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The most LGBTQ+ friendly travel destinations

<p dir="ltr">As people in the LGBTQ+ community continue to face discrimination, some countries are more open and friendly to queer people. </p> <p dir="ltr">For queer travellers, there are a lot of factors to weigh up when deciding on an international travel destination, with safety always at the forefront. </p> <p dir="ltr">Luckily, <a href="https://news.booking.com/from-planning-to-personas-bookingcom-research-reveals-how-lgbtq-travelers-are-taking-control-of-their-trips/">Booking.com</a> has revealed its latest LGBTQ+ travel research, which includes the destinations that are openly accepting of gay couples, and also the places that are unsafe for queer people to be themselves. </p> <p dir="ltr">More than half (53 per cent) of Australian LGBTQ+ travellers have experienced discrimination when travelling, rising to 62 per cent for travellers across Asia-Pacific.</p> <p dir="ltr">One in four travellers say they've cancelled a trip in the past year if they've seen a destination be unsupportive of its LGBTQ+ residents and feel their safety could be in jeopardy. </p> <p dir="ltr">It’s not all bad news for queer travellers, as the travel site also compiled a top ten list of LGBTQ+ friendly destinations. Check out the list below. </p> <p dir="ltr">10. Stockholm, Sweden</p> <p dir="ltr">9. São Paulo, Brazil</p> <p dir="ltr">8. Melbourne, Australia</p> <p dir="ltr">7. Montreal, Canada</p> <p dir="ltr">6. New Orleans, Louisiana, USA</p> <p dir="ltr">5. Munich, Germany</p> <p dir="ltr">4. Chamonix, France</p> <p dir="ltr">3. Bologna, Italy </p> <p dir="ltr">2. Bogota, Colombia </p> <p dir="ltr" role="presentation">1. Amsterdam, The Netherlands</p> <p dir="ltr"><em>Image credits: Shutterstock </em></p>

International Travel

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Reviled, reclaimed and respected: the history of the word ‘queer’

