By Siobhan Donegan

Caitlyn Jenner, in all probability the most famous Transgender Woman in the world, 1976 decathlon gold medallist and currently running for Governor in California, has recently been in the news having caused controversy-as she says she opposes transgender girls competing in girls’ sports at school. She later added that it was ‘a question of fairness’, referring to ‘biological boys’ who are trans competing in girls’ sports. Online reactions-comments to these opinions include one individual stating that she doesn’t represent trans people and doesn’t even represent cis views on trans issues.

On an even more cynical level it has been claimed that Jenner’s stance against young potential Transgender Athletes, is for no other reason than to pander to Republican voters. Also, that her statement represents and spreads the types of misinformation that will hurt transgender kids, that already need all the support that they can get. It should thus come as no surprise that Caitlyn Jenner has been criticized by many Transgender advocates.

If all this already wasn’t negative enough I feel I should add that unfortunately in the U.S.A the ability of transgender youths to play sports, or receive certain medical treatments has been limited by the fact that five states have laws or executive orders to that effect.

There is of course an ongoing discussion about Transgender inclusion in Sports. Also, this debate has in fact been going on since the Olympics allowed Transgender people to compete. This is partly due to the fact that Domestic Sport is actually considered a ‘complex environment’. The Sports Council Equality Group-SCEG actually initiated a review during 2020 to consider Transgender inclusion in Domestic Sport in the UK. The information collected by this council is now being processed and the work is ongoing towards a carefully considered outcome.

I just wanted to mention here that whenever I research these articles I’m always interested to see if I can find a local Scottish connection, and in this context I think it is important to discuss the Highland Games in relation to this issue. The Highland Games is of course very traditional and in fact the first historical references to the Games ‘heavy events’ was during the reign of King Malcolm the third between 1057 and 1093.

Returning to the issue under discussion, Transgender Sports competitors-entrants could be included in the native tradition of the Highland Games. The Governing body who takes into consideration and makes decisions on these issues, is the Scottish Highland Games Association (SHGA). This governing association has already come under pressure to update and improve ‘gender equality in its events’. Such ‘improvements’ could include ‘handicapping’, which would make possible Women being able to compete on a ‘level playing field’ with Men. The secretary of this governing body Ian Grieve, made it known, in a link, that there will be a Non-binary gender category included according to Scottish Athletics in all their Championship events.

The 72 year old governing body of the Highland Games- the SHGA remains under ‘active discussion’ about Transgender-Non-binary inclusion in the Games and is due to hold talks with the Scottish Government. As regards this a meeting has been organised by regular running competitor in the Games-Willie Rennie Scottish Liberal Democrat Leader and North East Fife MSP. The SHGA are also holding discussions with Scottish Athletics and Event Scotland. Furthermore, Rhoda Grant, Labour Highland and Islands MSP stated in reference to the possibility of the Organisers of the Games receiving Government funding- they would need to be perceived as an organisation treating people as equals. Also, James Morton, who is the Manager of Scottish Trans Alliance commenting on this said, ‘The Highland Games should showcase positive traditions but not out-dated sexist exclusion’.

The Highland Games does in fact have a diverse range of events, which includes tossing the caber, running, highland dancing and solo-piping. Morton stated that, ‘Bagpipers could compete against each other regardless of sex/gender’.

As the Trans Alliance pointed out, running events as organised by the Highland Games should have the same ‘inclusion policies’ as Scottish Athletics. Similarly with the ‘heavy events’ (tossing the caber and tug o’ war), a fairer policy should seriously consider grouping based on such factors as-lifting ability, strength, physical characteristics, rather than just gender/sex.

Finally here, if Scotland’s traditional Highland Games is to include Non-binary and Transgender categories in its events, this will be the first time in its 1000 year history. This possible positive outcome will depend on the final decision of the SHGA’s discussion on ‘development of strategies’ on these important issues of inclusion and representation.

Having attempted to highlight some of the broader issues on this interesting subject, I wanted to focus on some of the Transgender Athletes who have made a mark in their specific sport of choice. The first person I would like to mention here is Rachel McKinnon who is not only a Canadian Transgender Cyclist but also a record breaking Champion. Paula Radcliffe British long distance Runner has argued against the ‘fairness’ of Trans-Women competing against Cisgender Women in elite sports-stating that it should be ‘protected’ for ‘females’. McKinnon stated in response to this, ‘Paula continues to ignore facts: Trans-Women are legally female (and) Trans-Women have been permitted to compete in Olympic eligible sports since 2003’.

The first Trans-Man to make it to the U.S National Men’s team is Chris Mosier, who is also the founder of TransAthlete.com which takes a proactive role in trying to raise awareness of issues centred on Transgender Athletes. Mosier commented on trans-youth in ‘Out’ stating that there is ‘fear that somehow allowing girls who are Transgender to compete with other girls will give them a competitive advantage’, adding that this is based on ‘false stereotypes’, that athletes ‘come in all shapes, sizes and skill and ability’-and that it’s ‘unfair for us to police bodies’.

Fallon Fox was in fact the first openly Transgender Woman fighter in MMA history-who has now retired. However, Ronda Rousey the Cisgender MMA Champion refused to fight Fox in 2014, claiming that she had an ‘unfair advantage’. Rousey also stated that ‘I feel like if you go through puberty as a man it’s something that you can’t really reverse’. Fox in turn, responded to this on Facebook referring to Ronda’s ‘bone structure’ arguments as ‘ridiculous’.

Finally, Schuyler Bailer is the first openly Transgender Man-NCAA Division Swimmer. He was originally recruited to play on the Women’s team but now since transitioning has joined the Men’s team. Bailer stated that people worry that I’m ‘doping’ because he takes testosterone, as part of his HRT, and as such has a ‘steroidal advantage’, but claimed that this is not the case.

By Siobhan Donegan

Having written a whole string of articles on issues around Transgenderism, I thought it was time I wrote one that centres on gay issues. If one takes into consideration the prejudice inherent in heteronormativity towards gay issues, it then becomes obvious that as one writer described it we live in a world of ‘hetero-centrism’, which is why negative media portrayals can be due to cultural intolerance of the gay and LGBT communities, and as such this intolerance can include ‘homo-invisibility’. Also as the writer Judith Butler argues in ‘Imitation and Gender Insubordination’ it is socio-cultural conditioning-and especially ‘visual culture’ that reinforces heteronormativity.

Gay and lesbian representation in the earliest Hollywood depictions-from the 1890’s to the 1980’s-were often negative cruel homophobic portrayals. Such is the case according to the analysis of Vito Russo author of ‘Celluloid Closet’. Such negative Hollywood stereotypes have remained controversial as they were obviously a contributory factor in marginalising and silencing Queer people. The focus was often on sexual orientation and as such the drama suffered from any real or sympathetic complex character development.

Historically it was in 1895 that Edison Short’s silent film ‘The Gay Brothers’ in which there was the first depiction of same-sex representation. In 1923 homosexuality was used as a comic device in Stan Laurel’s silent film ‘The Soilers’. This brings to mind the fact that one prejudicial homosexual archetype of the early cinema was the ‘sissy’. For a heteronormative audience this figure was one of ‘ridicule and laughter’. According to Russo this figure was one of reassurance as it wasn’t one representative of the ‘threat’ of homosexuality, instead being often ‘foppish’, delicate of sensibilities, effeminate and in many ways this archetype must have been similar to a jester or a clown.

The portrayal of homosexuality, amongst other things, in cinema eventually came under strict censorship known as the ‘Hayes Code’. This was due to pressure groups, religious and women’s, who during the 1930’s and 1950s attacked Hollywood for its lack of morality. Overtly homosexual characters thus became strictly taboo. Instead homosexuality was ‘coded into the characters mannerism and behaviours’.

In the 1960’s and 1970’s, which coincided with the Women’s and Gay Rights movements, the strict code of censorship specifically aimed at the Gay community was loosened. However, this was hardly beneficial as unfortunately their cinematic representation became overtly homophobic. During the Era of the 60’s and 70’s this can be seen in the fact that fictional gay cinematic characters were often presented as dangerous, predatory and sometimes even suicidal. Examples of films from this Era include ‘The Boys in the Band’ 1970, ‘Vanishing Point’ and ‘Midnight Express’.

