Fashion is a reflection of the culture, and within the microclimate of the Berlin fashion scene we see a manifestation of Germany’s polarised nature. During Berlin Fashion Week AW24 (5-8th February) we saw both ends of the spectrum, from outrageous and unapologetic statements with fantastically diverse casts to more conservative and careful collections presented on casts of almost entirely tall, skinny, cisgender, white models.
Berlin is known globally as a queer haven, a concept which is a self-fulfilling prophecy. Gay tourists get the best out of Berlin, but with soaring rates of queerphobia, transphobia, and racism in recent years, it’s not possible to describe Berlin as a safe place for marginalised queer people, specifically trans and non-binary people. Trans and non-binary people are historically the pioneers of the LGBTQIA+ communities. They are the first to show up but they are the last to be considered. They are the heart and soul of queer nightlife in Berlin, and while we have seen many trans/non-binary models on the runways of Berlin Fashion Week in the last year, we are very much at the beginning of the path to true inclusion.
There are a handful of trans/non-binary models working in Berlin whose faces are becoming known for their appearances in BFW shows. With the hard work and commitment of these models and their agents paired with the vision and support of certain designers and casting directors, these models are securing a place for themselves in the Berlin fashion scene and creating a space for trans/non-binary talent to exist and excel in the industry. In a recent interview with The Cut, Model of the Year Paloma Elsesser talked about the issues that lie with being one of the ‘first’; “The industry may carve out a space for a select few names like mine, but it firmly shuts the door on countless others. The pride in being part of a list of ‘firsts’ is fading; being the first curve model for a campaign loses its significance when the brand fails to open its doors to the fourth, fifth, sixth, seventh”. While it’s important to hold onto and embrace the feelings of hope for a future of more inclusive casting, I can’t help but be disappointed at the snail’s pace of progress.
None of the castings for this BFW season requested proposals of specifically trans/non-binary models, and as far as I can confirm, not one of the designers showing were trans or non-binary. Having said that, my point is not that trans/non-binary people are calling for an entire takeover. We aren’t asking for fashion week to exclusively and entirely revolve around us, but what we are asking for is opportunity. Trans/non-binary people are often of lower socio-economic status due to the difficulties of finding work, moving away from their home country to find safety, strained relationship with family, etc, and fashion has extreme and well-known financial accessibility issues. We need to be paying attention to spaces where no trans/non-binary people are given a seat at the table, and to pull up a couple of extra chairs to make sure they are seen and heard.
A total standout this season in terms of diversity of casting but also queer/trans/non-binary representation within the team was Namilia’s PFOTEN WEG!. Namilia showed us how to do true diversity on the runway - a vast majority of queer, trans and non-binary models, several older models, the best size inclusivity of any show I’ve seen, and a large mix of people attending. As with their previous two collections, the concept and cast resulted in a huge Instagram hype and received wide-spread praise.
Kitschy Couture was an extra special display of where creativity meets culture, with a fully Black/Brown cast and several trans/non-binary models. Designer Abarna Kugathasan gave a glowing example of how to cultivate a joyful and supportive atmosphere on every level, all the way from the casting to the photoshoot after the show, and it shone through in the presentation itself.
Other queer designers showing during BFW, DAMUR, Maximilia Gedra and GLÜCK, featured a number of trans/non-binary models but lacked somewhat in size inclusivity, and the same goes for other brands such as Lueder and LD13. It would be improper to list the designers and brands that I didn’t see casting trans/non-binary models because there is a possibility that they did, only not in a visible way, but it is important to note that the power of representation can only fully be harnessed when the representation is clearly communicated. When a trans girl who is not “visibly” trans is cast in a show it is a win for her, but the trans community doesn’t benefit because the progress is without comment or acknowledgement.
When we call for representation, we aren’t demanding arse-less chaps or diamanté f*g*** slogan tees (though I won’t lie and say most of us don’t eat that up). Very often we are calling for the simplest forms of inclusion, consideration and acknowledgement of our contributions to fashion. As an agent I want to see my trans and non-binary models booked in shows that they fit the aesthetic, energy and vision of, and not lose the chance because they don’t fit the within the limitations of binary gender norms.
