Visual Essay on Gender Fluidity in Fashion NTU FMB

Gender Fluidity in Fashion

Poppy West N0731532

How Does the Concept of Gender Fluidity Impact the World of Fashion Marketing?

Fashion Has No Gender.

ethics clause I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project.

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Word Count 2582

Contents Introduction

Page 1

What is Gender Fluidity

Page 4

History of Gender Fluidity

Page 5 - 12

Gender Fluidity in Society Now

Page 13 - 22

Marketing in Gender Fluidity

Page 23 - 36

Jaden Smith X Louis Vuitton

Page 25 - 26

Acne Studios

Page 27 - 32

ASOS

Page 33 - 36

Conclusion

Page 37 - 38

References

Page 39 - 40

Bibliography

Page 41 - 44

Image References

Page 45 - 47

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Gender has always been a prominent social influence in the fashion industry, with women being the main driver behind the industry. Over the decades fashion was, and often still is, seen as ‘feminine’ and hence not connected to men (Edwards, 1997).

However, in recent years the constraints of typical gender have been broken and the idea of pushing the boundaries of gender through fashion has become a common theme within the industry. As society becomes more accepting of gender, race and sexuality people are becoming more confident in the way they are expressing themselves through fashion. It was often thought that androgynous and gender fluid fashion was a ‘high fashion’

concept with designers using the notion in their work. However, this concept has had a ‘trickle-down’ effect and now the general public are seen to be adopting this style of fashion. This is why it can be said that the acceptance of gender/sexuality corresponds with the acceptance of more gender inclusive/fluid fashion. This essay will be looking at gender fluidity and the way it impacts fashion marketing. This will be done through the analysis of the history of gender fluidity, how it looks within today’s society and by looking at some successful or not so successful campaigns that have incorporated gender fluidity as a core theme.

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What is Gender Fluidity?

Gender includes, in addition to the biological elements, the behavioural, psychological and social characteristics of men and women. (Fontanella, et al., 2013). Hence, people often align themselves with the characteristics of the other sex as they feel their psychological traits favour that gender.

The binary notion of gender identity is changing, it is recognised that there are different views on how gender may be experienced. This is where in recent years the idea of gender fluidity has emerged as a more solid concept.

From research completed it can be said that gender fluidity is where the boundary between the sexes is blurred and people can move freely between them as they choose.

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History of Gender Fluidity in Fashion In order to properly review the impact of gender fluidity on the fashion industry and more specifically the fashion marketing sector, the history of the concept has to be looked at. Gender fluidity is not a new idea and sources state that it ‘arguably stems from the desire not to want to be constrained by gender, and to have the freedom of deciding what we should or shouldn’t wear’ (Komar, 2016) and many figures in history have adopted this desire.

Coco Chanel was a pivotal figure in changing the landscape of fashion. She was creating clothes during the era of the Suffrage movement (1910’s), and as a consequence of that women were gaining power and using their voices. Chanel provided these independent women with masculine-like silhouettes and trousers, which until then had been taboo.

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chanel Dietrich Hepburn BOWIE JONES GAULTIER 6

During the 1930’s Marlene Dietrich and Katharine Hepburn changed the face of Hollywood forever.

The two stand out for their androgynous fashion statements and dismissive attitudes toward the idea of femininity. They bought the idea of gender fluidity to the silver screen with Dietrich gracing the screen wearing a bow tie and top hat (right) and Hepburn embracing menswear to the full, wearing Brook’s Brothers shirts and suits (Weir, 2014).

The late 60’s and early 70’s was a new era.

Homosexuality was decriminalised in Britain in 1967 with the “1967 Sexual Offences Acts” (Burston, et al., 2017). There was a sexual revolution brewing. Many men were, for the first time, exploring themselves outside of their gendered expectations. They were “embracing their feminine side without having their masculinity come into question” (Komar, 2016). David Bowie (pg. 9-10) was one of the most influential people at this time with his “ambiguous interpretation of masculinity” and “stalwart resistance to be defined by his biological sex, his sexuality or his gender” (Bradley & Page, 2017, p. 584). He personified the gender movement that was occurring in society at this time. He pushed the idea that gender wasn’t something that should hold you down, he showed his followers that gender was fluid. His strong presence in society changed the way people viewed gender and dress, without him the acceptance of gender fluid fashion may not be where it is today.

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Grace Jones was another very influential icon in androgynous fashion. In the 1980’s when Jones posed in a sharp-shouldered suit with a cigarette dangling from her mouth on the cover of her 1981 album, Nightclubbing, it “sent shockwaves through fashion” (Okwodu, 2016). She blurred that boundaries of what was considered feminine and what was considered masculine by placing herself in the middle of the two. Jones stated once “I go feminine, I go masculine – I am both actually. I think the male side is a bit stronger in me and I have to tone it down sometimes. I’m not a normal woman, that’s for sure…” (Foreman, 2015).