<p>Recently, a number of people have questioned or critiqued the use of the word “queer” to describe LGBTIQA+ folk. One <a href="https://www.theguardian.com/world/2023/jan/13/please-dont-use-the-q-word?utm_term=Autofeed&amp;CMP=twt_gu&amp;utm_medium&amp;utm_source=Twitter#Echobox=1673635001">writer to the Guardian</a> claimed that the “q-word” was as derogatory and offensive as the “n-word”, and should not be used.</p> <p>While there is a clear history of the word being used in aggressive and insulting ways, the meaning(s) and uses of queer have never been singular, simple or stable.</p> <h2>The origin of the word ‘queer’</h2> <p>Queer is a word of uncertain origin that had entered the English language by the early 16th century, when it was primarily used to mean strange, odd, peculiar or eccentric. By the late 19th century it was <a href="https://www.oah.org/tah/issues/2019/may/queer-history/#:%7E:text=Up%20through%20the%20nineteenth%20century,columns%20to%20private%20epistolary%20speculation.">being used</a> colloquially to refer to same-sex attracted men. While this usage was frequently derogatory, queer was simultaneously used in neutral and affirming ways.</p> <p>The examples <a href="https://www-oed-com.ez.library.latrobe.edu.au/view/Entry/156235">provided in the Oxford English Dictionary</a> show this semantic range, including instances of homosexual men using queer as a positive self-description at the same time as it was being used in the most insulting terms.</p> <p>Compare the neutral:“Fourteen young men were invited […] with the premise that they would have the opportunity of meeting some of the prominent ‘queers’” (1914); the insulting: “fairies, pansies, and queers conducted […] lewd practices” (1936); and self-affirmed uses: “young men who call themselves ‘queers’” (1952).</p> <p>In the 1960s and 1970s, as sexual and gender minorities fought for civil rights and promoted new ways of being in society, we also sought new names for ourselves. Gay liberationists began to reclaim queer from its earlier hurtful usages, <a href="https://outhistory.org/files/original/f6d46c5d90761e3a66edcd4fe32a6785.pdf">chanting</a> “out of the closets, into the streets” and singing “we’re here because we’re queer”. </p> <p>Their <a href="https://outhistory.org/exhibits/show/come-out-magazine-1969-1972/the-come-out-archive">newsletters from the time</a> reveal sustained questioning of the words, labels and politics of naming that lesbian and gay people could and should use about themselves. Some gay libbers even wanted to <a href="https://outhistory.org/files/original/3809edc277d5dbfd51f8883422e761b7.pdf">cancel the word homosexual</a> because they felt it limited their potential and “prescribes a whole system of behaviour […] which has nothing to do with my day-to-day living”.</p> <p>In Australia, camp was briefly the most common label that lesbian women and gay men used to describe themselves, before gay became more prominent, used at that time by both homosexual men and women.</p> <h2>The evolving use of the word queer</h2> <p>In the early 1990s, gay had come to be used more typically to refer to gay men. Respectful and inclusive standards of language evolved to “lesbian and gay”, and then “LGBT”, as bisexuals and transgender people sought greater recognition. </p> <p>Queer began to be used in a different way again: not as a synonym for gay, but as a critical and political identity that challenged normative ideas about sexuality and gender.</p> <p><a href="https://guides.libraries.indiana.edu/c.php?g=995240&amp;p=8361766">Queer theory</a> drew on <a href="https://www.thoughtco.com/social-constructionism-4586374">social constructionism</a> – the theory that people develop knowledge of the world in a social context – to critique the idea any sexuality or gender identity was normal or natural. This showed how particular norms of sexuality and gender were historically contingent.</p> <p>Thinkers such as Michel Foucault, Michael Warner, Judith Butler, Eve Kosofsky Sedgewick and Lauren Berlant were enormously influential in the development of this new idea of queer. Some people began to identify as queer in the critical sense, not as a synonym for a stable gender or sexual identity, but to indicate a non-conforming gender or sexual identity. </p> <p>Activists in groups such as <a href="http://queernation.org/">Queer Nation</a> also used queer in this critical sense as part of their more assertive, anti-assimilationist political actions.</p> <h2>Queer as an umbrella term</h2> <p>From the early 2000s, it became more common to use queer as an umbrella term that was inclusive of the spectrum of sexual and gender identities represented in the LGBTIQA+ acronym.</p> <p>Today, queer is included among the terms lesbian, gay, bisexual, transgender, gender diverse, intersex, asexual, <a href="https://junkee.com/brotherboy-sistergirl-decolonise-gender/262222">brotherboy and sistergirl</a>, <a href="https://www.stylemanual.gov.au/accessible-and-inclusive-content/inclusive-language/gender-and-sexual-diversity">recognised in style guides</a> as the most respectful and inclusive way to refer to people with diverse sexualities and genders.</p> <p>Of course, the different usages and meaning of words such as queer have often overlapped and have been hotly contested. Historical usages and associations persist and can sit uncomfortably next to contemporary reclamations.</p> <h2>Queer as a slur?</h2> <p>Contemporary concerns with queer’s historical use as a slur seem odd to me. The heritage report <a href="https://queerarchives.org.au/heritage-100/">A History of LGBTIQ+ Victoria in 100 Places and Objects</a> (which I co-authored), surveys the complexity of language use in historical and contemporary society.</p> <p>It is notable that almost all of the words that LGBTIQA+ people use to describe ourselves today have been reclaimed from homophobic or transphobic origins.</p> <p>In fact, it could be said that liberating words from non-affirming religious, clinical or colloquial contexts and giving them our own meanings is one of the defining characteristics of LGBTIQA+ history.</p> <p>While queer does have a history of being used as an insult, that has never been its sole meaning. Same-sex attracted and gender diverse folks have taken the word and have been ascribing it with better meanings for at least the past 50 years. </p> <p>Queer’s predominant use today is as an affirming term that is inclusive of all people in the rainbow acronym. </p> <p>At a time when trans and gender diverse folk are facing particularly harsh attacks, I’m all for efforts to promote inclusion and solidarity. Respectful language use doesn’t require us to cancel queer, but rather to be mindful of its history and how that history is experienced by our readers and listeners.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/reviled-reclaimed-and-respected-the-history-of-the-word-queer-197533" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

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LGBT+ history: the story of camp, from Little Richard to Lil Nas X

