#gendered fashion in cultural context

[kingsandbastardz]

So for basically my whole life I'd grown up with and was resigned to accept that the chinese concept of formal/nice clothing of my and the previous generation has been western clothes. So at any awards ceremonies or performances, entertainers would show up mostly in western suits/dresses and maaaaaybe you'll spot the occasional cheongsam if they're going for a Wong Fei Hong vibe. Which, you know, kinda sucks if you have any concept of western cultural imperialism in asia.

So when the hanfu revivalist movement started, I was waiting to see when it would enter the mainstream -- my hope was for fashion designers to integrate traditional/dynastic elements into their work and make it common place enough that I can buy this shit online for ME. Because I WANT.

Though some of the designs can be a bit hit or miss, I am LOVING what various stars and entertainers are wearing out and about now.

Anyway - here's a collection of Xiao Shunyao's modern hanfu inspired/hybridized stage outfits from the last couple years. For his MLC performances, his stylists seem to be borrowing inspiration from his Di Feisheng and possibly other character costume silhouettes.

I'd been seeing a few comments about how his outfits play with gender - and some of his outfits do! But I think the interesting thing to discuss is from which standard is he playing with gender? Because from a western perspective, the things he does with his western suit tops, belting on top of the jacket for a tightly cinched waist, and the addition of a trailing skirt = femme. But if you're talking from a hanfu-hybridized pov, that's just a modern take on hanfu and having any of those elements is not inherently femme and would often read masc to me.

So these things aren't necessarily gendered because they exist traditionally in chinese men's clothing or costume designs (ie video games, comics, historical fiction illustrations and film, etc, so therefore in the modern lexicon of masculine/acceptable for men):

presence or lack of a skirt

silky, velvety, gauzy or sparkly material choice, esp in formal or stage clothing

short or long length of skirt

embroidery

flowers/floral/bird designs

folding fans

certain styles of makeup

beading, gold, tassels, jewels

non-chunky jewelry

headbands

widely flowing silhouettes

What XSY's stylists are doing with some western clothing items are interesting. I'm convinced there have been one or two western jacket tops made of thinner material that they're folding over the front, and belting down instead of buttoning (which then matches with his other outfits that are designed specifically to do this). Then they're adding a skirt, cloak or bracer element to it.

The western portions often bring a military minimalist feel which they balance with a more gauzy material in the skirt or cloak portions.

Things I think are playing with gender:

row 1 - image 1: red di feisheng-inspired outfit

The lace-up girdle is there to match the bracers in both material and style. And it's positioned to be similar to the heavy belt that Di Feisheng wears. HOWEVER. That style of girdle/corset-like clothing item can't be divorced from the modern idea of sexy leather corsets. So imo, this waist piece on that outfit was a choice. Especially when paired with his allergic-to-collars-higher-than-his-sternum necklines. And if you take into context how masculine yet female coded his character is in the drama, the whole look evokes that.

row 2, image 1: black western suit with belt on top, hat, cloak, black boots and not-visible but also a black tassel fringe skirt

Hat and cloak moves the intention of the outfit from western toward a more Asian slant, because alone, it looks like a western black suit with western heeled boots, cinched waist with a lady's belt (seated photoshoot) and western style tassel skirt. The suit top consists of a vest and a shrug-like sleeve portion that appears masculine at first glance. But take the shrug and pair it with the tassel skirt (I can't find the red carpet photos but here is a better view of the skirt when seated), and I think you got a look that's both intentionally edging toward the femme in a western sense but also confusing matters by hiding within the parameters of both western and chinese traditional male styling.

row 2 - image 2 : white asymetrical western jacket styled in a front fold-over style, gauze skirt, trailing pearl embellishments

The more traditional leaning version of this is the white outfit in row 3 that he wears to the Hi6 Hello Saturday variety show -- the skirt portion on that outfit is one I'd consider non-gendered. Row 1, images 2 and 3 are examples of masculine/neutral uses of gauze that plays with flow of form but isn't inherently femme. This stage outfit is very western-appearing masculine suiting, until you hit the skirt which is giving me long ballerina tie-on skirt with the additional swan/mermaid pearl strings. Imo, another example of deliberately using traditional masculine styling but switching it up with the combination of material choice and make that is feminine.

row 2, image 3: black space military boots, black suiting, black -silver ombre sequin trailing skirt and white gauzy shawl with black floral design

The over all design is going for a masculine military-feel. (think this outfit for shen langhun) But instead of a thicker military cloak, it's replaced with a woman's gauze shawl and a skirt that trails behind him very much like the back of a woman's formal fish-tail gown when he moves around. If you take into context Wang Herun's outfit is a white-silver sequined dress cut in a way to also give a space-military-queen vibe, imo they both coordinated their outfits to balance out with both femme and masc qualities.

Thoughts? I'm curious what others think about this.

While I wait for the CNY photoshoot for XSY's red and black look, here's him with his stage collaborators with a nice range of skirt lengths, period influences and material choices. The woman in the center is the one with the most military-fighter design out of the bunch. The dudes are all in variations of formal-wear-with-good-kicking-boots (and lots of crotch space).

#xiao shunyao #mysterious lotus casebook cast #my royal ramblings #fashion #chinese fashion #gendered fashion in cultural context

[bodhrancomedy]

Maybe get used to this backdrop, you might be seeing it again.

But yes, clothes change perception of gender because we have stereotypes and fashion and cultural context surrounding them.

Nay hard tae understand.

(Also done the auditions, genuinely fucked one of them)

#deaf #tiktok #queer #video #actor #gender #gender nonconforming #transgender #trans stuff #nonbinary

[crossdreamers]

New York Times Contributors Say The Newspaper’s Coverage of Transgender People is Unprofessional and Destructive

A group of more than 170 trans, nonbinary, and cisgender contributors to the New York Times published an open letter on Wednesday, condemning the paper’s coverage of trans issues, Buzzfeed reports.

The letter, which was written in conjunction with the Freelance Solidarity Project, a group of freelance writers in the National Writers Union, was signed by journalists — including current Times staffers — politicians, novelists, and other news media workers. Prominent signatories included Cynthia Nixon, Pennsylvania state Sen. Nikil Saval, and writers like Rebecca Solnit and Jia Tolentino.

The letter — addressed to the associate managing editor for standards, Philip Corbett — draws attention to the last year of coverage in the Times, during which time, the group writes, the paper of record published 15,000 words across its front pages “debating the propriety of medical care for trans children.”

In the letter they put the current policy of the New York Times into a wider context, reminding them that the paper has been on the wrong side of history before:

As thinkers, we are disappointed to see the New York Times follow the lead of far-right hate groups in presenting gender diversity as a new controversy warranting new, punitive legislation. Puberty blockers, hormone replacement therapy, and gender⁠-⁠affirming surgeries have been standard forms of care for cis and trans people alike for decades. 

Legal challenges to gender⁠-⁠nonconformity date back even further, with 34 cities in 21 states passing laws against cross⁠-⁠dressing between 1848 and 1900, usually enforced alongside so-called prohibitions against public indecency that disproportionately targeted immigrants, people of color, sex workers, and other marginalized groups. Such punishments are documented as far back as 1394, when police in England detained Eleanor Rykener on suspicion of the crime of sodomy, exposing her after an interrogation as “John.” This is not a cultural emergency.

You no doubt recall a time in more recent history when it was ordinary to speak of homosexuality as a disease at the American family dinner table—a norm fostered in part by the New York Times’ track record of demonizing queers through the ostensible reporting of science.

In 1963, the New York Times published a front⁠-⁠page story with the title “Growth of Overt Homosexuality in City Provokes Wide Concern,” which stated that homosexuals saw their own sexuality as “an inborn, incurable disease”—one that scientists, the Times announced, now thought could be “cured.” The word “gay” started making its way into the paper. 

Then, in 1975, the Times published an article by Clifford Jahr about a queer cruise (the kind on a boat) featuring a “sadomasochistic fashion show.” On the urging of his shocked mother, Times publisher Arthur Ochs Sulzberger sent down the order: Stop covering these people. The Times style guide was updated to include the following dictum, which stood until 1987: “Do not use gay as a synonym for homosexual unless it appears in the formal, capitalized name of an organization or in quoted matter.”

New York Times have some really good and open minded journalists. It is time the editors made them write about transgender issues, and not the ones trapped in a transphobic mindset.

