All about me
Personal Values & Beliefs
1. What do you fundamentally believe about fashion, communication, and their role in society?
2 Which personal values guide the decisions you make in your creative work?
3. What would you refuse to do in your career, even if it meant success or recognition?
4 What injustices, gaps, or problems in the fashion industry matter most to you?
5. What principles do you want your work to quietly stand for, without having to explain them?
Identity & Lived Experience
1 Which life experiences have most influenced how you see the world and your creative voice?
NYC- everything
GAY
2 How have challenges, setbacks, or change shaped your perspective?
3. What parts of yourself do you currently hide or soften in your work, and why?
4. What truths about you feel non-negotiable in your personal brand?
5. How do your background and personal journey inform your point of view?
Intentions & Purpose
1. Why do you want to work in fashion communication specifically? Tell stories and influence narrative and perspective
2. What do you hope your work will do rather than simply look like?
3 What conversations do you want to start, challenge, or contribute to?
4. Who do you feel responsible to in your creative practice (yourself, a community, a future audience)?
Myself and queer community
5. What change, however small, do you want your work to help create?
Direction & Ambition acceptance
1. What does success mean to you on your own terms, not industry expectations? Happy and proud with what i do with the people i love
2. What kind of practitioner do you want to become over time?
3 What skills, attitudes, or mindsets do you want to be known for?
4. What do you want collaborators, clients, or employers to trust you with?
5. How should your personal brand support your long-term career direction?
Translation into a Visual Brand
It should be everything i stand for
1. How can your values and intentions be translated into visual decisions?
2. What should remain consistent in your visual identity, even as your work evolves?
3. What would an authentic visual outcome look like if you stopped trying to please others?
4. How does your visual personal brand act as a filter for opportunities you do and do not want?
5. If your personal brand were a promise, what would you be committing to?
Colour:
Warm, bold, and quietly commanding, it carries presence without performance. It reflects my energy: confident, grounded, and intentional drawing attention through depth, not volume
Building:
Flower:
Bold, sculptural, and seductive, it commands presence without shouting Its elegance and drama reflect how I approach creativity: intentional, confident, and unafraid to express power and beauty.
Movies:
Songs
Eartha kitt- mein herr- 1995
rihanna - te amo, russian roulette, disturbia, shutup and drive
Lady gaga- Scheise, abracadabra, judas, disco stick
beyonce - single ladies, crazy in love, this aint texas,
The Scarlet Opera- Alive maneskin - I WANNA BE YOUR SLAVE
Bootcamp notes:
Tutorial notes:
Week 1:
How does Charles Jeffrey represent himself and his brand?
1-10 how far do i want to push it? - whats the line? How far is too far?
How comfortable am i expressing my sexuality How do i want to be seen?
Urban streetwear- why not?
Week 2:
Feminine and masculine- feminine front with a masculine side?
The art of storytelling
How femme fatale use sex as power? Sex as power- strength, domination, seduction,
Week 3:
Week 4:
Copenhagen fashion week:
Activism and identity in fashion:
● Fashion sells identity
● Packages queerness and turns it into aesthetic
● Ownership of my own queerness- once I create who owns it?
● Walk with my community- don't be the only one in the room
● Cant decide not to be my own identity
● Being seen but not visible
● Who you are is not rocket science
● Leave ego at the door
Questions post talk
● How do you find the intersection of queerness, fashion and movement?
● How do you have representation in spaces without stereotype? - who you are is not a stereotype if it true to you
● How to deal with misinterpretation (of art, self, product)?
● Do you create and give it away or do you keep control of it? Narrative, intention?
● In an ideal would would you want you identity to not be a defying factor of you work and its existence or do you want it to be your whole work?
