# data[].attributes.attachment_link.title
Nick Knight on Fashion Film - Nick Knight

# data[].attributes.attachment_link.description
Google Arts & Culture (2017) Lara Johnson Wheeler interviews British fashion filmmaker and director of SHOWstudio, Nick Knight

# data[].attributes.attachment_link.readable_text
Photographer and founding member of the Buffalo collective Jamie Morgan presents three new films, and speaks to Christabel Stewart about his move to directing.

An enquiry into the craft of film editing. A number of professional editors tackled the same footage to produce an eclectic series of fashion films.

# data[].attributes.attachment_link.description
Nick Knight challenged leading fashion figures–Kate Moss, David Bailey and Linda Evangelista among many others–to make 30 second films representing clothes through sound and motion.

# data[].attributes.attachment_link.readable_text
Gender fluid, or non-binary fashion, is nothing new. Cultures and epochs across time and space have always experimented with fashion as an expression of gender, reflecting their own notions of gender itself. Today in the West, the binary division of gender into man and woman is beginning to loosen its grip as Gen Zers and millennials challenge society's imposed boundaries. Indeed, gender fluidity in fashion is gaining momentum, coming out of the shadows to be democratized all across the gender spectrum.

Dodi in YSA Reworks and arrin for Mordant Magazine

We're seeing more and more gender-fluid collections, which are not designed nor marketed toward any specific gender and refrain from splitting any item, color, print, pattern, fabric etc., into gender binaries. Simply said: blue is no longer reserved for boys, and pink is not only for girls; anyone can wear any item and style it as they please with no distinctions based on binary norms.

Let's have a brief look back through the West's relationship to non-binary fashion, and how it's evolved to particular trends today, curated by our fashion experts.

When gender fluidity preceded gender

In Western fashion history, the divide between men's and women's fashion did not always exist. In feudal times, men and women across similar social classes largely dressed the same, as clothing was, beyond being utilitarian, a reflection of status rather than gender.

Image: Louis XVI
The gendered expression of men's fashion in the West

The evolutive definition of gender and fashion's reflection of it can be further observed through groups such as the 'Bright Young Things' of 1920s and '30s England, a group of young socialites and aristocrats who had a penchant for eccentric, opulent fashion. These men remained a transgressive youth subculture in the face of men's uniform-like fashion of the time.

'Bright Young Things'

By the time the 1950s rolled around, men's fashion was highly homogeneous, consisting of sober business suits and large silhouettes. But soon, the social movements of the 1960s rejected established conventions, of which fashion itself was a part.

A new generation of men began challenging the rigid, binary rules of masculine etiquette. Popular figures including Mick Jagger, Jimi Hendrix, David Bowie, and more welcomed feminine fabrics, flamboyant prints, and effeminate silhouettes, opening the doors to a whole new world of gender-fluid dressing.

From corsets to cargos: Women's gender-fluid fashion

Right: YSL's 'The Tuxedo'
This time period witnessed women embracing fashion with less of a decorative approach, but rather an emphasis on form and function to embody the new position of women in society. Consequently, pants were no longer considered a rebellious political statement but one of liberation and empowerment.

Aaliyah

Missy Elliot

Before '90s and 2000s fashion became a throwback trend, it was first a mélange of masculine and feminine elements in fashion influenced by streetwear and music. Trends like midriff-flossing bras, relaxed cargo pants, low-rise jeans, bandanas, heavy jewelry, lip gloss, and more defined the style of the 90s, a legacy still present in many popular trends. Icons like Missy Elliot and Aaliyah broke the mold for urban women in a refreshing way, whose style and street sensibility are emulated today.

Representation matters, and fashion can help

In 2022, gender-fluid representation in fashion media is ubiquitous. However, it is important to emphasize that gender fluidity is not just a trend - it is a reality for many people, and gender non-conforming people have always existed throughout history. It is simply their degree of representation that has varied.

Grace Jones

Hari Nef

The unprecedented visibility of gender non-conforming people in contemporary media is due, in part, to Gen Z:

56% of Gen Z people were "already shopping outside their assigned gender area." (Rob Smith, founder of the Phluid project, 2019)

41% of Gen Z respondents identified as neutral on the gender spectrum, with over half identifying as something other than heterosexual. (Vice, 2021)

As fashion and society as a whole become more open to non-binary and gender-fluid self-expression, it's important for brands and key fashion players to maintain the momentum. There are already brave faces speaking up for the silent majority.

Top gender-fluid trends in 2022-23

Let's have a look at some of the gender-fluid trends for Spring 2023, curated by our fashion and data experts who analyzed a range of collections from recent Fashion Weeks as well as social media-based consumer insights.

According to Heuritech's experts

# data[].attributes.attachment_link.title
Gender fluidity in fashion: Where it began and where we are in 2022-23

# data[].attributes.attachment_link.description
Gender fluid, or non-binary fashion, is nothing new. Cultures and epochs across time and space have always experimented with fashion as an expression of gender, reflecting their own notions of gender itself. Today in the West, the binary division of gender into man and woman is beginning to loosen its grip as Gen Zers and millennials challenge society's imposed boundaries.

# data[].attributes.attachment_link.readable_text
Tori Attwood on what it means to shop genderless clothes in 2017

Pink for girls, blue for boys. It's a dichotomy I spent much of my childhood puzzled over. Shoe-horned into vibrant pink dresses, I knew I was supposed to love the colour. It was the colour of my gender after all. But, I must confess, I totally despise pink. Perhaps it's the sickliness of the floral hue that I found so overbearing, or perhaps the fact that I was supposed to like it because I was a girl. So much was my dislike, that one morning I refused to wear my checked red school skirt, the white and red print blurring into a cringe-worthy shade of pink in my paranoid mind. When I wore shorts to school, my teachers were perplexed; the girls' uniform clearly stated skirts.

Fast forward two decades, and Jaden Smith features in Louis Vuitton's SS17 campaign wearing a woman's skirt. Not because he was put in one, explains Creative Director Nicholas Ghesquière, but because "wearing a skirt comes as naturally to him as it would to a woman who, long ago, granted herself permission to wear a man's trench or a tuxedo". * The conversation around gender norms has exploded, and fashion is eager to take part. This year, SS18 menswear shows saw a definitive blurring of boundaries - in Paris, Thom Browne's models shared a wardrobe of grey pleated skirts, heeled brogues and dresses, regardless of gender. Whilst Vivienne Westwood paraded male models in fishnets and couture silk gowns. With men modelling garments previously reserved for women, perhaps polarised wardrobes could finally be laid to rest.

"gender fluid refers to an individual who does not identify as having a fixed gender"

Selfridges 2015 'Agender' campaign

But whilst breaking down the parallels of what men and women can wear no doubt progresses the discussion on gender, some have critiqued that true gender fluidity is more than just swapping threads. US Vogue fell under heavy criticism recently after their cover story of Gigi Hadid and Zayn Malik branded the A-lister duo 'part of a new generation embracing gender fluidity' because they swap clothes sometimes.

"I shop in your closet all the time, don't I?" Hadid asks Malik in the cover story, to which he replies that he does the same. The 22-year-old model continues: "Totally. It's not about gender. It's about, like, shapes. And what feels good on you that day. And anyway, it's fun to experiment..."

For those unfamiliar with the movement, gender fluid refers to an individual who does not identify as having a fixed gender. Advocates dress according to how they feel; perhaps wearing a dress when they feel feminine, or trousers when they're expressing their masculinity. Occasionally borrowing your boyfriend's jeans is not gender fluidity, many mocked Vogue; it's just bog-standard couple behaviour. Both Gigi and Zayn identify as their respective genders, so they are not gender fluid.

Although fashion's glamourised portrayal of gender-fluidity is a far cry from the identity crisis experienced by the transgender community, perhaps mainstream society can learn a thing or two from embracing a non-binary approach to gender. Surely relieving restrictions on what men and women can wear can progress the gender equality discussion - wear and do what you want, not what society conditions you to want.

But an office discussion sparked a different perspective - if gender fluidity encourages us to identify with different genders based on how we're feeling, does it not reinforce gender stereotyped characteristics? Can a woman not feel strong, fierce and resilient without having to state that today she is identifying as masculine? Does a man have to identify as female in order to be able to wear a dress? Perhaps in that sense, the movement has lost its way.

Whatever your opinion, there's no doubt that challenging the conventions around gender norms can lead to positive change. Already, high street retailers are exploring gender-fluid fashion, easing the conversation on what gender means through carefully curated collections.
Genderless, gender-fluid or just wanting to express yourself, these are our favourite non-binary collections seen on the high street:
High street hero H&M announced the launch of a unisex denim line earlier this year, much to the glee of shoppers worldwide. Named 'Denim United', the new range sees dungarees, shirts and shorts take form in relaxed fits and cool, over-sized styles.

H&M's 'Denim United' line

Launched in 2015, Selfridges' Agender campaign aimed to challenge convention through ground-breaking fashion and collaborations. A celebration of style without gender restriction, the concept refashions a selection of hero pieces for the unisex market, including blazers, bomber jackets and the 'Man Handbag'.

Agender by Selfridges

During 2016, Zara's branch into ungendered clothing was met with mixed response. The cosy, comfy collection featured relaxed silhouettes and simple basics suitable for any shape or gender. Whilst some praised the retailer for adopting a more unisex approach to fashion, many criticised the boldly labelled move as simply playing it safe, claiming that the campaign featured what largely resembled men's loungewear worn on both sexes.

Zara 'ungendered' collection

Manchester-based boutique BiNO may be in its early stages of design, but the brand is already standing out thanks to its signature hornet motif and organic-inspired embroidery. Available on ASOS market-place and showcased this summer at British Style Collective's 'Fine Tuned' - an exhibition of iconic future fashion at Liverpool's Albert Docks - the genderless apparel range is one to watch this year.

For luxury unisex brand Ataraxi, genderless clothing is a state of mind. "Gender neutral/ genderless / gender fluid / Call it what you want / If you like it wear it" - is the mantra blazoned by the brand alongside sports-inspired collections that span sarongs to sheer shirts.

Ataraxi

Sister designers Faye and Erica Toogood fashioned their industrial-inspired collection without size or gender in mind. The collection speaks to their love of structured shapes and strong silhouettes inspired by their shared passion for architecture and interiors, with a focus on outdoor-wear reminiscent of their countryside childhood.

