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Kang-Yeh Lee a Thesis Entitled Homoeroticism in Contemporary Fashion Advertising by Kang-Yeh Lee

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Kang-Yeh Lee a Thesis Entitled Homoeroticism in Contemporary Fashion Advertising by Kang-Yeh Lee 2019/20 Homoeroticism in Contemporary Fashion Advertising Kang-Yeh Lee A Thesis entitled Homoeroticism in Contemporary Fashion Advertising by Kang-Yeh Lee ABSTRACTABSTRACT This thesis focuses on the increasingly frequent appearance and explicitness of homoerotic images in mainstream fashion media, both on digital platforms and in traditional spreads. This phenomenon is not yet extensively covered in fashion research, and therefore certainly worth investigating. The central question is how and to what end exactly is homoeroticism encoded and presented in contemporary fashion advertisements. Research material consists of both textual and visual materials through which a genealogy of homoeroticism in contemporary fashion advertising is constructed, framed by research literature pertaining to visual culture, sexual politics, the male body and homosexuality. By positioning homoerotic images at the junction of discourses on sexuality, masculinity and fashion advertising, a theoretical frame- work is established for the investigation of the meanings of homoeroticism in fashion adver- tisements. This thesis conducts in-depth analysis on four fashion advertisements published between 2010 and 2017. By adopting a Foucauldian perspective on the body and subjectivity in contemporary consumer culture, as well as considering the possibility of a ‘gay gaze’ in visual culture, this thesis suggests that the continued sexualisation of the male body in mass media has eroded the categorical boundaries separating heterosexual and homosexual men. Signs openly connoting homosexual desire permeate contemporary fashion advertisements. This thesis shows that contemporary fashion brands and advertisers now address the gay customer openly, instead of employing so-called ‘double marketing strategies.’ The graphic layout of the thesis is that of a fashion magazine, to suggest how bodies, genders and sexuali- ties are transformed into visual language. In doing so, the thesis shows how an understanding of the body as ‘homoerotic’ is mediated, and how visuals and the graphic layouts are central to the interpretation of homoeroticism in fashion images. Keywords: fashion advertising, homoeroticism, gay gaze, male body, spornosexual, Calvin Klein, Palomo Spain Supervisor Annamari Vänskä Advisers Annamari Vänskä and Chris Vidal Tenomaa Master’s Programme in Fashion, Clothing and Textile Design Department of Design School of Arts, Design and Architecture Aalto University i TABLE OF CONTENTS Abstract i Table of contents ii List of fgures iii 1. Introduction 1 2. Fashion as image 4 2.1. How does an image talk? Semiotic explanation of visual communication 2.2. Structuralism and the construction of gender in fashion advertising 2.3. Poststructuralism and the negotiation of meaning 2.4. Sexuality in fashion and fashion advertising 2.5. Summary 3. Male body and masculinities in fashion advertising 16 3.1. The pornifed lens: Fashion photography 3.2. The male body: From virtuous beauty to beauty on display 3.3. Pink economy and New Man 3.4. Sports and metrosexuals 1: The rise of Beckham 3.5. Sports and metrosexuals 2: Gramscian and Foucauldian perspectives of masculinities 3.6. Summary 4. Gay men’s desire in fashion advertising 36 4.1. The clone: Macho homoerotic icon 4.2. Homo-erotising the lens 4.3. Whose gaze? 4.4. Summary 5. Visual analysis and discussion 46 5.1. Homosociality and bromance: I love you, no homo 5.2. Spornosexual: Walk out directly from a gay porn 5.3. Queering homoeroticism: He’s so hot because he’s campy 5.4. Digital era: Romantic image, erotic text 5.5. Limitations and future work 6. Conclusion 58 Reference 60 Acknowledgement 64 ii LIST OF FIGURES Page 31 Figure 1. Calvin Klein Jeans 2015 Fall/Winter campaign photographed by Mario Sorrenti (2015). Figure 2. Revelation of the billboard of Emporio Armani Underwear campaign outside Selfridges in London’s Oxford Street (2009). Figure 3. Tom Hintnaus in Calvin Klein Underwear campaign photographed by Bruce Weber (1983). Page 32 Figure 4. Dolce & Gabbana 2010 Fall/Winter campaign photographed by Steven Klein (2010). Figure 5a. and 5b. Editorial ‘Veni Vidi Vici’ from Man About Town 2017 Fall/Winter issue photographed by Mario Testino (2017). Figure 6. Palomo Spain 2017 Fall/Winter campaign photographed by Kito Muñoz (2017). IMAGES USED FOR CHAPTER TITLE PAGES Chapter 1. Grayscale photo of a man pointing upward by Thaís Silva, retrieved from https://www.pexels.com/photo/grayscale-photo-of-a-man-pointing-upward-2168218/ Used un- der Creative Commons CC0 Universal 1.0 Generic license (https://creativecommons.org/publicdomain/zero/1.0/deed.en) Chapter 2. Grayscale photo of