The Oxford Student | Friday 22nd January 2016 Fashion 25 Fashion Legacies Photographer: Valentina Pegolo Models: Alex McKendrick & Chloé Delanney Concept: Alexandra Murray Luo Styling: Alice Townson Make up: Alexandra Wong The Oxford Student | Friday 22nd January 2016 Fashion 26 The Oxford Student | Friday 22nd January 2016 Fashion 27 The Oxford Student | Friday 22nd January 2016 Fashion 28 Fashion Street style: 1st week’s best dressed Gender in question

Sherry Chen the history of androgyny, and how it Fashion Editor has always existed in fashion, calling our attention to the looks that were traditionally considered gendered Tis week the world has been but do not actually ft into the saddened by the loss of two great categorical defnition of gender or men, David Bowie and Alan sexuality. And fnally, we welcome Rickman. As Oxford greeted the a new contributing writer for the residents with its frst snow of 2016, Fashion Section, Yussef Robinson we have decided to incorporate some (who was featured in the 0th week’s artistic elements of David Bowie street style if you remember!). into our articles and shoots. Our Yussef frst scrunitises the trendy brilliant staf writer William Shaw term of “gender neutral clothing”, discusses the fashion of Blackstar, and reveals how it actually draws one of David Bowie’s last works in a binary distinction between style which he even approached his death and fashion by portraying men’s in an extremely artistic way. Claire fashion as more eternal and logical Name Rohini Singh Name Ally Pugh Name Xixi Yu Leibovich, our Deputy Fashion than women’s fashion. In the Editor, presents her thoughts on shoots for this week, we pay our We met Rohini on Cowley Place Ally was wearing this bright orange Xixi was enjoying her day of on a Jaden Smith becoming the new GAP jumper when we ran into her face of Louis Vuitton’s Spring/ greatest respect to David Bowie when she was wearing this lovely sunny Friday afternoon as we spot- Summer 2016 perfume collection by recreating some of his famous Dorothy Perkins coat. Tis coat, on Cowley Place, which seems to ted her wearing this Jack Will’s works. It is a horrid winter out there, along with her black and white shirt, be another fashion hotspot. She as the brand keeps pushing the so take some time for a cup of tea, coat outside famous local pub, Te gender revolution in the fashion and dive into our discussion about looks very warm and cozy on a chilly was only wearing a jumper and leg- Bear, at the crossing of Bear Lane industry. Our talented Fashion winter day, and its colour goes well gings, but her big smile brightened and Afred Street. Editor Alice Townson writes about fashion and gender. with her dyed hair. up our day! Jaden Smith: the new Blackstar: the fashion of Bowie’s farewell William Shaw intriguing of Bowie’s characters is with a ferce strain of modernity; Staff Writer the one we frst meet; nicknamed the camerawork feels straight out face of Louis Vuitton “Button-eyes” by the director, the of Christopher Nolan, and the as- It speaks to the particular genius of character wears the same worn and pect ratio is reminiscent of a smart- Claire Leibovich represents the suppression of the David Bowie that he approached shabby-looking suit as the others, phone’s vertical video, Bowie’s face Deputy Fashion Editor gender limits because he is a straight his death as, frst and foremost, an accessorised with a white blindfold flling the screen in the manner of self-identifed male who takes over artistic opportunity. Te man who with, well, buttons instead of eyes. a selfe. Bowie was a trend-setter, Lovingly ripped of from Cora- but he was also, always, a trend- Te press and social media have been clothes conventionally intended for created, adopted, and eventually women. Te actor himself resumed outgrew Ziggy Stardust, Aladdin line, it’s a look of almost poignant follower. One of the frst rock stars buzzing since the release in early simplicity; after decades of radical to embrace the internet, Bowie January on Instagram of a few shots this appropriation last year when he Sane and the Tin White Duke - Instagrammed a photo of himself in icons that have spoken to genera- image-changes, Bowie’s fnal char- demonstrated a constant aware- of Louis Vuitton’s Spring/Summer acter is created out of scraps. But ness and appreciation of modern 2016 campaign. Te actor-rapper a dress with a caption saying: “Went tions of music lovers and fashion to Topshop To Buy Some Girl followers alike - found himself it’s a look that implies, not blind- technology. ‘Lazarus’ could only Jaden Smith, son of Will Smith ness, but a diferent kind of sight; come from a man who completely and Jada Pinkett Smith, is the new Clothes, I Mean ‘Clothes’.” Men tasked with adopting one last per- taking over skirts and dresses would sona, the mask he would wear for he knows something we don’t know. understands the culture into which face of the designer’s womenswear he is releasing his fnal statement. collection. Alongside women models be like women adopting trousers and his fnal curtain call. His perfor- jeans. Te artistic director of Louis mance in his last two videos forms ‘Lazarus’ ends with Bowie retreat- that include Jean Campbell, Rianne ing into the dark, literally making Van Rompaey and Sarah Brannon, Vuitton Nicolas Ghesquière might a kind of apotheosis; infused with This is the Bowie style; be dreaming of being the new Coco a raw, seething energy, grinning his fnal wardrobe change. Te con- the teenage celebrity is wearing keep changing, keep mov- summate performer, walking