Growing up male with a very influential sister, mother, and grandmother, I always felt more tolerant of feminine behavior among my fellow lads. My upbringing has sometimes led me to have difficulty connecting with other men I meet in college, particularly masculine men who have not incorporated their feminine traits. The most popular music among college-aged schoolboys is rap, with lyrics often referencing disrespecting women and being a monster in the streets. I don’t listen to this genre of music unless I am attending a gathering with someone else as the disc jockey. My favorite artists are those who have incorporated their divine feminine and can use each trait when needed. Some examples of artists I look up to are David Bowie, Mick Jagger, and Jimi Hendrix. These artists have shown me that men do not only have to be “manly men” to be accepted by the other gender and popular culture.
The Fashioning Masculinities exhibit at the V&A museum in London displayed the evolution of men's fashion and the tolerance of feminine qualities in menswear through time. The wide range of art went from showing naked men performing gymnastics moves to strong and fluid black suits. The curators of this exhibit did a great job showing the diverse ways designers and clothing makers have constructed their idea of men’s fashion.
While walking through the collection, a few garments grabbed my most profound attention. The first garment that stopped me in my tracks was Edward Crutchley’s dress displaying a piece I thought was only appropriate for women to wear. The 16th-century-style farthingale skirts inspired Crutchley to create this outfit with no defining gender. During the 16th and 17th centuries, menswear was more challenging to differentiate from womenswear, and the following two centuries were the complete opposite, with the two genders looking more distinguishable. Crutchley's dress was one garment to show the peak of the wave of femininity in menswear.
A contrary yet still captivating piece of clothing displayed at the V&A was Haider Ackerman’s suit worn by Timothee Chalamet at the premiere of Dune. This piece was simple and minimalistic from top to bottom. The primary color featured was black, with a few specs of bright white, resembling a dark starry night. In the space movie Dune, there is a scene where Timothee Chalamet’s character is required to go through a test of great pain proctored by the ruling class. He is supposed to tolerate the pain and remain detached from his emotions like a man. This garment perfectly represents the expected emotionless behavior that fathers try to invoke in their sons. Opposite of the dress by Edward Crutchley, this suit is incredibly masculine and, to me, represents the emotionless expectations put onto men.
My favorite art piece from an exhibit filled with extraordinary physical clothing was a picture of Jimi Hendrix taken by Gered Mankowitz. The image features Jimi posing in a Hussar-style jacket with a women’s scarf that popularized second-hand army surplus clothing in the 1960s. Jimi Hendrix’s music is among my all-time favorites, and his clothing style is very similar to mine. I love wearing old thrifted jackets with new pants and something crazy like a colorful women's scarf. Jimi incorporates an army jacket for men with a scarf meant for women. This spicy balance of masculinity and femininity is my favorite type of art and fashion.
The phenomenon of the wave of incorporating feminine styles into men's fashion was one of the most stimulating ideas I learned in fashion history. This exhibit in the V&A museum displayed that wave of femininity beautifully, becoming my favorite activity while visiting London. I look up to men like Jimi Hendrix for his ability to play the electric guitar and, more importantly, his integration of femininity. I want to have both the ability to tolerate pain and subdue my emotions when required and express my feelings when experiencing love and happiness.
Edward Crutchley, 2021
Recycled polyester, lurex, cotton
Haider Ackerman, 2021
Wool, sequins
Gered Mankowitz, 1967 (Reprint 2022)
Chromogenic photograph
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