Having your ashes placed in a handbag by Louis Vuitton is another way of writing a love-letter, not to a man, but to commerce. If Marilyn had only meant what she sang in ‘Gentlemen Prefer Blondes,’ she and Zsa Zsa and Anna Nicole would have been in agreement. There was never any question of landing a man until death do us part in ‘Diamonds Are A Girl’s Best Friend’; the part that mattered was having the diamonds to die in. The thing that people without a great fortune always say about riches is: ‘you can’t take it with you.’ The thing that rich, dead women seem to say is ‘watch me.’
Recently, the trend on Sean Cody is flat-fronted shorts and soft, monochrome shirts. The clothes match the sets, which are full of sand, taupe and gray in what a friend of mine refers to as the ‘Starbucks regency’ look – bulky, plain furniture you’d find in your local coffee shop. Far from the scuzzy, sweaty-jockstrap, sling-in-a-basement aesthetic of much gay porn, Sean Cody’s look is more timeshare promotion video. Dean ejaculates on a gunmetal grey rug with a white, interlocking diamond pattern, possibly from West Elm or CB2.
If the fashion show and pose are essentially historic, tied to the modernist movement of the twentieth century, then maybe the erasure of the fashion poses from the runway in our own time reflects the cultural trends of the twenty-first century. Today’s catwalk models no longer pose. And what use is the mannequin’s pose in this age of livestreaming and Instagram, when the preservative nature of modern media has expunged the transient nature of the event altogether? Weaving up and down the runway, models today become wholly defined by their motion.
In a new millennium, Bond is faced with many difficult tasks; these have included parachuting into the London Olympics beside the Queen as well as taking on multinational crime syndicates headed by shadowy constantly-morphing villains. Now it seems he may have to fight battles and companies much nearer to home, if he is to preserve his own stylish image.
In 1977 I bought my first flat cloth cap – in navy cotton twill with leather detailing on each of the crown sections and a striped lining. It was a souvenir from a family trip to Jamaica, bought from a Rastafarian man selling his own designs at a stall in Kingston. At the time I saw the purchase as a defiant act: the feat of a post-colonial religious activist.
The zoot suit was an icon of its time, born from the bespoke draped silhouettes of London’s Savile Row in the mid-1930s then adopted and exaggerated by young jazz-obsessed men and women across America. Amid a period of social and political turbulence just before World War II, the style was not only a means of dandyism, but also a badge of cultural identity for many African American and first-generation immigrant youths.
The wakashu, traditionally played by teenage boys, represented a specific subculture within Edo Japan. Wakashu are described by kabuki scholar Imao Tetsuya as ‘floating between the polarities of male and female, synthesising the principle of both sexes.’ The wakashu, etymologically resisting gender identification, is translated into English most closely as ‘youth,’ constituting what many scholars consider a ‘third gender.’ By rejecting the imposed male identity, wakashu represented the possibility of an existence outside of Edo society along with the prospect of future transformation for Edo culture.
When he was out running errands or working in his study, bent over a book or teaching the students who filed into our house to sit with him and fix their test scores, I’d slip into his bedroom and rifle through his belongings: fingering his penknives and leather-strapped watches, feeling the soft silk and woven wool of his neckties, inhaling the funky, wonderful smell of his aged leather belts – which I handled with a mix of awe and fear, the two or three times I behaved very badly, these doubled as instruments of punishment – and studying that weathered, bizarre source of power, his wallet.
A man in his own clothes is as much sexless as possible. He shaves his face so that, if he be young & fair, you’d not know but that he might be a girl, and any protuberance by which his sex might be known is carefully and shamefully suppressed. It is an organ of drainage and not of sex. It is tucked away and all sideway dishonoured, neglected, ridiculed and ridiculous – no longer the virile member and man’s most precious ornament, but the comic member, a thing for girls to giggle about – comic and, to nursemaids, dirty. ‘You dirty little boy, put it away.’
When the burkini appeared in the news a decade ago, it carried with it a dense web of historical associations, political connotations and moral valences. The histories of the bikini and the burka – including the ways that each garment has been framed as the other’s antithesis – played an important role in shaping how the burkini was represented and interpreted in the new century. In Europe and the Anglophone World, modest swimsuits and the figure of the burkini-clad women were appropriated as catalysts for contemporary debates about the possibilities and limits of cultural pluralism in an era of economic globalisation, mass migrations, war and terrorism and ethnic nationalist movements.
The Gypsy costume that won me prizes in school carnivals in the late 1970s and early 1980s had little to do with the family stories my grandmother whispered at bedtime and that filled the night with magic or terror. Truth and fiction switched places so many times, I don’t think even she could tell them apart after a while.
Two years after the Paris 1968 student riots, Parisian couturier Jacques Esterel launched a timely couture collection for men and women that responded to the shifting gender ideals of the time. Resplendent with matching his and hers outfits and unisexwear, Esterel’s looks seemed to reflect a breakdown of the fashion system and the gender issues that were a result of the zeitgeist; an exemplar that periods of crisis are not only foreshadowed by, but also directly result in, changes in systems of dress.