Charitable project documenting true representation
of the breast cancer community after treatment


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our community

The 'archive' on Instagram was created to support individual breast cancer survivors who share selfies and personal anecdotes of their diagnosis, treatment, and recovery process. Their courage to share has inspired numerous online communities, offering sympathy and information to those facing the same battle. We aim to connect with these people, re-post their images, and reach a larger audience to promote awareness and self-acceptance.

Please send us a message or tag your photos @thefaketitfund for submission to the archive.

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curation and collaboration

The Fake Tit Fund products are designed to be noticeable and spark dialogue surrounding breast cancer recovery and treatment. The growing curation of goods will sustain the project with 50% of proceeds donated to charity. Our aim is to continue developing the TFTF product line through creative collaboration, and increase our donation to charity. 

If you are interested in collaborating with us, we would love to hear from you. Send us your ideas at hello@thefaketitfund.com or message @thefaketitfund. 

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portrait project 

With the remaining funds, we are producing a portraiture project with the aim to document the wide demographic of people effected by breast cancer. The nude series will feature one hundred breast cancer survivors, and demonstrate differing recovery processes and ensuing aesthetic decisions. By bringing focus to mastectomy scars, breast reconstructions, "going flat", nipple and breast tattoos, etc., we hope to support the community throughout and after treatment by acknowledging and exploring their changing sense of identity. 


boobs, fake boobs, no boobs, one boob:  

The fake tit fund project 

Early 2016, my mom's best friend was diagnosed with breast cancer. Genetically, it was expected to happen, but emotionally it was devastating news. Suzannah, who is an incredible and hilarious woman, was faced with something that lacked a sense of humor. At the time of her diagnosis, the discussion of “fake tits, post-op” offered an optimistic edge for her. I was interested in how the treatment plan of breast cancer included follow-up aesthetic decisions that each victim of the disease is left to decide upon and deal with. The realization that part of a person’s identity, breasts, could be removed due to disease and reconstructed by choice, inspired The Fake Tit Fund. 

My aim was to explore the reality of reconstruction following breast cancer treatment. I planned to document the physical and emotional process of healing and adapting to a new identity and new breasts. As I began approaching people on Instagram, I noticed many survivors opting out of reconstruction, documented through their personal accounts, as well as seeing more visuals of women "going flat" in the media. My focus broadened as I became aware of vastly different aesthetic decisions made by the community. 

The objective is to visually demonstrate how many people are effected by breast cancer, and how differently each survivor adapts to their new physical identity. Through the archive of submitted and found images, and a photographic series that will develop as the TFTF community expands, I seek to offer a sense of support to those dealing with this difficult, and often very private transition.

 

With love, 

Isabel Ulatowski, creator and director
@isabelulatowski

 

 
Suzannah feat. TFTF Boobie Ring

Suzannah feat. TFTF Boobie Ring

Special thanks:

Wax and tools used in the making of the 'Boobie Ring' were donated by The Workbench London / Brand logo created and donated by design duo Matt & Dan / 'Boobie Ring' photography donated by Johnny Birkbeck and Habiba Nabisubi / TFTF merchandise has been stocked in store at Pärla in London and Splendiferous Boutique in Fort Bragg, California


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'TFTF Project CIC' trading as 'The Fake Tit Fund' is a registered Community Interest Company by The Registrar of Companies for England and Wales.
Company #10831904 given at Companies House on 22 June 2017.