Trend Report: Modern Masculinity

Non- Conformity

Fig. 1 (The Modern Man, 2017)

This report reflects the recognition of an emerging Trend: Modern Masculinity, a sub-trend of the Macro-trend, Genderless. It explores the evolution of genderless fashion, dismantling old stereotypes of menswear and advocating the softer side of Masculinity.

CONTENT 01

Introduction

03

Evolution

07

Modern Mascuklinity

011

Moodboard

013

Trend: Re-Fleshingly Short

015

Trend: High Gloss

017

Trend: Hidden Transparency

019

Trend: Embossed Metallics

021

Appendix

Fig. 2 (Hedwig, 2018)

Introduction | 01

“This is not a prediction, it is simply a law of desire vs a law of need.”

Fig. 3 Second Skin, 2015)

Been and gone were the days of gender differentiation, the stereotype of what makes a woman a woman and a man a man has been put to sleep. Amid the ongoing extremes and social unrests the world faces, there is a shift in perception as neutrality and equality become the most forward-looking standpoint.

Over the past year, a study by GLAAD showed that the population of young people identifying as non-binary has doubled, with 12% of young people identifying as something other than cisgender. (Poll, 2017). The public is becoming more open and receptive towards the blurring of traditional gender conceptions, as conversations surrounding gender expression gains momentum.

People no longer search for content based off gender specifications, but into whatever they resonate with.

With a growing commotion on the topic of “genderless�, and the impacts and relevance it has brought forth in the fashion industry, it is important for us to be well informed about the proper ways of bringing this concept forward.

With that being said, this is not a prediction. It is simply the recognition of a shift in consumer demand, addressing individual and personal needs that do not fit into the mass market. It is the law of need vs the law of desire; An act of granting everyone an equal voice in social development.

Fig. 4 (Ĺ imon Kotyk by Jork Weismann, 2010)

Fig. 5 (Graffito - Salmon/Cream, 2018)

Evolution | 03

“Agender identific identify

Fig. 6 (Tamy Glauser By Benjamin Vnuk, 2016)

is a term often used as an ation for people who do not with or conform to any gender.”

Urban Dictionary, (2011).

The term “genderless” has been introduced for a couple of years now and in fact, is nothing of breaking news.

The movement started in 2011, whereby women dressing androgyny was a key look and gender neutral icons such as the “Femiman” were being commercially publicised.

In 2016, the industry rebranded “genderless” to “genderful”, in an attempt to showcase it in a more positive light. (Ohnemus, 2016). To represent inclusivity in all forms of self-expression and dismantle old stereotypes associated with fashion.

In respond to that, big players such as Marc Jacobs, Gucci and Louis Vuitton brought impactful campaigns to the table to bridge gaps between gender-specific clothes. An example, would be Louis Vuitton casting Jaden Smith in its S/S 16 Womenswear campaign.

Whereby, Smith was photographed wearing a skirt from its collection alongside a cast of female models, displaying the breaking of gender norms and instilling a culture of openness in the evolution of fashion.

(Napoli, 2016).

Fig. 7 (Agender, 2015)

Fig. 8 (Gucci S/S 16, 2016)

“Agender is not about harnessing a trend, but rather tapping into a mind-set and acknowledging and responding to a cultural shift that is happening now.� (Dennis, 2018).

Fig. 9 (Louis Vuitton Series 4, 2016)

Fig. 10 (Marc Jacobs S/S 16, 2016)

However, times have changed and moving into the future, brands need to start considering the fact that it is no longer about trying to be genderless; borrowing looks from each gender and putting it into the other, whereby pink is for boys and blue is for girls. (Beyond the Stereotype: Modern Masculinity, 2017). It is no longer about attempts at creating a collection of jeans and T-shirts and deeming it as “genderneutral”. It is time to move on from that outmoded idea of clothes being “genderless” or “unisex” and advance towards the idea of making it accessible for everyone, making it Agender.

