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New and Improved! Cropped! Toned! My first-ever attempt at time-lapse video (well, video of any kind, really) -- a sunrise sequence from the Great Valley overlook on the Blue Ridge Parkway in Virginia. The area shown is Bedford County, with the community of Montvale and a defunct gasoline tank farm in the middle right. The scene was largely blown out because I forgot to turn off +2.5 stops of exposure compensation. Some doctoring in iMovie has helped. ©2019 John M. Hudson | jmhudson1.com
Lewis Falls, of the Lewis River, that pours out of Lewis Lake, is named for Meriwether Lewis, of Lewis & Clark Fame. Very recentlly the Park Service wisely invested in major improvements to the viewing areas and added a short, safe trail to overlooks such as this one. As a result my estimation of this small beauty spot has also improved. Lovely fall colors certainly add to the appeal as well. As always, I recommend viewing full screen if you can.
Seneca Improved View 8x10, Kodak 8.5" Commercial Ektar f/6.3, New Guy negative collodion, tintype
f/16, 4 seconds
In contrast to other cars of the era, the chassis was hung beneath the axles, thus lowering the centre of gravity and thereby improving its roadholding and driveability. This is known as ‘underslung’ technology.
It makes the car itself, as well as its exterior, more sporty. However, this long-distance car is fitted with a rather conservative body. To accentuate the carriage design, the windows have been beautifully cut and the interior includes curtains.
As a marketing stunt, the first fifty cars produced by the Regal Motor Co. of Detroit were recalled in 1908, one year post production, to be swapped for the new model at no extra cost. Regal was a very successful marque and the firm established an excellent reputation during its short existence.
The endurance tests that the cars underwent resulted in much positive publicity. Lack of materials after the First World War caused the factory to close down in 1920.
Louwman Museum
Den Haag - The Hague
Nederland - Netherlands
March 2013
Mejorando
Improving
Junto con el trabajo de investigación para descubrir nuevas localizaciones existe, a mi entender, otra linea de trabajo fundamental a la hora de mejorar nuestro archivo fotográfico; conseguir fotografiar las localizaciones ya conocidas en las mejores condiciones de luz posibles. Este es el sentido de esta foto.
Por cierto, durante esta primavera se estas flores se estan convirtiendo en las más fotografiadas de todo Euskal Herria, pues aqui va mi aportación.
Along with the research to discover new locations there, in my opinion, another line of essential job in improving our photo archive, get photographed and known locations at its best possible light. This is the meaning of this photo.
Of course, for this spring these flowers are becoming the most photographed of all The Basque Country, for here is my contribution.
Canon 5D MarkII
Canon 17-40L @ 17
2.5-second exposure @F14
Singh-Ray reverse ND grad 0.9
LEE filter holder
ISO 100
Visita mi web www.cidreph.com/
Processed, improved version of a picture added in a blog comment
The original title was: "Probably swimming with some killer fish" 😄
[Sept 28, 2015]
The original can also be found somewhere along the list of Instagram pictures from Ikaria in my blog article: «Adventures, Fun & Attitude: Selected grams from Ikaria ♥ Part 2»
So goes the age old saying: Why on Earth doesn’t a Fashionista Barbie body get the same amount of motion as her Pivotal cousin, Fashion Royalty rivals or even Monster High despite having a similar system of joints? Well, turns out the only reason why this is so is because there’s WAY too much plastic around the joints. This gives a smoother appearance but it definitely affects the play value of the bodies to me.
I’ve been meaning to test this theory for awhile but in between lacking a good carving knife, moving, and having a lack of test bodies I haven’t been able to properly put to the test.
But then I picked up a Fashionista body from Savers today before crashing at my boyfriend’s house, with the intentions of painting it to match my Wicked Witch doll’s head. But I realised with the current Fashionista joints it would chip really badly, so I figured i put my theory of expanding her motion range AND limiting how much joint friction there would be for this test body.
So I asked my bf if he had any sharp knives I could whittle my doll body with and he whipped out this crazy sharp knife cuz he’s into that kind of hunting biz.
