WHO
WEARS
THE PANTS
NOW?
WHO
WEARS
THE PANTS
NOW?
GENDER ON SCREEN
ANDROGYNY
GIORGIO ARMARNI
ANDREJ PEJIC INTERVIEW
POPULAR CULTURE
ISSUE #1 ISSUE #1
GENDER ON SCREEN
ANDROGYNY
GIORGIO ARMARNI
ANDREJ PEJIC INTERVIEW
POPULAR CULTURE
"Gender, and by extension dress, is a cultural and social
construction. Viewing gender as a fuid concept allows
scholars studying clothing and appearance to understand
gender relations as more than men and women
dressing their parts. Gendered dressing is more than
complementary role-playing; power relations are
inextricably involved." - Susan Michelman
Over time cultures have manifested a climate
where previous cultural and social norms have
become suspect. Old conventions have proved
untrustworthy because they mask past injustices
and rigid stereotypes. But slowly individuals have
shattered the traditional norms and delighted in
challenging and defying social expectations. This is
boldly evident in the fashion industry with many
individuals choosing dress as vehicle for conveying a
new opinion and standard. Through these
experiments with dress society has gradually
moved towards a level of acceptance and learnt to
embrace the unusual and different.
WHO WEARS THE
PANTS NOW?
Today mass media has a fascination with
homosexuality, bisexuality and androgyny thus we
see the fashion industry conveying the many fascist
of these arenas. Lately there seems to have been
a gender role reversal and the lines have become
blurred in fashion as far as what women should
wear and what men should wear. Now we are
seeing guys wear makeup and girls jeans and girls
who wear menswear like ties and trousers.
However there are certain individuals who have
take exploration of gender roles stereotypes to a
complete new level.
GAULTIER AD
BODY COPY ETC
1
FEMME FATALE
While the female stereotype depicted in the media
can be seen as a commodity to women, this form
of dress can also exert power in its own sense. The
femme fatale has been represented in the media
to great extents. This term defnes a sexualised
seductive woman. A perfect example is refected in
THE MATRIX (1999) with a woman in a classic red
dress, used as a test of desire, with red a western
symbol of power or danger. The flm thus relies
upon the depiction of the femme fatale in the most
recognisable sense.
KICK ASS + LOOK SEXY
In TOMB RAIDER (2001) there is an inverse of
power. Angelina Jolie is the hero, and in terms of
upping equality she could make some feminists
pretty happy. This is certainly a topic of much
discussion, as the original video game was the frst
in our culture to have a female character with a
prominent role. However, her dress is a different
matter. Her attire is entirely sexualised. Each of her
provocative curves was as much part of the game
as the tombs she raided, and her top makes sure
we can see this clearly. Gender identity is not only
displayed in her dress but it is raised to the level of
eroticism.
4
2
A GIRLS BEST FRIEND
Marilyn Monroe, an early sex symbol, is arguably the
beginning of media exaggeration of gender
classifcation, in which dress played a large role.
Her pink satin dress from GENTLEMEN PREFER
BLONDES (1953) had more construction for her
fgure than meets the eye. At the time, the industry
was discreet about what could be shown. But its as if
Keep her covered, was reinterpreted by the
costume designer as Make her sexy, but make sure
what appears on the screen will not incur the
censors wrath. This was achieved, in part, by layers
of backing in the bust to ensure there would be no
movement, and a carefully constructed neckline that
could show as much as possible, without showing too
much. The dress in turn still highlighted Monroes
curvaceous fgure, while pink head to toe was an
obvious feminine colour choice.
GIRLS SHOULD BE GIRLS
On Scouts frst day of school in TO KILL A
MOCKINGBIRD (1962), she is forced to wear
a dress. Usually seen sporting a boys shirt and
overalls, she is conspicuously absent at breakfast in
the morning and eventually has to be lured out by
the housekeeper. Clearly feeling uncomfortable and
despite compliments, she states I still dont
understand why I have to wear a darn old dress.
This was a scene actually conjured up entirely for
the flm. Was this a statement by the media to
propel the cultural norms of dress, or was it
questioning them?
ON
SCREEN
NO BOY FOR TOMBOY
Stereotyped to the extreme, dress plays a dominant
part in exemplifying two ends of a spectrum in the
teen flm SHES ALL THAT (1999). Its a typical case
of an outcast who is transformed into a typical
female in order to get the guy. Glasses and daggy
clothes deem Laney unattractive while a black or
red elegant dress, and hair in a bun is the feminine
ideal. These are black and white static classical
traditions, interpreted by societal norms.
THE X&Y OCTOBER 2011
PANTS OR HEELS...
HOW ABOUT BOTH?
