FASHION'S CASTRATION

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.

FASHION'S CASTRATION

published in ZOO Magazine No. 36, p. 104-105

In the world of menswear, the final castration has been repetitively proposed, attempted and is yet to be performed. Indefatigably, we are confronted with men in skirts or skirt-like derivatives. Still, it is consumed as a charmingly provocative but harmless proposal that does not ultimately demand or imply its actual realization. Editorial appeal is opposed to everyday relevance – and ‘feminine’ elements in menswear are consequently regarded as ironic or optional breakouts. In this context, ‘feminine’ means primarily designed for and established in women’s wardrobes, an adjective that will further reveal itself as descriptive but not necessarily obligatory. Fundamental for an exploration of ‘feminine’ versus ‘masculine’ codes in menswear is a rather subtle understanding: gender-negating concepts of clothing allow the transformation of one’s naturally-given sexuality through subtle nuances into new forms and identities. As a consequence, the combination of ‘female’ and ‘masculine’ results in a spectrum of ‘fashionable moods’. By re-using and re-contextualizing given principles, the male individual evokes different feelings. He is not dressing for appearance or status; instead, he is dressing for emotions. Once examining current tendencies and the most recent collections, the male image is wafting between two extremes: brutal masculinity and nonchalant romanticism. Tears What causally constitutes and hence enforces the possibility of men to express their emotions is the simple acceptance of emotions as such. They do exist and they can be expressed. Not only through facial expressions but subtle signals that are displayed by the choice of garments, the cut and shape of clothing. By choosing feminine elements, the silhouette becomes a substitute for tears, a mere representation of ‘his’ ability to cry. This new option liberates men from showing their sentimental side too bluntly. It’s a theory Rei Kawakubo evidently agrees on. Her Comme des garçons Homme Plus collection includes coats that are cut like robes, tightly cinched at the waist and loosely wafting around the knee. At first glance, we are confronted with the irritation of a female figure. After few seconds, the interpretation of a seemingly ‘transgender’ garment rapidly dissolves into the reality of a classic and well-cut coat. By adding such miniature ‘female’ alterations to the garment, Kawakubo emphasizes the ‘Homme Plus’ aspect of her menswear collection. In her world, ‘Homme Plus’ means added masculinity through added femininity. A similar approach towards gender’s tender decontextualization is expressed through the introduction of wide shorts that create a trompe l’œil skirt effect. Here, the exuberant use of fabric creates a three-dimensional, layered garment that remains masculine in its construction but feminine and soft in its final shape. Due to its hybrid character, the garment impedes gender identification: it is neither mal, nor female. Consequently, the wearer’s sexual identity is neutralized. In a further act of distinction, Jil Sander pairs the ‘skirt shorts’ with a white dress shirt, completed with neatly buttoned cardigans or sleek suit jackets. By doing so, she refers to established, almost conservative, icons of the classical male wardrobe and thus reassures the ‘male’ aspect of her proposal for a contemporary uniform. Her comeback collection introduces a ‘new suit’ for the ‘new (fear)male’ – a man with a sense for poetry and contemplation. This idea of a sensitive (fear)male is further propelled by the transgressive proposal of the men’s bra – as introduced by Romain Kremer for the power dressing empire of Mugler. It’s a collection motivated by the conviction that female codes in menswear are not only limited to dress or skirt shapes. Today’s man radically borrows and transforms established icons of femininity. Instead of focusing on an area below the waist, Kremer draws attention to the muscle-defined male torso.

Thin straps and triangle bandeau tops simultaneously cover and reveal the male chest. Bare skin comes into primary focus, staging men as objects of (sexual) admiration. While the archetype ‘bikini woman’ evokes memories of rural beaches and exotic dancing, the men’s bra places emphasis on a moment of futuristic space wars. An icon for male survival and an approaching apocalypse. While creating an almost destructive and asexual image, the untouched paradise becomes a destroyed world where codes are strategically reversed and reintroduced in a new context. This world is known as the world of fashion. War But the world of fashion is bipolar and gender’s decontextualization is not always tender. The poet who chooses small feminine details to express his sensibility is confronted with the rise of a new butch who uses the most direct feminine codes as a forceful tool to express emotions like volition, determination and respect. He is straight, ‘straightforwardly’ straight. Broad shoulders, a muscle-packed torso, tanned skin, strong jawline, an aggressive attitude... attributes that describe the archetype version of manhood. A hunter and protector who is defined by testosterone and adrenaline. Suddenly, these creatures, these almost mythological beasts, appear in knee-length, pleated skirts. An idea that, contrary to our expectations, underlines the fearlessness and harshness of its wearer instead of outing ‘him’ as a weak, soft-hearted mind. The skirt introduces an anti- logic. Its appearance is not registered ‘female’ at all. Just like an optical illusion, the original feminine garment tricks the beholder’s eye and perception. It seems the codes of dressing are not finite. A skirt is not a skirt. Worn by a woman, a skirt remains a skirt. Worn by the new butch, a skirt becomes a loincloth – the symbol of tribes, raw nature and endless wars. In the same way as the men’s skirt evokes images of bawling men fighting in an ancient battle of ideologies, it also questions our own ideology of dressing. And demonstrates that a garment is always more than its definition; it becomes what the wearer wants it to be. In our fictive gender war, Riccardo Tisci’s tribe joins forces with Rick Owens’ ethereal priests. Owens extends the radicalism of feminine codes into the dimension of historic mysticism. His concept of masculinity presents men in floor-length pencil robes. The dress is not regarded as a decorative, figure- hugging artifact of feminine seduction; instead, the robe refers to symbols of power and leadership. Its use refers to ancient historic cultures and the dress codes of emperors. The robe signalizes that ‘he’ is an owner of truth, a voice to be heard and to be followed. Thus, the men’s dress underlines the iconization of its wearer instead of negating his powers. By choosing the anti-masculine, the principle of castration is being reversed. While the new butch succeeds in his fight against predetermined gender, it does not happen without consequences. Yohji Yamamoto’s men wear the most delicate and rich silk skorts, but after carefully inspecting the wearer’s face, one becomes aware of the fact that this man is beaten. Scars, scratches and traces of blood mark his physiognomy - demonstrations of survival and a materialization of masculine clichés. The overall message is a message of duality: A real man is facing real opponents. While we are unsure of the individual conflict, motives and past, the clothes clearly proclaim the conquest of the opposite sex. As a result, fashion’s castration is not an abstract or temporary proposal; it is a man-made choice. And this choice is demanding sacrifices.

