A Dance Of Duality
Image Courtesy: Nihal Demirci Erenay
A mirror. On one side, ballet. On the other, fashion. The reflection they share is as complex as a composition by Kandinsky, yet, as eternal and recurring as the changes in season. A dance, a duet. They take turns leading and alternate who is following. This choreography, if you will, is not your typical kind. While there are no pirouettes or chassés in the traditional sense, this dance has brought forth many spins that encompass notions on gender and their societal implications. Its routine is gracious on the surface. Deeper into its core, there is revolt. A defiance to conform to gender norms and societal constraints.
In the literal and rather conventional context, ballet's influence on fashion can be extracted from the abundance of couturier creations flaunting elegant and refined ultra-feminine forms in garment construction, ethereal silhouettes, and pointed structures in shoe design, amongst many others. With the infusion of modernity and contemporary values, society has recently experienced a skeptic leap that leads many to questions such as: “what is gender?” “How do we define it?” “How does it define us?” And ultimately, “how is it reflected in the manner in which we express ourselves?” Such introspection on a momentous scale paves the way for the individual to embark on a plethora of varying directions, as opposed to the traditional sense of left and right. However, this redefinition of gender does not remain bound and introverted within individuals who contemplate it nor is it challenging of gender norms; something that has only recently surfaced. It has expanded its reach over society at large through unapologetically expressive stylistic statements that question, “what is indeed femininity and masculinity?”
Thus, this theme has undeniably shifted ballet and fashion’s relationship in a transformative light past one of the obvious tutu and satin slippers, which can be witnessed by celebrities in the media, or walking down a busy street on a casual afternoon.
In its classical respect, ballet as one of the scarcer art forms, was considered feminine. As such, throughout the majority of the twentieth century, ballet has exerted its influence on fashion predominantly through couture tailored for women. It eventually lifted the constraints of society’s repressive expectations for the feminine form to be reserved and controlled. However, this desire to control femininity was not exclusive to women.
In response to the societal oppression of femininity in men towards the dawn of the twenty-first century, emerging talent such as Brad Pitt and Kurt Cobain, amongst many others, protested not only with their words but their wardrobes and attitudes as well. By sporting makeup, dresses, and skirts, they sparked the long overdue conversation addressing societal constraints on men blacklisting emotional expression, vulnerability, and refined, soft aesthetics. When inquired, Cobain explained his reasoning behind wearing floral dresses, simply stating, “there’s nothing more comfortable than a cozy flower pattern.” This nonchalant response beguiled and inspired many, setting forth the question, “why should a man have a fixed reason for sporting a gown when comfort and satisfaction naturally arise from wearing such a garment?” Although protests in the scope of fashion like these have sprouted much controversy, they have led our generation to the increasingly inclusive state occupied today.
Gender fluidity and the obstruction of rules pertaining to fashion from an era long-obsolete came into effect due to such radical oppositions in the conventional sense of fixed “masculinity”. Through its diaphanous and graceful movements, ballet has inspired many to explore fluidity and sensitivity in the form of the modern male. Breaking from the stoic and formulaic prior model trapped within the confines of the uninspired suit and tie, the modern man embraces emotional expression within his attire.
Their legacy continues to live on today with artists like Billy Porter and Jared Leto taking self-expression past the scope of labels, exploring elements such as lace, tulle, and velvet garments in their signature fusions of elements from classic masculine looks manifesting in feminine forms. Porter claims, “My goal is to be a walking piece of political art every time I show up. To challenge expectations. What is masculinity? What does that mean?” Porter makes a provocative statement in his strategic attire. If concepts of femininity and masculinity are entirely subjective, who’s to say one’s perceptions hold value over another’s? As such, individuals are now breaking down barriers between the anciently segregated departments of men and women. Heading in a neutral direction, younger generations tend not to base their shopping decisions on what’s set out on display windows. Instead, many have adopted the pick-and-choose mentality when selecting new apparel by finding signature elements in which they identify.
It goes without saying, no one is neither entirely masculine nor feminine. We all exist between the range of polar opposites within us. Through our unique positioning between these polarities, in our internal dance of duality, we define our identities.
Strike Out,
Writer: Johnathan Kopp
Editors: Cailin Rolph, Natalia Finnis-Smart
Miami
