import React from "react"
import SEO from "../components/seo"
import { motion } from "framer-motion"
import { graphql } from "gatsby"
import Img from "gatsby-image"

// import Armband from "../images/Armband1.jpeg"
// import Armband2 from "../images/armband2.jpg"
// import Armband3 from "../images/armband3.jpeg"
// import CelebrityCoat from "../images/PASSAMA-LANGENDIJK_0420_0151.jpeg"
// import CelebrityCoat2 from "../images/CelebrityCoat2.jpg"
// import CelebrityCoat3 from "../images/CelebrityCoat3.jpeg"
// import TextCoat from "../images/PASSAMA-LANGENDIJK_0420_0098.jpeg"
// import TextCoatWoven from "../images/TextCoatWoven.jpg"
// import KnittedCoat from "../images/PASSAMA-LANGENDIJK_0420_0146.jpeg"
// import FurFume from "../images/PASSAMA-LANGENDIJK_0420_0083.jpeg"
// import Pomander from "../images/PASSAMA-LANGENDIJK_0420_0069.jpeg"
// import PaperCoat from "../images/papercoat.jpeg"
// import heirloomcoat from "../images/PASSAMA-LANGENDIJK_0420_0145.jpeg"

const duration = 0.35

const container = {
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}
const item = {
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const TextPage = ({ data }) => {
  return (
    <>
      <SEO title="PROJECT" />
      <motion.section
        variants={container}
        initial="hidden"
        animate="visible"
        className="container-small"
      >
        <h3 className="font-bold">
          A conversation between Passama/Langendijk and Femke de Vries
        </h3>
        {/* <motion.div className="content" variants={item} transition="easeInOut">
          <h1 className="text-5xl tracking-widest">LIVIN IT</h1>
        </motion.div>

       

        <motion.div
          className="content"
          variants={item}
          transition="easeInOut"
        ></motion.div> */}

        <motion.div
          className="content font-bold"
          variants={item}
          transition="easeInOut"
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          {/* <hr className="block my-8" /> */}
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        <motion.div className="content" variants={item} transition="easeInOut">
          <div className="relative">
            <p>
              After being in touch about their work some time ago, I received an
              email with the question to write about one of their projects, and
              thus about fur. I mean, I love fur, but only worn by the original
              owners, so I was quite hesitant and expressed this in my reply.
              After smartly persisting to meet, it made a lot of sense to talk
              in real life about how this work isn’t made with fur, but explores
              the many dimensions and meanings of it: fur as an heirloom, as a
              rich material but also a symbol of wealth, power, animal cruelty,
              glamour and heritage. Barbara, who brought a big bag with large
              swaths of material, photos and other snapshots from the process,
              explained how the pieces that were developed throughout the
              process are not structured like a traditional fashion collection
              but take the shape of a series of five coats, several jewelry
              pieces, a pomander and a scent. Each item explores certain values
              and ideas around fur. This is the second project that fashion
              designer Barbara Langendijk and jewelry designer Noon Passama work
              on together, and some items from their first project return in
              this one. In the first project, Noon made some cast metal elements
              and combined silver with technical textile. She described the
              result, that in a way resembled fur, as Silver Fur. These items
              and its title brought up an interesting dynamic between the
              general fastness of fashion and the durability of jewelry. So,
              with this expression, the second project began.
            </p>
            <p>
              Right after our talk I went to the Apple store to have my laptop
              fixed. While I was walking up the spiral staircase, a woman
              wearing a fur coat was walking up the stairs right in front of me.
              It was an old fur coat. At the height of her bottom the hairs were
              worn off and the v-structure of the fur parts became visible,
              showing the intricate technique. The worn-out state of the coat
              was in great contrast with the shiny glass and marble interior of
              this store full of high-tech devices. I ended up sitting opposite
              of her at a table waiting for an employee to help me. She was,
              like so many fur-wearers today, not a bourgeois, glamorous rich
              lady but a young woman in her 20’s with a sporty cap on. I could
              picture her at a vintage store taking the coat from a rack full of
              old fur coats surrounded with T-shirts, sweats and jeans.
              Disconnected from its luxurious history. The girl, combining the
              sporty cap with the fur coat, made me think of Kim Kardashian,
              someone who combines sportswear and luxury items easily, and who
              Langendijk and Passama visualized in one of their coats. The next
              time we meet is online and I tell them about my encounter with
              this woman.
            </p>
            <Img
              fluid={data.Armband1.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />
            <Img
              fluid={data.Armband2.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />
            <Img
              fluid={data.Armband3.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />

            <p>
              * Three bracelets made by plating silver directly on the 3D-spacer
              textile. The textile was cut in different lengths and assembled
              into the shapes before the silver-plating process.
            </p>
            <h3>‘ELITENESS’</h3>
            <p>
              <strong>F:</strong> I was wondering how you decided who to
              visualize in this particular coat. How did you choose?
            </p>
            <p>
              <strong>P/L:</strong> We made a collection of images with
              celebrities who have contributed to today’s popularity of fur.
              They are all celebrities, but from different fields of work. But
              they do have the same way of wearing fur; big, glamourous and over
              the top. The selection of celebrities encompasses Melania Trump,
              Lady Gaga, Snoop Dogg, Kim Kardashian, Kendall Jenner, Justin
              Bieber and Rihanna, and we have more. All of them are sporting
              these over-the-top big fluffy fur coats worn with exaggeration.
              They represent glamour. These images were actually easy to find,
              the first ones that pop up in a Google search. In the pieces that
              we made we didn’t want to exaggerate but these people definitely
              do. By putting them together it shows the extravagance of these
              big personalities with impressive coats in a bit of an ironic way.
            </p>
            <Img
              fluid={data.celebcoat1.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />

            <p>* The ‘inside’ of the celebrity coat.</p>
            <p>
              <strong>F:</strong> This idea of celebrities wearing fur coats
              shows the connection between the elite and fur. As we discussed
              earlier, I’m not an expert in fur, but am interested in it as a
              cultural symbol. And one of the things fur clearly states is
              wealth. It was interesting to read in The Berg Companion to
              Fashion<sup>1</sup> that from the fourteenth to the seventeenth
              century, the kings and queens of England issued royal
              proclamations in order to regulate fur. These royal proclamations
              became part of what is known as “sumptuary legislation” in which
              everyday practices involving clothing, drinking and eating were
              subject to public governance. “Thus, from very early on furs and
              fur garments were regulated, not only in order to establish a
              hierarchy in desirable fur, but also to create recognizable codes
              of social status in the wearer of fur<sup>2</sup>.{" "} <br />
              </p>
              <p>
                So, fur is not just for the elite because it was unaffordable
                for the ‘common people’, it was also decided upon by royal
                rules. Another important circumstance that contributed to fur
                being a symbol of wealth, is when fur entered the world-wide
                trade. In 1670 Hudson’s Bay Company<sup>3</sup> was granted the
                Royal Charter from king Charles II, meaning that they gained the
                right and power to trade fur. “Hudson’s Bay has played an
                essential role in the fur trade which was established in the
                sixteenth century between France, and then England, and the New
                World (what is now Canada). It led to fur circulating abundantly
                among nobility as well as among a rising mercantile class of
                consumers as distinctive sign of class and imperial wealth”
              <sup>4</sup>.
              </p>
            <p>
              Of course, fur has a rich history existing long before (and also
              alongside) Western royalty and Western trade systems came into
              being, but when it’s wearing became determined by royal rules and
              fur became a world-wide commodity, it started functioning in a
              system beyond local indigenous tribes and with that also started
              reaching more people and various layers of society. Whereas today
              more people might be able to afford a coat with a fur trimming,
              the idea of fur as an elitist garment still strongly exists. Now
              not because of sumptuary laws but because its expensive
              <sup>5</sup> and because it has always been, and still is, a
              symbol of wealth and glamour.
              <br />
              The idea of wearing a fur coat on track pants or with a sporty
              cap, like the woman in the Apple store, is something that strongly
              represents our time, in which we mix street- and sportswear with
              high-end luxury fashion items. It is a game between ‘high’ and
              ‘low’ culture, between being elite and hinting or challenging
              ideas around ‘eliteness’, high fashion and wealth. Again, an
              interesting quote from the Berg Company Of Fashion mentioning that
              in 1926 there were debates in the British House of Commons over
              the benefits of socialism in providing women with practical and
              affordable cloth coats against the excesses of capitalism
              represented by a luxury fur coat, (…). This in response to a time
              (1920s) that “saw the image of the fur-clad woman emerge as a sign
              of unevenly distributed economic wealth”<sup>6</sup>.
            </p>
            <h3>INSIDE - OUTSIDE</h3>
            <p>
              <strong>P/L:</strong> Deciding which images of fur-wearing
              celebrities to use wasn’t easy because on a photo its often hard
              to see if it’s real fur or not. Which makes you realize that, in
              order to know if it’s real, you actually really have to touch it,
              open up the hairs or burn and smell some hairs. It’s similar with
              this coat that we made with the celebrities on/in it. It looks
              like hair but the hairy structure actually exists of yarns, long
              floats. We first learned about this jacquard weave, from an
              interest in the technique. But then we noticed that the long
              floats from the weave looked like hair. Jacquard is a technique
              that is used to weave dessins. It is easy to recognize because of
              the big difference between the two sides of the fabric. One side
              has a clear dessin, the other side shows the floats that jump to
              new spots in the weave leaving a messy look. These long floats
              resembling hair on the ‘inside’ of the fabric and the clear
              depiction of the celebrities on the ‘outside’, invited us to use
              both sides of the fabric. A reversible coat.
            </p>
            <p>
              <strong>F:</strong> This reversibility is very interesting as it
              relates to early habits in the wearing of fur and how fur relates
              to social status. In the early period of fur trade in England the
              “fur was mostly worn on the inside, visible as a trim on the
              collar and cuffs. But during the late nineteenth century and
              throughout the twentieth century, fur became increasingly
              identified with elite women’s fashion and the fur coat was now
              “reversed” in the sense that fur was now worn almost exclusively
              on the outside.”<sup>7</sup>
            </p>
            <p>
              <strong>P/L:</strong> With jacquard, the floats are supposed to be
              on the inside and these celebrities that are woven into it are
              people who are normally clearly out there, visible. So, it was
              interesting to create this dynamic between inside and outside,
              visible and invisible.
            </p>
            <Img
              fluid={data.celebcoat2.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />
            <Img
              fluid={data.celebcoat3.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />

            <p>
              * The ‘outside’ of the celebrity coat. The images show the front
              and back view.
            </p>
            <p>
              <strong>F:</strong> Fur is something we flaunt, it is something
              that’s clearly shown. And it is interesting to see how
              celebrities, as the new elite, are very visible in the media and
              with that create a certain meaning for the fur coat.
            </p>
            <p>
              <strong>P/L:</strong> Yes, the representation of fur in the media
              is very interesting, it led to this coat we made with words on it.
              We collected texts that describe fur coats on sites like
              Matchesfashion.com, Mytheresa.- com and 24s.com. Like the
              celebrities, the type of text that is used to describe fur
              contextualizes it. As you also mention text and how it’s a
              material to work with.
            </p>
            <p>
              <strong>F:</strong> Yes, the words you use to describe something
              also creates value. Words are in that sense a material to create
              meaning with. The words connect the fur to a broader societal and
              cultural context. What kind of texts did you use?
            </p>
            <p>
              {" "}
              <strong>P:</strong> I just now sent you the list of the selected
              sentences that we’ve put on this coat. It includes sentences like:
              <div className="italic text-xl mt-8">“A sophisticated edit”</div>
              <div className="italic text-xl">“The grandeur of fur”</div>
              <div className="italic text-xl">“Adds daytime drama to any look”</div>
              <div className="italic text-xl">
                “Conjures fantasy, glamour and couture”
              </div>
              <div className="italic text-xl">“The label's love of drama”</div>
            </p>
            <p>
              <strong>F:</strong> Wow, this is so interesting. The words
              “sophisticated”, “grandeur”, “fantasy”, “glamour”, “couture” and
              “drama” clearly link to the idea of this elitist woman and the
              excessiveness of her lifestyle and the coat itself.
            </p>
            <div className="relative">
              <Img
                fluid={data.furtextcoat.childImageSharp.fluid}
                className="lg:w-5/5 my-8"
              />
            </div>
            <p>* The fur-text coat.</p>
            <h3>THE HUNT </h3>
            <p>
              <strong>F:</strong> What is interesting is that there are also
              sentences connected to hunting in there. I noticed the following
              ones:
            </p>
            <div className="italic text-xl mt-8">“A Trophy Piece”</div>
            <div className="italic text-xl mb-8">“A true collector's item”</div>
            <p>
              And when researching celebrities and fur I found the following
              header for an article on a website of a fur company: “Kim
              Kardashian loves fur. She is a fashion assassin; she kills in
              anything she wears. Kim is the focal point of millions of would be
              fashionistas worldwide” .<sup>8</sup> So, besides fur being linked
              to elite it is also connected to the hunter, the hunt. The hunting
              of the rare, the exclusive. These texts clearly show how various
              forms of power come together in fur. Besides that, these texts
              both apply to a garment and an animal at the same time; the rare
              animal, which is being hunted, is seen as prey and as a trophy
              piece. The fur coat as fashion item can also be seen as a trophy
              piece, that someone has hunted for and now wears. It is
              interesting and painful to see how the hunt and killing of animals
              is objectified and connected to glamour and power.
            </p>
            <p>
              <strong>F:</strong> This one I believe is also specifically
              interesting:
            </p>
            <div className="italic text-xl mt-8 mb-8">“Live in it”</div>
            <p>
              We could interpret this as in ‘the coat being so nice and durable
              that we not just wear it, but we live in it’. But for me it is
              also about the idea of living in someone else’s coat. It reminds
              me of sleeping in an animal’s carcass like Leonardo di Caprio does
              in The Revenant when he crawls into a dead horse, and Luke
              Skywalker in Star Wars sleeping in the belly of his dead Tautan,
              and of course of Hannibal Lector wearing someone else’s skin in
              The Silence Of The Lambs. An animal’s coat, or let’s say, a coat
              of another being, literally changes into a human’s coat. To stay
              in the language area: when you wear a coat made of fox or mink
              hide you would say ‘I’m wearing fox’, or ‘I’m wearing mink’. The
              garment is literally named after the animal. It changes the