By the 1990’s the depiction of Gay characters in the cinema had begun to improve which at least proved that from the perspective of a mainstream heteronormative audience that Gay characters could and were appreciated. Examples of films like ‘Philadelphia’, ‘The Birdcage’ and ‘Flawless’ are demonstrative proof of the success and popularity of these films. However, despite this unfortunately the film industry does always prioritise and show cautious concern as regards to large budgets and potential investors. This is due to the fact that Hollywood mainstream films have the ‘agenda’ of appealing to as large an audience as possible. As such films that focus on Gay themes and characters can thus be avoided for fear of offending a significant percentage of the audience.

The 1990’s probably as a reaction to this, also saw the emergence of ‘Queer Cinema’ and despite the fact that the movement has faded as a result of Gay themes and characters becoming more acceptable in the mainstream cinema, its legacy is seen in Queer Film Festivals all over the World. Examples of this Queer film genre are seen in the work of such filmmakers as John Waters, Alexis Arquette and Greg Araki.

Outside of exclusively gay cinema-media, LGBT representation in American TV is far better, as the proportion of LGBT inclusivity has steadily increased-including the diversity of these communities in contradistinction to cinematic representation. Reality TV is just one specific area of TV broadcasting that often includes members of the LGBT community. Hence it is considered as an undeniable fact that mainstream cinema is sadly lagging behind.

However, it should be taken into serious consideration that one of the main differences between the two forms of media is that the dramatis personae have more time to develop in TV Shows, eventually becoming complex rounded characters especially in TV dramas and sitcoms. In contrast to this Gay characters in films have much less screen time and cannot be developed sufficiently and as such are usually less essential to the plot. In reference to this specific factor of the limited amount of screen time gay characters often have and the fact that these characters can be irrelevant to the plot; producers can then be accused of ‘tokenism’. Alternatively, if the characters are overtly Gay and even in cases where their dramatic roles are important to the plot, there can be an accusation of stereotyping. As regards this, and referring back to Vito Russo, there is in fact an analytical test that has become known as the ‘Russo Test’. This specifically scrutinizes if a Gay character isn’t just defined by their sexuality-gender, and if their removal from a film-storyline would significantly impact on the plot.

It should of course be pointed out that Gay and other LGBT communities have been proactive over the years in order to achieve affirmative visibility and increased acceptance in mainstream media. Also, outside of exclusive reference to the cinematic genre and TV broadcasting ‘Queer media’ can be defined through multiple media outlets, including websites, documentary films and magazines especially if they are created by Queer people; the final creative product itself isn’t always necessarily overtly gay in theme. As regards this we should take into consideration the ‘Auteur Theory’, especially in reference to the fact that Gay film directors for example are perfectly capable of creating films with no recognizable Gay themes. However, according to the definition of this theory the film in question will have a distinctive style in which the director will be seen in terms of the Auteur or ‘Author’ of the movie. As such with close scrutiny and analysis the very style of the movie may be seen as Gay or might even have Gay themes woven into its symbolism.

Finally it has been expressed by one online writer that what is needed in the industry and not just within Film and TV but other forms of media as well, is more LGBT writers, directors and producers creatively working behind the scenes. However, cisgender heterosexuals, particularly talented ones are capable of writing scripts for Gay, Bisexual or even Transgender characters. Despite this, heterosexual writers seldom carry out the requisite amount of research by drawing on the experiences from members of the Gay or broader LGBT communities.

I would like to end here on a positive note. Broadcasting history was made in 1999 with Channel 4’s truly ground-breaking TV mini-series ‘Queer as Folk’. Although the series did inevitably cause some controversy, it was in fact a great success and was highly regarded by the Gay community and the mainstream press.

by Siobhan Donegan

As someone who identifies on the Trans-Feminine spectrum evidence for transgenderism in ancient cultures is a subject that has fascinated me for a significant amount of time. The evidence can be either ancient texts, including religious writings, mythological-folklore, and even archaeological.

It has been said that a pluralistic notion of diverse non-conforming gender identities in older  traditional cultures was crushed by Western Colonial rule in which European ideology, including concepts of sex and the gender binary, were ‘forcibly introduced’. The writer Ariel David adds ‘European concepts’-‘based on ‘Judeo-Christian values’. This is true but also partly unfair as the stage of historical development that we are scrutinising had of course become highly institutionalised, but furthermore if we go back to the roots of this tradition we find that according to traditional Jewish rabbinical legal writings, six different genders were recognized: the main gender binary, plus four other genders that can only really be understood as Intersex/intersexual.

I think a good starting point here would be to give a brief summary of the associated terminology in a modern context and then examining some of the more ancient traditional terminology for transgenderism. First of all, we have the word ‘Transvestite’ that was first used in 1910 and apparently created by Sexologist Magnus Hirschfield. The term ‘Transsexual’ was created in 1949, the term ‘Transgender’ emerged in 1971, and the very British term ‘Trans’ came about in 1996. When we turn to study the ancient world, we find that various traditional cultures had developed their own terminology for Transgender people. A few examples I think should suffice here.

For example, there is the Hijra of India, the Fa’afafine of Polynesia and the Tatatapui of New Zealand. Also, a third gender/social role in Arabia that has been attested since about 600 AD is the Khanith-(earlier there was the term Mukhannathun). Finally in this brief list, there have been since ancient times in Thailand Trans-Feminine ‘Third Gender’ communities made up of people referred to as ‘Kathoeys’. Whilst on the subject of terminology we can add here that in various ancient languages throughout the world, there are words that apparently denote ‘Transgenderites’ with examples from ancient poetry and religious leaders who use words such as ‘Ali’ and ‘Pedi’ to describe the ‘phenomena’ of transgenderism.

In such ancient cultures as Mesopotamia, Sumerian, Assyria, Babylonia and Akkadian there is historical evidence (including texts from 4500 BC) that document priests-priestesses known as ‘Gala’, a Male-to-Female priesthood that was accepted as sacred and given reverence. Furthermore, during the Old Testament Era there is evidence from an ancient Mesopotamian text known as ‘Erra and Ishum’ that references the worship of the fertility Goddess Ishtar and describes men ‘who changed their masculinity into femininity’. However, some writers have suggested that the requisite Male castration was a conspiracy to usurp Matrilineal leadership. The evidence is however against this theory as there are textual records for Transgender Priestesses dating back to the late Palaeolithic Era.

Research into indigenous Native American Pan-Tribal culture has shown that within this culture there were collectively ‘more than 100 different gender expressions’. Furthermore, five separate genders were recognised by some tribes. As such examples of gender variant identities amongst the Native American culture can be described as ‘Third Gender’ whose gender expression can also transform such as Navajo Nadleehi or Zuni Ilhamana.

As for archaeological evidence it has been discovered through a critical analysis of the funerary artefacts and skeletal remains at an archaeological site in Iran Hasanalu, that there is a strong possibility that offerings were made to individuals of three genders. If the analysis at this site is correct then this would mean that the skeletal remains of ‘third gender’ individuals prove that transgender people were recognised by this ancient civilization in Iran 3000 years ago, which has been described as an enigmatic civilisation that embraced diversity. According to Art Historian Megan Cifarelli from Manhattan-Ville College near New York City; the identifying of the sex/gender of the human remains at an archaeological dig can be based on the morphology of the skeletons and obviously close scrutiny of the funerary objects.

Furthermore, the analysis of the ‘mortuary accoutrements’ at the Iranian (Persian) Hasanalu site, showing the possibility of a third gender, is based on an algorithm that indicated that a third cluster, in about 20 percent of the burials, had a combination of artefacts, usually separated into their associated genders, and found accompanied with skeletons of either sex. Megan Cifarelli has thus theorised the existence of three different genders based on these three groupings of funerary artefacts. The argument against funerary objects associated with both genders being found in a third cluster and this simply being due to random factors, is the fact that within this ancient culture the funerary rites followed highly standardized ceremonial patterns.

Finally I would like to look at evidence for transgenderism in what can be referred to as the Mytho-Poetic Tradition and its sister subject Folklore. In specific reference to the Mythological tradition there are some esoteric scholars who will no doubt argue that as these stories tell of metaphysical levels of reality in symbolic language, as such transgenderism doesn’t really apply, however this is a matter of conjecture. As such, one example I think should suffice here; within the Religio-Mythological iconography of such ancient cultures as India there are hermaphroditic/androgynous beings that are depicted as Male on one side and Female on the other, such as Ardhanarishvara. However, within a pan-cultural context especially in the more ancient pagan polytheistic mythologies some of the deities that we encounter here have all too Human attributes. One really interesting example is within a narrative of ancient Greek Mythology that has been considered by some as a symbolic explanation for the creation of Transgender individuals. This is the story that the Greek Sun God Apollo, although some would claim that it was actually Prometheus, was drunk when he created people with the ‘wrong’ genitalia. As one online writer stated this means, ‘Trans people are not a new thing, we’ve always been here and we’ve always found ways to justify our existence’. It should also be added that a ‘metaphysical’ argument against transgenderism becomes harder to maintain, in my opinion when a specific tale deals with the creation of Human beings.

