Real Masculinity and Manhood
Englishman' and 'Juan Talsat. Spaniard' as 'meritorious soldiers'. (D) A striking feature of late 15th early 16th century costume was the development of the 'codpiece' (nicknamed pont-levis or 'drawbridge' in French), from a simple, practical flap in the groin of the hose to a heavily padded and later slashed and beribboned advertisement for the wearer's claimed masculinity. It inspired many a bawdy tale. One reads of a gentleman who kept his purse, handkerchief, and even oranges in his codpiece and of Hans von Schweinichen, who sewed 50 gold pieces into his, but sadly had them stolen while in Cologne (E, F & G) During the first decade of the 16th century hose were divided into two parts 'upper stocks', i.e. breeches, and stockings. These were often sewn together again as one garment -see G or they could be fastened with points and worn with one or both stockings turned down - see F. (H) Points - woven or leather
In Russia, male dancers are highly regarded, and usually classical ballet training is the basis for a career in dance. Though a growing interest in dance exists among boys in other countries, many are too shy to take dance lessons and be obliged to wear tights, commonly considered a female article of clothing. Therefore, certain dance schools allow young male students to practice in T-shirts and short pants. Under the practice clothes, dancers usually wear suspensories, designed to isolate and support the testicles. Alternatively, a dance belt, specialized underwear, can be worn under tights. In both cases, the pouch in front is triangular, tight, and nearly flat to give support and form during dance moves. The subject of masculinity in dance has received popular treatment in such movies as The Children of Theatre Street (1977) and Billy Elliot (2000). Ramsay Burt's book The Male Dancer explores the subject of masculinity in dance in greater depth.
BODYBUILDING AND SCULPTING The twenty-first century body, like those of preceding centuries, is still engaged in the eternal quest for an ideal shape. The modernist body of fashion has made it possible for both women and men to reconstruct themselves by a variety of means, resisting the body's unruly nature in order to achieve a firm, toned physique that conforms to sexual stereotypes and concepts of beauty. While women in earlier centuries relied mainly on dieting and corsetry to achieve the perfect shape, today's alternatives include muscular development through weight-lifting, strenuous exercise, and perpetual dieting. Cosmetic surgery has become an accepted method of transforming the body's natural shape. Many contemporary men rely on strenuous weight training, other forms of exercise, dieting, and cosmetic surgery to achieve bodies that conform to social ideals of masculine appearance. Although fashion magazines typically promote weight loss and body conditioning to reinforce the...
Clothing styles geared to young men also became more distinctive. From the 1890s sportswear became popular for casual attire. Shirt styles previously worn for sports replaced more formal garb as a new, leisure-oriented aesthetic surfaced within young men's fashion. Indicative was the appearance of the Arrow Man, who became a fixture of advertisements for Arrow shirts from 1905 onward. A model of well-groomed and chisel-jawed masculinity, the Arrow Man was a youthful and stylish masculine archetype whose virile muscularity guaranteed a fashion-ability untainted by suspicions of effeminacy. With the expansion of American colleges and universities during the 1920s, an identifiable collegiate or Ivy League style of dress also took shape. Clothing firms such as Campus Leisure-wear (founded in 1922), together with the movie, magazine, and advertising industries, gave coherence to this smart-but-casual combination of button-down shirts, chino slacks, letter sweaters, cardigans, and loafers.
During the early twentieth century, department stores began to cater to men with dedicated departments. In 1936 Simpson Piccadilly opened in London's West End, claiming to be the first department store entirely for men. The lower ground floor alone was designed to house a barber's shop, soda fountain, gun shop, shoe shop, chemists, florist, fishing shop, wine and spirit shop, luggage shop, snack bar, dog shop, sports shop, cigar and tobacconists, gift shop, saddlery shop, theater agent, and travel agent. During the opening months the aviation department even exhibited full-sized airplanes. The opening of the store coincided with new ideas about masculinity, which allowed for the adoption of shopping methods previously labeled feminine. The Lady (7 May 1936) commented on this, It is amusing to find that the man's shop is designed and set out with all the allure of one devoted to women's luxuries. Shopkeepers, evidently, do not share that masculine theory that a man always knows just...
