ANGLOMANIA
An evocation of Dandyism
Gentleman in armor, Pourbus, ca 1523 Self portrait, Alexander Roslin, 1785
Portrait de Louis XIV en costume de
sacre, Hyacinthe Rigaud, 1701
In the late 18th century, the word dandy was an abbreviated usage of the term jack-a-dandy, a 17th-century British usage that
described a conceited man. In British North America, before the American Revolution (1765–1791), the British version of the song
"Yankee Doodle", specifically the first verse: "Yankee Doodle went to town, / Upon a little pony; / He stuck a feather in his hat, /
And called it Macaroni . . ."; and the chorus: "Yankee Doodle, keep it up, / Yankee Doodle Dandy, / Mind the music and the step, /
And with the girls be handy. . . ." derided the rustic manner and poverty of colonial Americans, by implying that Macaroni fashion
(a fine horse and gold-braided clothing) was what set a dandy apart from colonial society. Moreover, there is an Anglo–Scottish
border ballad (c. 1780) that uses the word dandy with a Scots meaning, not the derisive British usage in colonial North America.
Since the 18th century, contemporary British usage has distinguished between a dandy and a fop in that the wardrobe of a dandy
is more sober and refined than the ostentatious wardrobe of a fop.
DANDY: some ethymological elements
À la fin du XVIIIe siècle, le mot dandy était un usage abrégé du terme jack-a-dandy, un usage britannique du XVIIe siècle qui
décrivait un homme vaniteux. En Amérique du Nord britannique, avant la Révolution américaine (1765-1791), la version britannique
de la chanson "Yankee Doodle", en particulier le premier couplet : "Yankee Doodle est allé en ville, / Sur un petit poney ; / Il a mis
une plume dans son chapeau, / Et l'a appelé Macaroni..." ; et le refrain : "Yankee Doodle est allé en ville, / Sur un petit poney...". ." ;
et le refrain : "Yankee Doodle, keep it up, / Yankee Doodle Dandy, / Mind the music and the step, / And with the girls be handy". Ce
refrain tourne en dérision les manières rustiques et la pauvreté des Américains de l'époque coloniale, en laissant entendre q ue la
mode Macaroni (un beau cheval et des vêtements tressés en or) était ce qui distinguait un dandy de la société coloniale. En outre,
une ballade frontalière anglo-écossaise (vers 1780) utilise le mot dandy dans son sens écossais, et non dans l'usage britannique
dérisoire en vigueur dans l'Amérique du Nord coloniale. Depuis le XVIIIe siècle, l'usage britannique contemporain fait la distinction
entre un dandy et un "fop", la garde-robe d'un dandy étant plus sobre et plus raffinée que la garde-robe ostentatoire d'un
"fop".(Fop: terme péjoratif designant quelqu'un d'obsédé par son apparence au 17eme, en Angleterre. )
Dandy serait un mot-valise formé à partir du verbe « dandle » et d'« Andy », désignant dans la région frontalière entre l'Angleterre et l'Écosse
(Border ballad) de jeunes gens qui fréquentaient l'église ou la foire annuelle dans une tenue excentrique.
A PROPOS DU DANDYSME
Attitude et pratique de l'élégance initiées au début du 19eme siècle en Angleterre par George Bryan Brummel et devenues
ensuite sous la plume de certains écrivains romantiques français tels Balzac, Barbey d'Aurevilly et Baudelaire une véritable
doctrine artistique et philosophique.
Comportement ultra-individualiste, le dandysme ne se limite à une formule simple et unique et ne peut seulement se
résumer à un seul art futile et exubérant de l'élégance.
Le Dandy serait plutôt celui qui, comme Brummel, réussit par le moyen de l'élégance à conquérir un pouvoir d'influence
presque absolu sur ses contemporains et la société de son temps.
Le style vestimentaire du "Beau Brummel" était des plus discrets et rigoureux: sublime car presque invisible.
Le Dandysme réside avant tout dans une attitude de vie, une éthique, qui dépassait de loin la seule sphère de l'élégance
vestimentaire:
NE PAS SE FAIRE REMARQUER OU SE FAIRE REMARQUER PAR LE NON REMARQUABLE.
