Dress, Appearance, and Diversity in US Part II Dress and Marginalized Communities Chapter 9 Sexuality

. SEXUALITY Module Learning Objectives ( In this chapter , you will Identify foundational concepts related to sexuality , fashion , identity , appearance , and dress . Identify different types of dress worn by queer communities in the United States to express their sexual identities . Identify queer experiences in the United States wearing different dress object reflecting their queer identities . Identify different fashion brands that produce and sell dress objects for the queer community in the United States to affirm their sexual identities . Explain the role of dress and appearance in the development of one queer identity in the United States . Examine how dress and appearance of queer communities in the United States are represented in the fashion system ( by advertisements or retailers ) Examine social justice issues related to dress and appearance of the queer community in the United States . Deconstruct your own perspectives and approach to understanding the dress and appearance of the queer community in the United States . Identify the driving forces of transformative social justice change in the fashion system related to queer identities in the United States . In this chapter , we explore the scholarship examining the intersections of the queer community , identity negotiations , and dress . However , doing so is tricky because significant nuance lies in identity , and the scholarship is not necessarily provided in clear categories , given identity fluidity and complexity . Therefore , while the work is presented under the stable headings outlined below , when tensions arise in the literature , they are noted . The plethora of work on these topics dissolves the idea that there is one monolithic aesthetic or style for different queer identities .

SEXUALITY I 78 The Center for Educational Justice Community Engagement Definition of Terms is a great resource to help you understand some of the concepts that intersect with lesbian , gay , bisexual , queer , and other sexual minorities . Gender Identity Although the two concepts interact in many ways , gender identity is distinct from sexual orientation . just like not all people are straight , not all transgender people are gay or lesbian . Heterosexuality is the romantic attraction , sexual attraction , or sexual behavior between persons of the opposite sex or gender . Even though transgender people identify with the queer community , they can still be heterosexual . For example , a transgender woman and a male in a relationship are a heterosexual couple . I either , I would say queer or bisexual depending on who asks . I like queer better , I like the vagueness and implications but bisexual is a word people know . attracted to people of all genders . There are many ways to identify in the queer community , and individuals often use various terms or switch among them . Queer sexual spectrum On the queer spectrum , these questions may not align with a singular sexual identity Sexual identity Who am I ?

Sexual orientation How am I attracted ?

Sexual behavior How do I engage sexually ?

An interactive element has been excluded from this version of the text . You can view it online here 79 I SEXUALITY Sexuality and Signifiers Many overt symbols of sexuality are used in the community . Often , sexuality can overtly influence appearance or dress , though this is not always the case . For all individuals in the queer community , a common theme throughout history has been the pushing boundaries . The signs and symbols of sexuality for queer individuals change and shift over time . Gaining Momentum Stonewall The Stonewall Riots , in 1969 , marked a period of great movement toward equality for the community . Read what the Stonewall Riots were here History of the Stonewall Riots ( editors ) Following these riots and the formation of numerous groups such as the Gay Liberation Front , slogan badges and became an important signifier of support or pride . Today , these items continue to act as signifiers of belonging in the queer community . a Image Source Barnes , BY SA

SEXUALITY I 80 Germany Overt signifiers of identities have sometimes been forced on members of the community . Gay men in Nazi concentration camps were forced to wear uniforms bearing pink triangles as designations of homosexuality . Similarly , women who did not conform to social roles , often believed to be lesbians , had to wear black triangles . Prisoners in the concentration camp at , Germany , 1938 . Today , triangles are sometimes incorporated into clothing and accessories as symbols of freedom rather than symbols of oppression . This is an example of reclamation , wherein a member ofa community who is harmed by a term , phrase , or symbol might choose to use that signifier in a positive way to challenge the stereotypes surrounding it .