Fine chaos:
Going to see fine chaos was a different kind of show for me to see. It leant more into the emo/cyber, and far more commercial than where I see myself However, there were a few menswear looks i found interesting and connected with the imagery i have already looked at, they were made with a latexesque fabric and they had a high queer look to it, mixing a tie with underwear and latex, seeing that really resonated with me and solidified that that is where i want to go
Han Kjøbenhavn:
Seeing this show was really inspirational. From the moment I entered the space the energy and theme of the show, with a dark, dangerous and seductive vibe The show itself was far more high end than any other show i saw in copenhagen with an extremely strong narrative throughout the show. I really loved the dark feeling of the collection and how even though
everything was black the way the fabric was manipulated and styled every piece felt different and fit into the vibe and story of the show.
Is Sexual Ambiguity the New Metrosexuality?- Them
Factora, J. (2026, January 28) Is sexual ambiguity the new metrosexuality? Them https://www.them.us/story/sexual-ambiguity-celebrity-actors-queer-roles-metrosexuality-essa y
Summary:
The article argues that sexual ambiguity has replaced metrosexuality as a contemporary marker of progressive masculinity, particularly within celebrity culture. It suggests that leaving sexuality undefined is culturally appealing and commercially valuable, while also raising questions about whether this ambiguity represents genuine queer progress or a marketable aesthetic stripped of political meaning.
1. Sexual ambiguity functions as a styling language
● Ambiguity is communicated through:
○ fluid silhouettes
○ sheer fabrics, tailoring softened by sensuality
○ jewellery, beauty, and body exposure
● Styling becomes a tool to suggest queerness without naming it
● → Fashion is doing the communicative work that language avoids
2. Ambiguity is a powerful
● image-making strategy
● In fashion media, ambiguity:
○ creates intrigue
○ increases shareability
○ encourages audience projection
● Stylists and image-makers benefit because:
○ ambiguity keeps the subject “open” to multiple interpretations
○ it appeals to queer and straight audiences simultaneously
● → This makes ambiguity extremely valuable in editorial and campaign contexts
3. Fashion enables “borrowed queerness”
● The article highlights how celebrities:
○ wear queer-coded aesthetics
○ take on queer roles
○ embody softness and fluidity
● But fashion allows this without requiring lived queer experience
● → Queerness becomes an aesthetic reference rather than an identity
4. Styling choices are not neutral
● Styling ambiguous masculinity can:
○ challenge rigid gender norms
○ but also depoliticise queer struggle
● When ambiguity is used without context:
○ it risks flattening queer identities into a “look”
● → Fashion communication shapes how queerness is understood, not just seen
5. Who gets styled as “ambiguous” matters
● High-status male celebrities:
○ are praised for experimentation
○ are framed as progressive or brave
● Queer models and creatives:
○ are often confined to niche or “diversity” spaces
● → Styling operates within existing power hierarchies
Critical and Analytical reflection:
The article highlights how sexual ambiguity has become a desirable and marketable mode of masculinity, a shift that fashion communication plays a central role in constructing and sustaining. Through styling, image-making, and editorial framing, ambiguity is aestheticised as softness, fluidity, and emotional openness, allowing masculinity to appear progressive without demanding explicit identification or political commitment. While this visual ambiguity can challenge traditional gender norms, it also risks reducing queerness to a consumable style language, detached from lived experience and structural inequality In fashion media, ambiguity often benefits already-privileged male bodies, reinforcing a hierarchy in which queerness is celebrated when it is suggestive rather than explicit. As a result, fashion becomes both a site of potential disruption and a mechanism through which queer identity is depoliticised and repackaged for mainstream appeal.
Right or Wrong: Calvin Klein Still Believes Sex Sells
Suresh, S (2024, January 15) Right or wrong: Calvin Klein still believes sex sells LUXUO.https://www.luxuo.com/business/calvin-klein-still-believes-sex-sells.html
Summary
● Calvin Klein’s Spring 2024 campaign with Jeremy Allen White used sensual imagery and minimal styling (underwear, New York rooftop backdrop) to create major buzz and media exposure.