Le dandy n'est pas un excentrique ou un extravagant. Il cherche une perfection dans la discrétion.
PARAITRE SANS JAMAIS S'IMPOSER - MONTRER TOUJOURS UNE CERTAINE INDIFFÉRENCE.
FAIRE CONSTAMMENT PREUVE D'IRONIE C'EST À DIRE DE DISTANCE AVEC TOUT.
ÊTRE IMPASSIBLE ET BLASÉ DE TOUT.
La vie du Dandy se confond avec le culte de la beauté pure et idéale auquel tout doit être sacrifié. Cette exigence
proprement surhumaine explique le caractère héroïque voire tragique de sa vie.
L'orgueil, un orgueil presque suicidaire est à la base de la pensée du Dandy.
L'obession du Dandy est LA CRÉATION DE SOI et le refus d'être comme les autres.
"LE BEAU EST TOUJOURS BIZARRE..." Charles Baudelaire, 1855
Pour Baudelaire, le Dandy se confond avec l'image de l'artiste solitaire et maudit du XIXeme siècle. Il est un rebelle dans
le sens où il déteste les bourgeois et l'ordre établi au profit du culte effréné et exclusif de la beauté.
Rien ne l'intéresse, seulement la beauté. "Un Dandy ne fait rien et doit aspirer à être sublime sans interruption; il doit
vivre et dormir devant un miroir. "
Il est donc un contestataire. Son obsession du beau est une forme d'opposition et de révolte face une société devenue
trop utilitaire, trop tournée vers l'industrialisation.
Oscar Wilde dans "Le Portrait de Dorian Gray" et Joris Karl Huysmans dans "A Rebours" à travers le personnage de Des
Esseintes, font du dandy un ESTHÈTE c'est à dire une personnalité qui a une conception purement esthétisante de
l'existence et prône la pensée de l'Art pour l'Art.
La beauté est sa religion.
C'est presque un nihiliste selon Albert Camus "qui ne se maintient que dans le défi et ne peut se poser qu'en s'opposant".
C'est donc bien plus qu'une attitude, c'est presque une morale de l'apparence, qui par extension est devenu aujourd'hui
un moyen d'expression pour contester l'ordre établi comme les Zazous ou les Punks. Le dandy nous questionne sur
l'identité même d'un homme, de ce qu'est la masculinité et de sa représentation.
ABOUT DANDYSM
Attitude and practice of elegance initiated at the beginning of the 19th century in England by George Bryan Brummel and
later became a true artistic and philosophical doctrine under the pen of certain French romantic writers such as Balzac,
Barbey d'Aurevilly and Baudelaire.
An ultra-individualistic behaviour, dandyism is not limited to a simple and unique formula and cannot only be summed up
in a single futile and exuberant art of elegance.
The Dandy would rather be the one who, like Brummel, succeeds by means of elegance in conquering an almost absolute
power of influence over his contemporaries and the society of his time.
The clothing style of the "Beau Brummel" was both discreet and rigorous: sublime because almost invisible.
Dandyism lies above all in an attitude to life, an ethic, which goes far beyond the sphere of elegant dress:
NOT TO BE NOTICED OR TO BE NOTICED BY THE UNREMARKABLE.
The dandy is not an eccentric or extravagant. He seeks perfection in discretion.
APPEARING WITHOUT EVER IMPOSING - ALWAYS SHOWING A CERTAIN INDIFFERENCE.
CONSTANTLY SHOW IRONY AND DISTANCE FROM EVERYTHING.
BE IMPASSIVE AND "BLASÉ" ABOUT EVERYTHING.
The Dandy's life is merged with the cult of pure and ideal beauty to which everything must be sacrificed. This
truly 'superhuman' demand explains the heroic and even tragic character of his life.
Pride, an almost suicidal pride is at the basis of the Dandy's thinking.
The Dandy's obsession is THE CREATION OF ONE SELF and the refusal to be like the others.
"THE BEAUTIFUL IS ALWAYS STRANGE" ...Charles Baudelaire, 1855
For Baudelaire, the Dandy merges with the image of the lonely and cursed artist of the 19th century. He is a rebel in
the sense that he hates the bourgeoisie and the established order in favour of the unbridled and exclusive cult of
beauty.