# data[].attributes.attachment_link.title
Gender-fluid fashion - how brands came to embrace 'ungendered' clothing

# data[].attributes.attachment_link.description
Tori Attwood on what it means to shop genderless clothes in 2017 Pink for girls, blue for boys. It's a dichotomy I spent much of my childhood puzzled over. Shoe-horned into vibrant pink dresses, I knew I was supposed to love the colour. It was the colour of my gender after all.

# data[].attributes.attachment_link.readable_text
The modeling industry may look different than it did 60 years ago, but it still has work to do - particularly when it comes to gender diversity and inclusion.

For transgender and gender non-binary models, entry into the upper echelons of fashion runways has been limited, and many models in this cohort have felt forced to conceal their identities in order to land jobs or succeed in the industry.

In recent years, some progress has been made, with openly transgender models increasingly featuring on runways, in ad campaigns, and on TV shows, but the fashion industry has a way to go when it comes to transgender representation. And there's a need for greater education about what it means to be a transgender or gender fluid model.

"I believe that the world is confused in general about everything; we have lost the line that defines the difference in between 'who I am' and 'who I want to be.' None of them are wrong, but you need to accept who you are first in order to become that person you want to be. But accepting is not understanding, and that is the problem," said Mexican model Jay Espinosa.

A Look Back

When English model April Ashley first stepped onto the scene in the Sixties, she was credited as the first successful transgender model, having appeared in editorials for high-profile magazines such as Vogue, working alongside notable photographers like David Bailey and walking in various runway shows.

But her career was cut short when someone sold the story of her identity to tabloid newspaper the Sunday People in 1961, and although she would continue to suffer prejudice and discrimination in the decades that followed, Ashley was recognized for her tireless work on behalf of the transgender community and was appointed Member of the Order of the British Empire in the 2012 Birthday Honors for services to transgender equality.

Similarly, before her identity was disclosed during a photo shoot in the Eighties, Tracey "Africa" Norman was the first Black transgender model to achieve notability in the fashion industry as the face for Clairol during the Seventies. Though the news set back her career, Norman later appeared in notable fashion magazines and worked with beauty brands like Avon and Ultra Sheen, making them both pioneers of transgender modeling.

So what has changed in recent years?

"Trans Tipping Point"

Many have attributed today's increased acceptance, though minuscule in scope, to a "trans tipping point" within pop culture, driven in part by things like the release of the Netflix series "Orange Is the New Black" featuring transgender actress Laverne Cox as one of its main characters and former Olympic decathlete Bruce Jenner identifying as Caitlyn Jenner in 2015. Most recently, the Emmy award-winning show "Pose" has added to the conversation, featuring an array of transgender actors, including Indya Moore (who most recently walked the Jason Wu spring 2021 show) and Dominique Jackson (who closed Los Angeles-based brand Marco Marco's spring 2019 runway show in New York City, designed by Marco Morante - which was comprised entirely of transgender models and activists).

Hunter Schafer in her role in HBO's hit series "Euphoria," began her meteoric rise to fame as a model, having walked shows for brands like Miu Miu, Dior, Marc Jacobs and Rick Owens. Blurring the line between genders when it comes to clothes says a lot about acceptance and evolution , so it's little surprise these moments in popular culture have catalyzed a separate conversation within the fashion industry about gender fluidity.

"When I started it was very much about the androgynous qualities and gender topics, but I think now people are starting to see me more as an artist and not just the fact I can be man or woman, you see, I even hate saying that because it feels wrong to say either or," said model Bryce Anderson, who sits on the men's board at model management firm The Society and on the women's board at Supreme Management. "I do wish that the qualities of either gender could exist together and not have to have so much separation. I mean we make it such a thing all the time but it really is so natural. It's human nature."

Fashion, despite recent year's genderless lines and efforts at fluidity, remains is still very well firmly divided along male/female lines, but the industry won't be able to avoid or ignore what has become a revolutionary shift in culture. Transgender and non-binary models have been vocal and using their platforms to shed greater light on gender inequality, sexual harassment and body shaming, aiming to redefine industry views on what it now means to be a supermodel.

And some in the industry are taking the cues.

Designer Alessandro Michele from Gucci has infused gender fluidity since he assumed the role of creative director in 2015, playing with ambiguity when it comes to gender and ideas of gender dressing. This summer, Gucci also launched a non-binary, gender-fluid section of its e-commerce site, called Gucci Mx. The inclusive space gives its visitors the opportunity to browse and purchase selects looks and accessories from the pre-fall and fall 2020 collections without having to comply with a female/male distinction.

Casting's Shift

Some of these changes can be attributed to how casting has become more fluid, too.

European fashion designers have often been accused of conservative casting practices, favoring young white models in their campaigns and on their catwalks. There is, however, at least somewhat of a shift underway.

At Louis Vuitton, creative director Nicolas Ghesquière, has shown a commitment to inclusivity in his shows and ad campaigns, having featured talent such as Theodora "Teddy" Quinlivan (discovered by Nicolas Ghesquière and the first transgender model to be the face of Chanel Beauty's ad campaigns), Krow Kian and Jay Espinosa (the first Mexican model to have walked a Louis Vuitton women's show).

For his spring 2019 show, Ghesquière recruited Kian and Espinosa and featured them in mostly tailored looks, initially confounding guests and setting social media ablaze as the public wondered whether the designer had ventured into the realm of men's wear, despite the looks being part of the women's wear lineup, as the looks were worn by both transgender male and androgynous female models. The moment helped mark the validity and power of inclusive casting.

"Walking for Louis Vuitton's women's show showed me that being transgender didn't limit my capabilities and opportunities as a model," Kian said. "Head designer Nicolas Ghesquière personally made sure I was comfortable with not only my clothing, but my makeup also. He even went as far as making sure I had a private change room. There have been many other clients like Balmain, Valentino, McQueen, Alyx, that have been as supportive and taken into account me being a male model, regardless if I am walking for a female line."

While there have been several milestones that have changed the view of casting, one worth noting is the appointment of Brazilian model Valentina Sampaio. She became the first openly transgender model for Victoria's Secret in August of 2019, and the first transgender woman to grace the coveted Sports Illustrated swimsuit issue - a modeling institution that has elevated stars like Heidi Klum, Tyra Banks and Ashley Graham to household names - ushering a new chapter for the transgender modeling community.

"I would love to see people, brands and companies more open to fearlessly embracing the trans community with compassion and respect," Sampaio said. "I believe there is enough room in the world for all of us to exist in our own unique way - as long as there is respect and humanity. I hope that in the near future it will no longer be taboo, news, as something new because we have always been here and we will always be."

Amid the COVID-19 pandemic, the spring fashion week season was certainly unlike any other, with many brands holding virtual runway shows and creating digital look books and fashion videos to showcase spring 2021 collections. But many still embraced inclusivity in their casting.

In New York, Aaron Philip represented Collina Strada, R13 enlisted Ella Snyder, Eckhaus Latta featured Hari Nef and Maya Mones modeled for Chromat. London included Gareth Pugh, which cast non-binary model Finn Love and transgender model Sakeema Crook, as well as drag queen Georgie Bee. Riccardo Tisci enlisted his muse Lea T to walk for Burberry, which held a livestreamed runway show in a forest outside London. Milan featured transgender model Valentina Sampaio for Etro, and in Paris, Koché picked transgender models Dustin Muchuvitz and Venus Liuzzo, and Balenciaga went with Gigi Hari.

Designer Christian Cowan assembled a cast of LGBTQ allies such as Lil Nas X, Amanda Lepore, Teddy Quinlivan, Chella Man and Parker Kit Hill, for their ongoing work to push queer representation in the mainstream media.

"The experience has been so natural for us. We are a brand born out of a queer community," Cowan said. "There really isn't an excuse for brands to not be inclusive anymore. The population needs to be more educated than ever and appreciate a diverse brand. While America and the U.K. are better at this, I feel Europe has a long way to go."

Transgender and non-binary models only experienced a slight uptick in representation for the spring 2021 season. According to The Fashion Spot's diversity report, the total rose from 10 appearances for fall 2020 to 11 for spring 2021. The relatively flat growth proves almost a regression coming from a much more significant 36 appearances for the spring 2020 season in New York.

In Europe, appearances topped at 20 for spring 2021 total versus 21 in the fall 2020 season.

"After many seasons of keeping track of diversity across race, size, age and gender in the industry, it often feels like we take a step forward only to take two steps back," said Morgan C. Schimminger, managing editor of The Fashion Spot. "Take gender diversity which showed a steady increase up until spring 2019 when it started swinging in the other direction. There needs to be a consistent increase if the industry ever hopes to be truly inclusive."

The Road Ahead

The question now is, how does the industry continue to improve from here?

"Change takes time and a lot of brands are stuck in the ways of the old guard," said Jeanna Ridout, director at IMG Models, the agency responsible for Chella Man, the first deaf, transgender model to be signed. "As we move forward and consumers evolve, brands really need to ensure they too are evolving and adapting."

The fashion industry must recognize that transgender and gender fluid models are not simply a trend to monetize for several seasons and then move on to the next topical thing. Embracing all genders in modeling and casting will mean coming from a place of authenticity when it comes to prioritizing representation.

"It looks like the fashion industry and global advertising companies have hung on the issue of inclusion, racism, and minority rights to keep the capitalist consumer system," Brisa M. Alvarez, agent for MM Runway and casting director at Cast Partner Mexico, said. "However it seems that the only reason why they really care about it is still about selling and the inclusion is more a matter of money than human rights."

For real change to occur, it also needs to be tackled at the brand level.

"In the past five years, look at the difference in the castings of fashion houses. Inclusion has grown so much in terms of body types, ages, skin color. But the change cannot be only in the window displays. It has to be reflected in those fashion houses as well," said Donat Barrault, president of Supreme Management New York. "The major players in the industry should look into their own staff and introspectively see if inclusion is really applied, I'm talking as well in their highest positions, in their board of directors and key positions in their organizations. That is as well a game changer."

Another aspect of the scouting and casting process for LGBTQ models has been centered around the topic of respect toward understanding how to properly market and manage the models' careers.