3 THE X&Y OCTOBER 2011
Androgyny has taken one massive step onto the
center stage of fashion ever since society had
evolved to become comfortable with sexuality
and the play with gender roles. All of a sudden this
theme of androgyny has become a forerunner for
the advertisement of fashion as well as the new
idea of the ultimate being. This held the power of
both the characteristics of a male and a female.
The term androgyny is derived from the Greek
words andro (male) and gyn (female). The term
defnes a condition in which the characteristics of
the sexes and human impulses expressed by men
and women are not rigidly assigned. Therefore, the
term refers to perceptions of identity as well as
characteristics of physical appearance. These
ambiguous boundaries between both genders
emulate the new being that emulates what is cool,
sexy, bold and powerful.
Where did this all come from one may ask?
Original infuences derived from ancient Indian cul-
ture. Androgyny was associated with Indias ancient
gods. Ardhanarishvara, an androgynous deity com-
posed of Shiva and his consort Shakti, representing
the synthesis of masculine and feminine energies.
This God represented two half forms, one of a
woman and one of a man. One unique being that
united the barriers between both genders. (http://
ardhanarishvara.net)
Androgyny was also evident in ancient Greek
culture through the God Dionysus (the God of
harvest, wine and ecstasy). Within ancient art, Dio-
nysus is depicted as androgynous through statues,
and paintings. It didnt stop with him, the idea of
Androgyny was depicted continuously throughout
ancient Greek and Italian art.
Now in contemporary western culture, androgyny
has positioned itself in the forefront of western
pop culture. For example a variety of celebrities
have distinguished themselves with their
androgynous looks such as Michael Jackson, Prince,
Annie Lennox and Lady Gaga. When looking at
fashion this has become a popular infuence within
the fashion industry and dress. Jean Paul Gaultier
has been infuenced by androgyny within his
designs, withinc his collections he is often seen
placing his male models in skirts and women in
suits in order to merge the lines between the two
genders, though when frst created this theme
didnt really become a new trend within the
1980-90s it has risen to the top of the pressure
cooker of the fashion industry. Freedom to
embrace sexuality- its differences and similarities.
Giorgio Armanis campaigns and advertisements
for his womens wear, the female models always
embody and a powerful strong masculine woman.
Androgynous models are beginning to appear
within contemporary society, which have infuenced
peoples modes of dress to also help blur the lines.
Recently model Andrej Pejic known as the femi-
man has become a poster boy/girl to many fashion
forward labels such as Jean Paul Gaultier, Marc
Jacobs and H&M. Pejic became Gaultiers Bride,
who closed the designers show at Paris Fashion
Week 2011. The Serbian model create controversy
when frst gracing his presence in the world of
fashion but then later became the it guy and girl
of this year of fashion, sparking and reinventing the
androgynous trend.
The play on gender roles have opened a new door
of creativity within concepts for new fashion c
ampaigns, editorials, collections and designs, creating
a larger and more abundant market for unisex wear.
Androgyny roles with the times allowing a playing
ground for individuals to explore their own sexual-
ity and creativity within both fashion and dress.
The idealism behind the choices of merging the
characteristics of men and women hold an ability to
fnd freedom and comfort between the restrictions
of what is stereotypically feminine or masculine.
Men and women have been given a passage to
freely express the notions of dress in both a
feminine and masculine way. With freedom comes
power. With the lack of restrictions of what should
be seen as masculine or feminine an individual is
given the liberty of choice, the choice of drawing a
close of the divided boundaries.
4 THE X&Y OCTOBER 2011
A
r
m
a
n
i
S
p
r
i
n
g
/
S
u
m
m
e
r
0
9
A
r
m
a
n
i
F
a
l
l
0
9
A
r
m
a
n
i
F
a
l
l
2
0
1
1
D
o
l
c
e
&
G
a
b
b
a
n
a
F
a
l
l
2
0
1
1
S
a
l
v
a
t
o
r
e
F
e
r
r
a
g
a
m
o
F
a
l
l
2
0
1
1
J
i
l
l
S
a
n
d
e
r
F
a
l
l
2
0
1
1
C
h
a
n
e
l
F
a
l
l
2
0
1
1
C
a
n
a
l
i
F
a
l
l
2
0
1
1
R
a
l
p
h
L
a
u
r
e
n
F
a
l
l
2
0
1
1
Z
e
g
n
a
F
a
l
l
2
0
1
1
G
u
c
c
i
S
p
r
i
n
g
/
S
u
m
m
e
r
0
8
The Power Suit has long been a symbol
for authority, strength and leadership
since the 1980s, especially the exaggerated
shoulder pads for women to highlight their
presence in the workplace. This notion
of power dressing is still running strong in
recent trends and has been seen on the
runway for numerous designers and big labels.
