Artisinal Techniques

changing By Christabelle Mizzi Sex and gender are two completely different things. Sex is used as a classification, and gender is used as a self-representation. Gender fluidity can be expressed when a person is not physically attached to a specific gender. This is reported by Eve Kedem, an opinion reporter from a student’s news site called the Igaramkin. She continues to explain that when gender fluidity is used in the fashion industry, it considers men and women using clothes as a free expression against gender norms, such as women wearing power suits and men wearing heels. Over time, the fashion industry has seen various changing trends concerning gender fluidity in clothing. In fact, the gender-fluid fashion trend is not an entirely new concept since society has blurred gender lines many times in the past. Historical gender-fluid trends gender can also be addressed ad applied today. Designers and clothing creators have become more open-minded with their design approach, and gender fluidity is an aspect of this notion. The following four trends discussed by Marlen Komar in her fashion article emphasise gender fluidity in the past decades. However, it is evident that such trends are also worn nowadays and therefore, one can highlight that this is not an entirely new concept. In the 1950s, London experienced a Teddy Boy sub-culture, where youths, both men and women, wore norm tailored suits, hence pants, brogues and quiff hairdos, where the girls added scarves

to the look. In the 1930s, Marlene Dietrich was the first Hollywood star to wear a suit in the film “Morocco”, showcasing her sexual orientation and pioneering the androgynous style. In 1966 Yves Saint Laurent was the first designer who create the tuxedo for women. According to the Business Insider, women claimed that “If men can wear this, why can’t I?”. This trend was in Vogue in the next second wave of feminism that took over but somewhat faded out of style quickly. Moving forward, recently, we have seen diversity in gender fluidity within pop culture. A renowned artist Harry Styles is the first male artist to be put on the front cover of Vogue. Harry Styles dressed up in a gorgeous, puffy, lace Gucci gown and a Gucci blazer, showcasing the connectivity of his masculine and feminine sides. Additionally, he appeared in wide-legged pants, kilts, skirts, overcoats and trench coats, and blazers at various points of his career. He worked with stylists such as Harry Lambert and Alessandro Michele to define his style. Harry Styles said, “I think if you get something that you feel amazing in, it’s like a superhero outfit” In fact, clothes need to be comfortable and playful and accentuate one’s identity and confidence. Cara Delevingne, a British model, is also praised for the gender-fluid influence on fashion through her pansexuality. She elaborates, “I feel different all the time. Some days, I feel more womanly. Some days, I feel more like a man”. Another fashion icon and artist, Jaden Smith, is a trendsetter for gender fluidity. According to Teen Vogue, the artist has an influential fashion trend. He enjoys wearing colourful coats, dresses and skirts. His clothing line MSFTSrep is designed for the girl that wants to be a tomboy or the boy that wants to wear a skirt. In 2016, Jaden Smith formed part of a womenswear campaign for Louis Vuitton, appearing in an advert for the Spring campaign wearing a black leather suit. He was praised by transgender actress Laverne Cox for breaking gender binaries. The concept of gender fluidity is also standard on the runway. Anthony Vaccarello, a designer for Yves Saint Laurent, whilst exhibiting in June 2019, Los Angeles, included the men’s embroidered caftans, harem pants, tunics and a little feminine sparkle. This reflected Vaccarello’s take on the bohemian touch in Yves Saint Laurent’s style. In the designer’s words, “When I do men’s, I think of women’s; and when I do women’s, I think of men’s.” This article shows that gender-fluid fashion has been in scope throughout practically all eras. However, it is not that common to be found in retail stores. In a Bloomberg article, Alexis Benveniste argues that building a retail space around this concept is seen as financially risky. However, with Generation Z, X and even in the millennials’ society, it is prevalent that these groups of people consider themselves non-binary and prefer to be gender-neutral; retailers are examining the market to amplify this fashion trend. ‘I do believe gender-neutral

Right: André Courrèges 23

“When I do men’s, I think of women’s; and when I do women’s, I think of men’s.”

- Anthony Vaccarello, creative director of

Saint Laurent

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fashion is the future,” Fashion Institute of Technology Professor Dawnn Karen said. “I feel like we’re moving towards that.”

