Showing posts with label arts. Show all posts
Showing posts with label arts. Show all posts

Garment Workers Win Historic Victory in Effort to Transform the Fashion Industry

The PayUp campaign has clawed back $22 billion from apparel companies owed to factories and workers, and they’re just getting started.

By Loretta Graceffo - September 14, 2021
This article was originally published on Waging Nonviolence

In March 2020, Amanda Lee McCarty was laid off from her job.

For years, she had been working in the fashion industry as a buyer and product developer. But as COVID-19 cases surged and lockdown orders were implemented across the world, retailers were faced with a dramatic plummet in consumer demand for clothing. McCarty, who had been the sole breadwinner in her family for most of her life, was left without a steady income or health insurance.

McCarty wasn’t the only one in the global apparel industry whose future was thrust into uncertainty.

Thousands of miles away, in countries like Bangladesh, Sri Lanka and Cambodia, apparel factories had just received catastrophic news from retailers in the West. In order to offset the financial losses of the pandemic, executives had made a swift and nearly universal decision: They were going to steal $40 billion from their most vulnerable workers. 

“This wasn’t theoretical money,” said Elizabeth L. Cline, who works with the consumer activist nonprofit Remake. “This was garment workers not being paid for work already done, which is slavery.”

For many brands, this theft was not only legal, but outlined in their contracts with factories overseas, which enabled them to cancel orders at any time. Retailers cited a force majeure clause to claim that they didn’t need to take clothing they had ordered before the pandemic — and they also didn’t have to pay for it, even if the product had already been made after hundreds of hours of painstaking labor.

This decision was enforced by nearly all of the world’s most profitable apparel companies, only 20 of whom control 97 percent of the industry’s profits. Among the offenders were Walmart, Sears, Kohl’s, Nike, Forever 21, H&M, Gap, Adidas, The Children’s Place and Ross Stores.

What followed was one of the largest transfers of wealth from the Global South to the West in recent history.

The effect of the cancellations was immediate: factories, who could no longer afford to pay textile mills and workers, were forced to shut their doors. Millions of garment workers, most of them young women, were sent home without severance or pay.

While wealthy fashion brands continued to deliver shareholder payouts, workers already living in poverty were plunged even deeper into debt and starvation. 

“Why were companies so comfortable robbing their factories in the middle of the biggest humanitarian crisis of our lifetimes?” Cline said. “It had a lot to do with the fact that the people impacted were in the Global South. They were women of color, who companies were used to being able to subjugate without any consequences — who they thought weren’t going to stand up to them.”

The companies were wrong. In a matter of days, a movement was born, comprised of non-governmental organizations, or NGOs, and thousands of garment workers, grassroots organizers and consumers across the globe. They named their first campaign after their primary demand: PayUp.

By March 2021, PayUp had secured $22 billion from brands who had initially refused to pay, and laid bare the exploitation fundamental to the global supply chain. It was one of the most successful labor rights campaigns in the fashion industry in modern times — and activists say they’re just getting started.

“This is an industry that is part of every person’s life, but nobody really knows what happens behind the scenes,” said McCarty, who became a vocal advocate for the movement after being laid off from her job. “If a brand is refusing to pay up, it’s likely they’re paying slave wages in the first place, and not caring about the climate and burning billions of dollars of excess clothing every year. When you take a step back, the fashion industry is really a case study of everything that is wrong in the world right now.” 

“If a brand is refusing to pay up, it’s likely they’re paying slave wages in the first place, not caring about the climate and burning billions of dollars of excess clothing every year.”

Holding brands accountable

From its foundation, PayUp’s strategy has been to discern which brands are moveable and to then target those brands using grassroots pressure. 

“We knew if we were going to wait for fashion brands to gain a conscience, nothing was going to change,” said Cline, one of the founders of the movement. “It was public knowledge who canceled, so we had a list of companies and the amount of money they owed, but we needed a bigger picture of what was happening.”

Because of this, the testimony of garment workers themselves has been critical to the success of PayUp. In November 2020, the Worker Rights Consortium released a survey of garment workers who had lost their jobs across Cambodia, Bangladesh, El Salvador, Ethiopia, Haiti, Indonesia, Lesotho and Myanmar. Nearly 75 percent of these workers reported going into debt to buy food since the pandemic began. Many described skipping meals in order to feed their families, being unable to afford food with protein, and having to withdraw their children from school due to lack of funds. 