#trans #transgender #culture #lgbt #lgbtqa #nonbinary #the new york times #politics #transphobia

[historical-fashion-polls]

I absolutely LOVE the way you phrase polls as “which would you rather wear?” because it forces me to think about the outfits not just as illustrations, but as the living garments they once were! How would that heavy coat have felt? Would I have liked the rustle of those large silk skirts? it asks me to consider historical fashion in a living way, regardless of time period and gender expectations, and it’s the biggest delight of this blog!

hello my dear lovely anon! 💕💕

thank you so much for this super kind message!! 💖💖 this is literally all that I could ask for someone to take away from the blog, so I'm really and truly so thrilled that you think about the garments in the polls in this way!! 🥰🥰 like I genuinely cannot express to you how happy it makes me to hear this!! ☺️☺️

as someone who studies primarily victorian ephemera and other "visual culture" and "material culture" objects, one of the things I think about a lot is how those objects existed in the context of everything around them. for example, if I'm looking at a wallpaper design, I also like to consider what furniture would have been in the room, what the rugs or flooring would have looked like, what images or objects might have been hanging on the walls, etc. ❤️ even though we'll never be able to completely recreate the experience, it feels so important to me to be able to try and "live" with these objects (or imagine what it might have been like to live with them), because I think it lets us experience their potential meaning(s) in a really different way 💖

so it literally makes me so so so happy that the images and polls on the blog give you a space to do that!! ☺️🥰

thank you so much again for this amazing message - I'm just so thrilled that you're enjoying the blog and the polls, and I hope you have an absolutely lovely day!!!! 🥰💕🥰💕

#the curator speaks #curatorial correspondences #nice things 🥰

[thewriteadviceforwriters]

How to Write A Victorian Era Fiction Novel

Step back in time and immerse yourself in the world of Victorian Era Fiction. With its unique social customs, political landscape, and fashion trends, the Victorian Era provides a fascinating backdrop for storytelling. But writing a compelling fiction novel set in this era requires a great deal of attention to detail and research. In this guide, I'll help you explore the key aspects of Victorian Era Fiction writing and provide a step-by-step process for crafting a novel that transports readers to this captivating time period.

Exploring the Fascinating World of Victorian Era Fiction

The Victorian Era is often romanticized in popular culture as a time of elegance, innovation, and progress. It was a period of intense change in politics, fashion, and morals, resulting in a complex society that ultimately makes for rich storytelling opportunities.

Discover the Allure of Victorian Era Fiction and what Draws Readers in

Victorian Era Fiction captures the uniqueness of a past era while also holding up a mirror to current societal issues. It allows us to explore the past while still being entertained by a well-crafted narrative. Readers are often drawn to this genre for its intriguing characters, turbulent plots, and lush imagery that transports them back in time.

Understand the Historical Context of the Era and How it Influences Storytelling

The Victorian Era was a time of industrialization, rapid urbanization, and intense social change. This turmoil can be seen in novels of the time, where authors often explored themes of class conflict, gender inequality, and societal unrest. Therefore, it's important to have a strong understanding of the historical context surrounding a novel, so that it can be effectively reflected in the storytelling.

Explore Popular Themes and Tropes in Victorian Era Fiction

Themes and tropes like romance, mystery, adventure, orphan narratives, the supernatural, and the gothic are prevalent in Victorian Era Fiction. Authors like Charles Dickens, the Bronte sisters, Arthur Conan Doyle, and Oscar Wilde all employed these popular motifs in their works. By incorporating some of these prevalent themes and tropes into your writing, you can create a compelling, Victorian-esque narrative that encapsulates the era's allure.

Step-by-Step Guide to Writing a Compelling Victorian Era Fiction Novel

If you are fascinated by the Victorian Era and would like to write a fiction novel set in this time period, here's a step-by-step guide to help you get started:

1. Begin with a solid story idea that can be transformed to fit the era

Start by developing a unique story idea that can be adapted to the Victorian Era. Consider how the story and characters can fit into this time period and what aspects of the era can be incorporated into the narrative. This will help you create a distinct and compelling story.

2. Craft a diverse cast of characters that reflect the social norms and customs of the time

The Victorian Era had strict social customs and norms that affected every aspect of life. Create characters that reflect these societal constraints and expectations. Explore how different genders, classes, and races interacted during this time period to develop diverse and authentic characters.

3. Use sensory details to create an immersive experience for readers and transport them to the era

Details about clothing, fashion, architecture, and language can help transport readers to the Victorian Era. Incorporate descriptive language and sensory details to create an immersive experience that will allow readers to see, smell, and hear the world of your story.

4. Layer multiple plotlines to create a complex and interesting story

The Victorian Era was a time of great change and upheaval, with many political, social, and economic events happening simultaneously. Consider weaving multiple plotlines into your narrative to create a complex and interesting story.

5. Incorporate historical events or lesser-known facts to create unexpected twists in the story

Research the era and incorporate historical events or lesser-known facts into your story. This will help create unexpected and surprising plot twists, while also giving readers a sense of the time period and its influence on the narrative.

6. Experiment with different story structures or narrative devices to keep the reader engaged

Experiment with different story structures or narrative devices to keep readers engaged. Consider using multiple points of view, non-linear timelines, or other creative techniques to make your story stand out.

Writing a compelling Victorian Era fiction novel requires research, creativity, and attention to detail. Following these steps can help you create an immersive and unforgettable story that captures the essence of the time period and leaves readers wanting more.

Researching Key Aspects of the Victorian Era to Enrich Your Fiction

If you want to write a compelling Victorian-era fiction novel, it is important to do thorough research about the time period to ensure your story is accurate and authentic. Here are some key aspects of the Victorian Era that you should consider incorporating into your research:

Investigate the political landscape and social customs of the era

The Victorian Era was a time of significant social, political, and economic change. From the reign of Queen Victoria to the period of industrialization, it is crucial to understand the issues and events that shaped the world during this time.

Examine fashion, architecture, and language used during the time period

The Victorian Era was famous for its distinct fashion style, from the upper-class women's corsets and hoop skirts to the working-class attire of the time. You should also research Victorian architecture, as this can heavily inspire the setting of your novel. Finally, understanding the language used during this time is also key, as it allows greater authenticity in your dialogues and narration.

Incorporate historically accurate events or figures into your story for added depth

History is full of exciting stories to draw inspiration from. Whether you want to incorporate real-life events or famous figures of the Victorian Era, doing so can add depth and color to your story. Through research, you can create a more rich and accurate version of Victorian England that would captivate your readers.

By taking the time to research key aspects of the Victorian Era, you can bring depth and authenticity to your fiction writing that will make your story come to life.

Creating Authentic Characters in Your Victorian Era Fiction Novel

One of the key factors in creating a compelling Victorian Era Fiction novel is the characters. Here are some tips and tricks to help you create authentic characters that reflect the time period:

Utilize Character Archetypes

During the Victorian Era, certain character archetypes were prevalent in literature. These include the noble hero, the damsel in distress, the villain, and the mentor. By using these archetypes, you can create characters that are believable and realistic for the era.

Consider Social Constraints and Expectations

The society of the Victorian Era was highly stratified, with strict expectations placed on individuals based on their gender, class, and race. When developing your characters, consider the constraints they would have faced based on their societal status.

Explore Interactions between Different Classes

One of the interesting aspects of the Victorian Era is the interaction between individuals of different classes. Use this dynamic to your advantage by creating characters from various social backgrounds and exploring how their interactions impacted their lives.

By incorporating these factors, you can create characters that are authentic to the time period and resonate with readers of Victorian Era Fiction.

Mastering the Art of Dialogue in Victorian Era Fiction Writing

One of the key elements of a successful Victorian Era fiction novel is the ability to master the art of dialogue. This is because speech patterns, honorifics, and language use during the era were vastly different from what we use today. Here are some tips to help you write authentic and engaging dialogue for your Victorian Era fiction novel:

Study the Language and Speech Patterns of the Era

Before writing dialogue, it's crucial to understand how people spoke during the Victorian Era. Reading books written during that time period, such as Charles Dickens' works, can give you a good idea of the vernacular and speech patterns used. Additionally, historical documents such as letters, diaries, and newspapers can offer unique insights into how people communicated with one another.

Utilize Proper Language and Honorifics to Reflect the Social Hierarchy

Addressing others using proper language and honorifics was particularly important during the Victorian Era, as it reflected the strict social hierarchy of the time. It's important to research and understand the different titles and forms of address used for different classes and professions, and to incorporate them into your dialogue to reflect the social structure of the era.

Consider the Impact of Vernacular or Slang on Different Characters from Varying Backgrounds

Vernacular and slang were commonly used during the Victorian Era, particularly among working-class characters. It's important to consider the use of dialects and slang words when crafting dialogue for characters from diverse backgrounds. However, it's also important to avoid caricaturing characters and being insensitive to different accents and dialects.