81 I SEXUALITY QUEER LIBERATION MARCH A This logo was used to promote the 2019 Queer Liberation March in New York City . Image Source Reclaim Pride Coalition Review the Stigma and Identity section in chapter for more information about how members of a stigmatized community can reclaim or refute negative stereotypes . Distinctions between Drag and Within discussions about the community , newcomers often conflate the terms drag and dressing . However , there are some important differences between the two terms . Drag Drag refers to the conscious performance of femininity or masculinity , sometimes in an exaggerated manner , usually in a show or theater setting . When individuals perform femininity , they are referred to as queens , and when they perform masculinity in the same way , they are referred to as kings . Watch this short film to learn about drag and terms related to it One or more interactive elements has been excluded from this version of the text . You can view them here . In contrast to drag queens and kings , wear clothes , makeup , and other forms of dress that are

SEXUALITY I 82 considered by their culture to be appropriate for a gender not their own . While people generally wear drag for entertainment purposes , they for personal reasons . The term falls under the umbrella term transgender , though not all consider themselves trans . Not everyone who might engage in drag or considers themselves part of the community . Lesbian Identities and Dress In a survey of mainstream popular press articles in the United States from to the , publications featured mostly White , thin , feminine lesbian aesthetics and styles ( Jones , 2020 ) These mainstream representations lacked the nuance , tension ( Kaiser , 2012 ) and variety of styles that identifying women have embraced over time . Many of these styles are intricately related to gender negotiations however , lesbian styles expand beyond the stereotypical notions of butch and femme often perpetuated in media . Early documented evidence of women styles in relationships dates to the eighteenth century . Butler and Sarah , two aristocrats who were thought to have been in a love relationship , often adopted masculine styles of clothing more specifically , they routinely wore riding habits , considered a subversive act because women did not customarily don the outfits they wore for riding at that time ( Wilson , 2013 ) Anne Lister , a wealthy White woman from Yorkshire who died in the late nineteenth century , wrote in her diaries of her desires and relationships with other mannish women , and she also embraced an eccentric , masculine style ( Wilson , 2013 , 171 ) In the 1928 novel The Well of Loneliness , author Hall crafted a lesbian identity in a masculine aesthetic ( 2013 ) In the same decade , photographs Albert took of women at Le Monocle , a lesbian club in Paris , depicted women in the look , a fashionable women style in larger society ( Parsons , 2007 ) characterized by an absence of feminine curves and very short hairstyles ( Steele , 2013 , images also featured women in highly feminine styles and wearing dresses with silhouettes , longer hair , and makeup . Georges also took similar photographs . Photo from the Cleveland Museum of Art , taken by Georges at Le Monocle in 1932 . Currently under copyright and used here for educational purposes only .

83 SEXUALITY ( 1991 ) discussed lesbian dress aesthetics in the early part of the century and explored these recognizable masculine and feminine norms , frequently referred to as butch and femme , which she argued emerged in bar culture , where butch and femme lesbians congregated . Leslie popular 1993 novel Stone Butch Blues gave vivid of the and femmes . For example , Jess , the main character , related their experience when first entering a bar in Niagara Falls What I saw there released tears I held back for years strong , burly women wearing ties and suit coats . Their hair was slicked back . Theywere the handsomest women I ever seen . Some ofthem were wrapped in slow motion dances with women in tight dresses and high heels who touched them tenderly . Just watching made me ache with need ( 28 ) 1994 ) argued that lesbian communities have adopted styles and aesthetics that differ from those of mainstream society . One of the ways this has manifested is through embracing and negotiating a masculine aesthetic , sometimes referred to as butch . The butch , style is often recognizable within as well as outside of the lesbian community ( Tucker , 2002 Taylor , 2007 ) A butch aesthetic may include comfortable shoes , little or no makeup , tattoos and piercings , haircuts or hair colors , and garments or accessories ( Clarke Spence , 2013 Clarke Turner , 2007 , 1996 , 1994 , 2010 ) While different lesbian styles , including those that are part of the butch aesthetic , are often considered uniform , women adopt masculine styles in complex and varied ways ( 2004 , 2008 ) For example , in and ( 2020 ) research , participant White , her overall style was but said she felt like a delicate flower on the inside and preferred the phrase soft butch ( 125 ) In her 2019 work , Blake analyzed Black androgynous lesbians from North Carolina . Blake explained , I am hesitant to essentialize Black lesbian styles of dress . instead of naming these gender presentations Black lesbian style , I call these of Black lesbian androgyny Style because they than racial and class politics illuminated by their dress ( 11 )