Garment workers who remained employed, many of whom were working overtime to produce personal protective equipment for countries in the West, were similarly plunged into destitution. Even as the world’s most profitable fashion brands saw an 11 percent increase in value over the past year, garment workers experienced pay cuts averaging around 21 percent. 

“When you’re working in the industry, you know there are people that aren’t being paid, but they’re sort of these ‘others’ that you don’t know,” McCarty said. “It allows you to say, ‘Oh, things are different where they live’ or ‘These people are unskilled.’ All these other functions of racism, classism and colonialism are so baked into every person.”

By the summer of 2020, #PayUp had been shared on social media millions of times. A petition, which was sent to over 200 fashion executives directly, garnered nearly 300,000 signatures calling on companies to pay for the cancellations. Behind the scenes, NGOs and activist groups like Remake, the Worker Rights Consortium and Clean Clothes Campaign moved in tandem to negotiate with brands. 

This pressure was combined with direct action by workers around the world. In response to factory shutdowns that left thousands in the apparel industry without jobs, workers in Myanmar went on strike, eventually securing a wage bonus and union recognition through a two-week sit-in. In Cambodia, around one hundred workers marched to the Ministry of Labor to submit a petition requesting compensation after their factory shut down. When they weren’t offered a resolution, protesters continued their march to the prime minister’s house, where they were blocked by nearly 50 police officers. 

Similar actions took place in Pakistan after factories cut holiday bonuses that usually allowed rural workers to return home for Eid. Striking workers gathered in protest outside factories, chanting slogans demanding better wages even as police fired shots into the crowd. In Bangladesh, garment workers who staged protests outside factories were also met with opposition, with many workers reporting that they had been attacked by police with batons, water cannons and tear gas while they were sleeping.

To date, 21 brands monitored by PayUp have committed to paying for cancelled orders in full, unlocking a total of $22 billion for factories and garment workers globally. Eighteen brands have still refused to pay — and many have deleted #PayUp comments on their social media accounts in an attempt to shut down the conversation. 

“We need contractually enforceable commitments from brands, and we need brands and unions sitting across the table in real negotiation.”

A deepening crisis

Despite the tremendous victories of the PayUp campaign so far, the past few months have revealed worrying trends within the industry, and the crisis surrounding garment workers continues to worsen. The vast majority of the money PayUp secured from brands went to factories, enabling them to pay their debts to textile mills and stay open. While this has potentially prevented even more disastrous factory closures and mass layoffs, most workers still haven’t received their stolen wages — and the crisis surrounding the garment industry continues to deepen.

“Throughout the pandemic, I’ve seen retailers squeezing factories for lower costs and pushing them for faster turnaround,” McCarty said. “Even more product is being imported into our country by plane, instead of by boat, so the carbon footprint is even worse — and people overseas are being paid even less. We have to end the cycle now.”

One year after the founding of PayUp, garment workers who are struggling for survival have yet to see any financial relief from brands. There is also the issue of safety; in Sri Lanka, over 7,000 cases of coronavirus, more than half the nation’s total, were traced back to a factory that manufactures clothing for Victoria’s Secret.

In many apparel-making countries, garment workers who demand safety measures have been met with brutal repression, facing threats, physical attacks, dismissal and imprisonment for speaking up or attempting to organize. One of the most recent examples of this repression took place in March, when nearly 1,000 garment workers who produce clothing for Primark were allegedly locked inside factories for hours to prevent them from joining anti-coup protests in Myanmar. 

“Brands’ labor codes and monitoring systems don’t exist to protect workers,” said Scott Nova, the executive director of the Worker Rights Consortium.“ They exist to protect the image and reputation of brands … even as they squeeze suppliers on price, driving down working conditions and wages.”

Perhaps the most compelling illustration of the failures of self-regulation can be seen in garment factories in Bangladesh. For decades, these factories were notorious for being little more than death traps. Despite frequent mass fatality fires and factory collapses, major brands and retailers continued to tout their voluntary codes of conduct as a reliable method of protecting workers. It was only after the collapse of the Rana Plaza factory in 2013 — a disaster that killed 1,134 people and injured another 2,500 — that meaningful protections were put into place. 

