the post post post post post post post post post post post post something man ~ Illustrated Essay
Isabel Brito Nascimento N0441650 FCP2 Module: Communication and Message Module Leader: Sarah Lewington Ref. no. FASH20031 2013/2014
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Isabel Brito Nascimento
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the contents contents contents introduction ~ 04 context 06 image analysis 12 publication 16 conclusion 18 references 20 list of illustrations
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the post post post ost post post post post post post something man
the introduction introduction introduction ~ “Masculinity” is not a given quality or concept, but rather an evolving convention with shifting associations informed by time, place, art and culture. This shoot takes inspiration on today’s social considerations of gender, or quite possibly the ever-growing lack of them, as identity takes stage and gender bending fashions become increasingly accepted. It shows how “masculinity, a quality invented and defined in opposite relation to femininity, can hold within itself its own opposite” (Nyenhuis 2013), defying the socially constructed restrictions of “male” and “female” labels – this project speaks about fitting into neither one and both… It speaks about being human.
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the context context context ~
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The fragility, gentleness and sensibility generally associated to females and the virility, prowess and functionality linked to manhood have been exchanged over time, weakening gender stereotypes (Chapman and Rutherford 1988, p.196). What is conceptually considered “masculine” and “feminine” is often subverted in artistic practices and the notion of beauty, too, intrinsically morphs as “borders blur, markets merge and cultures blend” (Lee 2005) – Venus and Mars orbits meet halfway as new visual codes for gender are encouraged by art, entertainment, advertising and media. (ibid)
This hybrid masculinity was updated in some of the most celebrated periods in history – from Baroque’s ostentatious men in lace garments, heels and wigs to the flamboyant, self-conscious dandy fashions of the 18th century, “effeminate” styles have culminated in the 1910s New Man, who no longer wanted to look like his autocratic father (Constantino 1997). Ballet Russe’s Nijinsky’s exuberant costumes and delicate posture together with Marcel Duchamp’s feminine alter-ego Rose Sélavy are great following examples that demonstrate the emergence of grand men who simultaneously gathered masculine and feminine qualities, living dichotomies of virility and finesse.
This encounter is not new or news, it has been around for centuries, in various shapes and formats. Case in point, it goes back to Renaissance portraiture, which is known for depicting men and women with crossing traits – Mario Equicola claimed in 1525 that “the effeminate male and the manly female are graceful in almost every aspect” (Equicola in Burke 2011). The Florentine School was known for its rather feminine and delicate portraits of young men, ultimately channeling social ideals and, most importantly, Renaissance’s delineation of beauty.(Esaak n.d) Isabel Brito Nascimento
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However, it is not until the subversive zeitgeist of the 60s that self-exploration reached its fullness – mirroring the social movements of the period, individual freedom took place in fashion with the emergence of the youth market who primed for individuality, made possible by the appearance of “fast-fashion” boutiques. Men’s hair grew long whilst women’s haircuts (and skirts) went short, with an emancipation stance that culminated in the 70s hippie, liberation movement. “The prevailing wind for social change started to sweep across the globe, empowering women and softening the image of men” (Lee 2005). With the feminist movement and the growing objectification of men in advertising, John Berger’s (1972) “men act, women appear” theory was dethroned. Figures such as James Dean – “vulnerable and arrogant, soft yet muscular, tough but tender” (Chapman and Rutherford 1988, p.201) paved the way to men priding themselves in their appearance.
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Hereupon, the 70s and 80s have seen entertainment and fashion industries playing the leading role in distorting former conventions of gender. Experimentation and subversion were key to Postmodernism, the rupture moment where “previous ideals were overthrown in favour of newly permissive, liberated and expressive tendencies” (Victoria & Albert 2011), resulting in the emergence of new (and multiple) lifestyles and sexualities. The movement consists in the shift of the modernists ever functional query of “why” to a new, ambiguous and witty deliberation upon the “why not?” of things. The normative understandings of beauty were defied with the help of the Glam Rock and the New Romantic trendsetters, artists and musicians – people such as David Bowie, the Blitz Kids crew and Brian Eno acted beyond the limits of gender.
