How Unisex Fashion Trends Are Impacting Gender Equality

Introduction 

For the longest time in history, fashion and garment have been subjects of deep sociological, anthropological, and semiotic evaluation in the modern world. The phenomenon of fashion, which is often identified by a widely known line of “you are what you wear,” provides intense and rich ideas in the manufacture of costumes. Besides, the cliché uncovers multiple and new ways through which fashion transforms the current self-identity and bodily relations. More specifically, the formation of gender identity comprises of shared constructs, which include clothes and fashion within this configuration. The sociology and study of fashion are important aspects in understanding the relationship between gender and fashion. For instance, the studies related to fashion have assumed five main approaches (Crane & Bovone, 2006). First, there is the general assessment of clothing as visual texts where certain values and identities are expressed (Crane &Bovone, 2006). The second approach is the evaluation of collective and socials activities, which enhances the production of fashion. Thirdly, there is an approach of semiotic analysis and the process of communication through the media ( Gottdiener, 1977 ). The fourth approach is the understanding of how consumers associate value with fashion as well as clothing. The last approach presented by these studies includes an analysis of the values attributed to fashion and their variations culturally. Based on the themes of these literatures, the papers will attempt to look into the transformation of fashion trends and evaluate if they are indeed related to fashion trends. 

In his article titled Sex and Unisex: Fashion, Feminism, and the Sexual Revolution , Paoletti (2015) talks about the origins of unisex dressing in terms of the sexuality theories. He displays different gender binaries between the males, females, and children that have contributed to the rise of this specific fashion. Paoletti’s work is a significant publication that enables for a deeper conceptualization about the changing masculinities and femininities amidst unique cultural transformations. His work raises different reactions and arguments in his readers as he presents gender as ambiguous and performative. In essence, the essay will be guided by the most important research question Paoletti asked, which was if unisex fashion was simply a playful poke at gender stereotypes or if it was an exploration to realize our actual unessential selves. 

The progression of fashion in the recent times 

In the recent times, we have seen writers, filmmakers, and fashion designers include an interesting detail in their work, men dressing like women and vice versa. From the leather jackets of the Matrix and the faded denim coveralls of 1984, one of the outstanding trait of the foreseen feature is a change from the gendered clothing, which is facing possible replacement of by a piece of art that is more purposeful and functional. For instance, zippered suits will fill the fashion world, and the use of a corset or tie will be perceived to be an exotic piece of art just like the discovery of fossils during the Pleistocene Era (Rizo, 2015). A majority of futurists view gender to be a culture with a limited progressive past. 

The past few years have seen designers such as Gucci and gothic fashion houses begin to sell gender-neutral or unisex clothing (Diamond, 2013). Besides, some of the major runways and fashion walks such as New York fashion week and time style collection have covered these new trends. However, before we embrace the world of unisex fashion, it is crucial to distinguish between promotion and the real growth towards achieving gender fairness. To set the facts straight, fashion is highly capable of championing for social change. On the other hand, unisex fashion trend tend to glorify these changes because they are believed to represent edginess and increase profits. 

Understanding culture and fashion 

Understanding the meaning of fashion requires one to view it from a historical context (Davis, 1988). Similarly, it is difficult to comprehend the attributes of different garments outside a culture that wears them, or enterprises that manufactures and sells them. Particular literatures have researched on the values different cultures in the United States attribute to clothing. Furthermore, there has been an extended chronicles of the two genders being associated with garments as ways of displaying fairness of both genders. It encompasses freedom as well as the sexual roles. 

Let us look into the culture of the New Harmony Socialist Utopian community, which was established in 1824. The community was widely known to let their men and women wear trousers. For this specific period, the fashion activity was perceived to be borderline and scandalous (Rizo, 2015). However, their objective for this specific reason was to represent gender equality and maintain their cultural values. Towards the nineteenth century, women’s rights lawyer by the name Amelia Bloomer advocated for the wearing of pants by the women under short dresses (Fig 1.1). The enthusiasm Amelia had concerning the introduction of these pants into their dresses led to the famous introduction of bloomers. The major role of these bloomers was to enhance decency and increase safety. 

As time progressed, the world of fashion also registered major transformations. For instance, during the period of counterculture in the 1960s, unisex fashion approaches distinguished beads from the average class communities. Even though these allowed the hippies to be acknowledged among the people as a representation of common values, being different from the rest of the community was likely to raise suspicions and negative emotions. During the shooting of the countercultural film known as the Easy Rider , two actors, Peter Fonda and Dennis Hopper found it unappealing for the men who kept long hair to be asked whether they were males or females. In most cases, the questions shot at them were rude and judgemental (Rizo, 2015). 

Moreover, when the culture of hip-hop took a nationwide and worldwide course in the late nineteenth century, the break dancers from both genders (b-boys and b-girls) put on tracksuits and other sports wear as they executed different activities, which blurred the gender role stereotypes of particular physical abilities. Moreover, their hairstyle depicted certain blurriness in the gender roles as well as expectations. All of the examples given occurred organically and the exhibit how different cultures are able to adapt to the changing fashion trends. According to an anthropologist Claude-Levi-Strauss, the introduction of new styles in the world of fashion was a process referred to as bricolage (Stewart, 2008). 

