We hear it and read about it everywhere; a more diverse fashion landscape, a more representative industry, and a more inclusive community, but how accurate is this really? We cannot deny that the fashion world has been undergoing a gradual and positive change, however, it may be time to consider that we might have overstated the diversity present in this glamourised world.

Diversity and fashion have always had a complex relationship, the necessity of diversity has often been addressed through marketing and commercial choices of fashion brands but the execution of these choices have debatedly taken away its significance. The success in the inclusion of a few diverse faces and bodies in renowned editorial campaigns and awaited fashion walks has been an encouraging step but can we realistically say that these have solved the issue of inclusivity?

The representation of diversity, whether it be in the form of ethnicity, body types, age or gender has easily shifted from an actual change to a mere extension of tokenism. At first, it undeniably seems as if the careers of models such as Ashley Graham and Jan de Villeneuve demonstrate that diversity in fashion is more than just a momentum, that it has been embraced by our favourite modelling agencies and fashion labels…

but the recent example of Halima Aden is here to make us realise that we still have a long way to go.

The young model who marked history by becoming the first hijab-wearing woman to appear in the Sports Illustrated Swimsuit issue and on the cover of British Vogue has decided to take a step back from the fashion industry. This decision follows her disappointment with the lack of diversity in the industry and its constant misrepresentation of the Muslim community. Her career was an impressive example of the decision taken by big fashion names to celebrate women across a broader spectrum than the one we were accustomed to, but as expressed by Halima herself this wasn’t enough, it wasn’t the right approach to inclusivity she had envisioned. Her career started with contracts that respected her Muslim faith and protected her beliefs and costums in accordance to the jobs she undertook but to her suprise this started to change with the years. Such as campaigns with terms that were in conflict with everything she stood for, with garments that replaced her hijab with the scope of being more ‘contemporary’.

From the outside these choices may have seemed as mere trial to adapt the muslim religion to the fashion ethos of certain brands but from Halima’s perspective these represented a lack of inclusivity in the behind-the-scenes of the industry, a lack of understanding on how to respectively include cultural diversity from the executive level.

This brings the focus to whether the inclusion of diversity remains just as a facade in the industry, something that we can witness just on the surface of fashion but that still struggles to be tackled in the actual system. Maybe if executive teams would be characterised by diversity, by people with different backgrounds and perspectives on cultural inclusion a jean wouldn’t have been used to replace the hijab of a model who doesn’t even wear them due to her customs.

Words by Chiara Ferrai, Graphics by Victoria Zhao

The post Diversity Or Tokenism? appeared first on Voir Fashion.

Michaela Coel’s I May Destroy You, ground-breaking masterpiece that it is, didn’t get any nominations. Not one. And even Emily In Paris writer Deborah Copaken is up in arms about it.

I May Destroy You deals with the extremely complicated aftermath of rape in a way that we haven’t seen before. Adding humour, human connection and incredible character development, Coel created a narrative which was ground-breaking not just amongst the film and tv produced last year, but the amongst that of the last decade.  

Sadly, although there is a unanimous outrage that I May Destroy You wasn’t afforded even a single Golden Globe nomination, no one seems to be surprised.

This is because even though the message Black Lives Matter was held aloft proudly by so many last summer, every writer room in Hollywood has over 91% white showrunners, 80% of which are male (Color of Change, 2017).

I May Destroy You put contemporary black culture to the forefront of a television show that we haven’t seen before, and Hollywood’s Foreign Press Association either failed to grasp the importance of this, or worse, purposefully ignored it. What’s more, Micheala Coel wrote, codirected, executive produced and acted in the show, a momentous achievement that critic’s have raved about, and yet has passed by unacknowledged by the Golden Globes.

Bringing to the forefront issues such as sexual abuse, trauma, race and sexuality, I May Destroy You sparked discussions across social media when it aired last June that people hadn’t necessarily even thought about before. On Rotten Tomatoes, a review site known for being hard to rank highly on, I May Destroy You has a score of 98%. 

