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Dé/Construction De L'identité De Genre Et De Sexe Dans Les Styles

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Dé/Construction De L'identité De Genre Et De Sexe Dans Les Styles View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by HAL-Paris1 Queering clothes, clothing queers : d´e/constructionde l'identit´ede genre et de sexe dans les styles vestimentaires gays britanniques et am´ericains (1969-1999) Katja Taylor To cite this version: Katja Taylor. Queering clothes, clothing queers : d´e/constructionde l'identit´ede genre et de sexe dans les styles vestimentaires gays britanniques et am´ericains(1969-1999). Art et histoire de l'art. 2013. <dumas-00942657> HAL Id: dumas-00942657 https://dumas.ccsd.cnrs.fr/dumas-00942657 Submitted on 6 Feb 2014 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. UNIVERSITE PARIS 1 SORBONNE PANTHEON UFR 4 ARTS PLASTIQUES ET SCIENCES DE L’ART Master 2 recherche Etudes culturelles KATJA TAYLOR Queering clothes, clothing queers Dé/construction de l’identité de genre et de sexe dans les styles vestimentaires gays britanniques et américains (1969-1999) Mémoire dirigé par Christophe Genin Professeur à l’université de Paris 1 Panthéon Sorbonne 1 « Glitter hides a multitude of sins » (John Flowers, The Cockettes) 2 Remerciements La réalisation de ce mémoire a été possible grâce au concours de plusieurs personnes à qui je voudrais témoigner toute ma reconnaissance. Je voudrais tout d'abord adresser toute ma gratitude au directeur de ce mémoire, Christophe Genin, pour ses judicieux conseils, qui ont contribué à alimenter ma réflexion. Je désir aussi remercier Fabrice Flahutez, enseignant-chercheur à l’Université Paris Ouest – Nanterre La Défense, qui m’a fourni les outils nécessaires à la réussite de ce travail. Je tiens en outre à remercier Shaun Cole, Professeur au London College of Fashion, qui fut le premier à me faire découvrir l’histoire de la mode homosexuelle au XXème siècle, et Christopher Breward, Professeur au Edinburgh College of Art, pour ses conseils bibliographiques. Je voudrais exprimer ma reconnaissance envers les amis qui m’ont apporté leur support moral et intellectuel tout au long de ma démarche. Un grand merci à Bérangère Diot et à Chris Murray pour leurs conseils, qui ont grandement facilité mon travail. Enfin, je tiens à témoigner toute ma gratitude à mes parents pour leur confiance et leur support inestimable. 3 Résumé Ce mémoire vise à retracer l’évolution de certains modèles identitaires au sein de la communauté gay anglo-saxonne au cours des trois dernières décennies du XXème siècle à travers une analyse des styles vestimentaires de trois sous-cultures gays spécifiques. Nous aborderons celle des queens, celle des clones et celle des bears. La première sous-culture correspond au stéréotype efféminé gay appelé la folle dans la culture homosexuelle française, la deuxième au stéréotype hypermasculin des années 1970 et la troisième à l’esthétique masculine hirsute qui privilégie les corps poilus et forts, rejetés par la communauté homosexuelle dominante. L’accent sera mis sur les changements psychologiques dans l’image de l’homme gay au niveau du genre et de la sexualité par le biais du vêtement (tout particulièrement du tissu) et du corps. Nous nous servirons des notions théorétiques telles que la performativité du genre formulée par la philosophe américaine Judith Butler et l’habitus élaboré par le sociologue français Pierre Bourdieu. En conclusion, nous nous interrogerons sur l’actualité de ces modèles identitaires homosexuels et réfléchirons à des futures pistes de recherche. Mots clés : homosexualité, sexualité, genre, identité, vêtement, corps, performativité, libération gay, XXème siècle, Grande Bretagne, Etats-Unis 4 Table de matières Introduction.......................................................................................... p. 6. i. Présentation du domaine de la recherche............................................. p. 6. ii. Etat de la recherche.............................................................................. p. 24. iii. Présentation du programme de recherche............................................ p. 28 iv. Méthodologie........................................................................................p. 37. Chapitre I : La garde-robe des queens................................................ p. 39. i. L’efféminement dans la culture gay..................................................... p. 41. ii. Le radical drag : un outil politique depuis les années 1970................ p. 48. iii. Boy George et Leigh Bowery : deux icones gay londoniennes des années 1980...................................................................................................... p. 60. iv. La culture ball new yorkaise autour de 1990....................................... p. 69. v. Victime et vainqueur d’une double discrimination...............................p. 76. Chapitre II : L’esthétique du clone..................................................... p. 79. i. La masculinité dans la culture gay....................................................... p. 79. ii. Le clone des années 1970..................................................................... p. 79. iii. Les répercussions du sida sur le style clone dans les années 1980.......p. 98. Chapitre III : L’iconographie du bear.............................................. p. 100. i. Une triple réaction contre l’efféminement, la culture clone et la société hétéronormative à l’époque de l’apparition du sida............................p. 100. ii. Le bear des années 1980 et 1990........................................................p. 101. iii. Une identité gay révolutionnaire ?......................................................p. 108. Conclusion........................................................................................ p. 111. i. Bilan de l’étude................................................................................. p. 111. ii. Situation actuelle................................................................................p. 112. iii. Futures pistes de recherche................................................................ p. 117 Bibliographie.................................................................................... p. 119. Annexes 5 Introduction i. Présentation du domaine de la recherche Par une analyse des styles vestimentaires de certaines sous-cultures gays, cette étude vise à documenter la construction de plusieurs modèles identitaires en Grand Bretagne et aux Etats Unis au cours des trois dernières décennies du XXème siècle. Un examen de la façon dans laquelle l’homme gay forge sa propre image nous aidera à comprendre les évolutions dans l’autoperception de ce dernier au niveau du genre et de la sexualité depuis la libération homosexuelle des années 1970. Cette étude se limitera à un examen de l’homosexualité masculine pour plusieurs raisons : compte tenu du nombre de pages que doit respecter ce travail, il ne serait pas possible d’examiner en détail les styles vestimentaires de subcultures à la fois lesbiennes et gays. En outre, nous nous concentrerons sur cette partie de la communauté LGBT1 en raison de l’abondante culture visuelle développée autour de l’homme homosexuel à l’époque en question. Afin de traiter ce sujet, il faut tout d’abord clarifier quelques termes et notions clés concernant l’objet d’étude et ensuite le replacer dans son contexte sociopolitique et historique. a. Définitions et concepts clés Le genre et la sexualité Il existe une très abondante littérature, notamment anglo-saxonne, sur ces concepts, leur origine, leur développement historique, leurs différentes acceptions. La France fut le terreau sur lequel a poussé, dans les années 1960 toute une réflexion philosophique tendant à déconstruire et à reconstruire une autre image de soi, une 1 Souvent préférée au terme « homosexuel » car plus inclusive, l’expression LGBT (Lesbienne, Gay, Transsexuel, Bisexuel) désigne des individus ou des dispositifs non-hétérosexuels. 6 autre vision du monde entrainant des répercussions sociologiques et politiques jusqu’à aujourd’hui dont on a vu les exemples se manifester, avec une grande violence, à Paris lors des manifestations anti-mariage gay. Toute cette littérature, engagée, trouve son origine sous la plume de philosophes en France et se développera dans les départements de littérature aux Etats-Unis avant de revenir timidement en France et plus particulièrement dans les études culturelles2. Le terme genre s’oppose généralement à celui de sexe. Ce dernier désigne les différences biologiques et anatomiques entre les hommes et les femmes, notamment au niveau de l’appareil reproducteur, tandis que le genre se réfère aux normes culturelles gouvernant les croyances et les comportements des hommes et des femmes dans une société donnée, définissant ainsi ce qui est masculin et féminin. Le genre est donc éminemment politique3. La sexualité, quant à elle, décrit plus précisément des pratiques et des préférences sexuelles, ce que l’on appelle aussi l’orientation sexuelle : hétérosexualité, homosexualité, bisexualité. A partir des années 1960, les aspects apparemment immuables du soi, tels que le genre et la sexualité,
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