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Sexual Orientation, Gender, & Self-Styling

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Sexual Orientation, Gender, & Self-Styling University of Vermont UVM ScholarWorks UVM Honors College Senior Theses Undergraduate Theses 2021 Sexual Orientation, Gender, & Self-Styling: An Exploration of Visual Identity-Signaling Julian Ash Barritt The University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/hcoltheses Recommended Citation Barritt, Julian Ash, "Sexual Orientation, Gender, & Self-Styling: An Exploration of Visual Identity-Signaling" (2021). UVM Honors College Senior Theses. 384. https://scholarworks.uvm.edu/hcoltheses/384 This Honors College Thesis is brought to you for free and open access by the Undergraduate Theses at UVM ScholarWorks. It has been accepted for inclusion in UVM Honors College Senior Theses by an authorized administrator of UVM ScholarWorks. For more information, please contact [email protected]. Sexual Orientation, Gender, & Self-Styling: An Exploration of Visual Identity-Signaling Julian A. Barritt Undergraduate Honors College Thesis University of Vermont Spring 2021 Under the Advisement of Paul Deslandes Ph.D., History Committee Chair: Emily Manetta Ph.D., Linguistics Faculty Mentor: Mary Burke Ph.D., Sociology Introduction 1 Table of Contents Introduction……………………………………………………………………………………….3 Part I - Reflections on Understandings of Identity & Self-Presentation……………………21 Chapter 1: Gender and Sexual Orientation Fluidity & Subcultural Association…….…………..22 Chapter 2: The Privilege to Present as You Wish………………………………………………..47 Part II: Survey Results, Interviewee Testimony, and Identity Analysis…………………….72 Chapter 3: Straight, Cisgender Men……………………………………………………….……..73 Chapter 4: Gay Men……………………………………………………………………………...97 Chapter 5: Straight, Cisgender Women; Lesbians; & Femme Gynophilic Nonbinary People………………………………………………………116 Chapter 6: Bi Men, Women, & Nonbinary People……………………………………………..171 Chapter 7: Ace & Aro Women and Nonbinary People……………...………………………….258 Conclusion…………………………………………………………………………………...…277 2 Introduction I. Abstract The focus of this investigation is the ways in which people in the West (primarily in the United States) visually signal their sexual orientation and gender identity through various forms of body modification—including tattooing, piercing, and hairstyling—and self-fashioning, e.g. selection of clothing and accessories. The purpose of this thesis is to help people comprehend the possible latent reasoning behind their choices of visual presentation and how even their conscious self-fashioning and body-modifying decisions may be influenced by historical choices of self-presentation. More broadly, this investigation aims to enhance the general (queer and non-queer) population’s understanding of the nuanced ways in which Western society codes sexual orientation and gender identity into the subtleties of people’s body modifications and self- fashioning; I look both at how the observer interprets another’s self-presentation and what the presenter meaningfully intends to communicate through their presentation. Although there is ample information about historical methods of visually signaling sexual orientation and gender identity, I believe that this study will fill the void of scant research on such phenomena in the 21st century. Furthermore, this study is unique in its inclusion of observers’ perceptions of others’ style as well as its mention of nonbinary style, which was not discovered in historical literature in the course of my research, though sources do discuss “genderfuck” and overall gender ambiguity (e.g. in the goth and punk communities). Therefore, the aim of this study is to supplement the current scholarly conversation on visual identity-signaling of one’s sexual orientation and gender identity, and to do so in language that is accessible beyond the academic realm for the purpose of the enrichment of a broad community. II. Argument I. Part I: Reflections on Understandings of Identity & Self-Presentation This first part of the thesis will set the foundation for thinking about self-presentation. i. Chapter 1: Gender and Sexual Orientation Fluidity & Subcultural Association: This chapter will explore how or if people label their sexual orientations and gender identities, how tied they feel to those labels, whether they believe those identities are fixed or open to change, and how connected they feel to the communities that share those identities. It will also discuss whether respondents see a queer-non-queer divide in self-fashioning, what factors may have influenced the answers they provided when asked about their stylistic associations with certain identities, as well as theories about queer presentation in general. ii. Chapter 2: The Privilege to Present as You Wish 3 Following, this discussion