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Correspondingly, Grace Jones ultimately defines Postmodernism (if only it had a definition), by being a human enigma (Cook 2011). In the artist’s words of wisdom (1985), catalysts of this photoshoot:
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What does being masculine even mean? You tell me what is being masculine. I just act the way I feel. It doesn’t make me anything, I think it’s ridiculous trying to categorize people’s feelings or saying what does one prefer; there’s no comparison, just do what you feel when you feel like it.
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Musicians were, indeed, the main carriers of this havoc amongst society – from the Rolling Stones to Iggy Pop, Lou Reed, the New York Dolls or even Kurt Cobain, pretty much every rock star had a go in exploring their masculinity through cross dressing and/or make up. It didn’t affect their sexual orientation, which was not the point for that matter; it simply placed them further away from polarized stereotypes and promoted individuality.
the context context context
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So where does that leave us today? If women started, literally, “wearing the pants” due to their equal job roles and consequent empowerment, what made men embrace more delicate garments and (considered) effeminate items such as skirts? Given that “fashion and trends depict the mindset of the world in general” (The Creative Bent, 2013), the photoshoot showcases something Virginia Woolf once named an “incandescent mind” (1929) or, more specifically, what we nowadays call “Psychological Androgyny” – this was a revolutionary concept that emerged, naturally, in the 70’s, in which psychologist Sandra Bem argues the ability we all have to embrace and combine both masculine and feminine traits, independently of our sexual orientation (Edwards 2006). This breakthrough remains deeply relevant to the present day as WGSN’s report for 2013 Autumn/ Winter’s words it, “the constraints placed by gender have relaxed to allow for greater choice in what we wear and how we interact”. All the above mentioned events leaded the way to a new breed of designers and artists who are shaping today’s take on gender, bridging and blurring the gap between the male and female spheres. Whether this be a quer rapper or a metrosexual football player, media icons continue to play a big role in this phenomenon.
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the analysis analysis analysis ~ The shoot aims to celebrate this new identity increasingly detached from prejudgment, by exploring the way men begin to have the freedom to showcase their groomed, softer, conscious side through fashion without pejorative allusions to homosexuality and such. This ode to Postmodernism and Grace Jone’s spirit begins with our model choice – his gender ambiguity is not physically obvious, yet instead an outward mixture of physical features with styling decisions. His towering hair, surely a result of much thought and maintenance (and therefore a reflection of times), resembles Jone’s fierce flat top haircut, adding a graphic, angular component to the photo. The pink, boxy eyebrows further remark the same effect, contrasting with the model’s beard and nose ring which are not only conventionally virile features but also, paradoxically, roundly and organically shaped, generating visual contrast – female attributes in manly shapes and manlike traits in delicate forms. The colour pink certainly helps to this purpose – not just a colour, pink is a “gender and sexuality marker in visual communication”(Koller 2009). We immediately associate it with femininity, affection, tenderness and emotion, thereupon the background creates a thought provoking, bold, exciting contrast with the subject matter: men. The chosen shade of pink also refers to Andy Warhol’s famous fearsome silkscreen of Miss Jones, shown in fig. 34. The arrangement of the photo denotes Jean Paul Goude’s geometric take on his Grace Jone’s memorable portraits – the negative space and the rectangular backdrop both aim for a graphic aesthetic and composition. The model’s dark skin colour generates even more visual contrast, colour and editorial wise, as it goes against the predefined Caucasian, tall and muscled model, praising diversity (Brown 2013).
