For These Queer Australian Creatives, Identity is Armour

A guerrilla shoot staged inside one of Melbourne’s state libraries, photographer Shannon May Powell‘s series is premised upon queer identity and collaboration, and the various roles that technology, clothing, desire and gender inevitably play in constructing and considering these concepts. To accompany the moody editorial, we spoke to the models and designers involved to gain insight on their views on Melbourne’s creative scene and fashion’s treatment of queer bodies.

WILLEM HORCK, DESIGNER

What were the main inspirations behind this shoot?

The future of how, as our biology begins to mix with technology, desire and sexuality and gender will start to become very fluid.

As you all identify as queer and/or non-binary, does the notion of clothing as armour hold any particular significance in your navigation of a world that generally prioritises straight, white, cis-gendered bodies? 

The clothing I wear could be seen as armour shielding me from the mainstream binary fashion expectation. As a non-binary person, this holds great significance to me as it allows me to express how I am feeling, the person/character I want to live for that day. I wear my armour as an extension of my personality, revealing a greater confidence within myself when navigating through cis-gendered bodies that may not understand why we, why I, look so ‘different’. I feel so liberated when I so openly and outwardly express my identity through clothing!

What do you think about the general representation of queer/non-binary identities in fashion today? Amidst an increasing co-optation of queerness in almost every industry, do you feel that fashion is treating the identity genuinely? 

Generally, the representation of queer and non-binary identities in the fashion industry is, in my opinion, poorly substantiated. The industry is still so gendered, whether it be the colours, styles or sizing of clothing, the models which wear them or the binary language that is used within the industry. The industry is definitely starting to make more space for those who identify as queer, though it continues to put individuals in boxes, in order to be more marketable and palatable to a wider audience. I feel as though ‘queer’ and ‘gender neutral’ are buzzwords and, as stated, a lot of industries are using this as a poker chip, to tick ‘representation’ off their checklist.

 And finally, how do you think the Melbourne queer scene can be improved? What role do you think (queer) creatives have in enacting this change?

Finding myself in the queer scene in Melbourne has been incredibly helpful to me and my growing confidence in my identity and my pursuit of fashion. It sometimes does, though, fail to be inclusive. I think if people were able to let themselves be more vulnerable creatively, the space to share their identity, their queerness, through their work, would be bigger and safer. Then others will recognise they have the power to do so as well and hopefully create this ripple-on effect.

SHANNON MAY POWELL, PHOTOGRAPHER

What were the main inspirations behind this shoot?

Firstly collaboration. The creative community feeling was strong, we are all friends and acquaintances so we wanted to connect and collaborate on a fun and meaningful project. Conceptually we were exploring notions of identity and expression, identity being the armour that we wear.

I guess identity is the shield that you hold up to the world, it shines but it also protects. In a world that generally prioritises straight, cis-gendered bodies we wanted to depict a fierce and proud embracing of the opposite. Celebrating aesthetics that should be celebrated and doing it in an unapologetic way. Seeing fierce beauties, Milo and Nakayn, strut through the state library in these designs was very satisfying. People were gasping over their chess boards. It was a guerrilla shoot, which was a bit risky but the security guards were winking at us when we passed through the doors instead of asking us to leave so I think everyone enjoyed the show.

It’s definitely not represented in any industry as well as it should be. My hope is that the representation of queer/non-binary identities will move beyond the novice and into the mainstream.

 And finally, how do you think the Melbourne queer scene can be improved? What role do you think (queer) creatives have in enacting this change?

A greater awareness of inclusivity and intersectionality in Melbourne and the world would be great. Creativity is always intrinsically linked with rebellion. You can get away with breaking rules and challenging normalities, and in that sense, as an artist, I feel you have an obligation to do so. I believe deep down people want to be challenged. Otherwise there would be no social progression. Everything we consume should be interrogated. What we are told is normal should be challenged. The world would be a terribly beige place without this intension. I don’t want to be spoon-fed culture, I want to feel as though I am co-creating the culture I exist in.

LUCY DICKINSON, DESIGNER

What were the main inspirations behind this shoot?

Not sure I can speak to the shoot itself, but my collection, entitled ‘I THOUGHT I’D SEEN IT ALL BUT I HADN’T SEEN THAT’, was inspired by unusual customisation techniques used within subcultures, particularly those utilising unexpected materials not often found within fashion. My practice is heavily based around print and embellishment, as well as the combination of traditional techniques and modern technology such as laser cutting and 3D printing.