Models have long been associated with perfection and ultimate beauty, but as an industry, it's also vital to acknowledge that these notions have become outdated and need to be evolved to reflect inclusion and the diversity of the world today.

"We are in a pivotal moment in our evolution, and we all have personal accountability in restructuring an outdated, divisive paradigm," according to Christiana Tan, managing partner at The Lions Management. "Beauty is not a formula; it is time for all industries to reflect back the expansive nature of beauty."

Many of the top model casting agencies continue to operate with very distinct men's and women's divisions, leaving a gap as to where LGBTQ talent lay in the overall spectrum, and leaving agents and managers alike with the task of placing queer models onto these specific boards, whether or not they identify with either gender.

For men's agent Jordan Morris of New York Model Management, it has been a challenging issue.

"I've scouted a cisgender female model who was masc[uline]-presenting and wanted to only model men's wear. I've also scouted a non-binary model who prefers men's wear but who will also model more masculine women's wear. I work on the men's board so by default those models end up being presented on the men's board with me, even though neither identify as men," Morris explained. "I think agencies need to restructure and rethink these strict gender constructs and open a space for gender queer models where they can feel more appropriately marketed."

And some agencies are working to carve out that space.

Increasingly, New Pandemics, a casting and management agency in New York City. The agency was founded to increase LGBTQ visibility in the fashion and entertainment industries, and Trans Models (New York), credited as one of the world's first transgender modeling agencies geared toward nurturing LGBTQ talent have been popping up, like modeling agencies, founded by Peche Di in 2015, an accomplished transgender model in her own right, and operated by a diverse team of transgender individuals.

Education for the Future

As with most things, education and acceptance will be key to greater inclusion and fashion still has things to learn.

"I hope that the fashion industry will become a safe place for queer people to work. I hope that all trans models will no longer be misgendered or asked invasive questions while working (and outside of work as well)," said model Juno Mitchell, who was recently featured in Marni's spring 2021 look book and in one of a hundred covers from Vogue Italia's September 2020 issue, "100 Covers, 100 People, 100 Stories."

And a lack of inclusion going forward won't come without a cost for companies that don't get it right.

"In this day and age, you're going to fail in business and personal life if you aren't inclusive because, more and more, people are growing up and educating themselves and want to see diversity and inclusivity, in the media they consume, magazines they buy and brands they want to support," model Casil McArthur said. "You'll end up being left behind in the world of fashion if you don't stay current with the obvious shifts that are happening globally with culture inclusivity and awareness."

Brands like Chromat, Gypsy Sport, Wales Bonner, Brother Vellies, Helmut Lang, Self-Portrait and Pyer Moss, are among the notables on the ground and are connected with purpose to inclusivity - the designers themselves embody this, and have made it part of the brands' DNA.

"The industry has the ability to change and shape lives through its influence in our culture and societal norms. Every piece of clothing we buy represents a personal choice and it is this intrinsically human relationship between us and our fashion that makes it political," said Asian transgender model Dominique Castelano, who has appeared in ads for Maybelline and is the new face of Marc Jacobs' latest clothing line, Heaven, which aims to celebrate polysexuality. "The history of the sex binary has been deeply embedded in the fashion industry and it should be our mission to deconstruct these sexist and racist narratives. We need to work together to reclaim our own individual gender expressions in the fashion world."

Fashion has a long way to go in achieving a realistic and comprehensive standard that is representative of the diverse world we live in, and these representations mark but small victories for the transgender community, in particular, who are still fighting for their lives every day.

"Everyone should be entitled to present their most authentic self. I hope the industry embraces more trans/non-binary/gender-fluid talent," said photographer and creative director Kevin Amato, who also served as Hood By Air's casting and brand director (2007 to 2016). "It's the future of fashion and actual reality so I'd hope they get on board for their businesses' sake."

# data[].attributes.attachment_link.title
Diversity in Modeling Should Include All Gender Identities

# data[].attributes.attachment_link.description
The modeling industry may look different than it did 60 years ago, but it still has work to do - particularly when it comes to gender diversity and inclusion. For transgender and gender non-binary models, entry into the upper echelons of fashion runways has been limited, and many models in this cohort have felt forced to conceal their identities in order to land jobs or succeed in the industry.

# data[].attributes.body
Social media is an essential part of college students' daily lives. Many of them enjoy running their own social media accounts in order to project a positive perception and character. Because there are too many Kols on social media, they have a good appearance and a rich life, which provides a form of pressure to most people in their lives. Not being able to face who you truly are in life is one of the issues that my theme touches, and what I hope to do is encourage individuals to face who they truly are.

# data[].attributes.attachment_link.readable_text
Many of us suspect that the beautiful, often highly-edited images of people we see on social media make us feel worse about our own bodies. But what does the research say?

If you mindlessly scroll through Instagram or Facebook whenever you get a few seconds of downtime, you're far from alone. But have you ever wondered how all those images of other people's bodies - whether your friend's holiday snap or a celebrity's gym selfie - could be affecting how you view your own?

Much has been made over the years about how mainstream media presents unrealistic beauty standards in the form of photoshopped celebrities or stick-thin fashion models. Now that influencers fill up our feeds, it's easy to imagine that social media, too, is all bad when it comes to body image.

But the reality is more nuanced, and there may be ways to curate your Instagram feed to make you feel happier in your own skin - or, at least, stop you feeling worse.

You might also like:

● Is social media bad for you? The knowns and unknowns

● Why it pays to declutter your digital life

● How much is 'too much time' on social media?

It's important to note that research into social media and body image is still in its early stages, and most studies are correlational. This means we can't prove whether, for example, Facebook causes someone to have negative feelings about their appearance, or whether people who are concerned about their appearance are more likely to use Facebook.

That being said, using social media does appear to be correlated with body image concerns. A systematic review of 20 papers published in 2016 found that photo-based activities, like scrolling through Instagram or posting pictures of yourself, were a particular problem when it came to negative thoughts about your body.

Photo-based activities online, like scrolling through Instagram, have been correlated with feeling more negatively about your body (Credit: Getty)

But there are many different ways to use social media - are you just consuming what others post, or are you taking, editing and uploading selfies? Are you following close friends and family, or a laundry list of celebrities and influencers?

Research suggests that who we compare ourselves to is key.

"People are comparing their appearance to people in Instagram images, or whatever platform they're on, and they often judge themselves to be worse off," says Jasmine Fardouly, a postdoctoral researcher at Macquarie University in Sydney, Australia.

In a survey of 227 female university students, women reported that they tend to compare their own appearance negatively with their peer group and with celebrities, but not with family members, while browsing Facebook. The comparison group that had the strongest link to body image concerns was distant peers, or acquaintances.

Looking at celebrities made women feel worse about their bodies - but images of acquaintances came with an even stronger link to body image concerns (Credit: Getty)

Fardouly puts this down to the fact that people present a one-sided version of their life online. If you know someone well, you'll know they're only showing the best bits - but if they're an acquaintance, you won't have any other information to go on.

When it comes to the wider circle of influencers and accounts you follow, not all types of content are equal.

Research suggests that "fitspiration" images in particular - which typically feature beautiful people doing exercise, or at least pretending to - might make you harsher on yourself.

Amy Slater, an associate professor at the University of West England, Bristol, published a study in 2017 in which 160 female undergraduates viewed either #fitspo, self compassion quotes, or a mix of both, all sourced from real accounts on Instagram. Those who viewed only #fitspo scored lower on self-compassion, but those who viewed the compassionate quotes (e.g. "You're perfect just the way you are") were nicer to themselves - and felt better about their bodies.

For those who viewed both the #fitspo and the self-compassion quotes, the benefits of the latter appeared to outweigh the negatives of the former.

Looking at self-compassion quotes on social media made people feel better about themselves (Credit: Getty)

Another study published earlier this year involved showing 195 young women either body-positive content from popular accounts like @bodyposipanda, photos showing thin women in bikinis or fitness gear, or neutral images of nature. The researchers found that exposing women to #bodypositive Instagram content appeared to boost their satisfaction with their own bodies.

"Those two things together are starting to build a little bit of a story that there may be some content that actually is useful for body image," says Slater.

But there may be a downside to body-positive images, too: they're still focusing on bodies. The same study found that women who'd seen the body-positive photos still ended up objectifying themselves - measured when, after looking at the images, the participants were asked to write 10 statements about themselves. The more the statements focussed on their appearance rather than their skills or personality, the higher that participant scored on self-objectification.

When study participants viewed body-positive content, they felt better about their own bodies - but there was a catch (Credit: Getty)

That means when someone wrote "I am beautiful" it got lumped in with negative things people said about their bodies. But those people could be taking a broader view of where their beauty comes from, including internal as well as physical attributes, says Slater.

Either way, this fixation with looks is a criticism of the body-positive movement that does seem to hold true. "It is about loving the body, but it is still very much about a focus on appearance," says Fardouly.

When it comes to posting our own pictures on social media, selfies tend to be the focus.

For a study published last year, Jennifer Mills, an associate professor at York University, Toronto, asked female undergraduates to take a selfie on an iPad and upload it to either Facebook or Instagram. One group could only take a single picture and upload it without editing, but the other had a chance to take as many as they wanted and retouch their selfie using an app.

Mills and her colleagues found that all the selfie takers felt less attractive and less confident after posting than when they'd walked into the experiment - even those who'd been allowed to edit their photos to their heart's content. "Even though they can make the end result look 'better', they still are focused on aspects of what they don't like about the way they look," she says.

In one experiment, women felt worse about themselves after posting a selfie online - even if they'd retouched it (Credit: Getty)

Some of the participants wanted to know if anyone had liked their photo before deciding how they felt about having posted it, although looking at interactions wasn't part of the study.

"There's this rollercoaster of feeling anxious and then getting reassurance from other people that you look good," says Mills. "But that probably doesn't last forever, and then you take another selfie."

In previous work published in 2017, researchers found that spending a lot of time perfecting selfies could be a sign that someone is struggling with body dissatisfaction.

Still, some big holes remain in the research on social media and body image.

Most of the work so far has focused on young women, as traditionally they have been the age group most affected by body image concerns. But research including men is starting to show they're not immune. For example, a study found that men who reported looking at male #fitspo content more frequently said they compared their own appearance to others more often and cared about having muscles more.

