published in A Magazine About #1: Fashion & Identity, p. 70-73
| Michelangelo’s image of the male nude marks the origin of a ‘virile’ identity and self-perception. The body tense, in contrapposto pose. Nasolabial muscles are tight; the neck’s tendons stand out tautly. While these details of bulging muscles and veins implicate strength and fearlessness, the body in its unity remains relaxed, almost casual. Masculinity appears as an effortless, naturally given attribute – a fact that is only being revealed by undressing the male object. And even in this vulnerable position, the male seems to prevail, strong-, yet light-handedly. But what happens when this anatomy is manipulated and parts are removed? What happens when the Renaissance image of male beauty is confronted with the postmodern? In his installation work ‘Kopienkritik’, Oliver Laric multiplies and amputates the ancient Greek theme. His ‘David’ is a victim of loss. Each of his duplicates in lack of another constituting part: arms, legs, or even the head, are taken away. Yet, one thing remains untouched. It is the male genital, proud icon of primary gender definition. In the world of fashion, the final castration has been repetitively proposed, attempted and is yet to be performed. Gender-neglecting concepts of clothing suddenly allow the transformation of one’s naturally given gender through subtle nuances into new forms and identities. This text presents a short typology of garments that can constitute the male identity, presented via the work of contemporary fashion designers and their search for the ‘male image’ between minimalism and romanticism. T-shirt, experiment of form When minimalism touches the realms of gender theories, the T-shirt becomes an elongated version of itself. For Spring/Summer 2008, Raf Simons utilizes an oversized form of the established T-shirt shape and combines it with short, nearly invisible shorts. As a result, the classic, manly item becomes a mini dress. Bare legs and muscular thighs are declared as visual attractive zones. In an effective manner, his experiment with the rather feminine silhouette inherits the conceptual excuse of ‘just being a normal, oversized T-shirt’. Miuccia Prada propagandizes a similar idea translated via oversized T-shirt derivates put into slim-fitting contexts. Disguised as ‘just another layer’ and spontaneous, foremost practical addition to a relaxed everyday look, the combination of oversized tank top and cropped sweater stretches gender definitions, wafting between ‘shirt’ and ‘skirt’. This visual irritation recalls the idea of the amputated Greek statue. ‘David’, as depicted by Raf Simons or Miuccia Prada, is not only a representation of the moment between conscious choice and conscious action, he is also a symbol of choice between lyric tenderness and raw masculinity. Dress, awakening of the body-conscious A devotion to the men’s dress in its most direct and radical form is often being avoided by referring to visually similar concepts: the flare pants, the wide shorts, the floor-length coat. Nonetheless, it implicates the purest form of male beauty. By introducing thin, nearly sheer tube dresses, Romain Kremer proclaims the inevitable necessity of muscle-hugging robes. As a fact, his skin-tight designs retrace a post-romantic image of the male nude. In tradition of Petrarchan motives of beauty, every strand of muscular definition is on display. The chest, the arms, the ribs, the innominate bones. Through delicate layers of fine fabric, the physique of ‘David’ becomes manifest once again. | But this time, the perfectly polished, almost artificial surface of Miseglia marble is replaced by human flesh. The ancient and the modern man united by the right to be an object and to be admired. Rick Owens extends this philosophical dimension into ideas of historic mysticism. His concept of masculinity presents men as ethereal priests in long, sleeveless robes. Directing the beholder’s view onto arms and biceps, the defined structures of masculine strength. Thus, the men’s dress underlines the leadership of its wearer instead of negating their powers. By choosing the anti-masculine, the principle of castration is simultaneously being reverted and reversed. Skirt, femininity in homoeopathic doses In Donatello's and Verrocchio's version of the statue, ‘David’ is depicted with the head of Goliath. For Fall/Winter 2006, Vivienne Westwood ‘places’ the head of Medusa on ‘David’, paints his face white and dresses him in a tartan skirt. By referring to historical codes and iconographic indications of mythology, Westwood follows a continuous motif of ‘carving’ out an elevated image of the male archetype. The skirt itself does not function as mere sexual provocation but optical means to tell her story, to recall ancient fights between men and monsters. The contrary may apply to the skirt as repetitive element in the work of Jean Paul Gaultier. It is the significant symbol for his personal war against male restrictions and dress codes. As brave ambassador for a radical encounter with fashion’s paradigms, Jean Paul Gaultier arms his ‘David’ with pleated skirts and kilts. Motivated by the distinct mission that his actions may castrate the idea of gender, but not the male. Corset, a desired slender figure What may be interpreted as visual joke and gender provocation in the 2010s has been a widely accepted, aristocratic standard during the 1830s and 1840s. The corset has not only defined fashion as a whole, more precisely, it has provided the ideal male body type. At that time, a wasp-waisted, sleek and feminine appearance has been strongly associated with control. A man, who was able to form himself in order to achieve an hourglass silhouette, was regarded capable of achieving anything. John Galliano took this historic concept of dandyism and applied it onto the standardized codes of contemporary capitalism. Consequently, businessmen are endorsed with nude lingerie and garters. Ann Demeulemeester, in comparison, equips men with side-strapped, almost corseted, shields of protection in her Spring/Summer 2011 collection. By reducing and minimizing the extent of the male torso, the amputation of ‘David’ processes. Interestingly, both proposals present restraint as a positive approach and possibility for relief. Epilogue, the asexual butch Once reviewing the complex specifications and effects of gender-neglecting clothing, it becomes apparent that implications of feminity follow the logic, and very simple idea of ‘contrast’. Cuts and constructions that are regarded preferentially ‘female’ are opposed to extreme muscles, broad shoulders, tough gestures, bulky arms and harsh movements. Riccardo Tisci uses the skirt as a tool to emphasize the masculinity of its wearer – just as the nude statue of Michelangelo reveals the sovereignty of male anatomy. It could be stated that female codes, once applied onto men, result as an asset to eliminate potential weaknesses or defects. Eventually, fashion’s castration equals anti-castration. |