內容簡介

雌雄同體：時尚與性別的發展史
首本探討雌雄同體流行文化的永恆與經典時尚

2011年，高級訂製服品牌Jean Paul Gaultier的時裝秀以一席透明的禮服形象做為完美結局，穿著這套禮服的模特兒是名男性，他是時裝秀史上第一位為男性與女性服飾走秀的模特兒，而這起事件也因此創下雌雄同體趨勢的開端。

「這是一個中性的廣告。」2016年服裝品牌Diesel為自己的廣告發出聲明；「我拒絕為我的服裝系列定義性別。」服裝品牌Calvin Klein也為自己廣告發出相同聲明，而高級訂製服Louis Vuitton更邀約威爾•史密斯的兒子傑登•史密斯在廣告上穿上裙子。以上這些案例，都是流行時尚中雌雄同體的表現。

Edward Burne-Jones和Gustave Moreau的藝術作品，作家王爾德及神秘的Joséphin Péladan都證明了歷史過去都曾有雌雄同體文化的足跡。從19世紀到20世紀初，男女性別混合的現象更為顯著：從20年代的柏林到30年代的好萊塢，巨星葛麗泰•嘉寶和瑪琳•黛德麗；直到70年代更多雌雄同體的流行明星現身，書中超過120張精彩的影像，記錄雌雄同體出現在藝術和文學的世界，讓讀者深入理解這不受性別侷限的全新時代。

The first visually led exploration of androgyny―from representations in antiquity to its current prevalence in the fashion world and beyond

In January 2011, Jean Paul Gaultier’s haute couture runway show ended with the image of a willowy blonde bride in a diaphanous gown. The bride was a man, and one of the first models to walk for both men’s and women’s collections. The event marked the start of a trend. “This ad is gender neutral,” proclaimed a 2016 poster for the fashion brand Diesel; “I resist definitions,” announced a Calvin Klein ad in the same year, while a Louis Vuitton shoot featured Jaden Smith wearing a skirt.

The art of Edward Burne-Jones and Gustave Moreau, the writings of Oscar Wilde, and the mystic Joséphin Péladan prove that the turn of the previous century was as compelled by androgyny as this one. From the late nineteenth to the early twenty-first century, the genders have blended: from Berlin in the 1920s to Hollywood of the 1930s with Garbo and Dietrich; from the 1940s Bright Young Things to the androgynous pop stars of the 1970s, and beyond.

Patrick Mauries presents a cultural history of androgyny―accompanied by a striking selection of more than 120 images, from nineteenth-century painting to contemporary fashion photography―drawing on the worlds of art and literature to give us a deeper understanding of the strange but timeless human drive to escape from defined categories.