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He stands in a strict, forward, almost defiant pose, channeling a piercing self-confidence through his direct gaze. This is the simplest of poses, he’s just there, very much in the same way he just is, without having to complement the verb with any adjectives. His stance is humble, tough, inviting and daring, all in equal measure. He wears a skirt, an item once worn by both sexes, paired with a mesh black top and quilted leather boots. The skirt’s impetus is to comment on the current “men in skirts” phenomenon – without compromising their “masculinity”, men are beginning to adopt skirts as part of their wardrobe and renowned fashion designers such as Yohji Yamamoto (fig. 36) are providing them the option to. The phenomenon set off with Victoria & Albert’s “Fashion in Motion” catwalk events back in 2002, in which several designers “looked at variations on the male skirt throughout history and re-conceptualize it” (Victoria & Albert 2002) for the modern man. Could we possibly be reviving a time wherein men wearing skirts didn’t drag along homosexual connotations? The shoot’s styling also references 80s stylist Ray Petri who had an enormous role in (re)shaping the vision of
the tough yet delicate man through his “Buffalo” styling featured in style bibles such as The Face and i-D. Jean Paul Gautier later credited us with collections inspired by Petri’s men in skirts and boots. (Flett 2000) The chosen skirt wasn’t left to chance either – its design and tartan pattern resemble a Scottish kilt, touching upon the notions of heritage and a setting in which virility is associated with skirts. When out of this context and juxtaposed with the mesh top, this item acts as an emphasizer of individual freedom and builds up a controversial contrast between tradition and modernity. The tartan pattern is also strongly associated to punk and grunge styles, which are both known for putting individuality first and making fashion statements by not wanting to. The Doctor Martins emphasize the gender crossing trend as they were firstly popular among skinheads, having now turned into a unisex item, worn by men and women of various ages and backgrounds, proving how fashion is, today, a proliferation of styles… A postmodern pastiche!
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Underpinning the photoshoot concept is the choice of publication in which it would be featured. AnOther Magazine is a fashion and culture bi-annual publication that primes for its take on modern beauty and intellectual fashion. Being its USP the promise of “highly original content brought together by an emerging set of photographers, stylists and writers bound by a search for creativity and authenticity” (AnOther Magazine, n.d.), the magazine sits on the table of the culturallyaware, inquisitive, modern woman. However, and in spite of the magazine’s male version “AnOther Man”, this is quite a unisex read, often featuring mixed gender editorials and mainly covering general and current art and culture events. The fact that the photoshoot would be integrated in what is “conventionally” a woman’s magazine highlights the growing smudge of gender in fashion. Placing the shoot in this educated, highbrow context would elevate its concept and offer more credibility to it – the magazine’s seriousness would possibly contrast with the shoot, therefore, caughting the reader’s attention. Had we picked a coloquial and witty publication such as i-D, the shoot would perhaps loose its distinctiveness as it would just blend with the remaining editorials.
AnOther’s reputation and importance was made possible through forward-thinking names such as Ben Toms, Mattias Karlsson, Viviane Sassen and Robbie Spencer whose work visually relates to our photoshoot. (fig.) Its minimal, simple, sleek and modern layout underscores the magazine’s ethos and forms a great match to our pictures’ aesthetic.
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the conclusion conclusion conclusion ~ All in all, the shoot celebrates the way fashion and its creative surroundings have been pushing androgyny and gender equality into the mainstream. Although some see it as a mere trend, I like to believe it epitomizes the long way society’s mindset has come regarding the gender matter – what was once subversive and shocking is now institutionalized in our culture. We’re walking towards the dematerialization of gender conventions, one step closer to the collective realization that gender inequality lies in our minds. The successfulness of this project lies in its exploration of how social change manifests itself in fashion – the adoption of equal dress codes is representative of today’s progressively blurred divisions. Its styling works as a scoop to a boundless future, stereotype free. Individual freedom is the driving force behind evolution and it became, to me, the long sought core definition of beauty.