Even as rescue workers were still searching for survivors in the rubble, thousands of garment workers and relatives of the dead rose up, storming the streets of Dhaka to demand safer working conditions. 

Within a month, the Bangladesh Accord on Fire and Building Safety was launched, requiring independent building inspections and reviews of safety standards. The accord functions as an international compact between NGOs, Western manufacturers and Bangladeshi and global unions. Since the program began, two and a half million garment workers have been working under vastly safer conditions — and Nova believes the accord can serve as a roadmap for accomplishing PayUp’s long-term goals.

“We need contractually enforceable commitments from brands, and we need brands and unions sitting across the table in real negotiation,” Nova said. “If we want brands to behave responsibly, we need to get it in writing.”

Last fall, PayUp founder Ayesha Barenblat sat down with the founder of the Awaj Foundation, an NGO that represents 600,000 garment workers in Bangladesh and Sri Lanka. Together, they launched the website for Pay Up Fashion, where they outlined seven demands for action going forward: worker’s safety, transparency, giving workers a platform, enforceable contracts, an end to starvation wages and the implementation of labor laws. 

“Besides a handful of rich factory owners, executives and shareholders, it’s an industry where there aren’t a lot of people benefiting,” Cline said. “I think brands wanted a pat on the back after they paid up, but for us, the campaign revealed everything that’s broken about the fashion industry.”

Resisting a return to business as usual

Around the same time PayUp was founded, McCarty utilized her insider experience to launch Clotheshorse, a podcast exposing dark truths about the world of fast fashion. It was the start of a new chapter — and an inadvertent decision to never return to the industry, no matter the financial consequences.

“Coming from a lower-class background, it’s been challenging knowing what goes on behind-the-scenes and having to keep going,” McCarty said. “For so long, I felt like a hamster running in a wheel, going to this toxic, abusive job that I hated. There is something very strange and liberating about no longer having a job, because now I can speak the truth about it.”

Over the course of more than 60 episodes, Clotheshorse has explored issues like labor rights, greenwashing, consumerism and the PayUp movement. McCarty often features the stories of retail workers, who can call through a hotline to speak about common practices such as non-disclosure agreements, wage theft and requirements that unsold merchandise be destroyed.

Before long, McCarty was getting up to a hundred messages a day from fashion lovers and activists. Though the pandemic prevented them from meeting in person, Clotheshorse listeners began coming together online to call out brands, quit fast fashion and support one another’s sustainable businesses.

“A lot of people found their lives completely upside down last year, and we’ve all been getting educated about things that we weren’t before,” McCarty said. “It’s amazing that we were all able to find each other and respond to one another’s ideas — I feel so lucky that at least once a week I start to cry.”

As PayUp enters its second year of campaigning, this kind of community building could prove essential to ensuring the movement doesn’t lose momentum.

“PayUp was able to reveal the inner workings of this power dynamic that was hidden from view for a long time,” Cline said. “That’s made it much easier to propose reforms, but everybody has to be ready to fight for the long haul. The fashion industry we want to see is going to take commitment and perseverance — and a belief that anything is possible.”

Loretta Graceffo is a writer, artist and activist from New Jersey. She currently attends Saint Peter's University.

This article is republished from Waging Nonviolence under a Creative Commons license.
Read the original article here.
Waging Nonviolence is a nonprofit media organization dedicated to providing original reporting and expert analysis of social movements around the world. With a commitment to accuracy, transparency and editorial independence, they examine today’s most crucial issues by shining a light on those who are organizing for just and peaceful solutions.

An Interview with Mimi Bay

photography Sandra Myhrberg
fashion & makeup Nike Ortiz Dahl
blouse Nygårdsanna
trousers Annaedsta
shoes Asos Design
earrings Charlotte Vasberg

By Decirée Josefsson - August 13, 2021

This article originally appeared in  Odalisque Magazine

The 20-year-old Mimi Bergman aka Mimi Bay conveys feelings into words writing about personal experiences and memories. With over a quarter of a million subscribers on YouTube, she writes and properly produces, making her multidimensional as an artist. The impenetrable walls of the royals are falling to pieces when Mimi Bay's pleasant tunes are playing creating a space for everyone to be able to intimately connect. Her last single Pick me up is the third to be released in 2021 and comprise a part of her newest EP release Far from home. 

