BY PIPPIN ravehearts is, first and foremost, a history of men’s fashion as it relates to sexism. While writer and cura- tor Andrew Bolton would be unlikely to characterize the work this way, a constant thread in the essays accompanying the hundreds of truly beautiful photographs is that men in skirts are still men and still masculine. According to Bolton, they should not be penal- ized by accusations of femininity for the sartorial choice of wearing a non—bifurcated article of clothing to cover their legs. As Bolton notes in the introduction, “We are not con- cerned with drag, transvestism or cross-dressing. This is because these are strategies primarily used for the exploration of camp and feminine identities this book is primarily concerned with the con- struction of masculine identities.” It is unfortunate that Bolton’s work insists on emphasizing (oyer and over again) that men in skirts are still masculine, strong, and by implication, heterosexual. The text clearly is reinforcing a solidly entrenched gender binary. Bolton negates the power of the images to challenge traditional gender roles and identities, and does not attempt to break down barriers between men and women that throw fashion roadblocks into the path of queer liberation. That said, the book is a fascinating history of men’s fash- ion as long as one reads carefully for the sub-text and draws one’s own conclusions. The images, from a concurrent exhibit at London’s Victoria and Albert Museum and New York’s Metropolitan Museum of Art, are startling and beautiful. The book is divided into five sections — Men and Trouser Tyranny, Skirts in History, Exoticism, The Kilt, and Subcultural Style. Each section of the book, with the exception of the first (which focuses on the politi- cal and health movements to free up the space between men’s legs), takes the reader on an ‘evolution- ary journey through history from the Egyptian high kingdoms up to the couture designers of today, including Versace, Gaultier, and Westwood. - The book is clearly writ- ten for a largely white, western audience, as shown by the odd breakdown of chapters. Skins in History focuses exclusively on western European fashion; Exoticism focuses on the history of fashion in Africa and Asia. Bolton does note that the revival of the kilt by George IV in the early nineteenth century was a form of self-exoticisation, but even in this chapter it is made clear that the nineteenth-century popularity of the kilt was largely about the very rich and very pow- erful taking on the attributes of those whom they had subdued in war and politics — in this case the Highland clans of Scotland. It is not until the very final pages that Bolton acknowl- edges the important role that queer men have played in the history of men’s fashion and in particular, the role of the skirt. In his essay on Subcultural Style Bolton dis- cusses the impact of glam rockers like David Bowie and the conse- quent development of the punk scene, the New Romantics, and later, grunge. But even in noting the impact of such figures as the bisexual Bowie and Culture Club leader Boy George, Bolton retains the need to reassure his readers that these seminal figures were masculine men and not trying to ' be seen as women or using fashion to transgress gender roles. Bolton quotes Bowie on the controversy surrounding his appearance in a pre-Raphaelite- style dress on the cover of his kirts 1971 album, The Man Who Sold The World. “You must under- stand,” Bowie is reported as say- ing, “that it’s not a woman’s dress. It’s a man’s dress. The important fact is that I don’t have to drag up I don’t wear dresses all the time, either. I change every day. I’m not outrageous. I’m David Bowie.” Even Boy George, one of the heroes of 19803 popular queer liberation, has his political impact somewhat lessened when Bolton says of him, “For all his sartorial dilettantism, Boy George, as his name suggests, was usually quick to distance himself from the act of drag or transvestism.” He goes on to quote the pop star, “I dress in a similar way to a priest or an arch- bishop. I wear robes, not dresses, and to be a transvestite, you must wear women’s clothes. I don’t.” He added, “I’m not fighting an oppressed need to be a woman. I I’m proud to be a man.” While onemust certainly take Boy George at his word, it is distressing that so much stunning creativity need be limited by his political (and one might think, economic) need to ensure that his sartorial transgression is limited to appearances and does not chal- lenge the inherent sexism that goes along with our modern cul- ture’s need to keep genders strictly regulated, whether you are wear- ing a skirt or not. V Pippin is a radical faerie who enjoys dressing up and isn ‘t afraid to mix up her pronouns. He can be reached at pippin@sover. net. cgtrlz bite out. “sex.—ed for the real world’’.. Spice up your love life with an in-home romance party! If you "‘ have always been curious about the various edible lotions, romantic products and sensuous bedroom toys that are available, but didn't know where to go then look no further! 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