              concept of this well-known question; ‘who are you wearing?’
              <sup>9</sup>
              <br />
              This dynamic of the coat, moving between various beings, also
              brings up the thought of women wearing fur coats and holding their
              small dogs. The coat of the dog will gradually continue into the
              coat that the woman is wearing, made from mink, or maybe even dog,
              as that is a commonly used animal in some Eastern fur industries.
              The woman and the dog have a loving relation, but there’s a weird
              and dark dynamic between the three of them. Dog-women-dog.
            </p>
            <h3>CULTURED </h3>
            <p>
              <strong>F:</strong> Next to the hunter who hunts animals, another
              layer of power is added when you think of how the fur trade went
              hand in hand with colonial powers. As mentioned before, fur trade
              became an important economic unit for the mid-sixteenth century to
              the 1870’s. By granting the Royal Charter to Hudson’s Bay Company
              (HBC), HBC not only got this position in the fur trade but also
              gained ownership of all the land drained by the rivers flowing
              into Hudson’s Bay (…) this area covered approximately 40% of
              modern Canada.<sup>10</sup> “The Hudson’s Bay, a company that is
              known for its colonial power, deliberately pushed away first
              nations communities, taking over their natural trade. The history
              of the fur trade and fur garments is in many was a history of
              imperial class distinctions but one that is also marked by gender
              and cultural differences”<sup>11</sup>.
            </p>
            <p>
              <strong>P/L:</strong> And this sentence is also interesting: “For
              an afternoon at a modern art gallery” You have to be rich and to
              appreciate art to wear fur. This creates so much context. Fur is
              thus connected to being artistic and cultured.{" "}
            </p>
            <p>
              <strong>F:</strong> Which is quite crude when we think of colonial
              powers and how they effected the ideas around ‘being cultured’.
            </p>
            <h3>TEXTURE AND TACTILITY</h3>
            <p>
              <strong>F:</strong> Throughout the process you have explored
              various values connected to the fur coat but besides that you also
              clearly explored tactility and texture using various techniques.{" "}
            </p>
            <p>
              <strong>P/L:</strong> Yes, the coat with text on it for example
              doesn’t have text on it just to read it, the text also creates
              texture. Using the same jacquard technique as the coat with the
              celebrities on it, the woven texts are not just 2d and readable on
              one side, but they also create a hairy structure, due to the long
              floats, on the other side.
              <br />
              Another technique that we are exploring is knitted fur! I will
              show you a fabric swatch. It is an intricate knit that is based
              upon scans of real fur. It is a transformation from a dense 3d
              tactile material to a flat technical material. Again, a
              translation that challenges one of the main traits of fur, in this
              case its thick, fluffy character.{" "}
            </p>
            <div className="relative">
              <Img
                fluid={data.knittedcoat.childImageSharp.fluid}
                className="my-8"
              />
            </div>
            <p>
              * The knitted coat with a pattern derived from a scanned image of
              fur.
            </p>
            <p>
              <strong>F:</strong> Besides exploring the texture and tactility of
              fur, you have also explored other forms.{" "}
            </p>
            <p>
              <strong>P/L:</strong> Yes, to explore fur from another dimension
              and the many ways in which it can be experienced, we made a scent
              which goes together with a paper coat and a paper pomander.
              <sup>12</sup>{" "}
            </p>
            <p>
              <strong>F:</strong> How did you decide what the scent should be
              like?{" "}
            </p>
            <p>
              <strong>P/L:</strong> It was quite a long process to find the
              right scent, because: what is the smell of fur? For us it started
              with the idea of the heirloom, an older fur coat which is worn by
              your grandmother or your mother for example. ‘The granny fur coat’
              we called it. So, it’s like an old vintage perfume. And the scent
              is more like an impression of fur than to imitate the smell of the
              animal itself.{" "}
            </p>
            <Img
              fluid={data.furfume.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />

            <p>* The final fur perfume.</p>
            <p>
              <strong>F:</strong> What kind of brief did you sent the perfumer,
              how did you specifically describe what the scent of fur is to you?{" "}
            </p>
            <p>
              <strong>P/L:</strong> He asked us: what kind of impression do you
              get when you smell fur? We described it like a soft smell and
              something animal-like with something glamourous. When you make a
              perfume, you work with various so-called layers and notes. We
              wanted the base layer to be from an animal, or an animal-like
              smell. Then we wanted the top notes to be sweet and glamourous.
              But we didn’t want it to be too animalistic either. Sometimes it
              got a bit too animally, like a Civet cat. Yes, there’s one
              ingredient which is called Civet cat and it has this really
              penetrating smell. We thought it was super interesting because it
              was so very present and could represent the concept of maybe being
              overwhelmed by this whole idea of big fur coats. We also thought
              about incorporating that element, of being overwhelmed, but
              eventually we toned it down a bit.{" "}
            </p>
            <p>
              <strong>F:</strong> Interesting, this idea of layers in a scent.
              It’s like literally begin dressed in layers: A woman wearing a fur
              coat, let’s just say an animal, and then she sprays her sweet
              perfume as notes over it.{" "}
            </p>
            <p>
              <strong>P/L:</strong> Yes, it is. And when you think of it, a fur
              coat is something you wear and a perfume is also something you
              wear. We use the same term for a garment as we do for a scent. And
              thus, by wearing this perfume you can wear fur. They are both worn
              like a luxurious item. With the scent we also made a paper
              pomander and a paper coat. Both are items that can carry the
              smell. We chose paper because when you test perfume in a store,
              you get a small paper strip on which the perfume is sprayed. The
              look of the paper coat and the paper pomander both hints towards
              the texture of fur.{" "}
            </p>
            <Img
              fluid={data.pomander.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />
            <p>
              * The pomander made of layers of paper. It can carry the fur scent
              by applying the perfume onto the paper surface. Once the scent
              fades away, it can be re-applied.
            </p>
            <p>
              <strong>F:</strong> The paper pomander actually also looks like an
              animal’s tail, as it is a long cord with a dot of ‘hair’ at the
              end.
            </p>
            <p>
              <strong>P:</strong> The look of the pomander, made from hair like
              cut-outs from paper, refers to the look of fur and therefore gives
              a hint of what to be expected when you smell it. Pomanders were
              originally also often richly decorated and made from expensive
              materials, therefore it also became a status symbol of the elite.
              The idea to make a pomander from paper, a ‘worthless’ material
              also questions this.{" "}
            </p>
            <p>
              <strong>P/L:</strong> Together the pomander, paper coat and scent
              make it possible to wear fur without really wearing it.{" "}
            </p>
            <Img
              fluid={data.papercoat.childImageSharp.fluid}
              className="my-8"
            />