Fig. 11 (Where Do We Go From Here, 2016)

Fig. 12 (Hi Will, 2018)

Modern Masculinity | 09

Modern Masculinity

Moving forward, masculinity is getting a rewrite. Rejecting classical connotations of yesterday and celebrating the fresh take on diversity, authenticity and vulnerability. Modern Masculinity advocates the alternative side of manhood – the displaying of softness, emotionality, homosexuality and the retouching of body image. The new masculine aesthetic is natural, seamless and unique.

Emphasising on the usage of ofter and more translucent fabrics like sheer, the accentuating of waistline and at long at last, socially acceptable short shorts. The Incorporating of never before seen silhouettes that are deemed as a threat to the physical prowess. Modern Masculinity is about wearing whatever empowers you, regardless of it being hyper-masculine or hyper-feminine and carrying it with an air of confidence. (US: Gen Z Masculinity, 2017).

Fig. 13 (Hedwig, 2018)

““Aristotle said that human beings are unique in the world because they are the only creatures who can re-write their nature. So, isn’t it about time we re-wrote the nature of man’s dress sense?

I think so.” (Sinclair, 2017).

Fig. 14 (The Sovietsky Hotel, 2015)

“Masculinity is about being a strong person on the inside, with a sense of self-confidence and being, to be actively living and doing what one wants to do and have conviction in just that.

Metrosexual and gender roles blurring is ever present, but this does stop what the average male will look to as a focal point when growing up.� ( JACKSON, 2017).

I’m sure politics have something to do with it, but more and more, i think people are challenging the ideas of gender as something that is black and white.�

(Comey, 2017).

Fig. 15 (The new romantics of Palomo Spain conquer New York, 2017)

Moodboard | 013

“The only exception to the bleak picture is men’s fashion, Edelkoort argues, saying that men are increasingly interested “in fashion and accessories as well as cosmetics and fragrances.”

(Edelkoort, 2015).

Fig. 16 (Little Vanya, 2017)

Here is an analysis of the rising trends for Spring/Summer 19, focusing on new takes of gender fluidity and the celebrating of Modern Masculinity.

Fig. 17 ( Moodboard, 2018)

High Gloss | 015

Trend: High Gloss An adaptation of A/W 17/18’s Wet look Mac style, the exploration of coated fabrics continues, going beyond outerwear pieces to shirts, trousers and everything else.

Silhouette: Due to its malleability and crumpled nature, designers played to the material’s advantage, coming up with shapes that suit all masses. From body hugging trousers and tops to heavier bodied coats and jumpsuits.

Print & Pattern: With the wet-look finish being such a huge statement on its own, different shades and colours were being experimented with, especially bright and bold colours, to display an energetic contrast and youthful twist.

Material & Details: Patent Leather and Pu coated fabrics are used to create its glossy finish. To add a commercial edge to the look, urban grey hues and neutrals were being used for a more sophisticated feel.

Fig. 24 (High Gloss Red, 2018)

Fig. 18

Fig. 19

Fig. 20

Fig. 21

Fig. 22

Fig. 23

Fig. 25 (Trend: High Gloss, 2018)

Fig. 26 (High Gloss white, 2018)

Re-Fleshingly Short | 017

Trend: Re-Fleshingly Short With a rewrite in masculinity, it is now socially acceptable for men to be seen baring more flesh, as shorts that are refreshingly short swept the runway, important shows after show this Spring/ Summer 19.

Silhouette: A Striking balance between athletic styles and resort playboy feels, variations of shorts such as neatly cropped and tapered, slim-cut, and boxy silhouettes are being introduced and here to stay.

Print and Pattern: With a new take on smart luxury, whites are commonly used for a premium look, alongside baroque floral and textured looking fabrics to jazz it up.

Material & Details: Super-light fabrics such as organic cottons, synthetics and traditional/weave wools are used. Additional detailing includes elastic waistbands, grosgrain and satin trimmings, taping down of side seam and in off-kilter placements.