SEXUALITY I 84 Screenshot from The Androgynous Model web series promo Blake ( 2019 ) outlined the ways these women embraced masculinity and the tensions surrounding their multiple , with emphasis on their Black identity . 201 ) work examined studs , or Black lesbians who embrace masculinity the studs she interviewed said they dressed similarly to their Black male peers , with baggy pants and shirts , hats , high top shoes , Timberland boots , and fairly ( 484 ) Steele drew connections between these women styles and protest masculinity ( 483 ) which and ( 2009 ) defined as the pattern of masculinity constructed in local settings , sometimes among ethnically marginalized men , which embodies the claim to power typical of regional hegemonic in Western countries , but which lacks the economic resources and institutional authority that underpins the regional and global patterns ( 848 ) One way protest masculinity surfaces is through a as the one these Black lesbian women embraced . In addition , much research has analyzed aesthetics , sometimes referred to as femme , femme , or lipstick lesbian styles or identities . lesbians may wear long hair , makeup , and clothing , such as dresses or high heels ( 1999 et , 2003 , 2004 , 2002 Tucker , 2002 ) Because of the association between femininity

85 I SEXUALITY and heterosexuality , lesbians are often misread as straight ( et , 2014 et , 2003 ) and can experience accusations of not being queer enough within the community ( Best , 2020 ) They may hide their lesbian identities until they are physically with their partners ( 2016 ) Watch this short film on femme identity and dress . a One or more interactive elements has been excluded from this version of the text . You can view them online here To view a transcript for the video above , download this file The Femme Struggle Transcript DOC While many folks adopt and embrace these stereotypical aesthetics that are thought to have developed out of the century , there have been significant critiques and rejections of these styles altogether . As social movements gained traction in the latter part ofthe century , some criticized these and leaning aesthetics for producing a heteronormative performance ( Walker , 1993 ) In et al . 1996 study , participants related that they did not want to limit themselves to one particular type of style . Additionally , and Kaiser ( 1999 ) theorized there was no single way to imagine beauty for lesbian women , and these negotiations are intertwined with ambivalence and tensions in everyday life . This notion is evident in a recent New York Times article titled Lesbians Invented Hipsters , in which Burton ( 2016 ) asserted , You all lesbians now , America . I sorry . But mostly for myself . Because it hard to tell who queer Watch this short film on the experiences with clothing and dress of queer women who live in the Midwest . One or more interactive elements has been excluded from this version of the text . You can view them online here ?

Watch this short research presentation about queer women identity and dress . a One or more interactive elements has been excluded from this version of the text . You can view them online here SEXUALITY I 86 Gay Identities and Dress Because of the stigmatization and of homosexual behavior in much of modern history , gay men have frequently adopted coded styles to display their gay identity . These symbols have included adorning one lapel with green carnations and wearing red neckties or suede shoes . This advertisement for the Arrow shirt collar by features a narrow red silk necktie , a signifier that likely went unnoticed by those who were looking out for it . From Derek Guy article co in How a fashion oes . As legal progress has been made and the social climate for the community has improved , the symbols shifted from knowledge among the few to commonplace , as in dress that now includes rainbow flags , the inverted pink triangle , or an earring worn in the right ear ( Cole , 2000 Reilly , 2010 ) During the early modern gay liberation movement , gay men were mostly divided into two ideologies regarding how to present themselves through dress embrace traditional masculine gender presentation or subvert it ( Edwards , 1994 ) Cole ( 2013 ) noted that the Gay Liberation Front employed aesthetics , combining stereotypical masculine and feminine clothes , makeup , and styling into one form to subvert Western binary gender expectations in Great Britain and the United States to combat , question , and highlight genders artificial nature . These two philosophies and embrace traditional Western gender presentation or to disrupt in contemporary forms of androgyny ( Barry Reilly , 2020 ) The conflict over how to present one self resulted in the butch shift , in which gay men developed dress styles based on masculine archetypes ( Humphries , 1985 ) such as leather men , bears , and Castro clones . Bears , noted for their hirsute , either muscular or and representations of masculinity , became visible in the 19805 during the early AIDS crisis and were for their perceived health as compared to the