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Jean-Paul Gaultier is a legendary fashion designer who has always presented his own ideas about gender through his designs. Gaultier has consistently used design as a way to “de-construct conventions about gender and sexuality…

Famed for flipping the script, he’s put men in thigh-grazing skirts and women in dapper tailoring since ’84.” (DazedDigital, 2014).

The image of, male model, Tanel Bedrossiantz in a dress with a cone bra shows how bold Gaultier was with his work, especially in terms of fully capturing the notion of gender fluidity by using iconography with sexual connotations. Gaultier once said “There is no difference between my men’s and women’s clothes” (Hyde, 1984), which clearly shows his personal attitude towards gender fluidity. This opinion of Gaultier’s is important to note as it is clear that, as the distinction between genders is becoming narrower, that the gap between the clothing they wear should be closing as well.

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Gender Fluidity in Societ Now

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While it is important to look at the history of gender fluidity in terms of fashion, it is also important to look at how it has had an impact on fashion in today’s society, in particular fashion marketing and the consumers views.

In recent years brands have tried to be more socially aware and more inclusive towards gender, race, size and age. It can be said that this is partially due to the social and political landscape that the industry sits within, and the problems within that landscape. Brexit and the Trump election brought with them a world of turmoil, especially regarding racism and diversity. Many people took a stand against this; and from that the world of fashion has absorbed that backlash and is becoming more inclusive and accepting. Some brands are successful in doing this, some not so much. However, within this we have to recognise that some brands may be ‘jumping on the band-wagon’ and using the inclusive ‘trend’ as a marketing ploy.

The image to the left shows transgender model Andrej Pejic, who transformed the fashion industry into thinking a little differently. At the start of her career many didn’t know she was actually a male (until her gender reassignment surgery in 2014) and this didn’t stop her career as both a male and female model. Her influence on the industry is crucial as it shows the progression of understanding and knowledge. The image (left) is very shocking as at first glance it portrays a female topless model, however in actuality it is a man - hence the image not only breaks stereotypes of gender but also challenges the notion of the body and how it is okay for a male to be topless but not a woman, normally out of fear of offence.

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Gucci is also a brand which has successfully incorporated the idea of gender fluidity in their products.

In 2015, as the new creative director of the brand Alessandro Michele brought new life to the once stereotypical, gender typical, brand by having “louche, longhaired male models…in chiffon and lace, pussy-bow blouses and high-waisted flares” (Baker, 2015) in a Milan fashion show (left); this shows how acceptance styles with strong links to a certain gender are now crossing the boundary between the sexes.

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One brand that is successful in accepting and including people of all genders, races and ethnicities, is Diesel. Diesel has always been a controversial brand who pushes the boundaries of society. The brand even took a direct opposing view on the Trump election with their 2017 ‘Make Love Not Walls’ campaign (pg.19 - 20) Diesel directly addressed gender in their ‘This Ad Is…’ campaign where they included an advertisement that stated that ‘This ad is… gender neutral’ which featured two gender fluid models who are proving that both genders can wear the same clothing (right).

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In 2017, Vogue faced a strong backlash from consumers when they released their August issue which featured Zayn Malik and Gigi Hadid on the cover. The cover story read, ‘Gigi Hadid and Zayn Malik Are Part of a New Generation Who Don’t See Fashion as Gendered’, however readers pushed back because the article stated the couple “shop each other’s closets” and shared clothes sometimes (Singer, 2017).

Many members of the public felt that just because they shared clothes does not mean they are gender fluid, they felt that Malik wearing his girlfriend’s T-Shirt did not constitute them to say that they are gender fluid (BBC, 2017). This incident goes to show how strongly people feel about this topic and how careful brands, even institutions like Vogue, have to be when approaching it. They have to make sure they are approaching it in the correct way that won’t offend; this is where political and social correctness comes into play, additionally where people and brands may end up becoming scared to speak for risk of conflict or offence.

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Overall many brands are attempting to integrate gender fluidity into their brand ethos to become more inclusive and accepting. It is a start. There are many brands who are pioneering in this and who are impacting greatly on the fashion industry.

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Marketing and Gender Fluidity 24

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Jaden Smith X LOUIS vUITTON Jaden Smith has been known to embrace gender fluidity, he “passes on the message that there is no feminine or masculine and anyone can be anything” (Jagyasi, 2016).

The son of Will Smith and Jada Pinkett Smith, can always be seen pushing the boundaries of gender through fashion.

He does this through, not only, his daily dress but also the campaigns he features in. In 2016 Smith appeared in Louis Vuitton’s Spring womenswear campaign.

This was very shocking for Louis Vuitton as a luxury label brand, who typically play it safer in their marketing, normally “aiming for elegant” (Yotka, 2016). The urban and youthful campaign is fun and bold; it brings the brand forward from the luxury market, making them stand out.

