Cultural Studies

Download 'Don We Now Our Gay Apparel: Gay Men's Dress in the by Shaun Cole PDF

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By Shaun Cole

"Gay type truly units tendencies. It’s what immediately humans take style from."--Tony Woodcock

From the hot Edwardians and muscle boys to Radical Drag, homosexual men’s gown has had a profound impression on model. even if, you can actually put out of your mind that, with few exceptions, homosexual males previous within the century took nice pains to hide their sexual identification. males akin to Quentin Crisp, whereas hugely influential, have been faraway from the norm. such a lot homosexual males resorted to a host of sophisticated costume codes to spot themselves to different homosexual males -- from Oscar Wilde’s well-known eco-friendly carnation, which was once nonetheless being worn within the Thirties, via to suede footwear.

Beginning with a glance at the subcultural global of homosexual males within the early a part of this century -- really in manhattan and London -- this attention-grabbing e-book analyzes the developments in gown followed through homosexual males in addition to the problem homosexual type has made to mainstream men’s style. the significance of costume option to the formation of sexual identification is highlighted, as is homosexual impression on punk and the style as a complete. the increase of new gown offerings within the wake of homosexual liberation is analyzed with specific emphasis at the masculinization of homosexual gown. The significance of the physique to homosexual tradition is addressed, from the body magazines of the Nineteen Fifties, via to tattooing and physique piercing, and their origins within the S&M scene.

Anyone drawn to homosexual tradition or the background of costume will locate this ebook to be crucial examining.

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Additional resources for 'Don We Now Our Gay Apparel: Gay Men's Dress in the Twentieth Century (Dress, Body, Culture)

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The new law defined ‘acts of gross indecency’ between two men in public or private as ‘misdemeanours’, punishable by up to two years of hard labour. 10. Jeffrey Weeks (1989), ‘Inverts, Perverts, and Mary-Annes: Male Prostitution and the Regulation of Homosexuality in England in the Nineteenth and Early Twentieth Centuries’, in Duberman, Vicinus and Chauncey, Hidden From History, pp. 198–9. 11. For details of Wilde’s trials see Richard Ellmann (1987), Oscar Wilde, London. 12. This is comparable to the use of the names Quentin and Jeremy as euphemisms for homosexuality in the late 1970s, which followed the television screening of the ‘Naked Civil Servant’, based on Quentin Crisp’s autobiography and newspaper reports of Jeremy Thorpe’s alleged activities as a communist spy and his homosexual relationship with Norman Scott.

This attraction to working-class men and what would later be termed ‘rough trade’ subsequently played a significant role in the development of gay men’s self-presentation strategies. The photographs that Montague Glover took of his lovers and ‘rough trade’ in the 1920s and 1930s dressed in working-class clothes, such as ‘shabby trousers, jacket, cloth cap and collar-less shirt’39 and in various uniforms illustrate this fascination. Bobby Sillock, a character in the 1953 novel The Heart in Exile, recognises the attraction to working-class men: ‘We don’t like anyone like ourselves.

18. Gloria Bar and Grill, Inc. v. D. 706 (1st Dep’t 1940), testimony of Walter R. Van Wagner in Record on Review, 229, 232, quoted in Chauncey, Gay New York, p. 55. 19. ’ Christopher Street, March, pp. 8–9. 20. Quentin Crisp (1985 [1977]), Naked Civil Servant, London, p. 26. In his 1953 novel about gay life Rodney Garland espoused the following viewpoint: ‘On the whole I think they belong to a group of people who are stunted if not destroyed by inversion . . They are more feminine than most women, the “modern” woman in particular.

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