It has stated by some writers that there are what can be referred to as ‘Transgender themes’ involving gender identity that have been incorporated into Myths, Folklore and even Religious texts since ancient times on a Pan-Cultural scale. One good example of this is from West African Dahomey Mythology, which tells the story of Mawu-Lisa the celestial Creator God who is described as a merged combination of twin brother and sister deities Lisa the Moon and Mawu the Sun. They ‘present’ either in combination thus Intersex or changing gender in other words Transgender.

Finally when I was researching material for this article I came across the fascinating Creation Myth from the Native American Inuit Shamanic Culture. In this Myth the first two Humans are unusually Male, these are Aakulujjuusi and Uumanituq who become a couple with the result of Uumanituq developing pregnancy. However, not being biologically capable of giving birth, a magic spell is used to change his sex to Female.

Having written a number of articles on Transgenderism it has been intention for some time to look into the unique gender identity of non-binary. First of all I will start by examining the concept of the binary. Some cultures-societies generally recognize only two genders. The word binary means ‘having two parts’-and in this context refers to Male and Female; hence the ideological construct that there is exclusively two genders is referred to as the ‘gender binary’. This basic description thus helps to better understand ‘Non-binary’- as one term descriptive of gender identities that do not neatly fall into these two categories.

Within the current Cisgender heteronormative culture-ideology many people make the mistaken assumption that the Non-binary gender identity is nothing more than a fashionable trend being followed by a collective within the populace. However, in contradinction to the fact that some cultures only recognize two genders, the truth is that Non-binary identities have been recognized by cultures-societies on a global scale for millennia.

The Non-binary identity can come under the Transgender umbrella and together with such terms as ‘Genderqueer’ describes a gender identity that is ‘outside’ of the heteronormative gender binary-dichotomy. There are also the associated terms of androgyny, queer, third gender and two-spirit. Thus, this is an identity that is Trans in the sense that it is divergent/gender non-conforming to the gender of the individual assigned at birth, as such it is a gender identity that is neither exclusively male or female. This identity as such can be perceived as a ‘third option’ in which the ‘Transition’ isn’t as ‘linear’. However, it should be stated that whilst some people would affirm that the Non-binary identity is a Transgender identity, and indeed some Non-binary individuals do in fact identify as Transgender, most Transgender people are not Non-binary and affirm an identity either end of the gender binary/spectrum, Male or Female.

Also, as explained by one young Non-binary person online: ‘There is a whole variety of experience’, which they further explained can be a confusing and isolating experience and there is no one way of being Non-binary. In fact you could ask another person who identifies as Non-binary and they will give you a completely different story. Furthermore, there are various types of Non-binary identity with obviously some being more discussed than others. First of all, in no particular order, there is Agender. This is a ‘gender identity’ undefined or neutral, in other words there is no specific gender identity. This can also be described as ‘genderless’ or ‘neutrois’. There is also the term Bigender for people identifying with two distinct genders which alternate or can be simultaneous. The term Genderfluid is used to describe individuals who alternate or ‘move’ between the binary of two or sometimes more gender identities. Last of all in this list Genderqueer has become an all-inclusive term for people who identify as Non-binary. However, some individuals use this term as their specific identity. Finally here I thought it would help to quote an expert opinion; according to Non-binary Sex Educator and Therapist Aida Manduley M.S.W: ‘However this person identifies their gender, it does not follow the binary of man and woman.’ Generally speaking Non-binary means different things to different people.

In reference to what was said above about Non-binary identities being recognized by cultures-societies, some of which are very old and traditional cultures, I would like to say something about the term ‘Two Spirit’. When attempting to describe a variety of gender non-conforming identities within the native indigenous American culture-populace, a ‘Pan-Tribal’ term was created ‘by and for’ this community. This term is ‘Two Spirit’ which is not only used to describe gender identities outside of the binary, but is also inclusive of ‘Specific Social and or/Ceremonial roles’. Within the culture of the indigenous Americans, or more specifically the-Pan-cultural/Tribal collective, the term ‘Two Spirit’ has become an umbrella term and one that can be adopted as a specific identity.

I think that it is also important to say something about the pronouns used by Non-binary individuals. The people who identify in this way use gender neutral pronouns, that thus have no specific gender labels, such as ‘They’ and ‘Them’. These specific words have in fact been used as singular pronouns since the 14^th century. In our modern Era the Non-binary identity has led to the usage of some interesting and somewhat humorous terms such as ‘Theydies’ and ‘Gentlethems’, or even the term ‘Datemates’ instead of the obviously gender specific words boyfriend or girlfriend. Also in general terms the words ‘Every-one’ or ‘Folks’ have been adopted in reference to the Non-binary community. Last of all here people who identify as Non-binary can also be referred to with the shortened terms ‘nb’ or ‘enby’. However, both terms have proved unsatisfactory and the cause of controversy.

However, to make matters even more complex, within a social context, some Non-binary individuals can identify as ‘Woman or Man ‘aligned’’. This ‘alignment’ is related to occupying a social space-role generally associated with the gender they were assigned at birth. Unfortunately, the partial identification with Male or Female can be problematical-and can lead to the experience of ‘trans-misogyny’. This hybrid term is descriptive of a blend of transphobia and misogyny that can be experienced by Transgender Women.

Furthermore according to one writer there is no such thing as looking Non-binary. For example, a Non-binary person assigned Female at birth, can obviously look Female and most people they encounter will assume that they are Female and consequently use Female pronouns. However, it can be more complex than that because the use of this specific pronoun can be partially right as certain individuals identify as both Female and Non-binary.

In relation to this it is interesting to note that many people conditioned by the heteronormative gender binary, if they are aware of the existence of people who identify as Non-binary, will make the mistaken assumption that such individuals would or should adopt an androgynous style of dress. This is ironically partially understandable as fashion can and does have strong ‘gender signifiers’. This is interestingly something that has been explored by some Modern Transgender Artists as I wrote about in my previous article on Transgender Art. It is something that has also been used and parodied by Drag performers, and gender signifiers/Drag has also been explored by Artists as a means of questioning the gender binary. Basically, we all know that some Cisgender Women have long hair and wear dresses, but some ‘Cis’ Women have short hair and wear trousers. Similarly some Non-binary individuals assigned Female at birth will wear dresses and have long hair however the point is that this doesn’t make them any less Non-binary.

Finally I wanted to state that whenever I’ve started research into these articles I’ve always looked up various sources online. However, this time around I was presented with a unique opportunity to actually briefly interview a friend of mine who happens to be Non-binary, and who shared information and their own unique perspective on this identity. They told me the basic facts that Non-binary is when a person can’t identify as either gender. They also told me that they don’t feel like ‘a girl or a guy either’, partly due to negative Female experiences being raised in a patriarchy. They told me how being Non-binary impacted on their orientation, and that it took a long time to come to terms with their sexuality. Also, that it feels uncomfortable not to be able to use ‘Non-binary’ with words such as lesbian and gay.

Hi everyone. It’s the See Me Proud team here and we’re back with another community collective zine. This time it’s a photo zine.

Welcome to issue five of our ‘see me…’ zine

We invited our community to send in a photo of something they do for self-care, in the knowledge that it’s a very unique thing for each person. What are those little things that you do for yourself that have a positive impact on your mental and physical health, or keep you feeling connected? We hope these photos might inspire someone to try something new, or realise that something they are already doing is self-care, and that there is power in that.

Here’s a preview of the zine 

Download the full zine as a PDF here

By producing this collaborative, submissions based zine we hope to provide a creative outlet bringing together our experiences. A place to explore our Queer identities and mental health in our own words and images. We love that sharing part of our stories in a zine can be cathartic and healing for the creator, but also the reader where they can feel understood or less alone.