A question I often found myself asking last week was; why are we only being given one form of diversity in a show? If we have trans/non-binary models, can’t we also cast plus size models? If I was impressed by how many mature models were in a show, I would feel disappointed at the lack of BIPoC representation. Inclusion of disabled models was given next to no thought, with only one visibly disabled model in any shows this season. If there is a genuine investment in authentic diversity, obvious gaps such as these are not left open, but this points to a deeper problem of lack of awareness of intersecting marginalised identities.
Racism, fatphobia, transphobia, elitism interact constantly to gatekeep and deny models’ access to the industry. Sample size is based on the measurements of slim white cisgender bodies, which dictates which bodies conform and which are cast out - namely any model who is is not very slim, along with BIPoC, trans, non-binary, and disabled models. This explains the logistics of the discrimination faced by trans/non-binary models, but the wider implications are seen in the message that the designer/brand sends to the consumer - this is who is worthy of our clothes. When no trans/non-binary models are cast, the designer tells us that the clothes are not for trans/non-binary people. Models are representative of their own demographics and they are a signal to the audience and customer of who the brand places value in, and who is able to wear the clothes. In a subconscious and undetected way, this contributes to the exclusion of marginalised people not just in fashion, but in society, which is something that should concern us all.
“Fashion is a notoriously fast-paced industry and some of the most prevalent issues could be reduced if we turned a critical eye to the chronic hyper-busyness that is so common, especially surrounding fashion week..”
Fashion is a notoriously fast-paced industry and some of the most prevalent issues could be reduced if we turned a critical eye to the chronic hyper-busyness that is so common, especially surrounding fashion week. Designers don’t have time to create their collection in a variety of sizes, so they book only sample size models. Hair stylists don’t have time to deal with lots of different hair types, so they book mostly white/light-skinned models with “manageable” hair types. The casting director doesn’t have time to wait for a model who can only attend the casting after working their day job shift because they have no financial support while beginning their modelling career, so the low-income model isn’t booked. The most ridiculous example I have come across that made me laugh out loud on the phone to a high profile casting director was that they didn’t book a certain model because she was allergic to peanuts, and the team didn’t want to spend time making changes to the catering. Every example here points to a demographic of models who therefore don’t stand a chance of a shot in the industry until they come across a designer, a casting director, an agent, who is willing to take that extra time and come up with an extra step to help a model succeed.
Of course this is an overarching problem due to the pressures and urgencies of late-stage capitalism and it’s not something we can solve with any kind of sweeping efficiency, but my ethos is to take that extra moment to have that extra thought process and regularly audit my actions to make sure I’m working inline with my vision for a better industry. If a trans model needs a private place to change or needs to wear tucking panties or a binder under a look, from a basic level of decency there should be no question in taking the extra time/effort to provide or support that. For trans/non-binary people, giving this extra thought and effort to people in our communities is a given, so this reflex translates into our work.
uns* model Eve commented on this after walking for Namilia; “Even the hair stylists and makeup artists were queer so I felt comfortable to tell them how I usually style my hair or do my makeup and they took the time to listen and to make me feel my best”. Eve had walked for Haderlump (where she was the only trans model) then gone directly to prepare for Namilia, and while she was treated with the same total respect and care backstage at both shows, she noted how the sense of community with the Namilia cast and team contributed to an extra affirming professional experience.
Of course this is an overarching problem due to the pressures and urgencies of late-stage capitalism and it’s not something we can solve with any kind of sweeping efficiency, but my ethos is to take that extra moment to have that extra thought process and regularly audit my actions to make sure I’m working inline with my vision for a better industry. If a trans model needs a private place to change or needs to wear tucking panties or a binder under a look, from a basic level of decency there should be no question in taking the extra time/effort to provide or support that. For trans/non-binary people, giving this extra thought and effort to people in our communities is a given, so this reflex translates into our work.
*I can’t mention Galliano without commenting on his shameful racism and anti-semitism which resulted in his termination from the role of Creative Director at Dior in 2011. The rot of prejudice discrimination is woven so deeply into the fabric of the fashion industry and it will always feel wrong to praise the creative work of a person with such disgraceful views.