I first turned her upper arm elbow socket from a U shaped socket to a completely straight line so her arm could turn inwards at a 90 degree. I then carved a crescent moon shape on her forearm following her elbow joint so the arm could in deeper. I whittled her upper arms to taper to her lower arms to look nicer aesthetically but to also minimise the amount of plastic between the joint so she could get the maximum fold.
I then carved the plastic around her wrist to expose as much of the hand post as I could without exposing her wrist post so she could get at least a 90 degree bend.
I left the arm on (our) left untouched to show how limited the range of movement is in comparison to what I did to her right arm.
I was happy to have found a few of these secretive RED-BILLED PIGEON feeding on the lawn at Pico Bonito Resort in Honduras. I was never able to get close to these guys in the past until now.
An uncommon species in North America (code 2) a decent flight shot of this species is hard to come by.
(Click on image to view X-large size.)
Driving along to Arthurs Pass in the South Island of New Zealand and I saw this sight. Tourist vans were stopping but they were happy snapping. I parked found a way through a fence and walked 1 kilometre to get underneath this beautiful mountain.
I shot this using the Firecrest 16 Stop Filter on my nikon D810. Processed in PS CC with a look that reminds me of a golden era in landscape photography.
Brendan is a amateur photographer based in Sydney Australia who loves exploring and shooting sea/andscapes/nightscapes in different areas sometimes with good mates other times by himself to improve his skills. I'm always after followers so don't be afraid to follow me on my photographic adventures.
Recently I visited Tajikistan and Afghanistan for UNDP, capturing efforts on both sides of the border to enhance mutually improved living conditions.
Under the wing of Beyond Borders Media - www.beyondbordersmedia.com we produced a short video documentary on UNDPs efforts on both sides of the border.
This one is a single photo picked from the previous group of 5 enhanced and adjusted / straightened using Aurora HDR 2019
Please comment
Views while travelling down a very wet and overcast Doubtful Sound. It tends to be a very wet area. Doubtful Sound is a very large and naturally imposing fiord (despite its name) in Fiordland, in the far south west of New Zealand. Doubtful Sound was named 'Doubtful Harbour' in 1770 by Captain Cook, who did not enter the inlet as he was uncertain whether it was navigable under sail. It was later renamed Doubtful Sound by whalers and sealers, although it is not technically a sound but a fiord.
Improved version of hydrangea box with ribbon going around.
Model combines several ideas together: traditional masu, hydrangea by Shuzo Fujimoto (on top of the box) and color change idea for boxes by Endre Somos. Some people asked me in last months about this box, last time yesterday, and that's the reason why I was playing with it today. I think I found elegant solution for proportions and I am quite happy how the bottom of the box is fixed with square pattern. I made also bigger version, this tiny one is from 15 cm of bicolor kraft paper (of german origin).
© All of my photographs are Copyrighted and All Rights Reserved. They may not be used or reproduced in any way without my explicit written permission.
Feel free to state your opinion about the image.
Help me improve my skills and knowledge,
Thank you for viewing and commenting!
Seneca Improved View 5x7 with 4x5 reducing back, Osaka Wide Field 120mm f/6.3, New Guy collodion (2 days old), Dark Green Glass Ambrotype
f/11, 10 seconds
Used modified Coffer developer with 20% less ferrous sulfate and 20% more alcohol.
So mad at myself for nicking that top piece of collodion off. The plate was thicker than normal glass. Really had to force the rear darkslide closed. It also interfered with sitting nicely in the wet/dry rack; which is how the nick happened.
(March 2018: Improved image captured at Madagascar )
The African palm swift is very similar to the Asian palm swift, and was formerly considered to be the same species. (Wikipedia)
I did it again, and it's nearer to how I wanted it to look. I think I need to go and buy a cauliflower really.
Here is an upgraded version of the Emerald Night locomotive. Originally I set about to shove two L-Motors inside of the boiler, similar to the other Emerald Night-style locomotives that I have done. I found, however, that due to the shorter boiler of the Emerald Night that routing the wires from the front lights would be an issue, so I downgraded the motors to two M-Motors. The other tender that I designed was built in 7-wide and housed the AA Battery Box, but the tender looked to bland and square. The solution was to take the tender from the Emerald Northern and change it to dark green. Overall I like the new appearance.