Is there a specific story behind the name Mimi Bay?
The history of the name is rather simple and occurred naturally when I followed a more firm step in my artistry. When I initially started, I operated frequently on different channels like SoundCloud and YouTube. When I, later on, decided to carefully gather everything on a mutual channel it became natural to as well separate Mimi Bergman from Mimi Bay. It has not so much to typically do with the name itself, however more to safely separate and secure my personal life. 

How would you describe your critical thinking towards your composed music?
I think that in time as my musical knowledge develops I become kinder and more trustable in my instinct of what’s good. Critical thinking, however, makes me able to perform and achieve beyond my expectations.

dress & shoes Asos Design
earrings Charlott Vasberg

blouse Cornelia Ferm
trousers Vans
shoes Asos Design
earrings Iameleni

What represents your ideal place to reload and increase creative energy?
I genuinely love to read outside in the woods. It helps me to remind myself about the present time. To pause from complex reality and sense when not to trust the anxious state of the conscious mind.

Whom are you writing for?
I think that my writing has inevitably been a process of my thoughts and feelings. Anger, fear, grief, and joy become the fuel for the words in my rhymes. I do not think frequently about whom I’m typically writing for. Alternatively, there’s a way for me to gently remind myself that emotions are not permanent and to heal or properly speak through them instead of allowing them to direct me. There's rightfully no social right or wrong in how much of your thoughts you should share with others. If I never try to listen to my inner voice, I will never know how it feels to be true to myself. 

Describe your earliest music memory?
I’m constantly looking for gentle melodies, melodic vocals, and poetic lyrics that can get me from a state of mind emotionally to another. Even if that means watching Disney or listening to the tones of Frank Ocean and SZA I want it to feel real. It’s the chemical reaction from within that makes me interested in wanting to keep on listening. 

What would you like to say to the younger Mimi?
The frequency of life is going to differ, and you will be forced to accept and believe that there’s a time for everything. 

What’s on the horizon?
I’ve been working on my upcoming project Far from home since 2019 and it’s about trying to find a home when your safe place becomes your parents' house. It’s been mine for so long and I can’t wait to share it with the world.

blouse Nygårdsanna
trousers Tommy Hilfige
earrings Charlott Vasberg

This article was originally published by Odalisque Magazine. It is republished here under the terms of a Creative Commons Attribution-ShareAlike 3.0 Unported license.

African-American Music Appreciation Month Is About More Than just Great Songs

Little Richard
Little Richard, the self-proclaimed “architect of rock ‘n’ roll” whose piercing wail, pounding piano and towering pompadour irrevocably altered popular music while introducing Black R&B to white America, died May 9, 2020, but remains a key figure in music history.
Photo by Robbie DrexhageCC BY-SA 4.0, via Wikimedia Commons
By Leah Fleming and Tiffany GriffithGPB News - June 15, 2021

It was 1979 when then-President Jimmy Carter introduced the country's first ever observance of Black Music Month. The month was established to recognize the economic and cultural power of Black music, as well as those who make and promote it.

The month was later renamed African-American Music Appreciation Month under President Barack Obama.

GPB’s Leah Fleming recently spoke with Tammy Kernodle, a professor of musicology at Miami University in Ohio, to dig deeper into the roots of the month.

Tammy Kernodle: When you think of 1978, 1979, most historians will tell you that the Black Power movement was really dying down. Either through violence, mass incarceration, or people assimilating and becoming disillusioned. But what we forget is that the Black Power and the Black Nationalist movement were not just about radical activism. It was also about reclaiming and establishing an understanding of our cultural heritage. But there was also an economic piece to that. Black Power was about Black people empowering themselves and creating infrastructures. And that's the important part: infrastructures that would galvanize our communities culturally, economically, politically and socially. 

Leah Fleming: So when President Carter at the time in 1979 rolled out the first Black Music Month, he talked about growing up in Georgia and hearing many Georgia artists and hearing the pain that came through the music and the movement, and hearing about some of the joy of being Black. We heard that then. We continue to hear that now. 

