinese). Furthermore these cover stars did not deter the buying public; in fact, the issue is ‘the first in Condé Nast’s history to be reprinted to satisfy demand’. It is also a little-known truth that Vogue’s worst-selling issue did not feature a black woman on the cover and it was in fact Gwyneth Paltrow failing to shift copies at the newsstands.

The articles within this issue varied from the awkwardly-titled ‘Hair So Frizzy’ beauty feature to a highly insightful opinion piece by Robin Givhan on black models in today’s magazines. Givhan’s attack was well organised and reasoned. She wrote that ‘Fashion trends change like the tide, but the high tide of black models appears to have been a really long time ago’. The crux of this article came when Givhan posed the question, ‘why should the lack of black models not matter?’ (2008). This question struck me, as a reader in 2012, as something which still hasn’t fully been answered, and which I hope to determine in the course of this essay. Givhan may have decided that ‘we may not ever find out the exact cause’, but I hope this will not be the case.

The immediate response to Vogue Italia’s Black Issue

  

The Black Issue was met with mixed views and a lot of press coverage, which definitely caused more people to think about the over-population of white models and cover stars in fashion magazines. Many journalists hailed its publication as a sign that things were changing in society and minds were most definitely broadening, but others saw the edition as tokenism and fully expected future issues of the Vogue magazine family to revert to racism. The academic Priyamvada Gopal, writing for the Guardian, insisted that ‘the regular issue remains determinedly white’ and that the Black Issue itself contained ‘barely even a mop of curly hair. This is black-girls-as-white-girls: all aquiline noses, large eyes, oval faces’ (2008). Gopal is right to address the styling of non-white women in a traditionally white publication, as this is something which has angered many black consumers for being forced to conform to white standards of beauty. 

Sola Oyebade, the owner of Mahogany Model Management and the head of the Black BUT Invisible campaign, said that:

 ‘Things seemed to improve for a while after the Black Issue, but they have now gone back to how they were before. This was very noticeable at London Fashion Week, as well as within the various top fashion magazines. The Black Issue has not permanently increased the visibility of people of colour within magazines; as I see it, publishers have tried to get round the colour problem by using mainly black celebrities. So in other words they can claim that black people appear in magazines and if they have to use them then they might as well be celebrities, to maximise the potential income for the publisher.’

In the words of Sessilee Lopez, ‘I’m hopeful that one day the industry will see that black — in all its shades — is beautiful’ (Blay, 2010). In light of Vogue Italia’s Black Issue it is evident that using non-Caucasian models does not damage circulation figures in the slightest, and consumers are clearly supportive of diversity in fashion magazines and on the catwalk. There is no real excuse not to take a leap of faith and give the public what it deserves, which is a fashion industry that won’t just take the money of ethnic minorities, but will represent them and acknowledge them as fashionable too, as Vogue Italia proved. Homogenous content is unremarkable and incredibly lazy in an industry which defines itself on being inspirational and creative, and it is time to move on, with editors like Franca Sozzani taking the lead and showing the rest of us how it's done.

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Look out for part 2 of this series, where I'll be examining how damaging fashion editorial can be when it misrepresents black and Asian communities and perpetuates the insensitive stereotype of 'Blackface'.

Fashion and Lifestyle Journalism at LCF: FAQ

[Illustration my own].

If you're looking to get into fashion journalism as a career, chances are that you've heard of the Postgraduate Certificate in Fashion and Lifestyle Journalism at the London College of Fashion, or LCF, as it's known. 

Regular or beady-eyed readers may recall that this is the course that I undertook back in 2010-2011, which made me realise that a job without writing is a job that I don't want to do, so naturally I've been scribbling away ever since - currently that involves writing travel and related lifestyle features for publications such as Zest and the Sun. But when I came to research the course it was hard to prepare myself for heading to interview at the fashion world's Oxbridge equivalent, and it would have been incredibly useful to have had some pointers or reassurance from people who had been there, done that and bought the (official uni) t-shirt. Here are the questions that I think could give you a hand, and feel free to add your own if there's something I've missed:

What the heck is a Postgraduate Certificate, and is it worth considering instead of a Master's?

Essentially, the PG Cert equates to 2/3 of a Master's in terms of the workload, yet it's completed in 1/3 of the time. This means that it instantly teaches you to train yourself for the kind of tight deadlines that you'd face as a professional, plus you're getting your qualification quicker. If you're enthusiastic and you want to learn then this is the kind of course where you can soak everything up like a sponge. Personally I'd love to do it all again.

