This article explores the first-hand experience of the diversity in styles of men’s briefs. It questions the standard categorization of briefs based on coverage and leg length. Due to the advent of internet-based sales channels, the scope for design has widened dramatically. The quality and experience of underwear styles is not captured in waistband dimensions and information on fabric. The article questions some ideas about designers’ ability to communicate product understanding given the tacit, non-verbal and haptic qualities inherent in briefs. It also raises questions about research paradigms common in industrial design research. This article is thus both about the subject (men’s briefs) and the means of research (research paradigm). The article combines aspects of design research used for industrial design and approaches such as wardrobe studies and interpretation used in fashion research.
{"title":"Bridging measurement and cultural interpretation: Experiencing the form-giving of men’s briefs","authors":"Richard Herriott","doi":"10.1386/csmf_00071_1","DOIUrl":"https://doi.org/10.1386/csmf_00071_1","url":null,"abstract":"This article explores the first-hand experience of the diversity in styles of men’s briefs. It questions the standard categorization of briefs based on coverage and leg length. Due to the advent of internet-based sales channels, the scope for design has widened dramatically. The quality and experience of underwear styles is not captured in waistband dimensions and information on fabric. The article questions some ideas about designers’ ability to communicate product understanding given the tacit, non-verbal and haptic qualities inherent in briefs. It also raises questions about research paradigms common in industrial design research. This article is thus both about the subject (men’s briefs) and the means of research (research paradigm). The article combines aspects of design research used for industrial design and approaches such as wardrobe studies and interpretation used in fashion research.","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":"1 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136381457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Brenton Heath-Kerr was a performance artist living and working in Sydney, Australia, who died of AIDS-related complications at the age of 33 in 1995. Heath-Kerr designed, wore and staged interventions in disruptive costumes in the Sydney nightlife of his time. Grappling with declining health, his designs came to address his own mortality, exemplified by an intervention in the now unwearable costume ‘Self Portrait in Latex’ (1994). Rubber objects trouble the archival project, becoming ‘vulnerable’ or ‘unruly’ under different systemic conditions. ‘Unruly rubber’ considers the queer-ecological dimensions of latex, its material affinities in Heath-Kerr’s designs, in kink ecologies and in fashion more generally. Drawing from a framework of new materialism and queer theory, beside qualitative visual analysis, the argument proceeds with attention to archives, ephemera and the anecdote. ‘Unruly rubber’ asserts the agency of latex in queer assemblages, which continues to enact with and upon human design, desire and experience today.
{"title":"‘Unruly rubber’: Brenton Heath-Kerr’s costume and the queer agency of latex","authors":"Blake Lawrence","doi":"10.1386/csmf_00069_1","DOIUrl":"https://doi.org/10.1386/csmf_00069_1","url":null,"abstract":"Brenton Heath-Kerr was a performance artist living and working in Sydney, Australia, who died of AIDS-related complications at the age of 33 in 1995. Heath-Kerr designed, wore and staged interventions in disruptive costumes in the Sydney nightlife of his time. Grappling with declining health, his designs came to address his own mortality, exemplified by an intervention in the now unwearable costume ‘Self Portrait in Latex’ (1994). Rubber objects trouble the archival project, becoming ‘vulnerable’ or ‘unruly’ under different systemic conditions. ‘Unruly rubber’ considers the queer-ecological dimensions of latex, its material affinities in Heath-Kerr’s designs, in kink ecologies and in fashion more generally. Drawing from a framework of new materialism and queer theory, beside qualitative visual analysis, the argument proceeds with attention to archives, ephemera and the anecdote. ‘Unruly rubber’ asserts the agency of latex in queer assemblages, which continues to enact with and upon human design, desire and experience today.","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42490140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Silhouettes: Fashion in the Shadow of HIV/AIDS, curated by Skye Bartlett and Timothy Roberts The David Roche Museum, Adelaide, Australia, 29 January–18 June 2022 Silhouettes: Fashion in the Shadow of HIV/AIDS, Penelope Curtin (ed.) (2022) Adelaide: The David Roche Museum, 164 pp., ISBN 978-0-64872-291-5, p/bk, AUD 35
{"title":"Silhouettes: Fashion in the Shadow of HIV/AIDS, curated by Skye Bartlett and Timothy Roberts","authors":"P. McNeil","doi":"10.1386/csmf_00070_5","DOIUrl":"https://doi.org/10.1386/csmf_00070_5","url":null,"abstract":"Review of: Silhouettes: Fashion in the Shadow of HIV/AIDS, curated by Skye Bartlett and Timothy Roberts\u0000 The David Roche Museum, Adelaide, Australia, 29 January–18 June 2022\u0000 \u0000 \u0000 Silhouettes: Fashion in the Shadow of HIV/AIDS, Penelope Curtin (ed.) (2022)\u0000 Adelaide: The David Roche Museum, 164 pp.,\u0000 ISBN 978-0-64872-291-5, p/bk, AUD 35","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66693585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a former male model whose modelling career lasted 25 years (1988–2013) and as a researcher, I am interested in the production of meanings and knowledge related to representations of masculinity. As a gay former male model who was classified as ‘other’ but represented the normative ideal and passed for straight in fashion shows and photographs, I look back on images of myself differently and against the grain. I analyse three of my fashion photographs – taken for the Finnish tabloid City in 1993, when AIDS was considered the ‘gay plague’, but never published – in terms of critical studies of masculinities, gay and sexuality studies, and queer theory. I speculate and examine gestures, facial expressions and poses in the photographs that were still intolerable and prevented their publication 30 years ago. The publication of my photographs now is concrete proof that masculine gestured performances are becoming more inclusive and diverse.