Tammy Kernodle: Well, I think that's what makes Black music such an important cultural artifact, is how it encapsulates the fullness of life. It has been one of the chief documenters of our experience. And we see that in this current age, I think in a way that became absent in the decades that followed the establishment of Black Music Month, because at the time that this month of appreciation was established, we were at a high point of Black music and Black consciousness in a wedding of those things. And I think what we saw with the kind of corporate takeover of Black music in the '80s, you know, with all of those labels like Stax, like Motown, and Atlantic and all of those indie labels that are giving us all of that music, that was the soundtrack to our liberation struggle throughout the '50s, '60s and '70s. You know, when CBS and Sony and MCA and all of these labels took it over, we saw the muting of certain narratives within our music. Now they are reemerging. They're reemerging because you have a generation of artists who have found new ways in which to engage.

Leah Fleming: So what are you listening to this Black Music Month?

Grammy-nominated blues singer Shemekia Copeland performs at The Summit on Race in America at the LBJ Presidential Library on Tuesday, April 9, 2019
Photo by Laura Skelding, LBJ Library, Public domain, via Flickr

Tammy Kernodle: Oh, I'm listening to everything because I consume music. So, like, for the last couple of days, I've been listening to Shemekia Copeland, you know, who is a blues singer, she kind of does Americana. She has an album called Uncivil War. So what's really resonating with me is how we're seeing these protest narratives, these social message songs all showing up in these genres that don't get played primarily on Black radio these days. But, you know, it's getting played on white radio and in regional spaces where this is a Black woman engaging in a conversation with white America in many ways. So I listen to a range of things. Classical music, you know, because that's something we have to talk about in Black Music Month, because we oftentimes want to center Black Music Month around R&B and gospel and, you know, hip hop, because we think of those things as being representative of authentic Blackness. But classical music, we have classical composers like Courtney Bryan and Mark Lomax, who did a suite of albums called the 400 African Suite that really tries to musically trace us from 1619 to a future that he envisions. I'm looking at how Blackness is intersected in sound in so many different ways. So I listen to so many different things, and I'm an old-school person, so I've got thousands of CDs and LPs.

Leah Fleming: You say that the month should not be maybe African-American Music Appreciation Month. It should've remained Black Music Month.

Tammy Kernodle: Yes, ma'am. Blackness is, the term Black is representative of the wholeness of identity. We are African people at our core. But we did not just come to America. And to say African-American means that you negate all the Black people and all the Black music that came out of the Caribbean and South America, out of Canada, out of London, out of Germany. Black people extended from the continent, not just through slavery, but migration and colonization. And we created a larger diaspora of expressions and experiences. And that music is a reflection of those environments. And we hear some of those things coming into African-American music. But when we use the term African-American music, it means that we are very U.S.-centric. We are cutting off what are these larger cultural connections of sound and culture and experience that are represented under Blackness.

Leah Fleming: So I want to ask you one more question. Chuck Berry, Little Richard, Sister Rosetta Tharpe, Bo Diddley: They're all considered the originators of rock 'n' roll. But that's a fact that few people are aware of, especially today. So how do you suggest we not only appreciate, but hold on to the history?

American guitarist and singer Chuck Berry performs his "duck walk" in this publicity still, circa 1958.
Public domain, via Wikimedia Commons

Tammy Kernodle:
 Well, I think, first of all, what you are doing here is important, because NPR, public radio has become one of the primary mediums that is above all of the political fray and rhetoric and bringing to us wholesome stories. So I thank you for your work in that. But I think also, as we are seeing these conversations about critical race theory and what is taught in the classroom, what we need to understand is how music can be a focal point for us to understand these particular moments and the importance of these voices. Right. And so it's about reclaiming that. And what I liked about the initial vision of Black Music Month, that that initial vision was about preserving, it was about progressing, but it was about historicizing. And too often we leave out the history. Every generation thinks that they are charting a revolution. And they think that because, in many cases, they don't do their history lessons. They don't learn their history. They come back to that, you know. Or they are told, ‘Hey, do you know this?’ or ‘Do you know that?’ And not all artists, but many people who think they're groundbreaking don't understand sometimes these historical trajectories. So I think it's important that we elevate. I think it's important that Black radio elevates these voices. And I think with, you know, the National Museum of African-American History and Culture in D.C., but now the newly minted National Museum of African-American Music in Nashville will see people having much more of an expansive understanding of what has been the history of this music. So this is what I do every day. Every day. I want people to leave, you know, my classrooms hearing music different, but understanding the people behind the music. I tell my students all the time, you cannot like Black music and not have a consciousness about Black people. If you do, something's wrong.