Men who look at #fitspo content more frequently cared more about their own muscles (Credit: Getty)

Longer term research is also an important next step, because lab experiments can only provide a snapshot of any possible effects. "We don't really know whether over time [social media] has a cumulative effect on people or not," says Fardouly.

So, for now, how should you curate your own social media feeds if you don't want to come away feeling bad about your body?

Mills has one takeaway that should work for everyone: put down your phone.

"Take a break and engage in other activities that have nothing to do with appearance and comparing yourself to other people," she says.

The best advice? Put down your phone (Credit: Getty)

The next best thing would be to think critically about who you follow - and, if you find yourself facing an endless stream of appearance-focussed photos next time you scroll, add some nature or travel into the mix.

After all, giving up social media altogether is probably too big of an ask for most people - especially while the long term effects of using it are still unclear. But finding inspiring landscapes, delicious food, and cute dogs to fill your Instagram feed might just help you remember there's more to life than what you look like.

If you liked this story, sign up for the weekly bbc.com features newsletter, called "If You Only Read 6 Things This Week". A handpicked selection of stories from BBC Future, Culture, Capital, and Travel, delivered to your inbox every Friday.

Copyright 2023 BBC. All rights reserved. The BBC is not responsible for the content of external sites. Read about our approach to external linking.

Beta Terms By using the Beta Site, you agree that such use is at your own risk and you know that the Beta Site may include known or unknown bugs or errors, that we have no obligation to make this Beta Site available with or without charge for any period of time, nor to make it available at all, and that nothing in these Beta Terms or your use of the Beta Site creates any employment relationship between you and us. The Beta Site is provided on an "as is" and "as available" basis and we make no warranty to you of any kind, express or implied.

In case of conflict between these Beta Terms and the BBC Terms of Use these Beta Terms shall prevail.

# data[].attributes.attachment_link.description
Many of us suspect that the beautiful, often highly-edited images of people we see on social media make us feel worse about our own bodies. But what does the research say?

# data[].attributes.body
Sustainable has always been a concern in fashion and other industries, and it has gradually become an essential component in the development of a brand or product. I need to think about the material or packaging of the paper for my art book.

# data[].attributes.attachment_link.readable_text
Printed magazines are fantastic branding tools. Consumers love the high-quality, tactile experience that stands apart from the ephemeral nature of digital media. But can they be a sustainable choice?
Printed magazines offer a sensory branding experience. They are fantastic keepsakes that can be kept and treasured for years. That's why printed magazines have been embraced by purely digital brands, such as AirBnB and the online fashion retailer ASOS.

However, with sustainability creeping up the corporate agenda, can printed brand magazines be a sustainable choice that fits with organisational environmental values and objectives?

The problems with digital

Digital media is, by its nature, ephemeral. Brands have only fractions of seconds for their creative and brand messaging to cut through the digital noise of social media and make a connection with their audiences.

Further, digital isn't a green option in itself. The ICT industry currently accounts for around three percent of global greenhouse gas emissions. This is predicted to rise to 14 percent of global emissions by 2040.

Why printed magazines work

Printed media has a unique way of connecting with audiences in our increasingly digital world. Research shows that readers prefer paper to digital versions. This preference is strongest with books, but it's also high for magazines - 72 percent of readers say they prefer to read a printed magazine.

When we consider that paper is one of the most recycled materials in the world and that the European paper industry is responsible for the growth of European forests over the last two decades, its clear that magazines that are printed onto paper can be a fantastically sustainable branding choice.

How to ensure your printed magazines are sustainable

There are some choices that brand managers should make to ensure that their printed brand magazines are as sustainable as they can be.

First, there is a choice to make about paper. Choose paper with a high proportion of recycled content such as Navigator's Eco-Logical 75 gm-2. The great news is that paper fibres can be recycled six or seven times over their lifetime. Using recycled paper is the norm. In 2018, paper sourced from recycled stock made up 53 percent of fibre used, with only 43 percent coming from virgin fibre.

The other important choice that brand managers must make is around special finishes. You should avoid anything that prevents the magazine being recycled. This includes mixed plastics, glue dots, glitter and some other specialist finishes. If in doubt, check with your printer. You should also look to use inks made from vegetable oil, rather than mineral oil.

Make sustainable choices around packaging and postage

In recent years, it has become common to wrap magazines in plastic in order to send them to consumers. This serves to protect the magazine, but it is not a sustainable choice. We know that plastic has a nasty habit of ending up in our oceans and our food chains.

Instead, brand managers should opt for more sustainable wrappings such as the gKraft paper one. One option is biodegradable starch-based film. This offers a durable, waterproof cover akin to a plastic wrap, but is compostable so it doesn't cause the same problems as plastic.

However, not everyone can compost these wrappers. Instead, the greenest choice would be to opt for a paper envelope. This way, you protect your brand magazine and make it easy for consumers to recycle both the wrapper and the magazine when they are ready to.

You should also add a "recyclable" label to the outside of your magazine and your wrapper to explain how to recycle the items and encourage your audiences to do so.

The final step is to find a courier service that is committed to net zero. This should be a key part of any purchasing agreement. Look for clear evidence that the company has a defined road map and is delivering on its net zero goals. In the case of your delivery service, this will mean switching to electric vehicles, green "last hop" modes of transport, and ensuring renewable sources power their electric vehicles.

Printed brand magazines: the sustainable way to make an impact

By making the right choices about sourcing and partnerships, it's easy to ensure that your printed magazines are a sustainable choice. It's easier because paper is a natural material that already enjoys a strong closed loop process. With a few tweaks to your sourcing, finishing and packaging, you can ensure that your brand communications align with your corporate sustainability goals.

Need more inspiration?

# data[].attributes.attachment_link.title
Are printed magazines a sustainable branding choice?

# data[].attributes.attachment_link.description
Printed magazines are fantastic branding tools. Consumers love the high-quality, tactile experience that stands apart from the ephemeral nature of digital media. But can they be a sustainable choice? Printed magazines offer a sensory branding experience. They are fantastic keepsakes that can be kept and treasured for years.

# data[].attributes.attachment_link.title
Most environmentally friendly sneakers in the world

# data[].attributes.attachment_link.description
French fashion brand Veja makes sneakers with raw materials sourced from organic farming and ecological agriculture that the founders say avoids chemicals and polluting processes. The distinctive kicks might just be the world's most sustainable, according to CNN Business. Sébastien Kopp and François-Ghislain Morillion started Veja in 2004.

# data[].attributes.attachment_link.readable_text
Levi's is owned by Levi Strauss & Co.

Its environment rating is 'good'. It uses some eco-friendly materials including recycled materials. It has set a science-based target to reduce greenhouse gas emissions generated from its own operations and supply chain and it is on track to meet its target. It implements water reduction initiatives throughout its supply chain. It has met its Zero Discharge of Hazardous Chemicals Group (ZDHC) target to eliminate hazardous chemicals from most of its supply chain.

Its labour rating is 'not good enough'. Almost none of its supply chain is certified by labour standards which ensure worker health and safety, living wages or other labour rights. It received a score of 41-50% in the 2021 Fashion Transparency Index. It implements gender equality and empowerment initiatives in its supply chain. There is no evidence it ensures payment of a living wage in its supply chain. It discloses policies to protect suppliers in its supply chain from the impacts of COVID-19 but not workers.

Its animal rating is 'not good enough'. It has a formal animal welfare policy aligned with Five Freedoms but has no clear mechanisms to implement. It uses leather. It uses down accredited by the Responsible Down Standard. It has a policy to source wool from non-mulesed sheep but does not provide evidence on how it is implemented. It does not use fur, angora, exotic animal hair or exotic animal skin. It traces some animal products to the first stage of production.

Levi's is rated 'It's a start' overall

Last updated February 2022

# data[].attributes.attachment_link.description
Levi's is owned by Levi Strauss & Co.Its environment rating is 'good'. It uses some eco-friendly materials including recycled materials. It has set a science-based target to reduce greenhouse gas emissions generated from its own operations and supply chain and it is on track to meet its target.

# data[].attributes.attachment_link.title
Photographer Luo Yang captures rare glimpse of China’s ‘brave and free’ youth

# data[].attributes.attachment_link.description
The Shanghai-based photographer Luo Yang has been documenting Chinese youth for more than a decade

# data[].attributes.body
Ren's visual signature (glitter, high contrast). His work talks about issues such as physical servitude, psychosis, and queer intimacy is consistent with commercial fashion photography and marketing techniques, and produces a fetish viewing style.

# data[].attributes.attachment_link.description
Flesh, corpses, souls and bland flashlights, all composite into seconds or milliseconds of lights and shadows, projecting onto the film that never knows how to lie. Focus gathering and the shutter releasing, connecting his unpretentious, rebellious, wild and free perspectives towards the naked human body. The images look so natural, yet fun and unexpected.

# data[].attributes.body
Art book fairs are popular in China and other countries. As a bridge between niche publications and the mass market. As my own art book, I want to promote it through Instagram, websites and art book fairs

# data[].attributes.attachment_link.readable_text
Founded in 2015, abC is dedicated to promoting local artists' books and independent publications in China as well as introducing excellent global publishers and institutions to establish a profound multilateral dialogue. As the most professional exhibition of artist's books and expo of independent publications, abC Art Book Fair takes place in Beijing and Shanghai respectively. It has been developing a distinct influence in the fields of contemporary art, design, and publishing, welcoming thousands of publishers, media platforms, and visitors around the world.

DREAMER FTY was founded in 2007. We publish book as projects and collaborate with artists. Currently, DREAMER FTY acts as the independent publishing project of art book in China.

Since its launch in 2018, ABCA has began to collect and file art publications of outstanding artists and independent publishers. It commits to review the history of Chins's art publishing, document advanced practices, assist and originate academic research in this field. As a long-term project, ABCA is open to aspiring researchers and institutions, with whom we expect to work together on its constant enrichment.

# data[].attributes.attachment_link.keywords[]
abc(art book in china)艺术书展始于2015年，是中国首个艺术家书展览与国际性的自主出版博览会。abc致力于推广中国本土艺术家书和自主出版物，并积极引入全球优秀的出版人和机构建立深度对话。每一届的书展现场，吸引来自全国各地的出版类同行、媒体及观众数逾万人，在艺术、设计和出版领域逐步建立起独特的影响力。

# data[].attributes.attachment_link.description
Founded in 2015, abC is dedicated to promoting local artists' books and independent publications in China as well as introducing excellent global publishers and institutions to establish a profound multilateral dialogue. As the most professional exhibition of artist's books and expo of independent publications, abC Art Book Fair takes place in Beijing and Shanghai respectively.