Nothing interests him, only beauty. "A Dandy does nothing and must aspire to be sublime without interruption; he
must live and sleep in front of a mirror. "
He is therefore a protester. His obsession with beauty is a form of opposition and revolt against a society that has
become too utilitarian, too focused on industrialisation.
Oscar Wilde in "Le Portrait de Dorian Gray" and Joris Karl Huysmans in "A Rebours" (through the character of Des
Esseintes), make the dandy an aesthete, a personality with a purely aesthetic conception of existence and advocates
the thought of Art for Art's sake.
Beauty is his religion.
He is almost a nihilist, according to Albert Camus, "who only holds his own in the challenge and can only pose himself
by opposing".
It is therefore much more than an attitude, it is almost a moral of appearance, which has today become a means of
expression to challenge the established order like the Zazous or the Punks, for example. Le dandy questions the very
identity of a man, what masculinity is and how it is represented.
George Bryan BRUMMELL
(1778 –1840)
Called "Beau Brummell"
Precursor of the DANDY character
Inventor of Dandyism in fashion,
literature and lifestyle.
“TO BE TRULY
ELEGANT ONE SHOULD
NOT BE NOTICED.”
LE BEAU BRUMMELL
Elegant anglais, considéré comme le plus grand représentant et le fondateur historique du dandysme.
Petit-fils de domestique et fils du secrétaire particulier de Lord North, le Chancelier de George II, ce roturier sans titre ni pedigree réussit par
la seule affirmation de son élégance auto décrétée parfaite et supérieure à dominer la vie mondaine et aristocratique anglais e de son
temps.
Jeune officier brillant il s'impose rapidement en raison de sa prestance et son esprit vif, il devient rapidement le favori du Régent
d'Angleterre, le Prince de Galles, futur Roi George IV.
Il devient un genre d'arbitre des élégances et des modes. On se déplaçait pour le voir nouer le matin à son réveil le chef d'oeuvre que
représentait sa cravate.
Il fait et défait les réputations régnant sur tous les clubs et devient la star de la vie mondaine Londonienne.
Sans autre activité que celle du paraître, à laquelle il consacre l'intégralité de son temps et des ressources, il devient le personnage obligé de
toutes les soirées, auquel tous les élégants cherchent à ressembler.
Son influence est telle qu'elle semble même menacer le pouvoir du Régent.
On l'appelle "Beau" et son élégance fascine parce qu'elle est tout sauf spectaculaire. Elle repose au contraire sur un devoir presque absolu
de discrétion: "ne pas se faire remarquer" est son mot d'ordre.
Brummel préconise une élégance particulièrement rigoureuse qui confine, comme le dira Baudelaire, à une véritable ascèse: pas
d'exubérance mais une perfection formelle hautement codifiée; pas de couleurs mais une symphonie de noirs, de blancs et de bl eu nuit;
proscription de tous les détails remarquables, au profit d'une silhouette longiligne, un maintien parfait et des manières très étudiées.
A force de trop critiquer les autres et le Régent en particulier, et en raison de dettes de jeu, il s'exile en France tout en restant influent mais
sa vie devient un lent naufrage et il devient presque fou. Il meurt en 1840 dans un asile de vieillards.
Il sera re découvert par les écrivains comme Baudelaire ou Oscar Wilde au milieu de XIXème siecle, il devient alors un mythe, symbole de
l'élégance absolue qui inspirera beaucoup de courants de mode et d'artistes qui feront de la quête du beau une forme de protestation.
BEAU BRUMMELL
Elegant Englishman, considered the greatest representative and historical founder of Dandyism.
Grandson of a servant and son of Lord North's private secretary, the Chancellor of George II, this commoner without title or pedigree
succeeded by the sole assertion of his self-declared perfect and superior elegance in dominating the English social and aristocratic
life of his time.
A brilliant young officer, he quickly became a favourite of the Regent of England, the Prince of Wales, the future King George IV,
because of his poise and quick wit.
He becomes a kind of arbiter of elegance and fashion. We used to go to see him tie the masterpiece represented by his tie in the
morning when he woke up.
He made and unmade the reputations reigning over all the clubs and became the star of London's social life.