This story comes to Magatopia Buzz through a reporting partnership with GPB News, a non-profit newsroom covering the state of Georgia.

How 'America's Got Talent' Contestant Kodi Lee Shattered Stereotypes About Disability

Lee was able to communicate that disability is a part of humanity – not separate from it.

America's Got Talent/YouTube

Vanderbilt University - June 7, 2019

This article was originally published in  The Conversation

If you haven’t seen Kodi Lee’s May 28 performance on “America’s Got Talent,” it’s worth a watch.

The 22-year-old Lee is blind and has autism. His rendition of Leon Russell’s “A Song for You” brought the crowd to its feet – and thrilled viewers at home.
“Loved this moment so much! Stood up and cheered in my living room!” Oprah tweeted.

Much of the media coverage portrayed Lee as someone who, in developing his musical ability to such a high level, overcame all odds – a common though sometimes troublesome trope used to describe people with disabilities who achieve any measure of success.

Lee is certainly an exciting talent. But as someone who teaches a course on the intersection of disability and music, I was moved by other aspects of Lee’s performance as well.

Lee stunned the judges during his May 28 performance on ‘America’s Got Talent.’

One challenge for people with disabilities can be that others tend to conflate their disability with their personality and identity. Their disability becomes the defining aspect of who they are, which can prevent people from realizing that those with disabilities can have rich interior lives.
So listening to Lee sing about love – mature, adult love – I heard a 22-year-old man whose voice and delivery brimmed with emotion and rang with authenticity.

“I’ve been so many places in my life and time,” he begins. “We’re alone now and I’m singing this song to you,” he croons, evoking deep intimacy and connection.

Infantilizing and de-sexualizing people with disabilities is still commonplace – as though physical or intellectual disability should necessarily exclude the ability to feel desire and the longing to be desired.

Lee shatters these notions. To sing these lines believably means to have lived them or to have imagined their truth.

Perhaps the most joyful aspect of Kodi Lee’s performance, however, is rooted in the dimension of time.

Philosopher and disability theorist Licia Carlson has written that “the experience of disability may be defined in negative terms when people fail to live according to what is considered to be normal time.”
In other words, because many tasks can take longer for someone with a disability, keeping pace can feel like a constant struggle.

This is where music can be such a beautifully transporting experience. It has its own time that’s not tied to that of the real world. With its tempo, rhythm and dramatic pacing, music creates its own temporal universe.
While listening to Lee perform, everyone in the audience was listening along at his speed, which, as the performer, he controlled.

It was a rare opportunity for disabled and non-disabled to be fully present together, under the same umbrella of time and space.
Finally, I think it’s important to return to the title of the show: “America’s Got Talent.”

After the Industrial Revolution, the ability to contribute labor and earn a paycheck became defining features of what it meant to be American.
If being a “true” American traditionally implied independence and autonomy, this one element of national identity alone could be enough to stigmatize people with disabilities.

Kodi Lee belted out an overwhelming assurance – as if it should have ever been needed – that a blind man with autism is also included in the definition of America.

