Moving Beyond Binary Consent and the Notion of ‘Bad Sex’

Unrigging the Game: An Ode to Moving Beyond Binary Consent and the Notion of ‘Bad Sex’

Phd  law student, Chiara, explores the post #metoo world and its implications for the outdated notion of  binary consent. Do you want to have sex? You sure?

As the viral campaign surrounding #MeToo reaches its anniversary, it’s worth remembering that the origin of the phrase goes back to 2006 when activist Tarana Burke founded the Me Too Movement as a way to help women of colour who were survivors of sexual violence. But what has actually changed?  In the tag’s anniversary week, the ranks of men who have re-entered and/or remained in the powerful and privileged echelons of society, despite women having come forward with stories of abuse at their hands, include: Louis C.K who is performing stand-up again after a quick hiatus since he admitted to sexual misconduct after accusations from five women; prominent news anchor and the man who had a secret button under his desk that allowed him to lock his office door from the inside, Matt Lauer, apparently determinedly told fans he will be “back on television” after being accused of sexual harassment and subsequently fired from NBC in 2017; celebrity chef Mario Batali, who finds himself “eyeing a second act” and “examining whether there is a way for [him] to step back into his career after taking a leave of absence and apologising for accusations which surfaced describing his inappropriate and abusive behaviour towards women; and finally, the decades old stories told and trauma relived by black women detailing sexual misconduct by singer R-Kelly which  have for the most part been ignored, allowing him immunity from any backlash and permitting him to continue his career performing at concerts around the world.

These men sit amongst and are propped up by the President of the United states who remains the President despite at least 22 women coming forward accusing him of sexual misconduct between 1970 and 2013 (this only one of a plethora of things which should disqualifying him for office). Unsurprisingly, Trump has also endorsed the-GOP Senate candidate Roy Moore.

But the anniversary week of #MeToo culminated in one of the most salient moments yet — the confirmation of Brett Kavanaugh. On completion of an emotionally gruelling testimony to the Senate Judiciary Committee, Dr Christine Blasey Ford explained how at a high school party she believed Brett Kavanaugh was going to rape her after he and a friend forced her into a bedroom alone. Kavanaugh proceeded to grope her and tried to take off her clothes. A week later, Brett Kavanaugh was confirmed to the highest possible judicial post, after frothing at the mouth in front of the committee in an effort to defend himself against the allegations. The message is clear: ladies, you will suffer re-victimisation through the re-telling of abuse while your assaulter rises the ranks unscathed. I anticipate hearing more about the ease with which women can accuse a man of sexual misconduct, how allegations can bring men down in one fell swoop, destroying their careers and in Trump’s words,  “ruin(ing) men’s lives”.

Sadly, it is almost expected that society and will continue to make excuses for boys and men despite all of this. Brett Kavanaugh was “just” a teenage boy and we all know that “boys will be boys”. Donald Trump succumbed to that infamous and shudder-inducing “locker-room talk” on the Access Hollywood tape. Let’s not forget Stanford swimmer, Brock Turner, who engaged in “twenty minutes of action” when, during a college party, he sexually assaulted a woman behind a dumpster. The himpathy is rife, it knows no bounds and is prevalent beyond these examples. It seeps so deep that these men and their behaviours are the standard.  In so many male spaces, sex is about conquest, their own self-interest and entitlement. Men can assert their masculinity and perform for other men through sex with women. They’ve banged ,smashed, torn up and destroyed so much, that as Peggy Orenstein, author of Don’t Call Me Prioncess, notes, it sounds more like they’ve returned from a construction site than had sex.

Another feminist author, Rebecca Traister observes, the game is rigged. In this hazy world, women are told that consent to sex is an individual, autonomous process, one in which we can easily say yes or no.  Consent is something that men get from women. Men set the terms, their needs are the priority and they are positively entitled to a climax, just look at the orgasm gap.

Women? Women are the gatekeepers of that yes or no to sex and the onus is squarely on women to communicate their decision clearly. Whether their consent or refusal to sex is respected is another matter. But, as a result of this binary framing of consent, we are left with a dichotomy between sexual assault or sex positivity; and there seems to be no in-between. What about all those foggy memories of sloppy sexual encounters which we did not want, but gave in to? The ones which were covertly coercive that we questioned the next day? Rationalising: assuring ourselves it wasn’t rape. But what was it? A phenomenon that has no name. Perhaps these experiences are similar to the ones that over half of American undergraduate students note – women more so than men – when they were found to have consented to unwanted sex at some point. The reality is that women in heterosexual relationships are, quite honestly, oftentimes having sex which encompasses a grey area between male boorishness and sexual assault. This sex is so normalised and so common that it has come to be accepted as just bad sex. It’s almost a rite of passage—wade through the bad sex to (hopefully)  get to the good stuff.

How do we unrig the game? Should consensual sex be the standard? Of course, consent is important, but there is another dimension that we need to consider. We need to make  a more nuanced analysis of the inequalities of hetero sex. If we are to think about consent, what it means and what it looks like, we need to understand and acknowledge that consent cannot always be negotiated meaningfully and equally. Consent doesn’t exist in a vacuum, uninfluenced by external factors like cultural and societal norms. What’s more, women cannot simply be thought of as agentic beings, grabbing their opportunity to give an enthusiastic, yelling-from-the-rooftops yes to sex without hesitation. Given that women are so often encouraged to respond enthusiastically in all kinds of contexts despite their feelings, it just isn’t that simple. Figuring out how to recognise the erotic potential of heterosexual interactions and advocating for a sexual integrity that focuses on the negotiation of an individual’s pleasures and desires is thus imperative. Young men need to be spoken to early on about this. About pleasure, gender dynamics and healthy relationships. A multi-dimensional, inclusive sexual politics of this kind will offer a shift from the binary understanding of consent and the heavy reliance on men’s wants and needs when it comes to sex. And in return, gendered power relations, cultural and societal structures and the ways in which they impact the ability of individuals to meaningfully negotiate consent and sex in positive environments will be acknowledged.  

Listening to women is essential, but if the #MeToo movement is going to make real, monumental change, and if we are to learn anything from its stories, we need to shake everything up and start again. Platitudes and  endless hashtags have quite truthfully come to a nausea-inducing point. We need to challenge our culture, its outpouring of sympathy with powerful men and its aptitude for encouraging women to perform their pain only to turn on its heels and say: but maybe she is confused about what happened. Men and boys need to be taught that women’s bodies are not sites to perform and enact their male entitlement. No more propping up men, excusing their behaviour and blaming it on the ‘boys will be boys’ trope. Rather than boasting about your conquests, measuring us, rating and scoring us, how about considering whether or not you actually made us feel good? That would be a sexual standard that I could get behind.


Chiara is a second year PhD candidate at the University of Edinburgh School of Law. Informed by the theoretical framework of heterosexual scripts and using symbolic interactionism as a method of inquiry, Chiara’s socio-legal research explores how fraternity brothers in the United States conceptualise and negotiate sexual consent in a time where sexual misconduct policies are ever shifting on college campuses. She is currently a J-1 Scholar at the University of Texas at Austin and received her MSc in Inequalities and Social Science from the London School of Economics.

Venus Libido


Illustrator, activist and all round boss bitch Venus Libido tells us all… 

Tell us how you got into illustration?

I started illustrating at the beginning of 2017 after deciding to move out of London to focus on my mental health. It was a great way to articulate my emotions and better understand why I was feeling the way I was. Very quickly it became my form of therapy. When I started drawing I would draw personal scenarios in which I had found myself in the previous year. Scenarios including my alcohol addiction, overdosing and just generally not being happy with my physical and mental state. I wasn’t sure if I should share them online until my partner convinced me that what I was drawing was important and others might find it helpful.