With no other activity than his own appearance, to which he devotes all his time and resources, he becomes the obligatory character of
every party, to whom all the elegant seek to resemble.
Its influence is such that it even seems to threaten the power of the Regent.
It is called "Beau" and its elegance fascinates because it is anything but spectacular. On the contrary, it is based on an almost absolute
duty of discretion: "not to be noticed" is its motto.
Brummel advocates a particularly rigorous elegance which, as Baudelaire would say, borders on a real asceticism: no exuberance but a
highly codified formal perfection; no colours but a symphony of blacks, whites and midnight blue; proscription of all the remarkable
details in favour of a slender silhouette, perfect posture and very studied manners.
Because he was too critical and cynical with others, and the Regent in particular, and because of gambling debts, he went into exile in
France while remaining influential, but his life became a slow shipwreck and he almost went mad. He died in 1840 in an old people's
asylum.
It was re-discovered by writers such as Baudelaire and Oscar Wilde in the middle of the 19th century, and became a myth, a symbol of
absolute elegance that inspired many fashion trends and artists who turned the quest for beauty into a form of protest.
Oscar Wilde
(1854- 1900)
“ La plupart des gens ne sont pas eux-
mêmes. Leurs pensées sont les
opinions des autres, leur vie une
imitation, leurs passions une citation. ”
OSCAR WILDE
"Les Dandys sont une sorte d'aristocratie
naturelle.
Un homme devient riche. Il nait élégant. "
"Dandies are a kind of natural aristocracy.
A man becomes rich. He is born elegant. "
Honoré de Balzac
(1799- 1850)
Charles Baudelaire
(1821-1867)
"Que des hommes se fassent nommés raffinés,
incroyables, lions ou dandys, tous sont issus de la
même origine, tous participent du même caractère
d'opposition et de révolte..." Charles Baudelaire
"Whether men call themselves refined, incredible,
lions or dandies, they all come from the same
origin, all participate in the same character of
opposition and revolt..." Charles Baudelaire
Portrait of Charles Baudelaire by Franz Kupka, around 1845 JK Huysmans (Anonymous)
J.K. Huysmans
(1848-1907)
J.A. Barbey D'aurevilly
(1808-1889)
Marcel Proust
(1871-1922)
One of Proust main character in La
Recherche is the Baron de Charlus,
a openly gay dandy inspired by
Robert de Montesquiou
(1855-1921)
Caricatures of Robert de Monstesquiou
Tailcoat
Elegant Englishman around 1820
1830
1845
Charles Sprague Pearce, Portrait of Paul Wayland Bartlett, 1890
The sack coat 1850-1870
1894
TARTANS
Boulay-Paty et Charles Letellier,1834 by J-F Boisselat
Le Paon Blanc - Henry Caro Delvaille (1876 - 1928)
"Le dandy nonchalant" by Edward Loevy (1857-1911)
The Romantique man, silhouette of the 19th century. This silhouette owes much to the taste and refinement of the dandy.
Portrait de Joseph Laurent Cordier by J.A.D. Ingres, 1811
The Romantic man
Caspar David Friedrich "Wanderer around a sea of clouds" 1818
1860-1870
1885
1880
1894
1900
After the end of the First World War came the ‘20s, an era of stunning creativity: the Jazz Age, the Roaring Twenties, Art
Deco, the Weimar culture and in London it was the foundation of the Bright Young Things, a group of Bohemian young
aristocrats and socialites who, on their sacred mission to provoke the stiff customs long preserved by the older generation,
threw wild parties, pageants, treasure hunts, and outraged the public by their genderless and revealing outfits.