Improved joints fixation. And the second version of the tip of the tail is now almost straight, so that the mood is different from the curled tail.
The Mercedes W121 190 was an improved version of the W120 Typ 180, which was introduced in Summer 1953. Thie series was nick-named 'Ponton' because of its body styling.
This W120/W121 was designed by a team which was headed by Fritz Nallinger (D. 1898-1984). Other participants were Karl Wilfert (A., 1907-1976) and safety engineer Béla Barényi (A., 1907-1997).
This Ponton series was the first post-war body-on-frame production car from Mercedes. This monocoque principle was new for the car builder from Stuttgart.
Triangular ventilation windows in the front door were introduced in April 1958.
1897 cc L4 engine.
C. 1240 kg.
Production Mercedes-Benz W120/W121 Ponton series: Sept. 1953-Oct. 1962
Production M-B W121 Typ 190/190b: March 1956-Aug. 1961.
Production M-B W121 this Typ 190 version: March 1956-Aug. 1959.
Without reg. number.
Seen in the Norwegian Museum of Science and Technology.
Donated by Olav Jan Hellesøe.
See also: www.tekniskmuseum.no/
Number seen: 1.
Oslo-Kjelsås, Kjelsåsveien, Aug. 17, 2024.
© 2024 Sander Toonen Halfweg | All Rights Reserved
An improved version of my original Courser.
One of the largest and most powerful auto trucks of the Northern Border Conflict, shown here in a desert paint scheme. Its layout involved the driver’s cab positioned above the enormous engine, which was situated between the cargo area and the large rear wheel. In addition to supply transport, it was commonly used as an infantry troop carrier or unarmored gun platform.
Play Features:
-Twin steering in frontal axles
-Pistons pump when rear wheel turns
-Rear wheel shock absorbers
-Hinged cab roof
-Pivoting embarkation ladders
-Hinged engine heads
-Hinged engine access panels
-Bonnet reveals motor details
Improved Seneca View Camera (1906), Carl Zeiss f4.5 210mm, DRP, Tessar (1914), Thornton Pickard wooden shutter (1905), 5x7, Fomapan 200 film, D-76
Improving it's fleet as they find new buses to replace old ones. 14 was also originally a dart, but problems with that one as well lead to Hulleys to stop buying darts and to buy other buses. This being ex First Greater Manchester, later with Go North West as 66911. One of 2 ex FGM eclipses they have in their strong 25 fleet.
no. MX55 FFZ
Captured this scene on a rainy day at Crystal Paradise Lodge near the town of San Ignacio, Belize yesterday...The rain seemed to have followed me from Hainan (China) to Belize.
Improved version featuring a more prototypical radiator grille and more prominently sculpted hood and trunk lid.
From Wikipedia, the free encyclopedia
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Androgyny is the combination of masculine and feminine characteristics into an ambiguous form. Androgyny may be expressed with regard to biological sex, gender identity, gender expression, or sexual identity.
When androgyny refers to mixed biological sex characteristics in humans, it often refers to intersex people. As a gender identity, androgynous individuals may refer to themselves as non-binary, genderqueer, or gender neutral. As a form of gender expression, androgyny can be achieved through personal grooming or fashion. Androgynous gender expression has waxed and waned in popularity in different cultures and throughout history.
Contents
1Etymology
2History
3Symbols and iconography
4Biological
5Psychological
5.1Bem Sex-Role Inventory
5.2Personal Attribues Questionnaire
6Gender identity
7Gender expression
7.1Androgyny in fashion
8Alternatives
9Contemporary trends
10See also
11References
12External links
Etymology[edit]
Androgyny as a noun came into use c. 1850, nominalizing the adjective androgynous. The adjective use dates from the early 17th century and is itself derived from the older French (14th Century) and English (c. 1550) term androgyne. The terms are ultimately derived from Ancient Greek: ἀνδρόγυνος, from ἀνήρ, stem ἀνδρ- (anér, andr-, meaning man) and γυνή (gunē, gyné, meaning woman) through the Latin: androgynus,[1] The older word form androgyne is still in use as a noun with an overlapping set of meanings.