of the female clothing, including a metal Chanel... maniacally, belting out lyrics whose At this point it is hard to assess the full meaning only became clear ing, keep fnding new stage. Of the many epithets tossed embroidered skirt. Although this around regarding Bowie, “style might seem like a typical commercial importance of this gender blur in in hindsight: “I’m dying to/ Push “things to do, even in death. icon” is one of the most common. trick benefting both the fashion fashion history; if it is a revolution, their backs against the grain/ And part of a slow translation towards fool them all again and again.” Te Tis is almost, but not quite, com- house and Jaden Smith’s, it is not Button-eyes appears again in ‘La- pletely inaccurate; Bowie was not based on gratuitous provocation a complete suppression of gender Bowie of these videos is melan- boundaries, or only a passing trend. choly and introspective, but brim- zarus’, the last video Bowie ever one icon, but several; undefeated because it raises the increasingly recorded. He’s lying in a hospital David, inscrutable to the last. And important question of gender in Maybe this ideal of no gender limits ming with the energy of a mad would allow fashion to be guided trickster god. It’s an image that has bed, his black buttons standing out while the fashion world is poorer fashion. against the whiteness of the sheets. for his loss, it’s important to keep Designers have in the past already by aesthetic criteria only. Women gone relatively unremarked-upon wearing trousers was scandalous in in the media coverage of his death; Tis contrast forms the main mo- the future in mind. Because while explored gender boundaries: Jean- tif of the video; once we see Bowie Blackstar is a self-eulogy, it’s one Paul Gautier caused a controversy George Sand’s time and is completely most obituaries carried photos of normal now, at least in our society. his younger days, generally pho- with his blindfold of he’s wearing which emphatically insists upon in 1984 when he included skirts in a monochrome jumpsuit, jerking life. Tis is the Bowie style; keep his male runaway, Riccardo Tisci Tis raises another question about the tos from his glam rock “heyday”. relation between fashion and social Few of the recent Bowie tributes awkwardly as if trying to remem- changing, keep moving, keep fnd- chose the transgender women Lea ber how to dance. What initially ing new things to do, even in death. T. in 2010 to model his womenswear conventions; does fashion adapt to have highlighted the artist that social changes, provoke them, or is it a actually presented himself to us in look like shafts of weak daylight are It’s the means by which he becomes range, and Sonia Rykiel’s 2015 pre- actually thin stripes of white, remi- more than human, and he makes fall runaway presented “woman- form of art detached from reality that his fnal moments; a fashion icon belongs to imagination and, beauty with as much style and charisma niscent of the outft from his 1975 a point of bringing us along. Even inspired men’s wear”. 2015 was a photoshoot with legendary pho- as he departs, the door’s left ajar. crucial year in the progressive blurring alone? Maybe all three… as any number of sparkling star- men or malnourished aristocrats, tographer Steve Schapiro. But that of male and female dress code, frst sense of introspection is tempered on the runaways of Rick Owens and deserving of a tribute of his own. Alessandro Michele of Gucci, but Given what we know in retrospect, also for more mainstream brands it’s surprising how alive the video for like Acne. Selfridge, in London, has “Blackstar” feels. At the centre of it selling space dedicated to gender- all is Bowie himself; or rather, three fuid brands. However, Louis Vuitton’s of him. Bowie moves from priest campaign represents a step further to heretic to nightmarish scare- in the gender revolution in fashion. crow, the instability of his identity Tis is neither a man dressing-up refecting the oddness of the lyrics. as a woman nor modelling clothes We never get a proper look at any that both genders could wear. While of these characters; they’re shot at playing with gender boundaries, odd angles, cut between frequently enough that we are never allowed these options still maintain them. Image: El Seven Image: Daniel Ruiz Lorente On the contrary, Jaden Smith to get comfortable. But the most The Oxford Student | Friday 22nd January 2016 Fashion 29 A history of androgyny: from the 17th century

Alice Townson particularly sought-after corset that went even further in his androgynous aries surrounding fashion and in 1992 Fashion Editor helped to achieve this look. Hair was style when in 1969 he appeared on he was photographed by Paolo Re- usually bobbed short, but women still stage in London’s Hyde Park wearing versi wearing a cone bra. Comme des Androgyny has always existed, and continued to mix these more mascu- a Mr Fish dress and Twiggy helped to Garçons were also key purveyors of it’s important to clarify that in this line traits with fabrics like chifon and popularise a more masculine, waifsh the androgynous trend in their 1988 article where the terms ‘androgyny’ lace. Furthermore, the Land Girls or fgure for women, again a reaction Autumn Winter collection, featuring and ‘androgynous’ are used, I will the Women’s Land Army during the against what had gone before dur- masculine dark jackets over founcy, be talking about clothing, appear- First and Second World Wars helped ing the 1950s with Dior’s New Look. pale and girlish dresses and skirts. Te ance