# data[].attributes.body
This fashion film is both inspiring and relevant to my theme. This type of documentary photography approach appeals to me since it communicates authenticity and provides the audience with a strong sensation of immersion. I can create certain shots according to the same shooting approach and content style, and then transform them into moving images as part of my experiments at the developing stage

# data[].attributes.attachment_link.title
Winner of Best Brand Beauty Film: Unconventional Beauty | SHOWstudio

# data[].attributes.attachment_link.description
Winner of the 2019 Fashion Film Award for Brand Beauty, Frank Lebon's Unconventional Beauty captures the faces of Gucci Spring/Summer 2019 as they tell the director what beauty means to them.

# data[].attributes.body
I was attracted by the set designs in this film. Scalpel and lipstick are not objects that will appear in the same scene originally. Through the set of the scene and the shooting technique, there is no awkwardness in the combination of the two, which clearly highlights the main character of the lipstick. There's a sense of mystery and horror, but it's curious and grabs attention

# data[].attributes.attachment_link.title
Best Beauty Film: Before and After - SHOWstudio Fashion Film Awards in collaboration with Harrods

# data[].attributes.body
This is a gif I made which is part of prototypes, i created some posters for my art book, and also to make it more attractive to audience, I made a gif as well. It’s a better way to attract the audience’s attention through the transformation of images with different effects.
I know this is not the skills i’m good at it but I think it’s a nice try to experiment with it

# data[].attributes.attachment_link.readable_text
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking "Accept All", you consent to the use of ALL the cookies. However, you may visit "Cookie Settings" to provide a controlled consent.

# data[].attributes.attachment_link.title
罗洋："就是融入到他们真实的生活里" - Doors Art and Culture Agency

# data[].attributes.attachment_link.description
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking "Accept All", you consent to the use of ALL the cookies. However, you may visit "Cookie Settings" to provide a controlled consent.

# data[].attributes.attachment_link.description
记录在中国极速变革环境下的这一代女孩们

# data[].attributes.attachment_link.readable_text
So, who better to chat with about the imminent AW11/12 collections and London designers to look out for than Ms Verhoeven? And while we're at it, find out just what makes this multi-disciplinary designer and artist tick. Julie Verhoeven talks fashion beginnings, re-invention and looking forward to London Fashion Week with W.com
Your illustrations are beloved by the fashion industry and beyond - why do you think they have such resonance?
Julie Verhoeven: I hope they see something of themselves in them. My goal is always to try and get the work to engage with people. It is an easier option than having a one to one! Just happy they are recognized, whether they get a positive or negative reaction.

How did you get started as an illustrator, and what keeps you inspired? Verhoeven: I started in-house at John Galliano illustrating whatever needed illustrating. This was in the late 80's when he was still based in London. I then moved on to working as a freelancer for a bit, but found the fashion drawing niche to be a very limiting one, so I reverted to design. I have continued to alternate from one to the other my entire career, confusing as it may be.

Year's passing keeps me inspired. I always expect to be run over by a London bus, so feel I need to work harder to move the work forward and find a new visual language without wanting to sound pretentious. I people-watch and listen and just attempt to absorb, sponge like, as much visual stimuli as possible.
How would you describe your illustrations - and what is your process?
Verhoeven: That's a difficult one. My drawings are less pretty and fey now. More visceral and crude, but fragile and steely in a way. Just a mush of contradictions.

My process is very basic. I have concentrated research days sourcing materials and then intense studio shut-down time. I block out the outside world and just draw to loads of music in hour-long sessions. It's pretty basic really. I think about stuff a lot when I draw too, and respond to the music and lyrics.
What have been some of the most exciting moments of your career?
Verhoeven: My first museum show, 'Man Enough to be a Woman', at MU in Eindhoven with accompanying book, 'A Bit of Rough', was exciting. Working with Marc Jacobs for Louis Vuitton and Donatella Versace for Versace also. But my all time favourite was designing a limited-edition&nbsp;Sky Box HD (British cable TV) cover and receiving&nbsp;free Sky Plus indefinitely! It's changed my life.
Your GIBO store full of curious things was a favourite for many - would you like to do something along those lines again?
Verhoeven: I would love too. I was really fortunate to have that opportunity and&nbsp; would love to work on a new improved offspring of sorts.
What are some recent or upcoming projects and collaborations of yours?
Verhoeven: I am presently showing a new large canvas at The Dandies Ball at Ritter Zamet, London. I am doing a beauty product film for Anothermag.com and new installation work for forth-coming art fairs in Rotterdam and Basel.

I have a new drawing story in the first issue of PonyStep coming out soon and have a Fairtrade scarf coming out with ASOS. And finally, I'm participating in BirdsEye Film Festival 2011.
What are you most looking forward to in 2011?
Verhoeven: I am very excited about self re-invention through hair. I have been 'adopted' by Real Hair in Chelsea, London, and now I can have new looks courtesy of John Vial and colourist Hannah. It really is so exciting planning the next reincarnation. They know no bounds.
Who are some of your favourite designers or labels at the moment?
Verhoeven: I am still currently inspired by a 70/80s vibe... Loving Per Spook, Louis Feraud and Fong Leng at present. I am working for The Daily during London Fashion Week, illustrating several shows, so will naturally be attending lots of them. I'm looking forward especially to Richard Nicoll, Roksanda illincic and Central Saint Martins graduate show.

www.julieverhoeven.com

# data[].attributes.attachment_link.title
Julie Verhoeven: Art and fashion intertwine - INDIGO CLARKE

# data[].attributes.attachment_link.description
Over the years, Verhoeven has created a universe all her own where art and fashion happily intertwine, as her signature melancholic doll-faced girls and technicolour palette have appeared in endless fashion magazines and books, as well as on designs for luxury houses including Louis Vuitton, Mulberr

# data[].attributes.attachment_link.title
进阶教程之前期拍摄篇：如何用稳定器拍出王家卫风格的影片？

# data[].attributes.attachment_link.description
你是不是跟很多人一样被王家卫的《重庆森林》所吸引？被王家卫电影中独树一帜的个人风格和镜头所迷惑？王家卫是一个让人爱到骨子里，却又无法表达的喜欢的香港知名电影导演。他的电影并不多，但每一部几乎都是经典。从第一部有王家卫标记的《阿飞正传》，到获奖无数的经典之作《重庆森林》，到风格鲜明的武侠片《东邪西毒》，再到华语片的一代经典《一代宗师》，王氏风格影响着一代又一代。 ...

# data[].attributes.attachment_link.title
Second Life by Julia Chernysheva - The Artbo

# data[].attributes.attachment_link.description
This story about human nature: ambiguous, unpredictable, dangerous, searching, walking in the face and jerking monsters and angels at the same time trying to define and realize their potential. The story was originally limited to three colors with ambiguous meanings: white, red and black.

# data[].attributes.headline
Lay Off & Leave Me Alone 1976; printed 1978

# data[].attributes.subject
Lay Off & Leave Me Alone 1976; printed 1978

# data[].attributes.body
S’He, from the series Renaissance sense 1973, printed 2013

# data[].attributes.body
This is a short video record from small an exhibition at Tate Modern. This is a video piece from artist Ming Wong, which is an artist who explores the global influence of film and news media in shaping identity. This video that examine the nature of identity from cross-cultural perspectives, through the lens of popular and art cinema.

# data[].attributes.body
Primary research wider needed to support my art book design ideas and content( bookshop and exhibitions visit)

Think about the art book name and experiment with the design of it

Make sure the weekly blog updates

# data[].attributes.attachment_link.title
这个俄罗斯女孩为淘宝出了一本独立杂志 – VOICER｜分享生活和设计的美学

# data[].attributes.attachment_link.description
VOICER 是一本分享生活美学的在線雜志, 由幾個廣告人,媒體人,設計師於 2007 年創辦于中国，上海。 VOICER is an online magazine covering the aesthetics of everyday Life. Curated in 2007, our team is based in Shanghai, China.

# data[].attributes.attachment_link.readable_text
There are more than 270 nationalities and 300 languages spoken in London alone. Current and upcoming exhibitions celebrate this diversity, exploring notions of social, national and personal identities through conceptual and documentary photography. Highlighting the experiences of Polish, Black and Asian communities in the UK, as well as internationally, these shows demonstrate the power of the medium to ignite cultural awareness. As Kate Bush, Curator of Family Values: Polish Photography Now at Calvert 22 (until 22 July) notes: "There's an extremely rich photographic history and culture across east and central Europe... I'm not aware of a Polish photography exhibition in the UK, ever. It felt like a good moment, post-referendum, to celebrate the visual culture of our largest foreign-born community."

Inspired by pioneering practitioner Zofia Rydet (b. 1911) - one of the many female artists showcased at Calvert 22 - the show responds to the current socio-political moment, exploring the importance of artistic voices when liberal values are under pressure. For example, Rydet's major piece, entitled Sociological Record (1978), offers a depiction of Poland during the era leading up to the end of communism. The monumental selection comprises 20,000 images, documenting Polish citizens inside their homes. As Bush explains, "the collection is a testament to the power of individuality at a time of state collectivism."

The intersection between individuality and familial experiences is also investigated. Bush continues: "Several of the artists in the exhibition explore the family as the locus of identity: the place where we become who we are." For example, Weronicka Gewicka (b. 1984) manipulates archive photographs to question notions of truth and fiction. Traces provides an uncanny depiction of domestic family space, generating haunting scenes through postproduction and surrealism. As Bush explains, Gewicka produces an "abstracted image of the family as a place not of nurture and comfort, but of estrangement and possible threat."

In a similar way, Another England at NOW Gallery (from 10 October) offers insight into the home and working life of Black and Asian communities in the UK. Addressing questions of representation in the arts - and the wider world - through historical and contemporary narratives, the show reveals the origins of diasporic migration whilst investigating concepts of multiculturalism and intersectionality. As Kaia Charles, Cultural Projects Manager, says, "The show signifies stories and images underrepresented in England's collective history. Whilst celebrating multiculturalism, we aspire to provoke open and honest dialogue about the lack of Black and Asian heritage represented over the last century."

