2.1 History of Transvestism
The phenomena of “Transvestism” have its origin from the publication of a German physician in 1910 of Die Transvestiten (The Transvestites). The concept was formerly used to refer cross-dressing that was linked with heterosexual behaviour and was defined in terms of deriving sexual pleasure. However, in the twentieth century the phenomenon was linked with a mental condition called transvestic disorder used for sexual excitement. Additionally, it was also mistaken for homosexuality for people who were heterosexual, or homosexual, asexual, or bisexual. Similar to this cross-dressing has been linked with religious aspects as well. In the early Christian Churches, Females began to live within cross-dressing like males…show more content… The same trend was focused by WGSN11 in their report. The new notion of “gender-bender” illustrates the progress of fashion designers being highly dependent on the contemporary style statements and bigwigs of fashion industry as a testimony of Transvestism. The collection of Balenciaga‟s Nicholas Ghesquiere, Proenza Schouler, Calvin Klein, Marc Jacobs, and Jean Paul Gaultier shows a strong driving trend towards Transvestism. This change in fashion and inclusion of cross-dressing would in future be read as socially…show more content… With high-rise in the sub-cultural fashions and with the diffusion of Carnaby Street fashion trends around the globe, it was started to be acceptable for males to be dress in such a way and be interested in fashion. A former physique photographer initially sold Carnaby Street fashions to a gay “theatrical and artistic” clientele by the name of Vince from a shop near Carnaby Street. Similarly, John Stephen who is now known to be the King of Carnaby Street worked to produce clothes rapidly and for younger market who bought such clothes. Such clothes were also sold in Greenwich Village, New York, and West Hollywood in Los Angeles considering it to be a constricted European style.
The body image and representation is highly imperative for comprehending the fashion world. This area of research is not only necessary but also momentous and can be described as an innovative discussion. It has been observed that the complexity of interplay between the self and others’ perception and understanding of image and representation is highly imperative yet closely associated with media. A prevailing presentation is the chief method to gather appreciation of the aesthetic illustration portrayed. Media however, in this sense plays a crucial role in shaping the minds and rules of societies (Gregory,