topless man stretching by Derick Santos, retrieved from https://www.pexels.com/photo/grayscale-photo-of-topless-man-stretching-2588853/ Used under Creative Commons CC0 Universal 1.0 Generic license (https://creativecommons.org/publicdomain/zero/1.0/deed.en) Chapter 3. Próba rzeźby by Lukasz Dunikowski, retrieved from https://www.fickr.com/photos/lukasz-dunikowski/4139440326/ Used under Creative Commons Attribution 2.0 Ge- neric license (https://creativecommons.org/licenses/by/2.0/) Chapter 4. Man hugging another man by Vickson Santos, retrieved from https://www.pexels.com/photo/man-hugging-another-man-2027667/ Used under Creative Commons CC0 Universal 1.0 Generic license (https://creativecommons.org/publicdomain/zero/1.0/deed.en) Chapter 5. Kris by Lukasz Dunikowski, retrieved from https://www.fickr.com/photos/lukasz-dunikowski/4139441978/ Used under Creative Commons Attribution 2.0 Generic license (https://creativecommons.org/licenses/by/2.0/) Desaturated from original Chapter 6. Man wearing white shirt by Thaís Silva, retrieved from https://www.pexels.com/photo/man-wearing-white-sjhirt-1942533/ Used under Creative Commons CC0 Universal 1.0 Generic license (https://creativecommons.org/publicdomain/zero/1.0/deed.en) iii INTRODUCTION The fashion industry is well known for promoting goods and advertisements in their research, the context of fashion and fashion communicating with target markets through sensational imagery. In an imagery has been neglected or overlooked in pursuit of a broader scope image from the Calvin Klein Jeans 2015 Fall/Winter campaign (fgure 1.) of advertising. Meanwhile, a growing body of literature has focused on featuring solo fgures, straight couples, male-male and female-female the discourse of fashion, which was once perceived as trivial and hence pairs, the primary scene shows two young men looking at one another unworthy of academic attention (Barnard, 2002; Cavallaro & Warwick, intimately. The man on the left of the image gently holds the back of 1998; Craik, 1994; Davis, 1992; Entwistle, 2000; Wilson, 2003). It is, the other man’s neck, with an simulated dating app chat window at left nevertheless, unsatisfactory that most studies in the feld of fashion corner of the image implying that they had just been ‘sexting’ with one focus primarily on investigations of how fashion practices create and another. The homoeroticism in this campaign was not just following communicate meaning at the interpersonal, social and cultural levels. some trend of building a ‘gay-friendly’ corporate image adopted by high- Amongst these studies, a number of authors have shown critical profle retailers like JC Penny or Target. Such statement campaigns are attention to mediated fashion imagery. Different academic directions and generally more family-oriented and not indicative of any explicit sexual research scopes have been taken, and this development has therefore overtone. Such sanitised promotion materials attempt to emphasise fed into the multi-disciplinary overlap of fashion studies, cultural studies the similarity between homosexuals and heterosexuals by focusing on and communication studies. Such works have constituted increasing domesticated desire and the homo-nuclear family. On the contrary, the advances in the feld of fashion studies, with some focusing on fashion campaign by Calvin Klein Jeans demonstrates how a fashion brand can photography (Aspers, 2006; Barron-Duncan, 2017; Kismaric & Respini, orchestrate and manipulate homosexual identity and erotic appeal into 2008; Maynard, 2009; Shinkle, 2008; Triggs, 1992), while others attempt their advertising. In this campaign, there is no need to hide the explicit to investigate fashion advertising (Edwards, 1997; Jobling, 1999; 2014; implication of a sexual act between two same sex individuals. While Merskin, 2006; Mort, 1988; 1996; 1996; Nixon, 1997; Ricciardelli, Clow, fashion brands and publishers have been playing with the implications & White, 2010; Rinallo, 2007; Sender, 2005; Soldow, 2006; Vänskä, of gender and sexuality since the early twentieth century, it was not until 2005; 2017a). Although all of these works involve, to various extents, the 1980s that the general public began to witness an increase in the discourses on gender and sexuality, two of the most essential aspects of objectifcation of male bodies, and later sexuality, in the advertising of fashion, only a few writers have dealt specifcally with homoeroticism in some fashion spreads (Chapman, 1988; Jobling, 1999; 2014; Mort, 1988; fashion images or commercials. Jobling (1999) inspected the ambiguity 1996; Nixon, 1996). It is clear that the Calvin Klein Jeans advertisement of the phallic male body in fashion images through the psychoanalytic was directly aimed at the brand’s gay customers, and even at a wider lens; Vänskä (2005) criticised heteronormative understandings of gay audience. On one hand, the
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