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the references references references ~ ~ AnOther Magazine, n.d. About Us [online]. Available at http://www.anothermag.com/about-us [Accessed 12 November 2013] Berger, J., 1972. Ways of Seeing [eBook]. London: Penguin Books. Available at http://engl101f12-lombardy.wikispaces.umb.edu/file/view/ BergerWaysOfSeeing.pdf [Accessed 18 November 2013] Brown, V., 2013. Black models are still barely seen or heard – why has nothing changed?. The Guardian. Available at http://www.theguardian.com/ commentisfree/2013/sep/18/black-models-londonfashion-week [Accessed 10 November 2013] Burke, J., 2011. Men in Breasts – Michelangelo’s women, Jill Burke’s Blog [online blog]. Available at http://renresearch.wordpress.com/2011/02/25/menwith-breasts2/ [Accessed 8 November 2013] Chapman, R. and Rutherford, J., 1988. Male Order: Unwrapping Masculinity. London: Lawrence & Wishart Constantino, M., 1997. Men’s Fashion in the Twentieth Century. London: Batsford Ltd Cook, F., 2011. Postmodernism: Style & Subversion, 1970-1990 [online]. London: AnOther Magazine. Available at http://www.anothermag. com/current/view/1472/Postmodernism_Style__ Subversion_1970-1990 [Accessed 8 November 2013] Edwards, T., 2006. Cultures of Masculinity. London: Routledge Esaak, C., n.d. The Florentine School and the Portrayal of Male Youth [online]. Available at http://arthistory. about.com/od/renaissanceart/a/altheyoungdudes.htm [Accessed 8 November 2013] Flett, K., 2000. The Man who Dressed a Decade [online]. The Observer. Available at http://www. theguardian.com/theobserver/2000/sep/17/features. magazine37 [Accessed 18 November 2013]
Jones, G., 1985. Day by Day Interview [online film]. Available at http://www.youtube.com/ watch?v=vuW4TcZWeLI [Accessed 8 November 2013] Koller, V., 2009. Visual Communication [online] Available at http://vcj.sagepub.com/content/7/4/395. abstract [Accessed 10 November 2013] Lee, D. 2005. Androgyny becoming global? [online] Available at http://uniorb.com/RCHECK/RAndrogyny. htm [Accessed 9 November 2013] Nyenhuis, J., 2013. The “Feminine” side of “Masculinity”, Don’t Kiss That, [online blog]. Available at http://pleasedontkiss.wordpress.com/2013/08/22/ the-feminine-side-of-masculinity/ [Accessed 7 November 2013] The Creative Bent, 2013. Gender Bender: Overlapping Fashion Trends [online]. Available at http:// thecreativebent.com/gender-bender-overlappingfashion-ideologies/ [Accessed 7 November 2013] Victoria & Albert, 2002. Fashion in Motion: Men in Skirts [online]. Available at http://www.vam.ac.uk/ content/articles/f/fashion-in-motion-men-in-skirts/ [Accessed 8 November 2013 Victoria & Albert, 2012. Postmodernism Teacher’s Resource [online]. Available at http://www.vam. ac.uk/__data/assets/pdf_file/0010/179488/teachers_ resource_postmodernism.pdf [Accessed 8 November 2013] WGSN, 2011. Radical Neutrality: A/W 2013 [online]. Available via Nottingham Trent University [Accessed 7 November 2013] Woolf, V., 1952. A Room of One’s Own [eBook] South Australia: University of Adelaide. Available at http://ebooks.adelaide.edu.au/w/woolf/virginia/w91r/ [Accessed 7 November]
