CMNS_221_EMBRACING_GENDER_BINARIES_IN_FASHION_IS_KEY_TO_ANDROGYNOUS_EXPRESSION

Embracing Gender Binaries In Fashion Is the Key to Androgynous Expression

It is part of human nature that people judge or create assumptions of you based on how you present yourself. For example, glasses make someone look smarter, curves make someone appear feminine, and looser clothing is associated with more masculine traits and men. When you’re scrolling through Tiktok, you see that there is always a new aesthetic trend — some examples being ‘clean girl’ associated with slicked back hair and minimalist clothing and ‘e-girl/e-boy’ which is associated with gamers and anime.. This is not a new phenomenon as subcultures like ‘grunge,’ ‘punk,’ and ‘hipster’ have already been established prior to the present, but where did these characteristics stem from? 

This essay explores the role of gender binaries in fashion as an extension of self-identity. With the increase in commodification of fashion styles and aesthetics on TikTok, from ‘queer’ aesthetics to the ‘clean girl’ aesthetic, it is important to recognize the patriarchal influence in fashion and clothing aesthetic that is most prevalent in the mainstream context today. Although clothing and bodily appearance are just two extensions of one’s identity, they still act as canvases to show people who we are. In this essay, I argue that the radical embrace of gender binaries’ existence in fashion paves the way to true expression of androgyny. What came first: fashion or the need to perform gender?

Heteronormativity in Fashion/History of Gendered Fashion

Before the industrial revolution, men’s and women’s clothing did not differ, as the clothing you wore reflected status and not gender. The industrial revolution also introduced gendered clothing with the introduction of women in the labour force. The radical feminist movement and American nationalism after the country's revolution are significant to the reform of gendered clothing. A few arguments as to why the "dress reform" was created, which consisted of a shorter no-more-than at the knee-length dress as well as bloomers, light and loose pants for women to wear, were because this was an opportunity for American women to differ themselves from the Paris dominating fashion culture after the America proclaimed independence, to abide to fashion trends was seen as 'unchristian' as it manifested as materialism, and most notably, women's fashion at the time constructed their bodies and affected their health and physiology (Mas, 2017). 

In the mid-nineteenth century, the expected fashion of women included a corset and multiple layers of skirts to create an illusion of an hourglass, a beauty standard that persists today. The reality of long-time wear of this clothing meant that women were exposed to many hazards, which coincides with the idea that clothing at the time was oppressive compared to the looser clothing associated with men. However, dress reform, the introduction of pants and the erasure of the corset meant that women were able to build up their strength to join the labour force outside of being subjected to "women's work" consisting of housework and removed from industrial environments like factories (Mas, 2017). Still, wearing these new garments had you outcasted and harassed for challenging patriarchal society and its gender expectations. Women themselves were confused with the introduction of bloomers, as it made them question their own gender identity and sexuality.

While the significance of protecting women’s natural bodies or physiology was the main selling point of dress reform, it was not publicly accepted until reformers had to showcase them with adornments and aesthetics that would make them appear more feminine (Mas, 2017). This meant emphasis on the waist with the introduction of women’s waistcoats, lace, embroidery, and showy buttons (Mas, 2017). From this brief history, we can gather that the introduction of clothing typically associated with men in women’s fashion was also a movement that brought up the topic of androgyny, which according to Sociology Dictionary, is the combination of “masculine and feminine appearance in regard to appearance, gender identity, or sexual identity.”

The Limitations of ‘Queer’ Fashion

When talking about ‘queer’ fashion, there is a need to distinguish “queer fashion” and the “queering” of fashion, as there is no historically assigned queer fashion (Vanska, 2014). When using the term ‘queer,’ I am using Vanska’s definition of “queer” — as defying from the norm across cultural context. In this case, the norm refers to gendered fashion, which extends to physiology and sexuality as previously discussed. In her article, where she reviews two New York exhibitions on the queer history of fashion and the works of openly gay designer Jean Peal Gaultier, she states that we cannot assume homosexuality of historically queer fashion just because the fashion was different from the norm at the time (Vanska, 2014). As with the dress reform movement, the introduction of bloomers and pants for women did not mean that these women were lesbians or fell on the LGBTQ+ spectrum, especially considering the time period when gender roles were strictly enforced. This makes us question how we view queer fashion and if it exists. 