            <p>
              * The paper coat made of paper and washi textile. The paper is
              engraved with a hair pattern. The coat can carry the fur scent by
              applying the perfume onto the paper surface. Once the scent fades
              away, it can be re-applied.
            </p>
            <Img
              fluid={data.papercoat2.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />

            <p>
              * The engraved detail on the paper coat made by the cutting
              machine.
            </p>
            <h3>DURABILITY</h3>
            <p>
              <strong>F:</strong> This idea of the scent of a ‘granny fur coat’
              hints to the concept of the heirloom, and as you mentioned before,
              vintage. An heirloom is something we value highly as it carries
              stories of previous lives, it can be a symbol of connection
              between generations, families and loved-ones. The heirloom is an
              object that is granted a longer life than most objects.{" "}
            </p>
            <p>
              <strong>P/L:</strong> When we started the project, we described it
              as a research into sustainability and durability. Durability is a
              better word for it than sustainability. The fur coat lasts long
              and has great monetary value, therefore it is a garment that can
              easily function as an heirloom. The same goes for jewelry. As
              mentioned before, the project started from this connection that we
              saw between fur and jewelry. So, the first item that we made in
              this project is this coat with silver elements, a ‘silver – fur’
              coat. The silver jewelry elements that resemble hair, create the
              look of a furry texture, and are placed on a padded material that
              hints to the fluffiness and density of a fur coat. So, this coat
              connects the fur coat as heirloom and jewelry as heirloom.
            </p>
            <Img
              fluid={data.heirloomcoat.childImageSharp.fluid}
              className="lg:w-5/5 my-8"
            />