will focus on who has the option to present themself authentically, regarding who can break social norms without facing serious consequences (such as bodily harm), if any at all, from their family and greater society. II. Part II: Survey Results, Interviewee Testimony, and Identity Analysis The rest of this thesis will focus on data gathered from surveys and interviews, as well as observations I have collected over the years (ethnographic data), including some of my own experiences and opinions (autoethnographic data) as a queer person, when relevant. Scholarly sources will contextualize this primary data within the history of identity-signaling at the intersections of sexual orientation and gender identity, as well as provide some sociological theories. Becoming familiar with historical styling practices can offer insight into the motivations of modern styling practices as an old signal might have morphed (e.g. been coopted by one group and then another) – or not – and still have current use today, or may have somehow influenced self-fashioning of today one way or another. Social media and popular media will then complement the primary data by offering further cultural insights. Though this study draws subjects from University of Vermont (UVM) students and faculty, the other sources of information mentioned will tie these local phenomena to broader cultural practices across the West, comparing the findings across space and time. The order of these chapters is intentional, as the information gathered from one builds on the next. For instance, studying cisgender (cis), heterosexual (het) men first, the population that seems to have the least stylistic leeway, can serve as a baseline definition of what aesthetic elements are not queer and/or feminine. These are important cultural definitions, as they clarify what proportions of masculine versus feminine stylistic elements the rest of the identity groups utilize, and how a person’s identity is perceived as they move farther away from this mold, or as they adhere to it, but as a woman or nonbinary person instead. Hence, moving on to learn about gay men can then offer insight into what presentation of a nonnormative male sexuality can look like. Subsequently examining cis, het women after having learned about cis, het men demonstrates how the two genders vary when they both have normative sexual orientations. Analyzing lesbian presentation next can illuminate how women with a nonnormative sexual orientation present. Continuing to bi women can then illustrate how a woman who is neither straight nor gay presents, and enmeshing bi men and bi nonbinary people in that chapter as well can compare how different genders who share the same sexual orientation self-style. At this point, bi men can then be compared to both cis, het and gay men to see where their intermediate identity fits in regarding the scheme of self-fashioning. Asexual (ace) and aromantic (aro) people can then be analyzed using the knowledge gathered on identity-signaling from the previous groups to see whether and/or how members of a group defined by a lack of sexual and/or romantic interest present themselves. Additionally, within each chapter, nonbinary people can be contrasted with those of different genders who share their sexual orientation to see how their queer gender identity affects their self-presentation. Transgender (trans) men are then mentioned in the chapter with cis, het men to see if their gender queerness affects the presentation of their normative sexual orientation. Trans women are not compared to cis, het women as all the rest of the trans people identified as bisexual/romantic. 4 i. Chapter 3: Straight, Cisgender Men This chapter will analyze the self-styling practices of cis, het men, with a significant portion devoted to the comparison between them and the self-fashioning practices of gay men, explaining how the two groups are seemingly defined in opposition to each other. ii. Chapter 4: Gay Men This chapter focuses principally on gay male presentation across time, though referring back to the previous chapter to see how closely gay men style themselves in comparison to cis, het men. iii. Chapter 5: Straight, Cisgender Women; Lesbians; & Femme Nonbinary Gynephiles I have opted to combine these identities into the space of a chapter as women have more freedom of expression and style exploration than cis, het men; there is not a hard line between straight and queer dress for women. Additionally, having these identities in conversation is important to study women’s dress (and that of female-presenting people in general) under the frame of the male gaze: whether their desire to appeal to it, reject it, or ignore it influences their style. iv. Chapter 6: Bi Men, Women, & Nonbinary People These identities are grouped into one chapter to allow
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