Does someone who identifies as queer wearing clothing make that clothing queer or is clothing completely separate from one’s gender identity and sexuality? Historically, there are counts of what queer people (umbrella term for those who fall into the LGBTQ+ community) wore to subtly let others know of their gender and sexual orientation. This is still prevalent today with the association of clothing items and accessories associated with gender orientations, such as lesbians and carabiners, mascs – “people who present as masculine and falls somewhere on the LGBTQ+ spectrum” (Worlley, n.d.) and loose clothing, and gay men and tight clothing. From these examples, we can denote that these stereotype associations show the pattern of incorporating clothing and accessories that are linked with the opposing gender binary. It is also important to note the characteristics of these items, such as male fashion being associated with comfort (Almaguer Buentello, 2022) and freedom, hiding the body, and female fashion being associated with restrictiveness and showing the body. In historical and present context, these representations are politicized and it extends to clothing. 

So what about the case of unisex and “androgynous” clothing in the 21st century that implies clothing for everyone, regardless of gender? While this fashion is represented by boxy and oversized clothing, this aesthetic perpetuates the “masculinist systems which reiterate heteronormative binary rules” (Willson & McCartney, 2017). In other words, the patriarchal system is still upheld as unisex and androgynous fashion in mainstream fashion, as it does not include any characteristics associated with females. When the media showcases “men” wearing skirts or dresses, it is still unusual, while “women” wearing suits is more socially acceptable. One of the few areas where the notion of androgynous fashion is showcased, by way of incorporating both male and female clothing, is in high fashion (Reddy-Best & Pedersen, 2015). However, we need to again keep context in mind, that high fashion is associated with higher social class, therefore these representations can perpetuate a fantasy that is only available to the more privileged. 

Deconstructing and Decolonizing Gender with Trans, Queer, and Fat Individuals

In discussing androgynous fashion, fat and queer people, especially transgender, gender non-conforming, and non-binary people are pioneers in reflection on gender binaries and the performance of gender. Some examples of people who challenge gender binaries and appear to express androgyny are Grace Jones, Janelle Monae, and Alok Vaid-Menon. As we’ve explored the history of gendered fashion and unisex fashion, these groups of pioneers are left out of the conversation as their being directly challenges ideas of gender, sexuality, and patriarchy. 

Fat people are often left out of conversations on fashion because the presence of fatness dissolves images of what a male and female body look like (Evans et al. 2021). As clothing and fashion is typically tailored for two different bodies and two different genders, more reflection on the performance of gender is prevalent. As a study on exercise clothing for obese heterosexual women by Christel et al. (2016) found, it is difficult for this group of women to showcase their desired gender because clothing sizes and aesthetic clothes are not as accessible. While society pushes diet culture and “healthy” bodies, the mainstream fashion industry showcases clothing for fat people which hide their bodies as they do not adhere to fashion and its implications of patriarchy, colonialism, and power. Instead, much like the lack of representation for fat bodies, they are taught to hide themselves. 

While the type of clothing implies a gender, the way one acts in subconscious ways may also insinuate gender (Brice, 2021), and this can contrast with actual garments. For example, if a transwoman who perhaps is not on hormonal therapy is wearing a dress, there is a greater chance for them to be harassed or worse when they speak with their lower octave voice. This is similar to the dress reform movement, when society could not fathom women wearing “men’s clothing,” some people nowadays cannot fathom hearing a male voice and seeing women’s clothing. The gender dysphoria that people feel when interacting with people who challenge heteronormativity and gender binaries are the reason this group of people are subjected to silence, violence, and disempowerment. This is why fashion is political (Barry & Drak, 2019) and important conversations need to be held on gender. Does a certain body type imply a gender? Do certain colours and clothing details imply a gender? Does the presence or absence of body hair imply gender? And if you cannot fit yourself into these questions, does that erase your gender identity and so, your humanness and entitlement to respect? As Alok Vaid-Menon said in their book Beyond the Gender Binary:

