This article focuses on the collections of London-based, Glaswegian designer Charles Jeffrey who has won plaudits for his spectacular, subversive, theatrical and highly camp catwalk shows. His label LOVERBOY – having grown out of an East London club night of the same name – brings together eclectic historical references with the stylistic bricolage of the queer scene from which it emerged. Using a combination of image analysis and a semi-structured interview with Jeffrey, this article investigates how he has blurred the boundaries between the nightclub and the runway, the collective and the named designer to formulate a distinctly queer mode of fashion practice. At LOVERBOY the transformative possibilities of the nightclub; the heightened emotion of the dance floor; and the embodied, affective, temporal qualities of ‘queer sociality’ are transposed onto the catwalk, revealing the role of fashion and clothing in practices of queer world-making. Camp aesthetics and queer nightlife have played a crucial role in the history of fashion – perhaps most notably during the 1980s when designers like Bodymap, Jean Paul Gaultier and Stephen Linard drew extensively on queer signifiers in their work. However, the success of LOVERBOY marks a shift in contemporary cultures of gender as discourses of queerness and performativity reach a new point of amplification. After the seriousness, refinement and minimalism of millennial fashion, the liminality, polysemy and exuberance of camp has again reasserted its transgressive potential.
本文关注的是伦敦格拉斯哥设计师查尔斯·杰弗里(Charles Jeffrey)的系列，他以壮观、颠覆性、戏剧性和高度camp的t台秀赢得了喝彩。他的品牌LOVERBOY——起源于东伦敦的一个同名俱乐部之夜——将兼收并蓄的历史参考与酷儿场景的风格拼凑在一起。本文结合图像分析和对杰弗里的半结构化采访，探讨了他是如何模糊夜店和t台、集体和具名设计师之间的界限，从而形成一种独特的酷儿时尚实践模式的。在LOVERBOY，夜总会变革的可能性;舞池中高涨的情绪;“酷儿社会”所体现的、情感的、时间的特质被转移到t台上，揭示了时尚和服装在酷儿世界创造实践中的作用。坎普美学和酷儿夜生活在时尚史上扮演了至关重要的角色——也许最引人注目的是在20世纪80年代，Bodymap、让·保罗·高缇耶(Jean Paul Gaultier)和斯蒂芬·林纳德(Stephen Linard)等设计师在他们的作品中广泛使用了酷儿的符号。然而，《LOVERBOY》的成功标志着当代性别文化的转变，酷儿话语和表演达到了一个新的放大点。在经历了千禧年时尚的严肃、精致和极简主义之后，坎普的模糊、多义性和繁盛再次重申了它的越界潜力。
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