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Contents:

• IT ALL STARTED HERE: THE GAY LEGACY OF GQ
• WH JOCKSTRAPS HTG THE RUNWAYS, FASHN IS SAYG GAY LOUD AND CLEAR

IT ALL STARTED HERE: THE GAY LEGACY OF GQ

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Lots of gay guys will tell you that the moment they knew they were gay was when they lgered the unrwear aisle of a partment store as a kid, oglg the torsos on the packagg. Though was shaped by a staff that largely nsisted of gay men and straight women, Internatnal Male was never advertised as a gay publitn. But that didn’t stop the mastream om dismissg as a gay rag—skewered a 1993 Sefeld episo and the 2003 movie Zoolanr—even as the talog raked $100 ln at s height (mostly fueled by straight women buyg for their men) and h 3 ln hom wh quarterly 1986 vers.

“It was like a gay awakeng, and the awakeng of sire many ways, ” they say. Bee here I was, this overweight, shy gay kid, ltg after the hot-bodied men. “Gay pornography, pennt fashn, [and] mastream fashn were all velopg a language that was speakg to gay publics.

Courty of ALL MAN: The Internatnal Male Story, © Brawn,, Internatnal Male never said was a gay publitn, but that “also speaks to the general tenncy of the fashn media to really mouflage, to some extent, their ntent, ” Filippello says. “It uld sort of wk to gay dienc, but would also appeal to a larger straight majory dience. But gay dus, ed to cisg public, knew a wk when they saw .

“[The imagery] would appeal to gay men, who then were able to vt their intifitns and their erotic fantasi those imag, ” Filippello ntu, “which the end beme part of queer cultural herage. ”This Trojan horse—g fashn photography to sneak gay subtext—is one foc of the upg documentary All Man: The Internatnal Male Story.

The doc tracks the way Internatnal Male shaped and reflected male body image, om the lanky look of the ’70s to the mcle-bound bodi of the ’80s and ’90s, which were a direct ntrast to the ail forms of dyg men durg the early days of the HIV and AIDS might be temptg to look back now, as we’re reexamg masculy this post-#MeToo culture, and assume that the staff was on some vert missn to advance gay rights, one paisley top at a time. “They never thought, like, are we dog somethg that’s great for gay rights or to help our brothers and sisters out?

” The gay guys around her didn’t have to hi the closet at work, gossipg about their weekends and htg up clubs and the clothg-optnal Black’s Beach La Jolla together. Durg the ’80s and early-’90s heyday of male molg, the pany would hire mols h om Versace nways and logne ads (though some mols wouldn’t work wh Internatnal Male, sce was looked at as a “gay” brand). ’ ”At the time, though—and even more so when Burkard and others left, after the talog giant Hanover Direct purchased Internatnal Male, 1988, and tried to make mastream the ’90s—there was a tightrope walk when me to tryg to not “appear” gay.

Staff would get lls om people wantg off this “gay porn” list. “But at the same time, how do you have three guys their unrwear, or two guys, like, wrtlg, and not look a ltle gay? Jewbilee 2019: 110 Pics of Gays Lightg the Man-orah.

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) It was also, not to put too fe a pot on , a much gayer era of GQ. Jack Haber, the magaze’s edor--chief om 1969 to 1983, was a gay man, as were his two extraordary art directors, Harry Coulianos, who served om 1971 to 1980, and Donald Sterz, who started out as one of Coulianos’s puti and eventually succeed him, nng the partment until late was not explicly a gay magaze, and s mandate, fact, was to te men of all persuasns about fashn and style. But the gay sensibily was unmistakable: the recurrence of the word gged headl; the prcient tert mimalist home r; the “Every Night Fever” dis-stomp pictorial om 1978, wh mols Capezs dancg a parkg lot illumated by the headlights of Lln the magaze self was no joke; GQ took s mandate serly.

In this regard, GQ was way out ont, an archetypal example of the gay mory blazg a trail for the schlumpy mastream. “He had a theory that any hotel, there was a gay person [on staff], and that gay person was a nnectn to where to go the cy. So the first thg Harry did when he walked to a hotel was fd that gay person.

In 1977, Michael Iv was a blond, tole-haired English major at Yale who rowed crew and stood six feet two, spendg the summer between his hman and sophomore years patg ho on Martha’s Veyard. ” Aquilon and Iv were soon gods the fashn firmament—hetero llege boys who’d stumbled to stardom as gay ins.

In this perd, GQ took on a social signifince that s creators uld not have anticipated—as a “d lifele to so many of the hterlands, ” as the Mississippiborn gay memoirist Kev Ssums puts .

“I’m almost posive the profsor was gay, ” Iv says. ”Yet for all the homoerotic quali of the Weber-Sterz llaboratns, for all the male sk they showed, they somehow had more crossover appeal than the shoots that Coulianos oversaw.

as they splashed and guffawed—didn’t necsarily mean that was y time as soon as the shoot a sense, Coulianos’s and Sterz’s artistic outlooks reprented two different rpons to beg gay at a time when Ameri wasn’t very gay-iendly.