Edward LeBas BRIGHT YOUNG THINGS Cecil Beaton
Cecil Beaton
"Le marquis d'Afflitto sur l'escalier", 1926 "Marika, Duchesse de la Salle de Rochemaure", 1925 "Portrait of Guido Sommi", 192(
PORTRAITS BY TAMARA DE LEMPICKA
Tamara de Lempicka , "Portrait of
Marquis Somm", 1925
Otto Dix "Portrait of the jeweller Karl Krall", 1923 Anton Räderscheidt “Selbstbildnis” (Self-Portrait), 1928
Radclyffe Hall (R) with her partner Lady Una Troubridge. in 1928
Una Troubridge was a British aristocrat, literary translator, and the lover of
Radclyffe Hall, author of the 1928 pathbreaking lesbian novel, The Well of
Loneliness. Troubridge appears with a sense of formality and importance typical
of upper-class portraiture, but with the sitter's prized dachshunds in place of the
traditional hunting dog. Troubridge's impeccably tailored clothing, cravat, and
bobbed hair convey the fashionable and daring androgyny associated with the
so-called new woman. Her monocle suggested multiple symbolic associations to
contemporary British audiences: it alluded to Troubridge's upper-class status, her
Englishness, her sense of rebellion, and possibly her lesbian identity.
Romaine Brooks, Una, Lady Troubridge, 1924
"ZOOT SUITERS"
1930's 1940's
Also called
"Zazous" in
France
Teddy Boys
1950's
in the UK
Karl Lagerfeld
Jacques de Bascher
(1933-2019)
(1951-1989)
David Bowie
(1947-2016)
Ziggy Stardust character 1972
Suit Designed by Freddie Buretti
GLAM ROCK
David Bowie dressed by Alexander Mcqueen, 1996
Tilda Swinton as David Bowie,
2003 by Craig McDean
Bryan Ferry
Singer of band Roxy Music New York Dolls
Blitz Kids early 1980's
New Romantics
early 1980's
Duran Duran
Steve Strange
(1959-2015)
Visage "Fade to Grey" 1981
BOY GEORGE & CUTURE CLUB
1982
BOY GEORGE
Freddie Mercury and the band Queen
"I want to Break Free" 1984
LEIGH BOWERY (1961-1994)
"Before Leigh Bowery and his mid-’80s London club night came along, being a
freak was not considered a fine art form. Pop star and DJ Boy George remembers
the legendary scene where glamorous polysexual debauchery and head-to-toe
body makeup went along with the music.
“Dress as though your life depends on it or don’t bother,” Leigh Bowery
notoriously said when describing the code of attire for his night on Thursdays at a
club called Maximus off of London’s Leicester Square. The year was 1985, and
Bowery’s venture into what had become a rather dull nightlife scene in London
was called Taboo. Taboo and its radically subversive, pro-weird crowd not only
drew upon the playful, decadent androgyny of the New -Romantic scene, then
holding sway among London’s cooler contingents—it took those aesthetics,
dipped them in plastic, vinyl, or Dalmatian-spotted fake fur, smeared profuse
amounts of cartoonish body makeup on them, and strung them out on a dance
floor to revel in all their freakish (and often drug-fueled) psycho-glamour. Taboo
existed only from 1985 to 1986 (when the police finally shut it down), but it
turned Bowery into an eternal cult figure and redefined what nightlife was to look
like (New York’s campy and, eventually, bloody version, Disco 2000, was heavily
inspired by Taboo). Boy George, who went on to celebrate Leigh and his gang in
the 2002 musical Taboo, was not only one of Bowery’s friends, he was a regular at
the party—an “elder statesman” as he likes to think of it. Here the 47-year-old
musician remembers the British subcultures that led up to Bowery and the
raucous nights where the only rules were that there weren’t any."
(From Interview Magazine, 2008)
Fergus Greer, Leigh Bowery Session I Look 2 1988
“Leigh Bowery was part of that force, that force of freedom. It’s that force of delirious depravity,
cheerful depravity. I talk about that because I feel like those are the values I need to support because
FERGUS GREER Leigh Bowery, Session VII, Look 36 and 37 , 1994
the world can be so harshly condemning and judgmental, and that’s never going away” – Rick Owens
Prince Rogers Nelson
(1958-2016)
Prince Lovesexy album cover by J.B. Mondino, 1988
Mister Pearl
aka Mark Pullin
CORSET DESIGNER
Mister Pearl photographed by Ali Mahdavi
Corsets designed by Mr Pearl for Thierry Mugler on Nadja Auermann, Violeta Sanchez and Diane Brill
Corset designed by Mister Pearl for Alexander McQueen "Dante" 1996 collection. Mister Pearl modeling for the designer in 1997
Anderson & Sheppard
Saville Row, London
The tradition of sartorial elegance
Alexander McQueen 1998
Alexander McQueen
"Oscar Wilde" collection
2017
RAF SIMONS, 1999
HEDI SLIMANE NEW MASCULINITY FOR YSL, 2000
Dior Homme by
Hedi Slimane 2006
Thom Browne
NBA Players New Dandies of our time
(wearing Thome Browne)
La société des ambianceurs et des
personnes élégantes (plus connue sous
l'acronyme SAPE) est un mouvement culturel
et de société originaire des deux Congo. Ce
courant est comparé au dandysme et ses
adeptes, appelés les sapeurs, s'habillent
ainsi chez les grands couturiers (ou font
concevoir leurs vêtements sur ce modèle), et
pratiquent la « sapologie », art de bien
se « saper ».
