Crossing Gender Boundaries

Description

This volume presents a collection of the most recent knowledge on the relationship between gender and fashion in historical and contemporary contexts. Through fourteen essays divided into three segments – how dress creates, disrupts and transcends gender – the chapters investigate gender issues through the lens of fashion. Crossing Gender Boundaries first examines how clothing has been, and continues to be, used to create and maintain the binary gender division that has come to permeate Western and westernized cultures. Next, it explores how dress can be used to contest and subvert binary gender expectations, before a final section that considers the meaning of gender and how dress can transcend it, focusing on unisex and genderless clothing.

The essays consider how fashion can both constrict and free gender expression, explore the ways dress and gender are products of one other and illuminate the construction of gender through social norms. Readers will find that through analysis of the relationship between gender and fashion, they gain a better understanding of the world around them.

Introduction

Section One: Creating Gender

1. ‘Bifurcated Garments and Divided Skirts:  Redrawing the Boundaries of the Sartorial Feminine in Late Victorian Culture’ – Kimberly Wahl


2.  ‘“Hard and Straight”:  The Creation of Nineteenth Century Masculine Subjectivity through Corsetry’ – Alanna McKnight 


3.  ‘Mirror Epiphany:  Transpersons’ Use of Dress to Create and Sustain Their Affirmed Gender Identities’ – Jory M. Catalpa and Jenifer K. McGuire


4.  ‘Withering Heights:  High Heels and Hegemonic Masculinity’ – Elizabeth Semmelhack

Section Two: Disrupting Gender

5. ‘Cute Men in Contemporary Japan’ – Toby Slade


6. ‘The Politicisation of Fashion in Virtual Queer Spaces: A Case Study of Saint Harridan one of the Pioneering Queer Fashion Brands in the Twenty-First Century’ – Kelly Reddy-Best


7. ‘She Was Not A Girly Girl: Athletic Apparel, Female Masculinity, and the Endorsement of Difference’ – Christina Bush


8. ‘Gender More: An Intersectional Perspective on Men's Transgression of the Gender Dress Binary’ – Ben Barry and Andrew Reilly


9. ‘In-vest-ed Meaning:  Gender Ambiguity in Costume Collections’ – Katie Baker Jones and Jean L. Parsons

Section Three: Transcending Gender

10. ‘The Politics of the Neutral: Rad Hourani’s Unisex Vision’ – Rebecca Halliday 


11. ‘Shirting Identities: Negotiating Gender Identity through the Dress Shirt’ – Valerie Rangel


12. ‘Why Don’t I Wear Skirts?  Understanding Dress Behaviour through Historical Contexts’ – Jung Ha-Brookshire


13. ‘Critical Mascara: On Fabulousness, Creativity and the End of Gender’ – madison moore


14. ‘Clothes (Un)make the (Wo)man – Un-gendering Fashion (2015?)’ – Hazel Clark and Leena-Maija Rossi

Sujets

• Gender Studies
• Social Science
• Sociologie, société et politique
• History of fashion design
• Cultural studies
• Fashion
• Art
• Judith Butler
• Mode (habillement)

Informations

• Publié par: Intellect Books
• Date de parution: 24 février 2020
• Nombre de lectures: 0
• EAN13: 9781789381160
• Langue: English
• Poids de l'ouvrage: 70 Mo

Extrait

the agender, the genderqueer, the genderluid, the non-gender,

Irst examines how clothing has been, and

before a Inal section that considers the meaning of gender

genderless clothing.

at Mānoa, where he teaches

Crossing Gender Boundaries

Crossing Gender Boundaries

Fashion to Create, Disrupt and Transcend

edited by Andrew Reilly and Ben Barry

Bristol, UK / Chicago, USA

Fîŝ ûblîŝhé î hé UK î 00 by ïélléç, Thé Mîll, Pààll Roà, Fîŝhoŝ, Bîŝol, BS6 JG, UK

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Contents

Part1:CreatIngGender . Bîûçàé Gàméŝ à Dîvîé Skîŝ: Réàwî hé Boûàîéŝ o hé Sàoîàl Fémîîé î Làé Vîçoîà Cûlûé Kîmberly Wahl . ‘Hà à Sàîh’: Thé Céàîo o Nîéééh-Céûy Màŝçûlîîy hoûh Coŝéy Alanna McKnîght . Mîo Eîhày: Tàŝéŝoŝ’ Uŝé o Déŝŝ o Céàé à Sûŝàî Théî Aimé Géé ïéîîéŝ  Jory M. Catalpa and Jenîfer K. McGuîre 4. Wîhéî Héîhŝ: Hîh Héélŝ à Héémoîç Màŝçûlîîy Elîzabeth Semmelhack

Part 2: DIsruptIng Gender 5. Cûé Mé î Coémoày Jàà  Toby Slade 6. Thé Polîîçîzàîo o Fàŝhîo î Vîûàl Qûéé Sàçéŝ: A Càŝé Sûy o Sàî Hàîà, Oé o hé Pîoééî Qûéé Fàŝhîo Bàŝ î hé Twéy-Fîŝ Céûy Kelly L. Reddy-Best 7. ‘Shé Wàŝ No à Gîly Gîl’: Ahléîç Aàél, Fémàlé Màŝçûlîîy à hé Eoŝémé o Dîfééçé Chrîstîna Bush 8. Géé Moé: A ïéŝéçîoàl Péŝéçîvé o Mé’ŝ Tàŝéŝŝîo o hé Géé Déŝŝ Bîày Ben Barry and Andrew Reîlly