Intentions of the fashion industry 

Most fashion houses that have been known to produce unisex designs are often linked to greatly increasing their profits. Just as the name suggests, this is a type of clothing or hairdo that can be easily purchased by both men and women increasing its chances of making profits. The difference between the unisex fashion in the early nineteenth century such as Peacock revolution and groovy styles and the current fashion is that the latter strives to advocate for equality, rather than increase profits. However, no matter the motives of different fashion industries, particular goals stand out like the promotion of exoticism and display of aesthetic value. 

In the past years, there have been major controversies surrounding the motivations and intentions of major fashion industries (Bartky, 1990). Whereas others have utilized their unisex lines to promote beauty and aestheticism, other has been accused to use it a resort to extortion. Let us look into the example of Haute Couture Company, which released a line of garments as well as make-up items, after receiving its inspiration from the women who toiled in industries along the US- Mexican border. It was unfortunate that the company made profits using the lives of the women to gain pity from the consumers. Moreover, some fashion companies have mainly exploited African-Americans vulnerability to increase sales. For instance, the great Brazilian supermodel Gisele Bundchen once posed next to a hysterical Lebron James in a Vogue article of 2008, an a certain section of the public did not take it well. Whereas some thought of the picture as racist, other viewed it as vulnerability of the white women in the hands of black men. 

In all these situations, the fashion industry’s modern desirability to unisex clothing and cosmetics may be the same. Even though transgender models may participate and walk in lucrative and famous fashion houses, the fashion houses and the world often ignore the actual challenges these people face. However, it is important to acknowledge the fact that the modern fashion industries have strived to eliminate the gender stereotype related to equality. 

The role of dressing 

It is indeed true that human beings have been known to interact with objects, which in this case will involve clothes. According to Adelman (2008), individual are more likely wear clothes to show other what they represent or believe in. The direct relationship of the cloth with the body contributes to the establishment of social identity and more specifically, gender roles and responsibilities. As stated by Gasouka (2013), the body represents the society, which controls it. Furthermore, the female body has been widely known to preserve cultural symbols. Actually, in many cultures across the world, it is common to find a majority of the women wearing national costumes as compared to the men. 

In the past decades, many cultures in the world experienced different social restrictions on clothing. In many instances, you found that women were banned from putting on masculine clothes such as trousers. Appearance and behaviour have been the two main standards that have influenced fashion over the years. Because of these standards, tensions have been created thereby attributing peculiar abilities to clothing (Voss, 2008). 

Dressing and values 

Actually, the point of asking the major research question by Paoletti (2015) in his article was to gather the values of individuals concerning unisex clothing. In the world of interactions, people tend to choose clothes according to their moods and persona (Crane and Bovone, 2006). 

How particular designers strive to maintain gender equality 

The common theme existing between designers Coco Chanel, Jean Paul Gaultier, Alexander McQueen, and Yves Saint Laurent is that they have been successful in challenging the ideas of gender norms. The mindfulness of values while dressing emphasizes on the gender roles, which are culturally assigned to men or women. Usually, this is achieved through focusing on the individual’s sex and motivating them to carry out themselves as characters linked to their gender. However, these four designers have strived to manipulate their clothing line to challenge these existing values. Designers Alexander McQueen and Gabrielle Coco Chanel have been very influential in liberating the women when it comes to clothing (Gray, 2012). For instance through their designs, women have been able to let go of the restricted clothing, which have been known to increase stereotypes. 

Essentially, one major significant characteristic that Coco Chanel displayed was the expression of her femininity without referring to itself as a feminist brand or company. It was fascinating how Chanel integrated the designs of both males and females to uplift different societal restrictions. The most favoured gender was the females because a majority of them had been traditionally exposed to clothing restrictions. The fact that this design understood their values but still managed to liberate them through unisex clothing was a good indication of limiting gender stereotypes. One of the successful strategies employed by Chanel was completely transform the style of women’s clothing by adjusting them to match their bodies and not appeal to the men. For instance, Chanel made it possible for the women to achieve a “boyish look” through their dress line, short skirts, costume jewellery, and camellia flower. 

The past decades have registered tremendous changes in the lady’s fashion, especially because of the rise in feminism. What Chanel initiated in the early nineteenth century has been embraced by many upcoming fashion houses. To the world, it is interesting to note the competition existing among these designers as they attempt to challenge conventional stereotypes of the feminine beauty, which is associated to their dressing. On the other hand, Alexander McQueen was open about his feminist support and the desire to enhance feminine beauty. In an interview, he was recorded quoting...” My main goal is to give women the power...whenever one sees a woman wearing a McQueen, there is a particular austerity attributed to the garments that empower her. The feeling has been known to fend individuals off. Besides, it is a very psychological way of dressing” (Bolton, 60). Just like Chanel, McQueen employs specifics attention to his clothing line, which focuses on the women’s capacity, determination, and versatility that redefine the femininity characteristics. A majority of people have failed to understand that the outcome of liberating and redefining feminity simultaneously redefines masculinity. 

