In the first lecture of my chosen fashion promotion pathway, we have been getting familiar with what an "editorial" is, and the different styles of editorial. Although most of the styles I was familiar with, it was nice to be shown clearly what defines certain genres of editorial (for example a collections story vs a designer profile) as the lines of what differentiates each kind of editorial can be quite hard to spot out. To demonstrate our understanding, we were given the task to find our own examples of each kind of editorial, and 'editorial' style campaigns.

Here is the list of what we had to find:

An editorial you like (why?)

• An editorial you don’t like (why?)

• A beauty story

• A collections story

• A designer profile

• A ”celebritorial”

• A still life

•A campaign you like (why?)

•A campaign you dislike (why?)



Ray Petri shot behind, 1983. Photography Brett Walker.

"Buffalo Movement: a collective of photographers, designers and artists that took the spirit of British youth culture and shaped the landscape of 80s fashion."

Next we were given a talk on "The Buffalo Movement" - This was presented to us alongside a short documentary (narrated by my long lost mother, Neneh Cherry) which briefly covers the details of Buffalo then goes on to demonstrate how it lives on in the youth today - in the form of a Dr Martens campaign. (Video here, I won't ramble into the details of the movement.)

The concept of how the movement lives today, was the basis of our first brief. I thought the Buffalo scene was a really good place to start, as when looking at fashion, the importance of youth/streetculture and the way it creates and effects artistic movements is pivotal for creatives to understand. The Buffalo movement is a prime example of how Caribbean culture mixed in with British heritage, working-class and youth subculture could be taken from the streets into print.

For me - a mixed heritage British born Londoner raised by first and second generation working-class Jamaican migrants - it was really refreshing to see someone like Ray Petri (founder of the movement, pictured left) who was extremely well travelled and -as demonstrated in his work- an arguably authentic understanding of street culture, create a movement that gave opportunities to people who weren't conventionally in magazines.

In my opinion, authenticity plays a real role in this movement, as I find myself constantly let down by publications who try and emulate street/youth culture and past cultural movements like "rudeboys" but just touch the surface in such a 2-dimensional way. Though I when I have seen it done justice is when the photographer has done things that Petri was known for, like when he got eccentric street-casted London kids and took them to model for a show he was running in Japan. Thats how you get the authenticity, otherwise at its best it would only be an ode to the culture. I came to the conclusion that this is what Buffalo meant to me - Petri and his crew realised that something iconic was happening in the streets, clubs, estates etc and weren't going to be like "oh thats cool, wouldn't we look cool if we used Jamaican slang?", they immersed themselves in it and used kids, young POC and put them in places they were not conventionally seen. They became a tight group who all gravitated to each other and created together and that was something I could really understand and identify with.

In reflection, learning about the buffalo movement was another reminder to me about how important it is to use my platform as a creator to voice whats happening culturally around me as an inner-city London creative.

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