Gendered Fashion
It is a gender-inclusive program, with no boundaries between womenswear and menswear, in which students are led to become high-level fashion design experts without being limited by any gendered considerations.
The Master of Arts in Fashion Design Pathway at the Institut Français de la Mode in Paris, France, offers a comprehensive program that is inclusive of all genders. This innovative approach to fashion design challenges the longstanding gender binary that has been prevalent within the fashion and apparel industry, disrupting traditional social norms and expectations. The use of terms such as gender-inclusive and gender-neutral signals a shift towards more inclusive practices within the industry, moving beyond the concept of unisex fashion as a fleeting trend.
However, these ongoing efforts also illustrate the entrenched nature of the gender binary within the fashion industry and the deeply ingrained gender roles and expectations that are associated with it. While biological sex refers to an individual’s physical characteristics, gender encompasses the societal and cultural expectations for behaviour and appearance based on one’s gender. Fashion, which is closely tied to these expectations, therefore operates within the framework of gender. While it may seem natural, the fact that these expectations have varied across cultures, norms, and historical periods suggests that they are not fixed or inherent but somewhat shaped by societal and cultural influences. This highlights the importance of challenging and reexamining traditional gender roles and expectations within the fashion industry.
The use of the terms menswear and womenswear has perpetuated a narrow range of clothing options for each gender. While cultural differences do exist, the fact that clothing is often divided by gender remains unchanged. The fashion industry has played a role in reinforcing binary thinking and limiting clothing and behaviour choices for those who do not conform to traditional gender roles or fit into existing categories. For example, suits have long been associated with men and seen as a symbol of power and authority. While women can now wear suits as well, there are still design differences, such as in silhouette, pocket placement, and finishes, that maintain the distinction between men’s and women’s suits within the same category. Additionally, as the suit has become a symbol of professionalism and public activity, menswear has shifted away from other considerations such as personal style or self-expression and has instead focused on functionality and professionalism. Similarly, the development of women’s clothing design has often been reduced to serving as a means to display a husband’s financial status or sex appeal rather than being centred on the wearer’s personal style or self-expression.
The history of menswear and womenswear has contributed to and reinforced harmful gender stereotypes that can harm individuals and society. Fashion that is inclusive of all genders can counter these harmful stereotypes and promote diversity and inclusion within the industry. However, the fashion industry needs to adopt a more inclusive approach, with many schools and companies still maintaining a separation between menswear and womenswear. While it is true that some may argue that the fashion industry has been slow to adapt to more inclusive practices compared to more progressive educational programs like the Institut Français de la Mode, it is not accurate to say that all schools and companies are simply being complacent. Instead, a variety of factors contribute to the slow pace of change within the industry, including longstanding traditions and cultural norms, as well as the need to consider the practical and financial implications of such a shift. Ultimately, it is crucial to recognise that change takes time and to continue pushing for greater diversity and inclusion within the fashion industry.
There are several reasons why menswear and womenswear continue to exist despite growing awareness of the need for change. One factor may be the longstanding traditions and cultural norms surrounding gender and clothing, which can be challenging to shift. Additionally, there may be practical considerations, such as the need to cater to different body types and fit preferences, that make it difficult to entirely eliminate the distinction between menswear and womenswear. It is also possible that the fashion industry is slow to change, as it can resist disruption and is often driven by financial considerations. The Master of Arts in the Fashion program at the Royal College of Art in London, England, may offer both a challenge to and a continuation of these conventions, depending on the specific approach and focus of the program.
Among their subspecialties, you can find Humanwear, a somewhat unfamiliar concept. Their attitude toward this word is as follows.
Rejecting the binary conventions of gendered fashion at a time when the unlearning and dismantling of all oppressive societal structures is absolutely pertinent, Humanwear is a platform through which to think through what it means to be human. What are our values? What are the communities we design for? Crucially: how can fashion practice be an agent of change?
Text by Annie Mackinnon, 2021.rca.ac.uk
It is typical for initiatives that challenge traditional norms and conventions to continue operating within indeed established frameworks. The Humanwear concept at the Royal College of Art may be seen as a challenge to the conventional gender binary in fashion, as it seeks to design clothing that is centred on the individual rather than being based on preconceived notions of what is appropriate for men or women. However, it is possible that the program still distinguishes between menswear and womenswear for practical or logistical reasons, such as catering to different body types or fit preferences. The program is also attempting to balance the need for innovation and disruption with the reality of operating within an established industry that is slower to change. Ultimately, the specific reasons why the program maintains a distinction between menswear and womenswear would need to be explored further.
As Judith Butler’s theory suggests, gender is not fixed or inherent but a social construct that is performed through the repetition of stylised behaviours and actions. Clothing, or “wear,” is ultimately about the human body and the choices made by the wearer about how to present themselves to the world. From this perspective, gender-inclusive fashion should be established as a new category rather than a broad concept encompassing men’s and women’s wear. This would allow for greater flexibility and agency for individuals to choose clothing that fits their personal identity and style rather than being limited by traditional gender roles and expectations.
It is feasible for gender-inclusive fashion to become a new category within the industry, as there is already a growing demand for more inclusive and non-binary fashion options. However, it may take time for this shift to be fully realised, as there are likely to be challenges and resistance to such a change within the industry. It will be necessary for fashion designers and companies to continue to challenge traditional gender roles and expectations and to be inclusive and responsive to the needs and desires of a diverse range of consumers.
Gender is not a stable identity or locus of agency from which various acts proceed; rather, it is an identity tenuously constituted in time, instituted in an exterior space through a stylized repetition of acts.
Gender Trouble (1990). Judith Butler
Individual identity and self-expression indeed play a significant role in how clothing is perceived and worn and that the wearer ultimately determines the gender of a garment. A designer can create gender-neutral clothing that anyone can wear regardless of gender identity. However, the gender of the wearer and how the garment is worn can still influence how the dress is perceived and its meanings. This highlights the importance of considering the wearer in the design process and being mindful of the potential implications of clothing choices.
While the concept of gender-inclusive fashion may be difficult to realise in practice fully, it is still essential to continue to challenge traditional gender roles and expectations within the industry and to promote diversity and inclusivity. This could involve rethinking how clothing is categorised and marketed, as well as working to create more inclusive and non-binary fashion options. It may also be helpful to consider a more comprehensive approach to menswear and an inclusive approach to womenswear rather than simply striving for gender neutrality. Ultimately, the goal should be to create a fashion industry that is inclusive and responsive to the needs and desires of a diverse range of consumers.