Where do you turn to for inspiration?

My Inspiration comes from my everyday experiences as a woman, dealing with my mental health and my journey to self love. I try to be open and honest about the things I draw and I keep a long list of ideas in my phone. Every time I have an odd thought or experience an uncomfortable feeling or situation I document it so that I can come back to it.

Who or what has pushed you to keep going?

My followers. I know my work has helped a lot of people feel not alone with their personal problems. I get a lot of messages from girls explaining how I’ve helped them go through difficult situations because what I draw is honest and relatable.

What advice would you give to yourself 10 years ago?

I have a few…

  1. Be more selfish
  2. Being alone is ok
  3. You do not exist to please others
  4. Your body is beautiful, continue to love it
  5. Masturbation is not just for men
  6. Talking is the key to recovery
  7. Everything WILL BE OK!

Who has inspired you the most in your day to day life?

I would definitely say my mum. I have watched her bring up 3 children with no help while also caring for my dad who has a disability. The strength she has to keep going everyday despite the amount of obstacles that have got in her way is truly inspiring. She’s a bad ass woman!

What was it like doing a photo shop free photo shoot?

Absolutely amazing! Firstly I was made to feel so comfortable and the team just made the whole thing so fun and beautiful! For me it is important to embrace who you are and photoshopping is a big NO NO.

Tell us your plans for 2019 so far…

I have a few things lined up including hosting a huge event with my fave girls at Women of Power and Sister Magazine. ELEVATE will be a amazing and empowering day. Full of workshops, talks and brilliant like minded brands. Come join in at the Curtain hotel in Shoreditch for a day of exploring how to find balance as a creative in work & business. 

I am also collaborating with a few of my favourite brands this year which I am super excited for. However my main goals are to do more traveling, more charity work, continue to work on my journey to self love and I also have some ideas that I want to film.

Oh and I would love to do another big animation!

Did you make any new year’s resolutions this year?

I made a list of goals and things I hope to achieve this year rather than things I want to change which include;

  • Move back out of my parents house
  • Go to LA
  • Make more animations
  • Watch more live comedy
  • Learn how to make the perfect Porn Star Martini
  • Mastrubate more 🙂

Are you more of a witch or a bitch?

I am definitely a REEK BITCH! I took me a while to find my confidence but now I feel in control and no one one is getting in my way.

Describe your favourite REEK perfume in 2 words…

Sweet yet Spicy.

What are your favourite smells and why?

Lavender oil because it relaxes me and coconut and papaya because it reminds me of being on holiday. I also love the smell of burning wood and pizza ovens.

Want to see more of Venus’s work? Yeah we thought so!
Follow her HERE

Get your tickets for Venus’s ELEVATE event. A day of networking, panel discussions and brilliant brands (we’ll be there with free stickers and perfume too!)

Alice Dyba Wise Words


Artist Alice Dyba gives us her bitchy/witchy take on the female form and the importance of daydreaming with smells and spells.

Tell us about some women who inspired you.

I am inspired by wild, creative, free women. Ground breakers, artists and misfits. Punk rock goddesses, Silver Factory Superstars, Women who refused expectations in different times in this world…

June Miller, Frida Kahlo, Edie Sedgwick , Anita Pallenberg,Marianne Faithfull, Patti Smith, Alison Mosshart, Tracy Emin, Jemima Kirke… the list goes on!

How integral is body image to your art?

Body IS my art. Female form is present in pretty much all of my pieces. The nudes I am creating are the strongest. They have no clothes on but after one look you will know that they are queens of fucking everything. I LOVE painting women and got absolutely no desire to do anything else. Bodies in my art are distorted, skinny, crude … all those things, but that makes them perfect. I tend to play with female form, I capture the body in quite classical,academic way but then distort it with my natural need for strong lines, vibrant colours and a never-ending game with rules of anatomy. Some bones seem broken and limbs bend in unnatural ways which in the end feel right. There’s also a lot of movement involved so even though the subject matter may seem HEAVY and STRONG it gives it certain lightness… Think Courtney Love wearing pink fairy wings… That is the clash of heavy and light I’m talking about.

Which image you’ve created is your favourite?

Every new image is my favourite. Then I am done and I let it go freely to make other people feel. Whether it’s love or desire or horror or mixture of them all. I don’t cherish my work, I want to spread it around and if you decide to glue it to the wall like a concert poster I will be happy. I don’t make art to put away, I want it to live in different spaces, with different people. I adore the fact that most of my buyers are women. It gives me a feeling of complete accomplishment. There I am, celebrating the female form, with all these nudes but it’s not empty sexiness , created for some guy’s bedroom wall. It is for women who think it’s weird, beautiful, strong… That is what I am about.

As a female artist what are your biggest challenges?

The biggest challenge is the fact of just being female. There is very few women in history of art books. People I know from art schools are pretty much all dudes. So boring! The challenge for me, like many female artists, is to support each other against male domination in art world. Times are changing and I know that history of art books will be far more interesting in few years time. It’s so inspiring to see talented female artists online. It’s a complete explosion of uncompromising talent. From fine art to tattoo art.

What advice would you give yourself a year ago?

I would repeat like a mantra – Bitch, do not compare yourself with anyone. Ever. Be confident in what you are doing. You are talented and you got it. The future starts slow. You will get there.

More advice – you don’t need to be high or drunk to express yourself in art. Be healthy and strong, don’t try to be a Rolling Stone when you can be Alice Dyba.

Tell us about a beauty campaign that made you feel angry or ugly.

I don’t want to have anything to do with ‘beauty campaigns’. They are worthless. Fake promises, perfectly shaved legs advertising waxing products, porcelain skins and I’m here with my breakouts. NO. Thanks. Women should be saved from that bullshit, especially young ones who might believe it and strive for unrealistic goals. I want to see campaigns with women with body hair and tattoos, like myself. Otherwise go away. I think women should be shown an alternative approach to health and beauty. Natural ways/ingredients. There is so much out there but we are bombarded with fake stuff. I want to go back to oils and herbs. I always try to share my knowledge with other women. If something worked for me it might work for you and it’s not made with half of Mendeleev’s periodic table. We all need some hemp oil in our lives right?

What smell sums you up best?

POWERFUL, STRONG, ORIGINAL, MYSTERIOUS, RAW, REEK. Smell is so important to me. I am low maintenance as hell but I am not leaving my house without a bottle of perfume. Smells help me in my daydreaming and going back in time. It’s magic. It’s incredible how one perfume can smell different on each person. Fascinating chemistry! I always put perfume on before I leave the house in the morning, it’s a ritual, a sort of a spell that can keep all the bad stuff away. It makes me feel strong, confident and complete.

Are you a bitch or a witch?

Although I’ve been called a BITCH many times I am definitely more of a WITCH. I’ve hidden some good spells in my paintings. See for yourself.

See Alice’s work here

Page, stage and poetry


Iona Lee casts her poetic magic over us. From page, stage and poetry Iona tells us about the importance to hold the door open for the ones coming behind …  poems are spells.

Tell us a bit about yourself.

My name is Iona Lee and I am a poet, performer and illustrator raised on the beaches of East Lothian. I live in Glasgow with my pet rat Egon. I fell into the spoken word scene as a 17 year old, and it has gradually taken over my life ever since. I enjoy old pubs, new notebooks, Indian ink, Angela Carter and wild swimming. I have a pamphlet out with Polygon and I front a band called Acolyte.  

Was there a particular moment that inspired you to get into poetry?

Not quite a moment, more a culmination of many. I have been writing short stories and poems since I was wee. I cherished being read to and spent my formative years around performers, actors and theatre-makers so I have always adored stories and the many ways they can be told. I remember a storyteller with a clarsach coming to my school; she bewitched us.