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CROSSïNG GENDER BOUNDARïES

9. ï-véŝ-é Méàî: Géé Ambîûîy î Coŝûmé Colléçîoŝ Katîe Baker Jones and Jean Parsons

Part 3: TranscendIng Gender 0. Thé Polîîçŝ o hé Néûàl: Rà Hoûàî’ŝ Uîŝéx Vîŝîo  Rebecca Hallîday . Shîî ïéîîéŝ: Néoîàî Géé ïéîy hoûh hé Déŝŝ Shî  Valerîe Rangel . Why Do’ ï Wéà Skîŝ? Polîîçŝ, Eçoomy, Soçîéy à Hîŝoy  Jung Ha-Brookshîre .Cîîçàl Màŝçàà: O Fàbûloûŝéŝŝ, Céàîvîy à hé E o Géé  madîson moore 4. Clohéŝ (U)màké hé (Wo)mà – Uééî Fàŝhîo (05)?  Hazel Clark and Leena-Maîja Rossî

Noéŝ o Coîbûoŝ ïéx

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Acknowledgements

Aéw Réîlly à Bé Bày wîŝh o éxéŝŝ héî éé àîûé o éàçh o hé àûhoŝ o héî îmé à éîçàîo o éŝéàçhî à wîî héî çhàéŝ. Théy àlŝo wîŝh o hàk hé àoymoûŝ évîéwéŝ o hé hoûhûl à çoŝûçîvé çomméŝ, àŝ wéll àŝ hé ŝàf à ïélléç, éŝéçîàlly Tîm Mîçhéll, Kàîé Evàŝ, Emmà Béîll à Jàméŝ Càmbéll, o hé bélîé î hîŝ ojéç om hé ŝà. Aéw woûl lîké o hàk hîŝ ço-éîo o hîŝ éhûŝîàŝm à hîŝ îéléŝŝ éîî, à hîŝ îéŝ à àmîly o héî çoîûé ŝûo, éŝéçîàlly hîŝ o Holly. Bé woûl lîké o hàk hîŝ ço-éîo o hîŝ méoŝhî à vîŝîo hoûhoû hé oçéŝŝ o ûî oéhé hîŝ book; hîŝ ééoûŝ Sçhool o Fàŝhîo çolléàûéŝ à Ryéŝo Uîvéŝîy o héî çoŝà ŝûo o hîŝ éŝéàçh; à hîŝ hûŝbà Dàîél, o Alé à àll hîŝ àmîly o héî ûçoîîoàl lové à îvî hîm hé béŝ éàŝo o çloŝé hé çomûé.

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Introduction

Gender and Dress

Sàŝhà Fléîŝçhmà, à ééàé who îéîfiéŝ àŝ àéé (î.é. éîhé màlé o émàlé), was sleepîng on a bus în Oakland, Calîornîa when theîr skîrt went up în ames. Another teenager on the bus had îcked a cîgarette lîghter at the hem o Sasha’s skîrt, whîle hîs rîends watched and laughed. Sasha was let wîth second- and thîrd-degree burns on theîr legs as a result o the re (Slater 2015). Thîs încîdent gaîned înterna- tîonal medîa attentîon and brought to lîght an ongoîng îssue wîth dress and gender: vîolatîons o tradîtîonal, bînary gender norms are oten met wîth vîolence. Sasha’s story îs not unîque; many people are assaulted because the clothîng that they wear challenges the gender bînary. In 2016, Kent Morgan, who îdentîes as straîght and male, was attacked by men în New Zealand because he was wearîng a pînk shîrt (Anon.2016). Lîkewîse, a man was kîcked and hît în a Dallas aîrport în 2014 or wearîng a pînk shîrt (Kîrkpatrîck 2014). O course, sîtuatîons lîke these are not new. When women began wearîng pants în the late nîneteenth century în North Amerîca and Europe, they were subject to harassment, assault and arrest (Cunnîngham 2011; Gîbson 2013; Sears 2014) and more recently women în Arîca have been attacked or wearîng pants – a paradoxîcal consequence o European colonîalîsm (Habanî n.d.; Anon. 2012). The current spate o sîtuatîons lîke these orces us to conront the ways în whîch gender and dress are mutually enacted, perceîved and polîced. By the begînnîng o the twenty-rst century în the West, the concept o gender was dîsruptîng and transgressîng the socîal and cultural boundarîes that had prevî- ously bound ît. Gender was beîng redened and re-conceptualîzed beyond the western bînary o male and emale to înclude agender, non-gender, gender uîd, 1 genderqueer, transgender and trans*. Laws, polîcîes and socîal customs were changed to reect thîs new understandîng o gender; however, there was a back- lash to these changes that strove to maîntaîn the boundarîes that had regulated and dened gender as a bînary concept.Crossîng Gender Boundarîesexamînes how these boundarîes have maîntaîned the gender dîchotomy and the eforts to dîsrupt and transcend them by examînîng the lînk between dress and gender.

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