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the list of illustrations illustrations ~ ~ Fig. 1 The post-something man [own photography] Fig. 2 Sanzio, R., 1514, Portrait of a Young Man [oil on panel] Art Harmony [online] Available at http://artharmony.eu/raffaello.html [Accessed 15 November 2013] Fig. 3 Walker, T., 2013, Sylvester Ulv [digital photography] Tim Walker Photography [online] Available at http://timwalkerphotography.com/recent_ work.php [Accessed 15 November 2013] Fig. 4 Roeg, N., 1976, David Bowie in ‘The Man Who Fell to Earth’ [film still] Super Seventies [online] Available at http://superseventies.tumblr.com/ post/67540072640/vintage-accessories-photographyfilm-art-clothes-music-s [Accessed 15 November 2013] Fig. 5 Roversi, P., 1992, Jean Paul Gaultier’s “Barbès” Ready-to-wear Fall Collection of 1984 [digital print] Brooklyn Museum [online] Available at http://www. brooklynmuseum.org/exhibitions/jean_paul_gaultier/ [Accessed 15 November 2013] Fig. 6 Sanzio, R., 1501, Saint Sebastian [oil and gold on wood panel] Back to Classics [online] Available at http://www.backtoclassics.com/gallery/raphaelsanzio/ stsebastian/ [Accessed 15 November 2013] Fig. 7 Da Vinci, L., 1513-1516, St. John the Baptist [oil on panel] Web Gallery of Art [online] Available at http://www.wga.hu/frames-e.html?/html/l/ leonardo/04/6stjohn.html [Accessed 15 November 2013] Fig. 8 Perugino, P., 1459, Portrait of a Young Man [oil on panel] The Athenaeum [online] Available at http://www. the-athenaeum.org/art/list.php?m=a&s=tu&aid=3546 [Accessed 15 November 2013] Fig. 9 Varl, P., 2009, What happened with Zvezda and Odeon [illustration] ERSTE Foundation [online] Available at http://www.erstestiftung.org/factory/ gender-check-femininity-and-masculinity-in-the-artof-eastern-europe/ [Accessed 15 November 2013]
Fig. 10 Rigaud, H., 1701, Louis XIV (1638 - 1715) [oil on canvas] Wikimedia [online] Available at http:// commons.wikimedia.org/wiki/File:Louis_XIV_of_ France.jpg [Accessed 15 November 2013] Fig. 11 Ray, M., 1921, Marcel Duchamp [analog photography] Artclash [online] Available at http:// artsclash.com/2013/05/22/5-things-we-learned-atman-ray-portraits/ [Accessed 15 November 2013] Fig. 12 Saroni, N., 1882, Oscar Wilde [analog photography] Wikimedia [online] Available at http:// en.wikipedia.org/wiki/File:Oscar_Wilde_portrait.jpg [Accessed 15 November 2013] Fig. 13 Author Unknown, n.d. Vaslav Nijinski [analogic photography] Russian Mind [online] Available at http:// russianmind.com/content/russian-ballet-icons-gala2013-vaslav-nijinsky [Accessed 15 November 2013] Fig. 14 Club to Catwalk Exhibition at the V&A [own photography] Fig. 15 Author Unknown, 1973, I’ve Got You Babe Live at the Marquee Club [video still] We Heart It [online] Available at http://weheartit.com/entry/65267576 [Accessed 16 November 2013] Fig. 16 Author Unknown, n.d., Miss Penny Dreadful – The New Romantics [analog photography] Kidnapped Culture [online] Available at http://kidnappedculture. com/tag/new-romantic/ [Accessed 16 November 2013] Fig. 17 Cooke, B., 1972, Brian Eno of Roxy Music at the Royal College Of Art video studio [analog photography] Brian Cooke [online] Available at http://briancooke.eprintphoto.co.uk/view/20931124/roxy%20music_8_jpg [Accessed 16 November 2013] Fig. 18 Author Unknown, n.d, James Dean [analog photography] Vogue Spain [online] Available at http:// foros.vogue.es/viewtopic.php?f=8&t=46568&start=75 [Accessed 16 November 2013]
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the list of illustrations illustrations ~ ~ Fig. 19 V&A, 2011, Postmodernism: Style and Subversion 1970 – 1990 [digital photography] Dezeen Magazine [online] Available at http://www. dezeen.com/2011/09/26/postmodernism-style-andsubversion-1970-1990-at-the-va/ [Accessed 16 November 2013] Fig. 20 Author Unknown, 1979, Boy George [analog photography] A Veltet Dream [online] Available at http://avelvetdream.wordpress.com/tag/dawid-bowie/ [Accessed 16 November 2013] Fig. 21 Author Unknown, 1973, Led Zeplin: 1st April (A Paris Affair) [cd cover] Rock and Pop Bootlegs [online] Available at http://rockpopbootlegs.blogspot. co.uk/2011/02/led-zeppelin-1973-04-01-paris-france. html [Accessed 16 November 2013]
