Männlich A project created to tackle masculine bravado through raising awareness of how the Drag community blend gender stereotypes.
Student Name: Erin Clare Morgan Student ID: C3476604 Course: MA Fashion Module: Research Methods Module Tutor: Ian Truelove Date: December 2019
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1. Definition
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2. Divergence
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3. Transformation
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4. Convergence
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Bibliography
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Image Bibliography
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1. Definition It is hard to define the qualities and properties of masculinity as the concept contains many constructs; it is a “vexed term, variously inflected, multiply defined, not limited to straightforward descriptions of maleness” (Berger and Wallis, 1995: p. 2). Masculinity is a quality esteemed in men, with those who show any effeminate qualities often being criticised and/ or derogated. Spence and Buckner (1995:p. 106) recognised male confusion and resentment in defining their masculinity when asked, however, “they tend to mention one of their valued characteristics”; such as traits that
would have them perceived as respectable leaders i.e. bringing home the most income. In contrast, when asked to define the masculinity of their peers, most men tended to refer to physical characteristics i.e. muscular physiques. This highlights the issue of traditional masculine ideology and how these ideals are becoming less relevant to the modern man; thus creating problems that include discrimination, misunderstood perceptions and negative views towards certain societal groups that don’t fit in with societies masculine concepts. Arguably, masculinity is not the problem within our Western
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culture, but more our obsession with an excessive masculine bravado; this issue will not be resolved until we stop degrading femininity and the qualities/characteristics it possesses. Drag queens (DQ) blend these masculine and feminine ideals, disrupting gender stereotypes by making the social basis of masculinity and femininity visible in their identity. Whilst clearly still identifying as male, DQ’s “reinforce the dominant binary and hierarchical gender and sexual systems by appropriating gender displays and expressing sexual desires associated with traditional femininity”, (Taylor and Rupp, 2008:p. 114). Drag queens are male individuals who don women’s clothing and impersonate females in performance. Successful drag queens are making around $100,000 a year, yet the majority are performing for $20-50 a night with their earnings not covering the cost of expenses; thus resulting in the majority of queens having another, more ‘typical’ job i.e. office jobs to ensure financial stability. Moncrieff and Lienard (2017: p. 2) recognised how the majority of research produced involving drag queens highlighted their lack of education and low income status; Mashable UK (2017) ged this statement at RuPaul’s DragCon by asking queens what they do for a living outside of drag, their responses ranged from library sciences masters student to assistant director, barista to software
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developer. Not only does this challenge Moncrieff and Lienard, it also highlights how queens blend gender stereotypes by bringing a great income into their family, a valued masculine characteristic recognised by Spence and Buckner (1995). Independent Study 1 Within semester one of my MA Fashion degree, I have completed an Independent study one module (IS1M) which has influenced the work that I will produce in semester two for my Independent study two module (IS2M); the project in which this plan is being created for. Within my IS1M, I have produced a book titled “Männlich” which contains a series of documentary photography style images of four individuals, all of whom represent different masculine ideals. This book and the images it contains were created with the aim of communicating the reality of different masculine ideals, what they entail and how individuals portray themselves. It aims to tackle stereotypes through showing that all types of masculine ideals are still masculine and that no act makes a male individual any less masculine to the next. The images portray these masculine ideals through capturing the four individuals at work and enjoying hobbies however they mostly focus on their home and items around their homes that emphasise who they are as people.
Image 1. Participant 1, Food prep, Own Image (2019).
“Masculinity is strong, independ-
ent, dependable. It means a rugged, no-nonsense attitude.” Participant One (P1) P1 is a 23 year old sports and exercise nutrition student who enjoys cross training in his spare time, a hobby that many would argue enhances his masculinity; “I throw weights around, I’m pretty well defined and I think that in itself is pretty masculine.” Lynne Luciano’s 2007 findings agree with this, drawing attention to masculinity as the motive for the male desire to be muscular. Whilst studying full-time, P1 has a part-time job
working as an IT consultant, a job CNBC (2017) ranked as third most masculine. Although P1 feels his standout ginger beard plays a great part in portraying his masculinity, he also recognises that being “well-kept is a feminine trait”. All of this contributes to P1’s portrayal of hegemonic masculinity and his securing of a dominant position as male.
