Kids these days

From all of my recent onstage rants in support of youth (thanks to the blindly trusting adults who allowed me to do so). Join the revolution.


Youth have somehow always ended up on the right side of history – if only in retrospect. Time and time again, fresh eyes and fearless minds discredit the cynical institution’s blind antagonism of change. Idealistic? Of course. Impractical? Perhaps. But never impracticable. The expansion of that Judy Blume young adult chapter between childhood and adulthood prompted the emergence of a distinctive youth culture via radical student movements of the 50s and 60s – too opinionated to succumb to authority, yet footloose to adult responsibility and certainly defiant to the mandates of parents, universities, governments, The System. Paradigm shift after shift, youth at their best have continued to perceive and drive conversation around fundamental injustices to visible minority groups. At the very least, they have defined monumental leaps in style, art, film and music.

No mean feat.

Yet, each generation eventually grows into a prescribed mentality of what capitalism calls “success” and “security”, and erases rebellion, blind passion, and furious ambition from their pragmatic everyday. In the absence of true innovation, they seek to impose their newfound norm on their children. Humans are creatures of habit, after all.

And so, we arrive in 2016. Social norms and attitudes are slowly but surely approaching universality. Certainly, justice and equality have decades of progress yet to transpire, however varying proportions of society do acknowledge these as problems. The adult world finds itself in a strange time where information is the more dominant, more valuable and yet the more immediately obtainable currency than decades of nine-to-five billable hours. Youth, the presumptively insatiable consumer of goods, media, and money, is starved of relevant product stimulus and substance within their vernacular. Publication after publication, product after product, impose out-dated values on what they think the 18-to-25 year old female or “21-to-30 year old male “needs” and “wants”, without once consulting the very minds they attempt in vain to capture. Such efforts inevitably fail, and live out their days ignoring sunk costs and manufacturing “engagement” data by syndicating content of listicles and Kardashians that will be sure to generate clicks this afternoon – we’ll worry about next year later. As such, the greatest product and media success stories are born of their own: the 30 Under 30, the student body, and for a time, the Silicon Valley. So many twenty-somethings’ value is not in the copy room, at the beck and call of their superiors, blinded by self-serving corporate structures, but rather in the boardroom, out of what society defines as their comfort zone, challenging archaic frameworks. The tables of authority have turned.

And yet, as always, it’s a double-edged sword.



Infinite access does not imply knowledge. Education, in pop culture, has somehow diminished in value in the lifecycle of a career. For many, this means opportunity in the face of social inequality – and of course, the underdog and unlikely hero should continue to be championed as role models that succeeded against all odds. Anything is possible. However, for the most recognisable category of young people, it reinforces the age-old indictment of youth as lacking direction, impetus, and motivation. The pure possibility of immediate possession or information – clicking to buy something online that will be delivered to their door within hours, uncovering any answer to any question at their literal fingertips, having a free and unfettered soapbox for any opinion (well-informed or not) – does not, and cannot, warrant entitlement. The millennial, as much as they resent the label, cannot assume instantaneous accessibility to all aspects of life. “Want it now” cannot apply to gaining the respect of their community and peers, or their career trajectory. The most revolutionary ideas and attitudes will remain unrealised and nebulous without hard work. In that regard, there really is no overnight secret to success – indeed, there is no overnight success at all.

But perhaps, this is not a new phenomenon. Perhaps mothers of every generation have despaired amongst themselves at the uncouth youth they have reared. Did we fail? Why won’t they listen? What do they know? Perhaps it is to be that for every jolting and progressive change to the ecosystem, there must be some encumbering equaliser to keep us in the eternal cycle of two steps forward and one step back. Perhaps it’s just a rite of passage.

You decide.












Margaret Zhang 章凝 is an Australian-born-Chinese filmmaker, photographer, consultant and writer based between New York and Shanghai. Since establishing her website in 2009, Zhang has gone on to work with global brands including CHANEL, Swarovski, YEEZY, Bulgari, Gucci, MATCHES, Under Armour, and Louis Vuitton in a wide range of capacities both in front of and behind the camera, while completing her Bachelor of Commerce/Bachelor of Laws at The University of Sydney. Zhang’s directing, photography, and styling has been employed by the likes of VOGUE, L’Officiel, Harper’s BAZAAR, NOWNESS, and ELLE internationally. She has been listed in Forbes Asia’s 30Under30 and TimeOut’s 40Under40, and her work has been recognized as shaping the international fashion industry by the Business of Fashion BoF500 Index for four consecutive years. CNN has identified Zhang as a leading fashion photographer in Asia and ELLE named her the region’s most influential digital voice. She went on to be the first Asian face to cover ELLE Australia. In 2016, she co-founded BACKGROUND, a global consultancy for which she specialises in Western-to-Chinese and Chinese-to-Western cultural bridging for a range of luxury, lifestyle, and brand initiatives. In 2017, she exhibited a series of 39 unseen photographic works as a solo show in Sydney, and premiered her first short film – a 15-minute exploration of her visceral relationship with classical music on both performance and abstract planes – to critical acclaim. In 2018, co-curated the first annual FOREFRONT Summit focused on inter-industry problem-solving at all scales of business. From this king summit, Zhang developed FOREFRONT+ – a round table series of candid conversations covering subject matters of universal concern. In 2019, THE FACE Magazine engaged Zhang as Creative-Director-at-Large for Asia for its relaunch. Zhang is currently working on her first feature film.