Any queer history of fashion is as much a history of gaps, tongue-in-cheek references and implied meaning as it is an explicit acknowledgement of desire and gender identity — especially given the secrecy surrounding the personal lives of many queer figures. Alexander McQueen’s autumn/winter 1998 collection — a dark, fiery vision of metal mesh, earth tones, and angular shoulders — was inspired by Joan of Arc.
The bride is ever-present on the catwalk. Often closing a show in spectacular style, she usually walks alone — a potent image of heteronormative aspiration “gift-wrapped in white” . Occasionally, she is accompanied by a well-dressed groom. Various designers have sought to upend this image, as with John Galliano’s spring/summer 2006 collection featuring various configurations of couples, or Dilara Findikoğlu’s inclusive bridal collection in 2018.
Thom Browne loves to upend expectations. In his spring/summer 2018 show, the designer went back to a child’s perspective of gender. Presenting a pair of his own baby shoes dipped in gold as the catwalk centrepiece, Browne noted — and rejected — the rigid sartorial expectations placed on boys as they grow up.
by Anatole France and James Smalls, and a poem by Essex Hemphill. She also cited Baldwin’s intensely charged 1956 novelGivenchy autumn/ winter 2019.Over the past few years, several famous lesbians and queer women have become industry favourites. One can hardly move for references to Virginia Woolf, not to mention her lover Vita Sackville-West.
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