● The brand continues its long tradition of using sex appeal as a marketing tool by casting culturally relevant and rising stars whose ambiguous, charismatic image generates fantasy and intrigue.
● By selecting emerging celebrity faces instead of over-exposed global stars, CK leverages mystery and cultural cachet to encourage viewer projection and desire
● There’s a double standard in how sexual imagery is perceived: male-led campaigns like White’s are widely embraced, whereas female campaigns (like FKA twigs’) have faced censorship and accusations of objectification.
● The article argues that CK’s “sex sells” formula isn’t just about bodies, it’s about timing, visibility, and cultural relevance.
The article explains how Calvin Klein continues to use sex appeal as a core marketing strategy, focusing on choosing culturally relevant young celebrities like Jeremy Allen White to generate massive media exposure and social engagement for campaigns, while leaning on minimal clothing and sensual imagery to create fantasy and desire around the brand; it also highlights the brand’s history of provocative advertising and notes the different reactions to male versus female sexual imagery in its campaigns.
Takeaways for Fashion Communication & Styling
● Sex appeal remains a core communicative strategy: Calvin Klein uses styled minimalism and physical aesthetics (bodies + simple garments) to evoke desire rather than just showcase product features.
● Casting choices shape brand narrative: Choosing actors on the rise rather than established icons allows styling to feel current, relatable, and more suggestive of authenticity.
● Styling works rhetorically: Simple underwear + iconic logo becomes a visual hook that “travels into the imagination,” echoing Diana Vreeland’s idea of visual narrative.
● Gaze politics matter: The different reception of male vs female models highlights how styling and communication interact with social norms around gender and sexual representation.
● Sexuality as brand language: Sensual imagery isn’t incidental, it’s a deliberate visual grammar in fashion marketing that communicates cultural values and aspirational lifestyles.
Critical and analytical response
Calvin Klein’s enduring reliance on sex appeal as a marketing strategy demonstrates how fashion communication leverages aestheticized intimacy to construct desire and cultural relevance. By styling rising cultural figures like Jeremy Allen White in minimal underwear against iconic urban backdrops, CK deploys sensual imagery not merely
to sell product, but to embed the brand within broader cultural narratives of desirability and identity. This approach, however, reveals a tension in visual communication: while male-focused campaigns are embraced as tasteful or aspirational, female-led imagery has faced censorship and accusations of objectification, underscoring how gendered perceptions of sexualized styling remain uneven and regulated by social norms. Thus, the campaign’s success lies not only in its provocative visuals but in how it strategically positions bodies, gaze, and ambiguity as stylistic tools that reinforce, and profit from, dominant cultural aesthetics rather than significantly challenge them
100 Years of Gucci: Tom Ford
Summary:
This article traces Gucci’s evolution under Tom Ford’s creative direction, particularly during the 1990s when Ford revitalised the house with a hyper-sexualised, glamorous aesthetic that challenged prevailing fashion norms. It highlights how Ford reshaped Gucci’s runway shows, advertising campaigns, and brand identity through provocative styling and seductive imagery His work redefined luxury fashion communication by aligning desire, confidence, and eroticism with commercial success.
Fashion Communication and Styling Critical Reflection: From a fashion communication perspective, Tom Ford’s Gucci era demonstrates how sexuality can operate as a powerful branding tool. Styling and image-making were used not simply to present garments, but to construct aspirational narratives of glamour and control. However, while this strategy was commercially effective, it also reinforced narrow ideals of desirability that privileged specific bodies and expressions. This raises important questions about the responsibility of fashion communication when deploying sexualised imagery as a dominant visual language
APA reference:
Last Fashion Bible. (2021, December 23). 100 years of Gucci: Tom Ford. The Last Fashion Bible. https://thelastfashionbible.com/2021/12/23/100-years-of-gucci-tom-ford/
Tom of Finland x FAKBYFAK Centennial Edition
Summary:
This article explores the centennial collaboration between FAKBYFAK and the Tom of Finland Foundation, resulting in a limited-edition accessory set inspired by Tom of Finland’s iconic erotic illustrations. The collaboration translates queer visual history into contemporary fashion objects, merging craftsmanship with cultural symbolism. The pieces celebrate queer desire and visibility while repositioning erotic imagery within a modern design context.