In conclusion, mastering the art of dialogue in Victorian Era fiction writing is crucial for creating an immersive and authentic reading experience. By studying the language and speech patterns of the era, utilizing proper language and honorifics, and considering the impact of vernacular or slang on different characters, you can craft engaging and believable dialogue that transports readers to the fascinating world of the Victorian Era.

Crafting Intriguing Plot Twists in Your Victorian Era Fiction Novel

One of the most crucial elements of a successful Victorian Era fiction novel is a compelling plot that keeps readers on the edge of their seats. Here are some tips to craft intriguing plot twists that will keep your readers engaged:

Layer Multiple Plotlines

One way to create a complex and interesting story is to layer multiple plotlines. For example, you could introduce a mystery or romance subplot that weaves throughout the main storyline. This will keep readers guessing and prevent the story from feeling one-dimensional.

Incorporate Historical Events or Lesser Known Facts

Another way to create unexpected twists in the story is to incorporate historical events or lesser-known facts. This not only adds depth and authenticity to the story but can also surprise readers who may be familiar with the era. For example, you could include a true crime event or a lesser-known social custom that adds intrigue to the plot.

Experiment with Different Story Structures or Narrative Devices

Finally, don't be afraid to experiment with different story structures or narrative devices. For example, you could use flashbacks or alternate narrators to reveal new information or perspectives on the story. This can keep the reader engaged and add complexity to the plot.

By incorporating these tips, you can create a Victorian Era fiction novel that will keep readers enthralled from beginning to end.

Editing and Polishing Your Victorian Era Fiction Novel: Tips and Tricks

After completing your draft, it's time to polish and edit your manuscript to perfection. Here are some tips and tricks to consider:

Take time away from the manuscript before editing:

Leaving your manuscript for a few days or even weeks before revisiting it can help you gain a fresh perspective. You'll be able to look at your work with a critical eye and spot any plot holes, inconsistencies, or areas that need improvement.

Read the manuscript out loud:

Reading your work out loud is an excellent way to catch any grammatical errors or awkward phrasing that may have slipped by during the writing process. It can also help you identify areas where dialogue sounds forced or unnatural.

Ensure consistency:

It's important to ensure that the tone and language consistency remain steady throughout the entirety of the manuscript. Pay attention to character development and ensure that all details, such as clothing or mannerisms, remain consistent throughout the story.

Work with beta readers or editors:

Having a fresh pair of eyes on your manuscript can help identify areas that need improvement. Consider working with beta readers or professional editors to gain a new perspective on your work and fine-tune your manuscript.

Take breaks:

Editing and polishing your work can be a tedious process. Take frequent breaks to avoid burnout and to maintain your focus and productivity.

Keep a style guide:

Keeping a style guide can help you maintain consistency and avoid errors in grammar, punctuation, and formatting. Use this guide both during the writing and editing process.

Final thoughts:

Editing and polishing your manuscript can make or break your novel. Take the time needed to ensure that your work is flawless and reflective of the fascinating world of Victorian Era Fiction.

Conclusion

In conclusion, writing a Victorian Era fiction novel can be an immersive and rewarding experience, as it requires a deep dive into the historical context of the era, and a keen understanding of Victorian sensibilities and societal customs. By following the steps and tips laid out in this guide, writers can create a compelling story that transports readers to a bygone era filled with intrigue, romance, and adventure. So why not take the plunge and embark on a journey into the fascinating world of Victorian Era fiction writing?

Copyright © 2023 by Ren T.

TheWriteAdviceForWriters 2023

#writeblr #creative writing #thewriteadviceforwriters #writing tips #writers block #on writing #how to write #witchcore #baby witch #writers and poets #beginner witch #novel writing #witch tips #writerslife #witchblr #writing #authorsofinstagram #authors #story prompt #fantasy fiction #writers on tumblr #the writer

[bughugz]

DNI minors, zoos, pedos, transphobes, homophobes, racists, detrans, eating disorder blogs, self harm blogs, cishet men, 'men dni' blogs, ableists, blank and ageless accounts there's probably more if any of these things are you or you give off a not good vibe or whatever i'll block you

my name is rory but you can also call me bug, bun, or worm! it doesn't much matter to me which of these you use for me i'm a 20 year old 2spirit gnc trans man i only use he/it pronouns please perceive as like effeminate boyish and creaturelike with some sprinkling of cultural and spiritual context to confuse the masses i'm also neurodivergent and chronically ill please be patient with me and maybe use tone tags

i'm very non monogamous and don't really label my sexuality i'm simply attracted to gender fuckery usually very t4t and i love woman and nonbinary people in a boyish way i have a big masc lean on here it's very faggy i mostly post transmasc for transmasc content

feel free to flirt with me and be like gross and horny i love attention my dms and asks are open i love interacting with y'all but consent is valued i have a life and i will not tolerate disrespect you can also send pics if you ask nicely and i might send back i may however also choose not to respond to your advances please do not act entitled i don't make a habit of creating close personal relationships on the internet and i don't owe you anything if you really want my attention or just like my content ... tip me! my venmo and cashapp are both $bughugz

i'm basically a subby bottom bitch boy the vast majority of the time i would not feel comfortable domming most people i'm just occasionally feral and sadistic will dom bottom if i feel like it i find more power in being the one receiving and i'm much more shy and inexperienced when it comes to topping but love to service sooo do with that what you will

kinks & limits + terminology and names you can use for me + some stuff to get to know me outside of kink below cut:

key to my heart as a sub is petplay (mostly bunny sometimes puppy) but here is a way too long list of other things i like and may also post about in no particular order:

intox (420!)

cnc (might include uncensored use of the word rape)

overstimulation / edging

bondage / restraints

praise / degradation (not of looks)

crying

sadomasochist

dumbification

manhandling

impact play

spanking

breeding (not pregnancy)

biting / scratching

marking / bruising

free use / public play / anonymous sex etc

group sex / gangbangs / spit roasting etc

objectification !!!!

limits ie things i won't be posting about or engaging in for my safety and comfort but to each their own

ageplay (abdl / ddlg / other variants)

incest / fauxcest

scat

beastiality

piss

vomit

race play

detrans / misgendering

body mods ie play piercing

any sorta of burning or just open flame

if you're curious to know more of my thoughts on something that is or is not here send me an ask or dm!!!

terminology and names you can use for me include:

chest, tits, t/dick, cunt, hole (bunny, puppy, or boy prefixes are fine ie puppycunt, boytits, bunny hole)

bunny, puppy, mutt, bitch, angel, baby, good boy, love, slut, whore, (fuck)toy, pretty boy, sweetheart etc

i also like masc compliments and being called pretty!you can definitely ask if you wanna call me a particular pet name i love them and most are fine but i do not like little one, the word girl, or princess !!!

get to know me outside of kink:

i'm an herbalist and i love plants and ethnobotany especially

i'm in college slowly working towards an environmental science degree

i love bugs and crystals and anything miniature

i like cozy games and fashion and books

i'm a fiber artist and like to experiment with lots of different mediums and styles

i like to roller skate badly

exploring in nature is one of my favorite pastimes whether it's tide pooling or admiring all the little things in a small stretch of forest

this is 100% a horny blog and i will be spamming my silly horny and sometimes non horny thoughts so often that you might hate me not great with words mostly rambling. but please don't hesitate to try and befriend and get to know me and ask me about any of this stuff i like dms just so long as you're respectful i do have social anxiety so i may not dm first!

pics of me are tagged #wormy pics

audios of me are tagged #wormy audios

original text nsfw and sfw is all mostly lumped into #bun ramblings

asks are #wormyasks

anons: 🌸, 🦊, 👾,🪼,💀

#queer nsft #ftm sub #trans nsft #ftm bunny #ftm nsft #nsft t4t #ftm puppy #ftm t4t #queer ns/fw #ftm ns/fw #ftm bottom #dumb bunny #dumb puppy #bunny boy #puppy boy #ftm top #dog boy #boycunt #ftm switch #power bottom #ftm dom #wormyasks #wormy pics #bun ramblings #bunny brain #puppy brain #wormy audios

[fozmeadows]

on the outing of kit connor

can I just - 

the reason coming out is a thing - the whole reason we have a CONCEPT of coming out - are heteronormative social defaults. we live in a culture that assumes everyone is straight: that teaches us to assume, not only that everyone else is straight, but that we are straight, and which overwhelmingly, depending on context and location, either treats queerness as something external to the norm, something invisible and shameful, or something downright evil. and so we have a situation where, when you are queer in whatever way, coming out is never a one-and-done situation, because even if you’ve come out a hundred times in your life, strangers will continue to assume you’re cis and straight unless you tell them otherwise - which it may not always be safe to do, because of homophobia and transphobia. so out people, despite being out in whatever way, can still exist in this constant state of semi-closetedness, not because they want to, but because of the refusal of others to entertain the reality of their existence as a human default, rather than as a specialised exception to the norm. straightness and cisness can always be Assumed, says this logic, but queerness must be Proven: otherwise it cannot possibly exist.  

all this being so, when you demand that a real, human person discloses their sexuality to you before they’re ready? when you forcibly out someone? you’re contributing to the same heteronormative social defaults whose dominance you’re ostensibly using to justify Why Visible Queerness Matters, because what you’re really demanding is certainty, and the emphasis on certainty IS THE WHOLE GODDAMN PROBLEM. what you’re saying is, “I assume that everyone is straight until or unless they expressly confirm otherwise, because that’s the Correct Assumption. assuming that someone is queer, therefore, would be Incorrect, even if they’re signaling solidarity with and support for the queer community - even if they’re signaling queerness in other ways - because queerness isn’t allowed any ambiguity. I must be Certain of who is queer and who is Not, because it’s Wrong to assume a person isn’t straight” and I just.