<p>Although camp is difficult to define, it probably doesn’t need much description. </p> <p>Ever since 1956 – when former teenage drag queen Little Richard began performing his tribute to anal sex, “<a href="https://www.youtube.com/watch?v=F13JNjpNW6c&amp;ab_channel=Darwinner">Tutti Frutti</a>”, while wearing a six-inch pompadour, plucked eyebrows, and eyeliner – camp has increasingly been accommodated into social acceptance and understanding. It has been adopted and adapted by celebrities including Dolly Parton, Prince, Elton John, Ru Paul, Lady Gaga, and Lil Nas X. It was the theme of the 2019 Met Gala, prompting widespread commentary about what camp is.</p> <p>Susan Sontag, whose work inspired <a href="https://www.vanityfair.com/style/photos/2019/05/met-gala-camp-on-theme">the Met Gala Ball’s theme</a>, wrote in <a href="https://qz.com/quartzy/1419465/susan-sontags-54-year-old-essay-on-camp-is-essential-reading-to-understand-culture-in-2018/">Notes on Camp</a> (1964) that camp is about “artifice and the unnatural”, a “way of seeing the world as an aesthetic phenomenon”. Camp, Sontag continues, is “the spirit of extravagance”, as well as “a kind of love, a love for human nature”, which “relishes, rather than judges”.</p> <p>Sontag also writes, however, that the camp sensibility is “disengaged, depoliticized”, and that it emphasises the “decorative … at the expense of content”. But camp is intricately enmeshed with queerness, and is anything but disengaged and merely decorative. Rather, in subverting social norms and rejecting easy categorisation, it has a long and radical history.</p> <h2>Camp’s political beginnings</h2> <p>For many working class queer men in urban centres such as New York around the turn of the 20th century, camp was a tactic for the communication and affirmation of non-normative sexualities and genders. This was enacted at <a href="https://www.basicbooks.com/titles/george-chauncey/gay-new-york/9780786723355/">Coney Island male beauty contests</a>, <a href="https://americanhistory.si.edu/blog/queens-and-queers-rise-drag-ball-culture-1920s">Harlem and Midtown drag balls</a>, and in the streets and saloons of downtown Manhattan. </p> <p>As historian George Chauncey established in his book <a href="https://www.jstor.org/stable/2952659">Gay New York</a>, the so-called “fairy resorts” (nightclubs whose attraction was the presence of effeminate men), which sprang up downtown, established the dominant public image of queer male sexuality. This was defined by a cultivated or performed effeminacy, including make-up, falsetto, and the use of “camp names” and female pronouns. </p> <p>These men questioned gender categories, and did so by behaving “camply”. In this way, camp evolved as a visible queer signifier. It has helped some queer people, both then and since, “make sense of, respond to, and undermine”, in Chauncey’s words, “the social categories of gender and sexuality that serve to marginalise them”.</p> <p>Decades later, in late June 1969, not far from New York’s former “fairy resorts”, a group of queer and trans teenagers used camp to dramatically shift the outcome of the <a href="https://theconversation.com/stonewall-riots-global-legacy-shows-theres-no-simple-story-of-progress-for-gay-rights-119257">Stonewall uprising</a>. A series of demonstrations against the closure of a popular gay bar, these protests are often credited with launching the gay rights movement. </p> <p>Facing an elite unit of armed police, the youths marshalled their campest street repertoire, joining arms, kicking their legs in the air like a precision dance troupe. They sang “We are the Stonewall Girls / We wear our hair in curls,” and called the police “Lily Law” and “the girls in blue”. Once again, camp accomplished a powerful subversion, this time of the presumed machismo and authority of the police.