87 SEXUALITY emaciated appearances of those suffering in the latter stages of AIDS . et al . 2006 ) argued that leather identity is socially constructed and performative and both bear and leather aesthetics can be understood as expressions of culturally valued traits and as a reconciliation of masculine and gay identities ( Leather Boys at Cleveland Pride 2017 . Image Source Tim , BY SA Cole ( 2000 ) noted the Castro clones style emerged from American cowboy and dress ( jeans , plaid shirts , cowboy boots , construction boots , Levi 501 , short hair , and mustaches ) and was symbolic of toughness , virility , aggression , strength , and potency ( 128 ) although Levine ( 1998 ) argued the look was parody . Although clone aesthetics were patterned after heterosexual masculine styles , a knowing gay consciousness acknowledged the outfits were coordinated , perfected , and worn to show off the male physique . Cole ( 2000 ) further argued the clone image of masculinity influenced other gay men styles , including queer nation and looks ( and jeans ) gay skinhead , and gay rockabilly . The clone style assisted in redefining gay men as masculine . Other gay that embrace masculine aesthetics include muscle boys , and ( Cole , 2008 )

SEXUALITY 88 In contrast to masculine archetypes , other gay men , such as drag queens and punks , embraced camp , feminine , or androgynous aesthetics , including makeup and jewelry . Contemporarily , a result of the butch shift has been the tendency among some gay men to embrace femininity ( Reilly , in press ) and to incorporate apparel items marketed to both men and women into their wardrobes ( Barry Reilly , 2020 moore , 2020 ) Per Barry and Martin ( 2015 ) gay men view contemporary aesthetics as more varied than previous generations , and gender identity , sexual orientation , and race intersect not only to express individuality but also to challenge binary gender norms by mixing traditionally feminine and masculine fabrics , textures , products , and other signifiers ( Barry Martin , 2016 ) Clarke and Turner ( 2007 ) similarly argued that clothing is used to negotiate gay identity , but it is also used to express individuality thus when an individual comes out , they may feel expectations to dress a certain way , but enough room exists in the unwritten rules of gay aesthetics to show one persona in a multitude of ways . Gay men adopted other items , among them sailor Image Source uniforms and sneakers . In England and France between the world wars , gay and bisexual men wore the sailor uniform because it was associated with masculinity and voracious sexuality and it had a fit and silhouette . Use of the sailor uniform diminished when it was adapted into mainstream fashion ( 2016 ) Scott ( 2011 ) proposed that sneakers were important to gay men in three ways . First , they can be viewed as feminine and are thus discouraged if one wants to appear masculine ( biker and leather eschew sneakers and favor boots ) Second , they can be viewed as masculine among gay men and as part of the butch shift or as gay men assimilated ( jocks and mainstream masculinity ) Third , sneakers are considered masculine but , as in , for example or gay skinheads . Much of the research on gay men dress has been conducted on White men , leaving significant opportunities for future research on other races and ethnicities . However , the research that has been conducted has yielded important findings . Cole ( 2019 ) work on gay Black men in Britain and the United States reported that gay Black men find attention to detail important , considering age , race , class , and how one wanted to present oneself with consideration of time and place What constitutes gay men style and what constitutes Black gay men style raises questions about whether it is possible to identify gay styles broadly and Black gay styles specifically at this time ( 54 ) 2005 ) argued gay Asian men have different clothing styles for home , straight or mainstream , and gay spheres .