[stares directly into the camera] really. really! who is it, I wonder, who taught you that it’s wrong to assume people aren’t straight? who told you that it’s potentially insulting to be thought of as queer, but NEVER insulting to be assumed straight? what social norms, I ask, imparted the idea that thinking of someone as queer is “imposing sexuality” on them (negative), whereas thinking of them as straight is Perfectly Normal? do you think, perhaps, that continually assuming everyone is straight to the point where you demand a public, notarised Admission Of Queerness to be exempted from that assumption maybe serves to further entrench the idea of Straight As Default, thereby creating a more hostile and less accepting environment for queer people? has it occurred to you that, if you respond with derision and hostility to anyone who (for instance) plays with gender presentation through fashion, evokes a queer aesthetic or otherwise says Fuck You to presenting as cishet without expressly confirming their queerness, you are making it HARDER for queer people to exist safely in public, to say nothing of shoring up toxic, shitty gender binaries for cishet people?

does the entertainment industry have a historical problem re: casting straight people in queer roles and praising their performances while simultaneously refusing to cast queer people in those roles because “it wouldn’t be acting”? YES. is this some homophobic bullshit? YES. does hollywood, despite its supposed status as a liberal bastion, still have a huge fucking problem with homophobia and treating out actors and other out creatives like shit? YES. 

is any of this improved by forcing queer actors to out themselves, the better to feel comforted that a FICTIONAL queer person isn’t being “disrespected” by a real human actor, or whatever the fuck other justification you’d care to run with? NO. NO IT FUCKING ISN’T. 

does forcing people to out themselves increase the lack of safety queer people feel and experience within an already homophobic industry? IT SURE FUCKING DOES. 

all of you go to your godamned rooms and think about what you’ve done

#kit connor #homophobia #outing #coming out #hollywood #straightness #cishet defaults

[modelsof-color]

Rei Kawakubo ( 川久保 玲) is a Japanese avant-gardist of few words, and she changed women’s fashion.

Kawakubo was born in 1942 in Tokio, three years before the atomic bombs landed on Hiroshima and Nagasaki. She studied the history of aesthetics—both Japanese and Western—at Keio University, worked in advertising for a spell at a textile company, and then started working as a freelance stylist in 1967. Kawakubo opened her first office in Paris and staged her first Comme des Garçons ("Comme des garçons” means “like some boys), show there in 1981. Not surprisingly, one of her favorite themes is punk, which was waking up the world to the principles of individual choice and just-do-it spirit just as her brand was finding its feet. Her conceptual clothes, mostly black and often tattered with holes, were an affront to the sexy, body-conscious fashions of the time—such as Mugler and Montana. But over the course of the '80s, Kawakubo's intellectual and feminist take on fashion often mirrored the cultural and emotional turmoil of women infiltrating the male-dominated work world. It also began to influence a new generation of designers

Being one of fashion's most influential designers, Rei Kawakubo strives to challenge the form the traditional garment. Kawakubo is the second living designer to be honored for an exhibition at the Institute of the Metropolitan Museum of Art. This Comme des Garçons exhibition in particular highlights key themes that have inspired and continue to inspire her creativity as a designer.In the context of the human form, the body is radically reconsidered. She proposes new ideas of beauty by creating organic forms and protrusions in her garments, creating outfits that discard standard sizes. An example of an exhibition in which she radically questions form is her spring/summer 1997 collection, known as "Body Meets Dress, Dress Meets Body". Through this exhibition Kawakubo is targeting body modification through dress, generating unstructured dresses and forms that don't highlight on erogenous zones of the body. By doing this, she is also questioning ideas surrounding gender and the body creating transgressive forms, discarding stereotypes surrounding the female.

Kawakubo’s clothes may have the rigor of modernist architecture but there are loose flaps, extraneous arms, and asymmetrical edges that let the wearer improvise her own particular style of dress. It is not rare to see shredded dresses, blood-red hoods, or large bulges protruding from odd places on the “Comme” runway. The clothes look like they are designed to reject description, indeed, they seem to be deliberately constructed to confuse and repel bystanders. This act of rebellion may come off as shock theater, but it actually offers something much more compelling: distance that allows for self-expression. In avoiding trends and convention, Kawakubo’s clothes embody a clear mantra: when others do not understand you, they are unable to define you. Ultimately, it is up to you to define yourself, be it through your clothes or the things that you say. Dressing for yourself, as opposed to dressing to make others comfortable, is an act of freedom that only fashion can offer.

#people of color in fashion history

[prettyboysdontlookatexplosions]

re: the text's sort of feints towards darkness, i was thinking about this in the context of the burning question, Why Do No Dracula Adaptations Bear Any Meaningful Resemblance To The 1897 Novel Dracula By Bram Stoker, actually - how part of why it feels so incredibly like a time capsule of an extremely specific historical moment is that it kind of straddles two literary landscapes, both of which were in the air at the time of its publication, but one of which was sort of on its way out. the horror of dracula feels very modern (and the gore of it seems to have been particularly so at the time - in this selection of contemporary reviews, both admirers and detractors note that the book is maybe the grossest thing they've ever read), and of course the text is itself enamored of modernity, but the characters are, like, incredibly old-fashioned: if the plot is the nineteenth century up-to-date, the cast is the nineteenth century with a vengeance. i don't just mean their beliefs or behaviors, although, like, yeah - i mean that there's a kind of thoroughly sweet wholesomeness to them at their core that i don't think ever really stopped being written but that does nearly completely drop out of, like, The Anglophone Literary Canon not long after dracula was published (and that "nearly" is covering both for the fact that i would not consider myself particularly well read, and for the fact that some might consider tolkien canonical).

which, i mean, some (a lot) of this is just about the development of mass market paperbacks and the emergence over time of genre writing as Genre Writing, etc. and some of the dracula adaptation thing is definitely just that one guy made a movie a particular way that people thought slapped and subsequent adaptations have to a large degree been adaptations of that more than of the novel itself. but i do keep thinking about nathaniel hawthorne's midcentury complaint that america was given over to "a damned mob of scribbling women," about what a college professor of mine called the "masculinization" of the novel in the early twentieth century, which the short ta-nehisi coates post i found to remind of me the exact hawthorne phrase also reminds me is about the novel as a form moving out of the realm of trash and into respectability, and thinking, you know - through a certain lens, the lens of What Is Gender, Like, Culturally... for a book about 700 guys doing science and adventures, dracula is kind of a girly novel! it's florid, it's sentimental, it's a story about a battle with evil but somehow curiously a very domestic novel, too - so much of it is just people in houses talking! it is quite literally a tale of women's work, in that the in-text explanation for the existence of the text itself is the work done by a scribbling woman. and so i do kind of wonder if that's a factor in why, despite the book's ongoing popularity and the character's incredible fame, people seem not inclined to pick up what stoker was putting down when creating their own dracula tales: they want to make something that is kind of dudelier than dracula, despite being so much a book about so many dudes doing dude stuff, actually is.

#it's homophobia is what it is. j/k. but am i? i am. but am i? i am. but am [blogger is taken off stage by a hook] #i have sort of galaxy brained myself into believing that patriarchy is what's keeping us from a good dracula adaptation #which i think is a symptom of how this book has made me insane #but. just updating you that that's where ii'm at. #blood pressure warning on the coates piece for wanting to murder vs naipaul with your bare hands btw #dracula daily

[anneapocalypse]

DAI Companion Styles: Josephine

Dragon Age Companion Styles Series

Next up by special request from @magneticmage is the lovely, the gracious, the refined, the stunning Josephine Montilyet, Ambassador to the Inquisition. (And yes, Josephine is an advisor, not a companion; yes this series is called “Companion Styles”; yes I’ve decided to just lump the advisors in with them and not change the name, and we’re all just going to have to live with it. 😉)

Disclaimer: I am not a fashion expert, dress historian, or professional designer! I'm just a gamer who likes to sew and has a casual interest in historical fashion, and a great interest in fantasy worldbuilding and the implications thereof, and that's where I'm coming from on these posts. I'd also love to hear thoughts from fans who have a more in-depth background in historical dress, textiles, and armor.