History[edit]
See also: Sexuality in ancient Rome § Hermaphroditism and androgyny
Androgyny among humans – expressed in terms of biological sex characteristics, gender identity, or gender expression – is attested to from earliest history and across world cultures. In ancient Sumer, androgynous and hermaphroditic men were heavily involved in the cult of Inanna.[2]:157–158 A set of priests known as gala worked in Inanna's temples, where they performed elegies and lamentations.[2]:285 Gala took female names, spoke in the eme-sal dialect, which was traditionally reserved for women, and appear to have engaged in homosexual intercourse.[3] In later Mesopotamian cultures, kurgarrū and assinnu were servants of the goddess Ishtar (Inanna's East Semitic equivalent), who dressed in female clothing and performed war dances in Ishtar's temples.[3] Several Akkadian proverbs seem to suggest that they may have also engaged in homosexual intercourse.[3] Gwendolyn Leick, an anthropologist known for her writings on Mesopotamia, has compared these individuals to the contemporary Indian hijra.[2]:158–163 In one Akkadian hymn, Ishtar is described as transforming men into women.[3]
The ancient Greek myth of Hermaphroditus and Salmacis, two divinities who fused into a single immortal – provided a frame of reference used in Western culture for centuries. Androgyny and homosexuality are seen in Plato's Symposium in a myth that Aristophanes tells the audience.[4] People used to be spherical creatures, with two bodies attached back to back who cartwheeled around. There were three sexes: the male-male people who descended from the sun, the female-female people who descended from the earth, and the male-female people who came from the moon. This last pairing represented the androgynous couple. These sphere people tried to take over the gods and failed. Zeus then decided to cut them in half and had Apollo repair the resulting cut surfaces, leaving the navel as a reminder to not defy the gods again. If they did, he would cleave them in two again to hop around on one leg. Plato states in this work that homosexuality is not shameful. This is one of the earlier written references to androgyny. Other early references to androgyny include astronomy, where androgyn was a name given to planets that were sometimes warm and sometimes cold.[5]
Philosophers such as Philo of Alexandria, and early Christian leaders such as Origen and Gregory of Nyssa, continued to promote the idea of androgyny as humans' original and perfect state during late antiquity.”[6] In medieval Europe, the concept of androgyny played an important role in both Christian theological debate and Alchemical theory. Influential Theologians such as John of Damascus and John Scotus Eriugena continued to promote the pre-fall androgyny proposed by the early Church Fathers, while other clergy expounded and debated the proper view and treatment of contemporary “hermaphrodites.”[6]
Western esotericism’s embrace of androgyny continued into the modern period. A 1550 anthology of Alchemical thought, De Alchemia, included the influential Rosary of the Philosophers, which depicts the sacred marriage of the masculine principle (Sol) with the feminine principle (Luna) producing the "Divine Androgyne," a representation of Alchemical Hermetic beliefs in dualism, transformation, and the transcendental perfection of the union of opposites.[7] The symbolism and meaning of androgyny was a central preoccupation of the German mystic Jakob Böhme and the Swedish philosopher Emanuel Swedenborg. The philosophical concept of the “Universal Androgyne” (or “Universal Hermaphrodite”) – a perfect merging of the sexes that predated the current corrupted world and/or was the utopia of the next – also plays a central role in Rosicrucian doctrine[8][9] and in philosophical traditions such as Swedenborgianism and Theosophy. Twentieth century architect Claude Fayette Bragdon expressed the concept mathematically as a magic square, using it as building block in many of his most noted buildings.[10]
Symbols and iconography[edit]
The Caduceus
In the ancient and medieval worlds, androgynous people and/or hermaphrodites were represented in art by the caduceus, a wand of transformative power in ancient Greco-Roman mythology. The caduceus was created by Tiresias and represents his transformation into a woman by Juno in punishment for striking at mating snakes. The caduceus was later carried by Hermes/Mercury and was the basis for the astronomical symbol for the planet Mercury and the botanical sign for hermaphrodite. That sign is now sometimes used for transgender people.