{"title":"A counter-story to the rags-to-riches narrative: A Finnish male model wearing hobo style during the deep depression in the age of AIDS","authors":"Kari Silvola","doi":"10.1386/csmf_00068_1","DOIUrl":"https://doi.org/10.1386/csmf_00068_1","url":null,"abstract":"As a former male model whose modelling career lasted 25 years (1988–2013) and as a researcher, I am interested in the production of meanings and knowledge related to representations of masculinity. As a gay former male model who was classified as ‘other’ but represented the normative ideal and passed for straight in fashion shows and photographs, I look back on images of myself differently and against the grain. I analyse three of my fashion photographs – taken for the Finnish tabloid City in 1993, when AIDS was considered the ‘gay plague’, but never published – in terms of critical studies of masculinities, gay and sexuality studies, and queer theory. I speculate and examine gestures, facial expressions and poses in the photographs that were still intolerable and prevented their publication 30 years ago. The publication of my photographs now is concrete proof that masculine gestured performances are becoming more inclusive and diverse.","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46302935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Perceptions of the boundaries of masculinity have often been questioned in menswear, with the masculine ideal continually reimagined to create a balance between itself and its counterpart, femininity. During the 1980s AIDS crisis, this adopted uniform of masculinity was subverted within queer society leading to a new male identity that contested tacit knowledge of menswear design. The focus of this article is to showcase this shift in male image and to explore how gay semiotics was associated with the development of the modern gay male stance through clothing and social empowerment, opposing the negativity that surrounded the AIDS virus. This research is personally motivated by the primary author, where he seeks to delve further into the under-researched area of queer masculinity utilizing a practical, experimental methodology. Representation of what is seen as queer masculinity is often shown as biased within society, characterizing the gay man. This project presents, through the practices of menswear design, how this characterization has developed within the context of the male body. It aims to contest the boundaries of traditional men’s tailoring, its formality and the masculine ideal that it represents, by juxtaposing it with the homoerotic art of the time and the craft of AIDS sufferers of the 1980s period. Using object-study and practical methods of deconstruction and repair of case study (bespoke and non-bespoke) men’s tailored jackets, the research manifests in physical experimentation and aesthetic visualization, which is recorded in a creative process journal. The acts of physical deconstruction and the practice of repair are then analysed through the process of design development (drawing, sourcing and sampling). The synthesized findings draw parallels with deconstructed tailoring found in vintage photographs of men at work, which are further triangulated with homoerotic photographic art of the 1980s and the act of repair found in the stitch therapy of AIDS sufferers. These are embedded in the construction of the final artefact through the practice of garment design (drawing, pattern-cutting, toiling and making) and craftsmanship (stitching by hand). The processes employed and final artefact produced document and present how ideals of masculinity in the time of AIDS can be both physically and metaphorically deconstructed, then reconstructed as a garment-based outcome (men’s tailored jacket) in practice-led research. The final artefact showcases delicacy in design through the act of stitching by hand and the repair of the deconstructed robust exteriors found in tailoring and associated with the masculine ideal.