</p> <h2>Liking camp</h2> <p>Camp offers a critical stance that derives from the experience of being labelled deviant, highlighting the artificiality of social conventions. For the writer Christopher Isherwood, whose 1939 novel <a href="https://shop.penguin.co.uk/products/goodbye-to-berlin-by-christopher-isherwood">Goodbye to Berlin</a> became the darkly camp musical <a href="https://masterworksbroadway.com/music/cabaret-original-broadway-cast-recording-1966/">Cabaret</a> (1966), camp was underpinned by “seriousness”. To deploy it was to express “what’s basically serious to you in terms of fun and artifice and elegance”. </p> <p>Two of the 20th century’s campest artists, Andy Warhol and <a href="https://makeyourownbrainard.cal.bham.ac.uk/">Joe Brainard</a>, took Isherwood’s stance on camp seriously, and based much of their careers on the belief that “liking” was a valuable aesthetic. Both are famous for the camp excess of their imagery, producing work that featured multiple iterations of camp images. </p> <p>For Warhol, it was Marilyn Monroes and Jackie Kennedys. For Brainard, pansies and Madonnas. Even, in Brainard’s case, a transgressive, dramatic account of how much <a href="https://blog.lareviewofbooks.org/interviews/wonder-talking-joe-brainard-andrew-epstein/">he liked Warhol</a> , featuring the words “I like Andy Warhol” repeated 14 times. Warhol also embraced camp as a personal style, performing a theatrical effeminacy that equated to a strategic queerness designed to discomfit those among his contemporaries who held him to be “<a href="https://www.penguin.co.uk/books/575/57574/popism/9780141189420.html">too swish</a>”.</p> <p>Warhol’s use of camp finds an echo, in the 21st century, in the work of <a href="https://theconversation.com/lil-nas-xs-dance-with-the-devil-evokes-tradition-of-resisting-mocking-religious-demonization-158586">Lil Nas X</a>, a musical artist who similarly deploys Sontag’s iteration of camp as “a mode of seduction — one which employs flamboyant mannerisms susceptible of a double interpretation”. </p> <p>His smash hit “<a href="https://www.youtube.com/watch?v=w2Ov5jzm3j8&amp;ab_channel=LilNasXVEVO">Old Town Road</a>” (2019) is a queer country/hip-hop cross-over, whose music video is replete with sequins, tassels, chaps and choreographed dancing. Much of this was ignored by some fans who only appeared to notice Lil Nas X’s commitment to camp on the release of the video for <a href="https://www.youtube.com/watch?v=6swmTBVI83k">“Montero (Call Me By Your Name)</a>” (2021).</p> <p>Montero features the biblical Adam making out with the serpent in the Garden of Eden, before gleefully riding down a stripper pole to hell where he performs a lapdance for Satan (all characters played by Lil Nas X). Like Warhol, Lil Nas X uses a camp style to put visuals to repressive narratives and double standards. </p> <p>In particular, he claims camp transgression for black queerness, enacting, once again, a critical stance on the contradictions and condemnations that serve to marginalise those who don’t, or can’t, conform. His work confirms, in other words, that camp is much more than a quirky outfit. That it is a strategy, as much as a style.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/lgbt-history-the-story-of-camp-from-little-richard-to-lil-nas-x-174501" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