Another common androgyny icon in the medieval and early modern period was the Rebis, a conjoined male and female figure, often with solar and lunar motifs. Still another symbol was what is today called sun cross, which united the cross (or saltire) symbol for male with the circle for female.[11] This sign is now the astronomical symbol for the planet Earth.[12]
Mercury symbol derived from the Caduceus
A Rebis from 1617
"Rose and Cross" Androgyne symbol
Alternate "rose and cross" version
Biological[edit]
See also: Sex differences in humans
Historically, the word androgynous was applied to humans with a mixture of male and female sex characteristics, and was sometimes used synonymously with the term hermaphrodite.[13] In some disciplines, such as botany, androgynous and hermaphroditic are still used interchangeably.
When androgyny is used to refer to physical traits, it often refers to a person whose biological sex is difficult to discern at a glance because of their mixture of male and female characteristics. Because androgyny encompasses additional meanings related to gender identity and gender expression that are distinct from biological sex, today the word androgynous is rarely used to formally describe mixed biological sex characteristics in humans. [14] In modern English, the word intersex is used to more precisely describe individuals with mixed or ambiguous sex characteristics. However, both intersex and non-intersex people can exhibit a mixture of male and female sex traits such as hormone levels, type of internal and external genitalia, and the appearance of secondary sex characteristics.
Psychological[edit]
Though definitions of androgyny vary throughout the scientific community, it is generally supported that androgyny represents a blending of traits associated with both masculinity and femininity. In psychological study, various measures have been used to characterize gender, such as the Bem Sex Role Inventory, the Personal Attributes Questionnaire.[15]
Broadly speaking, masculine traits are categorized as agentic and instrumental, dealing with assertiveness and analytical skill. Feminine traits are categorized as communal and expressive, dealing with empathy and subjectivity.[16] Androgynous individuals exhibit behavior that extends beyond what is normally associated with their given sex.[17] Due to the possession of both masculine and feminine characteristics, androgynous individuals have access to a wider array of psychological competencies in regards to emotional regulation, communication styles, and situational adaptability. Androgynous individuals have also been associated with higher levels of creativity and mental health.[18][19]
Bem Sex-Role Inventory[edit]
The Bem Sex-Role Inventory (BSRI) was constructed by the early leading proponent of androgyny, Sandra Bem (1977).[20][better source needed] The BSRI is one of the most widely used gender measures. Based on an individual's responses to the items in the BSRI, they are classified as having one of four gender role orientations: masculine, feminine, androgynous, or undifferentiated. Bem understood that both masculine and feminine characteristics could be expressed by anyone and it would determine those gender role orientations.[21]
An androgynous person is an individual who has a high degree of both feminine (expressive) and masculine (instrumental) traits. A feminine individual is ranked high on feminine (expressive) traits and ranked low on masculine (instrumental) traits. A masculine individual is ranked high on instrumental traits and ranked low on expressive traits. An undifferentiated person is low on both feminine and masculine traits.[20]
According to Sandra Bem, androgynous individuals are more flexible and more mentally healthy than either masculine or feminine individuals; undifferentiated individuals are less competent.[20] More recent research has debunked this idea, at least to some extent, and Bem herself has found weaknesses in her original pioneering work. Now she prefers to work with gender schema theory.