{"title":"Mind and muscle: Deconstructing the uniform of masculinity in the time of AIDS","authors":"Dean-Henry Younger, N. Sellars, A. James","doi":"10.1386/csmf_00067_1","DOIUrl":"https://doi.org/10.1386/csmf_00067_1","url":null,"abstract":"Perceptions of the boundaries of masculinity have often been questioned in menswear, with the masculine ideal continually reimagined to create a balance between itself and its counterpart, femininity. During the 1980s AIDS crisis, this adopted uniform of masculinity was subverted within queer society leading to a new male identity that contested tacit knowledge of menswear design. The focus of this article is to showcase this shift in male image and to explore how gay semiotics was associated with the development of the modern gay male stance through clothing and social empowerment, opposing the negativity that surrounded the AIDS virus. This research is personally motivated by the primary author, where he seeks to delve further into the under-researched area of queer masculinity utilizing a practical, experimental methodology. Representation of what is seen as queer masculinity is often shown as biased within society, characterizing the gay man. This project presents, through the practices of menswear design, how this characterization has developed within the context of the male body. It aims to contest the boundaries of traditional men’s tailoring, its formality and the masculine ideal that it represents, by juxtaposing it with the homoerotic art of the time and the craft of AIDS sufferers of the 1980s period. Using object-study and practical methods of deconstruction and repair of case study (bespoke and non-bespoke) men’s tailored jackets, the research manifests in physical experimentation and aesthetic visualization, which is recorded in a creative process journal. The acts of physical deconstruction and the practice of repair are then analysed through the process of design development (drawing, sourcing and sampling). The synthesized findings draw parallels with deconstructed tailoring found in vintage photographs of men at work, which are further triangulated with homoerotic photographic art of the 1980s and the act of repair found in the stitch therapy of AIDS sufferers. These are embedded in the construction of the final artefact through the practice of garment design (drawing, pattern-cutting, toiling and making) and craftsmanship (stitching by hand). The processes employed and final artefact produced document and present how ideals of masculinity in the time of AIDS can be both physically and metaphorically deconstructed, then reconstructed as a garment-based outcome (men’s tailored jacket) in practice-led research. The final artefact showcases delicacy in design through the act of stitching by hand and the repair of the deconstructed robust exteriors found in tailoring and associated with the masculine ideal.","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48953095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article looks at the intersection between men’s fashion, ambiguous masculine identities and the emerging media form of music video in the AIDS-darkened early 1980s. It asks two questions: firstly, what enabled sartorial features in masculine fashion and grooming previously associated with queer-identifying men to cross over into the mainstream fashion culture of the 1980s? Secondly, how was it that in the startlingly homophobic climate of this ‘age of AIDS’, sexually ambiguous figures such as Wham!’s George Michael became such popular style role models? The article addresses these questions by arguing that Elvis Presley’s Jailhouse Rock (1957) – a strong stylistic influence on Wake Me Up Before You Go-Go by Wham! in 1984 – is an example of the Camp trace that remains when Camp aesthetics are removed from explicitly queer contexts. It argues that Jailhouse Rock is a dramatization of situational homosexuality, a mid-twentieth-century understanding of same-sex attraction between straight-identifying men, a precedent that permits the homoerotic group dynamic of Wham!. The article then explains how fashion worn by Michael in Wake Me Up Before You Go-Go – namely British designer Katherine Hamnett’s CHOOSE LIFE slogan T-shirt, and an alternative costume in which the colour pink is most prominent – demonstrates an intersection between fashion and politics for gay men in the 1980s. It also discusses Michael as an example of the New Man, an advertising and media trope of the 1980s that represented a blurring between queer masculine style and a new straight stereotype.
这篇文章着眼于在艾滋病肆虐的80年代早期，男性时尚、模糊的男性身份和新兴的音乐视频媒体形式之间的交集。它提出了两个问题:首先，是什么让男性时尚和修饰中的服装特征，以前与酷儿认同的男性联系在一起，进入了20世纪80年代的主流时尚文化?其次，在这个“艾滋病时代”令人震惊的恐同氛围中，像威猛乐队(Wham!乔治·迈克尔成为如此流行风格的榜样?本文通过论证埃尔维斯·普雷斯利的《监狱摇滚》(1957)——对威猛乐队的《Wake Me Up Before You Go-Go》产生了强烈的风格影响，来解决这些问题。这是坎普美学从明确的酷儿语境中移除后留下的坎普痕迹的一个例子。它认为，监狱摇滚是一种情境性同性恋的戏剧化，是二十世纪中期对异性恋男性之间同性吸引力的理解，是威猛乐队(Wham!)的同性恋群体动态的一个先例。这篇文章接着解释了迈克尔在《Wake Me Up Before You Go-Go》中所穿的时装——即英国设计师凯瑟琳·哈姆内特(Katherine Hamnett)设计的“选择生活”(CHOOSE LIFE)标语t恤，以及一套以粉红色为最突出颜色的另类服装——如何展示了20世纪80年代男同性恋者的时尚与政治的交集。它还讨论了迈克尔作为新男人的一个例子，这是20世纪80年代广告和媒体的比喻，代表了酷儿男性风格和新直男刻板印象之间的模糊。