If you're more keen to write essays and you don't want to be rushed then the Masters is a longer and more appropriate option, but opting for the PG Cert doesn't get you out of academic writing altogether!

Will I need to have a long list of fashion magazine internships under my belt in order to even be considered? 

Not necessarily. You do need to show that you are involving yourself in the industry, whether that means having your writing published or running your own fashion blog and keeping it updated (no, one post every six months doesn't cut it). In my case, I was a voluntary contributor to a magazine that was also an art installation, held in Selfridges. This certainly wasn't your average publication, but it taught me a lot about thinking on my feet and I loved the experience.

What's the teaching like?

Really strong, with an approachable team. You certainly won't be falling asleep in lectures here, thanks to guest lecturers who work for a wide range of publications - some as editors, some as in-house journalists, others as freelancers. You'll learn how to use Adobe Photoshop and Indesign as well as basic blogging principles. If you have a niche interest such as art, beauty or hair then it will really be encouraged, as every student is an individual. A personal tutor supports you through your final project and the teachers also give detailed feedback on coursework, so you'll always understand what level you're working at.

Can I balance the PG Cert with a part-time job?

Yes, but be realistic. Don't take on ridiculous shifts when you've got coursework due in! There's much more of a focus on self-directed learning as a postgraduate and you get out what you put in.

Do I have to relocate to London whilst I'm studying?

You don't have to live in London but it does help. If you're going to commute then make sure you allocate time to stay longer in the city than precise uni hours, as London is full of industry events and cultural openings that could give you inspiration for features or your final project. Also you'll frequently have lectures just round the corner from the Topshop flagship store, so don't forget to schedule in some post-uni shopping with your classmates.

Will the course help me find a job at a magazine or newspaper? 

It will teach you how to produce all kinds of writing, from features to short news pieces, so you'll have a portfolio that shows off everything you can do. Having this qualification from LCF will be really impressive, but that's not where the hard work ends. You then have to go out there and start pitching your work as a graduate and add to that portfolio, because you need to build on what you've learned by getting results for yourself. 

The course is what shapes you as a writer and gives you all the tools you'll need so you can apply for jobs and internships with confidence. In 2012 we're more into internship culture than ever and the magazine industry is certainly no stranger to that, so not everyone can walk into a full-time paid role, but you can still gain valuable experience.

What other skills will I pick up if I choose Fashion and Lifestyle Journalism - can I apply what I learn to a slightly different career path if I don't end up as a journalist?

There are definitely a lot of transferable skills that you'll pick up here. Learning about press releases and PR sites helps if you're leaning towards being a Press Officer or Marketing Assistant, whilst some people have found that they enjoyed using Adobe Indesign so much that they're thinking about working more on the visual side of magazines and websites rather than the journalistic side.

Where can I find more information about the course?

Head to the FLJ PG Certificate page for all of the details you'll need.

 

Vintage Nation, Brighton: Photo Essay

 Things kicked off nicely with some white floral lace that channeled Louis Vuitton and D&G.

 I couldn't resist grabbing a photo of these stallholders in period dress. Also her hair is to die for.

 A suitcase full of glasses waiting to be rummaged through...

 When polystyrene heads say it all.

 The furniture bazaar was set to the sound of Motown.

 A vintage Chevy kicked off the car displays.

 As a Ramones fan, I was drawn to the car with 'Hey Ho Let's Go' emblazoned on the number plate.

 I'm no car fanatic, but I think the vehicles really added something to the event.

 What you might call a dapper snapper...

 This fruity handbag also caught my eye.

They're a hot accessory at the moment, but authentic collar tips could be picked up from Vintage Nation for just £12.

 Taken at Vintage Nation, Brighton Racecourse - hosted by Judy's Vintage Fashion Fair.

[All photos my own. Please ask before reproducing].

British Ballgowns at the V&A: Drawn

 Nicholas Oakwell's sculptural astronomy piece was unmissable.

I was determined to draw this dress as it was such a feat of engineering. The exaggerated front section, with a sharp point and seemingly unending folds fell away to reveal densely packed layers of black tulle. Contrasting with a flash of a nude slip, this was a complicated piece that surely makes many of us realise why people crave the excitement of dresses over jeans and trainers every once in a while.