THE MEN'S CORSETRAF SIMONS' WAISTED YOUTH

published in ZOO Magazine No. 27, p. 32-33

Men in elongated shirts, skin-tight jumpsuits and tube dresses. Raf Simons’ former collections have given us elusive evidence that the gender apocalypse has begun. In 2010, the Belgian fashion designer continues his aesthetic legacy, taking the next logical step in performing fashion’s castration. The male torso is shaped into a wasp-waisted figure. Men in corsets. Upon careful examination of the Raf Simons archive, the emphasis of the man’s waist appears as a repetitive element, gradually evolving in extremity. Military bomber jackets are cinched with leather belts (A/W 2001); widely cut paper bag trousers conquer the male body (A/W 2005); a white turtleneck is accentuated with a black waist cincher (A/W 2006); a jacket’s front is horizontally split into two identical parts in contrasting textures (A/W 2007); a similar jacket appears equipped with sportswear inspired cording elements that tie and narrow the waist (S/S 2008); and a bustier knit jumper emphasizes the area below the chest (A/W 2009). While subtly pursuing these principles of construction in a graphic manner and dividing the male anatomy in equal parts by the use of color blocking, material opposition and gathering, a cohesive story evolves, told with a muted voice and fragmented into diminutive chapters that, almost unnoticed, gain serial character. Consequently, Raf Simons declares the waist as the main focus point for S/S 2010. It’s a collection that appears as a strictly calculated manifesto. Belts wind around the waist, arm and neck. Men appear possessed and delivered to an invisible force. Their bodies are molded and the space for untold masculinity limited – a breath of restraint and abandonment that correlates with its historic complement and the original archetype: the corset. It was originally intended to slim the female figure and transform the torso into a desired shape, but in fact, it was the men, dandies, who made the corset popular in the 1830s and 1840s. Those decades declared the aristocratic body type as the new ideal, mostly associated with a slender and therefore feminine appearance. Corsets allowed men to control their proportions and achieve the highly desired wasp-waisted figure. A French dandy of the era insisted, “The secret of the dress lies in the thinness and narrowness of the waist. Shoulders large, the skirts of the coat ample and flowing, the waist strangled.”

As dandyism established a new body- consciousness and put the notion of the men’s corset into the public sphere, controversies arose. Society associated corseting with a loss of male identity, and therefore effeminacy. Fearing the incongruity between ideals of masculine beauty and sartorial practices, the prevailing bourgeois worldview increasingly held that men should not think about trivialities such as fashion. And so, after 1850, the men’s corset disappeared. Now, in 2010, the boundaries of gender are dissolving again. Men feel encouraged to wear dresses and the corset undergoes a renaissance. Jean-Paul Gaultier proposes strapless bustier tops and cinched vests. John Galliano pictures today’s businessman in nude lingerie and garters. Raf Simons, in turn, presents underbust corsets that extend over the hips and reach the knees – the symbiosis of a bulletproof waistcoat and a wasp-waisted mini dress. It’s the aesthetic answer for a generation marked by feminism and femininity – modernized re-interpretations of a short-lived phenomenon. While one can draw analogies to cross- dressing and assume efforts of androgyny, Raf Simons’ creations do not deny the man’s masculinity and strength. His approach is analytic, architectural and exceedingly technological. The corset appears in its purest form, translated in a literal manner but reversed and rebuilt as outerwear worn over a suit jacket. Principles of boning and lacing are discarded and replaced with aerodynamic buffering and water-repellent surfaces. Hooks and eyelets become redundant, substituted by their post-millennium counterpart: the Velcro strip. The result is dedicated to protection and function: the slender silhouette appears as an accidental side effect for the benefit of performance. The corset is regarded as a constituting component, a piece of construction to form the body, comparable to a car’s mudguard or a plane’s cover panel. Finally, the body does not serve an ideal of beauty anymore. Instead, it is enhanced and optimized in terms of its logical and practical use – yet for a cause unknown. The Raf Simons man faces new environmental conditions and challenging scenarios. He is fully equipped to accomplish his task. And this task may be the final reconstitution of a former concept called manhood.