{"title":"From Jailhouse Rock to Wake Me Up Before You Go-Go: George Michael and the New Man","authors":"Ailsa Weaver","doi":"10.1386/csmf_00065_1","DOIUrl":"https://doi.org/10.1386/csmf_00065_1","url":null,"abstract":"This article looks at the intersection between men’s fashion, ambiguous masculine identities and the emerging media form of music video in the AIDS-darkened early 1980s. It asks two questions: firstly, what enabled sartorial features in masculine fashion and grooming previously associated with queer-identifying men to cross over into the mainstream fashion culture of the 1980s? Secondly, how was it that in the startlingly homophobic climate of this ‘age of AIDS’, sexually ambiguous figures such as Wham!’s George Michael became such popular style role models? The article addresses these questions by arguing that Elvis Presley’s Jailhouse Rock (1957) – a strong stylistic influence on Wake Me Up Before You Go-Go by Wham! in 1984 – is an example of the Camp trace that remains when Camp aesthetics are removed from explicitly queer contexts. It argues that Jailhouse Rock is a dramatization of situational homosexuality, a mid-twentieth-century understanding of same-sex attraction between straight-identifying men, a precedent that permits the homoerotic group dynamic of Wham!. The article then explains how fashion worn by Michael in Wake Me Up Before You Go-Go – namely British designer Katherine Hamnett’s CHOOSE LIFE slogan T-shirt, and an alternative costume in which the colour pink is most prominent – demonstrates an intersection between fashion and politics for gay men in the 1980s. It also discusses Michael as an example of the New Man, an advertising and media trope of the 1980s that represented a blurring between queer masculine style and a new straight stereotype.","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44386375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The editorial introduces a Special Issue of Critical Studies in Men’s Fashion , ‘Fashion in the Age of AIDS’. Outlining the devastating impact of the emergence of Acquired Immunodeficiency Syndrome (AIDS) from the 1980s in the West on mainly gay men and minorities, the editors provide their rationale and introduce the contributors. As well as its effects on the fashion and styling industries, creating a ‘lost’ or ‘missing’ generation, AIDS and its rhetoric saw an array of new styles and looks developed by and for LGBTQI peoples in response to the crisis. Authors cover areas as diverse as fashion and music, fashion and intersectional homophobia, the fashion industry’s response to AIDS, ‘passing’ as straight, and fashion and body modification.
{"title":"Letter from the editors","authors":"Jonathan C. Kaplan, Peter McNeil","doi":"10.1386/csmf_00062_2","DOIUrl":"https://doi.org/10.1386/csmf_00062_2","url":null,"abstract":"The editorial introduces a Special Issue of Critical Studies in Men’s Fashion , ‘Fashion in the Age of AIDS’. Outlining the devastating impact of the emergence of Acquired Immunodeficiency Syndrome (AIDS) from the 1980s in the West on mainly gay men and minorities, the editors provide their rationale and introduce the contributors. As well as its effects on the fashion and styling industries, creating a ‘lost’ or ‘missing’ generation, AIDS and its rhetoric saw an array of new styles and looks developed by and for LGBTQI peoples in response to the crisis. Authors cover areas as diverse as fashion and music, fashion and intersectional homophobia, the fashion industry’s response to AIDS, ‘passing’ as straight, and fashion and body modification.","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":"329 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135722835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Contrary to popular belief, the HIV/AIDS pandemic has not only impacted on the languages of fashion and clothing in matters of communication and corporate social responsibility, but also on the very creation of the fashioned bodies. Two very different examples of the metaphorization and inscription of AIDS on the male body are the heroic, muscular and healthy figures of the Versace and Calvin Klein models, inherited from the white Yuppie culture, and the popularization of the heroin chic aesthetics of Marc Jacobs and, later, Hedi Slimane’s Dior Homme. Much more than simple body types, the hero and the heroin might be considered as different answers to the same epistemic crisis that the HIV/AIDS pandemic has caused in terms of body, sexuality, otherness, health and illness, from the late 1980s to the 1990s. The aim of this article is to read and deconstruct western high fashion of that period through a critical discourse analysis involving masculinity studies and queer theory concerning AIDS, to understand the narratives that the pandemic has created on the male fashioned bodies.
