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Arte Y Moda En Cueros: Dominatrices, Leathermen, Bears Y Drag Queens

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Arte Y Moda En Cueros: Dominatrices, Leathermen, Bears Y Drag Queens ARTE / 3 Arte y moda en cueros: dominatrices, leathermen, bears y drag queens CARLOS J. CASTRO BRUNETTO (coord.) ESTUDIOS Y ENSAYOS/54 ÚLTIMOS TÍTULOS PUBLICADOS 23. EL CAMPO LÉXICO ‘RECORDAR’ EN EL ESPA- ÑOL Y PORTUGUÉS MEDIEVAL Y CLÁSICO M.ª Teresa Herrera del Castillo 24. ISLAM Y COMUNIDAD ISLÁMICA EN CANA- RIAS: PREJUICIOS Y REALIDADES José Abu-Tarbush 25. CHARLOTTE SMITH: LA LITERATURA COMO LIBERACIÓN Aida Díaz Bild 26 Arte y moda en cueros: dominatrices, leathermen, bears y drag queens CARLOS JAVIER CASTRO BRUNETTO (coord.) Arte y moda en cueros: dominatrices, leathermen, bears y drag queens SERVICIO DE PUBLICACIONES UNIVERSIDAD DE LA LAGUNA, 2021 ARTE y moda en cueros. [Recurso electrónico] : dominatrix, leathermen, bear y drag queen / Carlos Javier Castro Brunetto (coord.). -- 1ª ed.. -- La Laguna : Servicio de Publicaciones, Universidad de La Laguna, 2021. -- 1 dispositivo de memoria externa (pendrive) : il.. -- (Es- tudios y ensayos. Arte ; 3). -- D.L. TF 343-2021 ISBN 978-84-15939-77-1 1. Arte y moda. 2. Identidad social. 3. Cuero- Aspectos culturales I. Castro Brunetto, Car- los Javier (coord.) II. Universidad de La Laguna. Servicio de Publicaciones (ed.). III. Serie 391(0.034) 687.01(0.034) Colección: ESTUDIOS Y ENSAYOS/54 Serie: ARTE/3 Edita: Servicio de Publicaciones UNIVERSIDAD DE LA LAGUNA Campus Central 38200 La Laguna. Santa Cruz de Tenerife Teléfono: 34 922 31 91 98 Diseño editorial: Jaime H. Vera. Javier Torres. Cristóbal Ruiz. Motivo de cubierta: Fénix Díaz. Hombre. 1.a edición: 2021 Prohibida la reproducción total o parcial de esta obra sin permiso del editor. Producción: SERVICIO DE PUBLICACIONES DOI: https://doi.org/10.25145/b.ArteModa.2021 I.S.B.N.: 978-84-15939-77-1 Depósito Legal: TF 343/2021 ÍNDICE Sobre el Grupo de Investigación Arte, Moda e Identidad de la Universidad de La Laguna .................................................................................................................................................................................... 11 Presentación ....................................................................................................................................................................... 13 EL CUERO COMO MATERIA DE IDENTIDAD MASCULINA EN EL ARTE, LA MODA Y LA PUBLICIDAD INTRODUCCIÓN: MOTIVACIÓN DE ESTE ARTÍCULO .................................................... 15 EL CUERO EN LA HISTORIA DEL ARTE. EL MATERIAL Y LA TÉCNICA ...... 15 CUERO E IDENTIDAD: LA TEXTURA DE LO MASCULINO ........................................ 19 EL CUERO Y LAS IDENTIDADES NACIONALES: GAUCHOS, COWBOYS Y OTRAS NUEVAS FORMAS DE MASCULINIDAD ........................................................................................................................................ 19 LA ULTRAMASCULINIZACIÓN DEL MATERIAL: LEATHER ART AS QUEER ART. HOMOSO- CIALIDAD Y FETICHES ..................................................................................................................................................... 25 EL REVESTIMIENTO SIMBÓLICO: LA MODA MASCULINA CONTEMPORÁ- NEA, EL CUERO Y EL ROL DEL HOMBRE ....................................................................................... 30 LA MEMORIA PRÁCTICA DEL HOMO FABER. DE LA SEDUCCIÓN Y LA GUERRA: COMPLE- MENTOS PARA DAMAS Y CABALLEROS ................................................................................................................. 30 EL CUERO Y LA VANGUARDIA: RESCATE Y MODERNIZACIÓN DE UN MATERIAL TRADICIO- NAL GRACIAS AL ARTE ................................................................................................................................................... 33 LA MODA BÉLICA Y EL TIPO ESTANDARIZADO DE HOMBRE GUERRERO: DE UNIFORMES Y AVIADORES ......................................................................................................................................................................... 38 VENDIENDO IDENTIDADES Y PERSONALIDADES: EL CUERO EN LA PU- BLICIDAD ........................................................................................................................................................................... 41 CONCLUSIONES ......................................................................................................................................................... 43 REFERENCIAS .............................................................................................................................................................. 44 8 ÍNDICE EL CUERO EN EL DISCURSO CREATIVO DE LA MODA EL SENTIDO UTILITARIO DEL CUERO EN LA INDUMENTARIA. DE LA EDAD MEDIA HASTA 1920 ................................................................................................................................ 