One study found that masculine and androgynous individuals had higher expectations for being able to control the outcomes of their academic efforts than feminine or undifferentiated individuals.[22]
Personal Attribues Questionnaire[edit]
The Personal Attributes Questionnaire (PAQ) was developed in the 70s by Janet Spence, Robert Helmreich, and Joy Stapp. This test asked subjects to complete to a survey consisting of three sets of scales relating to masculinity, femininity, and masculinity-femininity. These scales had sets of adjectives commonly associated with males, females, and both. These descriptors were chosen based on typical characteristics as rated by a population of undergrad students. Similar to the BSRI, the PAQ labeled androgynous individuals as people who ranked highly in both the areas of masculinity and femininity. However, Spence and Helmreich considered androgyny to be a descriptor of high levels of masculinity and femininity as opposed to a category in and of itself.[15]
Gender identity[edit]
An individual's gender identity, a personal sense of one's own gender, may be described as androgynous if they feel that they have both masculine and feminine aspects. The word androgyne can refer to a person who does not fit neatly into one of the typical masculine or feminine gender roles of their society, or to a person whose gender is a mixture of male and female, not necessarily half-and-half. Many androgynous individuals identify as being mentally or emotionally both masculine and feminine. They may also identify as "gender-neutral", "genderqueer", or "non-binary".[23] A person who is androgynous may engage freely in what is seen as masculine or feminine behaviors as well as tasks. They have a balanced identity that includes the virtues of both men and women and may disassociate the task with what gender they may be socially or physically assigned to.[24] People who are androgynous disregard what traits are culturally constructed specifically for males and females within a specific society, and rather focus on what behavior is most effective within the situational circumstance.[24]
Many non-western cultures recognize additional androgynous gender identities. Jewish culture recognizes the Tumtum and Androgynos genders. In Chinese culture exists the Yinyang ren gender. The Bugis of Indonesia recognize five genders, Bissu representing the androgynous category. In Hawaiian culture, the third gender Māhū is recognized. In Oaxacan Zapotec culture, the Muxe are recognized as a third gender. In India, the Hijra is the third androgynous gender. Samoans accept Fa’afafine as a third gender. Native American culture includes Two Spirit as a general third gender.
Gender expression[edit]
Gender expression, which includes a mixture of masculine and feminine characteristics, can be described as androgynous. The categories of masculine and feminine in gender expression are socially constructed, and rely on shared conceptions of clothing, behavior, communication style, and other aspects of presentation. In some cultures, androgynous gender expression has been celebrated, while in others, androgynous expression has been limited or suppressed. To say that a culture or relationship is androgynous is to say that it lacks rigid gender roles, or has blurred lines between gender roles.
The word genderqueer is often used by androgynous individuals to refer to themselves, but the terms genderqueer and androgynous are neither equivalent nor interchangeable.[25] Genderqueer is not specific to androgynes, and does not denote gender identity. It may refer to any person, cisgender or transgender, whose behavior falls outside conventional gender norms. Furthermore, genderqueer, by virtue of its ties with queer culture, carries sociopolitical connotations that androgyny does not carry. For these reasons, some androgynes may find the label genderqueer inaccurate, inapplicable, or offensive. Androgneity is considered by some to be a viable alternative to androgyn for differentiating internal (psychological) factors from external (visual) factors.[26]
Terms such as bisexual, heterosexual, and homosexual have less meaning for androgynous individuals who do not identify as men or women to begin with. Infrequently the words gynephilia and androphilia are used, and some describe themselves as androsexual. These words refer to the gender of the person someone is attracted to, but do not imply any particular gender on the part of the person who is feeling the attraction.[citation needed]
Louise Brooks exemplified the flapper. Flappers challenged traditional gender roles, had boyish hair cuts and androgynous figures.[27]
Androgyny in fashion[edit]
Throughout most of twentieth century Western history, social rules have restricted people's dress according to gender. Trousers were traditionally a male form of dress, frowned upon for women.[28] However, during the 1800s, female spies were introduced and Vivandières wore a certain uniform with a dress over trousers. Women activists during that time would also decide to wear trousers, for example Luisa Capetillo, a women's rights activist and the first woman in Puerto Rico to wear trousers in public.[29]
Coco Chanel wearing a sailor's jersey and trousers. 1928
In the 1900s, starting around World War I traditional gender roles blurred and fashion pioneers such as Paul Poiret and Coco Chanel introduced trousers to women's fashion. The "flapper style" for women of this era included trousers and a chic bob, which gave women an androgynous look.[30] Coco Chanel, who had a love for wearing trousers herself, created trouser designs for women such as beach pajamas and horse-riding attire.[28] During the 1930s, glamorous actresses such as Marlene Dietrich fascinated and shocked many with their strong desire to wear trousers and adopt the androgynous style. Dietrich is remembered as one of the first actresses to wear trousers in a premiere.[31]
Yves Saint Laurent, the tuxedo suit "Le Smoking", created in 1966
Throughout the 1960s and 1970s, the women's liberation movement is likely to have contributed to ideas and influenced fashion designers, such as Yves Saint Laurent.[32] Yves Saint Laurent designed the Le Smoking suit and first introduced in 1966, and Helmut Newton’s erotized androgynous photographs of it made Le Smoking iconic and classic.[33] The Le Smoking tuxedo was a controversial statement of femininity and has revolutionized trousers.