Also, we’re going to be talking about gendered clothing, so let me state for the record that I don’t believe clothing has any inherent gender. However we’re going to be talking about fashion in a cultural context here, and in the context of Thedas (and specifically Orlais), fashion is heavily gendered, and how characters engage with those gendered expectations can be personally and socially interesting.

As with Sera, I’m going to be focusing mostly on Josephine’s style from an in-universe perspective because that’s what I think is most interesting!

Much appreciation to @dragonagegallery, whose posts have made the canon review for this post much easier! The Art of Dragon Age Inquisition was also a great reference.

(Look at her. She even looks good in the Haven Chantry lighting. Nobody looks good in that. Iconic.)

Josephine is an Antivan-born noblewoman educated in Orlais, who trained and briefly worked as a bard before becoming disillusioned with that life and turning to a career as a diplomat instead. She has been working as the Antivan Ambassador to Orlais up until the point she joins the Inquisition as its Ambassador. Josephine is well-versed in the Grand Game and the culture of the Imperial Court and the upper class. If I were to say that Josephine is fashionable, I don’t think most people would disagree with me.

Yet her signature outfit is quite different from what we see on the fashionable upper class ladies of Orlais. There is a fair amount of Renaissance influence in Orlesian high fashion, but as others have pointed out, there's actually quite a lot of variation in sleeves, collar, and understructures (things like crinolines or panniers that give a skirt a certain volume and shape), drawing inspiration from centuries of European historical dress. Yet Josephine still stands apart from the fashions for Orlesian noblewomen, in some very interesting ways.

I should note at the start here that I am working at a bit of disadvantage with Josephine because we've never been to her country of origin in the games, and basically every Antivan character we've met so far has either been wearing armor, or the same styles as the country they're in at the time. (Also, most of them have been Crows, which Josephine is not.) So I can't comment on how Josie's look compares to what is fashionable in Antiva at the moment, because we don't know. Instead, I'll be talking about her style in the context of Orlais, which I think is fair since she went to school in Orlais and has been living and working there for quite a while now. Just bear in mind going forward that there is a whole sphere of potential influence that we can't really examine here.

But I do think there's also good reason to assume that Josephine takes inspiration from Orlesian fashion, starting with her color scheme. One of the first things that strikes me (and I think many viewers) about Josephine's outfit is "Wow, that's very gold." And it is! It's very gold and blue—colors directly associated with Orlais and with the nobility especially. We see gold and blue all over Orlais, from the capital to the countryside, and Josephine has deliberately chosen to dress herself in the colors that signify power and influence in this nation.

So let's take a look at the specific pieces she wears.

Josephine is wearing what appears to me to be a blouse of gold-colored silk satin with puffed sleeves and a tie-neck or possibly a matching scarf, dark-colored breeches ending just below the knee, a heavier sleeveless overdress or vest in blue brocade or damask (possibly even fine tooled leather; it's really hard to say) that ends at the knee, gold stockings, and black flat shoes. She wears a wide leather belt at the waist, with a gold satin sash tied over it. You can see some better images of Josephine's outfit in concept art and her character model in detail on @dragonagegallery.

This outfit is fascinating to me, and if you've read my post on Sera's style, you might have already guessed a few reasons why.

Given Josephine's basic silhouette, it's easy to look at her and assume she's wearing a dress, but she actually isn't. Even if she was, it would be a break from the Orlesian high fashions of the day, which favor floor-length skirts. But this isn't a dress at all. I would actually compare the blue vest to the leather vests we see in some of the Inquisitor armor variants, for mages and for rogues. The detailing on Josephine's makes it look finer, but it's a similar style, with a similar utility: it's easy to move in. Josephine's vest even has large visible pockets on the sides! And this goes all the way back to her concept art.

I think it's easy to get distracted by the big shiny gold sleeves and miss the fact that Josephine's outfit is actually very practical. In fact, you know what else it reminds me a little of?

Variants of this outfit appear in both Dragon Age 2 and Inquisition, and it's always been a non-gendered look. Note the knee breeches, the vest, and the puffed sleeves (though with much less extravagant gathers than Josephine's).

Josephine wears flat shoes, easy to walk in, comfortable for all-day wear. The wide leather belt echoes but does not exactly mirror the popular underbust corsetry seen on gowns; it is of a more practical style and material, and I'd imagine it could be good for back support for those long hours she spends at a desk. And in fact, the way Josephine wears it over her vest with the sash tied over the belt is not unlike the way a rogue Inquisitor wears their armor:

Though Josephine has left behind the life of a bard, I feel it's undeniable that that life has influenced her style. This is rogue fashion—practical but still stylish, easy to move in, easy to carry items you might need. Josephine is dressed as a rogue, but adapted to her current profession and personal tastes.

It’s all an intriguing choice for a diplomat! Because despite the clear Orlesian influence, Josephine’s look does not very much resemble any of what is fashionable for Orlesian noblewoman at the moment. No long full skirts, no outer underbust corsetry (though her belt does offer a cinched at the waist look), no deep V neckline (though her blue vest does create a similar shape over her blouse). When we compare Josephine to these looks, it’s a very different silhouette with mostly very different shapes. Even her puffed sleeves are puffed in different places than the fashions of high noblewomen (which seem to have the most volume at the elbow or lower right now).

But you know what we do see in Josephine’s outfit?

Breeches ending just below the knee. An outer garment that ends at the knee. Knee-high stockings. A flat black shoe. A shirt with sleeves puffed at the shoulders.

While Josephine’s look is ungendered in the context of a rogue, in the context of a noble this look is undeniably gendered, in a way that might not immediately register to our modern eye.

In the context of Orlesian culture, this is a Menswear-Inspired Look.

Now, unlike Sera, I do not believe Josephine to actually be wearing clothing designed for a man; given her station, this was all likely custom made for her. But in the context of Orlesian high fashion, there is some undeniably masculine styling going on here! And this isn’t about “women don’t wear pants”; many women in Dragon Age do, in fact, wear pants, all the time or in certain contexts; see above about rogue looks. Cassandra and Vivienne both have a skinny pants/leggings thing going on, and they both read more feminine in their styles to me, but they’ll get their own posts! With Josephine, it’s the specific styles of the pieces she’s wearing that bear similarities to men’s high fashion in Orlais. In a modern context, think a woman with long hair in a deliberately feminine style, wearing makeup, some statement jewelry, with a custom-tailored suit. Maybe with a few feminine accents on the suit itself; still definitely a suit. Josephine’s sleeves, for example, are not simply a copy of the male sleeve style; they’re taking inspiration but kind of doing their own thing. And of course, her hair is worn in a style that is practical, but still very elegant and feminine. It’s a Menswear-Inspired Look.

And I just love the fact that both of our F/F romance options in this game are kind of playing with gendered clothing in their personal style, but each very much in their own way.

I'm also fascinated by this one set of concept art called "Displaced Pilgrims" in The Art of Dragon Age: Inquisition, meant to represent "Fereldan and Orlesian refugees who arrived in Haven on a pilgrimage and were unable to leave following the disaster" (p. 75). One piece depicts an Orlesian woman dressed in what is from the hips up the same silhouette we see at the Winter Palace: exaggerated underbust corsetry that emphasizes the hips, a plunging V neckline with scalloped embellishment, a slightly puffed half-sleeve. But below the corset, the skirt has been cropped to mid-thigh and the woman wears a pair of breeches, stockings, and flat shoes with a rounded toe—strikingly similar to Josephine's lower silhouette. I can't recall ever actually seeing any NPCs wandering around Haven looking like this, which is a shame, because I love the concept of an Orlesian noblewoman blending masculine and feminine fashions in order to dress more practically for a journey into the mountains, while still appearing fashionable. I think this may be what Josephine is doing.

Josephine’s necklace is of interest to me as well, as it doesn’t bear a particular resemblance to anything I’ve found in Orlesian fashion; while we see a lot of necklines trimmed in gold, and a few necklaces, there’s nothing that looks like this piece. After a bit of research, I don’t think this is just a flashy piece of jewelry. Given the size of the chain and the way Josephine wears it draped over her shoulders, I think this might actually be a livery collar, also called a chain of office, that denotes her position as an ambassador!

