Jockstraps are htg the nways the backdrop of Florida senators wrg “don't say gay” laws.
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WH JOCKSTRAPS HTG THE RUNWAYS, FASHN IS SAYG GAY LOUD AND CLEAR
* gay guy fashion *
” The image was shared untls tim, mostly by queer and gay fashn-phil, and garnered reactns om many dtry sirs, cludg GQ France’s Head of Edorial Content Pierre A.
M’Pelé, who mented “gay rights! Ask any gay man and they’ll be sure to tell you that, their world, jockstraps are ls about sports and more about sex, though they do toy wh the male gaze-y athlete Valento showg flamboyant men’s uture and Fendi puttg cropped jackets and Mary Jan on s menswear nways, 's clear that menswear has shifted a more genr-fluid directn. Florida senators might be wrg “don’t say gay” laws, but wh the jockstraps and next-gen menswear, fashn is very much sayg gay loud and clear–the way should be.
But when one particular look cropped up the post-Stonewall gay scene of the 1970s, was so popular—and so distct—that the guys who sported were dismissed as “clon. )And while the nickname was ially pejorative, the clone perd marked perhaps the first time that gay men prented themselv wh a queer-signalg uniform that was a direct rponse to societal stereotyp.
The gay movers-and-shakers of the fashn blogosphere * gay guy fashion *
“The clone was a reactn to thgs you would see movi of gay men beg flty and nelly, ” says John Calendo, a wrer who lived LA and New York Cy throughout the 70s and 80s, and worked as an edor at the clone-cubatg sk mags Blueboy and In Touch for Men.
He pots to the gay mstrel stereotyp the 1967 film The Producers, along wh the timid-lookg guys on the illtrated vers of gay pulp books wh nam like All the Sad Young Men. (Not to mentn the 1964 article Life magaze lled “Homosexualy Ameri, ” which scribed a “sad and often sordid world.