Elvis Presley, however is considered to be the one who introduced the androgynous style in rock'n'roll and made it the standard template for rock'n'roll front-men since the 1950s.[34] His pretty face and use of eye makeup often made people think he was a rather "effeminate guy",[35] but Elvis Presley was considered as the prototype for the looks of rock'n'roll.[34] The Rolling Stones, says Mick Jagger became androgynous "straightaway unconsciously" because of him.[35]
However, the upsurge of androgynous dressing for men really began after during the 1960s and 1970s. When the Rolling Stones played London's Hyde Park in 1969, Mick Jagger wore a white "man's dress" designed by British designer Mr Fish.[36] Mr Fish, also known as Michael Fish, was the most fashionable shirt-maker in London, the inventor of the Kipper tie, and a principal taste-maker of the Peacock revolution in men's fashion.[37] His creation for Mick Jagger was considered to be the epitome of the swinging 60s.[38] From then on, the androgynous style was being adopted by many celebrities.
Annie Lennox was known for her androgyny in the 1980s
During the 1970s, Jimi Hendrix was wearing high heels and blouses quite often, and David Bowie presented his alter ego Ziggy Stardust, a character that was a symbol of sexual ambiguity when he launched the album The Rise and Fall of Ziggy Stardust and Spiders from Mars.[39] This was when androgyny entered the mainstream in the 1970s and had a big influence in pop culture. Another significant influence during this time included John Travolta, one of the androgynous male heroes of the post-counter-culture disco era in the 1970s, who starred in Grease and Saturday Night Fever.[40]
Continuing into the 1980s, the rise of avant-garde fashion designers like Yohji Yamamoto,[41] challenged the social constructs around gender. They reinvigorated androgyny in fashion, addressing gender issues. This was also reflected within pop culture icons during the 1980s, such as David Bowie and Annie Lennox.[42]
Power dressing for women became even more prominent within the 1980s which was previously only something done by men in order to look structured and powerful. However, during the 1980s this began to take a turn as women were entering jobs with equal roles to the men. In the article “The Menswear Phenomenon” by Kathleen Beckett written for Vogue in 1984 the concept of power dressing is explored as women entered these jobs they had no choice but to tailor their wardrobes accordingly, eventually leading the ascension of power dressing as a popular style for women.[43] Women begin to find through fashion they can incite men to pay more attention to the seduction of their mental prowess rather, than the physical attraction of their appearance. This influence in the fashion world quickly makes its way to the world of film, with movies like "Working Girl" using power dressing women as their main subject matter.
Androgynous fashion made its most powerful in the 1980s debut through the work of Yohji Yamamoto and Rei Kawakubo, who brought in a distinct Japanese style that adopted distinctively gender ambiguous theme. These two designers consider themselves to very much a part of the avant-garde, reinvigorating Japanism.[44] Following a more anti-fashion approach and deconstructing garments, in order to move away from the more mundane aspects of current Western fashion. This would end up leading a change in Western fashion in the 1980s that would lead on for more gender friendly garment construction. This is because designers like Yamamoto believe that the idea of androgyny should be celebrated, as it is an unbiased way for an individual to identify with one's self and that fashion is purely a catalyst for this.[citation needed]
Also during the 1980s, Grace Jones's a famous singer and fashion model gender-thwarted appearance in the 1980s which startled the public, but her androgynous style of heavily derivative of power dressing and eccentric personality has inspired many, and has become an androgynous style icon for modern celebrities.[45] This was seen as controversial but from then on, there was a rise of unisex designers later in the 1990s and the androgynous style was widely adopted by many.