African dandies "Les Sapeurs"
STROMAE
SEYDOU KEITA
(1923-2001)
Sans titre, 1949-1951
Sans titre, 1949-1951
SEYDOU KEITA, Sans titre, 1952-1956
SEYDOU KEITA, Sans titre, 1953-1954
“A moi seul”, 1978 "Un Jeune Gentleman", 1978
MALICK SIDIBÉ
“Les très bons amis en même tenue”, 1972, Malick Sidibé
“Les jeunes bergers peulhs”, 1972 Malick Sidibé
OMAR VICTOR DIOP
He began photography in 2012. A
self-taught photographer, he is
directly descended from the legacy
of African studio photography
(Keïta), a genre whose codes he
embraces, often through the self-
portrait.
Omar ibn Said, also known by the nickname Prince Moro,
born in 1770 in Fouta-Toro (in present-day Senegal) and died
in 1864 in Bladen County (United States), was a Muslim
scholar (ālim) who fell victim to the transatlantic slave trade
and remained famous in history for having written one of
the rare testimony of an African-American slave in 14
manuscripts in Arabic, including an autobiographical story.
OMAR IBN SAÏD, 2015, Omar Victor
Gustav Albert Badin (1747-1822), a former slave (from Africa or the then Danish island of Sainte-
Croix in the West Indies) brought to Europe by a Danish East India Company ship and servant to
Queen Louisa Ulrika of Sweden and Princess Sophie Albertine, received a careful education along
with the children of the royal family. He enjoyed great freedom at court and was renowned for
his insolence, which earned him the nickname Badin. He was baptised in 1768.
ALBERT BADIN, 2014, Omar Victor Diop
Jean-Baptiste Belley (1747-1805), representative of Saint Domingue in 1797,
member of the Convention and deputy to the Five Hundred. This portrait is the
JEAN-BAPTISTE BELLEY, 2014, Omar Victor Diop first representation of a black man in the position of a Western legislator.
EL MORO, 2014, Omar Victor Diop
MALICK AMBAR, 2015, Omar Victor Diop
AYUBA SULEIMAN DIALLO, 2014, Omar Victor Diop
DON MIGUEL DE CASTRO, 2014, Omar Victor Diop
DOM NICOLAU, 2014, Omar Victor Diop
Jean Paul Gaultier, 1993
"L'Homme Objet"
Jean Paul Gaultier "L'Homme Couture" 1996
Jean Paul Gaultier , 1997
Palomo Spain, 2018
Yves Saint Laurent , Vogue 1971
(photo by David Bailey) GENRE ANDRODYNE Saint Laurent Homme 2023
Yves Saint Laurent Rive Gauche campaign, 1997 by Mario Testino Saint Laurent 2024
Wales Bonner FW 2013
CRAIG GREEN, 2021
Y/PROJECT
HOOD BY AIR is a phenomenon. The NYC-based label is run by Shayne Oliver, a
26-year-old designer from East New York, Brooklyn. In 2006, at 18, Oliver and
friend Raul Lopez started Hood by Air as a T-shirt line that exaggerated the
graphic and fit of 1990s streetwear brands like FUBU, Enyce, and Eckō.
The name, Oliver says, plays on “being from the hood, but taking the train
downtown to hang out with skaters and artists.” Since then, HBA has become one
of the most original forces in fashion: in March, the label was nominated for the
LVMH Young Fashion Designer Prize.