Zines can smash self-stigma through people writing, drawing, and creating things about themselves, and also through having access to representation of other real people like them. They can smash stigma in general by allowing readers into the world of others, building empathy and understanding.

Zines are for everyone and we’d love you to get involved in future issues. Upcoming themes are announced on our social media pages. Find us on Facebook, Instagram and Twitter @SeeMeProud.

Much love, the See Me Proud team xxxxxx

by Sigrid Nielsen and Bob Orr

Yay! You’re Gay! Now what?

That’s the title of a book by Riyadh Khalaf, published a few years ago. The cover is bright pink, with clouds and rainbows, and the letters can be read right across the floor of an average bookshop.

Riyadh offers advice about coming out for gays, bi men and those who feel they are ‘just different’. It’s a book about dealing with relationships, sexual feelings, families, homophobia.

Times have changed. For many who came out in the 1960s, 70s, and 80s, there was little advice around, and you wouldn’t find it in ordinary bookshops.

What does all this tell us? Though coming out is easier now, it still has its problems. And, then and now, queer people have found support in books.

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Books have always meant a lot to LGBT people. Many have changed our lives. This is what Kim Halliday, a customer of Lavender Menace Bookshop as a teenager, said about finding a lesbian novel, Patience and Sarah: ‘I was 14 years old and there were a lot of things I didn’t understand about my life and feelings. And there they were in this book about two women who were crazy about each other and went off to live their lives together. I’d never   pictured it before – it really could happen like that.’

Bob Orr and I had had this same experience when we were teenagers in the 1960s. Browsing a station bookstall, he found a novel, No End to the Way, by an Australian writer, Gerald Glaskin. Glaskin had to use a pseudonym, Neville Jackson, because his career would have been threatened by publishing a novel about a serious gay relationship, which the characters treated as marriage.
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Lesbian novels were harder to find when I was growing up. There were a few about gay men, like Mary Renault’s The Charioteer. When I found Ursula LeGuin’s sci-fi novel about a world of androgynes, The Left Hand of Darkness, I had the feeling Kim describes – it COULD happen like that. Even though the story took place on another planet.

A few years earlier, we wouldn’t have found these books. Censorship laws would have stopped most of them being published. In the 1950s and early 1960s, court cases brought by the book industry – City Lights Bookshop in the US, Penguin Books in the UK – finally opened the way for positive, truthful queer books. And by the late 1970s, LGBT and feminist presses were turning out dozens of titles – and there were magazines, newspapers, cartoons, badges and t-shirts. A new era for LGBT readers had begun.

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Queer bookshops opened from San Francisco to Sydney. Bob’s bookstall at Edinburgh’s Gay Centre, later known as Open Gaze, was Scotland’s first. In 1982 we opened as a basement bookshop in Edinburgh’s Forth Street, Lavender Menace.

The shop, and its successor, West & Wilde in Dundas Street (run by Bob and his now husband, Raymond Rose) lasted for fifteen years. People flooded in, bought piles of books, and came to our events. West & Wilde finally closed due to the pressures of the internet and the coming of huge bookshop chains. Most of the other shops and small queer publishers around the world closed for the same reason.

But recently independent bookshops have started opening up again, and Scotland now has two queer-focussed shops, Lighthouse in Edinburgh and Category IS in Glasgow. In 2016 James Ley wrote a play, Love Song to Lavender Menace, which was staged at the Royal Lyceum, in Belfast and in New York.

We’re now going back and asking our customers from those days, which queer books meant the most to you? We want to start an archive of the books we sold, many of which broke new ground but are now forgotten. We want to apply what we learned as booksellers to show how books changed LGBT people’s lives for the better – so that the stories told then, and the new stories coming now from such publishers as Knight Errant Press and Monstrous Regiment, can be seen as one story.

We’ve formed a company, Lavender Menace Queer Books Archive CIC, and will apply for funding to establish our archive and book database.

Our website, lavendermenace.org.uk, has a blog about some of the books, and we post about them often on Facebook, Twitter and Instagram. We’ve been donated books by LGBT Health and Wellbeing and many individuals. If you have queer books you no longer need, we’d like to hear from you – we’ll give them a home, write about them, and make them as famous as possible.

Take care, stay safe, and we hope to see you at our events for LGBT History Month Scotland, Pride and during the Book Festival season – online or in person – with clouds and rainbows and very visible book covers.

Facebook: Lavender Menace Queer Books Archive and Blog
Twitter: @menacesof2019
Instagram: lavender_menace_returns

Just as it could be credibly argued that there has been a gender revolution within the current cultural ideology, people are also beginning to change how they think about orientation. There are of course a myriad of ways that people can identify, be that Homosexual, Bisexual or even Demisexual. Within this context perhaps the most interesting orientation identity to emerge is Pansexual. Pansexuality is said to come under the Bisexual ‘umbrella’ together with such terms as Polysexual, Homo-flexible and Les-Bi-flexible. The last two specifically describe individuals who are usually attracted to genders similar to their own- but can or might occasionally be attracted to different genders to their own.

However, before we look into how Pansexuality is actually defined it would serve us well to look at the history of the term. The prefix of the word, in this case ‘Pan’, comes from the Greek and means simply ‘All’ and is related to such words as panorama, pan-cultural and the most depressing word at the moment pandemic.

The term Pansexuality has in fact been around since the early 1900’s first appearing either in 1914 or 1917 in the ‘Journal of Abnormal Psychology’- in the form of ‘Pan-sexualism’, thus, it is not just a current trend as many have mistakenly assumed. It was in fact a psychoanalytic term, Pansexual and Pan-sexualism both being hybrid words, which both express the idea: “That the sex instinct plays the primary part in all human activity, mental and physical”. In other words Sigmund Freud, who is credited with the above quote had theorized that as sex was the motivating factor in everything-we thus arrive at ‘Pan-sexuality’. As such, in its earliest usage the term was characterised as a form of ‘sexual deviancy’ however, it eventually evolved into the more simple term ‘Pansexual’ that characterised a form of sexual orientation identity, which many are now proud to proclaim. For the record I don’t agree with Freud that the unconscious sexual instinct is the motivating factor in absolutely everything we do and prefer the theories of the eminent Doctor of Psychology Carl Gustav Jung.

Pansexuality was unfortunately misunderstood and individuals who ‘loved across’ or outside ‘labels and boundaries’, who were scrutinized in Harlem and Chicago’s South Side were simply seen as people suffering from a mental disorder. Furthermore, Pope Pius in 1952 in a speech stated that the “‘Pansexual’ method of psychoanalytic therapy went against Christian values.” However, the innovative pioneer Sex Researcher Alfred Kinsey explained that sexuality operated on a continuum. However, despite this, in order to describe sexual orientation labels were introduced. Lastly, it wasn’t until the 1970’s that the word Pansexual began to approximate today’s usage.

The New York Times in 1975 used the word Pansexual to describe ‘androgynous’ British Glam Rock artist Brian Eno who was a member of the group Roxy Music-the paper described him as “Bizarre synthesizer wizard with the Pansexual image.”

Having looked at the historical usage of the term we can now discuss what it actually means. First of all Pansexuality can be confused with Bisexuality and in fact it isn’t the only word to describe this form of orientation as some people prefer to identify as ‘Omnisexual’ rather than Pansexual. However, Pansexual can be briefly described as ‘Anyone attracted to people of all genders and sexes or regardless of sex and gender and who identifies as ‘Pan’ or ‘Omni’.’ This form of orientation can also be confused with the identity ‘Polysexual’-who can be attracted to many genders/sexes, but not necessarily all. Also, Polyamorous and Gender-fluid are not the same as Pansexual.

Pansexuality is intrinsically a form of sexual orientation which is considered a branch of Bisexuality. Pansexuality also rejects the heteronormative notion/concept of the gender binary, and thus it is more inclusive than the term Bisexual. Pansexuals are open to relationships with people who do not strictly identify as men or women, thus; Transgender, Genderqueer, Non-binary and Genderfluid.

Lana Peswani, volunteer at Stonewall and who identifies as Pansexual, explained Pansexuality in Cosmopolitan. She said that realising that you are Pansexual can come as a revelation especially after the word has been explained to you. This is precisely the experience that Lana had when she was just 17. Peswani explained: “I’d always known I was attracted to a person’s presence.” Also adding:“I feel I experience sexual attraction differently to the average person.”

In fact it has been said that Pansexuals ‘don’t see gender’ as individuals who identify in this way describe themselves as ‘gender blind’. In other words gender and sex are not the determining factors in attraction, whether that is sexual or romantic.