That is not to say that the Golden Globes nominations haven’t made some steps forward in terms of diversity – Chadwick Boseman, Daniel Kaluuya and Steve McQueen were all rightfully nominated – however there is an insidious clue as to why their projects may have been more readily accepted. The stark fact is that white audiences prefer to watch stories which tackle race issues from the past, not the present. Race issues going on right now are too close for comfort. 

If we look into this further, then we could also make the observation that I May Destroy You presents a perfect illustration of how race affects the daily experiences of black people in subtle but very powerful ways. Alternatively, the plots which feature racial tension in an explicit and often violent way are more widely accredited – perhaps the idea of racism on our TV’s being black and white itself is more palatable to digest.

Words by Becca Seib

The post Golden Globe’s Snub I May Destroy You – And Even Emily In Paris Writer Is Disappointed appeared first on Voir Fashion.

“This abuse has found a home on the internet. We have seen right-wing extremists call for the shooting of farmers, for the genocide of Sikhs“

Neelam Kaur Gill

It’s now coming into the sixth month of a long and painful battle between the farmers of India and their government, after new agriculture laws, that seem to favour large corporations at the detriment of the small farmer’s livelihood, were unveiled back in August, sparking outrage and protest from the people affected.

The farmers fear the three new laws will leave them vulnerable to exploitation and will devastate their earnings, as the laws were introduced to incentivise private participation through deregulation of production, movement and sale – something that threatens the small and medium-scale farmers businesses and livelihoods with the possibility of manipulation and unfair prices. This is another blow to the people of India’s largest employer, as the climate crisis has already taken a large toll on the agricultural sector, and with no chance for open discussion on a topic that would impact hundreds of thousands of Indians, these farmers took to protest.

For months now, through cold and struggle, farmers have been protesting to get these laws repealed, taking to mass demonstrations, highway camping and other peaceful methods to get their points across. A lot of these protests have been spearheaded by the women of the farming industry, as the majority of working women in India are employed by agriculture, and a women farmers’ day was declared amongst the protests to commemorate this statistic.

The protests turned violent towards the end of January when a storm of Delhi’s Red Fort ended in the death of a protester and the detainment of over 200 more. Some peaceful demonstrations have been met with brutal force too, with images of police brutality and suppression from the authorities circling social media, causing Humanitarian Aid Organisations such as Khalsa Aid to appeal for discipline and adherence to be maintained by the government.

The Indian government continued to inhibit peaceful protestors this past weekend  by blocking mobile internet services around the New Delhi area, preventing protestors from communicating and gathering during a hunger strike, organised to resume more peaceful demonstrations. This internet shutdown was criticised all over international social media, sparking statements and solidarity for protestors from the likes of Rihanna, Greta Thunberg and Meena Harris.

Such tweets were met with a mix of comments for and against the protests, some going as far as threats against these supporters, something sadly becoming a common and relentless occurrence surrounding the events, as particularly women in the South Asian diaspora have received online abuse for supporting the protests. Fashion model Neelam Kaur Gill was one of the women targeted, speaking up about it in a recent statement posted to social media:

“This abuse has found a home on the internet. We have seen right-wing extremists call for the shooting of farmers, for the genocide of Sikhs. And, many women including myself have received relentless abuse online including sexual harassment, intimidation and death threats.”

But the supportive voices continue, as South Asian and Sikh communities all over the world along with allies to the cause have protested and defended out of solidarity for the farmers protesting.

What You Can Do To Help

Like Neelam Kaur Gill said in her statement, “Each like, comment and share has amplified the voice of farmers and labourers into the halls of power – media, parliaments and beyond.” Using any platform you have to share the stories and events of the last 5 months and the movement’s continuation will raise awareness for the matter and help to get these farmers’ needs met.

Change.org have a petition to get the law revoked, that only requires a signature, or if you want to donate, the following organisations are supporting Indian farmers.

Fundraiser for medical facilities, created by https://unitedsikhmission.org/

saveindianfarmers.org runs several projects to aid Indian farmers inside and outside of this movement, providing support with everything from rural education to water conservation.

