The Profound Effect of Fashioning Masculinities by the V&A
As a child I was surrounded by masculine energy. I wasn’t entirely sure what masculine energy really was but I knew I didn’t have it. I was a show off, I enjoyed prancing around, walking on my tip toes and always chose girls toys over boys. I loved the costumes that Barbie wore, I loved how she came with spare shoes for fancy occasions and that she could become different characters. The male appropriate ‘Action Man’ figure (complete with macho scars) and army boots was not appealing to my yet to be realised campiness.
Barbie…
I loved the costumes that Barbie wore, I loved how she came with spare shoes for fancy occasions and that she could become different characters.
In the comfort of home I was allowed to play with the girls toys, I was able to put on shows and become different characters. Outside things were different. Over time, like many other queer children we learn to be invisible. We learn how to blend in to avoid conflict or ridicule. We are actors by force. As a proud queer adult I often wonder why the LGBTQ+ community is so colourful and my conclusion is: When you have lived your childhood in black and white colour becomes thrilling. The ability to live one's life without shame and conformity.
As I read Alessandro Michele’s quote on the way into the V&A Museum’s Fashioning Masculinities exhibition I was reminded that “oppressive masculinity model is imposed on babies at birth”. I would argue that it starts even before we have vacated the safety of our mothers womb. Our nurseries are plastered with racing cars. Our first outfit as we leave the hospital may even have a football team crest. We are silently told “this is the man you are supposed to be ''. Life's theatrical curtain opens and before we know it we are performing our default male role.
There are however the people who choose not to conform. The rebels, the people who can't and won't blend in. This exhibition speaks to these beautiful humans but it also schools the people who are afraid of not conforming. It shows them how life could be a little better if we stepped outside of our comfort zone.
With great excitement we followed the crowd of well dressed people who all headed in the same direction. we knew we were in the right place.
The exhibit's themes are Undressed, Overdressed and redressed. One room spoke to me on so many levels. Overdressed. A glorious space with clustered bows, frills and flounce. This space celebrated young English men behaving badly, dressing outrageously and peacocking their wares.
Randi Rahm, suit and cloak worn by Billy Porter, styled by Sam Ratelle (photo by author).
Throughout the 17th and 18th century flamboyant dressing was a way for men to show power and wealth. Over-decoration wasn’t associated with femininity back then. When young men took the grand tour of continental Europe they would collect bold fabrics, brocades and lace, often posing for a self portrait in their newly tailored ensembles.
Portrait of Prince Alessandro Farnese, painting by Sofonisba Anguissola (1560).
This celebration of peacockery came to an end following the French Revolution (1789-99), where lavishness only continued within womenswear, leaving men to dress more practically. The pomp of menswear became much more sombre with tailors working their magic on the form fitting suits to accentuate the masculine physique.
The pomp of menswear became much more sombre with tailors working their magic on the form fitting suits to accentuate the masculine physique.
Here we are centuries later still dressing to fit the standards of 18th century tailoring, along with the almost unachievable goal of the gladiator physique as shown in the Undressed section of the exhibition. We have Michelangelo’s David to thank for this one.
But all is not lost… in the past couple of years we have seen menswear receive a much needed shake up. I believe we are entering a new chapter where flamboyance is back to challenge oppressive masculine roles and allow men to move away from damaging expectations.
Harry Styles, Gucci Pre-Fall 2019, Harmony Korine
High profile celebrities like Harry Styles and designers like Harris Reed and Alessandro Michele are teaching the masses that being macho is not all it's cracked up to be. I know when we step outside of our comfort zone, the magic begins to happen.
When I started Byroses I did it out of necessity. The clothes I wanted weren’t accessible to me so I had to design my own. Fashion is a tool for us to express who we are, it can be lavish, artistic and if desired even practical but that is OUR choice to make. I have never had loyalty to the men's department in stores. I float between men’s and women’s design and cherry pick what works for me regardless of what other people think. With Byroses I encourage others to do the same.
The thing I loved most about the V&A exhibition was seeing historical portraits of gallant men in opulent dress displayed around the modern costumes that inspired them. Sir Joshua Reynolds painting of Charles, Earl of Bellamont (1773) in his floor sweeping pink cape. Bygone artworks that feel so new in the wake of the softer menswear revolution.
Portrait of Charles Coote, 1st Earl of Bellomont by Sir Joshua Reynolds, Tenure 1767–1800.
At Byroses I too am heavily influenced by past beauties frozen in time. Many of the garment names in our collections come from these elegant men. Our Beau sleeveless top is named after iconic dandy Beau Brummel (1778-1840) who was featured in the exhibit and remembered for changing the course of men's fashion with his understated and chic ensembles, His anatomical wardrobe emphasised the form with crisp white shirts, sleek waistcoats and crotch revealing breaches.
George "Beau" Brummell, one of the many influences for Byroses.
The exhibit tracks the evolution of men's fashion and erupts with a gigantic black and white film of voguing dancers that sweep around you as you walk. Another past iconic form of expression that has found itself once again in the mainstream, a true celebration of beauty (in all its forms), diversity, strength and escapism.
As I left I thought about those feelings of exclusion as a child. I thought about the side eye looks I noticed if I was dancing too free or walking too sassy. I wished that I was aware of all of this history when I was younger because maybe I would have realised that all of these queer-isms are something to be proud of.
Byroses was created as a love letter to my younger self but also as a community for others who don’t dance to society's gender expectations. Many people view fashion as a fluffy non important fickle space and at times it is, but it can also be a space for freedom. A tool we use to become our true selves, free of shame and I think when you open yourselves and step out of your own way life can feel so liberating.
The exhibition displays the grandest form of style. Style, not to be confused with fashion, is something one has. That certain way of where as fashion is something one conforms to to be on trend.
“Fashion is a way of not having to decide who you are. Style is deciding who you are and being able to perpetuate it.” Quentin Crisp (1908-1999).
Robert Sinclair
Creative Director, Byroses