Furthermore, there have been a growing number of Celebrities who have come out as Pansexual. In other words there is slowly beginning to be more Pansexual visibility, due to Pansexual Celebrities such as, for example, Janelle Monae and Bella Thorne, both of whom speak openly about their sexuality. It has been argued that Miley Cyrus brought ‘unprecedented mainstream attention to the identity’ after they had proclaimed themselves to be Pansexual; coming out in Elle UK. Cyrus, also describing themselves as Genderqueer said: “I don’t relate to what people would say defines a girl or a boy.”

The beautiful young Transwoman Jazz Jennings, Trans-advocate and star of the American reality show ‘I am Jazz’, who also identifies as Pansexual said: “Being Pansexual basically means to me that you are attracted to anyone, no matter their sex, sexual orientation, gender, gender identity, everything.”

A few more examples of what celebrities have said about Pansexuality should I think suffice here, thus; Agender Rapper Angel Haze said in an interview with Fusion TV: “To identify as Pansexual, to me, means to just want love. To have a connection with anyone.” Lastly here, Caroline Rose Giuliani, daughter of the former New York City Mayor Rudy Giuliani, in an Essay for Vanity Fair, said that identifying as Pansexual felt more precise than Bisexual.

Corey Flanders Phd, an associate Professor of Psychology and Education stated that the common misconception that Pansexuality doesn’t exist is ‘absolutely false’. Another common misconception about Pansexuals is that they are attracted to everyone they encounter which simply isn’t true. Pansexuals can be attracted to people of all genders, not just Cisgender and Transgender, but also Non-binary-gender nonconforming individuals who identify outside of the heteronormative gender binary.

However, I think it is important to say something more about Bisexuality and Pansexuality, for although the identity Pansexual comes under the Bisexual ‘umbrella’ it is not the same thing. Despite this, there are close similarities. Bisexuality ‘isn’t inherently binary’ and the terms Bisexual and Pansexual can be used interchangeably. The truth is that some Bisexual individuals also identify as Pansexual. As such, the very word Pansexual challenges how we think about gender, sexuality and desire.

I wanted to finish here by stating that the term Pansexual can be used to describe individuals attracted emotionally, romantically or sexually to people of any gender, according to Human Rights Campaign. It should also be stated that being Pansexual isn’t necessarily the thing that ultimately defines you. A Pansexual individual can be from any ethnic background, can be Transgender, old, young or even disabled- or a combination of any of the above-each individual being unique.

By Siobhan Donegan

As the heteronormative gender binary has begun to be questioned within the current cultural ideology and as Trans-feminists/Transgender individuals question gender anyway; we can ask the question, has the existence of Transgender celebrities made Transgenderism more acceptable? The answer is that in all probability it has, albeit slowly. According to Michael Lovelock, of the University of East Anglia, Trans-representation/Trans-visibility has achieved ‘recognisability’ through Celebrity culture. In fact the psychological subjectivity of the self-revelatory narratives of Transgender celebrities  not only means that these individuals have achieved ‘intensified visibility’, but also that Transgenderism/ Trans-Identity have become ‘legible’ and Trans-ness has become ‘emblematised’ through Trans celebrities and popular culture. Furthermore, Transgender individuals have always been at the frontline of the Gay Rights movement, and Trans-Celebrities have acted and used their social status as ‘guiding lights’ to young people with gender variant identities or different orientations. When we look at some biographical sketches we realise that Transgender Celebrities can be Actors, Musicians, Models, Artists and ‘Influencers’.

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Perhaps the first recognisably ‘Transgender Celebrity’ was Christine Jorgensen who underwent gender reassignment surgery in the 1950’s in Denmark, and was apparently ‘the first known person’ to undergo this surgical procedure as she obviously identified as a woman during the years after her service in World War 2. She returned to America after her operation and her Trans-celebrity status is no doubt partly due to her uniqueness at the time. As well as working as an Actress and performer, and because of her historic transition, became an inspirational advocate and spokesperson for Transgender people. Jorgensen has in fact remained an influential figure ‘even decades after her death’.
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Billy Tipton has gone down in Jazz history as a highly talented-accomplished musician of this genre. However, even more interesting than this is the fact that it wasn’t until after his death that it was discovered that he had in fact been born Female, thus he is the second person in this discussion that we can class as a Transgender celebrity. In the early 1930’s he had changed his ‘Gender presentation’ so that he would blend in with ‘the Jazz Band image’. He was a Bandleader, a pianist, had several successful albums and toured his country.
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The next brief biographical sketch here is of Wendy Carlos, who is one of the lesser well known Transgender Celebrities or ‘minor celebrity’. She is known in the Music Industry as an innovative Synthesizer pioneer, as she helped to develop the Moog instrument in the late 1960’s. Her debut album is considered a ‘landmark album’ this was ‘Switched on Bach’. This ‘out of nowhere’ musical style insured that it became a best seller and ‘multiple Grammy winning hit’. She is also and perhaps best known for her musical collaborations with Stanley Kubrick on ‘A Clockwork Orange’ and ‘The Shining’. She subsequently became a Trans-Pioneer in the music world.

Caroline Cossey, Transgender Model mentioned in my previous article, despite the fact that she was ‘severely upset’ after being outed by the British Tabloids, achieved Trans-Celebrity status. Also, she continued as an activist for Trans-Rights in the UK with her activism ‘reaching all the way to the European Court of Human Rights’.

Laverne Cox is one of the most famous Transgender Celebrities in the USA at the moment, as she achieved stardom in her role in the Netflix Prison drama series ‘Orange is the New Black’. She told The Guardian that as a child in Alabama she was subjected to cruel homophobic bullying and in fact attempted suicide at just the age of 11. However, it was her passion for the Performance Arts-Acting and dancing that gave her the focus and strength to strive for accomplishment. Laverne said: “We are in a place now where more and more Trans people want to come forward and say ‘This is who I am’ “

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In all probability the most famous Transgender Celebrity, at the moment is Caitlyn Jenner. Caitlyn born Bruce Jenner and whose gender transition is probably the subject of the widest mass media discussion, like most Trans-people hasn’t had an easy journey. Jenner, in fact had felt conflicted from an early age, as she had struggled with gender dysphoria, this is a recognised medical condition caused by the conflict between the gender a person identifies with and the person’s assigned gender. Jenner, turned to sports in order to become stronger and is in fact an Olympic Gold medal winning Athlete. Caitlyn of course was famously featured on the cover of Vanity Fair and the story behind this is interesting in itself. When Buzz Bissenger, journalist for Vanity Fair was assigned to interview Caitlyn Jenner-Jenner had already undergone surgery to have her Adam’s apple removed.

Bissinger had in fact been assigned to chronicle the extraordinary story of Jenner’s transition. Part of this transition had been 12 hours of plastic surgery, which I presume was facial feminisation surgery, as Bissenger afterwards in describing the transformation said: “It was wild”. Caitlyn was subsequently photographed by Celebrity Portrait Photographer Annie Leibovitz, the result being the now iconic shot on the July issue of Vanity Fair, Caitlyn was ‘corseted’, glamorous-sophisticated and sexy. Her transition was also documented at the time on a Reality Show. It could be argued that considering just how famous this transition was, this would seem to have been the critical moment or point of mainstream collective acceptance of the gender variant existence Transgenderism.

Transgender Celebrities haven’t only crossed the boundary of the gender binary, but have also broken barriers across various mediums, and whilst doing my research for this article I came across a number of ‘firsts’; the following are a number of interesting examples. Isis King was in fact the first Transgender Woman to appear/compete on ‘America’s Next Top Model’. She told ‘Page Six’ that: “I feel like our voices are just now starting to be heard”. The stunning Valentina Sampaio became the first ever Transgender Model to be featured in ‘Sports Illustrated’ swimsuit issue. Also, in 2019 she made history becoming ‘Victoria’s Secret’ first openly Transgender Model. This is all the more remarkable considering the fact that as Sampaio pointed out her native country Brazil: “Hosts the highest number of violent crimes and murders against the Trans-community in the World-three times that of the U.S”.

