Aïcha Sommer: How better lives themes might change how you work in the future (April 20)
As a student of UAL, it would be abnormal to not already have a direction in one’s creative practice. It is the school’s task to refine our voices, not create them, and instil a passion for this greater objective. The Better Lives themes are not restricted to the unit itself and must continue throughout our academic and professional practices. Furthermore, these themes must be made non-negotiable.
However, these are themes millions of industry professionals and companies already employ. But tokenism, ignorance, and green washing remain popular among even the most well intentioned. I believe it is a lack of research and worldliness that is the root of all of these issues. Research, specifically research done from well-chosen and intelligent sources, allows the maker to approach each project with a clear intention. It builds a strong foundation for subsequent work. If the research is well executed, the communication will follow.
As an example, my Better Lives portraiture is and will be a place to explore how my research establishes a thoughtful response to the Better Lives themes. I start my work by asking the unit question: how can my creative work have a wider influence in society? By framing my answer in each theme, I can establish a few rules to go by.
Diversity is so often called out for being forced or tokenistic. I believe that being inclusive is not always a visual response but rather, begins with the inclusion of thought and resources. For example, the creator should not be ignorant of the plethora of international sources they may employ as research. Additionally, this curiosity should come second hand and must be accomplished with the utmost critical eye to avoid any ignorant appropriation.
Social responsibility speaks to me as a personal call to what I feel is most relevant to my identity. Another pitfall of brands and creatives is the attempts to be everything to everyone; to be a social justice warrior on every issue. I am not going to attempt to tackle all issues in fashion and society because it would detract from the energy I could spend on things I am most able to speak on. It is my responsibility to use my experience and knowledge to help others empathise with my work, as do the other artists who are different to me. Fashion has one of the strongest influences on wider society and therefore it is of utmost importance that I begin to establish my voice and purpose while I am at LCF so that when I leave, I can produce work that is powerful and intelligent.
Too often do I hear the word sustainability in conjunction with environmental issues in fashion. While this is an important subject by itself, I apply this theme to all aspects of the Better Lives themes. Not only must the work I produce be environmentally responsible, all intentions (social responsibility, diversity, and eco-friendliness) need to be executed in ways that will maintain their presence for as long as I work and beyond. It is not sustainable to demand a brand represents everyone in their campaigns at all times, that we stretch ourselves thin being everything to everyone, and go to great lengths to tell everyone who will listen that our products and services as environmentally friendly (green washing). These themes must be so ingrained in our practice that we do not think of them as themes but do them without thinking.
Kirkland, T. (2020) ‘Representation’ [Lecture]. Better Lives, London College of Fashion, 19 February.
Toth-Fejel, K. (2020) ‘Sustainability and Society’ [Lecture]. Better Lives, London College of Fashion, 19 February.