Josephine’s whole look is very distinctive, and very put-together. In my opinion, this is a Choice. This is the kind of outfit that says, “I look like this on purpose,” and this from a woman who knows that a first impression may decide the course of a conversation that will affect the fate of nations. She is wearing a chain of office that immediately announces her station. She’s wearing expensive fabrics—again, I am interpreting that shiny gold fabric as silk and that is not cheap. Her vest shows fine detailing. Her clothing immediately says that she is both a person of means and holds a position of respect. Her color scheme speaks to her Orlesian connections. Her clothing conveys power and status. Yet her divergence from the styles of an Orlesian noblewoman also sets her apart. The practical elements of her look say, “I am no idle lady of leisure; I am capable; I am prepared for every occasion, even the unexpected.” And the roguish elements hearken back to her bard training, saying, “I know how the Game is played; I can be dangerous if I must be.”

Above all, I think this outfit speaks to Josephine’s self-assurance. She knows and understands social trends, but she is not beholden to them; she bends them to her tastes, rather than being bent by them. She acknowledges her past and what she has learned from it. She knows herself, and is in control of her own image.

I think this outfit does some pretty brilliant and inspired visual storytelling about Josephine Montilyet. I wouldn’t change a thing.

#josephine montilyet #dragon age inquisition #dragon age companion styles #thedas fashion #dragon age meta #blunders of thedas

[samuraipussy]

tbh terf clownery aside, I really appreciate the depictions of sex work in this show and so do the sex workers I know. it still falls into some tired tropes now and again and is shallow at times (as are literally all the themes they try to approach in the span of 8 episodes), but it somehow manages to toe the line and still paint a fairly accurate and dignified picture of what sex work was like during the edo-period. I admit I was hungry for a glimpse into Yoshiwara, more varied examples of the gender dynamics at play (especially the women who crossdressed to attract clients!) and the way sex workers influenced fashion and culture, but I was still impressed we got a whole brothel episode and recurring sex worker characters and the show managed to show the plight of women doing sex work without making the sex work itself the source of the suffering and subjugation, rather just the context.

#blue eye samurai

[rongzhi]

Ty for answering my q! (Am the guy who asked about lgbt being common in ancient china etc) since lgbt is more of a western concept what would be a chinese equivalent for it? Like how is the chinese homosexuality different from the west? (Sorry if my wording is off im not exactly sure how else to phrase it 😭😭)

I'm just talking about the cultural differences that shape what it means to be queer across the globe. Modern LGBT+ discourse was led and shaped by western academics so theories of gender and sexuality are based largely on the that of white thinkers. Although it's true that English LGBT terminology and the relevant standardised definitions have spread and been translated globally, and that Western ideals of masculinity and femininity remain dominant overall, similar concepts can't be understood 1:1 across all cultures. And there certainly existed something else before Western influence.

Also, picture this: you are watching a TV show from the Song Dynasty. You notice some of the male characters are always wearing flowers on their head/in their headwear 👀. You, proficient in imagery and symbolism, think to yourself, "💅🏼?"

But little did you know that this was a men's fashion trend at the time, practiced by young and old, rich and poor, hardly the indicator of queerness!

What I mean is, when it comes to looking at history, especially history of different cultures, basically you have to remember that there is a different context/historical framework to what is queer, what is gendered masculine and feminine, what is homoerotic/sapphic (and "queerplatonic" as we'd understand some of these instances and relationships), what is sexual, etc. So going back to my comment in the previous ask, based on all this, I personally feel that bringing terms like LGBT to such conversations is not appropriate because it also brings with it a modern framework which is not productive to understanding history as having its own frame of references.

If that makes any goddamn sense lmao.

#tldr i was being a pretentious and philosophical about the wording of your question #text #answered ask #but it's just like true in general that western views lead discussion on a lot of lgbt stuff #most people dont really realise it #but it really shows its ass when it comes to the intersection of gender expression and lgbt/queer theory readings of east asian figures #e.g characters not even pushing any literally not one gender binary norm within their contexts (e.g wuxia or period drama) #but getting queer theoried via perceived gender expression #or whatever you know. that thing that happens to idols #keeping this in the tags because i suspect it's irrelevant and i just wanted to be salty #every time i start thinking for more than 5 minutes i forget what the question was #also there will probably not be any videos tomorrow bc despite my yammering i have actually been busy this week #gay ask #look at me already forgetting new tags

[dragon-sentinel]

I have already seen my fair share of

"Barbie is great because it teaches girls they can be hyperfeminine and pink and glittery etc. etc. and still be empowered. Barbiecore!! It has nothing to do with pleasing men. Men hate the movie, see?

Also, it's not bad if girls are taught to "have fun" with make-up from an early age on."

And I just get so tired. I wish people would understand the effects and the role of femininity (even the version that "supposedly does not revolve around men and is hated by them") in our larger cultural context and how femininity is part of a gendered hierarchy.

It does not exist in a vacuum and cannot be divorced from the damaging history of femininity's social function as a reinforcement of sexism, patriarchal dynamics and gendered hierarchies.

It doesn't just go away because of a fun movie.

Don't get me wrong. Barbie is a good movie and I am not saying it has no value or doesn't also teach women many good things.

But two things can be true at the same time.

Barbie can reinforce good messages (women can have great careers, STEM jobs, be successful, call out sexual harassment etc.) while also reinforcing harmful messages with regard to other cultural facets such as beauty standards, make-up culture and the alienation of women's natural faces (and this being pushed onto young girls too), fear of aging, having to embody a set of pleasing "aesthetics", wearing clothing/looks that can be unpractical restricting and demand lots of self-monitoring (increasing a woman's cognitive load because part of her attention always has to check whether her skirt didn't go up too high to prevent flashing her underwear, whether her make-up smudged, whether her hair is in place etc.) and spending lots of time, money and resources on beauty and fashion-related products and practices.

Those things ARE harmful femininity. And only because you think a subset of men don't like it doesn't mean it doesn't reinforce and teach these basic concepts of women being valued immensely for their decorative appearance.

(Also, more on that whole "men don't like these aesthetics" down belove because I think this claim also needs to be looked at with more nuance.)

These messages are not mutually exclusive. The same piece of media can absolutely provide very good commentary on one topic while giving bad commentary on another.

"But pink is just a color and there is nothing wrong with glitter."

I agree! But Barbie's aesthetics are the full package of femininity.

Because it is not just about glitter or about pink. Barbie's default isn't running around in pink sweatpants with a glittery oversized hoodie and purple crocs with messy hair and no make-up. Or some funny fantasy clown make-up.

Barbie generally looks conventionally stunning.

She wears carefully selected, perfectly designed beautiful and feminine outfits, styled through and through from head to toe.

And even if there is some ironic twist somewhere in the movie, its entire advertisment and PR are very explicitly focused on those hyperfeminine aesthetics.

Her event and PR outfits referencing iconic Barbie looks and the hyperfeminine aesthetics in trailers and promotional material to grab people's attention are a core part of their campaign.

That is also socialization. It still presents these things as attractive and desirable, as it reinforces that people should find these things appealing and direct their attention towards them.

I am aware that the movie also comments on body odor or cellulite.

I know it has moments like America Ferrera's monologue and I appreciate these things but this doesn't erase the rest of the aesthetic narrative of the movie, which does want you to enjoy and have fun with those pink hyperfeminine aesthetics. It is part of your viewing pleasure.

Despite the good points it makes it simultaneously also wants you to be positively and genuinely entertained by the aesthetics.

When it comes to this, the movie has an "eat your cake and have it too" mentality because they want to (rightfully) criticize some damaging expectations superimposed on women by feminine gender roles, i.e., femininity. But they clearly also want to keep others. They think some of them are not actually harmful but fun, empowering, even though a thorough look at the femininity they promote as worth keeping will uncover that they still have disadvantaging effects on women and keep crucial parts of the patriarchal hierarchy intact.

And in some regards their messages are even contradictory. Because on the one hand they do want to criticize unrealistic beauty standards (see Gloria's monologue) but at the same time even "self-centered" femininity, wanting to look good, feminine, pretty "for yourself", expressing your "identity" with a certain type of feminine fashion, still has the aforementioned mental and material effects (altered relationships with our bare faces because of make-up, even if your "eyeliner that is so sharp that it can kill a man, is for yourself and yourself alone", spending lots of time and money on restrictive clothing and make-up products, placing a significant amount of value on your looks, constantly monitoring your outward appearance).

As women we have learned to lie to ourselves and live with this cognitive paradox constantly.

"We don't need to shave. But we do it because we "want to", because even though "we don't have to" for some reasons we all collectively still think it is unattractive and unfeminine. But hey we "choose" to shave so it's different!