Miriam Rivera tragically died at the age of only 38 in 2019-and will be remembered as the first openly Trans-woman to appear on a Reality TV Show. She has become famous as a cast member of the dating Show ‘There’s Something About Miriam’-2004. She had been a member of the ‘Ballroom’ scene in New York, and was part of the House of Xtravaganza. Candis Cayne was the first Trans-woman to play a Transgender character on TV in the 2007 ABC Drama ‘Dirty Sexy Money’. Finally, Janet Mock was the first Trans-woman of colour to work as a writer for a TV series, this being Ryan Murphy’s hit series ‘Pose’. It should also be mentioned that the list doesn’t end there as there are many other examples that I could cite.

I would like to finish this article by saying that with the emergence of Transgender Celebrities into the public domain amongst multi-media platforms, and more importantly the acceptability of this within the heteronormative collective Cisgender community, we of course have a victory for Trans-visibility.

By Siobhan Donegan

One chapter within the history of Transgender Cinema which has been particularly damaging to the collective heteronormative perception of Transgender individuals, which I will here refer to as a ‘Sub-Genre’ is what has been described as the ‘Psycho Slasher Transgender Murderer’ films. My own specific favourite film within this ‘genre’ is the classic Hammer Film ‘Doctor Jekyll and Sister Hyde’. Although this film of course was part of Hammer’s cinematic Gothic Renaissance, it does also fall within this sub-genre. This film is famous for having put an alternative spin on the classic Gothic Horror Psychological Tale that within its narrative deals with ‘split personalities’. Dr Jekyll passionately pursues the creation of a concoction of an ‘Elixir of Life’ by extracting female hormones from murdered female corpses. However, this has the unforeseen result of transforming Dr Jekyll into the evil Sister Hyde. The Doctor is then driven to murder girls himself in order to maintain his transformation.

In all probability the first Trans-Psycho-Killer film was Hitchcock’s classic ‘Psycho’ 1960. In this the main protagonist Norman Bates is the ‘victim’ of his own fractured psyche, which clinically can probably be described as ‘personality complex’, and in which he ‘cross dresses’ as his mother and brutally murders women. This ‘chapter’ in the history of Transgender Cinema has to be seen within the cultural ideology of the time in which there was a lack of understanding of Trans individuals. As such members of the Trans community were sometimes depicted as comedic, ‘freaks’ or at worst villainous monsters and in fact there is a whole list of films involving Transgender Murderers. According to writer Michelle Smith, in attempting to perceive the ‘logic’ of such prejudice, ‘Gender non-conformity is frightening and unnatural’. Furthermore, the fact that these films depict murderers that are Transgender adds to ‘otherness’ of the murders, and engenders fear.

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The ‘Transvestism’ of  the Norman Bates character from ‘Psycho’ continued to influence Hollywood and led to the continual reinvention of this pathological archetypal trans-killer, which emerged in such films as ‘Freebie and the Bean’, ‘Dressed to Kill’, ‘Cherry Falls’ and perhaps the most recent depiction in the serial killer ‘Buffalo Bill’ in ‘Silence of the Lambs’.

Another form of misrepresentation within Trans-cinema involves the ‘festishisation’ and/or ‘sexualisation’ of the characters portrayed. Trans-women are as such sexualised as the focus of the narrative of such dramatized portrayals, and within this context is here considered discriminatory. This can be perceived in the fact that there is usually too much concentration on the Trans-female characters body-clothes and commonplace everyday details; the application of makeup and getting dressed. This typical collective discriminatory form of prejudice is based on the a priori premise that the ‘trans-women’ in question; that their behaviour is ‘unusual’ as they are not really women. As one online writer succinctly put it this ‘Objectifies and dehumanizes’ the cinematic depiction of Trans-women. Furthermore this level of prejudicial stereotyping is usually based on the premise, and can extend to, the common misconceptions of mental illness characterising trans-women in general and such individuals being mentally unstable. This discriminatory characterisation at its worst, as already discussed, led to the sub-genre of Trans-Psycho Killers.

In fact the misrepresentation of transgender individuals, including other media contexts/outlets, has been described as a veritable ‘litany’ of depictions that are not just problematic, but often transphobic. The Documentary ‘Disclosure’ which specifically deals with trans-representation, produced by Laverne Cox, highlighted some of the usual narratives involving Trans individuals; One of these is the ‘Transgender victim of violence’ often portrayed in American Cop and Medical Shows. There are also Talk Shows that can have an obsessive focus on Trans-issues and News Programs which can tend to concentrate and focus on body parts during surgery, which from an objective perspective can seem invasive. Onscreen representation of Trans individuals has of course also been a catalyst to ongoing controversies within the LGBT community and Transgender Cinema and TV has not only been influential in the perception of Transgender individuals in the cisgender public, but also within the Trans community itself.

There is also the issue that I’ve already briefly mentioned above of Transgender characters, whether factual or fictional being played by Cisgender Actors, this of course is part of the issue of what is referred to as ‘Trans-visibility’. Examples of Cisgender Actors playing Trans-Roles are Chris Sarandon in ‘Dog Day Afternoon’, Eddie Redmayne’s Oscar nominated performance in ‘The Danish Girl’ and Felicity Huffman in ‘Trans-America’. The common mistake of casting male Actors to play Trans-Women can of course endorse the typical heteronormative collective prejudice of reinforcing the gender binary and the stereotype of ‘men in dresses’. Although I wasn’t specifically looking for an answer to this issue when I began my research for this article, I stumbled upon a satisfactory one in the 1999 Film ‘All About My Mother’ directed by Pedro Almodovar, which has been described as a ‘beautifully written masterpiece’. This Film not only deals with Trans-Lives and issues in a sensitive way, but also has a ‘progressive attitude’ to casting, as not only were Cisgender women cast in Trans-women roles, but Transgender women were cast as Cisgender women.

In all probability the greatest victory for Trans-representation and Trans-visibility in recent years has been the brilliant TV series ‘Pose’, which focuses on the ‘Drag Ball’ culture in New York in the 1980’s. This ‘phenomenon’ was not only produced by Transgender activist Janet Mock but also Trans-musician Our Lady J, and also had a Star cast of no less than five Transgender Actors.

By Siobhan Donegan

Just as we can perceive that there is a revolution happening within the Beauty Industry, it would seem that the rainbow hued catwalk used to showcase a line of fashions by Louis Vuitton is indicative of Trans-inclusivity within the Modelling Industry. Thanks to there now being a better understanding of Transgenderism and the current collective ideology of ‘questioning’ the gender binary, it would seem that this has begun to change the Fashion Modelling Industry. However, although the catwalk, like the ‘Gender Revolution’ has begun to acknowledge a more diverse gender variant spectrum, previous transgender models made headlines for all the wrong reasons; initially of course because of being ‘outed’.

Before focusing in on some biographical illustrations of this point, I thought it would be best to briefly sketch the history of modelling itself. The concept or the ‘notion’ of Modelling started with Portrait painting. With the invention of Photography in the 1800’s the concept, its scope broadened. Marie Augustine Vernet, the wife of Charles Fredrick Worth, is credited with having been the first ever Fashion Model. It is in fact the Middle French word ‘Modelle’ from which the term ‘Modelling’ originates, but at first this term wasn’t used, as the first models were simply referred to as ‘live mannequins’, as their initial purpose was purely functional; as in the main mannequins were used to display fashionable clothes.

The ‘Modelling’ Industry blossomed by the mid 1900’s with the creation of one of the first ever Modelling Agencies in 1946. This was ‘Ford Models’ created by Eileen and Gerard Ford. After this, Modelling Agencies began to appear all over the World. By the 1960’s there was a cultural emphasis on youth and the Fashion Industry played a part in this with such iconic Models as Twiggy, Jean Shrimpton and Peggy Moffitt. With the 1970’s more diversity was introduced into the industry. Models also began to get better pay with Modelling becoming a full time career-even finding work for them in Europe and abroad. The 1990’s inaugurated the Era of the ‘Supermodel’-in which Models achieved true celebrity status-such as Naomi Campbell and Elle McPherson. However, in the 2000’s the Fashion Modelling Industry came under criticism due to eating disorders and drugs being issues within this world. But, Modelling Associations are now prioritising the wellbeing of Models. Modelling has now obviously become a Global phenomenon thanks to the internet, and Models such as Cara Delevingne can use multi-media platforms.

(Left: April Ashley. Right: Tracy ‘Africa’ Norman)

The history of Transgender Models within the Fashion Modelling industry is unfortunately more complicated. The beautiful and iconic April Ashley is not only one of the first Brits to have gender reassignment surgery but is also ‘credited’ as being the first successful Transgender Model. During the early stages of her career she did ‘runway and editorial work’-in high fashion magazines. However, unfortunately April was ‘outed’ by the tabloids, and her career was inevitably cut short.