Fig. 33 (Fashion Branding, Jackie Smith, 2012)

Fig. 27

Fig. 28

Fig. 29

Fig. 30

Fig. 31

Fig. 32

Fig. 34 (Trend: Re-Fleshingly Short, 2018 )

Fig. 35 (Cream Dream, 2015)

Hidden Transparency | 019

Trend: Hidden Transparency Throwing out old boy codes of vulnerability being frowned upon, it’s all about celebrating men in their expressive and gentle forms now. There isn’t a better timing to implement sheer fabrics to bring about the movement of displaying strength and masculinity through softness and transparency.

Silhouette: Designers are finding more commercial ways to use semi-sheer qualities experimenting with different weights and structures, from delicate skin tight sheer pieces to boxy structured formal pieces. Playing around with timeless, contemporary looks.

Print & Pattern: Pearlised and iridescent finishes are popular to create a gleaming sheen giving off a more angelic look. Subtle renders of Pattern in low contrast levels are also common.

Material & Details: Super-fine yarn gauges take hold, bringing a semi-sheer finish to shirts, long sleeves and outer wears in animal and synthetic fibres. Colours from the pastel family are used for a refreshing modern twist.

Fig. 42

Fig.36

Fig. 37

Fig. 38

Fig. 39

Fig. 40

Fig.41

Fig. 43 (Hidden Transparency, 2018)

Fig. 44 (Sheer, 2014)

Embossed Metallics | 020

Trend: Embossed Metallics With futuristic influences gaining momentum in the London collections, textured metallics became a key look in big shows such as Maison Margiela and Paul Smith, garnering eye-catching effects.

Silhouette: Echoes in unison: LUXE! LUXE! LUXE! From boxy structured outer wears to tailored tops and trousers, and silk shirts.

Print & Pattern: Metallics were repeatedly seen on the runways in animal textures and opulent jacquard patterns. Both as accent panels in a look, or head-to-toe whole garments, as directional statement looks.

Material & Details: Technical synthetics and silks were woven with ornate brocades and metallic yarn inclusions. Mainly in lavish burnished golds and pastel tints, to add on a luxurious decorative dimension.

Fig. 51 (Gold Metallic Texture, 2012)

Fig.45

Fig. 46

Fig. 47

Fig. 48

Fig. 49

Fig.50

Fig. 52 ( Trend: Embossed Metallics, 2018)

Fig. 53 (Lost in my Life, 2010)

Appendix | 022

Reference List Bibliography

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9. JACKSON, R. (2017). Beyond the Stereotype: Modern Masculinity. Beyond the stereotype. [online] Wgsn, p.11. Available at: https://www.wgsn.com/ content/board_viewer/#/70705/page/11 [Accessed 12 Nov. 2018].

10. Comey, R. (2017). Gender-Neutral Dressing Isn’t a Trend, It’s the New Normal. [online] Who What Wear UK. Available at: https://www.whowhatwear. co.uk/gender-neutral-fashion [Accessed 12 Nov. 2018].

11. Edelkoort, L. (2015). Li Edelkoort publishes manifesto on why “fashion is obsolete”. [online] Dezeen. Available at: https://www.dezeen.com/2015/03/02/ li-edelkoort-manifesto-anti-fashion-obsolete/ [Accessed 12 Nov. 2018].

Illustration List Cover Image: Pinterest. (2018). Vogue Hommes International | Vogue Hommes J’adore | Pinterest | Vogue, Fashion and Mens fashion. [online] Available at: https://www.pinterest.co.uk/ pin/511510470148626518/?lp=true [Accessed 11 Nov. 2018].

Back Cover: Hedwig. (2018). [image] Available at: http://fuckingyoung.es/hedwig/ [Accessed 12 Nov. 2018].