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Image 2. Participant 2, Mechanical engineering, Own Image (2019).
“Masculinity has left men changing their persona to match their context.”
Participant Two (P2) P2 is a 16 year old mechanical engineering student who enjoys DIY tasks and building things in his spare time; this physical work opposes journalist Martin Daubney’s statement that “DIY is in decline because todays men are too soft,” (2014). Pairing his current studies with his 6 year role in cadets, P2 is preparing himself for a career in the Navy once he turns 18; a career that could be viewed as one of the most masculine there is. P2 arguably
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portrays hegemonic masculinity when considering his career path and hobbies, however it may be said that his sensitive, more stereotypically effeminate side argues otherwise. This therefore recognises P2 as portraying complicit masculinity, meaning he will “benefit from hegemonic masculinity but will not achieve it,” (Pascoe, C. 2011).
Image 3. Participant 3, Transgender awareness week, Own Image (2019).
“Masculinity means that I get to be free.” Participant Three (P3) P3 is a 20 year old bi-sexual, transgender male (female-male) from an Indian background. Whilst many would argue that being transgender would make him less masculine, P3 is so comfortable within his masculinity after “fighting so hard to be a man” that he now views himself as “more camp” than he has ever been. Since a young age, P3 has attended ballet and whilst the immediate stereotypical image of a ballet dancer is a female in a
pink tutu, it is here that P3 feels most masculine; “In ballet there are strict regimented gender roles into what one has to do, those rules provide me with a subconscious comfort.” Whilst P3 has all the qualities of those who portray hegemonically masculine ideals, it could be argued that his Indian background would prevent him from achieving these ideals, even if he was in a position of power; thus therefore emphasising his portrayal of marginalised masculinity.
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Image 4 . Casual fridays, Facebook (2016).
“Masculinity has left a generation
with a warped sense of where they fall on the masculinity scale.” Participant Four (P4) P4 is a 28 year old, white British gay male who specialises in Fashion communication and Queer cultures within his junior creative role. As a fashion graduate, P4 is extremely aware of how he chooses to dress and how this portrays his masculine identity/sexuality; “I’ve always been conscious of having a typically gay look but I wear it with pride”. As stated by theorist Joanna Entwistle, P4’s confidence challenges societies constraints of how your
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stereotypically masculine male would use dress as a means of performance to accentuate his masculinity, i.e. a suit and tie to assert status and power. Whilst his junior career role and high education status assert hegemonic masculine ideals, P4’s sexuality and overt campness portray a more subordinate masculinity.
2. Divergence Independent Study 2 Outcomes • An editorial campaign for Men’s Health Magazine. • A public exhibition displaying my work for IS1M and IS2M at Wharf Chambers, Leeds. Potential Outcomes • Hold multiple events of the exhibition across the country in areas that are less LGBTQ+ friendly to spread the message of the project to a wider, more needed audience. Aims • To raise awareness of the masculine bravado within Western culture and the negative effects that it has
on forming people’s opinions. • To create societal change of how potentially effeminate males are viewed and treated. • To tackle ideals that stereotypically effeminate males cannot carry out stereotypically masculine jobs. • To gain respect for the drag community and their work through communicating the reality of their culture i.e. the effort they put in through day jobs to fund their performances. • To tackle the stigma that drag queens have a lack of education and low income. The work I have produced within IS1M has greatly influenced my planned work for IS2M; it has
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has influenced the stated aims and helped shape the outcomes for the module. The influences have derived from the research produced within IS1M and the insights that I gained working with my participants; this including observing their practised masculinities and their views on masculine ideals. For IS2M, I plan to produce two outcomes of work: an LGBTQ+ influenced editorial campaign and an exhibition displaying the work produced in both IS1&2M, both of which pieces will be titled ‘Männlich’. The editorial campaign, produced to go alongside a story discussing the effects of toxic-masculinity for Men’s Health magazine has a target audience of males, aged 15-40; arguably an age where masculinity is most explored. The campaign images will contain a DQ (participant 4) in more stereotypically masculine settings, i.e. a car garage and gym. These settings have been influenced by the careers/hobbies of participants 1&2, arguably the more stereotypically masculine males within my IS1M work. The DQ will be styled in correspondence to the location, influenced by my exploration of the aspect of uniform and self-identity within IS1M. The mood boards seen in image 5 present matching locations and styling; for example, it pictures a car garage paired with the styling of a boiler suit and worker boots. The chosen DQ is kn-
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own as a ‘comedy queen’ with this performance aspect being implied through art direction, i.e. slipping on oil. The main influence of this concept has derived from the findings surrounding masculine bravado and the stereotypes that those who hold effeminate qualities are less inclined to carry out stereotypically masculine careers. The exhibition will display large prints of those taken in IS1&2M, with the prints being purchasable both singularly and in book form. The exhibition will also contain an interactive digital map which will map out the IS1M image locations, showing the paths of each participant and where they cross. This exhibition is planned to be held at Wharf Chambers; an affordable space known for holding diverse events, located within the LGBTQ+ area of Leeds. Whilst this exhibition will target men of all ages, sexualities and backgrounds, it will be open to everyone as a means of communicating a message which aims to rid masculine stereotypes. Practise-related research will be produced for IS2M and will include primary (PR) and secondary (SR) research; both of which will utilise appropriate library databases/equipment and online research methods discovered throughout this research methods module (RM). The SR I will produce will include research surrounding the
Image 5. Car garage mood board.