89 I SEXUALITY Tan ( 2019 ) documented the dissemination of the bear style from the United States , through Northeast Asia , and into and found bears in cultivate their look to achieve sexual capital by using as tank tops or bright colors on sleeves and torsos of draw attention to their thick or beefy bodies . Last , Horton ( 2020 ) research on the regulation of flamboyant dress , or fabulousness , in India , from within its own gay communities , argued dress has become matter of respectability politics rather than one of enjoyment of pushing boundaries . Bisexual Identities and Dress Some scholars have focused specifically on the ways individuals negotiate their identities through dress . Taub ( 2003 ) surveyed mostly White , women and reported that these women fashioned their bodies in a variety of ways in their responses , there was significant discussion of negotiating societal gender norms and stereotypical lesbian appearance norms . Some of these women rejected dominant culture norms and created personalized and affirming beauty ideas and practices , whereas others felt pressure to conform to lesbian norms , such as the soft butch aesthetic ( 21 ) 2013 ) conducted interviews with mostly White , women . Participants frequently relayed a desire to make themselves visible as bisexual in public settings because of their belief that society often deems them invisible , which is sometimes referred to as ( for discussions of bisexual invisibility , see Bradford , 2004 , 1996 Fox , 1995 , 2011 ) Participants used the terms attitude and androgyny and a hybrid of heterosexual and homosexual aesthetics to describe a bisexual display , and they placed significant emphasis on gender negotiations through style . The participants described their uses of overt pride aesthetics , such as pins or slogan those with the colors ( pink , blue , and purple ) Although ( 2013 ) participants articulated specific aesthetics to highlight their bisexual identity , they also expressed that it was difficult to pin down such a description ( 49 ) Similarly , other researchers found a lack of distinct dress aesthetics for bisexual individuals ( Clarke Spence , 2013 Clarke Turner , 2007 Hayfield , 2011 Hayfield et , 2013 , 1999 et , 2014 )

SEXUALITY I 90 Image Source , BY ( 2014 ) discussed the importance of bisexual signifiers in private or intimate spaces , such as around close friends or family . Her participants also related using aesthetics of the home , such as magnets or artwork with lesbian symbols , to signify their identities . Artwork or magnets are arguably not objects ( 1992 , yet they are an extension of the body in the context of these private spheres . In a recent study , Daly et al . 2018 ) again examined bisexual women appearance and dress . Similar to the aforementioned studies , the bisexual participants appearance markers conformed to stereotypical lesbian aesthetics ( or styles ) or they adopted mainstream gender norms by using feminine signifiers . The participants partners genders often motivated adoption of various styles . For example , some women in relationships adopted feminine aesthetics to avoid having others assume they identified as lesbian . 2016 ) interviewed African American men who were bisexual but identified as straight and described themselves as on the down low or ( 484 ) The phenomenon is significant in the Black community because ofthe stigmatization of homosexuality the phrase , which emerged in rap music lyrics in the 19905 ( Cohen , 1999 ) has been discussed in popular press articles ( 2014 ) Dress was not the primary focus in ( 2016 ) work , but in one part of his results , he reported that men often associated femininity with being gay . That is , these bisexually behaving men asserted their masculinity by wearing baggy or

91 I SEXUALITY other stereotypically masculine styles . By contrast , one participant defined being gay as wearing tight clothes , swish ing up and down the street , and act ing like a girl ( 499 ) Required reading , Clarke , and , 2014 ) Resisting and Conforming to the Lesbian Look The Importance of Appearance Norms for Lesbian and Bisexual Women . Community , Soc . 24 Kelly , Elaine ( 2015 ) The relationship of gender expression , sexual identity , distress , appearance , and clothing choices for queer women . International Journal of Fashion Design , Technology and Education , To access these articles , read them on campus or look them up on the University Library website and log in with your and password . The Fashion Industry and Identities In the , there was a significant emergence of brands in the fashion industry selling a variety of different products , such as suits and suit coordinates , sportswear , accessories , swimwear , shoes , and undergarments or other objects worn near or against the skin ( et , 2020 , 2017 , 2020 , 2018 ) Many of these brands garnered widespread attention in 2016 when HBO released Suited , a documentary about Bindle Brooklyn , New company that produces suits and suit coordinates for people . Many of Bindle Keep clients described the first time in their in their suits and liking the way they looked in the mirror ( Benjamin , 2016 ) Because many individuals push gender boundaries in their dress , they often have difficulty shopping for clothes that fit their bodies and desired gender sexual presentations ( Pierre 2020 , 2015 ) many of these fashion brands emerged to address these issues . Many ofthe entrepreneurs who started these businesses cited entering the industry because they were unable to find clothing that fit them or their partners ( Benjamin , 2016 , 2020 et , 2020 ) For example , Custom Clothier asserted they could empathize with their clients and the inability to find clothes , and this ability to empathize has created a trusting shopping environment ( Best et , 2020 ) Bindle Keep designer Rae recalled their first suit I just never felt so good about myself before . It was just such a powerful experience for me . I could help but want to take it and adapt it to a landscape that welcomed people like me ( Benjamin , 2016 , Some brand owners may not personally