Inspired by his heritage as a third-generation Native American from the Ojibwa tribe, Rob Smith, in March 2018, launched The Phluid Project, a retail store in New York and online. The store offers gender-free clothing, accessories, and cosmetics, amongst others. The company believes in improving humanity through fashion and community outreach, activism, and education

. They strive to raise the voice of today’s generation, which rejects binary gender norms and enhances a more inclusive world that allows individuals to wear what makes them feel good—what best reflects who they really are inside. Queera Wang is breaking gender norms by doing couture dresses for bridal wear. Queera is about fitting the body, not defining the gender. This brand explores androgyny and embraces the masculine and feminine energies we possess.

The designer and founder of the brand, Curtis Cassell, talked about how he started the brand, “I used to be a waiter at an event space that mostly did weddings. The LGBTQ staff would always talk about if they wanted to get married in a suit or in a dress. I couldn’t believe the options were literally black and white, and wanted to change that for myself and for our community.”

The future for gender fluidity can develop possibilities for future designers to change pattern placements for clothes and eventually fit well with all body types. Androgyny is becoming more accepted in today’s fashion industry. We will start seeing designers creating clothes that can not fully fit a female body and not completely fit a male body.

This barrier will unfold a non-constructive aspect of fashion, and there is no association. The cut and trim of a garment should not determine who will wear it; if so, it determines the value of having multiple people endorsing it. The beauty of gender-fluid fashion encompasses the flexibility of wearing garments whenever the individual is available to showcase their fluidness.

Right: Queera Wang

Emma and Natasha have experimented in adrogynous clothing that go beyond what a ‘male’ or a ‘female’ should or should not wear. They both captured the essence of making clothing for gender fluid people that frequently change their gender identity or expression towards themselves.

Emma Borg, a fashion and retail enthusiast, believes that the relationship of fashion and art together is a manifestation of expression, emotion and freedom. The print (see pages 72 and 73) used in this collection, which is an ink stencilling technique that gives the illusion of what an opressed state of mind visually thinks. The colour palette chosen are powerful colors which can visually speak for such emotions. Throughout these emotions, the collection targeting gender fluidity came about unintentionally and provided an openness through finding one’s identity. Natasha’s collection is based on the designer’s personal take on gender-fluid fashion and her vision of morphic aesthetics. Her inspiration is drawn from Asian armour and traditional Korean costume, executed with a contemporary twist. She uses a monochromatic colour palette with gender-neutral fashion colour accents and prints inspired by nature (see pages 66 and 67). The use of luxurious fabrics like silks and delicate chiffons against the imposing strength of leather accentuates both the feminine and masculine characteristics.

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Future Trends

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Deconstructing a garment can establish a void within its clothing that structures an illustrative feel to the completed look. It gives a moment of adoration and connectedness to the symbolization of the piece being created. Art is a form of storytelling and madness into one, and having a piece of fabric, ornament, or any form of concept that was once owned by someone can be considered a form of “trash”, yet it can have a specific meaning that no other garment can relate on. Reconstruction is a continuation of the torn garment and a new invention that symbolizes a new meaning, hence it opens a new chapter to the unfinished story.

UN-wanted trend

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Left: Gemar & Figli (photo by Luca Locatelli); Right: Ibrahim Mahama (photo by Zan Wimberley); Maison Martin Margiela

32 Chloe’s creative director, Gabriela Hearst, beleives that deadstock and upcycling are difficult practices to perfect. However, if done right, one wouldn’t notice that the fabric came straight from a mill.

Back in 2017, repurposing fabric was unheard of in the luxury market, and nowadays that has all changed. Putting pieces together can make sense, even if sometimes it doesn’t. From a design perspective, it creates a border between sportwear and utilitarian clothing, a place where Marine Serre represents within her brand.

This rhythm fits well with Marine’s vision, especially with her use of 50% reused garments from her previous collections and the other 50% made from recycled fabrics.

The constant waste is evident in this industry and will not stop unless brands keep pushing to change this never-ending cycle. Wearing various textures, patterns, colours, and fabrics together can create a cohesive outcome and develops an individuality within the brand.

Left: Marine Serre Right: Chloé, Sonia Delaunay 33