Fig. 1: The Modern Man. (2017). [image] Available at: https://www. wgsn.com/content/image_viewer/#/image.26408234 [Accessed 12 Nov. 2018].

Fig. 2: Hedwig. (2018). [image] Available at: http://fuckingyoung.es/ hedwig/ [Accessed 12 Nov. 2018].

Fig. 3: Second Skin. (2015). [image] Available at: http://www.numerique.it/en/punkt-magazine-summer-2015-second-skin/ [Accessed 11 Nov. 2018].

Fig. 4: Šimon Kotyk by Jork Weismann for Under the Influence Magazine. (2010). [image] Available at: https://www.thefashionisto.com/ simon-kotyk-by-jork-weismann-for-under-the-influence-magazine/ [Accessed 11 Nov. 2018].

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Fig. 6: Tamy Glauser By Benjamin Vnuk. (2016). [image] Available at: https://previiew.com/home/newsboard.html?/author=benjamin%20 vnuk/__limitstart__=10/__pager__=2 [Accessed 11 Nov. 2018].

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Fig. 10: Marc Jacobs S/S 16. (2016). [image] Available at: https://www. wgsn.com/library/results/ids/24136764%7C24136767%7C24136768%7 C24136769%7C24136770%7C24136771%7C24136772%7C24136765% 7C24136766%7C24136737%7C24136363 [Accessed 12 Nov. 2018].

Fig. 11: Where Do We Go From Here. (2016). [image] Available at: http://www.teethmag.net/pakbae-where-do-we-go-from-here/ [Accessed 28 Nov. 2016].

Fig. 12: Hi Will. (2018). [image] Available at: https://metalmagazine.eu/ en/post/editorial/hi-will-inigo-awewave [Accessed 11 Nov. 2018].

Fig. 13: Hedwig. (2018). [image] Available at: http://fuckingyoung.es/ hedwig/ [Accessed 12 Nov. 2018].

Fig. 14: The Sovietsky Hotel. (2015). [image] Available at: https://models.com/work/re-edition-magazine-the-sovietsky-hotel/369917 [Accessed 11 Nov. 2018].

Fig. 15: The new romantics of Palomo Spain conquer New York. (2017). [image] Available at: https://www.vogue.es/moda/news/articulos/entrevista-palomo-spain-desfile-debut-nueva-york/28175 [Accessed 12 Nov. 2018].

Fig. 16: Little Vanya. (2017). [image] Available at: https://www.pansymag.com/exclusive-little-vanya [Accessed 12 Nov. 2018].

Fig. 17: Personal Collage with images from sources: [- Palomo Spain presents Orlando. (2016). [image] Available at: https://

palomo-spain.squarespace.com/archives/autumn-winter-2016-campaign?rq=orlando [Accessed 13 Nov. 2018]

- Fig. 7, Fig. 11, Fig. 15

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Fig. 18: The Wellcome Collection - Prosthetics. (2015). [image] Available at: https://www.catherinelosing.co.uk/The-Wellcome-Collection-Prosthetics [Accessed 11 Nov. 2018].

Fig. 19: Vogue Italia. (2003). [image] Available at: http://solestruckshoes. tumblr.com/post/45005803616/editorialarchive-vogue-italia-june-2003 [Accessed 11 Nov. 2018].

Fig. 20: Floating World. (2015). [image] Available at: https://www.fashionmodeldirectory.com/magazines/elle-china/editorials/september-2015/floating-world-30152/xin-xieby-fan-xin-295432/ [Accessed 12 Nov. 2018].

Fig. 21: Tess Hellfeuer. (2016). [image] Available at: https://www.unomodels.com/en/news/6092-tess-hellfeuer-for-marie-claire-italy/ [Accessed 12 Nov. 2018].

Fig. 22: Transparent. (2014). [image] Available at: http://frenchie-pop.blogspot.com/2014/03/transparent.html?m=1 [Accessed 12 Nov. 2018].