Fig. 27 Silva, M., 2013, OC x London Collections: Men - Shaun Samson SS14 [digital photography] TBFake [online] Available at http://tbfake.wordpress. com/2013/07/11/ [Accessed 16 November 2013] Fig. 28 Scavullo, F., 1974, Lou Reed [photography] Ohyescoolgreat [online] Available at http:// ohyescoolgreat.tumblr.com/page/6 [Accessed 16 November 2013] Fig. 29 Author Unknown, n.d., Grace Jones [analogic photography] Antebellum Gallery [online] Available at http://antebellumgallery.blogspot. co.uk/2012/05/today-was-grace-joness-birthday. html?zx=99c6573c4532d844 [Accessed 16 November 2013] Fig. 30 The post-something man [own photography]
Fig. 22 Author Unknown, 2013, Backstage at Christopher Shannon S/S 2014 London [digital photography] Christopher Shannon [online] Available at http:// shannonmenswear.tumblr.com/post/53426085425/ fashionloveskarl-backstage-at-christopher [Accessed 16 November 2013] Fig. 23 Bailey, D., n.d., Mick Jagger [analogic photography] Coke and sympathy [online] Available at http://dietcokeandsympathy.blogspot. co.uk/2009_07_01_archive.html [Accessed 16 November 2013] Fig. 24 Carr, H., 2013, JW Anderson SS14 [digital photography] Hero Magazine [online] Available at http://www.hero-magazine.com/shows/j-w-andersonss14/ [Accessed 16 November 2013] Fig. 25 Author Unknown, 1994, Kurt Kobain, Paris, France 1994 [analogic photography] Style.com [online] Available at http://www.style.com/stylefile/2013/02/ happy-birthday-kurt-cobain/ [Accessed 16 November 2013] Fig. 26 Stone, M., 2013, Mykki Blanco – Bigger than HipHop [digital photography] GQ Style [online] Available at http://worldofwonder.net/mykki-blancogq-style-spring-2013-uk/ [Accessed 16 November 2013]
Fig. 31 Goude, J.P., 1979, Grace Jones in Maternity Dress [analogic photography] Nowness [online] Available at http://www.nowness.com/ day/2011/11/12/1722 [Accessed 17 November 2013] Fig. 32 Goude, J.P., 1980, Grace Jones [photography] Vice Magazine [online] Available at http://www.vice. com/read/jean-paul-goude-is-still-ahead-of-his-time [Accessed 17 November 2013] Fig. 33 Author Unknown, 1997, Johanna Stickland at John Galliano Spring 2007 [digital photography] New Waves [online] Available at http://new-waves.tumblr. com/post/58730257768/holysm-johanna-stickland-atjohn-galliano [Accessed 17 November 2013] Fig. 34 Warhol, A., 1986, Grace Jones [gelatin silver print on paper] Tate London [online] Available at http:// www.tate.org.uk/art/artworks/warhol-grace-jonesar00290 [Accessed 17 November 2013] Fig. 35 Morgan, J., 1987, Men in Skirts [analogic photography] CR Fashion Book [online] Available at http://crfashionbook.com/post/33657956857/a-tributeto-ray-petri-photographer-jamie-morgan [Accessed 17 November 2013]
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Fig. 36 Vogue.com, 2012, Yohji Yamamoto Fall 2012 Ready to Wear Collection [digital photography] Style. com [online] Available at http://www.vogue.co.uk/ fashion/spring-summer-2012/mens/yohji-yamamoto [Accessed 17 November 2013]
Fig. 44 Spotorno, A., 2011, Double Magazine [digital photography] Image Upper [online] Available at http://imageupper.com/i/?S040001006009 1C13234494001448734 [Accessed 17 November 2013]
Fig. 37 Morgan, J., 1987, Men in Skirts [analogic photography] CR Fashion Book [online] Available at http://crfashionbook.com/post/33657956857/a-tributeto-ray-petri-photographer-jamie-morgan [Accessed 17 November 2013]
Fig. 45 The Post-Something Man [own digital collage] Fig. 46 The Post-Something Man [own digital collage]