The work of a performance poet oscillates. You have to be good at spending long periods of time alone, and then you also have to be outgoing and sociable, good at taking control in loud bars and venues. I think that my personality suits those two extremes and so while I accidentally fell into spoken word as an art form, I am realising with time that it is the perfect art form for me.

What issues do women face in your industry?

There are – roughly – two camps in the poetry world and you can live in both or focus more on one or the other. We call them ‘page’ and ‘stage’. The two are inextricably linked, but while they are related there are definite differences. Stage poetry has fewer gatekeepers, it has a more DIY feel (you could technically set up a spoken word night wherever you wanted) and so there are more marginalised voices. The ‘published poet’ looks more like the typical archetype of the older white man, though there are loads of small presses out there doing amazing work on poetic equality. As with all things, gender in poetry is an intersectional issue.

As a female performer your sexual attractiveness and your age, your class and your accent, your race and your confidence all feed in to whether people want to listen to your stories or not. It is important to hold the door open for the ones coming behind, and to remember the generations of women before who held the door open for you.

Tell us about a campaign/advert that made you angry.

I feel cynical about most campaigns. Someone in a smoking area in a pub once told me ‘there aren’t countries anymore, there are companies’, and while that is a simplistic statement it has stuck with me. The grey area where feminism and capitalism meet is filled with insidious facts. Did you know, for example, that Dove (love yourself girls, you are all beautiful, look, this woman has a back roll!) and Lynx (women with airbrushed bodies and bouncing tits running at entirely mediocre men) are owned by the same company, Unilever?

What message would you put on our on our sticky bitches? (gender equality stickers, free on our site worldwide)

I am in touch with my inner labia.
*Brilliant, REEK agrees this should be on a sticker. 

What’s your favourite word at the moment?


What are your three favourite smells?

Blown out candles, damp forests and swimming pools.

Are you more of a witch or a bitch? 

A witch; poems are spells, and anyway I care far too much about what people think of me to be a bitch.



Queen Midas of Vermont: Gardener’s Glove,

First Cut & Frost by St.Clair Perfumes

Brilliant bitch and scent writer, the Silver Fox, on the debut of American perfumer, Diane St Clair and the beauty of her process. From butter to perfume, get ready for a smelly treat… 

As a scent writer one of the main reasons I gravitate toward niche and artisanal perfumery is that the makers, creators and artist perfumers are born to tell stories. Theirs is a different route to scent as opposed to those who enrol for perfume school and courses, inhaling their way through the exacting tenets of commercial perfumery. There is of course nothing wrong with this route and the olfactive world would be a poorer place without the dedication and determination of each new generation of perfumers trained immaculately with access to the world’s top materials courtesy of connections made as they worked their way through thousands of odours, both natural and synthetic.

I have been writing for many years now on perfume, the allure, oddities, passions and revulsions of olfaction and the remarkable people who dwell in this odd and sometimes infuriating world. Artisanal perfume makers create from the ground up. Selecting raw materials, blending, compounding, bottling and selling it; some stock sent off to selected and trusted distributors around the world. These makers are people who are instinctually gifted, raw talent that hones itself against a critical world with home-schooled gut instinct and repetitive trial and error. Some people can move a pencil across a sheet of paper, but they are hardly artists. Others can sway to pop music’s insistent beats, but principal dancers in a ballet company they are not. There must be vital fire, a natural creativity that makes such people curious and restless.

Many of my favourite artisanal perfumers are naturally gifted in other ways. Mandy Aftel, the Artisan Godmother was a weaver when she first moved to San Francisco, making her own natural dyes for yarns and she also trained as a successful therapist; these two facets of Mandy, creatrix and nurturer are still at the heart of how she conducts herself in the world of perfumery.  Her generosity and kindness are legendary. Hans Hendley is a photographer, David Moltz and his wife Kavi of D.S.& Durga are musician and architect respectively. Antonio Gardoni is an architect and designer, Dannielle Sergeant, John Biebel, Bruno Fazzolari and Dawn Spencer Hurwitz are all painters, Carlos Huber, the Director/Perfumer of Arquiste trained as an architectural historian and Paul Schütze… well, the man is a polymath with a quiver of many arrows; composer, photographer and of course composer of unique perfumes that resonate like his soundscapes and eerie electronica. Ellen Covey of Olympic Perfumes is not only an award-winning perfumer but also an expert orchid cultivator and world-renowned expert in bat echolocation informatics that was useful when she created Bat for Victor Wong’s Zoologist perfumes. Vincent Micotti at Ys Uzac was a concert-playing cellist before he embarked on his journey of musically inspired compositions. These are people who create; from ground to sky, hands stained with fretful failure, crafted elation and the beauty of personal endeavour.

Now I add the extraordinary Diane St Clair to my list of love.  She is a dairy farmer in Orwell, Vermont down on Animal Farm (yep…) Her gorgeous cows are the soft grass-fed Jersey kind, those beautiful perfect cow-cows that you picture as a child, caramel brown, big eyes and remarkable lashes. It seems somehow wrong to refer to Diane’s cows as a herd, they number only ten or eleven, so I think family is somehow more appropriate.  The butter she makes is literally like gold and despite her quiet Orwellian existence; it caused a sensation in the competitive, high-octane haute cuisine world of American top-tier eating.  Now she is composing exquisite, atmospheric perfumes reflective of herself and the world she inhabits.

She posted a picture on Instagram recently of her alluring butter and the bismuth hue vibrated with intensity. It looked more like colour pigment, linseed oil and yellow powder folded together. A decade ago Diane decided to learn how to turn buttermilk into butter the homestead way, with hard work and studious attention to detail, each part of the process with her hands on it, her nose in the milk as it were, sniffing the cow, grass and Vermont terroir that she loves so much

My interest in Diane was originally piqued by an insightful two-part essay by my friend Kafka for their blog and I urge you to read it, examining as it does Diane’s bold yet somehow understandably vivid urge to explore the full range of her terroir senses. Kafka’s scrupulous examination of the St.Clair perfumes is important in terms of how this experienced writer places Diane’s’ debut creations in the artisanal spectrum. The critique made me hungry to smell Vermont grass, thorny pollen-soaked air and rubbed leaf ambience.

Cows, butter, perfume.  Intrigued yet? Such an arc of ambrosial ambition.  The words seem simple and evocative, tugging at whatever associations we have with them roaming in our recall. But all three things in the heart, hands and mind of Diane St Clair make rich, redolent sense.

The school bus yellow of Diane’s celebrated butter is quite astonishing: a result of the rich creamy milk she is given by the Jersey cows that she loves and cares for. I asked her about the colour and she told me that the Channel Island breeds process the carotene in the grass differently from other bovines. On pasture, this translates into the sunflower yellow hue and also according to Diane a taste and whiff of seasonality. In the summer months the cows’ lush greener diet imparts a sweeter verdancy and herbaceous mouthfeel to the butter and the dry hay in the winter-feed ramps up the buttermilk content resulting in a more luxurious creamy taste. Butter that tastes of love and shifting seasons.

There is inherently a sense of uxorious unease with butter; its very animalic nature and love/hate relationship with food-lovers and diet gurus make it a sensual and forbidden substance- spreading it like molten gold over freshly cut sourdough, moist Russian rye and wrenched steaming baguette.  Oil is oil; butter is decadence.

There is a sense of wonder in what Diane does; her immersion in terroir: grass, hay, earth, rain, starlight, sunlove, her soft beloved cows, their husbandry, midwifery… their heat, colour and comfort. All of this is folded and creamed into moreish gold.