It all began with Giorgio Armanis trademark
re-interpretations of the traditional business
suit that made an appearance in the flm
American Gigolo starring Richard Gere, as
well as his 1988 collection of dramatic pants
suits for women that put his household name
in the forefront of global fashion. He describes
his androgynous approach as softening the
image of men, and hardening the image of
women. Dressing men in womens fabrics,
and stole from men what women wanted and
needed the power suit.
THE
POWER SUIT
Photographed by Matthew Brookes
BOY OR
GIRL?
5 THE X&Y OCTOBER 2011
7
After stealing the fashion spotlight earlier this year
at Paris fashion week with his long, platinum blonde
hair and feminine features, X&Y magazine chats
exclusively with the 19-year-old Serbian-born
Australian model ANDREJ PEJIC and uncovers the
man behind the girlish good looks and what its like
to be the poster boy of fashion androgyny.
Congratulations on all your success!
How do you feel about being labelled the
poster boy for fashion androgyny?
I wouldnt dress this way if I didnt have fun with it.
I may as well push it to the limits.
You have remained quite coy about your
gender identity. Why is this?
I guess professionally I've left my gender open to
artistic interpretation. I know people want me to
sort of defend myself, to sit here and be like, Im a
boy, but I wear makeup sometimes. But, you know,
to me, it doesnt really matter. I dont really have
that sort of strong gender identityI identify as
what I am.
We hear the former editor of Vogue
Paris, Carine Roitfeld unexpectedly styled
you in the high-end womens fashion
brand Fendi at a photo shoot once. What
was your reaction to your frst cross-
dressing editorial?
"My agency did ask me if I was comfortable with it,
but I've been dressing in skirts since I was very little,
so for me it was, 'Of course.'"
MEET THE MAN
WHO MODELS
WOMENSWEAR...
You have been dying your hair blonde and
wearing skinny jeans since you were 13
years old. Why did you start
experimenting with makeup soon after?
"It was to make myself feel happy, to look in the
mirror and be satisfed. I never did drag or anything
like that. It was always that I wanted to be pretty, to
look beautiful, as a girl would want to.
One last question, your androgynous look
has won you a number of campaigns and
catwalk appearances for designers such
as Jean Paul Gaultier and Marc Jacobs. Do
you feel the controversy you have
provoked has been part of your appeal?
"Mmm, I'm getting all this press. My whole life is
controversy. What can I do? The fact that people are
using it for creative or marketing purposes, it's just
kind of like having a skill and using it to earn money.
This is a new age of androgynous supermodels. We
don't get out of bed for less than $50 a day."
THE X&Y OCTOBER 2011
8 THE X&Y OCTOBER 2011
80s
Madonna expressed herself in her stage costumes
which combined the masculine and feminine with
sexualised pieces such as the cone bra which
allowed her to exploit her sexuality, while
undercutting the very ideas about what makes a
female body sexy or desirable. She subverted the
traditional femininity shifting soft to hard, curvy to
phallic, transforming the engine of maternity into a
weapon.
POPULAR
CULTURE
90s
Boy George helped give androgyny an international
stage as a gender chameleon with a trimmed down
version of drag queen dressing. With hair worn
long, braided and tied with ribbons and bows,
makeup masked face he tested the limits of drags
mass acceptance. Annie Lenox of Eurythimics
dressed in mens suits and cropped her hair into
a bristly orange mane, David Bowie was already
playing with gender when his third albums cover
featured the singer in a dress.
00s
While in todays society we have the hip thrusting
performances of Adam Lambert and the ever
controversial motorcycle riding feats of Lady Gaga who
went so far as to dress and behave as an actual man
for a highly televised awards show. Gaga herself talks of
her own inspiration for sexuality portrayal I love Grace
Jones and David Bowie, because they both played with
gender and with what sexy means. Bold actress Tilda
Swintons striking androgyny was cemented by her
appearance in an acclaimed flm adaptation of Virginia
Woolf s Orlando in which she played a man who
literally changes sex over the course of centuries.
Recently hollywood heart throb James Franco
appeared on the front cover of Candy magazine as
with waxy red lips dressed as a female.
The growing rejection of past social conventions
during the 1960s created a climate where old
conventions proved untrustworthy thus the new
generations began to defne themselves as much by
what it opposed as by anything it stood for. People
began to delight in challenging and defying social
expectations. So anything that was new and unusual
in pop culture served to validate the
generations desire to redefne itself. The
commercial value of the unconventional was quickly
realised by the music industry and other entertain-
ment media.