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marketing of masculinity in men’s magazines and its effects on the consumer using databases such as google scholar and Mintel to fine articles/reports; plus research surrounding the stereotyping/ mistreating of DQ’s. In order to find specific, relevant sources I will generate keywords and use citation based searching, as well as setting a boundary of current research of Western culture, ( image 6) . This SR leads into the PR I will produce in the form of semi-structured inter-
oach to the designer in responding to the brief, allowing me to consider my intentions, what I am looking to communicate and avoid early determinations of outcomes . It allows me to think laterally through user testing revealing possibilities for aspects of the project to restart; this is demonstrated through the Iterative Project Development model (Lockton, 2013:p. 97), (image 8) that will form the transformation section of IS2M. Cooke’s model has also shaped the layout of this res-
Image 6. Generating Keywords, Own Image (2019).
views (SSI’s) with DQ’s, plus focus groups (FG’s) with DQ’s and IS1M participants as a means of gathering feedback on prototype editorial images. This use of multiple research methods (Triangulating) enhances research credibility and are discussed further throughout this plan. When developing my work for IS2M, I will use the practise model proposed by Matt Cooke (2006), (image 7). This model is suitable due to it’s unusual appr-
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earch plan; demonstrated throughout the chapter titles i.e. definition and the content of the chapter in relation to the models layout. I will also produce a Gant chart (image 10) as a means of project management, allowing me to plan my projects schedule and see the relationship/dependency of each area of the project.
Image 7. Design Methodologies, Matt Cooke (2006).
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Image 8. Iterative Project Development Model, Lockton (2019).
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Image 9. IS2M Gant Chart, Own Image (2019).
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3. Transformation Editorial Campaign Images I will carry out SSI’s with Leeds based DQ’s as a means of gathering PR to influence the styling, location and art direction of the editorial images, as well as my overall research and design development. Within these interviews, I aim to gather personal stories from each DQ; these including how they became interested in drag, any negative experiences they have encountered and their opinion on masculine ideals. The interview will last for one hour to retain participant attention and will contain a open-ended questions; thus allowing for elaboration and follow up questions. These interviews will be
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conducted during week one of IS2M allowing my reflection and interpretation of the interview responses to form ideas for the editorial images. Fashion has adopted graphic design strategies as a means of defining the legibility of the world through designing in context and it is PR/SR that will allow me to do just that. Through the responses gathered within the SSI’s, I plan to gage what symbolic elements are relevant/meaningful to the participants i.e. the LGBTQ+ pride flag and interpret them within my images in an attempt to tackle the aims of this project. I will also carry
out SR of past images/campaigns with a similar concept. For example, Ikea’s 2018 ad campaign contained drag queens turning Ikea products into fashion garments (images 10 & 11); although this does not contain anything prominently masculine, Ikea arguably has masculine connotations due to its build-your-own furniture. I will need to consider multiple things when producing my images, i.e. location, garments and equipment. As the majority of shoots will be location based, lighting will be a main priority; thus highlighting the need for test shoots in which prototype images will be produced. These will allow me to determine appropriate lighting equipment, iso setting’s and angles; all of which are a focus of human-centred design (HCD).
ber of the LGBTQ+ community I would consider myself a participant observer due to witnessing firsthand the stigma around DQ’s and the negativity they endure from those both within/outside the community. I will also need to consider how I will record the information. When recording the SSI’s and FG’s, I will use a dictaphone to record audio before transcribing it as this is a more objective recording method that allows the data to be shared/ stored on multiple devices.