Diane hand-works her butter on marble like patisserie chefs turn pastry and chocolatiers temper chocolate; this allows her to work the fats and I suspect gives her another level of connection with the processes that matters so much to her. As well as being the colour of gold Diane’s butter has the culinary status of the precious metal. Early on she sent a hand-written note to the celebrated American chef Thomas Keller along with some of her butter – a quarter pound round, packed in a plain transparent Ziploc bag. To say he was impressed is probably understating his reaction and even now his legendary French Laundry restaurant in the Napa Valley is one of the few places where you can taste Orwell Farm butter.  Keller owns Per Se, Bouchon and Ad Hoc along with French Laundry and he was the first US chef to hold multiple three star ratings in the Michelin Guide.  In 2011 he was the first male US chef to be made a Chevalier Légion D’Honneur for his commitment and upholding of French traditions of cooking in American cuisine. He greedily (but understandably) buys nearly all of Diane’s butter with small amounts going to a couple of other blessed chefs and any leftovers or glut butter being sold along with the buttermilk at Middleburgh Natural Co-op near the farm and Saxelby Cheesemongers in NYC.

Happily for the process, the quality of her product and the welfare of her cows, Diane has resolutely resisted any obvious opportunity for expansion and more money. She is committed also to the artisan quality of her perfume process – her senses tuned to the Vermont surroundings. It seems on the surface an enviable work/life balance but I get the feeling it is has been hard fought and while the idyllic nature of pioneer-style butter making and cow devotion looks alluring, her dedication and single-mindedness has been gnarly and sleepless.  

Writing about these St Clair perfumes during an intensely fraught period of convalescence has been the most beautiful escape. I sense the perfumes’ slipstream in the air, graze fingertips through grass, and inhale air redolent with pollen and the mote-drunk air of seasonal variance. There is such immediacy and personal welcome in Diane’s perfumery, her notes, accords and blending are more akin to well-written words, pulling you into a bucolic fiction of Thomas Hardy landscapes. This mix of expanse and privacy is a key part of the sensual appeal of the St Clair scents as if Diane has an unspoken hesitancy about her skills while at the same time knowing that her compositions have instinctual memoir.

The move from butter into perfume is not as strange as it might at first seem, Diane carries her detailed preoccupation and awareness of her surroundings into acutely observed olfactive impressions of Animal Farm and its shifting seasons.  I sense an inquisitive spirit in her, someone who is aware on many levels of the odours around her and how they might fit together to create immersive scentscapes. Lots of us might feel we notice things, smell the air and flora, take in the hidebound ripeness of animals and imagine these things casting the spell of a blissful rural wander. But few of us set out to truly capture them.

Diane very kindly sent me samples of all three perfumes, but I ended up buying them, I realised I needed them in my collection. The samples were dabbers and I wanted to spray as liberally as my mood required. The mix of air and perfume in atomisers is always preferable to me unless the concentrations of essential oil suggest otherwise. The difference in atmospherics was subtle but different enough to create shifts of Vermont weather on the skin.  You also get a true sense of how richly botanical these perfumes are and the careful balancing act that Diane has achieved between surging horticulture and quiet contemplation.

As the perfume bug bit, Diane realised she would need help. She approached olfaction in much the same way as butter, small batches of excellently made product, created using the finest natural ingredients.  Diane attended a workshop held by Grasse-trained perfumer Eliza Douglas who splits her time between the UK and New York where she works for DreamAir, the highly regarded and innovative fragrance factory founded by Christophe Laudamiel, one of the most fascinating and original scented voices in the business today. With some of the industry’s big hits under his punkish belt (like A&F’s Fierce and Polo Blue…) he finds oddness in seemingly mundane accords, surrealism in the ordinary. The perfumes he created for Strangelove NYC are magical lavish constructions of carefully considered materials that both harmonise and sing along. His debut collection The Zoo is startling, each perfume loaded with dazzle and addictive intrigue. I am obsessed with Scent Tattoo, a post-coital sandalwood and leather scent that glistens and refracts like petrol spills.  The name has a brilliant double reference: scent akin to ink patterned, swirled and traced onto skin and also the Edinburgh Military Tattoo, the dizzying annual spectacle of Christophe’s beloved tartan, musical ceremony and military tradition that unfurls on the dramatic esplanade beneath Edinburgh Castle each night in August.

Eliza agreed to work and communicate with Diane, thus becoming a valued mentor, teacher and friend.  Trials, accords and hope travelled back and forth between Orwell and New York and slowly but surely Diane painted her world into a detailed and beautiful trio of perfumes.  Christophe has also helped, sampling her work and making suggestions. His payment? Diane’s delicious butter of course. He is French after all. He even visited her in Vermont and was very taken with the beauteous Jersey cows. This invaluable assistance has helped Diane hugely on her journey as a perfumer, working her way through the technical challenges of olfactive assembly and the difficulties of building accords that would hold together and help her ideas bloom.  Frost, Gardener’s Glove and First Cut are the work of a woman entranced by her environment, learning as she inhales, pulling ideas from soil, air, water and sky. They are learning scents, but the curve is divine.

Quiet is the new black.  The conception of hushed perfumery and its private harmony with skin is truly to be prized.  Bombast and targeted pomp despite selling well in some markets is ultimately unfulfilling and generic. As I have withdrawn from the world my search for authenticity in many things become paramount, including fragrance. This doesn’t mean organic or necessarily 100% natural but it does mean personal, properly artisanal makers in touch with their materials from inception to wearer.

When you work with naturals there will always be a concern that the resulting perfumery is more hushed in comparison to more conventional fragrance or the feral radiation of ouds or dessert tables groaning with gourmand excess.  Each to their own and my collection is no stranger to excess, but perfumers like Hiram Green, Rodney Hughes at Therapeutate and Tanja Bochnig at April Aromatics are using measured stillness and elemental power to explore the minutiae of environment and mood. We pause and walk their worlds, taking care to absorb the scentscapes. Diane St Clair’s terroir perfumes are the perfect embodiment of this style.

Now, onto the perfumes themselves. There is a gleeful rush of smashed jasmine in the opening of Gardener’s Glove, mixed with the green yeastiness of linden and divisive curves of waxen lilies. It is quite the start. A smartly arranged trio of apricot, saffron and enigmatic bittersweet lemon underplays the floral opening as it settles into a muted yet arresting pollen mood. This is pungently shot through with the gourmand familiarity of blackcurrant bud, deliciously tea-like, heightening the sense of garden and meadow harvest, broken stem and trodden leaf.

The concept of Gardener’s Glove is beautiful. Garden tools and paraphernalia gather gradual soul with the accruement of dirt and decay, the rubbed, snapped history of hedgerows, borders, orchards, meadows, flowerbeds, fields and woods. And there are the evocative delights of spades, trugs, secateurs, trowels and twine, bamboo, flowerpots, seed trays, kneelers and wheelbarrows. These objects, much used and well loved, they smell and feel potent with age, dust and blooms crushed across iron, wood and leather.  I’m aware that many of us don’t have access to working gardens, something that makes my heart ache as I age. Daily wanders through the Royal Botanic Gardens assuage the longing, but not quite enough.

Diane has conjured up this extraordinary concept of a gardener’s glove. I think the singular glove subconsciously is an important part of the fiction, something elegantly familiar, used over and over in a semi-feral garden drenched in bees. The leather of the glove has been healed with waxes over the years and these have absorbed the shed, porch, greenhouse and pull of leaf, berry, thorn and rain-soaked petal. Earth and chlorophyll stain the map of unfurled cracks that over time have moulded into the malleable palm.

One of the things you notice with all three St.Clair perfumes is the big naturalistic embrace of the openings, Diane imprinting the details of terroir upon us. While you are being seduced by the notes on skin you realise the diffusion of Vermont mood into the air around you. I think this frisson of weather turning, arresting us, only really comes with artisanal perfumers and the way their souls seep into the essence of their work.