Aging is totally fine! Women are allowed to age! But at the same time we invest lots of time and money in anti-aging products and routines but this time under the guise of self-care. We don't have to of course. We are perfectly fine with wrinkles! It's just an (odd, collective) "personal" preference that the majority of women would still rather look youthful forever. But this time it's different! It's a choice!"

Materially we are doing the exact same thing that we are conditioned to do by patriarchal norms but thanks to the rhetoric of positive femininity, choice and personal preference we do not need to actually change our behaviour. We can let the words, the impressive-sounding monologues, do "the work for us" to absolve us, while our actions remain the same.

At the end of the day, the movie doesn't really deconstruct the entire cage of femininity, its roots, and all the aspects that harm women. Instead they reframe and rename some of the same things as a celebration of positive femininity.

But simply keeping something damaging in place and renaming it doesn't remove its negative material effects.

It just serves as a dazzling, soothing paint job to distract you and make you feel better about liking it, even if it doesn't serve you.

Hence, it's clear that the movie wants you to think that these aesthetics themselves are or can be, on some level, still fun and good.

(Again, that doesn't mean that it doesn't also promote good messages at other moments.)

And the public reception proves it. Otherwise we wouldn't have those aforementioned takes on how "Barbiecore is empowering because it doesn't revolve around men and "women-centered" hyperfemininity is good."

(Though it has to be noted that whereas pink and glitter are inherently neutral, they have been assigned certain meanings, hence when they are used they do serve as social signifiers and messengers for certain ideas. They are like a condensed proxy or short-form of femininity that quickly and efficently evoke certain gendered ideas in the viewer just by having them look at it.

I think sub-cultures are a good example: Goth and emo fashion for women is not considered attractive by many average people, including average men. And I am pretty sure most goths and emos would tell you they wear this kind of fashion for themselves, to express themselves and not to fulfill any gendered (mainstream!) expectations.

But. Within these scenes there are very often STILL very distinct differences in the type of fashion men and women wear. And oddly enough they often align more with traditional gender expectations than they like to admit (even the higher degree of androgynity in male fashion in those scenes doesn't undo those dynamics - the sexualization and pornification of women in those scenes is very prominent).

Funny. One might wonder why this is the case.

So you still have feminine, pretty, sexy, lady-like goth and emo girls who might not appeal to the general public's taste. But within the scene they very much appeal to that scene-related male gaze.

So the basics of femininity are still taught and lived.

And in addition, if for some reason a woman were to change her style and leave those scenes she might let go of her specific fashion sense but she will most likely take the basic teachings of femininity with her: that there lies immense value in her being decorative (for men).

I honestly think many women are in denial about the fact that yes, even their "self-centered" femininity benefits men as it consolidates certain tranditional gendered roles. And I also think that women are often taught to lie themselves (amongst others by liberal feminism) with regard to how much they actually appreciate men's positive attention and feedback (and I don't blame them for wanting those things, that's how we are socialized, even on purely platonic levels. As a lesbian even I notice how much I often value and unconsciously want positive (platonic or professional) feedback from men in particular. We as a society value men's opinions and attention deeply.)

Coming back to Barbie I think all of this can be applied as well.

First, just as with non-mainstream femininity in alternative scenes "Barbiecore" still teaches the same basic concepts of decorative femininity, encouraging many of the aforementioned damaging behaviours connected to femininity (money, time, resources, cognitive load, value of external attractiveness/appeal), even if women believe they do it for themselves.

And if a woman moves on from pink, glittery Barbiecore to another type of feminine fashion these fundamental values will probably remain with her. At best they have not been challenged by Barbiecore, at worst they have been reinforced, but this time under the pretense of "self-love", self-care or focusing on one's self, ostensibly not serving the male gaze.

Second, it is naive to believe that no man finds Margot Robbie's Barbie and her looks attractive in the movie (just like there are enough men who think unconventional, i.e., non-mainstream, displays of femininity like gothic/emo etc. are attractive).

Given Margot Robbie's attractiveness and the fact that beyond the pink color palette, Barbie's feminine fashion itself is not really "outrageous" (vs. some scene clothing) I wouldn't be surprised if the number of men who are attracted to her movie character is actually higher than the "men hate barbiecore" idea wants to make one believe. They may say they don't but in my opinion it's an act to save face and demonstrate ostensible superiority, just like when they call beautiful women "mid". (Also as we know men are very well willing to fuck what they hate; it's just another display of "dominance").

I am actually very convinced that there is a significant amount of men who would totally dig the very same looks she is sporting if her behavior was different.

I believe they hate her despite her good looks because her personality does not align with their gendered expectations of what a woman should be.

So out of spite, as a punishment, they call her and her aesthetics ugly and childish - because they know beauty is one of the things women are primarily valued for in our society, hence it's an effective target to attack.

If she kept the look but acted like a 50s house wive I'm pretty sure many men would openly say how they are attracted to her (and objectify her).

And even if a portion of men may find the focus on pink genuinely childish they can still like the overall femininity the look reinforces. If you kept the same outfit but changed the colors and removed the glitter it would still be the same basic type of femininity. So with regard to fundamental gendered concepts nothing is really challenged here.

So yes, I genuinely think men hating on "girly" femininity is a lot more aligned with the "Margot Robbie is mid" defense.

They are very clearly attracted to her but they try to paint themselves as not interested, as above that, to display their "superior status and power" over her, because they hate her as a person now. (Or use it as an attempted power play to make girls insecure and - as another post said it perfectly - withold beauty from women because women are taught it's their social currency; so if even women like Margot Robbie are relegated to "mid" they feel self-conscious and weak and will try to win the men's favor to receive their approval - and thus be granted some of that withheld beauty.)

In essence, I really don't buy that men don't actually benefit from "women-centered hyperfemininity" and that it is the looks that don't appeal to them as a class (obviously individual tastes vary).

I am not saying that everything that received the label "feminine" is inherently bad. Compassion and empathy come to mind of course and in an ideal world we might also have separated the harmless parts of the aesthetics (cute fabric patterns like flowers etc., soft but also relaxing and practical cothing) from the harmful practices that reinforce regressive gendered ideas and also lead to increased cognitive load, self-image issues (esp. regarding our bare faces), spending lots of time, money and resources on these things etc.

But we do not live in this ideal world.

We need to treat femininity as the thing that it is in the real world right now. It already has a meaning and this meaning won't be deconstructed by elevating all of it and saying that the harmful parts are actually empowering, too, which is what is happening with those celebrations of barbiecore and pink hyperfemininity.

Your celebration of femininity does not occur in a vacuum.

You cannot pretend the social context in which you do this simply doesn't exist because it spoils your fun and pretend it doesn't actually have any unfavourable consequences for women.

It does.

Gender is a hierarchy, in which femininity is an active tool to place women below men.

That is the reality we need to deconstruct.

-----

A little extra that just came to my mind:

The gothic lolita scene used to have (and perhaps still has) the same kind of rhetoric, too: "We do it for ourselves. Not to appeal to the male gaze. Men don't like this kind of fashion anyway." But a) this is clearly…not true. Gothic lolita, including the non-revealing styles (which make up most of the styles actually), is still popular and fetishized by certain groups of men, precisely because of its (distinct interpretation of) feminine appeal. And b) it still ingrains many core believes of classic femininity into women that transcend the fashion style and reflect accepted and desired ideas about feminine gender roles in broader society.

So the mindset of "doing something that is in line with our sexist society's expectations "for yourself", hence it's different and does not reinforce the same sexist ideals" that women often adapt is a common, recurrent cognitive strategy to justify these preferences to ourselves and others.

Barbiecore is therefore not unique and suddenly above reproach. On the contrary. It perfectly fits a commonly found pattern.

#barbie #radfem #radical feminism #femininity #beauty #Again I'm not saying the movie is bad or has no value. #Not at all #I'm just done with the “feminity is super great actually” takes #my post

[zmediaoutlet]

trying to articulate something here --

I dig the experience of reading meta that is coming from a well-reasoned place but I nevertheless fundamentally disagree with, and I think that comes down to a willingness to sift down and down and down until you come to an essential Thing about the text-genre-intent-characterization-whathaveyou. Like -- I can see how you got there, but wait, you didn't consider [xyz].

Top of mind example: Dean's masculine because he's trying to act like John. On the surface -- absolutely! He's trying very hard to mimic Dad because his universe centers around god Dad. He's also often operating in a world of trying to do what Dad would want, and making assumptions of his own about what those wants would be, which is a slightly different operating structure.

...But. What's actually driving that? Is it dad qua dad? Or is it -- Dean is essentially loyal-obedient-conformist? Is it that, in the cultural context of growing up in the '80s-'90s with a father who grew up in the '60s-'70s, this is what being a certain kind of man meant and so it is essential to lock into those tropes and characteristics?