SSI’s and FG’s are qualitative RM’s chosen due to their ability to “come close to the individuals perspective and try to capture their point of view or lived experience,” (Halberg, 2006:p. 141). Open-ended questions within these allow participant’s to elaborate and discuss relevant issues I may not have considered. FG’s allow for group As designers, we need to discussion in a less intimidating enbe aware of how users communivironment than the SSI’s; thus alcate with what we create and the lowing me to gain a deeper insight importance of HCD. This has influ- into the participants attitudes and enced my plans to carry out a FG reactions to the prototype images. with IS1M participants and Leeds However, both RM’s are time conbased DQ’s, in which I will gather suming and may need to be piloted feedback on prototype images. The in order for me to gain successful feedback will include how the imag- responses, they will both also need es make the participants feel and if to gain ethical approval before the images successfully complete being carried out. In considering the set aims, thus allowing me to ethics, I will ensure that all particimake suitable changes. pants are not subject to any physical or emotional harm and consider I will need to consider my how the participants would benefit positionality as the conductor of from my work (capacity building); the interviews and FG’s; as a mem- for example, DQ’s may be more po-
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Image 10. Ikea Canada (2018).
Image 11. Ikea Canada (2018).
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positively perceived by those who view the images/attend the exhibition. All of this will be stated within a participant sheet and consent form presented to participants; this will inform them of the nature of the project, where their responses will be used and their right to withdraw. Grounded Theory will be used to analyse the responses from the SSI’s and FG’s. This method will allow me to code and categorise data into recurring themes that will develop into the theory to support my secondary research, outcomes and research questions. As the researcher, I will need to ensure that I avoid bias when analysing the data this way to avoid preconceptions and allow the theories to be grounded within the data. Exhibition When building and planning the exhibition outcome of IS2M, it will be important for me to consider the aspects of co-design and how it will aid my work; due to this, I have already began building beneficial contacts i.e. Wharf Chambers event’s organiser and discussing dates/prices. As the event space is large, I will open the exhibition up to other MA students within the university to give them the opportunity to showcase their work and I also plan to ask students from Graphic/Product Design to collaborate on designing/building the event.
As discussed, this exhibition will be extremely visual with large prints from IS1/2M. The layout will see images grouped by participant, each section playing the participants audio from SSI’s and FG’s through headphones; this will allow the attendees to come closer to the participant and develop a deeper understanding of the story behind the images. This exhibition will demonstrate the use of mapping as a RM through a digital, interactive map in which the image locations/participant journeys will be mapped; this will allow the attendees to view the images and various aspects of the participants lives in a more holistic manner. This mapping RM would also be used in developing my potential outcome of holding this exhibition in various less LGBTQ+ friendly locations around the country. It would be used to plan these exhibitions, i.e. map out these locations, find a suitable venue and then map the route that would be taken in travelling between each location.
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4. Convergence I plan for the editorial campaign images and the exhibition to be rolled out in the final week of April 2020, allowing time for the exhibition to take place before the final weeks of semester 2 and also gives leeway for the dates to change if necessary. The exhibition will allow me to measure the effectiveness of my project and its success of achieving the set aims; this will be done through gathering feedback from attendees surrounding how/
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if it has changed their opinions on masculinity ideals and the drag community. This feedback would be collected from discussion with attendees during the exhibition and also through feedback sheets upon leaving.
