Their bodies are changing almost daily if they're on hormone treatment, and that's the basis of where we started working out what we wanted to do.” “Having those women involved in the actual process of us doing fittings is so informative, because they all have their own requirements. When I moved to London, trans women were a major force in my life that really protected me as quite a naïve young person living in a really big city,” they add. It is about honoring and supporting their community, not, as they tell me, “monetizing something that is almost day-to-day hate for people like me on the streets. Art School’s Eden Loweth goes so far as to contend that there are two gender-fluid movements: one constituted by the bandwagon-hopping large and small houses, and another composed of labels like their own, or Davis’s No Sesso, brands that emerged from the trans&gnc community and involve them from the studio, to the runway, to the store.įor Loweth, gender-fluid fashion is anything but a trend. “What we need to be doing is making sure that fashion is as inclusive behind the scenes as it is in front of the camera or on the runway.” According to Bergdorf (who recently founded GODDESS, an online platform geared toward community building among women, trans and non-binary folks, and people who are intersex) ensuring that the recent mainstream interest in gender fluidity outlives its trendy status requires an appreciation that “trans people are more than just trans and can be part of a team, can be part of a project without their transness being the focal point, or even an issue for other people”.Įven while creating opportunities for greater representation, large companies’ involvement in today’s gender-fluid movement risks overshadowing the work of more authentic, more community-oriented labels. It’s real – real people, being able to give themselves their own platform to communicate their journeys.”īut as Munroe Bergdorf points out, trans-inclusive casting is just the beginning. “I think the positives of a bigger global conversation about gender outweigh any negatives,” he told me via email, adding: “From what I’ve seen in culture, in and outside of fashion, there’s indisputably more diversity, inclusivity and also information about trans and gender-non-confirming people. Jeffrey, who doesn’t identify as trans himself, nevertheless brings to his work one of the most ruthless attitudes toward binary definitions of gender in current design. Echoing the appeal to the benefits of increased representation is Charles Jeffrey, designer of the fearlessly avant-garde label, Charles Jeffrey Loverboy.
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