As for ‘Mainstream’ Transgender Models, the first was apparently Tracy ‘Africa’ Norman who in 1971 was chosen by Irving Penn at a casting call for Italian Vogue. Despite the fact that Norman was eventually outed as Transgender and despite never being as successful as the first ever African American to appear on the front cover of Vogue; Beverly Johnson in 1974, her career had in fact been successful up to that point. She had been a runway House Model for Balenciaga in Paris and had contracts with Beauty brands Clairol and Avon. Tracy Norman had started out in the Drag Ball culture in New York mentoring up and coming young Drag Queens for the ‘House’ of Africa. Norman became the face of Clairol’s ‘Born Beautiful Hair Colour’-Dark Auburn in the mid 1970’s.

Another famous Transgender model is Caroline Cossey, also known in the Fashion Industry by her Modelling name Tula. She worked successfully from 1975 to 1981 as a Model and appeared in magazines such as Australian Vogue and Harper’s Bazaar, but was outed  after appearing alongside other ‘Bond Girls’ in the 1981 James Bond film ‘For Your Eyes Only’-from the Roger Moore Bond era. After this her career as a model was on the rocks. However, Tula fought back by attempting to raise Trans-awareness by doing countless interviews and even wrote a book. Unfortunately, she ended up fleeing the limelight, apparently for the second time, as the only work that she was offered was based around her being Transgender which made her feel like a ‘Circus Act’. Famous Transgender Brazilian Model Roberta Close appeared for various Fashion Houses strutting up and down the catwalk, including Thierry Muggler, Guy Laroche and John Paul Gaultier. She was in fact voted ‘Most Beautiful Woman in Brazil’, and is currently acknowledged as having paved the way for the newly emerging Brazilian Trans Models.
(Photo: Caroline Cossey aka Tula)

As can be seen from these brief biographical sketches early Transgender Models lived in the constant fear of being outed. However, despite the heteronormative transphobia within the Fashion Modelling Industry, this world has ironically ‘maintained close ties’ with the LGBT Community; for example, Stephen Sprous worked with Teri Toye in the 1980’s, in the 1990’s Thierry Muggler worked with Connie Fleming and John Paul Gaultier with Roberta Close, mentioned above, again in the 90’s. Thus proving that some of the Fashion Industry leaders were influenced by and worked with ‘Transgender Muses’.

As I previously stated in my article on the Beauty Industry and the Trans/LGBT Community, beauty and femininity used to be the exclusive reserve of the heteronormative collective culture, and that of course being Cisgender Women. However, the Beauty Industry and the Modelling Industry are being transformed as they are beginning to embrace diversity including Trans-inclusivity and thus Trans-visibility. As such I think that as we hopefully see more Trans-female Models (there are also Trans-male models appearing on the scene) the heteronormative culture may begin to realise that beauty has no gender. A good example of changing attitudes is the fact that Trans rights campaigner and writer Paris Lees was announced as the Brand Ambassador for Beauty Hair Brand Pantene at ‘Fortunes Most Powerful Women Conference’; Lees was the first Transgender woman to be appointed by Pantene.

(Photo: Hunter Schafer)

Being Transgender in some circles is no longer being seen as a hindrance and is in fact seen as aspirational. According to Hunter Schafer, who is just one example of the new young crop of Transgender models:

“It’s really wild to be at this level of visibility.”

Schafer was only 18 when she was signed to Elite Model Management and her career success includes walking down the catwalk for Dior, Helmut Lang, Miu Miu.

Valentina Sampaio made history as the first ever openly Transgender Model to appear on the front cover of Vogue Paris. She has also appeared on the covers of Brazilian Vogue and German Vogue.

(Left: Valentina Sampaio. Middle: Andreja Pejic. Right: Teddy Quinlivan)

I would like to mention two more examples of Trans-female models to end on a positive note. The first is the famous Bosnian Australian Trans-Model Andreja Pejic, who had previously been famous for her androgynous look, but who eventually announced that she identified as a woman, stating, ‘differences should not equal divisions.’ Another stunning Transgender Model is Teddy Quinlivan, who was discovered  by Nicolas Ghesquiere, Creative Director of Louis Vuitton. Quinlivan’s career has ‘boomed’.

By Siobhan Donegan

Before talking about the Beauty industry within the context of the Trans and LGBT community, it would serve us well to say something briefly about the history of the cosmetics industry. It has been said that this history is as diverse and colourful as the cosmetic products that it has created. Historically, the use of makeup can be traced back to the ancient Egyptians (and probably earlier)-thus to 4000bc. These highly cultured people used Kohl to create their distinctive look. Early cosmetic products relied heavily on natural ingredients, such as berries, bugs and charcoal, to name but a few. In the ‘Roaring Twenties’ the beauty industry really took off with the new joyous femininity of the flapper movement. Elizabeth Arden opened a Salon and Max Factor apparently created a foundation for film stars. The Era of sophisticated eyebrows was inaugurated with the Stardom of Greta Garbo, and thus eyebrow pencils and mascara came onto the cosmetics market. With the ‘Swinging Sixties’ came a Mod look epitomised by the Model Twiggy. The 1990’s was the Era of the ‘Super Model’, and today with the Beauty industry estimated at 425 billion dollars, there is much more emphasis on the health and ‘science’ of beauty products.

The Beauty Industry as such has been part of the aesthetic cultural definition of beauty and femininity for decades.

However, now that gender identity-gender expression is going through a revolution, Cosmetic Retailers are starting to ‘Court Trans and gender non-conforming customers’. In fact the Beauty Industry is endeavouring to build bridges across the heteronormative gender binary it once supported as makeup-cosmetics are no longer the exclusive reserve of flamboyant Rock Stars. This of course is a good thing, as according to Cosmetic Mogul Jeffree Star, interviewed in ‘Out’ magazine: ‘The Industry needs more creativity’. It could be claimed with some justification that the ‘gender revolution’ has acted as a catalyst to a veritable Beauty Industry Revolution and as such new cosmetic brands are being launched in a genuine attempt of an all embracing inclusivity, that takes into consideration age, cultural backgrounds, diverse body types and gender variant identity expression.

Furthermore, it would seem that the strategy of diversity is working, as new customers are being attracted into the orbit of these cosmetic products.

It would also seem that the gender variant non-conforming revolution, making new forms of gender expression possible and the endorsement of diversity through ‘identity politics’ is also being acknowledged in the Fashion World as Virgil Abloh, new title of Menswear Artistic Director of Louis Vuitton, has deliberately sent a message of diversity and inclusion with, in the first place a rainbow hued cat-walk, and in the second place using a diverse cast of models to achieve a message of inclusivity.

One such Cosmetic Beauty brand, with a policy of inclusivity for the Trans community is Sephora. Karalyn Smith, Sephora’s’ SVP for human resources, told ‘Fast Company’: “The Beauty Industry at large has made strides towards becoming more diverse and inclusive.” This Cosmetic retailer is debuting ‘complimentary in store workshops’ specifically aimed at transgender and gender non-conforming individuals. This is Sephora’s ‘Bold Beauty Classes for Confidence’, specifically aimed and based on the premise of empowerment for transgender, non-binary and queer individuals. Sephora is also working within the context of being supportive to transgender individuals during transition, in all probability referring to the early stages of transition, as this is a truly significant moment for the individual.

According to Dominique Anderson, a Trans-makeup artist who teaches in the above mentioned ‘Classes for Confidence’ most Transgender people don’t feel included in the Beauty World, despite the fact that makeup has been central to the Queer and Trans community as a tool of expression, including gender expression. The Makeup Tutorials, especially in place for the Trans and Non-binary community, as already mentioned are supportive of significant moments of transition, including ‘workforce re-entry’. The cosmetic Tutorials specifically honed for the Trans-Female community, offers tips for covering up facial hair, and sculpting-contouring cheekbones to feminize them (in all probability using makeup to feminize other features as well)-in fact the Tutorials offer advice on the ‘accentuation’ of desired facial features.

The 90 minute Cosmetic Tutorials at Sephora, also include advise on skin care products, which is particularly significant here as Transwomen as part of their transition go through hormone replacement treatment HRT, some Transwomen of course have Plastic Surgery- Facial Feminization Surgery, and lastly of course there is Laser Hair Removal or for the same cosmetic ends Electrolysis. All of these processes can of course cause skin blemishes, and the clients are offered advice on how to conceal these.

