My two cents on the Race row in Brazil

Then on the same day, as I arrived home, I got a phone call from a friend asking if I knew anyone who could go to BBC World Service to talk about the race issue happening in Brazil right now. I said no, I don't know, sorry. Then she said "Why don't you do it then?", and I said "Because I don't even know what the issue is about." She said "Go on, do a bit of research online, and you'll be fine", to which I said "Ok, then," completely forgetting the fact that I am absolutely terrified of speaking in public.

I had the grand space of 10 minutes to google the subject before the producer called me to say they were sending a cab to pick me up. I panicked, obviously, when I realised that the subject is indeed a complex one. Turns out that a Brazilian prosecutor wants to create quotas for black models during Sao Paulo fashion week, similar to the existing ones in state universities.

I arrived at the BBC HQ knowing nothing about the programme, if it'd be recorded or live, and who would be interviewing - until I looked at my accreditation. It said 'Newshour', live with Owen Bennett-Jones, a legend of journalism. For those who don't know, it's a show with in-depth analysis of current affairs, listened to by the world over.

In my head I had several points I wanted to make, and when it got to my turn, I blanked out almost completely and made a bit of a fool of myself.

But thank god for blogging - and here I take the chance to justify myself.

What I wanted to say was that I think quotas are a tricky, complicated way to enforce inclusion, most specially in the arts world (I do consider fashion design a form of art), specially in Brazil, a melting pot of diversity. What would happen to the other minorities not affected by the quota?
It'd probably turn against those chosen to be included in the catwalks by force, rather than by talent.

I might be naive, but I believe at least some designers create clothes without specifically thinking about the skin-colour of who is going to wear it (Alexandre Herchcovitch said quota or no quota, his work wouldn't be affected). These designers are constantly looking for talent, independent of race, so maybe not them, but casting agents should increase their efforts in adding more black models to their books.

Now those who say black models don't sell as well, it is also a matter of perspective. In a country like Brazil, in which the majority of the consumers of fashion are white mostly because of centuries of economic disparities, this might be unfortunately true (and who says it won't change in the future with the University quotas?). But what to say of America, where a much larger percentage of the black population has as much economic power as the next white? (see today's Guardian prasing Vogue for putting a black woman in its cover 3 months in a row).

As anyone who pays an atom of attention to fashion knows, this is an industry that thrives on change and mutation. Consumers are constantly "trained" to desire a certain lifestyle/image/idea - see the whole debate over that other controversial colour, *green.* Only a couple of years ago, buying recycled/ethical clothes had not an inch of coolness surrounding it. Now, at least in the UK, environmentally conscious fashion is a booming industry. People's point of view change as much as fashion if there are constant reminders being waved in their faces.

So if for now quotas look radical, the discussion is still absolutely valid, though, happening as it is already all over the world, creating waves of positive change (famously showed by Prada breaking its long "black holiday" by casting British model of the year Jourdan Dunn in the past two seasons). It brings attention to the inequalities of the industry, prompting major players to change their priorities.

Now, that's what I wanted to say in the radio. I'd put a link of the programme here (17/03/09 - around 42 min) and give you the chance to laugh at me, but I went to the World Service site and couldn't find it. If you find it, let me know. And if you think what I said here is a load of bollocks, please also let me know.

The Rankin Outfit

There are times when nothing really happens around here, and then, out of the blue, BAM, they all come crashing down on you like a bloody snowball. Yesterday was one of those good avalanche days. And all because I took a leaf out of that Yes Man book (saw the film on the flight home), and, well, said yes when people asked.

So, ladies and gentleman, I'm taking part in the Rankin Live exhibition - the one where the man himself photographs 1,000 people as part of a project to document the faces of Britain.

I was a chance I casually jumped to two days ago when I was lazily browsing facebook. One of his assistants asked via his status for volunteers, and I said "whaddahell. I'll go". The email I got back said *dress to impress*, and as with everything else, I only thought about the outfit minutes before getting out the door (not saying this is a good thing. I don't like planning outfits ahead, and because of it, most of the time I make the most horrendous mistakes, if that exists at all). I chose, as usual, vintage leggings, my favourite Kurt Geiger boots and vintage hat, and an old Levi's top that I had no idea I had - but since London's chilly spring hasn't killed the last of a tan I brought from Thailand, I thought I might as well show it before it's gone.

I shouldn't have worried, because as you'll see in the next picture, the man himself wasn't too impressed with my choice of outfit, and chose to sit my in a chair and do a closeup.

So, the experience itself. The photoshoot took place in his studio/office, which is part of the whole Dazed & Confused / Another HQ. I was one of 30 other people who was being shot on the day, and showed up in batches of 5 every hour. I had done a bit of make-up and well, brushed my hair, but it was obviously not enough as I was sent straight to hair'n'make-up to fix the bad job I had done. They chose to hide my hair under the hat, which I thought was a wise decision, increased the eye-lashes, and off I went.

I had no idea what to expect from Rankin, as I had never seen him apart from a profile image of him hiding behind a camera, so I was pleasantly surprised when I noticed my boots made me tower over him (I'm 5'1. I never tower over anybody, even if I wear platforms). He had a cheeky, very lad-like sense of humour, making fun of my accent in between bad dirty jokes that made his team laugh nervously. I wasn't intimidated, but slightly taken aback - it might be just me, but I find a little strange people who use bullying tactics to put people at ease.

The guy is obviously good, though. He takes between 5 and 15 minutes with people, until he finds his models' best angles, and then lets everyone choose their favourite shot - although he does push you to choose his own favourite. In my case, he liked a closeup with my hair big and flying all over the place, claiming he made me look like the "Penelope Cruz of Brazil". Terrible.

So I chose this one:

This and 999 other images are going to be part of the Truman Brewery show in the summer in much bigger proportions than the small print I got - and the ironic thing, I'll probably be the ONLY Brazilian in it.

But that was just the first part of the day. Something else happened later on, but I'll continue on the post above.