Khalsa Aid are supporting the protests on the ground, working closely with the organisers.They aren’t currently requesting funds but are continuing to support and share their work, and will share any projects when approached.

Words by Daisy Greetham

The post Indian Farmers Protest: Everything You Need To Know And How To Help appeared first on Voir Fashion.

The Africa Fashion exhibition will focus on both current and modern African creatives in the Fashion industry (designers, photographers, stylists) and prominent figures in the industry from the twentieth century like Chris Seydou, Kofi Ansah, Alphadi, and Shade Thomas-Fahm. The exhibition will examine the way in which the digital age has vastly enhanced the industry, namely through social media, blogging, influencers, and digital and non-digital fashion weeks. 

The news was unveiled via the V&A blog by Dr. Christine Checinska, an art historian and womenswear designer who is currently the inaugural book curator of African and African Diaspora Fashion at the V&A Museum. Of the exhibition, Dr. Christine Checinska wrote; 

‘In this exhibition we will display pieces and stories drawn from the personal archives of a selection of iconic mid-twentieth century and contemporary African fashion creatives, alongside textiles and photographs from our collection – many for the first time’ (Dr. Christine Checinska writing for the V&A blog).

The exhibition will display over 250 items that have been sourced from the personal collections of current African creatives. 

Whilst focusing on the work of Chris Seydou, Kofi Ansah, Alphadi, and Shade Thomas-Fahm, the museum has put out a call to those who may have worn or owned pieces from these designers. 

Shade Thomas-Fahm pioneered the popularisation of Nigerian fabrics (such as aso-oke, akwete, and more). Shade Thomas-Fahm’s designs were highly innovative, exemplified by her adaption of the boubou (a wide-sleeved robe traditionally worn by men in West Africa) into a style appropriate for female customers.   

Chris Seydou was an innovator of African Fashion Design and led the way in championing the promotion of African creatives on a global level. Seydou’s West African roots considerably influenced his designs. Seydou often used African textiles, specifically Malian bogolan fabrics, and his designs were internationally recognised and appeared in a number of Malian and European fashion publications.

Kofi Ansah, was a Ghanaian fashion designer was also responsible for propelling African Fashion designers onto the stages for global recognition. Ansah was well known for his impeccable embroidery, quilting, and appliqué skills. Ansah also designed the traditional cloth that was used to create the costumes for the 50th anniversary of Ghana’s independence. 

The V&A’s exhibition of Africa Fashion is both incredibly exciting and needed. Speaking upon amplifying the work of African creatives in the Fashion industry Christine Checinska revealed ‘Strategically, my approach is to allow African fashion creatives to speak for themselves about themselves. Conversation is important. Listening is key. I see myself as a facilitator; someone that allows others to speak’. We are certain that this exhibition will be a major success, and will give us something to put in our diaries ready for when things eventually reopen again. This exhibition will become a catalyst in the V&A’s dedication to expanding its collection of African and African Diaspora Fashion. Hopefully, this will also mark the beginning of a furthered and deeper exploration and celebration of African culture and art in the western cultural sphere. 

The V&A Museum is asking for contributors who may own any of the following:

• Rare and early designs by Shade Thomas-Fahm, Chris Seydou, Kofi Ansah and Alphadi
• 1980s experimental garments in bògòlanfini by Chris Seydou
• Twentieth-century kente, bògòlanfini, khanga, asafo flags and commemorative cloths from the independence and liberation years that connect to personal stories
• Family portraits and home movies from the independence and liberation years showing African and African diasporic fashion trends of the day
• Made-to-order garments, including aso ebi, co-created by local tailors, dressmakers and their clients, worn at festivals or to mark significant personal milestones, from 2010 onwards 
• Copies of Drum Magazine from 1950 – 1970

If you have something you would like to contribute to this collection, you can email the V&A at africafashion@vam.ac.uk, and get involved by sharing pictures on social media using the hashtag #AfricaFashion

Words by Megan Selway

The post How You Can Play A Part at the V&A Africa Fashion Exhibition appeared first on Voir Fashion.