Tuesday 26 April 2011
Friday 8 April 2011
.
vivienne westwood, autumn/winter 1995/96i've gotta' say, i'm not a massive fan of feathers but i love the way there used here to create volume around the hips and how it's carried on to make a beautiful statement piece. also, the corset really exentuates the bust and waist..
silver plated corset, dolce & gabbana 1997
so maybe not metal but maybe i could use boning to create the shape?
martine sitbon autumn/winter 1997/98
i really like the use of print in this top, instead of embroidering (which would just take to long) it covers certain areas in a classy way so the top is still feminine and provocative. creating contours that don't exist, e.g swirls around the breasts and hips then a dark block to discuise the shoulders..
jean paul gaultier couture 1997
martine sitbon autumn/winter 1997/98
i really like the use of print in this top, instead of embroidering (which would just take to long) it covers certain areas in a classy way so the top is still feminine and provocative. creating contours that don't exist, e.g swirls around the breasts and hips then a dark block to discuise the shoulders..
jean paul gaultier couture 1997 i really like the simplicity of this garment and how the layering of the fabrics are used around the bust to create volume.
Wednesday 6 April 2011
'tom suay'
maybe the blog should have been called this.. meaning 'beautiful butch' in thai.
less offensive but possibly less meaningful and attention grabbing..
less offensive but possibly less meaningful and attention grabbing..
The rise of androgyny in popular culture has also been on the increase in the 21st century and beyond,[8] with an increasing rise in both fashion industries,[9] as well as pop culture for acceptance and even popularity of the "androgynous" look, with several trends set by current pop stars like Bill Kaulitz, being hailed as creative trendsetters.
The rise of the metrosexual in the 2000s has also been described as a related phenomena associated with this trend, and traditional gender stereotypes have been challenged as well as reset in recent years dating back to the 1960s and the hippie movement and flower power. Artists in film like Leonardo DiCaprio sported the "skinny" look in the 1990s- a departure from traditional masculinity which resulted in a fad known as "Leo Mania",[10] and this came long after musical superstars like David Bowie, Boy George, Grace Jones, Prince, Marilyn Manson (appearing as an androgynous substance-addicted alien called Omēga in his album Mechanical Animals) and Annie Lennox as well as Michael Jackson challenged the norms in the 1970s and had elaborate cross gender wardrobes by the 1980s. The astronomical rise in popularity of "pretty" boybands in the late 1980s and 1990s like New Kids on the Block, Take That, the Backstreet Boys and 'N Sync "redefined masculinity"[11] and the trends flowed into other performance entertainment circles that included increasingly, sports stars in England's FA Premier League like David Beckham[12] or the Liverpool F.C Spice Boys[13] in the 1990s. These entertainers were known to have started trends of becoming increasingly conscious of their fashion and looks, and inadvertently raised trends as celebrities in the limelight that males were now increasingly interested in traditional female interests like clothing, fashion accessories, hairstyles, manicures, spa treatments and so on, which have seen the societal redefinition of traditional gender fashion norms, due to the popularity of these artistes with many people in the world today. These trends have arguably then gone on to reshape fashion, and clothing houses like Top Man, and designer labels have then seen an increase in sales in relevant "androgynous" merchandise.[14][15]
While the 1990s developed and fashion developed an affinity for unisex clothes and the rise of designers who favoured that look like Helmut Lang, Giorgio Armani and Pierre Cardin, the trends in fashion only hit the public mainstream in the 2000s, which saw men sporting longer hair, hairdyes, hair highlights, wearing jewellery, make up, visual kei, designer stubble, or the like, all of which been a significant mainstream trend of the 21st century, both in the western world, and in Asia.[16] Japanese and Korean cultures have been featuring the androgynous look as an ideal in society, as depicted in both K-pop, J-pop[17] and in Anime and Manga,[18] as well as the fashion industry[19] However, in 2010, reports state that the androgynous look in Europe and the West may be a trend on the decline
i mean, this is so true, the androgynous male look has been on somewhat of a decline lately.. it was so prominent in the 80's with bands such as Pretty Boy Floyd, Motley Crue, Danger Danger, Hanoi Rocks etc.. if someone was walking down the street now in tight trousers (probably womens) long hair, makeup and their nails painted now would you look twice?
fair enough, men don't have to wear womens clothing anymore as stated above, topman do sell quite androgynous looking clothing but if your boyfriend was putting abit of makeup on would you think there was something up?
women were so attracted to these men in the 80's and the men were very attracted to the women, they weren't in an androgynous mindset, they were still very 'boyish' but the exterior was just the norm then.
androgyny is starting to make a rise again with andrej pejic modelling for almost every major fashion house all over the world though..