SEXUALITY 92 have difficulty finding clothing , but a loved one might . For example , Abby Sugar was inspired to start Play Out because her was unable to find underwear ( et , 2020 ) The development of the Internet and the increase in rights in the United States were catalysts for the creation of some brands . For example , Saint Harridan , now closed , developed alongside the legalization of marriage and the need for wedding attire for individuals ( 2020 ) Additionally , with the changing retail landscape and the increase in , designers are no longer required to pitch to wholesale buyers or generate the overhead to build and sustain storefronts ( 2011 ) Therefore , these brands can enter the market with little to no capital investment . Social media has also allowed brands to target and attract customers ( et , 2020 ) For example , Rebirth company that designs garments and accessories that promote queerness , disability , and fat products from its store and accepts orders via direct messages on social media ( Best , 2018 ) These virtual spaces have also allowed brands to politicize fashion by circulating imagery that challenges larger hegemonic gender norms . For example , Saint Harridan worked with Vargas , a photographer , to capture aesthetics . As these images circulated on Saint Harridan social media , discussions often focused on gender and identity politics , shifting ideologies surrounding gender , and signs of solidarity with other groups experiencing oppression , such as people of color ( 2020 , 99 ) Unfortunately , several brands have since closed ( Saint Harridan stopped operations only four years after its founding in 2012 because of a lack of capital investment ( 2020 ) Overall , these brands reflect the numerous ways individuals in the community fashion their bodies and will largely have a lasting impact as trailblazers of the brands movement in the early part of the century . Watch this research presentation on the development and trans fashion brands in the century . One or more interactive elements has been excluded from this version of the text . You can view them here a An interactive element has been excluded from this version of the text . You can view it here

93 I SEXUALITY References Barry , Martin , 2015 ) Dapper dudes Young men fashion consumption and expressions of masculinity . Critical Studies in Men Fashion , Barry , Martin , 2016 ) Gender revels Inside the wardrobes of young gay men with subversive style . Fashion , Style Popular Culture , Barry , Reilly , A . 2020 ) Gender more An intersectional perspective on men transgression of the gender dress binary . In Reilly Barry ( Crossing boundaries Fashion to deconstruct and reimagine gender ( 122136 ) London Intellect Books . Benjamin , Director ) 2016 ) Suited Film . A Casual Romance Productions . ake , A . 2019 ) It ai he , it ai she , it we . Dress The Journal of the Costume Society of America , 45 ( Bradford , 2004 ) The bisexual experience Living in a dichotomous culture . Journal of Bisexuality , 02 . Burton , 2016 , December 31 ) Lesbians invented hipsters . New York Times . Spence , 2013 ) Will the real lesbian please stand up ?

Constructing and resisting visible heterosexual identities through dress and appearance . Psychology of Sexuality , Turner , 2007 ) Clothes maketh the queer ?