 Deliberately punchy, with some of the frenetic energy of Westwood's designs.

Anything but a wallflower, this was Vivienne Westwood's most attention-seeking gown in the exhibition and it deservedly overshadowed its neighbours. I'm not sure it's one that us mere mortals could carry off, but it certainly rejects the idea of British formal-wear design being about stuffy Etonians and cucumber sandwiches. Featuring feathers, over-sized leopard print and a heavy dose of Angelina-style leg, this is one for making an entrance.

This Yuki dress was pure 70s glamour.

It may have opened the exhibition, but I wanted to save the orangey red glow of Yuki's voluminous dress until last. What might have looked like a tent on the hanger somehow came to life on the mannequin, alongside the story of its original owner, Gayle Hunnicutt, who wore it to Windsor Castle. This was a brave move considering she was basically wearing a giant kaftan to a royal property. Clearly she put design over decorum, and it paid off.

British Ballgowns runs until 6th January at the Victoria and Albert Museum, London (nearest tube: South Kensington).

[All images are my own sketches, based on my visit to the V&A. Please ask before reproducing].

Fashion Sketches: Quick Response to Ballgowns at the V&A

 Sketch of Victor Edelstein dress, 1986, silk satin, worn by a politician's wife.

Here are a couple of sketches I made today, based on Saturday's trip to the 'Ballgowns: British Glamour Since 1950' exhibition at the Victoria & Albert Museum. It contained a huge range of gowns, from the dynamic duo Bellville Sassoon and the mighty House of Worth, to the big contemporary names of Mary Katrantzou, Stella McCartney and the genius that is Gareth Pugh, who used metallic leather to create a stark and striking gown with a severely high neckline. 

In the museum itself it was really hard to capture the mood and feel of the dresses and accessories, because there was no photography allowed, but I also got told off very rudely for 'sketching', even though I was literally drawing one minute stick figures in my notepad with basic silhouettes, and was in no way trying to run up an unethical warehouse full of pattern copies in the space of 60 seconds. Even in my recent trip to the Design Museum's Christian Louboutin show, we were proudly told that 'sketching is encouraged' (hooray!).

As it happens there was no appropriately displayed signage in the V&A saying that drawing was strictly verboten, so I had no idea this was going to result in being left to feel like a naughty schoolgirl who'd tried to walk off with an exhibit. I was really surprised that my very crude and frankly terrible images, which would help to jog my memory when writing exhibition reviews for various websites, were deemed so devious. I had a press pass in my hand and have been to the V&A as a journalist on many occasions, where my notes are crucial in order to give a specific and vaguely intelligent write-up. This was a really poignant and fascinating exhibition and it deserves more than the casual glance of the average tourist.

Sketch of Nicholas Oakwell dress, A/W 2011, with constellation print and nude bodice.

Three highlights of 'Ballgowns':

• Alexander McQueen's elegant and timeless angel print dress, from his final collection in Autumn/Winter 2010. With a major focus on handcrafted elements, his print took on the form of a relief sculpture of two angels. It's the kind of thing you'd kill to wear.
• Anouska Hempel's wonderfully graphic and stark monochrome dress from 1991, with angular shapes that fit around the body and turn you into your own work of art.
•  Zandra Rhodes' 1981 'Renaissance of Gold Cloth' dress, made to explore the panniers that were fashionable in Elizabethan times. So many onlookers at the exhibition were taken aback by this piece, calling it tacky or embarrassing, but it was really playful and inventive. Zandra herself wore a version of it in 1982.

 Although I found the exhibition absorbing, it was incredibly difficult to enjoy the beautiful gowns with such a transient viewing experience. The free guidebook we were given had no images in it, meaning that unless you were confident in connecting designer names and years with dresses then you'd have a hard time accurately remembering anything from 'Ballgowns' in the long term. It was sad that the entire thing seemed to be one long advert for the expensive hardback book in the shop, which is not accessible enough for Joe Public to consider buying after they've already invested in their ticket. I had hoped that we'd be allowed to take home a little more of the magic with us, instead of being left to feel like outsiders looking into this glamorous and unobtainable world. Please, V&A, rethink your sketching rules here, or at least display them more prominently and then give us a strong selection of affordable postcards at the tills.

[All images my own, based on rough sketches and produced afterwards using the Paper app. Please ask before reproducing - though sketching is not forbidden...].