            <p>
              <strong>F:</strong> As you mention, considering a garment as an
              heirloom questions our fast-fashion industry of quickly discarding
              garments due to a lack in material quality and constant changing
              styles. On a personal note I do think it is important to know that
              durability is also something the fur lobby today is using to
              promote fur. Saying that it’s biodegradable and ecological.
              Opposite messages point out the many chemical processes are
              involved to preserve the skin from falling apart. In general, we
              have to take into consideration animal rights within our ideas
              around sustainability and durability. Do we really believe cruelty
              against other living beings is durable? I do believe, as you
              explore in your research, that approaching a garment as an
              heirloom would surely change our perception of garments and could
              change the fashion industry. There is some movement in Noon’s
              screen and she introduces her dog to us: Moon. Moon has short flat
              hair. She settles down next to Noon. We continue our conversation
              while Noon pets Moon.
            </p>
            <h3> DRESSING UP</h3>
            <p>
              <strong>F:</strong> When you asked me to write a text about this
              project I also had to think about my childhood. We used to have a
              big box full of garments to dress up in. In it there was this kind
              of shawl made from three matters attached to each other. The claws
              were still on there and their eyes were replaced by wickedly
              placed small dark beats. I was intrigued by it, repulsed and
              curious at the same time. This idea of dressing up also made me
              think of dressing up into an animal or turning into an animal. I
              referred to crawling into carcasses and wearing skin earlier in
              the text, but this summer I read this book Putting On The Dog,
              about the animal origins of what we wear and it explains how
              various indigenous and native peoples have a strong history in
              wearing animals hides during the hunt. “Dressed up as animals
              (FdV: in animals) whether feathers, leather or skins they must
              have seemed incomprehensible to other animals, so they had no
              choice but to accept them (…). As a disguise these garments did
              not call attention but deflected it. The hunters were invisible”
              <sup>13</sup>. Today people wear fur, they wear animals in the
              city, a place where there are no other animals, only humans. In
              this environment fur-wearers don’t deflect but become very
              visible. Today we dress up like an animal to grab attention and
              look elitist.
            </p>
            <h3>ALTERNATIVES FOR CRUELTY</h3>
            <p>
              <strong>F:</strong> Today fur is a strong symbol for animal
              cruelty<sup>14</sup> “By the 1970s the fur coat was transformed
              from a desirable female commodity to a symbol for animal right’s
              activism”<sup>15</sup> It is undeniable that the fur industry is
              one of animal cruelty. The many ways in which these animals are
              hunted, bred, kept and skinned is something that should’ve been in
              the past since long. For many, fur might resemble glamour and
              richness, to me fur is a symbol of coloniality, capitalism, the
              elite and animal cruelty.
            </p>
            <p>
              <strong>L:</strong> I think the awareness is growing in general. I
              had an intern who explicitly said she would only come to intern
              with me if we wouldn’t use real fur. So, the awareness is growing.
            </p>
            <p>
              <strong>F:</strong> Really great to hear about such determination
              coming from a student applying for an internship. As you know, due
              to this focus on fur, I was also doubting to work on this text,
              but as soon as it became clear that you use the values of fur as a
              starting point, and are not promoting fur or collaborating with
              fur producers, I saw the value of this research. What I appreciate
              about this research is that even though it wasn’t the goal of the
              project, the work doesn’t only open up a conversation around fur
              but you also come up with alternatives. The work shows that the
              values of fur (whether ‘good’ or ‘bad’) can be incorporated in
              garments or objects in different ways, showing that the use of
              real fur is superfluous. I hope our conversation, transcribed here
              as complete as possible, therefore creates awareness about the
              history and contemporary implications of fur, and besides that
              shows the explorative and layered nature of your work. Creating
              awareness about fur and the dense and layered history of fur is
              essential in reconsidering our habits in relation to fashion and
              how we connect to other living beings, and I believe your work
              does that. As I believe the fur coat is a garment not to wear, buy
              or promote at all I would surely say to wear or look at the work
              of Langendijk and Passama, instead.
            </p>
            <p>Words by Femke de Vries</p>