and playing with traditionally to push for the acceptance of women Music, as ever, helped to popularise 1990s also saw the rise of a South Ko- gendered items of clothing to cre- wearing more traditionally mascu- what was going on in the fashion world rean trend called the Keo-Peul-Look ate a look that doesn’t ft comfort- line cuts and fabrics, such as brogues during the 1970s. Vivienne Westwood in which couples dressed to match. ably into the categories of masculine and knitted fsherman’s sweaters, for wore the same ripped t shirts, safety and feminine; not gender or sexuality. practical reasons, as well as actresses pins and jeans as her muses Te Sex People have been experimenting Marlene Dietrich and Katharine Pistols, and David Bowie appeared on with androgyny in the way they dress Hepburn helping to popularise suits the cover of his 1970 album Te Man Androgyny has become for a long time. Although many more for women in 1930s Hollywood. Who Sold the World in a Mr. Fish dress, commonplace in designer’s designers are starting to push the like Mick Jagger before him. Two years collections boundaries much more frequently later, he and Andy Warhol went on to “ in their collections, the idea is really create his most famous alter-ego, Zig- nothing new. Take, for instance, 17th Music has helped to gy Stardust, who was characterised by All this ground work throughout the Image: Ashley Van Haeften century Western European styles popularise what was going his faming red mullet and lightning 20th century has meant that from the of dressing; men looked particularly on in the fahsion world bolt make-up. Marc Bolan and Jimi millennium onwards, androgyny has androgynous when they were sport- “ Hendrix also experimented with bell- become commonplace in designer’s ing towering wigs, white stockings, bottom fares, platforms shoes, sequins, collections. Key brands and design- petticoat breeches, which were so Elvis Presley and James Dean are headbands, and plenty of rufes. Te ers include Vivienne Westwood, J.W. baggy they looked more like a skirt, often cited as being two of the frst vogue for women’s tuxedos, started by Anderson, Jean Paul Gaultier, Mead- and copious amounts of rufes and androgynous fgures in popular cul- Dietrich and Hepburn, was mimicked ham Kirchof, Céline and Prada, who lace. In the 18th century, the Cheva- ture, due to their penchant for wearing by Diane Keaton in Woody Allen’s all produce mannish tailoring for lier d’Éon, a French diplomat, soldier, make-up. Hippy men began wearing classic flm Annie Hall wearing a suit. women and even high-heeled boots spy and freemason, spent much of their hair long and fowing, alongside Annie Lennox’s iconic orange buzz for men. Balenciaga’s Spring Sum- Image: Southbank Centre his life donning both masculine and their foral smocks and tunics. 1966 cut on the cover of the Eurythmic’s mer 2011 show featured androgynous feminine clothes. Amantine-Lucile- saw the release of Yves Saint Laurent’s 1983 album Touch and suit attire cre- models and Selfridges even opened a Aurore Dupin, otherwise known by Pop Art collection, inspired by Roy Li- ated a huge buzz around the idea of pop-up store named Agender, featur- her pseudonym George Sand, caused chtenstein and Andy Warhol, includ- androgyny. Lennox told US Vogue ing brands like Haider Ackermann, quite a stir in 19th century Paris, ing the iconic tuxedo for women, Le in March 2015 that her androgynous Ann Deuelemeester, Rick Ownes, where she wore masculine jackets and Smoking. Famously, Le Côte Basque appearance was all about “taking a Raf Simmons and Tomorrowland. trousers, though she mixed this with restaurant in Manhattan turned away sort of masculine power as a woman For the 2015 collection Meadham other more traditionally feminine New York socialite Nan Kempner be- who didn’t want to be objectifed.” Kirchof cited Quentin Crisp as an characteristics such as her long hair. cause she was wearing the tuxedo and Women’s workwear capitalized on icon and said they wanted people 1920s’ women’s clothing was also said, “Pants look very nice on some these ideas and Karl Lagerfeld and to “make their own alternate worlds extremely androgynous, especially women but they do not belong in a Valentino began ofering jackets with and ways of expressing themselves.” considering the founcy skirts and restaurant like La Côte Basque any large masculine shoulder-pads. Jean Te recent men’s shows in London cruelly exaggerated waistlines that more than swimming suits. We will Paul Gaultier’s 1984 collection ‘And featured many more androgynous had gone before it during the Victo- continue our policy: no pants.” Other God Created Man’ saw the debut of looks, like Gucci’s pussybow blouse rian period. A boyish silhouette took French designers like Pierre Cardin skirts for men, which he followed up and beret combination. Androgyny over, leading some young women to and André Courrèges released collec- in 1985 with a collection called ‘Une has always been a part of fashion and bandage down their breasts to achieve tions featuring much more box-like garde-robe pour deux’, where he always will be, as long as creative de- the fashionable fat chested look. shapes, much like what had gone be- showed a tuxedo jacket draped over signers continue to try and break out Te Symmington Side Lacer was a fore in the 1920s but with mini lengths a bustier. Gaultier continued to push of the confnes of gendered clothing. Image: The Coincidental Ðandy and synthetic fabrics. Mick Jagger past and challenge the gender bound- Why are hegemonic men scared of fashion?