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Peppa Pig has introduced a pair of lesbian polar bears, but Aussie kids’ TV has been leading the way in queer representation

<p>Peppa Pig’s first same-sex couple, a pair of lesbian polar bears, were recently introduced after <a href="https://www.theguardian.com/tv-and-radio/2022/sep/08/peppa-pig-introduces-its-first-same-sex-couple" target="_blank" rel="noopener">a petition to include a same-sex family</a> received nearly 24,000 signatures.</p> <p>Children’s television has often been a place to push the boundaries of diverse representations onscreen. In particular, Australian children’s TV has been a global leader in screen diversity, including gender and queer representation.</p> <p>Emmy-winning Australian series <a href="https://www.imdb.com/title/tt10614090/?ref_=nv_sr_srsg_6" target="_blank" rel="noopener">First Day</a> (2020-22) tells the story of a transgender girl starting high school.</p> <p>Another Emmy-winner, <a href="https://www.imdb.com/title/tt8747140/" target="_blank" rel="noopener">Hardball</a> (2019-21) includes gay dads for one of the lead characters.</p> <p>Even recent updates to The Wiggles’ line-up has placed a greater emphasis on gender diversity, including <a href="https://www.news.com.au/entertainment/music/the-wiggles-announces-four-new-band-members-with-focus-on-diversity-gender-equality/news-story/dbc914965a83332c857e7665b3639ba0" target="_blank" rel="noopener">adding a non-binary unicorn</a>.</p> <h2>Diverse representation</h2> <p>Children’s TV is often less risk averse than programming aimed at adults.</p> <p>The ABC is <a href="https://journals.sagepub.com/doi/10.1177/1329878X16687400" target="_blank" rel="noopener">empowered</a> to take risks with representations of gender and sexuality in children’s programming because of its publicly funded role.</p> <p>But such progressive portrayals can sometimes chafe with outdated expectations of children’s television. In 2004, Play School <a href="https://www.tandfonline.com/doi/abs/10.1080/07380560802314128" target="_blank" rel="noopener">faced controversy</a> for showing lesbian mothers.</p> <p>As social acceptance has progressed, Australian children’s TV has been able to achieve more queer representations.</p> <p>Talking to the Queering Australian Screens <a href="https://djomeara.com/phd-research/" target="_blank" rel="noopener">research project</a>, television professionals often praised the genre for its openness to new ideas, representations and bringing in new talent.</p> <p>Tony Ayres, Creator of <a href="https://en.wikipedia.org/wiki/Nowhere_Boys" target="_blank" rel="noopener">Nowhere Boys</a> (2013-18), observed those who commission children’s TV are “generally very open to diverse representation”.</p> <p>This representation happens behind the scenes, too, with Ayres describing how these shows often give new talent their first credit.</p> <p>David Hannam, who has written for several kids’ TV shows including <a href="https://en.wikipedia.org/wiki/Dance_Academy" target="_blank" rel="noopener">Dance Academy</a> (2010-13), said children’s television “has led the way”.</p> <p>Speaking of his time at the Australian Children’s Television Foundation, Hannam noted the foundation had an “almost charter responsibility” to show diversity on screen, “with great caution and responsibility”.</p> <p>Julie Kalceff created First Day, which starred a young trans actor, Evie McDonald, as a trans girl starting high school.</p> <p>When she was developing the show, Kalceff shared that she was initially concerned about what would be allowed on children’s TV:</p> <p>There were no trans people on television. There were no TV shows with trans actors in the lead role. I thought there’s no way the ABC is going to do this. And there’s no way they’re going to do it with kids’ TV. But to their credit, the ABC was so supportive, and was so behind the project from the beginning.</p> <h2>What audiences want</h2> <p>It is not only TV producers who are eager to widen representation in children’s television. Audiences are also seeking out more inclusive content.</p> <p>Just like Peppa Pig in the UK, there have been calls in Australia for more diversity in animated hit Bluey, with the show adding its <a href="https://10play.com.au/theproject/articles/bluey-introduces-first-auslan-signing-character-in-a-new-special-episode/tpa220616bswgm" target="_blank" rel="noopener">first Auslan signing character</a> in June.</p> <p>One of our research projects, Australian Children’s Television Cultures’ <a href="https://www.swinburne.edu.au/news/2022/05/new-research-shows-the-way-families-watch-TV-is-changing/" target="_blank" rel="noopener">2021 survey</a> found 90% of Australian parents believe diverse representation is an important element of children’s TV.</p> <p>As one father explained:</p> <blockquote> <p>Diversity on screen helps children learn about people with different upbringings from their own, expanding their empathy for and curiosity about other people.</p> </blockquote> <p>In contrast to the controversy Play School received nearly 20 years ago for its inclusion of same-sex parents, a mother praised the show for “doing a fantastic job” of depicting diversity in relationships.</p> <p>Not everyone believes Australian television is doing enough. One survey respondent praised the way shows like Bluey reflect Australian culture, but said he would “love to see more LGBT representation […] It would be nice as a kid to know you’re valid.”</p> <h2>Uncertain futures</h2> <p>The streaming era has changed how families and children watch TV. This raises concerns about the future of Australian children’s content.</p> <p>The recent <a href="https://theconversation.com/cheese-n-crackers-concerns-deepen-for-the-future-of-australian-childrens-television-147183" target="_blank" rel="noopener">removal of quotas</a> for Australian networks to air a minimum number of hours of children’s television, alongside the absence of quotas on streaming services, has led to <a href="https://tvtonight.com.au/2022/09/producers-slam-hypocritical-networks-as-australian-childrens-tv-plummets.html" target="_blank" rel="noopener">a reduction</a> in the production of local kids’ TV.</p> <p>From Play School to Bluey, children’s TV has reflected the richness of Australian cultural life. There is a risk that if Australian child audiences need to rely on international content, future generations will not see themselves on screen.</p> <p>With the loss of local voices, Australian kids’ TV may also lose its ability to push boundaries of diversity and inclusion.</p> <p><strong>This article originally appeared on <a href="https://theconversation.com/peppa-pig-has-introduced-a-pair-of-lesbian-polar-bears-but-aussie-kids-tv-has-been-leading-the-way-in-queer-representation-190648" target="_blank" rel="noopener">The Conversation</a>.</strong></p> <p><em>Image: Peppa Pig</em></p>