Spraying Gardener’s Glove creates a rush of abandoned greenhouse, the air has a slightly different weight in my nose, and the texture somehow smells brighter, more sparkled. I get lost in meadow notes, cut grass and the odour of whispering flora. Diane has used leather and saffron to suggest the body of the glove, bolstered by a delicate use of patchouli, benzoin resin and a distinctive rice-like vetiver.  Some wicked, mucky castoreum (a synthetic form of beaver musk) and smoky fir needle add eccentricity and fleshiness to the layers of grasses, resins and citrus. This glove has rubs of intense jasmine, the blossoms leaving giddy impact on the leather. Perhaps a little soapy on the flooded nose, but then increasingly joyful and alive. No matter what else they gather, the ghost of these sensual blooms will haunt the glove like persistent enfleurage.

Each occasion of wearing affords new and subtle pleasures. The sensation of wearing nature in its tactile hazy summer residue way is at times quite moving. In the wrecked garden of the family home that my parents sold in the wake of a deeply unsettling and often bitter divorce were the remains of a Victorian coach house. In front of this was a sullen mossy greenhouse where I have blurred recollections of dissolvable seed trays and the sharp lemon-green finger sniff of tomato plants. Many of my home memories have been tainted by the rendering of a forty-five year marriage, but that top corner of the garden remains a heady recollection of linden, elderflower and decay, mingled with the abandonment of tomato plants, fractured glass and weary aluminium.  There were feral fruit trees and a mossy stone bench that had collapsed like an ancient henge. These memories were lured into life again by the dizzying, close capture of Diane’s perfume work.

They say the first cut is the deepest. Diane’s First Cut is certainly an olfactory incision of sorts in air, on skin, of some arresting beauty; the chafed herbiness of basil and rosemary initially rich, buoyed up by the honeyed pressure of a lovely rose. The effect is of early morning light in a still, warm kitchen.  Over the years of writing I have developed a reserved preoccupation with immortelle, its gorsy cicada warmth adds a sense of stillness to the opening weather of First Cut, working beautifully as the top notes mellow the yuzu fruit, its expressive facets oscillating between grapefruit, litsea cubeba and mimosa. This beautifully made start flickers and floats on card as a cold, cold hay note rises; not a tobacco, coumarin exhalation as I might have expected but the olfactive vision of a worn Shaker table scattered with fresh straw, low light, as evening falls.

It is of course skin that causes revelation and Diane’s work is no exception. First Cut is more intensely abstract and cohesive on flesh, the elements harder to read. On card it is easier to track and recognise materials but on skin, as it should be, it becomes more elusive, yet all the more fascinating. It is here that the golden-sweet hay St. Clair leitmotif stains First Cut in the most addictive way.

During the preternaturally hot weather that sulked over the city and most of Europe in June and July, First Cut felt like the most divine stint of rehab; lost in a green-thrashed floral bower, light filtering through layers of chlorophyll-rich leaves and shrubby air. A lemon tree sweats a citric mood into your recovery and lavender, roses and the lovely dry barkiness of oakmoss catches on the edges of a thousand imagined sensual throats. I really love the hay absolute Diane has used; it’s a hard note to control, small doses often dissipate and leave an uncomfortable space, but calibrated correctly and blended with imagination, hay absolute brings beautiful atmosphere and warmth to compositions.

I generally rise early but this summer I was getting up at five am to work in the residue of any night coolness before the hammer blow of the heatwave fell. With repeated wearings I’ve realised it is the entwining of rose and immortelle in First Cut, a kind of buzzing ochre-smeared madder that transmits blond pipe tobacco on skin.  In the mornings this odour utterly delights me and right now, calms the fuck out of a weary fox. As the tobacco forages skin it aids the gentle development of smoke and a grassy vanilla. The kitchen-rubbed basil and rosemary don’t completely fade but sink into the base like piquant culinary memory.

If I had to choose one of Diane’s trio that felt somehow different, it would be Frost, inspired by Robert Frost’s poem To Earthward, it is a little more insistent with a mood and reach that points to future direction and thought processes. It is the strongest of the three or at least the one from bottle to skin with the most powerful flesh bounce and echo.

It is also the part of the trilogy I have taken longest to love but that love has deepened to something akin to obsession. When you first hear the name Frost it will settle in your psyche depending on how you hear the word and your associations with it. For most of us this will be chill, cold, Jack Frost, first frost, hoarfrost and gardens veiled wedding white as dawn breaks on gelid petals, stalks and blooms. Intriguingly there is none of this in Frost, but those of who read poetry, especially American poetry will hopefully think of Robert Frost, nature poet par excellence whose emotive words profoundly shaped how America has considered its rural environs, listened to its skies and inhaled its weather. In times of bleak shadow I have often picked up my collected poems and lost myself in Frost’s revelatory natural minutiae of the human condition. I had to re-purchase my copy of his Collected Poems after lending mine to someone who lost it. (LOST IT! Don’t lend books people. Your heart will always be broken.)

Reading Frost’s poems again chronologically, I felt the power of his connections to land and spirit swell, falter, crack and mend. His words remind me that perfection is impossible and chasing it is sad folly. To Earthward, from Frost’s 1923 collection New Hampshire that also includes Nothing Gold Can Stay, and Stopping By Woods On A Snowy Evening is an eight-stanza poem that celebrates a journey of loving; the first four verses look at that intoxicating first flush of passion when anything seems possible. Love renders us immortal, senses alive to everything around us and we cannot imagine how it could ever come to an end.  The second darker, more rooted half explores the shadows of reality creeping over the light of love. Difficulty, struggle, smoke, amertume, weariness. Time marks us. The ceilidh of infatuation and first crush fades. Love is grounded.

To Earthward is not a particularly easy poem to open, but poetry like with many things in life, interpretation is subjective and often dependent on personal experience. I personally never quite forget the power of reading new poems, discovering new poets and feeling their words and rhythms blow through my mind like squalls of unexpected weather.

It was delightful to discover a poetic homage to Frost, tipping an olfactive hat to the poet’s understanding of American flora and fauna. Love as flower, love as trees, spice, petal and ground. To Earthward breaks the back of sadness and exposes the burial of love after a lifetime of shared intimate detail.  There are key natural motifs in the poem, redolent images that echo the shifting schematics of giddy all-consuming first love to the charred aromas of endings.

Frost is a noticeably stronger perfume than either First Cut or Gardener’s Glove and its initial overture is divine, a scent of Christmas homemade pomanders; mandarins studded patiently in cloves and then rolled in orris powder and left in a dry, dark place to desiccate slowly. The orris adds its own alluring odour of powdered mystery. My mother used to make these, inspired in part by Eleanor Farjeon’s poem The Clove Orange.

I’ll make a clove orange to give to my darling.

The mix of clove absolute in the base, Meyer lemon, bergamot, mandarin and woody sweet petitgrain is the most perfect rendition of freshly made pomander, the fruits sticky and dusty with labour, lined up on a juice scattered table top.  It is a persuasive start and this pomander note drifts like a heritage phantom throughout Frost’s journey on skin. It becomes less clovey as Diane replaces its sweet spiked spice with a moody smokiness in the final stages to remind us that love and the fumes of passion are essentially ephemeral concepts.

‘Now no joy but lacks salt,

That is not doused in pain

And weariness and fault;

I crave the stain

Of tears, the aftermark

Of almost too much love,

The sweet of bitter bark

And burning clove.’