I think my designs are very tied to what personally makes me feel powerful, and do come across quite defensive. Although mine aren’t necessarily referencing armour I use a lot of pretty aggressive quotes painted and embroidered onto the pieces. Navigating the world as a cis woman still comes with challenges, and I think a lot of my work reflects that by creating quite masculine silhouettes.

Generally, I feel like it could be more diverse in terms of representing different queer body types. Hopefully queerness is going to stick around rather than being a passing trend that the fashion industry is jumping on at the moment.

And finally, how do you think the Melbourne queer scene can be improved? What role do you think (queer) creatives have in enacting this change?

The scene is mostly a really positive and supportive space where everyone is passionate about the work others are producing. There isn’t much that I would improve within it, I think we are on the right track.

NAKAYN CHIGACH, MODEL

It most definitely does. Being able to wear something that makes me feel comfortable within myself helps me go through the world: it holds me up, protects me, makes me feel strong. Having access to clothing that makes you feel amazing while wearing it is super empowering and can make all the difference when existing in public.

What do you think about the general representation of queer/non-binary identities in fashion today? Amidst an increasing co-optation of queerness in almost every industry, do you feel that fashion is treating the identity genuinely?

I think there’s definitely a long way to go, from modelling agencies still being incredibly binary in their representation (male/female model categories) to brands advertising “gender neutral” clothing yet showcasing it on cis people. A lot of it is tone deaf and feels very much like they’re trying to profit off of queerness without paying any respect to actual queer, non-binary and trans people.

And finally, how do you think the Melbourne queer scene can be improved? What role do you think (queer) creatives have in enacting this change?

I could honestly write an essay on this but I’ll keep it short: The people I’m involved with and see the most definitely seem to be trying to give more opportunities to and lift up marginalised identities within our community (black/PoC, trans people, people who aren’t able-bodied) but, as always, it could definitely be better. When I venture outside my own little queer bubble into the wider community it’s grossly white and cis, which can be incredibly “othering”. Quite often I’m the only black person or the only non-binary person on a shoot or in a show and I’m often misgendered or tokenised.

Improvements I’d like to see would be: consistently having diverse teams, not just for the sake of “inclusivity” so you can get brownie points but as a way to change the scene from the inside out. This doesn’t just have to be with fashion; music events, performances, heck even parties. There are so many amazing qtpoc, trans, non-binary people out there that deserve to be in the spotlight but are overlooked so often because they don’t fit the mould.

MILO LOVE, MODEL

What were the main inspirations behind this shoot?

I’ve been speaking with Lucy for a while now about shooting together, and when Willem asked me to wear theirs and Lucy’s designs of course I said yes, they are both incredibly talented friends of mine. Their designs are very striking, we didn’t look subtle wearing these garments from the apartment to location: people did stare at us, people did clear space for us, because we were showing them, hey…we are massive, we have a reason to be here, this is our space too. If you’re not going to invite us in because of the skin we’re in, then we’re just gonna invite ourselves…and if you’re confronted by seeing people expressing their true selves, you should really consider what makes it your right to condemn someone for living authentically?

I would say yes, my clothes do act as an armour. They help me feel safe because I have control over how others see me. For example, today I’m wearing short shorts and a tight top, and I feel strong in my femininity and sexuality. I’m not looking for a fight, but if one came along they’d know who they’re challenging, and I’d look damn hot defending myself.

I think people are forgetting that queerness is not an aesthetic. It is a slur reclaimed by those who have fought to be seen. They couldn’t change their identity, so they found pride in community, pride in identity, for what made them cast out’s from society. They had the resilience to recognise that aside from what they were being told, that they are beautiful in their bodies and their mentalities. Queerness is a very real day to day struggle and having queer bodies on runways and in glossy editorials is somewhat progressive, but if you look further at why you’ve decided this trans woman is welcome in your space and that trans woman isn’t, I think you’ll find that mainstream media is encouraging queerness to fit in a sexy, trendy, fabulous little box that they’ve constructed. I want to see a world where LGBQTI+ identifying people and people of colour aren’t invalidated because the way their soul is expressed exists outside of the norm.

And finally, how do you think the Melbourne queer scene can be improved? What role do you think (queer) creatives have in enacting this change?

Remember that we have LGBTQI+ family who aren’t in the “scene”. We have family out there who haven’t had their breakthroughs yet, who are battling mental and physical illness. Keep sharing your stories, keep inspiring and educating when you can. If you’re able to speak for yourself, create and produce your art, recognise that power and privilege, and continue to open up space, because the space we’re inhabitting didn’t just appear for us, it was fought for by trans woman of colour and minorities in society who chose to survive.