TV

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‘Queer Eye’ star's haircare range now available

<p dir="ltr">Jonathan Van Ness, Queer Eye’s expert on haircare and personal grooming, has taken his hugely successful clean haircare brand to Australia and New Zealand.</p> <p dir="ltr">Van Ness launched JVN Hair in mid-2021 in US Sephora stores, partnering with biotechnology company Amyris to create the range of 11 haircare products that aren’t gendered and can be mixed and matched.</p> <p dir="ltr">The Netflix star, who has worked as a hairstylist for 15 years, told <em><a href="https://www.news.com.au/lifestyle/beauty/face-body/queer-eye-star-jonathan-van-ness-launches-jvn-hair-in-australia/news-story/876b46da5732bc09bcc7a5368c3cd406" target="_blank" rel="noopener">news.com.au</a></em> that he used his experience to create a product for “everyone” that targets common hair concerns over types of hair.</p> <p dir="ltr">“I’ve got a huge passion for education and understanding product, it’s really important to achieving hairstyle - especially achieving and maintaining healthy hair,” Van Ness explained.</p> <p><span id="docs-internal-guid-1bb19a45-7fff-514e-fe82-80507f2ad7ff"></span></p> <p dir="ltr">“So whether you’re someone who has really fine hair or you’re someone who has thick, coarse, kinky coily hair, all of our products are going to work for you.”</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CZsLaZfOd78/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CZsLaZfOd78/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by Jonathan Van Ness (@jvn)</a></p> </div> </blockquote> <p dir="ltr">Van Ness said the range, which cost between $28 (NZ 32) and $43 (NZ 49), features a “hero” ingredient called Hemisqualane, an alternative to silicone that’s synthesised from sugar cane that he says is superior for helping protect and repair hair.</p> <p dir="ltr">“Silicones coat the hair and prevent any of the benefits of other ingredients from being absorbed into the hair, whereas Hemisqualane penetrates the hair’s core better to repair, protect and smooth your hair immediately and over time,” Van Ness said in an interview with <a href="https://www.sephora.nz/beautyfeed/article/jvn-launch" target="_blank" rel="noopener">Sephora</a>.</p> <p dir="ltr">“It’s an amazing, clean, sustainable ingredient that works wonders on hair,” he told news.com.au.</p> <p dir="ltr">“It’s also silicone free and sulphate free which is also good for the environment as well as your hair, so we just love Hemisqualane.”</p> <p dir="ltr">Van Ness also stressed that the products were “non gendered” and that the messaging - including the tagline “come as you are” - were designed to be inclusive.</p> <p dir="ltr">“For so long the beauty industry has been very exclusive in who it caters to,” he explained.</p> <p dir="ltr">“It’s always been trying to make certain people feel more welcome.</p> <p dir="ltr">“I was assigned male at birth and I always felt like I wasn’t supposed to want to play with my hair and I wasn’t supposed to want to feel beautiful. So I always felt unwelcome in the beauty space.</p> <p dir="ltr">“So I just want everyone to know, no matter who you are, your gender, your age, your race, you’re allowed to play with your hair and feel beautiful while doing it.”</p> <p dir="ltr">The range of JVN Hair are available to purchase <a href="https://jvnhair.com/" target="_blank" rel="noopener">online</a> or in Sephora stores in <a href="https://www.sephora.com.au/brands/jvn" target="_blank" rel="noopener">Australia</a> and <a href="https://www.sephora.nz/brands/jvn" target="_blank" rel="noopener">New Zealand</a>.</p> <p dir="ltr"><span id="docs-internal-guid-eaa6d0b0-7fff-74b7-b403-e4858d55a996"></span></p> <p dir="ltr"><em>Image: @jvnhair (Instagram)</em></p>

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