‘Makeup has no Gender’ is another cosmetics ‘Unisex’ brand created as a Trans-inclusive product from ‘Jecca Blac’, which is London based and used to be known simply as Jecca Makeup, and was created by Jessica Blacker. This line was created in collaboration with Joseph Harwood, who identifies as Non-binary, and has been marketed for the unisex and transgender community, and like Sephora this company also offers one-to-one tutorials. Their Cosmetic product is specifically a ‘Colour Cosmetics Line’ and is a ‘Correct and Conceal Palette’, formulated as a ‘preventative’ of beard shadow and ‘blue tone’, a common problem for Transwomen and those on the Trans-Feminine spectrum at an early stage in their transition. According to Blacker, who started out by running-hosting a series of makeup tutorials from her home, this particular line has a ‘Cutting edge formula’ and ‘Clients literally transform their face-looking like who they really are’.

It is at this juncture that I wanted to speak about the online exhibition called ‘Prim-n-Poppin’, as I find this creative endeavour particularly appealing. This is primarily an artistic re-imagination of ‘old school’ beauty ads that are mostly white, mostly thin and mostly Cisgender Female. This has specifically taken the glamorous aesthetic of the old fashioned way of selling cosmetic beauty products particularly in the women’s magazines of the 1960’s and the 70’s and imaginatively ‘reshaped’ them to include more diversity as regards the range of models, thus Queer, Trans and Non-Binary.

As such these reimagined ‘Old School Style’ Ads have a certain retrosexual-retro-chic appeal. There is bright eyeshadow, the requisite ‘cheesy’ smiles, and of course updated phrases. The exhibition of these wonderful images was created by New York Photographer Julia Comita and Makeup Artist Brenna Drury. The Ads themselves from an artistic aesthetic perspective have a ‘vintage’ look-shot in ‘Hues of cool pinks and pastel blues’. In fact the creative team endeavoured to be as authentic as possible, ‘With graphic design and photography from the period’. The all-important difference here of course is these adverts feature racially diverse and LGBT Models. Another member of the creative-team who should be mentioned, was Hairstylist Raina D. Leon, who made sure that the hairstyles of all the models were styled to ‘retro perfection’.

Before finishing this article I wanted to mention one more Trans-inclusive beauty product, this is the newly launched cosmetic line ‘Fluide’. According to the brands creator Isabella Giancarlo: ‘Makeup can be  one powerful tool in self-actualisation’. A brand new line that has been launched by Fluide, and described as  perhaps their most exciting product to appear is their new Eyeshadow palette, as this has neon shades of blue, yellow, green and silver.

I will simply end by saying that ‘Sephora’ also does YouTube Tutorials.

Non-Binary Edinburgh is a community-led group supported by LGBT Health and Wellbeing. It is a safe space for non-binary and genderqueer people to join in and relax. The group gets together online on Zoom every second Friday for a chill catch-up.

In this interview, group leader Moira Daykin (she/they) tells us a bit more about the history of Non-Binary Edinburgh, how it all started, where things are at now, what were the effects of moving online and what’s in the future of the group.

Group leader Moira (left) and volunteer Ari (right)

How did the group start?

We started talking about the group in late 2015, then it was mostly discussion about how to start a group that was focused for those who identify as non-binary or were curious about their gender expression and identity.

At the time a lot of social groups generally focused on the aspects of binary genders and we wanted to open the door for more people. A lot of talk was focused on providing a space that could be calm, welcoming and accessible. For a while it was mostly finding the right people, I was brought into the group within the first month or so of it coming into existence. We used to operate out of the Leith Community Arts Centre, on the first Friday of the month. I used to work not too far away, so I would often be getting myself a coffee and head straight down after work to get ready. It was a different space to the original LGBT Health and Wellbeing premises. But despite its odd quirks (such as the flamenco dancers next door), we made it our own space.

What was it like in the beginning?

Well, I certainly had no idea what I was doing! And in hindsight there was a sort of fun about that. I didn’t want to be a group leader that was all “I’m here, I take charge I’m running everything with other group leaders”. After all, we made this space for people like us, I wanted to be part of it.

In the early days though we had yet to really find out rhythm. We had book discussions, movie chatter, we spoke to representatives from Chalmers Street. Though over time we quickly formed a rhythm. It’s funny looking back on it because we spent so much time trying to make a dynamic happen that just letting one flow organically form the group meeting was so much easier and beneficial for the group. Every meeting took place on a Friday, the first Friday of the month, so it became a group space of letting off steam, socialising, getting to know people and having a communal space where we felt secure in who we are. Eventually it just became that, a good space to relax and let the guards down a little, with a chance to talk to people who understood each other and could understand some of the problems we all faced.

How has the group grown?

Certainly it’s grown in size. It feels like it keeps getting bigger and bigger, especially online! That has been a bit of a curse and a blessing. Moving online has been a pain for connecting with other people in person and doing all the things we had wanted to do, like a group movie night, or a chance to have a summer BBQ.

But having an online space has allowed us to invite people in and let them get accustomed to the space in their own time. That’s the blessing of an online space such as Zoom, or Discord, you can take part, or if you’re just there to listen and have this sort of sideline chill out listening experience, you can mute your mic, turn off your webcam and just sort of enjoy the social atmosphere. We have a few people who do that, sort of silent listen along, only to unmute to come in with a wonderfully bad pun relating to the discussion and then go back to mute while we all laugh.

How has the change from in person to online effected your group?

I think it was fairly easy for us. Given that we had a group that met once a month, but really wanted to meet more often, we decided to make a dedicated online space for them in the form of a Discord server allowing people to keep in touch. It didn’t take long for us to go “Now hang on a second” when things started to close and we quickly moved online and started to make use of Zoom. I think we all still needed that sense of community online, even if what we could do at first was limited, we just liked hanging out with each other, talking about our week, and maintain a sense of normality in a very scary time.

What sort of plans do you have for the future of your group being online?

We really want to use this chance to get to know other groups. Previously we would have been at the mercy of finding a venue, now with the ever-expanding list of online tools we can use, we’re almost spoilt for choice. It’s funny how that once we moved into lockdown, things actually became easier for us to do. One of the biggest hurdles for the group was providing an accessible, cheep and easy to reach venue, now we can do this all from a little tool you have on your desk or in your pocket. I do miss meeting in person, it’s been a strength of the group to be able to meet up in person and just talk. So I will be happy to return to those days, along with perhaps being able to have the same level of online connectivity in our off days.

What are you looking forward to most about having in person events again?

Hugs, and sharing cakes.

We used to be big sweet treat snackers back in the day, (I still am!) But I do miss it when people would bring in biscuits, cakes, someone once even brought in a tub of ice cream to share in the summer and we just sat around chilling and eating food. There’s something fun about a communal meal that helps bring people together. Dinner with friends is the best of ways to spend the evening. I think once we are safe to get back together there will be a Non-Binary Edinburgh potluck.

Want to join Non-Binary Edinburgh’s next meetup? Email them at nonbinaryedinburgh@gmail.com, they’ll let you know all about the group and how to join in

Get ready to explore and hear us roar, “It’s issue four!” (of our ‘see me…’ zine)

We are See Me Proud, a team of LGBTQIA+ Community Champion volunteers based in Scotland seeking to challenge mental health stigma and discrimination within the LGBTQIA+ community. Curious about what we do? Find us on Facebook, Instagram and Twitter @SeeMeProud.

This special mini-zine is inspired by Time To Talk Day 2021 and the focus this year of ‘The Power of Small’. How little things we do can make a big difference to ourselves and others. We know that every day is time to talk about mental health, and Time To Talk Day shines a spotlight on that.

Inspired by a question posed to us from our parent organisation See Me Scotland (thanks Nick), we asked our Queer community to tell us in one sentence something small that someone else had done for them that has helped them when they were struggling with their mental health.

Here’s a preview of the zine

Download the full zine as a PDF here

Thank you so much to everyone who responded. We hope that by sharing these kind gestures, we all might be inspired by them, use them to help others, and also recognise the people that make a difference in our lives.

If you’re reading this thinking you’d like to get involved in future issues of our Queer collaborative zine, please keep checking our social media pages for submission requests. We’d love to hear from you.