The rise of the metrosexual in the 2000s has also been described as a related phenomena associated with this trend, and traditional gender stereotypes have been challenged as well as reset in recent years dating back to the 1960s and the hippie movement and flower power. Artists in film like Leonardo DiCaprio sported the "skinny" look in the 1990s- a departure from traditional masculinity which resulted in a fad known as "Leo Mania",[10] and this came long after musical superstars like David Bowie, Boy George, Grace Jones, Prince, Marilyn Manson (appearing as an androgynous substance-addicted alien called Omēga in his album Mechanical Animals) and Annie Lennox as well as Michael Jackson challenged the norms in the 1970s and had elaborate cross gender wardrobes by the 1980s. The astronomical rise in popularity of "pretty" boybands in the late 1980s and 1990s like New Kids on the Block, Take That, the Backstreet Boys and 'N Sync "redefined masculinity"[11] and the trends flowed into other performance entertainment circles that included increasingly, sports stars in England's FA Premier League like David Beckham[12] or the Liverpool F.C Spice Boys[13] in the 1990s. These entertainers were known to have started trends of becoming increasingly conscious of their fashion and looks, and inadvertently raised trends as celebrities in the limelight that males were now increasingly interested in traditional female interests like clothing, fashion accessories, hairstyles, manicures, spa treatments and so on, which have seen the societal redefinition of traditional gender fashion norms, due to the popularity of these artistes with many people in the world today. These trends have arguably then gone on to reshape fashion, and clothing houses like Top Man, and designer labels have then seen an increase in sales in relevant "androgynous" merchandise.[14][15]
While the 1990s developed and fashion developed an affinity for unisex clothes and the rise of designers who favoured that look like Helmut Lang, Giorgio Armani and Pierre Cardin, the trends in fashion only hit the public mainstream in the 2000s, which saw men sporting longer hair, hairdyes, hair highlights, wearing jewellery, make up, visual kei, designer stubble, or the like, all of which been a significant mainstream trend of the 21st century, both in the western world, and in Asia.[16] Japanese and Korean cultures have been featuring the androgynous look as an ideal in society, as depicted in both K-pop, J-pop[17] and in Anime and Manga,[18] as well as the fashion industry[19] However, in 2010, reports state that the androgynous look in Europe and the West may be a trend on the decline
i mean, this is so true, the androgynous male look has been on somewhat of a decline lately.. it was so prominent in the 80's with bands such as Pretty Boy Floyd, Motley Crue, Danger Danger, Hanoi Rocks etc.. if someone was walking down the street now in tight trousers (probably womens) long hair, makeup and their nails painted now would you look twice?
fair enough, men don't have to wear womens clothing anymore as stated above, topman do sell quite androgynous looking clothing but if your boyfriend was putting abit of makeup on would you think there was something up?
women were so attracted to these men in the 80's and the men were very attracted to the women, they weren't in an androgynous mindset, they were still very 'boyish' but the exterior was just the norm then.
androgyny is starting to make a rise again with andrej pejic modelling for almost every major fashion house all over the world though..
androgyny
Androgyny is a term—derived from the Greek words άνδρoς (andros, meaning man) and γυνή (gyné, meaning woman)—referring to the combination of masculine and feminine characteristics. This may be as in fashion, sexual identity, or sexual lifestyle, or it may refer to biologically inter-sexed physicality, especially with regards to plant and human sexuality.
For humans, an androgyne (pronounced /ˈændrədʒaɪn/, AN-drə-JYNE) in terms of gender identity, is a person who does not fit cleanly into the typical masculine and feminine gender roles of their society. They may also use the term ambigender to describe themselves. Many androgynes identify as being mentally "between" woman and man, or as entirely genderless. They may identify as non-gendered, genderneutral, agendered, between genders, intergendered, pangender or gender fluid.
To say that a culture or relationship is androgynous is to say that it lacks rigid gender roles and that the people involved display characteristics or partake in activities traditionally associated with the other gender. The term androgynous is often used to refer to a person whose look or build make determining their gender difficult but is generally not used as a synonym for actual intersexuality, transgender or two-spirit people. Occasionally, people who do not actually define themselves as androgynes adapt their physical appearance to look androgynous. This outward androgyny has been used as a fashion statement, and some of the milder forms (women wearing men's trousers/men wearing skirts, for example) are not perceived as transgendered behavior.
For humans, an androgyne (pronounced /ˈændrədʒaɪn/, AN-drə-JYNE) in terms of gender identity, is a person who does not fit cleanly into the typical masculine and feminine gender roles of their society. They may also use the term ambigender to describe themselves. Many androgynes identify as being mentally "between" woman and man, or as entirely genderless. They may identify as non-gendered, genderneutral, agendered, between genders, intergendered, pangender or gender fluid.
To say that a culture or relationship is androgynous is to say that it lacks rigid gender roles and that the people involved display characteristics or partake in activities traditionally associated with the other gender. The term androgynous is often used to refer to a person whose look or build make determining their gender difficult but is generally not used as a synonym for actual intersexuality, transgender or two-spirit people. Occasionally, people who do not actually define themselves as androgynes adapt their physical appearance to look androgynous. This outward androgyny has been used as a fashion statement, and some of the milder forms (women wearing men's trousers/men wearing skirts, for example) are not perceived as transgendered behavior.
abit more..
i LOVE this photo. so granted, this isn't exactly what i want to portray however i love how comfortable they all look in their own environment and the rawness of the photos as it dosen't look staged or forced.
i love this photo especially as it just shows them in a normal environment. 'A quality of her work is the humanization of those that were understood as monsters by society, those that for her were only another human being.'
it just shows that transvestites/transgender people still do everyday things and are a part of society and shouldn't be treated any differently..
maybe for my shoot i'd do something similar, maybe having a really androgynous person (maybe a male with feminine clothing - i'd love to have a transvestite to be honest but i don't know any) sitting on a bus surrounded by people, as lets be honest you couldn't get a more diversed selection of people in one space then on a bus. just, y'know, to see how everyone around him/her reacts. could be quite interesting..
diane arbus.