If you read this out loud savouring the taste of the words in your mouth, you can smell the odours; an aftermark of woody bark and the madder-mist of clove. (The word aftermark makes me sigh with joy). The aftermark of Frost on skin, the shadows of materials lingering like past conversations in empty rooms is why I find this particular perfume so compelling. Diane has in some respects used To Earthward like a recipe, words handed down from mother to daughter, and perhaps over the years women have scribbled notes on the page. But Frost is more than this, Diane, like Frost is profoundly influenced by her surroundings and the Vermont terroir.  

Frost’s ‘…sprays of honeysuckle, That when they’re gathered shake, Dew on the knuckle.’ are given soft luminosity by the Stil de grain yellow accord that Diane surrounds with rose geranium and elderflower absolute with its lovely chocolate-dipped apricot nuances. The vividness of Frost’s ephemeral wet words is quite visceral in its olfactive rendering. When I worked in perfumery I was asked many times for sweet peas and honeysuckle, two blooms deemed as old-fashioned and unextractable. Things have moved on considerably in terms of technical applications and creativity but ultimately it is still the instinctive skill of the perfumer that allows us to experience such flowers.

The gift, or trick if you want to be churlish, is to balance the fleeting knowability of such blooms yet also impress upon us their beauty and classicism. Poets use economy and huge emotional resonance in their arsenal to move, enrage, romance, shock and awe us. The perfumer must do something similar, creating from a palette of natural materials in Diane’s case to illuminate, hopefully prompting us to inhale and momentarily conjure memories of fragile and elusive flowers.

The nostalgic paroxysm of honeysuckle, a lipstick blur of rose geranium, grass, the earth beneath us, air, grapevines and musks; these things move like weather through To Earthward as the love rises and falls to the soil, grounded by the weight of time and perhaps our own expectations of desire. Love is in the details, the minutiae of time spent together and eventually the drydown of our lives is both humbling and scented with relief, honeysuckle and the beautiful drift of smoke, clove and setting sun.

This essay has taken me months to write, Diane St Clair’s debut trio deserved this attention and intense scrutiny. They made me think a lot. I have chatted back and forth to Diane and she has been immensely kind and generous with her time. It is not telling tales to say she questions this olfactive shift in her life, immersed in the brutal delicacy of perfumery as she creates her treasured golden butter and mothers her creamy, dreamy Jersey cows.  She wonders if her work is perhaps too quiet for an olfactive world preoccupied with money, blatant trends and repetition. But as with modern cities and banal architecture there will always be delicate flowers and verdancy that peek through paving, split facings and commuter pathways. These things are all the more beautiful and valued because of their rarity and unexpected loveliness.

I search now for quietude in my life but I still want moments of intensity and difference; these don’t have to be accompanied by flashing lights and booming aromatic pomp. The fact that Diane St Clair has thought to move her considerable skills sideways from conscientious animal husbandry and artisanal butter making into the often divisive and highly competitive perfume world makes me feel at once passionately supportive and fearful. Niche is on it knees and mainstream scent is running on wearisome empty. True innovation or a natural awareness of real beauty is rare. There is a lot of talk of finely sourced materials, as if these will transmute mediocre visions and skill sets into perfume gold.

Each wearing of Gardner’s Glove, First Cut and Frost reminds me why I love artisanal scent and the world of creative olfaction but also poignantly why I chose to stop being a part of it, halting more regular essays and my social media presence, withdrawing into a world of floral photography and botany.  The words flow slower, my mind focuses a little less, burned out I guess by disaffection. But then Vermont weather dawns, my skins smells of meadows in sunlight, grass pollen and peaceful woodland. Flowers sigh, insects hum and I say to myself…Diane St Clair thank you for slowing time a little, creating perfumes of such personal resonance and grace.

Read more from The Silver Fox here.



Who doesn’t love a spill story? From sex & power, secrets & insecurities to our all time favourite, finding home in food @spill_stories instagram account is enjoyably addictive. We speak to the boss bitch who shares all… 

Tell us a bit about this project and how it came about?

Social media content is usually superficial. Often, the most challenging, real parts of our lives are invisible to others. Ironically, social media actually enhances isolation. Spill Stories is an online and offline community that uses honest storytelling to build real community among women of colour. Online, we feature series like Sex & Power and Secrets & Insecurities, where women share and connect over deeply personal, cathartic stories. Offline, our storytelling events and monthly writing workshops encourage relationships and genuine conversations. The profits from our May event, Truth & Travel, contributed towards 14 Hong Kong refugee children’s school fees.

Was there a particular moment that inspired you to start up spill stories?

Spill Stories was born out my own unhappiness. I live in Hong Kong, one of the major world metropolises, and it can be tough. The transience of the city makes it alienating. After a bad breakup and with nothing to lose, I took to my personal Instagram to start writing about some of my struggles. People commented saying they liked the writing. This feedback gave me the courage to start Spill Stories and create the community that I wanted through writing. The word spill in itself is how I believe stories are told best – honestly and unabashedly.

Are there any particular people who have inspired you on your journey?

Everything goes back to my mom. She was the very first person who encouraged me to write by buying me a journal when I was 6. Her Chinese blog on WenXueCity has received over 8.3 million views to date. I have always been impressed by her ability to express herself confidently, craft a story, and command a room’s attention. She taught me the power of words, both written and spoken. When I first started Spill Stories, I got nervous but remembered the way she would shake off obstacles with nonchalance, like, “No shit, of course I can do this.” She’s got this stubborn confidence that many immigrants have out of necessity. How else can you defy all the odds to create the unknown – a life in a foreign land with no clear roadmap? That confidence has been passed on to me and drives my ambition.

How can people get involved?

People can write posts based on the current series, which is always announced in the bio. I also would love to collaborate with other women writers and artists of colour. I want to hear people’s ideas of how to make Spill Stories better. For all of the above, just DM me on the Spill Stories Instagram, or email me at

What issues do you see people face in your day to day life that the world can find easy to ignore?

I am a Taiwanese American woman. This identity brings up all sorts of challenges that non-minorities and men don’t need to go through. How do I win respect in a room full of older men at work? How do I find belonging when I don’t fit in either in the States or Taiwan? How do I navigate the cultural distances that separate me from my parents? How can I find a significant other who can relate to both the Eastern and Western cultures I embody? I think about these questions every day.

Tell us about a campaign/advert that made you angry.

I still see backwards sexual harassment ads in Hong Kong and Taiwan that tell women to avoid male assault when the ads should really tell men to stop assaulting us. I had an infuriating conversation about this where a woman, over a networking lunch, told me my ideas were inappropriate because some women also assault men, and my ad would assume men are the only party to blame. What? Of course women can assault men, but most assaults are by men. And more importantly, we should be demanding men don’t assault us instead of placing the burden on the women to avoid / navigate these actions. Fuck that. We didn’t stay in touch.

What message would you put on our on our sticky bitches? equality stickers, free on our site)


What are your three favourite smells?

Brownies in the oven, clean laundry, Taiwanese beef noodle soup. 

Are you more of a witch or a bitch?

Me? Ha. I’m a boss bitch.

Yes you are. 

Daina Renton FÉROCE

Daina Renton Interview

Daina Renton, the fierce editor of FÉROCE magazine, shares her bitchy, witchy truths, love of cats and favourite smells and spells… 

Tell us about your publication Féroce…

Féroce Magazine is a Scottish fashion/art publication. Féroce is the publication to submit to if you’ve gone outside your comfort zone as a creative. We prefer to work with independents. Féroce is a platform for artists to spread powerful messages with their work. Férroce wants to set a standard for what this industry should become.

What keeps you motivated while juggling photography and publication?

I understand that motivation is fleeting but self discipline can be cultivated.  Obsession is what drives me to multitask several projects. When I can’t discipline myself and require motivation, I think of my mother. I remember that she managed to raise me against all odds…and I feel motivated to work my ass off. If she managed that, I can manage this.