Fig. 38 Meisel, S., 1992, Smells Like Teen Spirit [photography] Vogue.com [online] Available at http:// www.vogue.com/voguepedia/Grunge [Accessed 17 November 2013] Fig. 39 Toms, B., 2010, AnOther Magazine A/W10 [digital photography] Coute que Coute [online] Available at http://coutequecoute.blogspot.co.uk/2010/10/ another-magazine-autumnwinter-2010.html [Accessed 17 November 2013] Fig. 40 Leshkina, T., 2012, Charlie May A/W12 for AnOther Magazine [digital photography] AnOther Magazine [online] Available at http://www.anothermag. com/current/view/2241/Charlie_May_AW12 [Accessed 17 November 2013] Fig. 41 Leshkina, T., 2012, Charlie May A/W12 for AnOther Magazine [digital photography] AnOther Magazine [online] Available at http://www.anothermag. com/current/view/2241/Charlie_May_AW12 [Accessed 17 November 2013] Fig. 42 Debusschere, P., 2013, Age of Aquarius styled by Robbie Spencer [digital photography] The Fashion Spot [online] Available at http://forums.thefashionspot. com/f71/pierre-debusschere-photographer-201947. html [Accessed 17 November 2013] Fig. 43 Sassen, V., 2012, Twin Fantasies [digital photography] MODE [online] Available at http://mode. newslicious.net/2012/10/twin-fantasies-franziskamueller-lula.html [Accessed 17 November 2013]
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the bibliography bibliography bibliography ~ ~ Adil, N., 2011. History of Androgyny in Fashion [online]. Available at http://mancunion.com/2011/11/16/historyof-androgyny-in-fashion/ [Accessed 10 November 2013] AnOther Magazine, n.d. About Us [online]. Available at http://www.anothermag.com/about-us [Accessed 12 November 2013] Berger, J., 1972. Ways of Seeing [eBook]. London: Penguin Books. Available at http://engl101f12-lombardy.wikispaces.umb.edu/file/view/ BergerWaysOfSeeing.pdf [Accessed 18 November 2013] Bersani, L. and Dutoit, U., 1998. Caravaggio’s Secrets [eBook]. The New York Times Books. Available at http:// www.nytimes.com/books/first/b/bersani-caravaggio. html [Accessed 7 November 2013] Brown, V., 2013. Black models are still barely seen or heard – why has nothing changed?. The Guardian. Available at http://www.theguardian.com/ commentisfree/2013/sep/18/black-models-londonfashion-week [Accessed 10 November 2013] Burke, J., 2011. Men in Breasts – Michelangelo’s women, Jill Burke’s Blog [online blog]. Available at http://renresearch.wordpress.com/2011/02/25/menwith-breasts2/ [Accessed 8 November 2013] Byrne, O., 2010. Diaghilev, The Ballet Russe and the inimitable Nijinsky at the V&A [online]. Available at http://tmblr.co/ZB7WYy1NrsDU [Accessed 8 November 2013] Chapman, R. and Rutherford, J., 1988. Male Order: Unwrapping Masculinity. London: Lawrence & Wishart Chayka, K., 2013. Taking Gender out of Fashion [online]. Available at http://www.psmag.com/culture/ taking-gender-fashion-65707/ [Accessed 7 November 2013]
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Hawking, T., 2013. Music’s Greatest Gender-Defying Fashion Statements [online]. Available at http:// flavorwire.com/383765/musics-greatest-genderdefying-fashion-statements/ [Accessed 8 November 2013] Jones, G., 1985. Day by Day Interview [online film]. Available at http://www.youtube.com/ watch?v=vuW4TcZWeLI [Accessed 8 November 2013] Kaufman, S., 2013. Blurred Lines, Androgyny and Creativity [online]. Scientific American. Available at http://blogs.scientificamerican.com/beautifulminds/2013/09/01/blurred-lines-androgyny-andcreativity/ [Accessed 10 November 2013] Koller, V., 2009. Visual Communication [online] Available at http://vcj.sagepub.com/content/7/4/395. abstract [Accessed 10 November 