In 2016, Louis Vuitton revealed that Jaden Smith would star in their womenswear campaign. Because of events like this, gender fluidity in fashion is being vigorously discussed in the media, with the concept being articulated by Lady Gaga, Ruby Rose, and in Tom Hooper's film The Danish Girl. Jaden Smith and other young individuals, such as Lily-Rose Depp, have inspired the movement with his appeal for clothes to be non-gender specific, meaning that men can wear skirts and women can wear boxer shorts if they so wish.[46]
Alternatives[edit]
[icon]
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An alternative to androgyny is gender-role transcendence: the view that individual competence should be conceptualized on a personal basis rather than on the basis of masculinity, femininity, or androgyny.[47]
In agenderism, the division of people into women and men (in the psychical sense), is considered erroneous and artificial.[48] Agendered individuals are those who reject genderic labeling in conception of self-identity and other matters.[49] [50][51][52] They see their subjectivity through the term person instead of woman or man.[49]:p.16 According to E. O. Wright, genderless people can have traits, behaviors and dispositions that correspond to what is currently viewed as feminine and masculine, and the mix of these would vary across persons. Nevertheless, it doesn't suggest that everyone would be androgynous in their identities and practices in the absence of gendered relations. What disappears in the idea of genderlessness is any expectation that some characteristics and dispositions are strictly attributed to a person of any biological sex.[53]
Contemporary trends[edit]
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Jennifer Miller, bearded woman
X Japan founder Yoshiki is often labelled androgynous, known for having worn lace dresses and acting effeminate during performances[54]
South Korean pop star G-Dragon is often noted for his androgynous looks[55][56]
Androgyny has been gaining more prominence in popular culture in the early 21st century.[57] Both fashion industries[58] and pop culture have accepted and even popularised the "androgynous" look, with several current celebrities being hailed as creative trendsetters.
The rise of the metrosexual in the first decade of the 2000s has also been described as a related phenomenon associated with this trend. Traditional gender stereotypes have been challenged and reset in recent years dating back to the 1960s, the hippie movement and flower power. Artists in film such as Leonardo DiCaprio sported the "skinny" look in the 1990s, a departure from traditional masculinity which resulted in a fad known as "Leo Mania".[59] This trend came long after musical superstars such as David Bowie, Boy George, Prince, Pete Burns and Annie Lennox challenged the norms in the 1970s and had elaborate cross gender wardrobes by the 1980s.[citation needed] Musical stars such as Brett Anderson of the British band Suede, Marilyn Manson and the band Placebo have used clothing and makeup to create an androgyny culture throughout the 1990s and the first decade of the 2000s.[60]
While the 1990s unrolled and fashion developed an affinity for unisex clothes there was a rise of designers who favored that look, like Helmut Lang, Giorgio Armani and Pierre Cardin, the trends in fashion hit the public mainstream in the 2000s (decade) that featured men sporting different hair styles: longer hair, hairdyes, hair highlights.[citation needed] Men in catalogues started wearing jewellery, make up, visual kei, designer stubble. These styles have become a significant mainstream trend of the 21st century, both in the western world and in Asia.[61] Japanese and Korean cultures have featured the androgynous look as a positive attribute in society, as depicted in both K-pop, J-pop,[62] in anime and manga,[63] as well as the fashion industry.[64]
See also[edit]
List of androgynous people
Bigender
Epicenity
Futanari
Gender bender
Gender dysphoria
Gender neutrality
Gonochorism
Gynandromorph
Gynomorph
Hermaphrodite
List of transgender-related topics
Non-binary gender
Pangender
Postgenderism
Sexual Orientation Hypothesis
Third gender
Transsexualism
Trigender
True hermaphroditism
References[edit]
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External links[edit]
Look up androgyny in Wiktionary, the free dictionary.
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Androgyny: study and collection of articles
Androgyne Online
Sandra Bem and androgyny
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