,” says Billy Porter, gesturing to a fuchsia Ashish dress that’s giving him Diana Ross vibes. “It’s literally just a piece of clothing.” Thestar is running through the outfits for his last day of London Fashion Week, where he has been wearing genderless looks that sometimes garner a multitude of reactions.
“Cross-dressing triggers something in people who don’t understand that a garment is just a garment,” he continues. “The patriarchy has established a society where women in suits are seen as powerful, and men in dresses are viewed weak. Why is that? I don’t understand it, I don’t like it, and I am not a part of it.
As he tries on a hot-pink Stephen Jones headdress and matching bespoke micro glasses, Porter looks in the mirror and tilts his head. “At some point, a ‘look’ can get a little silly though,” he says. “There should be a play between masculinity and femininity. My outfits could easily veer into the absurd, but that’s a whole other lane. I’m interested in staying in the lane that feels as elevated and couture-like as possible.
Porter loves Jonathan Anderson’s work. “Do you know Loewe?” he asks. “I love Loewe.” He’s also a sucker for the hyper-floral charm of Richard Quinn because of the same subversive qualities he believes the two designers share. “Everything is so fancy in London,” he explains. “But underneath the opulence, there’s a subplot.” In Anderson’s work, he sees a juxtaposition of gender binaries. At Quinn, a sense of fetishism.
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