Stan Link, Associate Professor of the Composition, Philosophy and Analysis of Music, Vanderbilt University

This article is republished from The Conversation under a Creative Commons license. The Conversation is a nonprofit organization working for the public good through fact and research based journalism.
Read the original article here.
The Conversation

Foreigner by CJ Cherryh

Science Fiction Book Review

Written by Paul - May 16, 2019
Original story first published at Lightly Seared on the Reality Grill

That was superb. Foreigner is a first contact novel wrapped in a thriller, the twist being that, this time, it’s humans that have landed on an alien planet and having to navigate a completely alien culture.
It had been nearly five centuries since the starship Phoenix, lost in space and desperately searching for the nearest 5G star, had encountered the planet of the atevi. On this alien world, law was kept by the use of registered assassination, alliances were defined by individual loyalties not geographical borders, and war became inevitable once humans and one faction of atevi established a working relationship. It was a war that humans had no chance of winning on
this planet so many light years from home.
Now, nearly two hundred years after that conflict, humanity has traded its advanced technology for peace and an island refuge that no atevi will ever visit. Then the sole human the treaty allows into atevi society is marked for an assassin’s bullet.
The book is split into three parts, the first two of which detail the arrival of the starship and the first encounter between atevi and humans. Then we get into the meat of the story, which centres on Bren Cameron, the one human living in atevi society. Bren is a paidhi, essentially humanity’s ambassador to the Atevi.

When Bren finds himself targeted by an assassin, he finds himself shunted from location to location, desperately trying to understand what is happening and who he can trust.

There are two things that really stand out here, the first of which is the Atevi themselves. This is a truly alien race in terms of their attitudes, their instincts and their culture, and this alienness makes them difficult to comprehend and impossible to fully understand. This keeps Bren permanently off balance as his human instincts are consistently wrong.

The other thing to note is CJ Cherryh’s writing style. Once Bren is introduced, the story is told entirely from Bren’s perspective — what Bren doesn’t know neither does the reader and if Bren doesn’t understand the importance of something it won’t be mentioned. This approach demands some work from the reader in that there is much that is not explained, but the depth of the story is such that it is well worth the effort.

With Foreigner CJ Cherryh gives us one of the strongest explorations of how cultures interact — and conflict — with each other that I have read in a long time. The novel is complex, detailed and utterly gripping and will probably bear reading again.

 Originally published, here, by Paul under the terms of a Creative Commons Attribution-ShareAlike 3.0 Unported license.

OKULT: Idiosyncratic Eccentricity

photography by LINDA ANDERSSON
make up & hair INA PALM

Written by Ksenia Rundin - May 8, 2019
Original story first published at
Odalisque Magazine

The Phoenicians and Carthaginians, the Romans and later the Greeks and Tojans — all of them once left their cultural traces on the enchanting island of Sardegna, which today has inspired the new Swedish brand OKULT into their mystical aesthetics filled with both modern and postmodern elements. With a slight flavour of political retaliation virtuously mixed with social realism of the Orthodox East diluted by Pop Culture of the progressive West, OKULT speaks its own young and fashionable voice. The brand illustrates an unexpected cascade of hidden messages, as Yves Saint Laurent would suddenly start a collaboration with Andrei Tarkovsky or the surrealism of Louis Aragon would be directed into a disillusioning bourgeois play by Françoise Sagan. The garments constitute something aesthetically whimsical and therefore visually intriguing, making one aware of sustainability of both shapes, materials and processes as such.  It is all about an idiosyncratic eccentricity locked in the irrational immateriality of the material forms.

Please tell us about the brand. What is the idea behind it? 
The original idea was starting a creative studio with the intention to design and work primarily with fashion and then with interior design. Producing clothes and objects such as ceramic vases and carpets, working side by side with artisans in Sardegna and being supported by their knowledge and history of craftwork.

Who are you — people behind the brand? 
Lisa has a background in fashion and arts with seven years of studies in the subject and with a Master from The Royal Danish Academy of Fine Arts in Fashion, including an exchange semester at Die Angewandte, University of Applied Arts Vienna, coordinated by professor Bernard Wilhelm. In 2016 she was selected as Vogue Talent from Denmark.

Tommaso has a Bachelor and Master in Cinema and Literature from the University of Tor Vergata in Rome. For the last ten years he has been producing cultural events and gone on tour in Europe as music agent, releasing records with his own label. Currently he is working at HAUSS SPACE in Malmö.

What does OKULT stand for? 
The word OKULT is a neologism which comes from the Swedish word ”ockult” and from the Latin ”cultus”, owed to deities, temples and shrines, being embodied in ritual and ceremony. For us it stands for something hidden, isolated, magical and mysterious in regard and opposition to the fashion system and the mass production. But it also refers to the island of Sardegna in Italy and its ancient history.