Drawing a comprehensive picture, Foam Amsterdam's Structures of Identity - Photography from The Walther Collection (until 29 August) demonstrates how practitioners from diverse time periods and backgrounds use portraiture to critique stereotypical ideas about gender, race, class and nationality. Like Family Values, the collection focuses on the relationship between selfhood and cultural identity, highlighting the socially responsive nature of photography. Featured are iconic images by August Sander (1876-1964), Richard Avedon (1923-2004) and J.D. Ojeikere (1930-2014), alongside recent works by Yto Barrada (b. 1971), Samuel Fosso (b. 1962), Zanele Muholi (b. 1972) and Guy Tillim (b. 1962).

Ojeikere's, series, initiated in 1968, documents over 1000 Nigerian hairstyles and head ties. Including both popular and ceremonial styles, the body of work is culturally, anthropologically and historically significant, highlighting the significance of hair as a cipher for collective and personal identities.

These featured shows offer a wide-angled look at life in the UK and further afield, shedding light on a diversity of cultural practice and experience often overlooked Each collection positions photography as an agent for change, demonstrating how the medium can be used to "create a portrait of a nation at an important moment in its history."

Credits:
1. Untitled [Hairstyle], 1966-75 © J.D. 'Okhai Ojeikere. Courtesy The Walther Collection and Galerie Magnin-A, Paris
2. Image courtesy Weronika Gęsicka
3. 1962-64, Speaker's Corner, Hyde Park, Copyright Historic England
4. Image courtesy Weronika Gęsicka

# data[].attributes.attachment_link.title
Aesthetica Magazine - Cultural Awareness

# data[].attributes.attachment_link.description
There are more than 270 nationalities and 300 languages spoken in London alone. Current and upcoming exhibitions celebrate this diversity, exploring notions of social, national and personal identities through conceptual and documentary photography. Highlighting the experiences of Polish, Black and Asian communities in the UK, as well as internationally, these shows demonstrate the power of the medium to ignite cultural awareness.

# data[].attributes.attachment_link.readable_text
Yahoo Finance's Brian Sozzi and Myles Udland discuss back-to-school shopping trends with Poshmark CEO Manish Chandra.

Video transcript

MANISH CHANDRA: Yes. Consumers are buying stuff that gets them back to school, back to the office. And what we are seeing is rise in stuff that really gets them to school, things like bedding, storage and organization, wall decor on the home side. And on the clothing side, it's stuff that gets you out. Suits, jackets, heels, ties. These are all bought month over month and year over year in terms of their consumption.

If you focus just on Gen Z, which is the younger generation going back to school, we see classic brands like Lululemon certainly holding roost. But then you see up-and-coming brands like Princess Polly and Girlfriend Collective. These are all brands popularized by TikTok that are also trending on Poshmark.

BRIAN SOZZI: And I know you recently linked up with Snapchat. What precisely are you doing on Snapchat, and has that partnership led to any increase in business for you?

MANISH CHANDRA: Yes. Snapchat Mini is our offering in partnership with Snapchat. But we offer native Poshmark shopping, and you can then load it up as a lens, share your shopping, shop with friends. It's early. We just launched it in mid-July, and we're definitely seeing an uptick in that whole area in working with Snapchat for continuing to iterate on that product.

MYLES UDLAND: I'm curious, in terms of style, how that may have changed as we emerge out of the pandemic. What are the indications that you guys are seeing, in terms of what people want to be wearing, that is maybe different than what the predominating style was, let's say, circa fall of '19?

MANISH CHANDRA: A lot of the style today is rooted in vintage. You might have heard the trending '90s style, Y2K, high-waisted pants, crop tops. Stuff that really was popular 20 years back is coming back. And what you see with second hand and vintage is really a consumer that's picking up styles and discarding it very quickly. And some of it has to do with social media, some of it has to do with pandemic, and some of it has to do with the fact that buying and selling second hand is very much part of this generation's DNA.

BRIAN SOZZI: There has been some concern, Manish, on Poshmark's ability just to retain its users and its sellers. How would you respond to that? Have you seen that dynamic change, I guess, as the economy is reopening?

MANISH CHANDRA: Well, number one, I think when you start to think of what people are doing today is they are thinking of their closet, as not just a closet, but really a boutique. And from day one, we've sort of turned your closet into a boutique. So instead of your closet being something where you put stuff in it and then it goes to a landfill or trash, in Poshmark's case, the closet becomes a living, breathing part of your business, part of your day-to-day. And that trend is only accelerating.

So when you think of the future of shopping, what we see is number one, people want simplicity. They want to be able to go to one place, buy all kinds of trends and styles. That's what Poshmark offers. They want sustainability. Not just sustainability from an environmental perspective, but also economic perspective. And they want to be able to ask questions, talk stuff that's actually not happening in the real world out there. So when you think of simple, social, sustainable, we believe that's the future of shopping. And that is all centered around stuff that we offer, and we sit at the cross section of all these three trends.

MYLES UDLAND: You know, Manish, you guys ramped up your marketing in the most recent marketing spend in the most recent quarter. And you talked a little on the call about you were lapping, kind of a pullback, in the same quarter last year. But as you talk about those different channels, and I think of this Snapchat agreement, what's the influencer channel for you guys right now? How do you think about that as a lever to pull on the marketing side? What have you done? What are you not interested in there?

MANISH CHANDRA: Yeah, we think of Influencers as really three buckets. Number one is our community, and many of our sellers have become people who have millions of followers both on Poshmark and beyond. And these folks are out there evangelizing and talking about how we are a much more sustainable, much better way to shop and sell.

Second is classic celebrity. So these are the big celebs that are there. Whether you think of a sports celeb like Serena Williams who sits on our board, or someone who's maybe coming from the music world. And third is more influencers are being born with new social media platforms, whether you look at TikTok or Instagram. And all three programs are bunched into something we call the Posh affiliate program. That's something that we've been scaling in a very cost-efficient way on Poshmark.

BRIAN SOZZI: Manish, since the last time we talked that Etsy deal for Depop, $1.6 billion, that has a lot of folks in the resale market talking. Now if I have it right, Depop has half the take rate as Poshmark. Are you going to have to lower your take rate?

MANISH CHANDRA: So number one. I think when you start to think of take rate, you've got to look at all of the different fees. For day one, our approach to date has been to have one simple fee which includes everything. It includes your marketplace fees, your payment fees, your transaction processing, your shipping, et cetera. So all of that is included. A lot of the other marketplaces end up unbundling these areas.

And that approach is something we've taken from day one. In 2011 when we started, our take rate was a partnership with the sellers where our sellers got to keep 80%. It's 2021, we have not touched that take rate in over 10 years. And that's something where, when you look at classic marketplaces including Etsy, they've sort of doubled and tripled their take rate in many transactions. They'll take over 25% of your sales.

BRIAN SOZZI: Manish, before I let you go, I do want to ask about the stock price. So the first trade for Poshmark, $97.50, back in January when you IPOed. Right now the stock is about $29. Are you disappointed with the market reaction? Is there something that the market is missing here?

MANISH CHANDRA: Well, first of all, I think we continue to focus on our long-term strategies. And that's sort of been our focus from day one. And a lot of it has to do with continuing to grow our user base, grow globally. We most recently announced we'll be entering India. We launched Australia in February. And these markets will take some time to develop, but these are huge markets and huge opportunities for us.

Third is really category expansion. When you think about Poshmark, 10 years back, we started very much focused on women's fashion. Today we've expanded to men's, kids, new and old-fashioned as well as home, and beauty and wellness, and most recently, bath. So these categories also allow both the buyers and sellers to have more things that they can participate on the platform.

And the last thing is continuing to innovate on our core platform. Most recently, for example, we've started to add trend-based merchandising using style tags on the platform. These are all things that the modern shopper and seller want besides brand-based merchandising. So we continue to invest in the platform, continue focus. And we think the stock market will catch up as they understand the power of the Poshmark social platform.

BRIAN SOZZI: Fair enough. Poshmark CEO Manish Chandra, always good to see you. We'll talk to you soon.

MANISH CHANDRA: Thanks for having me.

# data[].attributes.attachment_link.title
Secondhand buying, selling are part of Gen Z's DNA: Poshmark CEO

# data[].attributes.attachment_link.description
Yahoo Finance's Brian Sozzi and Myles Udland discuss back-to-school shopping trends with Poshmark CEO Manish Chandra. MANISH CHANDRA: Yes. Consumers are buying stuff that gets them back to school, back to the office. And what we are seeing is rise in stuff that really gets them to school, things like bedding, storage and organization, wall decor on the home side.

# data[].attributes.attachment_link.title
Stat: Gen Z shop second-hand to be unique

# data[].attributes.attachment_link.description
Young people are increasingly attracted to second-hand clothing as a way to find unique garments, according to a study in the US, the UK and Australia by resale platform Depop.

# data[].attributes.attachment_link.title
Sustainable consumer behaviour and lifestyle 2023

# data[].attributes.attachment_link.description
Read our latest findings on sustainable consumer and their lifestyles among other influences, have shaped consumer behaviours on sustainability in 2023.

# data[].attributes.attachment_link.readable_text
A question we're often asked as a content marketing agency that is involved in publishing is: 'are printed magazines sustainable?'

And, of course, it's a natural question to ask: global warming causing natural disasters such as Australia's bush fires and chilling images of young whales choking to death on plastic in David Attenborough's Blue Planet have caused many people to wake up to the impact of human life on our planet.

Brands with print magazines need to ensure they're on the right side...

Last year, Forbes found that 77% of people want to learn how to live more sustainably. But are printed magazines sustainable? Surely an easy step towards more sustainable living is ditching printed magazines and newspapers, right?

Wrong.

Are printed brand magazines sustainable?

How do you think the forests are doing? Declining at a disastrous rate year on year?

A 2019 survey by Two Sides revealed 59% of European consumers believe European forests are shrinking. However, between 2005 and 2015 they actually grew by an area equivalent to 1,500 football pitches. Every. Single. Day. That's equivalent to an area the size of Switzerland over the decade.