47 UN NUEVO ESTATUS PARA EL CUERO. EL COMPLEMENTO PERFECTO EN UNA SOCIEDAD MODERNA (1920-1960) ................................................................................. 51 EL CUERO COMO ELEMENTO DE INDIVIDUALISMO Y RUPTURA EN EL DISCURSO DE LA MODA (1960-2019) .................................................................................................... 63 CONCLUSIONES .......................................................................................................................................................... 73 REFERENCIAS ................................................................................................................................................................. 75 DOMINATRICES: SEDUCTORAS Y TRANSGRESORAS EN CUEROS Y LÁTEX ¿UNA FEMME FATALE? LA DOMINATRIZ EN LA CULTURA AUDIOVI- SUAL ........................................................................................................................................................................................ 77 REFERENCIAS ................................................................................................................................................................. 93 LEATHERMAN Y TOM OF FINLAND: ENCRUCIJADA DE VISIONES ORÍGENES Y EVOLUCIÓN DE LA ROPA DE CUERO .............................................................. 96 EL CUERO COMO MATERIAL FETICHISTA .................................................................................. 105 LOS VÍNCULOS DEL CUERO CON LAS SUBCULTURAS GAY .................................... 107 ASOCIACIÓN DEL CUERO CON EL BDSM ...................................................................................... 109 TOUKO LAAKSONEN, TOM OF FINLAND ..................................................................................... 110 PROTOTIPOS ICONOGRÁFICOS .............................................................................................................. 116 TOM OF FINLAND EN CONTEXTO ....................................................................................................... 119 DESPUÉS DE TOM ..................................................................................................................................................... 122 CONCLUSIONES ......................................................................................................................................................... 124 REFERENCIAS ............................................................................................................................................................... 127 SOBRE BEARS Y BEARDS. UNA APROXIMACIÓN ESTÉTICA CONSIDERACIONES PREVIAS: SOBRE ARTE QUEER Y ¿SUBCULTURA? DESDE LA ÉPOCA MODERNA A LA ACTUALIDAD ................................................................ 131 MASCULINIDAD Y BARBA ¿VERSUS BEAR? .................................................................................. 135 ÍNDICE 9 BEAR Y SU CONCEPTUALIZACIÓN ESTÉTICA: EL OSO EN ¿PELIGRO DE EXTINCIÓN? ................................................................................................................................................................... 136 LA MODA Y LA ESTÉTICA OSA .................................................................................................................... 139 REPRESENTACIONES CULTURALES DEL MUNDO BEAR ............................................ 142 REFERENCIAS ................................................................................................................................................................. 150 EL CUERO COMO ELEMENTO DE COMUNICACIÓN EN LA CULTURA UNDERGROUND REFERENCIAS ............................................................................................................................................................... 175 DRAG QUEENS: UNA SEGUNDA PIEL DE ARTE ¿QUÉ ES UNA DRAG QUEEN? ......................................................................................................................... 177 INTRODUCCIÓN A LA HISTORIA DEL ARTE DRAG ............................................................. 182 EL FENÓMENO RUPAUL’S DRAG RACE: ARTE, MODA E IMPACTO CUL- TURAL .................................................................................................................................................................................. 186 CONCLUSIONES ......................................................................................................................................................... 191 REFERENCIAS ................................................................................................................................................................. 192 SOBRE EL GRUPO DE INVESTIGACIÓN ARTE, MODA E IDENTIDAD DE LA UNIVERSIDAD
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