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Fig. 24: High Gloss Red. (2018). [image] Available at: https://www.fabricuk.com/fabrics/447-high-gloss-fire-retardant-pvc-vinyl.html [Accessed 12 Nov. 2018].

Fig.25: Personal Compilation of runway looks for High Gloss, from left to right: [Angus Chiang S/S 19, PFW | Alexander McQueen S/S 19 Menswear, PFW | Maison Margiela S/S 19 Menswear, PWF | Maison Margiela S/S 19 Menswear, PWF | Maison Margiela S/S 19 Menswear, PWF | Oamc S/S 19 Menswear, MFW]

Fig. 26: High Gloss. (2018). [image] Available at: https://www.fabricuk. com/fabrics/447-high-gloss-fire-retardant-pvc-vinyl.html [Accessed 12 Nov. 2018].

Fig. 27: GUCCI RESORT 2018 COLLECTION. (2018). [image] Available at: http://highfashionliving.com/gucci-resort-2018-collection/ slideshow/ [Accessed 12 Nov. 2018].

Fig. 28: All that is unseen. (2013). [image] Available at: http://laartz. blogspot.com/2013/08/all-that-is-unseen-exhibit-by-artist.html [Accessed 12 Nov. 2018].

Fig. 29: Vintage Tennis Fashion. (2014). [image] Available at: https:// www.townandcountrymag.com/style/fashion-trends/g758/photos-of-tennis-fashion/?slide=2 [Accessed 12 Nov. 2018].

FIg. 30: Introducing beauty. (2016). [image] Available at: https://www. pinterest.com/pin/96264510764913620/ [Accessed 12 Nov. 2018].

Fig. 31: Generation to Generation. (2012). [image] Available at: http://www.culture-se.com/noticias/1025/generation-to-generation-vogue-hommes-japan [Accessed 12 Nov. 2018].

Fig. 32: Men’s Fashion: Dreamy White Layers. (2017). [image] Available at: https://www.nytimes.com/slideshow/2017/03/23/t-magazine/mensfashion-dreamy-white-layers-berets.html?mwrsm=Pinterest [Accessed 12 Nov. 2018].

Fig. 33: Fashion Branding, Jackie Smith. (2012). [image] Available at: http://pikby.com/media/151644712423434954/ [Accessed 12 Nov. 2018].

Fig. 34: Personal Compilation of runway looks for Re-Fleshingly Short, from left to right: [Palomo Spain S/S 19 Menswear, PFW | No. 21 S/S 19 Menswear, MFW | Prada S/S 18 Menswear, MFW | Prada S/S 19 Menswear, MFW | Hermès S/S 19 Menswear, PFW | Xander Zhou S/S 19 Menswear, LFW] Fig. 35: Cream Dream. (2015). [image] Available at: https://www.odalisquemagazine.com/articles/2015/04/21/cream-dream [Accessed 12 Nov. 2018].

Fig. 36: Chocolate color premium tulle by Sophie Hallette. (2015). [image] Available at: https://french-lace.com/product/net-100pa-170-chocolate/ [Accessed 11 Nov. 2018].

Fig. 37: Light. (2012). [image] Available at: https://www.bridestory.comblog/vendor-of-the-week-elizabeth-messina [Accessed 12 Nov. 2018].

Fig. 38: House of Mystery. (2018). [image] Available at: https://www. atomomanagement.it/stylists/ivan-bontchev/editorial/wonderland21/5a2eaf15-a478-4c0b-a811-4f76ac110007 [Accessed 12 Nov. 2018].

Fig. 39: Amanda Charchian for Numero 176. (2016). [image] Available at: http://polished-to-perfection.tumblr.com/post/149650114494/bienenkiste-ph-amanda-charchian [Accessed 12 Nov. 2018].

Fig. 40: Shadowplay’ Karo Laczkowska by Piczo for Jalouse. (2017). [image] Available at: https://models.com/work/jalouse-shadowplay/663710 [Accessed 11 Nov. 2018].