Prehistoric art has shown that piercing body parts occurred long before recorded civilization. The pharaohs of ancient Egypt often pierced their navels, and Roman soldiers were known to prove their masculinity and bravery by piercing their nipples. Among African and Native American peoples, ritual piercings were often part of religious or coming-of-age ceremonies. Enduring painful piercings has been a proof of courage and a symbol of identity in many cultures.
The pourpoint was designed to make the wearer comfortable beneath his armor, but it was when the knight took off his armor that the pourpoint made a fashion statement. Like several other forms of medieval clothing, the pourpoint was tailored close to the torso. The hose that knights wore on their legs had ties that secured directly to anchors on the pourpoint, called points. The unarmed knight in snug-fitting hose and pourpoint became one of the first images of strength and masculinity to influence fashion, for this image was widely copied in paintings and tapestries of the day.
Ten years on, the expansion of post-colonial studies and the examination of masculinity and sexuality might broaden her list, but it stands as an indication of the potential held in clothing for a design historical and broadly cultural approach. It is surprising then, that despite its fitness for the field, the study of dress and fashion still remains marginal to wider design historical concerns. This perhaps reflects the discipline's roots in industrial and architectural design practice, with their modernist sympathies. A theoretical and inspirational aid to students of industrial and graphic design, design history as originally taught in art and design colleges tended to prioritize production in the professional masculine sphere, re-enforcing notions of a subordinate feminine area of interest, into which fashion has generally been relegated. The relatively late establishment of fashion-design courses in
A majority of Victorian society was highly critical of the innovative style of dress. Since trousers were considered to be a traditional symbol of masculinity, female devotees of Bloomerism were subject to ridicule and abuse. For example, satirical caricatures of Bloomers appeared in magazines such as Punch. As a consequence, most abandoned the costume after only a few months.
Even in his forties Jean-Paul Gaultier was described as an enfant terrible, a moniker he earned when his began his fashion career in the 1970s. As a designer he embraced an unconventional sense of gender and sensuality. He revised the feminine ideal to include the qualities of strength, power, and authority. To the stereotype of masculinity he added the ideas of sensuality, femininity, and narcissism. This gender redefinition in his designs has become the most enduring characteristic of his work.
Until the 1990s, the study of dress and fashion in Australia was marked by limited scholarship, one reason being the cultural disparagement of a practice traditionally associated with women's interests. Harsh environmental conditions in rural areas, especially dominated by men, meant fashionable dress was often given a low priority. Australian men have historically prided themselves on a lack of attention to the finer details of appearance, regarding this as incompatible with masculinity. While this conservatism shifted markedly with the expansion of urban living, and an increasingly materialistic social outlook after the 1980s, disparagement of clothing seems to have flowed on to a general unease about the subject of fashion itself. With some notable exceptions, such as the Powerhouse Museum in Sydney, museums and art galleries have shown little sustained interested in collecting Australian dress, especially everyday clothing. The collecting of penal clothing is one exception. All of...
In the sixteenth and seventeenth centuries, tailors were responsible for making a variety of outer garments including capes, cloaks, coats, doublets, and breeches. They gave shape to them by using coarse, stiff linen and canvas for interlining, horsehair cloth and even cardboard stiffened with whalebone for structural elements. Imperfect or asymmetrical body shapes could be evened out with wool or cotton padding. Luxury garments were often lined with satins or furs to keep their wearers warm. Tailors were the structural engineers for women's fashions and made whalebone stays or corsets until the nineteenth century. Women largely made relatively unshaped undergarments and shirts for men, women, and children. The nineteenth-century tailor added trousers, fancy waistcoats, and sporting clothing of all sorts to his repertoire. The tailor was particularly adept at working woolen fabrics, which he shaped and sculpted using steam and heavy irons. Menswear had long used wool as a staple...
Official Download Link Core: How To Connect With Your Masculine Energy
Free versions of Core: How To Connect With Your Masculine Energy can not be found anywhere on the net.