What does witchcraft means to you?

Witchcraft to me was a source of entertainment and distraction when I was in vulnerable or troubling situations as a child. The meaning of Witchcraft to me has since changed, but I realise after a long break from it that I was a witch from the beginning. There is Witchcraft in everything I do. It’s instinctive.

Tell us about some feminists that inspire you…

There are so many feminists that I find admirable. At the moment, one feminist who truly inspires me is Diane Goldie. She’s based in London. Her clothing, art, and poetry  are just infinite food for thought. When you’re ready to witness the brutal honesty of not only realising the patriarchy, but fighting it, consult her work.

What issues do you see people face in your day to day life that the world can find easy to ignore?

Homelessness. I get really caught up in this issue. It is far too easy for people to walk past and pretend they don’t see a human being who needs help. Mental health symptoms that aren’t romanticised by books and TV shows. Addiction. That’s the easiest of all of them to ignore.

Tell us about a campaign/advert that made you angry.

Because I have a Bachelors in fashion and marketing, I know too much to be angry. I know exactly why each decision was made. Offending viewers to evoke an angry response is a key trend in marketing and advertising right now. These aren’t ‘blunders’ or mistakes.

As a former marketing manager I would encourage anyone who is offended by an advert not to share it, because it was specifically designed to be viral. I always encourage people to watch adverts for Dove, and then watch the old adverts for Lynx. Dove and Lynx are owned by the same parent company. I hope that puts into perspective how sincere companies are with the messages they put out. They will say whatever it takes to get your attention.

What was it like being part of a REEK campaign?

A fucking dream come true is what it was! I’ve been stalking the shit out of REEK for a long time. To finally get to meet the awesome minds behind the brand and above all actually collaborate on something amazing – I wear it as a badge of witchy honour. I loved the atmosphere, and how genuine the team are. It’s a breath of fresh air as a misfit to work with like-minded people who just wanna change the world in their own best way.

What causes are important to you and why?

Recognition, representation, and equal opportunities for black and ethnic minorities. It’s important to me because it should be important to everyone.

Reusable sanitary products. I think Mooncups or Diva Cups should be distributed into low income households and even more so the homeless – even cheaper, and better for the planet than conventional sanitary products. It’s important to me because everyone deserves to bleed with dignity and if the world can be saved we should save it.

What is your favourite REEK sticker?

Witches Unite is my favourite sticker. Witches I mostly meet or hear of tend to be solitary practitioners. We’re all lone wolves in sheep’s clothing sometimes. That’s how I interpret the sticker; a reminder to us and a warning for ‘them’. Sooner or later…one day…the witches will unite.

Tell us your 3 favourite smells?

The smell of cats’ foreheads, garlic breath and Damn Rebel Witches. I think everyone is going to get sick of me talking about this, ha.

Are you more of a witch or a bitch?

I always say that you shouldn’t use witchcraft for any problems or tasks that could be easily solved through mundane means. I’m equal parts bitch and equal parts witch though truthfully. I’m resented like a bitch and feared like a witch. Both of those are just fine by me.

More about FÉROCE magazine here.

We Are All Activists

We Are All Activists
By Kennedy Younger Dold

Writer Kennedy Younger Dold  looks at the phenomenal success of the youth movement in politics today through the lens of history.

All over the land, the kids have finally startin’ to get the upper hand.
They’re out on the streets, they turn on the heat,
And soon they could be completely in command.
(Sweet, 1974)

Museums and galleries are quiet places. The stern, official portraits of historical figures make it all too easy to forget the vitality of the stories on display. But, those tales demand to be told. They are the stories of the young, the restless and the rebellious. History tells us stories of many young people who achieved notoriety.

In 1777, Sybil Luddington rode twice as far as the more famous midnight ride of Paul Revere to warn of attacking British regulars during the American Revolution.  Not only did she ride twice as far, but at 16, she was half his age as well. Joan of Arc was 17 when, leading from the front, she inspired the French army to victory after victory during the Hundred Years War with England. Henry V was 29 at the Battle of Agincourt.  Flora MacDonald was 24 when she helped Bonnie Prince Charlie escape after the 1745 Jacobite Uprising. Victoria was 18 when she became Queen. Alexander the Great conquered and created an empire at the same age. Mary Shelley, at 20, published Frankenstein.  At 23, Nellie Bly was exposing inhumane conditions in American asylums.  To pile on even more extraordinary achievement, she traveled around the world in 72 days… just to beat the fictional record set in Jules Verne’s classic Around the World in 80 Days.  Flash forward to the 20th century and the rise of the self and culturally aware teenager.  In 1977, Carrie Fisher’s Princess Leia (age 19) (although fictional) brought hope to a galaxy far, far away. Young people shaped the post-war years: staging protests, fighting for civil rights, and writing pretty incredible music.

All these people were decades from their first grey hair; yet, they shook the ground beneath them. Today, people are surprised by their ages. People remember Queen Victoria as an aged monarch in black mourning clothes. They often forget the fiery woman, just 18, who fought to govern in her own right.

Today, it is regularly held young people need to reach an arbitrary age to fully understand the world. Older generations dismiss their opinions as naive and unsophisticated. They insist younger generations ‘wait their turn.’ So when is a generation’s opinions worthy of consideration?  In America, you are legally an adult when you turn 18; you can vote, get married, sit in judgment of your fellow citizen on a jury, be charged criminally, enlist and go to war. Oddly, you cannot order a pint until you’re 21. However, attaining legal age doesn’t seem to convince older generations that a level understanding of the world has been achieved or that expressed points of view are of any value. Historically, acceptance seems to come down to an individual’s drive to create change and the allied ability to jam their foot in the door and grab opportunities.

The most common roadblock to seizing a historic opportunity is a sense of helplessness. When faced with injustice, it is exasperating to hear ‘nothing can be done.’  Of course something can be done! It may happen in simple baby steps, but incremental change, no matter how minor is still forward movement.

It does not matter how old you are; what matters is your voice and actions.  Your action maybe the genesis of a movement lost in time. It can also be the last weight needed to tip the scale and open the floodgates.

In the worse sense of tragedy, this February in Parkland, Florida 17 high school students and staff were added to the already too long list of domestic mass-shooting victims in America. However, instead of only offering ‘hopes and prayers,’ students as young as 14 rose above tragedy and created the Never Again Movement.  Emma Gonzalez (age 18) became its face. She helped to organize, plan, and execute nationwide marches and rallies culminating in the massive March for Our Lives in Washington DC and sibling marches across the country on March 24. Even my own small hometown in Kansas assembled in support. Emma and her friends put intensive pressure on the National Rifle Association (NRA) and the politicians who accepted their donations.  Originally, the NRA focused almost solely on hunter and gun safety. In the last decades it has devolved into an extreme right-wing lobby group fighting any restrictions or reservations to unfettered gun rights. Regardless of public opinion or reasonable and rational measures to control gun violence, the NRA has maintained a stranglehold on any gun legislation. For the first time in a generation, the young students of the Never Again Movement have defied the odds and pried open a national dialogue.  In response, many states have begun to pass laws requiring increased background checks and bans on the sale of military assault-style weapons, high volume magazines, and accessories designed to increase rapid-fire capabilities.

The Parkland students turned a terrible act of violence into a tumult for change.  Almost immediately NRA and right-wing critics began the age-old chant: ‘high school students are too young, too naive to understand the interworking of American politics.’  They need to ‘wait their turn.’ The students’ response was quick. They were old enough to understand the dangers of getting shot; they were old enough to demand reforms. Their message was clear, if the adults were not going to do anything to protect their lives, to secure them safe schools and communities – then it was up to the youth to do it.       