According to the WWF, the most common issues causing deforestation and severe forest degradation are: large and small-scale agriculture, unsustainable logging, mining, infrastructure projects, and increased fire incidence and intensity. Not the print industry.

This is mainly because the print industry uses certification schemes to ensure that paper comes from a sustainable source. The two most common are:

Forest Stewardship Council®(FSC®): an international non-profit, multi-stakeholder organisation established in 1993.

Programme for the Endorsement of Forest Certification™ (PEFC™): an independent, non-profit, non-governmental organisation founded in 1999.

Seeing either of these certifications on a printed product is a reassurance that the paper comes from a sustainable source, so a printed brand magazine can be sustainable.

Making a magazine from recycled paper

Paper is also incredibly easy to recycle. Two Sides found that the European paper recycling rate is 72%, which is approaching the practical theoretical maximum recycling rate of 78%. There is a maximum rate because not all paper products can be recovered for recycling as they are either kept for long periods of time (such as books or record documents) or are destroyed or contaminated (such as tissues).

The ease of recycling in turn goes towards making new paper. Making a magazine from recycled paper is not difficult. It's the norm. A fibre can be recycled several times, depending on the paper grade. In 2018, paper for recycling made up 53% of fibre used, compared to 47% virgin fibre.

There are several things publishers can do to make sure their printed products get recycled:

Avoid using materials such as glitter, mixed plastics and glue-dots, which cannot be recycled.

Choose inks that contain vegetable oil instead of mineral oil.

Include the recycling symbol on your product to encourage your reader to recycle it.

What's the carbon footprint of a brand magazine?

But what about the manufacturing process? We know it takes approximately three thousand litres of water to product just one cotton shirt, plus several kilos of CO 2. Surely nurturing all those trees to make paper and then running the machinery to create the sheets is disastrous for the planet?

Again, wrong.

The paper and printing sector is one of the lowest industrial emitters of greenhouse gases. In 2016, it accounted for less than 1% of all EU greenhouse gas emissions.

By contrast, the ICT industry accounts for around 2.5-3% of global greenhouse gas emissions and this is predicted to rise to 14% by 2040. A digital edition of a printed product on your phone or tablet is by no means more sustainable when you factor in the materials needed to make the device. In addition, many people upgrade to a new device every two years or so, and phones are not 100% recyclable.

Yes, it does take a lot of water to grow a forest. But, as Two Sides point out, intake does not equal consumption. 93% of the water used in the European paper industry is returned, having been reused within the mill before being suitably treated.

Why print is important in content marketing

So, we've established that printed products are not bad for the environment after all, but why use them in 2020? With so much tech at our fingertips, surely the low production cost and easy measurability of digital is the way forward to achieve your marketing aims?

Guess what? Wrong.

A worldwide study from Two Sides found consumers prefer to read the printed version of books (72%), magazines (72%) and newspapers/news (55%) over digital options.

Another survey across 13 European countries found the majority of people interacted with printed publications to some extent:

23% were mainly print consumers who regularly used a digital publication too.

46% usually consume both print and digital equally.

19% were mainly digital users with a positive opinion on print media.

just 12% were exclusively digital users and had no interest in print media.

Our predictions for content trends in 2020 kept print in the forefront, alongside brand communities, the rise of influencers and partnership marketing.

If catering to the preferences of your audience wasn't enough of a reason to use print in content marketing, evidence suggests it's far more effective at communicating your marketing message, too. A Norwegian university found that students who read texts in print scored significantly better on a reading comprehension test than students who read the texts digitally. The uninterrupted time and attention a printed product demands means readers just take in more, including any sales messaging.

What's interesting is that this pattern is seen across the generations, too.

The 2019 Ofcom News Consumption Surveyfound that magazines are the UK's most trusted source of news across all generations. Even though they grew up with technology and are "obsessed with their phones", the average millennial or member of Generation Z will still read magazines for about an hour every week.

In his book The Revenge of Analog: Real Things and Why They Matter, David Sax explains this trend:

"Because the millennial generation came of age with broadband, internet, smartphones and social media ... they don't view digital as special. Digital is like the air around them. There's a uniqueness when someone presents them something in an analog format. They're more willing to see the value and not to see it as antiquated."

In the era of fake news, there's also a trust issue around digital publications, even among those who grew up with the technology.

"Young consumers are very aware that magazine publishing doesn't follow the same rules as social media and blogging, where speed trumps fact-checking, editing, and refining. All the necessary processes before something makes it into print," found Reuters. "The good news for printed magazines is that their credibility has a halo effect on the magazines' websites, which gives them an advantage over their digital-only competitors. People may be buying fewer magazines, but they still associate them with quality and reliability.''

At Dialogue, we know from our multi-platform work with Harley-Davidson that the H.O.G. magazine plays a key role in engendering community, as well as creating a platform for further sales: 62% of H.O.G. members are inspired to attend an event, 26% inspired to test a new model and 35% inspired to engage with the brand.

Even brands that were founded solely in the digital sphere see the value of a printed publication for authenticity, trustworthiness and loyalty. Facebook, Uber, Airbnb, Google and Asos are just a few of the many digital brands that have turned to magazines to communicate with both employees and customers.
Discover how print fits in with the media mix in 2020.
The packaging problem

One inescapably problematic factor of printed publications is their means of transmission. At Dialogue, many of our publications are posted directly to readers' homes, which means they must be packaged.

Advanced Direct Mail gives a rundown of a few of the industry-standard options available:

Plastic polywrap: this is currently the most common type of magazine packaging. Low-density polyethylene (known as LDPE) polywrap is lightweight, robust and cost-effective. It's also 100% recyclable. However, some household waste collections won't take it, so it needs to be recycled at larger recycling points, such as those found at supermarkets.

Biodegradable starch-based film: also known as PLAs (polymers made from polylactic acid) are normally made from renewable sources, such as corn or potato starch. It has become hugely popular in recent years due to its green credentials. It is just as durable and can be printed on in just the same way as plastic polywrap. It can also be disposed of in home composting bins, food waste recycling or green bins (depending on local authorities). However, it's not the cheapest wrapping solution. Environmentally-friendly magazine posting is, in this case, more expensive.

Our magazines for Countryside Alliance, Porsche Club GB, British Motorcyclists Federation, British Eventing and British Showjumping are all mailed out in potato-starch polywrap.

Paper enclosing: as detailed above, paper is a sustainable and renewable resource, which is 100% recyclable from kerbside collections by all local authorities. However, wrapping speed can be an issue with paper, particularly when third-party advertising inserts are included in a magazine as these can make the publication bulge.

'Naked' mailing: meaning mailing without any wrap, printing the address somewhere on the cover. This is probably the most environmentally friendly option, but means that magazines can't include third-party advertising inserts - which has a financial impact - and means publications may arrive slightly damaged. People who receive a magazine as a member benefit may be disappointed if the item arrives damaged, not to mention how it might reflect on the brand.

Dickon Ross, editor-in-chief of Engineering & Technology magazine, recently summed up the pros and cons of the different types of wrap for InPublishing magazine. He suggested that although plastic polywrap is technically recyclable, it's not usually by kerbside collections, so people have to take them to larger recycling points at supermarkets, which isn't convenient.

He also cited a University of Plymouth study that found so-called biodegradable plastic was still able to hold items after years in the ground and months in the sea. And 'compostable' doesn't necessarily mean it can go in home compost either, as many require industrial composting.

Dickon concluded that paper is the best magazine wrap. It's easily recyclable, but also presents a large, printable area that can be used for attractive colour images and even advertising. And, as we've already explored, paper is sourced in an environmentally friendly way too.

Future innovations in print

Lots of companies are doing exciting things with printed products to make them more eco conscious. For example, Visual Media Conference recently sent out its marketing material in biodegradable envelopes, which contain seeds within the paper itself, so all you need to do is plant and water to enhance the greenery on your doorstep.

When asking 'are printed magazines sustainable?', the thing many people don't realise about print is that it's actually got great green credentials already. Any future innovations in this space will need to focus on further reducing the industry's already low carbon footprint, but consumers should feel comfortable in the knowledge that enjoying their favourite magazine in a physical format is not damaging the environment. Just remember to recycle it when you're finished.

# data[].attributes.attachment_link.description
A question we're often asked as a content marketing agency that is involved in publishing is: 'are printed magazines sustainable?' And, of course, it's a natural question to ask: global warming causing natural disasters such as Australia's bush fires and chilling images of young whales choking to death on plastic in David Attenborough's Blue Planet have caused many people to wake up to the impact of human life on our planet.

# data[].attributes.attachment_link.description
Independent shops that sell art books, catalogues and catalogues raisonnés

# data[].attributes.attachment_link.readable_text
Whether you're trying to reach boomers, Generation X, Millennials, or Generation Z, social marketing by generation is most effective when you keep these tips in mind
Social media is a great platform for marketing to different generations. However, marketers must understand the nuances of generational marketing in the digital space, particularly when it comes to social marketing. Millennials were the earliest adopters of social media since Myspace and Facebook launched when the oldest of them were in college. But baby boomers and Generation X quickly caught up on social media. And Generation Z was practically born Snapchatting.

However, every generation uses social media a bit differently. A Gen Z Snapchat user is interacting differently than her Gen X mom on Instagram or her Boomer grandma on Facebook. Understanding how to speak the social media languages of each generation is imperative for marketers looking to connect via paid social marketing. Here's what you need to know before you set a strategy for social marketing by generation.

Social marketing by generation is all about picking the right channels

According to Pew , everyone is on social media these days. While boomers are a bit slower to adopt than other audiences, many of them are using various social media platforms. Here's how social media penetration breaks down for each generation:

Digital marketing to Generation Z via social media is effective, but it's still a bit too early for predictions as to how many will be on social media as they become teenagers and young adults. It's safe to say, however, that it's a pretty big percentage.

Right now, Snapchat is the most important channel for connecting with Generation Z through social marketing. , S napchat surpassed Facebook as the most popular social network among US teens in 2016. And that trend doesn't seem to be slowing down anytime soon. Snapchat is predicted to continue to add users ages 12 to 17, while Facebook will probably continue to lose teenage audiences. predicts that Snapchat will gain 1.2 million new Gen Z users by 2022, while Facebook will lose 2.2 million.