Its cut-and-sew collections are authoritative and technically complex, challenging
traditional categorizations of streetwear and luxury. But HBA is about more than
the clothes: it is fueled by an entourage of close collaborators and friends in the
art, music, and party worlds.
“We’re trained in many different languages,” says Leilah Weinraub, HBA’s
director of art and commerce. “Queer culture. Black culture. Whatever. Maybe
people need a point of entry.” With momentumthat has little to do with business
and everything to do with culture, HBA is making the fashion establishment go
haywire.
The best way to understand Oliver’s strategy as a designer is to see it as a
reflection of his strategy as a DJ. His description of his direction for
GHE20G0TH1K, the party he co-ran with DJ Venus X and producer Physical
Therapy, could double as a description for his fashion brand. “It was a
bubbling reference board type thing. It had to do with being noisy, it had to
do with being funny, it had to do with being an asshole, and loving the
people you’re around too. It was all of that. People really loving the song
and turning it off because you like it too much and you change it to
something else and they’re like, ‘Ugh, okay.’ It’s like, I don’t know, you know
that sexual term ‘edging’?”
Hood by Air is both a success story of an underground NYC label scaling up –
in the form of an iconic street and high-fashion brand – and a cipher for a
whole new category of casual, logo-maniac, black and white “fuccboi”
fashion. There are few contemporary brands as relentlessly knocked off,
copied, and versioned.
Hood by Air is famous for its logo: a bold “HBA,” all caps, white on black, or
black on white. There is something confusingly legible about a logo being
cool. Liking a logo is very literal. Shayne explains the first music he played at
HOOD BY AIR by Shayne Oliver GHE20G0TH1K: “I was playing acid house and I was also playing, minimal
darkwave just because I was thinking very literally about the name.”
Hood by Air SS15
HOOD BY AIR FW 2014
HOOD BY AIR SS 16
HOOD BY AIR SS 17
C.R.E.O.L.E. by Vincent Frédéric Colombo
Conscience Relative à l'Émancipation Outrepassant Les Entraves
Portrait of Charles Coote, 1st Earl of
Bellamont (1738-1800), in Robes of the
Order of the Bath, by Joshua Reynolds,
1773 – 74
Harris Reed "Fluid Romanticism", 2021
Harry Styles, 2020
TIMOTHÉE CHALAMET JARED LETO
Billy Porter
Lil Nas X
Young Thug
“Queer' not as being about who you're having sex with (that can be a dimension of
it); but 'queer' as being about the self that is at odds with everything around it and
that has to invent and create and find a place to speak and to thrive and to live.”
"Le terme "queer" ne désigne pas la personne avec qui vous avez des relations
sexuelles (cela peut être une dimension), mais le "queer" désigne le moi qui est en
désaccord avec tout ce qui l'entoure et qui doit inventer et créer et trouver un
endroit où s'exprimer, s'épanouir et vivre".
BELL HOOKS
"Etre trans, c'est découvrir l'envers du décor de la différence sexuelle et de genre,
comprendre qu'une société est un décor collectivement construit et que la masculinité
et la féminité sont des fictions politiques, que nous avons appris à percevoir comme
naturelles à force de répétition et de violence."
"Being trans means discovering the other side of sexual and gender difference,
understanding that society is a collectively constructed set and that masculinity and
femininity are political fictions that we have learnt to perceive as natural by dint of
repetition and violence".
Paul B. Preciado, Libération 02/12/23
"Love, Cecil documentary about Cecil Beaton
"A REBOURS" - "AGAINST NATURE" by J.K. Huysmans (1884)
Mali Twist, Malick Sidibé
Dandy , 250 years of British men's fashion
Jacques de Bascher
"Dandy de L'ombre", 2017
Fashioning Masculinities,
V&A exhibition catalogue
Seydou Keita
Leigh Bowery "Looks"
Sex & Suits Anne Hollander Judith Butler "Gender Trouble"
Je suis un monstre qui vous parle, Testo Junkie, Paul B. Preciado
"David Bowie Is" Paul B. Preciado
Orlando Ma Biographie Intime, Paul B;
Preciado, 2023
Orlando directed by Sally Porter
Orlando – Virginia Woolf, 1928 (with Tilda Swinton) 1992