Diane Arbus
American photographer who is an example of those personalities that open new symbolic worlds for those which were not considered citizens - as transvestites and all the people integrated in trans collective were viewed. She represented them as people of bones and flesh in all their humanity.
Diane Arbus (née Nemerov) was born in New York City into a wealthy Jewish family. She fell in love with Allan Arbus at age 14, and married him soon after turning 18, despite her parents' objections.
As a husband-wife team, the Arbuses became successful in the fashion world. As Diane began to take her own photographs, she took formal lessons with Lisette Model at The New School in New York. After separating from her husband by 1959, Arbus worked extensively as a photojournalist, her photos appearing in Esquire, The New York Times Magazine, Harper's Bazaar and Sunday Times magazines, among others.
But her life turned in a different way. She left the world of glamour preferring to take portraits of those whom society didn’t want to see and keep hidden from public eyes, denying their representation and involving darkness.
There are four topics in Arbus’ work: deformation, transformation, social rites and ceremonies; and mask and mental illness (Cuesta 2006). Arbus’ approach was always respecful and without affectation. All of these topics are very interesting, but we prefer to focus on the transvestite photographs. Her camera was the first one to be close trans cotidianity and space. She presented transvestites as any legitimate member of the society. In the same way as Charles Baudelaire and Les Fleurs du mal opened new forms of poetry and art, Arbus’ revolucionary work changed the concept of beauty and stretched the limits of the acceptable.
Her photographs present the naked truth, because the people who appear them allows us to see an essential piece of their identity: their bodies. But they also invite us to be part of their house, their room, their curlers. This could show us the simplicity and confidence in the relationship between Arbus and the people she photographed. A quality of her work is the humanization of those that were understood as monsters by society, those that for her were only another human being. She really cared about those people and photograph became an excuse to begin relationships of friendship and respect.
Diane Arbus is an example of those personalities that open new symbolic worlds for those which were not considered citizens - as transvestites and all the people integrated in trans collective were viewed. She represented them as people of bones and flesh in all their humanity.
A young man in curlers at home on West 20th Street, N.Y.C. 1966
Two men dancing at drag ball, New York 1970
Naked man being a woman, N.Y.C. 1968
i really love these photos, the 'rawness' of them just makes them that more personal as you feel as though you get a real insight into the persons lives..
American photographer who is an example of those personalities that open new symbolic worlds for those which were not considered citizens - as transvestites and all the people integrated in trans collective were viewed. She represented them as people of bones and flesh in all their humanity.
Diane Arbus (née Nemerov) was born in New York City into a wealthy Jewish family. She fell in love with Allan Arbus at age 14, and married him soon after turning 18, despite her parents' objections.
As a husband-wife team, the Arbuses became successful in the fashion world. As Diane began to take her own photographs, she took formal lessons with Lisette Model at The New School in New York. After separating from her husband by 1959, Arbus worked extensively as a photojournalist, her photos appearing in Esquire, The New York Times Magazine, Harper's Bazaar and Sunday Times magazines, among others.
But her life turned in a different way. She left the world of glamour preferring to take portraits of those whom society didn’t want to see and keep hidden from public eyes, denying their representation and involving darkness.
There are four topics in Arbus’ work: deformation, transformation, social rites and ceremonies; and mask and mental illness (Cuesta 2006). Arbus’ approach was always respecful and without affectation. All of these topics are very interesting, but we prefer to focus on the transvestite photographs. Her camera was the first one to be close trans cotidianity and space. She presented transvestites as any legitimate member of the society. In the same way as Charles Baudelaire and Les Fleurs du mal opened new forms of poetry and art, Arbus’ revolucionary work changed the concept of beauty and stretched the limits of the acceptable.
Her photographs present the naked truth, because the people who appear them allows us to see an essential piece of their identity: their bodies. But they also invite us to be part of their house, their room, their curlers. This could show us the simplicity and confidence in the relationship between Arbus and the people she photographed. A quality of her work is the humanization of those that were understood as monsters by society, those that for her were only another human being. She really cared about those people and photograph became an excuse to begin relationships of friendship and respect.
Diane Arbus is an example of those personalities that open new symbolic worlds for those which were not considered citizens - as transvestites and all the people integrated in trans collective were viewed. She represented them as people of bones and flesh in all their humanity.
A young man in curlers at home on West 20th Street, N.Y.C. 1966
Two men dancing at drag ball, New York 1970
Naked man being a woman, N.Y.C. 1968
i really love these photos, the 'rawness' of them just makes them that more personal as you feel as though you get a real insight into the persons lives..
Friday 1 April 2011
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