But don't discount Facebook yet. It's still the most popular among other age groups. Here are the most effective channels for social media marketing by generation, according to BI :

Millennials: Roughly 58.5 million millennials used Facebook in 2018, with the figure expected to rise slightly in 2019. Instagram ranked second with 43.3 million millennial users.

Generation X: They're the most likely to use Facebook, with 45.1 million users in 2018. Though that number is expected to fall to around 43.8 million by 2022. Instagram is the second most popular platform among this generation, with about 23.5 million Gen X users. Insiders say that number is set to rise in 2019, but will probably never reach the same massive popularity as Facebook.

Boomers: Baby boomers also love Facebook over other social platforms. In 2018, 31.9 million boomers were on Facebook, a number that has remained fairly steady over the last several years. Unlike younger generations, boomers' second favorite social media platform was Pinterest, with 12.9 million users in 2018.

Each generation uses social media a little bit differently

Don't just assume that each generation is getting the same things out of their social media use. For example, , baby boomers spend about an hour and 48 minutes on social media each day, catching up with friends and truly using it for social purposes.

But unlike when marketing to younger audiences, who have been on social media since the early aughts, boomers are much more likely to misunderstand retargeted or branded content, but they do like (and share!) video. Baby boomers are actually 19% more likely to share content on social media than any other demographic. A robust 54% of boomers watch video online, with 43% naming Facebook as their preferred video platform.

Gen Xers, on the other hand, are much more likely to be following brands with an eye on deals and bargains. In fact, 58% of Gen Xers follow brands on social media for deals and promotions.

Younger generations are much more likely to expect social advertising

While boomers may not quite understand social marketing, millennials have grown up having ads on the internet tailored to their specific interests. So much so that traditional advertising actually turns them off. However, if branded social content seems relevant, they're more likely than older audiences to give it a shot.

A recent study found that 84% of millennials can't stand traditional advertising, such as TV commercials, radio spots, etc. However, they don't mind digital advertising as much. Adweek found that 57% would view sponsored content from a brand, such as written feature articles or pre-roll video. The content must, however, feel authentic and be entertaining and useful (and not too long).

If Gen Y is resistant to traditional advertising, Gen Z can barely even grasp what it is. These young social media users, who are most likely watching shows on streaming platforms and on social purely for entertainment, really don't understand anything resembling the TV spots of old. Instead, user-generated content (UGC) on their favorite social media platforms is the best way to get their attention. According to :

"There's a whole new frontier of customers who have grown up in the Amazon era and wouldn't think of purchasing anything without a plethora of UGC at key conversion points to help them along," writes Ali Fazal , director of demand generation for Yotpo . "Forget one or two sad reviews from some free plugin. I'm talking hundreds of reviews, user-generated photos and more. This is the new standard-not a 'nice to have when we get big enough,' but a must."

Whether you're hoping to connect with boomers via video through Facebook or reach millennials on Instagram with a sponsored story, understanding each generation's preferred social media channel and how they're using it is crucial for creating content that will help you achieve success with social marketing by generation.

How personalized is your social advertising program?

Your social marketing program will be even more effective with a powerful platform like Skai Social. Contact us for a demo today!

Learn More About Skai Social

# data[].attributes.attachment_link.title
Learn How to Market to Each Generation With Social Media

# data[].attributes.attachment_link.description
Whether you're trying to reach boomers, Generation X, Millennials, or Generation Z, social marketing by generation is most effective when you keep these tips in mind Social media is a great platform for marketing to different generations. However, marketers must understand the nuances of generational marketing in the digital space, particularly when it comes to social marketing.

# data[].attributes.attachment_link.title
Luo Yang On Empowering Girls and Breaking Stereotypes Through Photography

# data[].attributes.attachment_link.description
Luo Yang On Empowering Girls and Breaking Stereotypes Through Photography

# data[].attributes.attachment_link.readable_text
Chicago-based photographer Lisa Lindvay opens the door to her home in an intimate portrait of a family coping with mental illness. Though Lindvay's mother is absent, the signs of her struggle are present in every frame, each image heavy with abandon and quiet exhaustion. Here we are privy to the deeply private tale of her father and sibling's lives behind the closed and musty blinds, the grimy floors and junk food artifacts a constant reminder of what is broken and missing. The family maintains a stoic presence throughout the series, belaboring with an almost classical melancholy in the everyday tragedy that has befallen them. The crumbling home a metaphor for her mother's deteriorating state of health, Lindvay's ongoing work is a radically bare and powerful examination of familial survival when all feels lost.

Discover More

Get photography opportunities, features, and news delivered weekly.

# data[].attributes.attachment_link.title
Photographer Captures the Devastating Effects of Mental Illness in Her Family - Feature Shoot

# data[].attributes.attachment_link.description
Chicago-based photographer Lisa Lindvay opens the door to her home in an intimate portrait of a family coping with mental illness. Though Lindvay's mother is absent, the signs of her struggle are present in every frame, each image heavy with abandon and quiet exhaustion.

# data[].attributes.attachment_link.readable_text
Burcu Büyükünal 's collection of jewellery defies the typical approach to body ornaments.

Made to fit along the contours of the wearer's face, Büyükünal's "face-distorting" jewellery is reminiscent of something from ancient Middle Eastern culture. Alternatively, it signals the beginning of a whole new fashion trend.

Büyükünal explains that this range takes its cue from trends in cosmetic surgery to question conventional ideas of beauty, while also examining the challenges associated with jewellery as a form of adornment.

# data[].attributes.attachment_link.description
Burcu Büyükünal 's collection of jewellery defies the typical approach to body ornaments. Made to fit along the contours of the wearer's face, Büyükünal's "face-distorting" jewellery is reminiscent of something from ancient Middle Eastern culture. Alternatively, it signals the beginning of a whole new fashion trend.

# data[].attributes.attachment_link.provider_name
Light Work | A non-profit photography organization supporting artists since 1973

# data[].attributes.attachment_link.readable_text
Jen Davis is a Brooklyn-based photographer. For the past 9 years she has been working on her series Self-Portraits, dealing with issues regarding beauty, identity, and body image. She received her MFA from Yale University in 2008, and her BA from Columbia College Chicago in 2002. Davis' work is included in "reGeneration 2: Tomorrow's Photographers Today", which opened at Musée de l'Elysée in Lausanne, Switzerland in June 2010 and continues to travel globally. Davis' work is included in the inaugural exhibition at Joy Wei gallery in New York City titled "Whose Self-Portrait? The Subject Behind the Camera." Davis has exhibited widely included group exhibitions at SI FEST: Savignano Immagini Festival in Italy, Museum of Fine Arts, Boston, Center for Photography at Woodstock, Stephen Daiter Contemporary, Museum of Contemporary Photography, Milwaukee Art Museum, and the Galerie Priska Pasquer in Cologne, Germany. Her photographs are in the collections of the Art Institute of Chicago, The Sir Elton John Photography Collection, and The Library of Congress. Her work has been featured in publications including Camera Austria, Aperture, Photography Quarterly, and PDN. Davis is represented by Lee Marks Fine Art. Her work was featured on the website Women in Photography NYC. More images can be viewed on her website at www.jendavisphoto.com.

# data[].attributes.attachment_link.description
Jen Davis is a Brooklyn-based photographer. For the past 9 years she has been working on her series Self-Portraits, dealing with issues regarding beauty, identity, and body image. She received her MFA from Yale University in 2008, and her BA from Columbia College Chicago in 2002.

# data[].attributes.attachment_link.readable_text
This article is reserved for subscribed members only. If you are already a member, you can log in here below.

Subscribe for full access to The Eye of Photography archives!
That's thousands of images and articles, documenting the history of the medium of photography and its evolution during the last decade, through a unique daily journal. Explore how photography, as an art and as a social phenomenon, continue to define our experience of the world. Two offers are available.
Subscribe either monthly for $5 or annually for $50 (2 months offered).

# data[].attributes.attachment_link.title
Jen Davis -The perfect body image - The Eye of Photography Magazine

# data[].attributes.attachment_link.description
Jen Davis est l'une des photographes les plus originales de cette décennie. Lee Marks et Aperture la présente conjointement dans le cadre de reGeneration2. Ce livre et cette exposition sont réalisés par Nathalie Herschdorfer et William Ewing. Voici comment eJen Davis décrit son travail: L'image du corps parfait dans notre culture implique un corps mince.

# data[].attributes.headline
Some images after edited from this week magazine shoot 

# data[].attributes.subject
Some images after edited from this week magazine shoot 

# data[].attributes.body
This is the first week and I’m  working on to find out what should I do for my FMP, what I’m really enjoying and can really deep into it

# data[].attributes.body
This is what I got from last week questionnaire. And these are the key elements which most people chose why they having facial anxiety problem and I will continue to look at each of these  factors and deep research

# data[].attributes.body
This week I’m still going to focus on the research and trying to gathering ideas from different areas and think about how to develop ideas into images or perhaps illustrations

# data[].attributes.body
My favorite magazine i think i will say id magazine and dazed. I personally like magazines having fashion, culture, youth these types of content and i like the way they display the images and writing. And through this week's session, i found out that some other exciting layout for magazine, that's give me some other ideas i ,i might can use for my fmp final project.

# data[].attributes.body
This week I made a questionnaire for my FMP research. And questions included: Have you ever had facial anxiety/ the level of facial anxiety/ How much do you rate your appearance?/ What you think is the reason for your facial anxiety etc. I think that will help me to know more about why people having this problem and especially happened in which age groups.

# data[].attributes.body
The theme is y2k recreation of an old The Face magazine image, we are going to have the model dress in a white graffiti shirt and then there going to have a collab with GOT MILK and on the aesthetic, model going to have a milk mark on her lips, for the make up, i will going to be glittery pink makeup to make it look more exciting.

# data[].attributes.body
We have a task for next week, to create a group shoot for choosing a magazine.  The theme is y2k recreation of an oldThe Face Magazine photo. And there will be a collaboration with GOT MILK.

# data[].attributes.body
It’s a movie talking about how does facial anxiety have influenced on female and how they reacted. Directly reflects the physical and mental impact of contemporary young women's requirements for their own appearance and negative evaluations of others

# data[].attributes.body
This is my initial idea for my FMP. Many people say they are not confident enough about their appearance, especially young people in their 20s, even myself have this problem too