Dress , appearance and the construction of lesbian , gay and bisexual identities . Feminism Psychology , 17 ( Cohen , 1999 ) Boundaries of blackness AIDS and the breakdown of Black politics . Chicago University of Press . Cole , 2000 ) Don we now apparel Gay men dress in the twentieth century . Oxford Berg . Cole , 2008 ) Butch queens in macho drag Gay men , dress , and subcultural identity . In Reilly ( Men fashion reader ( New York . Cole , 2013 ) Queerly visible Gay men dress and style . In Steele ( Ed . A queer history of fashion From the closet to the catwalk ( 135166 ) New Haven Yale University Press . Cole , 2019 ) The difference is in the detail Negotiation black gay male style in the century . Dress The Journal of the Costume Society ofAmerica , 45 ( 2009 ) Hegemonic masculinity Rethinking the concept . Gender Society , 19 ( Daly , King , 2018 ) Femme it up or dress it down Appearance and bisexual women

SEXUALITY I 94 in monogamous relationships . Journal of Bisexuality , 18 ( 2014 , March 20 ) The scientific quest to prove bisexuality exists . New York Times . 2005 ) Asian gay men bodies . Journal of Men Studies , 13 ( 2016 ) The lowdown on the down low Why some bisexually active men choose to self identify as straight . Journal of Bisexuality , 16 ( Edwards , 1994 ) and politics Gay male sexuality , masculinity , and feminism . New York . 1996 ) A certain swagger when I walk Performing lesbian identity . In ( Ed . Queer ( London . 1991 ) Odd girls and twilight lovers A history of lesbian life in the twentieth century . New York Penguin Books . Parsons , 2007 ) Twentieth century dress in the United States . New York . 1993 ) Stone butch blues . Firebrand . A . 1996 ) Bisexuality as a paradigm shift Transforming our disciplines . In . Ed . Bisexuality The psychology and politics ofan invisible minority ( London Sage . Fox , 1995 ) Bisexual identities . In Patterson ( Lesbian , gay , and bisexual identities over the lifespan ( New York Oxford University Press . Kaiser , 1996 ) Communities , commodities , cultural space , and style . In ( Ed . Gays , lesbian , and consumer behavior Theory , practice , and research issues in marketing ( New York Press . 2013 ) New York . Kaiser , 1999 ) Doing beauty Negotiating lesbian looks in everyday life . Journal of Lesbian Studies , 2013 ) Creating a bisexual display Making bisexuality visible . Journal of Bisexuality , 13 ( 2014 ) Keeping bisexuality alive Maintaining bisexual visibility in monogamous relationships . Journal of Bisexuality , 14 ( Hayfield , 2011 ) Bisexual women visual identities A feminist exploration . Unpublished doctoral dissertation . Bristol University of the West of England . Hayfield , Clarke , 2013 ) Visible lesbians and invisible bisexuals Appearance and visual identities among bisexual women . Womens Studies International Forum , 40 (

95 SEXUALITY , 1999 ) Out of sight , out of mind ?

Theorizing femme narrative . Hillman , 2015 ) Dressing for the culture wars Style and the politics in the and 19705 . Lincoln University of Nebraska Press . 1999 ) The comfort of identity . 136346099002004007 . Horton , A . 2020 ) Fashioning Dress , gesture and the queer aesthetics of Mumbai Pride . South Asia Journal Asian Studies , 43 ( Humphries , 1985 ) Gay machismo . In Humphries ( The sexuality of men ( London Pluto . Clarke , 2014 ) Resisting and conforming to the lesbian look The importance of appearance norms for lesbian and bisexual women . Journal of Community Applied Social Psychology , 24 ( Kaiser , 2012 ) Fashion and . London . 2011 ) Studs and The tomboyism within Black lesbian female masculinity . Journal of Lesbian Studies , 15 ( 2003 ) The misunderstood gender A model of modern femme identity . Sex Roles , 48 ( 2004 ) A quest for authenticity Contemporary butch gender . Sex Roles , 50 ( 2002 ) Explorations of genders . Journal of Lesbian Studies , Tucker , 2002 ) Female fem ( me ) Journal of Lesbian Studies , 12 . 2008 ) Silences and stereotypes The impact of ( mis ) constructions of bisexuality on Australian bisexual men and women . Gay and Lesbian issues and Psychology Review , Mead , 1934 ) Mind , self , and society . Chicago University of Chicago Press . moore , 2020 ) Critical mascara On fabulousness , creativity and the end of gender . In Reilly Barry ( Crossing boundaries Fashion to deconstruct and reimagine gender ( 192200 ) Bristol , UK Intellect Books . 2006 ) Layers of leather The identity formation of leather men as a process of transforming meanings of masculinity . Journal of Homosexuality , 51 ( Reddy Best , 2017 ) Vargas Queer fashion photographer and The Handsome Revolution . Clothing Cultures ,