Earlier on the other side of the globe, Malala Yousafzai was 15 when she was targeted and shot by the Taliban in 2012.  Since she was 11, Malala had been writing accounts for the BBC’s worldwide audience about life under Taliban occupation.  From tragedy, she turned to activism. At 17, she became the youngest recipient of the Nobel Peace Prize for her work on education for women and young girls.

Lauren Duca (age 27), a columnist for Teen Vogue, realized her platform to help young women understand the world around them and seized it.  In a startling op-ed about President Trump’s lies and ability to gaslight the American public, she caused a media fervor. Lauren became a spokesperson for young American women; and was interviewed on some of the largest US news outlets and talk shows.  Famously, on Fox News’ Tucker Carlson, Lauren affirmed young women in America can, should, and do understand the world around them. Responding to his criticism, she asserted young women could have a world outlook and still enjoy fashion, make-up, and personality quizzes. The duality of young people to both understand complex issues and enjoy life is what makes them incredibility resilient.  It helps them to avoid the dangers of disillusionment. It keeps them driving for change. They see how beautiful and amazing the world can be and are not afraid of living in a diverse world or facing the unknown.

To achieve a progressive worldview, young people must move beyond only thinking on a grand, Romantic historic scale and realize ‘great deeds’ are made up of daily actions and choices. It was only after the fact, after history studied and documented and realized the significance of an action that they were deemed extraordinary.  History’s young people did not necessarily realize the gravitas of their choices. They simply acted in the face of the challenges. The same ability to act in incremental steps is within the capacity of everyone.

The 2016 election became the origin of a generation of young voices, who realize they have a responsibility.  Although crushed, I voted in that election. The worst part was explaining to my, then 17-year-old, sister, why her country didn’t care enough about her to vote for her future.  Why her country sided with a platform with planks to restrict the autonomy of her body, the access to her education, the ability to marry who she loves, and would allow the deportation of her friends.  I reminded her, we still and will always have the chance to do something. We can be sad, we can get mad, but we must stand back up. We must, in the words of a defeated but not silenced Hillary Clinton ‘never stop believing that fighting for what is right is worth it.’

There has been a dramatic rise in women running for office and young voters using their voices. To date, many have won their primary elections and stand ready for the 2018 midterms.  Recently, Alexandria Ocasio-Cortez (age 28), a Democratic-Socialist, won an upset victory in the Democratic primary for the 14th Congressional District in New York.  Her voter were young, many voting for the first time.  Rashida Tlaib (age 42) won Michigan’s Democratic nomination for the House of Representatives seat vacated by John Conyers. As the Republicans did not present a candidate in their primary, she will run unopposed in November.  Come January, Rashida will become the first Muslim woman in Congress. In my very conservative, home state of Kansas, Sharice Davids (age 38) a young, gay, former MMA fighter, White House Fellow, and daughter of a single mother (who not only raised her daughter but also served in the US Army as a Drill Sergeant!) is standing against the conservative incumbent in Kansas’ 3rd Congressional District.  Additionally, if Sharice wins the upcoming November election, she will be the first Native American woman in Congress. Youthful voters must and do use their voices because they know they can make a difference.  By voting, young people shape the America they want to see. They are making America look and sound just as diverse as the young, hopeful faces they see in the mirror.


Everyday, more and more young people realize the power of their voice.  They are not different from famous figures celebrated in the history books.  They can be young people refusing to accept things ‘just the way they are.’ They ask questions, demand answers, and pave the way for a bright new future.  Historically, this is nothing new. It’s the same reaction to the same questions. Some quietly accept while others stand against the status quo. Joan of Arc had it when she was one of the first to scale the walls at the Siege of Orleans.  Henry V had it when he stood in front of his tired, downtrodden, and outnumber band of brothers at Agincourt. Nellie Bly had it when she self-admitted to one of the worst mental asylums in America to expose the reality of the conditions. Emma Gonzales had it when she stood silent for 17 minutes in front of a crowd in Washington DC to honor her friends who lost their lives to senseless violence and political negligence.   Lauren Duca continues to write politically astute articles for Teen Vogue. She proves teenage girls are not only intelligent but have insightful and important things to say. The Parkland students could have faded into yet another American tragedy, but they said no. To an entire nation, they said ‘never again.’

In my new home, in Scotland, the same spark lives. Here, 2018 has been celebrated as the Year of Young People. It has witnessed university students using their platforms to organize marches, meetings, and charity drives. On other fronts, young women refuse to have their careers halted by glass ceilings and young men are making conscious efforts to identify and combat sexism.  These stands have often meant confronting their own friends. Young people volunteer time to work political campaigns, work in shelters, or simply provide an ear to listen to those previously ignored.

The power and potential of being a young person transcends geographic boundaries.  We don’t see walls as barriers. Instead, walls are there to be climbed. Better yet, young people petition and protest, so walls are never built.  Young people go forward with open minds. Just because something works does not mean it cannot be made better. Just because something has been that way for a long time, does not mean that it is not time for change.  Young people are reaching out to each other to work and stand together. The Damn Rebel Bitches of the past did it and this self-proclaimed Damn Rebel Bitch is just getting started.

The young people of the past teach us to not sit silent – especially not today.  As Bishop Desmond Tutu said, ‘if you are neutral in situations of injustice you have chosen the side of the oppressor.’ Sitting silent is only acquiescing to injustice.  It is naïve to think you are too young to make a change in this world. You grossly underestimate yourself if you believe you cannot make a difference. As the students of Parkland have demonstrated, if you do not act then who will?  The heroes of the past were not superhuman, they were ordinary young people who faced challenges, saw their opportunity to make their world better, and grabbed it.

My voice may shake.  It’s terrifying standing up, but if I stay silent, if I sit down – nothing will change.  I’ll grow old wondering if I could have done something more, spoken out louder, or extended a hand just a little further to those in need.  Maybe, if you’re one of the lucky ones, you’ll be remembered in a museum or get a paragraph in a textbook. Regardless, if you stand, if you take action, you will know you confronted injustice. In decades to come you will look in the mirror and confidently know you did everything you could to better the lives of those around you and the world.

There’s plenty happening. What are you waiting for?

Never Again Facebook Page

Lauren Duca’s work for Teen Vogue

You can donate to the ACLU here

LGBTQ+ Centre London Needs You Bitch


The LGBTQ+ community in London is working together to create an LGBTQ+ community centre and they need your help. 

The word ‘community’ is hard to define. For some, it’s a common geography, a shared history or passion that brings a group of people together. For LGBTQ+ folks, it’s who we are. For us, community, can be a lifeline.

When we heard about this project we wanted to put all the bitches on red alert!

We know you will want to support this initiative as much as we do. The much-needed centre will be a space away from nightlife for LGBTQ+ of all ages and backgrounds to feel safe and call home. It will be completely accessible and multi-purpose, run by and for LGBTQ+ people as a not-for-profit. It will be open from morning until night for use by individuals and campaigning groups.

The Centre will serve as a cafe, a meeting point, a workspace and a social centre, with an information hub, research facilities and a signposting service for those seeking support to discover the brilliant charities and organisations that specialise in LGBTQ+ specific service provision.  

In just six months the Centre project has already engaged with hundreds of people through meetings, events and online, and they have garnered the support of Mayor of London Sadiq Khan, Jeremy Corbyn, Diane Abbott, the Mayor of Hackney, MPs in the local area, business owners, community groups, charities, health practitioners and the press.

The team of volunteers needs to raise £50,000 by June 13 – if they don’t make the target, they’ll lose the donations that have already been pledged. Please dig deep and give what you can.

If you have any questions, please don’t hesitate to get in touch. You can reach the team at