            <p className="font-bold">Footnotes</p>
            <div className="text-m italic my-2">
              <sup>1</sup> Steele, V. (ed.) (2010) The Berg Companion to
              Fashion. Oxford: Berg Publishers.
            </div>
            <div className="text-m italic my-2">
              <sup>2</sup> Steele, V. (ed.) (2010) The Berg Companion to
              Fashion. Oxford: Berg Publishers. p. 353.
            </div>
            <div className="text-m italic my-2">
              <sup>3</sup> The Hudson's Bay Company is a Canadian retail
              business group. A fur trading business for much of its existence,
              HBC now 3 owns and operates retail stores in Canada and the United
              States.
            </div>
            <div className="text-m italic my-2">
              <sup>4</sup> Steele, V. (ed.) (2010) The Berg Companion to
              Fashion. Oxford: Berg Publishers. p. 354.
            </div>
            <div className="text-m italic my-2">
              <sup>5</sup> “Today an average mink coat costs about 3,000 dollar.
              If it’s long, its more expensive”. Kwasny, M. (2019) Putting On
              The Dog. 5 San Antonio: Trinity University Press. p. 212.
            </div>
            <div className="text-m italic my-2">
              <sup>6</sup> Steele, V. (ed.) (2010) The Berg Companion to
              Fashion. Oxford: Berg Publishers p. 354.
            </div>
            <div className="text-m italic my-2">
              <sup>7</sup> Steele, V. (ed.) (2010) The Berg Companion to
              Fashion. Oxford: Berg Publishers. p. 354.
            </div>
            <div className="text-m italic my-2">
              <sup>8</sup> Kaufmanfurs.com (2020) [Online] Available{" "}
              <a
                className="underline"
                href="https://kaufmanfurs.com/designer-furs-mink-coats-fur-coats/kim-kardashian- 8
loves-fur/"
              >
                from:
                https://kaufmanfurs.com/designer-furs-mink-coats-fur-coats/kim-kardashian-
                8 loves-fur/.
              </a>{" "}
              [Accessed on 07/04/2020]
            </div>
            <div className="text-m italic my-2">
              <sup>9</sup> In the book The Unfashionable Human Body Bernard
              Rudofsky describes the story of Adam and Eve mentioning that “the
              fig 9 leaves weren’t sufficient as garments and the Lord, shocked
              by the turn of events, took matters in his own hands and presented
              Adam and Eve with fur coats, or what the Bible calls deprecatingly
              animal hides. There is a lot to be said for fur coats (and for
              more dapper Adam), but what does one make of the chronicle’s
              indifference not to say callousness, in skipping over a most
              significant detail: How come he does not mention the animals that
              had to give up their lives? Or where they flayed alive? Why is
              this first act of violence passed over in silence?” from:
              Rudofsky, B. (1984) The Unfashionable Human Body. New York: Van
              Nostrand Reinhold Co. p. 21.{" "}
            </div>
            <div className="text-m italic my-2">
              <sup>10</sup> Hbcheritage.ca (2020) [Online] Available from{" "}
              <a
                className="underline"
                href="http://www.hbcheritage.ca/people/governors/king-charles-ii-and-the-early-gov 10 -
ernors-of-hbc"
              >
                http://www.hbcheritage.ca/
              </a>{" "}
              [Accessed: 07/04/2020]
            </div>
            <div className="text-m italic my-2">
              <sup>11</sup> Steele, V. (ed.) (2010) The Berg Companion to
              Fashion. Oxford: Berg Publishers. p. 354.{" "}
            </div>
            <div className="text-m italic my-2">
              <sup>12</sup> A pomander is either the aromatic substance or the
              container this substance was carried in. Used in the late Middle
              Ages 12 through the 17th century, it took the shape of a ball or
              other perforated pouch or box filled with perfumes which was hung
              on belts or worn around the neck. It was worn to flavour clothes
              or linen, either for hygiene or against infectious deceases. The
              pomander also became a status symbol as they were sometimes
              expensively decorated.{" "}
            </div>
            <div className="text-m italic my-2">
              <sup>13</sup> Kwasny, M. (2019) Putting On The Dog. San Antonio:
              Trinity University Press. p. 11
            </div>
            <div className="text-m italic my-2">
              <sup>14</sup> For more information about animal rights and cruelty
              in the fur industry, as well as ways to act against animal cruelty
              check
              <a className="underline" href="http://www.www.peta.org">
                www.peta.org
              </a>{" "}
              and{" "}
              <a className="underline" href="http://www.bontvoordieren.nl">
                www.bontvoordieren.nl.
              </a>
            </div>
            <div className="text-m italic my-2">
              <sup>15</sup> Steele, V. (ed.) (2010) The Berg Companion to
              Fashion. Oxford: Berg Publishers. p. 354.
            </div>
          </div>
        </motion.div>
      </motion.section>
    </>
  )
}

export default TextPage

export const query = graphql`
  query {
    Armband1: file(relativePath: { eq: "Armband1.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    Armband2: file(relativePath: { eq: "armband2.jpg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    Armband3: file(relativePath: { eq: "armband3.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    celebcoat1: file(relativePath: { eq: "celebcoat1.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    celebcoat2: file(relativePath: { eq: "celebcoat2.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    celebcoat3: file(relativePath: { eq: "celebcoat3.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    furtextcoat: file(relativePath: { eq: "furtextcoat.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    knittedcoat: file(relativePath: { eq: "knittedcoat.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    furfume: file(relativePath: { eq: "furfume.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    pomander: file(relativePath: { eq: "pomander.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    papercoat: file(relativePath: { eq: "papercoat.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    papercoat2: file(relativePath: { eq: "papercoat2.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
    heirloomcoat: file(relativePath: { eq: "heirloomcoat.jpeg" }) {
      childImageSharp {
        fluid(maxWidth: 900) {
          ...GatsbyImageSharpFluid
        }
      }
    }
  }
`