SEXUALITY I 96 Reddy Best , 2020 ) The of fashion in virtual queer spaces A case study of Saint Harridan , one of the pioneering queer fashion brands in the twenty first century . In Reilly Barry ( Crossing boundaries Fashion to reimagine gender ( London . Reddy Best , Jones , 2020 ) Is this what a lesbian looks like ?

Lesbian fashion and the fashionable lesbian in the United States press , to . Journal of Lesbian Studies , 24 ( Reddy Best , 2018 ) fashion in the century Sky and the dress reform . Clothing Cultures , Reddy Best , 2020 ) Queer fashion and style Stories from the Midwestern queer voices through a museum exhibition . Dress The Journal of the Costume Society of America , 46 ( Reddy Best , Streck , 2020 ) century queer fashion brands Oral history project . Ames Iowa State University Digital Press . Reddy Best , 2014 ) The relationship of gender expression , sexual identity , distress , appearance , and clothing choices for queer women . International Journal of Fashion Design , Technology , and Education , Reddy Best , 2015 ) Queer women experiences purchasing clothing and looking for clothing styles . Clothing Textile Research Journal , 33 ( 15585165 . Reilly , A . 2010 ) Gay , lesbian , bisexual , and transgendered persons . In . Berg encyclopedia of world dress and fashion The United States and Canada ( Oxford Berg . Reilly , A . in press ) The rise of the bottom to challenge within the gay community . In ( Millennial Queers , pimp daddies , and . New Brunswick , Rutgers University Press . 1992 ) Dress and identity . Clothing and Textiles Research Journal , 10 ( 2016 ) She always a woman Butch lesbian trans women in the lesbian community . Journal Studies , 20 ( 1994 ) Lesbians and physical appearance Which model applies ?

In Greene ( Lesbian and gay psychology Theory , research , and clinical applications ( London Sage . 2010 ) The complexity of butch and femme among sexual minority women in the century . Psychology Review , 2942 . Scott , 2011 ) Contested kicks Sneakers and gay masculinity , Communication and Cultural Studies ,

97 I SEXUALITY Steele , 2013 ) A queer history of fashion From the closet to the catwalk . In Steele ( Ed . A queer history of fashion From the closet to the catwalk ( New Haven Yale University Press . A . 2016 ) marin wear The queer fashionability of the sailor uniform in interwar France and Britain . Fashion , Style Popular Culture , A . 2011 ) Vanishing act identity narratives of women in relationships with women and men . Qualitative Sociology , 34 ( Tan , 2019 ) Taipei gay bear culture as sexual field Or , why did bear fail ?

Journal of Contemporary Ethnography , 48 ( Taub , 2003 ) What should I wear ?

A qualitative look at the impact of feminism and women communities on bisexual women appearance . Journal of Bisexuality , 02 . Taylor , 2007 ) If your face does fit . The misrecognition of lesbians in scene space . Leisure Studies , 26 ( Walker , 1993 ) How to recognize a lesbian The cultural politics of looking like what you are . Signs , 18 ( Wilson , 2013 ) What does a lesbian look like ?

In Steele ( Ed . A queer history of fashion From the closet to the catwalk ( New Haven Yale University Press . 2011 ) 100 ideas that changed fashion . London Laurence King .

SEXUALITY I 98 Sexuality Case Study Step One Become familiar with the case study . The case study attached below is a Word document and can be downloaded . It includes the task , evaluation , and template for the case study Sexuality Case Study DOC Step Two Submit your complete assignment on Canvas . Format your document . Remember to check the submission against the rubric .