“Gender is a story, not just a word. There are as many ways to be a woman as there are 

women. There are as many ways to be a man as there are men. There are as many ways to 

be non-binary as there are non-binary people. This complexity is not chaos, it just is. We 

do not need to be universal to be valid.”

Conclusion

As we explored the brief history of gendered fashion and its relationship to the limitations of queer fashion and fashion for fat, transgender, gender non-forming, and non-binary people, we are shown the oppressive, colonial, and patriarchal systems that fashion insinuates. This extends to gender and sexuality, what it means to be a woman and a man in the case of the clothing you wear, the body you have, and how you act. 

While mainstream unisex and androgynous fashion are labelled as such, it is important to reflect on the shapes of the clothing and how they uphold masculine characteristics. When we take into account the language used when it comes to fashion, it is in the breaking down and embrace of the gendered language that we can start to see expression of androgyny. 

Works Cited 

Almaguer Buentello, D., Bardey, A., & Rogaten, J. (2022). Beyond the gender dichotomy in fashion: Exploring the factors involved in cross-sexual fashion consumer behaviour for cisgender women. Journal of Fashion Marketing and Management, 1–13. https://doi.org/10.1108/JFMM-03-2022-0047

Androgyny. (2013). In K. Bell (Ed.), Open education sociology dictionary. Retrieved from 

https://sociologydictionary.org/androgyny/

Barry, B., & Drak, D. (2019). Intersectional Interventions into Queer and Trans Liberation: Youth Resistance Against Right-Wing Populism Through Fashion Hacking. Fashion Theory, 23(6), 679–709. https://doi.org/10.1080/1362704X.2019.1657260

Brice, S. (2021). Trans Subjectifications: Drawing an (Im)personal Politics of Gender, Fashion, and Style. GeoHumanities, 7(1), 301–327. https://doi.org/10.1080/2373566X.2020.1852881

Christel, D. A., O’Donnell, N. H., & Bradley, L. A. (2016). Coping by crossdressing: an exploration of exercise clothing for obese heterosexual women. Fashion and Textiles, 3(1), 1. https://doi.org/10.1186/s40691-016-0063-z

Evans, C., Stricke, M., Barry, B., & Friedman, M. (2021). Sizing up gender: Bringing the joy of fat, gender and fashion into focus. Critical Studies in Fashion & Beauty, 12(2), 229–260. https://doi.org/10.1386/csfb_00031_3

Mas, C. (2017). She Wears the Pants: The Reform Dress as Technology in Nineteenth-Century America. Technology and Culture, 58(1), 35–66. https://doi.org/10.1353/tech.2017.0001

Reddy-Best, K. L., & Pedersen, E. L. (2015). Queer Women’s Experiences Purchasing Clothing and Looking for Clothing Styles. Clothing and Textiles Research Journal, 33(4), 265–279. https://doi.org/10.1177/0887302X15585165

Vanska, A. (2014). From Gay to Queer-Or, Wasn't Fashion Always Already a Very Queer Thing? Fashion Theory, 18(4), 447–463. https://doi.org/10.2752/175174114X13996533400079

Willson, J., & McCartney, N. (2017). A look at 'fishy drag' and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. Critical Studies in Fashion & Beauty, 8(1), 99–122. https://doi.org/10.1386/csfb.8.1.99_1

Vaid-Menon, A. (2020). Beyond the gender binary. Penguin.

Worlley, G. (n.d.). What Does Masc Mean In LGBTQ+? Pridely Gay. https://pridelygay.com/what-does-masc-mean-in-lgbtq/