Yussef Robinson while the male, Dean Kissick, is are white. Until explicitly stated desperately to style, and suggests presence as humans wholly capable Staff Writer a “style writer”. To be very clear otherwise they are the default this may be due to already being of creative self-expression. Tis there is not a coherent distinction human being. Tis helps to explain judged for their appearance. is even more the case for black David Kuchta has claimed between these two terms, in fact I the unwillingness for even those men engaging in what Picarelli modern men seek to communicate only see attempts to use the latter men engaging with fashion to describes as “Afrosartotrial “masculine conceptions of industry where men are seeking to reafrm call it as such. One of the most politics” in sites of formerly and frugality” through their their prohibitive masculinity prestigious tailors in the UK, Black men are able to explicit white domination. Tus which shuns “fashion”. Masi de Anderson & Sheppard, consider feel a sense of liberation the power of the ToneSociety clothing. While Kuchta appears Casanova interviewed seventy a suit a failure if it looks new out collective, a group of nine black to be neglecting the racialized white-collar men in America of the door. In other words if the South African men, engaging in aspect of this self-presentation, who reject all attention to what suit distracts from the standard, “And of course these groups afrosartorialism is heightened as highlighted by the sociologist they wear, highlighting how even white man’s humanity, it has failed. are not capable of performing immensely due to its location Erynn Masi de Casanova, they through making the decision to An interest in fashion is at European hegemonic masculinity. in District Six of Johannesburg. still foreground a phenomena be “anti-fashion” they are in fact least a partial subversion of Dr. Enrica Picarelli discusses how Where previously tens of present in the general ‘men’s exercising a form of hegemonic the performance of hegemonic “blipsters” utilise a syncretism of thousands of black South Africans style’ community. Te sartorial masculinity and a sense of fashion. masculinity, however, through classic and informal menswear were forcibly relocated by the engagement of men is often criticising fashion in gendered to perform cool and thus apartheid state, now these black intentionally limited, on clearly terms and rigidly claiming to “proactively occupy the street” men are able to feel a sense of gendered terms. Even a substantial have an interest in style the within the “Western metropolis”. liberation and proclaim the portion of those men interested in If the suit distracts from performance’s illusion is restored. Tey are explicitly and defantly validity of their dreams and truths, clothing are locked in a desperate the standard, white man’s Te most popular British men’s’ “fashionable”, this is an act according to the photographer struggle with a profoundly fragile humanity, it has failed fashion blog calls itself “Permanent containing layers of subversion. Imraan Christian. Tis highlights masculinity to ensure that neither Style”, presented in opposition to Unashamed male sartorial the subversive potential of fashion, they nor anyone else considers this “ impermanent fashion. Te message interest competes with the and an embrace of its label. Te interest even slightly feminine. While Normcore, where rich here is clear; style is masculine, hegemonic masculine opposition reappropriation of self-expression A Guardian article on the rise of white kids try to dress almost eternal, logical, fashion is feminine, to “fashion” and it serves to and self-defnition by black men, gender-neutral fashion ironically aggressively “normally”, should ephemeral, and irrational. undermine the ludicrous through pointed engagement highlighted this gendered division be viewed as a clear expression Masi de Casanova also found style/fashion dichotomy; with fashion, only undermines aptly. Two writers who are both of white privilege (those still that men of colour are more additionally, open black male the foundational racialised discussing their use of gender neutral clothing and yet still the unsure should examine the attire comfortable discussing clothes sartorial expression serves to and, of course, gendered facets woman writer, Alice Pfeifer, is of the average Cellar-attendee). and using the word “fashion”, challenge racist presentations of prevelant toxic masculinity. described as a “fashion writer” Te default human is a man. Tey although many of course still cling and intentionally asserts black