Fig. 41: Peter Do x Zaha Hadid Design. (2016). [image] Available at: http://www.brutenewyork.com/peter-do-x-zaha-hadid-design/ [Accessed 11 Nov. 2018].

Fig. 42: Textiles. (2013). [image] Available at: http://indigovy-drak.tumblr.com/post/42670919431 [Accessed 11 Nov. 2018].

Fig. 43: Personal Compilation of runway looks for Hidden Transparency, from left to right: [GMBH S/S 19 Menswear, PFW | Vetements S/S 19 Menswear, PFW | Maison Margiela S/S 19 Menswear, PFW | Louis Vuitton S/S 19 Menswear, PFW | Fendi S/S 19 Menswear, MFW | Ih Nom Uh Nit S/S 19 Menswear, MFW ] Fig.44: Sheer. (2014). [image] Available at: https://www.mariasoerensen. com/new-page-3/ [Accessed 12 Nov. 2018].

Fig 45: Loverboy. (2016). [image] Available at: http://www.steph-wilson. com/loverboy/ [Accessed 12 Nov. 2018].

Fig. 46: Desert Dry Lake Bed. (2015). [image] Available at: http://jamienelsonphoto.blogspot.com/2015/08/metallic-fashion-shoot-desert-drylake.html [Accessed 12 Nov. 2018].

Fig 47: The Era: Shakespeare in Love, Dolce and Gabbana. (2012). [image] Available at: https://www.elle.com/fashion/trend-reports/news/ g2869/top-trends-from-fall-2012-652765/?slide=27 [Accessed 11 Nov. 2018].

Fig. 48: By carlosalyse. (2016). [image] Available at: http://exercicedestyle.tumblr.com/post/143473171357/by-carlosalyse [Accessed 11 Nov. 2018].

Fig. 49: ERIK MADIGAN HECK PT. 2. (2013). [image] Available at: https://www.thecut.com/2013/12/spring-in-reverse/slideshow/2013/12/03/erik_madigan_heckpt2/erik-heck-12/ [Accessed 11 Nov. 2018].

Fig. 50: Echo Nittolitto By Oriana Layendecker. (2012). [image] Available at: http://orianalayendecker.com/blog?page=24 [Accessed 12 Nov. 2018].

Fig. 51: Gold Metallic Texture. (2012). [image] Available at: https://www. flickr.com/photos/geishaboy500/7241678418/in/photostream/ [Accessed 11 Nov. 2018].

Fig. 52: Personal Compilation of runway looks for Embossed Metallics, from left to right: [ Maison Margiela S/S 19 Ready-To-Wear, PFW | Paul Smith S/S 19 Menswear, PFW |Maison Margiela S/S 19 Menswear, PFW | GMBH S/S 19 Menswear, PFW | Maison Margiela S/S 19, PFW ] Fig. 53: Lost in my Life (wrapped books). (2010). [image] Available at: https://www.rachelperrystudio.com/lost-in-my-life/ [Accessed 11 Nov. 2018].

Online Research References

Reports:

Gender-related 1) Wgsn.com. (2011). Gender neutral: retail & VM analysis. [online] Available at: https://www.wgsn.com/content/board_viewer/#/135856/ page/1 [Accessed 13 Nov. 2018].

2) Wgsn.com. (2011). Gender play: media & marketing update. [online] Available at: https://www.wgsn.com/content/board_viewer/#/127740/ page/1 [Accessed 13 Nov. 2018].

3) Wgsn.com. (2011). Gender-neutral: youth attitudes. [online] Available at: https://www.wgsn.com/content/board_viewer/#/130087/page/1 [Accessed 13 Nov. 2018].

4) Wgsn.com. (2015). Genderful. [online] Available at: https://www. wgsn.com/content/board_viewer/#/63276/ [Accessed 13 Nov. 2018].

