And in “inclusive” retailer news:

We have an ambition to become the UK’s most inclusive employer, because celebrating diversity will make us a better business. That means creating an environment where everyone feels welcome irrespective of their backgrounds or beliefs.

So says James Bailey, Executive Director of John Lewis & Partners.

Or, as an earlier John Lewis “Inclusion Report” put it, “inclusivity” will result in “a better connection to our customers.” Customers who will learn to “respect difference,” while freeing themselves of “judgement.” The project, it seems, is an educational one, and customers are among those deemed in need of education. And so,

To commemorate LGBT+ History Month, John Lewis Partnership (JLP) released a photo exhibition called the Identity Project, which highlights staff who identify as transgender or queer. The content was created as part of JLP’s 32-page internal magazine, Identity, which was distributed to the company’s 80,000 employees.

The Identity Project will also “come to life” in “a travelling exhibition on display at various John Lewis locations.” Regarding the project, its creator, photographer Chris Jepson, says,

I started the Identity Project in 2019 to create a community portrait and redress the visual narrative that LGBTQIA+ people look a certain way. By exhibiting our portraits and stories in public locations I am hoping to improve community cohesion through making visible the depth and similarities in the identities we share, but also to give young queer people role models to look up to, to counter the constant need to be perfect that social media often promotes. 

However, all has not gone entirely to plan:

Critics on social media swiftly pointed out that some participants in the photography project had troubling backgrounds — including one trans-identified male who had been uploading disturbing bondage fetish photos to his Flickr and Facebook accounts. 

The chap in question, Marc Geoffrey Albert Whitcombe, now known as Ruby Geoffrey Michael Porcelain Whitcombe, is portrayed in the Identity Project, and presented to customers, thusly:

Ruby has been part of the team at Waitrose Brighton for over 20 years. However, back in 2015, after accessing mental health support, Ruby began to realise she was transgender. 

“My identity is the chance to express my true inner self and be accepted and supported for who I am,” says Ruby. Photographed in a rose-adorned wig and while clutching what appears to be a whip:

In search of further education and deep moral improvement, sceptics unearthed other treats from dear Ruby’s social media presence:

Posting under the alias Ruby Porcelain online, Whitcombe has uploaded hundreds of images of himself in fetish gear, bondage, and lingerie. Some photos depicted Whitcombe in dresses, spreading his legs to reveal himself in women’s underwear, and others show Whitcombe holding sex toys in his mouth. 

One of the tamer offerings:

Yes, I know. You’re feeling inspired and uplifted.

Presumably, the way to “redress the visual narrative that LGBTQIA+ people look a certain way” is to celebrate the existence of dysmorphic and autogynephile men who are also devotes of bondage and sadomasochism, and who like to share photos of themselves posing with sex toys while flashing their collection of ladies’ knickers to random passers-by.

It also seems that the way to become more authentically “queer” – to express one’s true, inner self and who one really is – is to elaborately accessorise and play dress-up, and to pretend to be something that, by definition, one isn’t.

Other John Lewis employees highlighted in the Identity Project include an in-store nursery advisor and enthusiast of the ‘pup’ and ‘furry’ communities, and who is helpfully pictured wearing a bondage harness. Because that’s the mental image you want when shopping for baby paraphernalia.

This, lest we forget, will “give young queer people role models to look up to.”

Whether female customers, the backbone of John Lewis’ customer base, will be inspired to shop harder and more often by the thought of employees bringing their autogynephilia to work, as Maya Forstater put it, remains to be seen. Ditto bondage fantasies and wearing rubber dog costumes. Perhaps well-off ladies in search of posh frocks and upscale furnishings will be dazzled and enchanted by the thought of sad, cross-dressing men in thigh-high boots who like to share photos of themselves smeared with unspecified white substances.

Also unclear is whether the elevation of employees’ tiresome kinks to the status of unassailable “identities,” and therefore something to be gushingly affirmed, will result in “a better business.” With customers feeling a warm affinity, on account of those “similarities in the identities we share.”

Needless to say, the memes have begun.

Update, via the comments:

Liz notes the unhappy combination of baby products and bondage harnesses, and asks, not unfairly,

What the hell were they thinking? 

Well, quite. I was in John Lewis recently, buying towels, and at no point did I feel a need to know about the cross-dressing bondage activities of the sales staff. Whether the person bagging my towels likes to dress up as a pantomime dame while brandishing instruments of torture was not, it has to be said, foremost in my mind.

The weirdly woke marketing of John Lewis – and the jarring mismatch with the tastes of its customers – has been noted here before, in the update to this.

And the ideological shoehorning currently underway has been explored by James Esses, here.

Update 2:

Following media coverage and widespread customer disaffection, the touring Identity Project has now been withdrawn.

However, rather than acknowledge the incongruity of the project and its dubious conceits, points aired many times by critics, a John Lewis spokesman has claimed, “We have closed the exhibition for the safety and protection of our partners.” Apparently, being mocked on social media by unhappy customers is a safety issue now. One therefore has to wonder whether anything much has been learned by John Lewis executives.

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