Could you describe the creative process for the latest collection? 
Lisa: I was very uplifted and embraced by the beautiful light and the landscape of Sardinia when I chose the materials. I worked with the materials as a starting point and was so inspired and fascinated by the characteristic materials, which I had found in Italy through direct contact with textile factories still located in Italy. Then I created one garment out of each one of the fabrics I had chosen.
Often I start the design process intuitively with a lot of inspiration and ideas and later reduce elements step by step until it becomes rather simple. I work with contrasts in geometrical shapes simplifying those until the bones.  The work method I used to create the garments for the latest collection was to draw over and over again by using tracing-paper in order to find the right lines and then making a lot of prototypes.

On your webpage you indirectly say that you challenge “the old fashion system”. Please, describe how. 
We are in a time where the fashion industry is in such a need to reinvent itself. Challenging the “old fashion system” for us means to be resistant to the capitalistic side of fashion which is destroying our world and enslaving people with a miserable salary and just making huge profit out of it. To give back the value of clothes that we make with quality and respect for the process and time it takes to create a piece of cloth.“Sustainability” is just a trendy word for a lot of brands, especially the big ones, involved in “green” events. As a rule, they keep their production in a country where there are almost no rights for the workers and no laws regarding the natural environment.
To conclude, challenging “the old fashion system” means for us, being 100 percent transparent and ethically honest. It means to be in control over the whole production, every step of it and to create human relationship with the people you are working with. Success is not only an economic issue.

What inspires you and how you keep yourselves inspired? 
Could be a dream, a conversation. Everyday life and history. Everything that is included in the sphere of humanistic studies. We keep ourselves inspired by reading and watching films, traveling and meeting people.

On your Instagram I have seen a picture from one of Sergej Parajanov’s movie. It is quite a rare concept for people outside the former Soviet Union. Tell me about it.
Sergej Parajanov made some of the most beautiful films ever seen. The richness of his films is outstanding with the attention to every detail, handmade costumes, colours and poetry. His films are like a long historical (Armenian and Georgian heritage) and surrealistic hallucination, full of symbols, metaphors, morals and religious allegories. And everything seems to be deciphered making his poetics timeless and his films immortal.

What are your future plans?
One-piece productions, collaborations and work with the concept of sustainability.

New on Magatopia: Sci-Fi, Fantasy & Horror Book Reviews

There's a new category on Magatopia for you to enjoy. - Sci-Fi, Fantasy & Horror Book Reviews

Following is a list of all the online Sci-Fi, Fantasy & Horror Book Review magazines and blogs linked to on the new page. Magatopia delivers live headline feeds from the following sources:

  • Locus Online

    Cedar Hollow Horror Reviews

    The Weatherwax Report

    One-Legged Reviews

    Frank Michaels Errington's Horrible Book Reviews


    The B&N Sci-Fi and Fantasy Blog

    The Haunted Reading Room


    Fantasy Literature

    Metaphors and Moonlight

    Ginger Nuts of Horror

    Arkham Reviews

    Fantasy Book Review blog

    Horror After Dark

    Morbidly Beautiful


    Altered Instinct

    Amid The Imaginary – Reviews

    The Horror Bookshelf

    SFBook Reviews

    Kirkus Reviews
Link: - Sci-Fi, Fantasy & Horror Book Reviews is the internet's directory to thousands of free online magazines. All of the magazines Magatopia links to have news, articles or columns that you can read online for free.

New on Magatopia: Book Reviews

There's a new category on Magatopia for you to enjoy. - Book Reviews

Following is a list of all the online book review magazines and blogs linked to on the new Book Reviews page. Magatopia delivers live headline feeds from the following news sources:


Open Letters Review

The Kindle Book Review

Amazon Book Review

The New York Times

BigAl's Books and Pals

Foreword Reviews

Book Inspector


The Independent

The Millions

Nerdy Book Club


Don Sloan


Just Another Book Guy

Self Publisher's Showcase 

Michiko Kakutani

The Potomac Journal

Janet Maslin


Vigilant Reader

Necessary Fiction

Link: - Book Reviews is the internet's directory to thousands of free online magazines. All of the magazines Magatopia links to have news, articles or columns that you can read online for free.

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