Fashion Communication and Styling Critical Reflection:
This collaboration illustrates how fashion accessories can function as communicative artefacts rather than decorative objects. By incorporating Tom of Finland’s legacy into
wearable design, the project transforms styling into an act of cultural storytelling and political visibility. However, it also highlights the ongoing tension between honouring queer heritage and commodifying it. For fashion communicators, the challenge lies in maintaining historical and community context while engaging commercial platforms.
APA reference:
Batista, A. (2021, December 9). Tom of Finland x FAKBYFAK Centennial Edition. Fucking Young!. https://fuckingyoung.es/tom-finland-x-fakbyfak-centennial-edition/
A New Golden Era of Queer Community
Summary:
This GQ article examines a contemporary resurgence in queer community, driven by grassroots creativity, collective spaces, and emerging cultural voices It highlights how queer individuals are reshaping cultural production across nightlife, fashion, and art, positioning this moment as a renewed era of connection and self-expression. The article frames queerness as dynamic, communal, and culturally influential.
Fashion Communication and Styling Critical Reflection:
Within fashion communication, this renewed sense of queer community encourages a shift toward authenticity and collective storytelling. Stylists and brands increasingly draw from lived queer experiences rather than relying on symbolic gestures or surface-level representation. While this creates opportunities for more inclusive narratives, the fashion industry must remain cautious not to exploit queer culture for trend-driven visibility Genuine engagement requires centring community voices rather than aestheticising identity.
APA reference:
Brumfitt, S (2023, June 29) A new golden era of queer community GQ UK https://www.gq-magazine.co.uk/article/a-new-golden-era-of-queer-community
Definitions
Palatable
figurative. Pleasing or agreeable to the mind or feelings; (of an action, prospect, etc.) acceptable, satisfactory
Conflict
A mental or spiritual struggle within a man.
Acceptance
Reception of a person; esp. favourable reception, approval.
image
why reference
I love the use of the belt as a phallic object. Along with the mask, bandanna and pants, links to the leather BDSM community of queer culture.
I love the image because it feels powerful and although not explicitly sexual, it has strong sexual overtones with the leather gloves, tie and whip, along with the black and white colour grading of the image.
I think this image is so unique and exciting. Its very sexual and intimate. I love that the body is pushed against the glass and it gives the impression that we have caught the model in the moment of a sexual act and we as the viewer are possibly under the bed itself.
I really like this image, it uses vintage inspired sock suspenders as a sexual image The use of the daddy archetype and and the leather gives it a safe and experience sexual narrative.
I think Damiano is one of the people who has been most inspirational within this project, as a hetrosexual man, he fully embraces sex, intimacy and queer culture within his fashion and styling I love the use of snakeskin leather and low cut and tight onepiece, it feels queer and dangerous yet strong and narrative
This image feels caught in the moment, it feels like we are viewing a moment that was meant to be private, however with the direct and seductive gaze we as the audience feel invited in to join the moment.
I really like the power dynamic in this image Although not explicitly queer, the drama, theatre and sexual nature of the image feels dark and intimate with queer undertones.
This image conveys pain and pleasure More explicitly linking to the bdsm community, however on a more emotional level the pain and pleasure of being gay and in the closet, the safety pin in the mouth and the hand around the throat, to me, represents the lock of not being able to tell anyone about your sexuality.
I think this is a really fun image. Moving away form the explicit sexual narrative it has a fun party vibe to the image. A big part of queer life is partying, the disco ball over the head amplifies the anonymity of sexual encounters at parties.