2013] Lee, D. 2005. Androgyny becoming global? [online] Available at http://uniorb.com/RCHECK/RAndrogyny. htm [Accessed 9 November 2013] Lewis, T., 2013. ‘The birth of the London club scene’: Bowie Nights at Billy’s Club [online]. The Observer. Available at http://www.theguardian.com/music/ gallery/2013/jan/25/bowie-nights-billys-club-pictures# /?picture=403019468&index=9 [Accessed 8 November 2013] Nakiska, T., 2013. A Queer History of Fashion [online] Dazed and Confused. Available at http://www. dazeddigital.com/fashion/article/17191/1/a-queerhistory-of-fashion [Accessed 7 November 2013] Nyenhuis, J., 2013. The “Feminine” side of “Masculinity”, Don’t Kiss That, [online blog]. Available at http://pleasedontkiss.wordpress.com/2013/08/22/ the-feminine-side-of-masculinity/ [Accessed 7 November 2013]
Perry, G. and Rossington, M., 1994. Femininity and Masculinity in eighteenth-century art and culture [eBook]. Manchester: Manchester University Press. Available at http://books.google.co.uk/books?id=Hci UKoMSzjoC&printsec=frontcover&source=gbs_ge_su mmary_r&cad=0#v=onepage&q&f=true [Accessed 7 November 2013] Shapers of the 80s, n.d. Who’s who at the Blitz [online]. Available at http://shapersofthe80s.com/blitzkids/ [Accessed 8 November 2013] Sorabella, J., n.d. Portraiture in Renaissance and Baroque Europe [online]. The Metropolitan Museum of Art. Available at http://www.metmuseum.org/toah/hd/ port/hd_port.htm [Accessed 7 November 2013] The Creative Bent, 2013. Gender Bender: Overlapping Fashion Trends [online]. Available at http:// thecreativebent.com/gender-bender-overlappingfashion-ideologies/ [Accessed 7 November 2013] The Guardian Editorial, 2013. Unthinkable? Men in skirts [online]. Available at http://www.theguardian. com/commentisfree/2013/aug/30/men-in-skirtsgender-morphing-neutral [Accessed 10 November 2013] Upstart, 2013. Morphing Genders for Fashion [online]. Available at http://www.upstart.net.au/2013/05/14/ morphing-genders-for-fashion/ [Accessed 7 November 2013] Victoria & Albert, 2002. Fashion in Motion: Men in Skirts [online]. Available at http://www.vam.ac.uk/ content/articles/f/fashion-in-motion-men-in-skirts/ [Accessed 8 November 2013 Victoria & Albert, 2012. Postmodernism Teacher’s Resource [online]. Available at http://www.vam. ac.uk/__data/assets/pdf_file/0010/179488/teachers_ resource_postmodernism.pdf [Accessed 8 November 2013]
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the bibliography bibliography bibliography ~ ~ Wessang, A., 2012. Jean-Paul Goude is Still Ahead of his Time [online]. Vice. Available at http://www.vice. com/read/jean-paul-goude-is-still-ahead-of-his-time [Accessed 10 November 2013] WGSN, 2011. Radical Neutrality: A/W 2013 [online]. Available via Nottingham Trent University [Accessed 7 November 2013] Wheatley-Dawson, T., 2013. Gender Bender - the Art of Androgyny [online]. Available at http://www. fashionglobalblog.com/style/2013/8/3/gender-benderthe-art-of-androgyny [Accessed 10 November] White, B., 2013. David Bowie teams up with Tilda Swinton, Andrej Pejic and Saskia de Brauw for The Stars (Are Out Tonight) music video [online]. The Telegraph. Available at http://fashion.telegraph.co.uk/ news-features/TMG9894744/David-Bowie-teamsup-with-Tilda-Swinton-Andrej-Pejic-and-Saskia-deBrauw-for-The-Stars-Are-Out-Tonight-music-video. html [Accessed 8 November 2013] Woolf, V., 1952. A Room of One’s Own [eBook] South Australia: University of Adelaide. Available at http://ebooks.adelaide.edu.au/w/woolf/virginia/w91r/ [Accessed 7 November]
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The Post-Something Man: Illustrated Essay