We look to how Dean acted like a certain kind of boy when he was an 18 year old and then a 26 year old; we look to how that is updated by the time he's 40, and operating under what is the correct kind of man to be in 2020 vs 2005 (use of language, acceptable levels of nerdiness, fashion sense, etc). From there we can look to how he's not being John, he's being... a normie, more or less. And bless his heart for it. He just wants to Fit. If he were sticking with Acting Like Dad, he wouldn't cheerfully cosplay through a Panthro case, you know? So what's actually driving the behavior, when you look to the heart of it?

So then, if Dean were Deanna--

You can extrapolate. And this stuff is outside the text -- you have to decide What Dad Would Want from a girl-child (given cultural context and norms, given how the young version of John was characterized, given how John and Mary might have operated when they were 'safe' for those first 5 years, given how John might have then shifted his expectations and needs for his kids upon entering the hunting life), and then whether What Dad Would Want fits against a fairly normal conformist presentation (in the way that Dean is intensely normal, if a little wrong-side-of-the-tracks), or if John flips the script and for some reason decides that his kid should not fit in and have what's actually a much harder time, for a traditional gender presentation in the culture they live in, etc.

All of this boiling down to: what matters most in the meta consideration? What's key for characterization and universe structure? Does it actually matter? --no, not at all. But it's very fun to tease apart.

#spn #spn meta #really meta on meta #this really took me on a journey this morning #the layers and layers and layers you can go down #like the truly MOST essential element of sam and dean #is that sam is rebellious and dean is loyal/conformist #it is essential to their characters #much like sam being an optimist and dean being a pessimist is #and these things ebb and flow over time #but there's an essential kernel in each of them where it remains true #so what does that mean for every au? #that's where it's fun!! #idk i'm just feeling frothy about analysis this morning #i saw a different fandom actually having a good take for once #and i'm like 'what!!! really? joy!' #so i guess this is me feeling optimistic about meta. also for once lol

[moe-broey]

It is extremely difficult to design modern outfits for Alfonse though idk what it is. Sharena will look good in anything from flannel docs lesbian outfit to cute overalls to something sporty to high femme dresses (tbh I still wanna draw her in one of my fave old dresses ..) but Alfonse. There are def a few routes you can take keeping his character/personality in mind and I think they look good/are super cute and make sense but like... esp for me personally, thinking of the v specific way I draw/stylize him...

AH. MAYBE. MAYBE I FIGURED IT OUT BC I HAVE NO PROBLEM DESIGNING OUTFITS FOR HIM IN FEH CONTEXT...... it's cause that bitch is always wearing tights and long shirts that (esp depending on how you draw it) border on being dress-like to straight up robes/skirt-like garments WHICH makes sense for him in universe bc that's p standard wear for men in Askr, in the Order of Heroes specifically. Like

Seliph's resplendent stands out to me as a huge example of this, and you can kinda see it in Corrin's too! Though I do think resplendents often take a lot from the chara's base outfit (both standard and resplendent Seliph having tunics, both Corrins having leggings ect). But speaking of Corrin, espp the lengthening of that bit of fabric at Corrin's hip, looks a lot like Gustav's garments!

Who may be a better measure for men's dress in Askr (normal attire, for a king anyway, and a cultural festival outfit). But I do also think you can glean some details off of resplendent designs too!

Also actually.

This Day of the Life comic that acknowledged Sharena's absence from the DoD banner (BITE BITE KILL KILL SO MUCH HATRED IN THE WORLD‼️‼️‼️) implies that their outfits may have been identical, just in their respective signature colors (blue and pink). And even looking at Alfonse and Sharena's base art, they have a lot in common!

And looking at Seliph and Corrin again, the puffy sleeves seen on Sharena and Henriette aren't necessarily gendered traits. ACTUALLY.... GUSTAV HAS THEM TOO! Alfonse's outfit is an outlier sleeve design wise!

Which is to say, there aren't actually a lot of strict gender differences in attire here. A lot of the clothing looks/feels androgynous esp when viewed through a modern lense (like I'm sure there's a lot of real-world historical inspo that goes into the designs, I just know fuck all about that LMFAO 😅). And esppp the way I've come to draw Alfonse a lot, I do emphasize what reads as femme -- giving him longer shirts, simplifying the strappy armor on his thighs into. Over the knee socks. Over the leggings/tights. 🫣 And that's not even getting into the knee high boots and heels!!!!

WHICH IS. Actually SO FUCKING DIFFICULT. To translate into modern fashion esp typical standard men's fashion, in a way that still feels true to him as well... bc I do believe in femme/androgynous Alfonse supremacy 😤 But he is ALSO. SO IMPORTANTLY. He is VERY MUCH just some guy who is heavily defined by the role he's been put in. Which is also kind of difficult to sort out, what Would he wear, if the standards were completely different and also if he was choosing for himself?

SINCE. I'M CERTAIN idk if I wanna dig for it but -- I'm CERTAIN all his outfits have been picked For him to some degree. The Order of Heroes outfit is a uniform, the bunny outfit is implied/stated to be picked by Sharena. The yukatas in their duo are 1) Hoshidan and 2) I think Anna was the one who picked them? Might be wrong on that, but I do feel like there's a castle dialogue about it. And of course, the DoD outfits are implied to be cultural Askran wear, and going back to that comic -- it seems neither Alfonse OR Sharena have much of a say in what it looks like (her being uncomfortable "showing that much leg" -- that, if given a choice, she may have wanted something more modest).

So like. There is. So much going on here actually.

#fire emblem #sorry for being autistic about alfonse fire emblem. it will happen again. and again. and againm and again and #I WILL SAY ONE THING! it actually is SO much easier to design pokemon universe outfits for him than strictly any modern outfit #the men are allowed to be cuntier in pokemon world. i can put him in white tight pants and boots and a sweater #and no one would bat an eye. #i think i do gravitate towards sweaters for him... maybe turtlenecks.... still it is so difficult. #the funniest thing you can do w modern alfonse though is put him in a hoodie and make him slightly disheveled #and make it SO FUCKING CLEAR. that he is severely distraught and depressed that his boyfriend dumped him #and his boycrush isn't speaking to him. #literally just make him a dramatic depressed faggot <- (SAID W LOVE AS A TRANSFAG MYSELF.) #BUT ALSO. EVEN THOUGH that's said all cheeky like. i think for me it is also so important to put queer elements in him too #like he NEEDS to be giving queer man raised in a strict gender-norm heavy environment #who's like. comfortable in his queerness at this point but by god. did i have to go through all of that. dear lord. #anwyays i'm insane about him. don't worry about it 👍 #fe alfonse

[animefeminist]

Sharp Blades, Soft Frills: Femme rebellion in lolita fashion, Japan.

Hamuka stares down the camera, spiked bat in hand. Fingers entwined around the sharp nails, she rests it against her decadently frilly lolita fashion dress. She’s wearing an “Elizabeth Doll” dress and matching headdress by BABY the STARS SHINE BRIGHT, the most coveted dress in the lolita scene this year. As a lolita in Tokyo, Hamuka stages and curates a collection of images on her Instagram @Hamukahamu and her zine Missing Magazine. 

Hamuka’s goal is to explore the connections between feminism and lolita fashion.  “I think that lolita fashion’s independent spirit makes for the image of a strong woman. You are freed from the male gaze and dress only for yourself,” she explains. 

In the first issue of her zine “I Want to Be Your Queen”, Hamuka explores gender, sisterhood and independence through her interpretations of Queen’s music. In her photos, she glowers in her soft frills, giving her femme audience a knowing, recalcitrant look. Soft and fierce, Hamuka is ready to take on the world. 

Lolita fashion has been part of Japan’s rich alternative scene for over 40 years. It is a celebration of self and is intended to provide a ‘hyper-femme space’ away from the imposition of the male gaze. Not to be confused with Vladmir Nabakov’s (1955) Lolita, this movement actually uses the word “lolita” to mean frilly “French-inspired” fashion. A big influence on lolita fashion is kawaii and Japanese “girl culture” which is for anyone of all genders and ages.

Both spicy in their hot-takes and dreamy in the spectacular world they make together, lolitas pursue their interest in frilly excess with a ferocious independence. In this article I outline what lolita is in the context of frilly rebellion, drawing on my 10 years of close consultation with the Japanese community as an academic and as someone who has been part of the global scene for 15 years. In this essay, I have also consulted with the lolitas I discuss about their own practice, working collaboratively with them to capture their views and concepts.  

Read it at Anime Feminist!

#lolita fashion #elegant gothic lolita #lolita style #fashion history #articles #baby the stars shine bright