{"title":"The hero and the heroin: Inscriptions of AIDS on the male body","authors":"L. Campagna","doi":"10.1386/csmf_00066_1","DOIUrl":"https://doi.org/10.1386/csmf_00066_1","url":null,"abstract":"Contrary to popular belief, the HIV/AIDS pandemic has not only impacted on the languages of fashion and clothing in matters of communication and corporate social responsibility, but also on the very creation of the fashioned bodies. Two very different examples of the metaphorization and inscription of AIDS on the male body are the heroic, muscular and healthy figures of the Versace and Calvin Klein models, inherited from the white Yuppie culture, and the popularization of the heroin chic aesthetics of Marc Jacobs and, later, Hedi Slimane’s Dior Homme. Much more than simple body types, the hero and the heroin might be considered as different answers to the same epistemic crisis that the HIV/AIDS pandemic has caused in terms of body, sexuality, otherness, health and illness, from the late 1980s to the 1990s. The aim of this article is to read and deconstruct western high fashion of that period through a critical discourse analysis involving masculinity studies and queer theory concerning AIDS, to understand the narratives that the pandemic has created on the male fashioned bodies.","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42117407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article looks at the forgotten fashion designer Chester Weinberg, once very famous during his heyday, but then, as one of the first we lost to AIDS, he was stricken from the fashion history books. Through the case of Weinberg, the article examines the effects of AIDS on the fashion industry in the 1980s and early 1990s and consequently on gay culture as a whole during that era. It also uses Fire Island as a microcosmic metonymic of what was happening all across North America. That lush and hedonistic safe haven where ‘people who had felt like outcasts [found] community’ proved to be no match for the onslaught of the virus. As all of the hard-wrought gains of 1970s gay liberation imploded, AIDS devastated the lives of the first generation of truly liberated and free gay men. This article not only eulogizes and returns Weinberg to his deserved place within fashion history but also brings some of those lost pioneering men from Weinberg’s era back into focus again as well, alive again in memory, so that none of them will ever be forgotten.
{"title":"Fire on the island: Chester Weinberg and the first generation lost to AIDS","authors":"M. O’Connell","doi":"10.1386/csmf_00063_1","DOIUrl":"https://doi.org/10.1386/csmf_00063_1","url":null,"abstract":"This article looks at the forgotten fashion designer Chester Weinberg, once very famous during his heyday, but then, as one of the first we lost to AIDS, he was stricken from the fashion history books. Through the case of Weinberg, the article examines the effects of AIDS on the fashion industry in the 1980s and early 1990s and consequently on gay culture as a whole during that era. It also uses Fire Island as a microcosmic metonymic of what was happening all across North America. That lush and hedonistic safe haven where ‘people who had felt like outcasts [found] community’ proved to be no match for the onslaught of the virus. As all of the hard-wrought gains of 1970s gay liberation imploded, AIDS devastated the lives of the first generation of truly liberated and free gay men. This article not only eulogizes and returns Weinberg to his deserved place within fashion history but also brings some of those lost pioneering men from Weinberg’s era back into focus again as well, alive again in memory, so that none of them will ever be forgotten.","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42198492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article studies the effect and affect of clothing when moving (walking, posturing, dancing) during a seminal period of Manchester, England’s music scene from 1985 to 1996, known as Madchester. The research explores the links between the city’s music scene and local youth fashion at a time when there was a shift away from traditional notions of subcultures towards something more fluid and positions Madchester as a pivotal point where there was an egalitarian coming together of individuals and groups under the umbrella of what has become known as rave culture. The term ‘fashion in motion’ has been established in this research to define the interaction of garment and wearer in movement and its visual result. The article investigates how Mancunian men participating in the Madchester scene made sartorial choices to enhance and respond to movement. Findings are based on oral evidence in the form of active interviews with Madchester-era key players, supported by analysis of contemporary images.
{"title":"Fashion in motion: The Madchester movement (1985–96)","authors":"Susan Atkin","doi":"10.1386/csmf_00064_1","DOIUrl":"https://doi.org/10.1386/csmf_00064_1","url":null,"abstract":"This article studies the effect and affect of clothing when moving (walking, posturing, dancing) during a seminal period of Manchester, England’s music scene from 1985 to 1996, known as Madchester. The research explores the links between the city’s music scene and local youth fashion at a time when there was a shift away from traditional notions of subcultures towards something more fluid and positions Madchester as a pivotal point where there was an egalitarian coming together of individuals and groups under the umbrella of what has become known as rave culture. The term ‘fashion in motion’ has been established in this research to define the interaction of garment and wearer in movement and its visual result. The article investigates how Mancunian men participating in the Madchester scene made sartorial choices to enhance and respond to movement. Findings are based on oral evidence in the form of active interviews with Madchester-era key players, supported by analysis of contemporary images.","PeriodicalId":40987,"journal":{"name":"Critical Studies in Mens Fashion","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45037813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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