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Luciano, L. (2007) Muscularity and masculinity in the United States: a historical overview. In: Thompson, J. and Cafri, G. eds. The muscular ideal: psychological, social, and medical perspectives. pp. 41-65. Manson, M. (2019) Whatâ&#x20AC;&#x2122;s the problem with masculinity? [Online] Available from: <https://markmanson.net/whats-the-problem-with-masculinity> [Accessed 1 December 2019]. Mashable UK. (2017) Hereâ&#x20AC;&#x2122;s what drag queens do to pay the bills [Online Video], October 2017. Available from: <https://mashable.com/2017/10/03/ drag-queens-day-jobs/?europe=true> [Accessed 1 December 2019]. Pascoe, C. (2014) Hybrid Masculinities: New Directions in the Sociology of Men and Masculinities. Sociology Compass, 8 (3), pp. 246-258. Taylor, V. and Rupp, L. (2008) Chicks with dicks, men in dresses. Journal of homosexuality, 46 (3-4) September, pp. 113-133.
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Image Bibliography Image 1: Morgan, E. (2019) Food Prep [Image].
Image 2: Morgan, E. (2019) Mechanical engineering [Image]. Image 3: Morgan, E. (2019) Transgender awareness week [Image]. Image 4: Holmes, G. (2016) Casual Fridayâ&#x20AC;&#x2122;s, 12 August [Online]. Available from: <https://www.facebook.com/photo.php?fbid=10210386627284585&set=a.4749399695491&type=3&theater> [Accessed 1 December 2019]. Image 5: Morgan, E. (2019) Research methods moodboard [Image]. 1. Pantone. (n.d.) 419 C [Online]. Available from: <https://www.pantone. com/color-finder/419-C?utm_source=pantone_app&utm_source=web_app&utm_campaign=pantone_app_campaign> [Accessed 1 December 2019]. 2. Pantone. (n.d.) 424 C [Online]. Available from: <https://www.pantone. com/color-finder/424-C?utm_source=pantone_app&utm_source=web_app&utm_campaign=pantone_app_campaign> [Accessed 1 December 2019]. 3. Pantone. (n.d.) 294 C [Online]. Available from: <https://www.pantone. com/color-finder/294-C?utm_source=pantone_app&utm_source=web_app&utm_campaign=pantone_app_campaign> [Accessed 1 December 2019]. 4. Pantone. (n.d.) 2347 C [Online]. Available from: <https://www.pantone. com/color-finder/2347-C?utm_source=pantone_app&utm_source=web_ app&utm_campaign=pantone_app_campaign> [Accessed 1 December 2019]. 5. Shingle, R. (2017) Classic car dream garage [Online]. Available from: <https://petrolicious.com/articles/this-dream-garage-is-morethan-just-a-place-to-store-classic-cars> [Accessed 1 December 2019].
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6. Wlliams, A. (2019) Striking red pinup style [Online]. Available from: <https://allwomenhairstyles.com/pin-up-hairstyles/> [Accessed 1 December 2019]. 7. Asos. (n.d.) Dr martens jadon flatform chunky boots [Online]. Available from: <https://www.asos.com/dr-martens/dr-martens-jadon-flatformchunky-boots/prd/7974629> [Accessed 1 December 2019]. 8. Hollands country clothing. (n.d.) Champion zipped poly cotton boiler suit/overalls [Online]. Available from: <https://hollandscountryclothing. co.uk/products/champion-zipped-poly-cotton-boilersuit-overalls> [Accessed 1 December 2019]. 9. Ylivdesign. (n.d.) Oil Spill [Online]. Available from: <https://www. vectorstock.com/royalty-free-vector/oil-spill-splash-isolated-on-whitebackground-vector-10347486> [Accessed 1 December 2019]. Image 6: Morgan, E. (2019) Generating keywords [Image]. Image 7: Cooke, M. (2006) Design methodologies [Online]. Available from: <http://www.houghtos.myweb.port.ac.uk/research/evaluation. html> [Accessed 1 December 2019]. Image 8: Lockton, D (2013) Iterative Project Development [Online Image]. Available from: <https://bura.brunel.ac.uk/handle/2438/7546> [Accessed 18 November 2019]. Image 9: Morgan, E. (2019) Research methods gant chart [Image]. Image 10: Ikea Canada. (2018) Näckten shower curtain [Online]. Available from: <https://www.thedrum.com/news/2018/06/22/drag-queenssport-ikea-s-products-retailer-s-pride-campaign> [Accessed 1 December 2019]. Image 11: Ikea Canada. (2018) Knalla Umbrella [Online]. Available from: <https://www.thedrum.com/news/2018/06/22/drag-queens-sport-ikea-sproducts-retailer-s-pride-campaign> [Accessed 1 December 2019].
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