This concept had seemingly not been done before, especially by a large, luxury brand; this meant the impact was much more substantial than it would be if a smaller brand had been the creator. The campaign tells consumers that even though Louis Vuitton has a rich and traditional history, that they are moving forward and adapting with the changes in society. Louis Vuitton cleverly used gender fluidity in the campaign, alongside the use of Smith in particular, to target a new type of younger, more socially accepting consumer. The “millennial sensitive” (Friedman, 2016) campaign was hugely successful and pushed the boundaries of luxury fashion by reaching out to the minds of millennials and capturing their attention.

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Acne Studios Campaign Acne Studios is another brand who stepped out of the box with their 2015 Autumn/Winter womenswear campaign; where the brand’s co-founder, Jonny Johansson, recruited his 11-year-old son Frasse to be the model. Johansson stated that he wanted his son to be the face of the campaign because: “I’ve seen this new generation’s attitude to fashion where the cut, the shape and the character of the garment is the crucial thing, rather than seeking approval from society or to follow set norms. I immediately pictured Frasse, since he embodies this new breed to me” (Lidbury, 2015). This concept is new and pushing the boundaries as it is using a child, however the overall concept of using the other gender in campaigns has been seen before in the reverse with Yves Saint Laurent’s Spring 2013 Menswear campaign (pg. 29-20). The campaign features female model Saskia de Brauw in the menswear collection, this reflects Yves Saint Laurent’s historic, androgynous style that they are famous for in a fresh and obvious way.

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Acne studios took a risk with their campaign as not only was it featuring the other sex, but it features a child; this makes for an incredibly striking campaign that shocked its viewers through its innovative take on gender. The campaign broke traditional norms through the open acknowledgement of the fluidity of fashion and gender, however Johansson stated himself that the campaign was “not at all about gender but presenting this new breed that Frasse represents…I wanted to portray that feeling of first experiences with fashion, like a kid is experimenting with their look for the first time, without any preconception.” (Allwood, 2015). This quote shows us that although the intention of the campaign was not to reflect on gender but to look at experimentation within fashion, that the audience read the visual codes differently than the author intended. They saw the young boy and thought of the connotations of gender instead. This reveals the idea that gender fluidity is at the forefront of consumers’ minds and that they are becoming more open, especially in recent years, to brands exploring the concept.

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“No rules, just ways to be you Go play.”

- ASOS, 2017

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t endless u.

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ASOS ‘Go Play’ Campaign ASOS Face & Beauty lies within another sector of the fashion industry and so it is important to also consider how the beauty industry uses gender in their marketing campaigns. On the 6th of September 2017 ASOS released their ‘Go Play’ campaign that was advertising their first ever beauty range. The vibrant campaign features a myriad of people of varying genders who are styled based on colour and extravagance. The images are standing up for acceptance in terms of gender and beauty standards. The campaign is ASOS’s way to directly communicate to their consumers the type of brand they are and who they perceive their customers to be. ASOS themselves stated, about the inclusivity of the brand and specifically the ‘Go Play’ campaign, that “At ASOS, we want to empower 20-somethings to confidently be themselves, however they choose to do so. We believe your face and body are a canvas, an adventure in

individual self-expression, and an opportunity to experiment and play” (ASOS, 2017). The ‘Go Play’ Campaign is both a print and digital campaign with images and ‘hero-video’ used as the marketing mediums. The campaign cleverly uses both male and female models that represent the idea of gender fluidity in the most obvious way, this presents to the consumer the stance that ASOS takes on the issue of gender. This is important as elsewhere within the brand ASOS has had to be subjective to the confines gender within clothing, with their separate womenswear and menswear sections. This playful campaign idea has never really been seen by such a high profile high-street brand, especially at the scale of the ‘Go Play’ Campaign.

ASOS is one of the brands, because of their campaign, that is at the forefront of the new generation of acceptance in the beauty industry.

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CONCLUSION

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To conclude, it can be said that gender fluidity has a significant impact on the fashion industry, particularly how brands market themselves and their products. High fashion brands and designers such as Jean Paul Gaultier have been using gender fluidity within their products for many years however, they have only recently been reflecting this ideology within their marketing campaigns. This is obvious with brands such as YSL and Louis Vuitton, who have only recently been presenting these ideas to the masses through their marketing campaigns. This shows that even high culture brands have reservations regarding certain social stances as they want to remain appealing to their, often more traditional, consumers. As the acceptance of gender fluidity grows in high-brow culture it can be said that it is continually growing in normal, everyday society.

Mass market brands such as ASOS are now being seen to use their marketing devices to project their brand values, including their stance on gender fluidity, to their consumers in more direct and obvious ways than can be seen by the high fashion brands. As gender fluidity is such a controversial topic in today’s society brands have to be careful in the way they are addressing the subject as to not offend. This is especially important within their marketing campaigns as this is the way the brand is projecting themselves and their core values to the masses and to their consumers.

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