Conclusion 

Based on the different concepts presented about clothing, culture and feminist fashion, it is rational to associate unisex fashion trends to gender equality. Mark Twain once stated that garments define a man and naked individuals have limited or control in the community (Johnson, 1927). If at all, this is fact, then the main function of fashion to take care of man and influence gender. Furthermore, this concept allows fashion to focus on transforming individual’s gender by changing men into women and vice versa. On a more comprehensive way, fashion is known to focus on the gender roles based on their biological sex, However, this is not the case with unisex fashion line because they attempt to blur gender stereotypes, which may likely influence gender equality. From the presented literature, it can be deduced that there is the general assessment of clothing as visual texts where certain values and identities are expressed (Bovone, 2006). Secondly, unisex fashion depends on particular collective and socials activities, which enhances the production of fashion. It is crucial to conduct a semiotic approach to gender to facilitate the comprehension of different fashion styles. More often, one is likely to notice that fashion and clothing are indispensable to the gender change advancement. Finally, to answer Paoletti’s question, unisex fashion is not simply a playful poke at gender stereotypes, but it is a platform to realize the ideal self and limit possible gender stereotypes affecting the equality. 

Reference 

Adelman, M., 2008. Reviews: Gender Matters: Malcolm Barnard, ed., Fashion Theory: A Reader. London and New York: Routledge, 2007, 607 pp., ISBN 9780415413398 (hbk), US 180.00, ISBN9780415413404 (pbk), US 48.95. International Sociology , 23 (5), pp.735-739. 

Arvanitidou, Z. and Gasouka, M., 2013. Construction of Gender through Fashion and Dressing. Mediterranean Journal of Social Sciences , 4 (11), p.111. 

Bartky, S.L., 1990. Femininity and domination: Studies in the phenomenology of oppression . Psychology Press. 

Bolton, A., 2011. Alexander McQueen: savage beauty . Metropolitan Museum of Art. 

Butler, J., 2011. Gender trouble: Feminism and the subversion of identity . Routledge. 

Crane, D., 2012. Fashion and its social agendas: Class, gender, and identity in clothing . University of Chicago Press. 

Crane, D. and Bovone, L., 2006. Approaches to material culture: The sociology of fashion and clothing. Poetics , 34 (6), pp.319-333. 

Davis, F., 1988. Clothing, fashion and the dialectic of identity. Communication and social structure , pp.23-38. 

Diamond, J. and Diamond, E., 2013. The world of fashion . Bloomsbury Publishing USA. 

Gottdiener, M., 1977. Unisex Fashions and Gender Role-Change. Semiotic Scene , 1 (3), pp.13-37. 

Gray, Annie. "Alexander McQueen: Challenging Gender Norms in Fashion.": Introduction. 

BlogSpot, 4 June 2012. Web. 12 Dec. 2014. Retrieved on 10 February 2017 from http://anniegrayaad252final.blogspot.co.ke/p/introduction.html 

Paoletti, J.B., 2015. Sex and Unisex: Fashion, Feminism, and the Sexual Revolution . Indiana University Press. 

Rizo, M. 2015. Can we tie unisex fashion trends to gender equality? The Conversation . Retrieved on 10 February 2017 from http://theconversation.com/can-we-tie-unisex-fashion-trends-to-gender-equality-46720 

Reed, J., 2016. Sex and Unisex: Fashion, Feminism, and the Sexual Revolution. Jo B. Paoletti, ed. Bloomington: Indiana University Press, 2015. 216 pp. $25.00 cloth. 

Stewart, M.L., 2008. Dressing modern Frenchwomen: Marketing haute couture, 1919–1939 . JHU Press. 

Voss, B.L., 2008. Poor people in silk shirts' Dress and ethno genesis in Spanish-colonial San Francisco. Journal of Social Archaeology , 8 (3), pp.404-432. 

List of Figures 

Women’s rights activist Lucy Stone wears bloomers, which bear the namesake of their creator, Amelia Bloomer. Commons 

https://cdn.theconversation.com/files/94707/width237/image-20150914-4706-15ajxed.jpg  

Coco Chanel Unisex Sweaters and Pullover sweaters 

https://s-media-cache-ak0.pinimg.com/564x/4d/92/ff/4d92fff3522e33b95d9ebcbae2414bd2.jpg 

Unisex Couture by Coco Chanelhttp://dishmag.com/issue146/fashion-beauty/14542/uploads/164/NeutralFashion/Designers2.jpg 

McQueen’s Unisex sunglasseshttp://www.suigeneris-online.co.uk/images/Eyeglasses/McQueen%20MQ0018SA%20-%20Alternate%20Fit%20Sunglasses%20Unisex%20Acetate%206%204683.jpg