When we consider the foundations of “Super Fairy: Cut Black Design”, this year’s Metropolitan Clothing Academy’s spring event is especially Black Playboys, which comes into your mind, and they usually consider late Titans like Oscar Lielde and André Lieldley Talley, or André Leildley Talley, or the modern seller count. However, throughout the background, women have actually become beautiful, usually male flavoring.
Obviously, there are no extraordinary female Dandis documents. “The invisibility of these communities often makes it a model of establishment, and they are equally retained in the mainstream.” Not suitable: lesbian style backgroundnotify style In 2014. “You don’t always know what other people around you are doing because you can’t see them.” However, that doesn’t mean the background is completely empty.
Christina, Queen of Sweden, reigned from 1632 to 1654, was popular for her male declaration and refusal to get married. Christina can take advantage of beautiful clothes and love for standard male jobs like cravats and Toques and is more like a playboy leader. (In addition, in addition, considering her Dudaist concept, which emerged in the late 1700s, a century after Christina’s death, which was greater than a century.) Still very early (and unusual) durations, such as women of freely used men.
Over time, women who symbolize elevating their own spirits actually win their own terms – quaintrelles and dandizetates. However, they do not always reflect the highest quality of males approved by Dandis, rather than their choice and choice for aesthetic appeal.
Image: Getty Images
The Jazz Age presented more women welcomed men’s clothing, most of which were around queer. In the thick of the Harlem Renaissance, the blues singer is similar to the examples of Gladys Bentley and Ma Rainey. Bentley, who had been away from women’s clothing since childhood, accepted her trademark while working as a pianist at Harry Hansberry’s clam home, a speech by Gay Harlem. She was popular for the white game, wearing cows and weapons, hair on the back and stovepipe hat. Lenny often portrays in more feminine clothes, but her verses introduce queer directly as queer and use style as a channel. She sang: “Indeed, I’m putting up my collar and connecting.” “Like an old man, like a fan/talking to a lady, speaking in my clothes.”