5) Wgsn.com. (2016). Gender-Neutrality – Campaign Trends 2016. [online] Available at: https://www.wgsn.com/content/board_viewer/#/66346 [Accessed 13 Nov. 2018].

6) DeLeon, J. (2016). The Genderless Generation. [online] Wgsn.com.

Available at: https://www.wgsn.com/content/board_viewer/#/68734 [Accessed 13 Nov. 2018].

7) Napoli, C. (2016). Gender-Neutrality – Campaign Trends 2016. [online] Wgsn.com Available at: https://www.wgsn.com/content/board_ viewer/#/66346/page/2 [Accessed 12 Nov. 2018].

8) JACKSON, R. (2017). Beyond the Stereotype: Modern Masculinity. [online] wgsn.com Available at: https://www.wgsn.com/content/board_ viewer/#/70705/page/11 [Accessed 12 Nov. 2018].

9) US: Gen Z Masculinity. (2017). [online] Wgsn. Available at: https:// www.wgsn.com/content/board_viewer/#/73130/page/1 [Accessed 12 Nov. 2018].

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3) Paget, N. (2018). Sheen: Catwalk Trend Alert. [online] Wgsn.com.

Available at: https://www.wgsn.com/content/board_viewer/#/79670/ page/1 [Accessed 13 Nov. 2018].

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9) Palmer, H. and Skliarova, J. (2017). Men’s Textiles Forecast S/S 19: In Touch. [online] Wgsn.com. Available at: https://www.wgsn.com/content/ board_viewer/#/73247/page/9 [Accessed 13 Nov. 2018].

10) Casey, C. and Barnes, O. (2018). Key Details S/S 19: Stitch & Pattern. [online] Wgsn.com. Available at: https://www.wgsn.com/content/ board_viewer/#/79983/page/9 [Accessed 13 Nov. 2018].

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Articles: 1) Stansfield, T. (2015). Meet the boys leading Margiela’s gender revolution. [online] Dazed. Available at: http://www.dazeddigital.com/fashion/ article/26770/1/meet-the-boys-leading-margiela-s-gender-revolution [Accessed 13 Nov. 2018].

2) BALSTER, T. (2017). WHAT DOES GENDERLESS FASHION STILL MEAN? – INDIE Magazine. [online] INDIE Magazine. Available at: https://indie-mag.com/2017/08/genderless-fashion/ [Accessed 13 Nov. 2018].

3) MIGOWSKI, M. (2018). Male Body Positivity, Shapes and Colours – INDIE Magazine. [online] INDIE Magazine. Available at: https:// indie-mag.com/2018/09/male-body-positivity-essay/ [Accessed 13 Nov. 2018].

4) Cartner-Morley, J. (2017). Who wears the skirt? Anyone. The fashion world goes gender-free. [online] The Guardian. Available at: https://www. theguardian.com/fashion/2017/jun/22/who-wears-the-skirt-anyone-thefashion-world-goes-gender-free [Accessed 13 Nov. 2018].

5) Street, M. (2018). the world’s first gender-neutral store just opened in manhattan. [online] I-d. Available at: https://i-d.vice.com/en_uk/article/7xdvxy/phluid-project-gender-neutral-store-new-york [Accessed 13 Nov. 2018].

6) Robson, K. (2018). Charles Jeffrey LOVERBOY takes us to a post-gender utopia for SS19 | HUNGER TV. [online] HUNGER TV. Available at: https://www.hungertv.com/feature/charles-jeffrey-loverboytakes-us-to-a-post-gender-utopia-for-ss19/ [Accessed 13 Nov. 2018].

7) Nobile, V. (2018). Strange Encounters II | Metal Magazine. [online] Metalmagazine.eu. Available at: https://metalmagazine.eu/en/post/video/ strange-encounters-ii-when-feminism-meets-fetishism [Accessed 13 Nov. 2018].

Modern Masculinity

S/ S 19