Fashion and Masculinities in Popular Culture

Adam Geczy is Senior Lecturer and Chair of the Faculty Board of Sydney College of the Arts, University of Sydney, Australia.Vicki Karaminas is Professor of Fashion and Deputy Director of Doctoral Research at the College of Creative Arts, Massey University, New Zealand.

• Introduction1. Vampire Dandies1.1 The Dandy1.2 The "Crisis of Masculinity"1.3 Metrosexuality and the Cult of Self1.4 The vampire of Capital and Commodity1.5 Queer Vampire Masculinities2. Playboys2.1 Commodified Masculinities2.2 On the Virtues of Bachelorhood2.3 The Bachelor Pad, or the Sexual Lair2.4 James Bond 0072.5 Fashioning 0073. Hipsters3.1 The White Negro3.2 Hipster vs Beatnik3.3 Hipster Style4. Sailors4.1 Men in Uniform4.2 The Seepage of Sailor into Life and Lore4.4 Sailors Big and Small4.5 Disciplined but Naughty Boys4.6 Bell Bottoms and Fly Fronts4.7 Sailor Chic. From Boardwalk to Catwalk.5. Cowboys and Bushmen5.1 Unknown Frontiers5.2 Celluloid Cowboys5.3 The Australian Bushman5.4 Bushwear for Bushmen6. Leather Men6.1 Reel Men6.2 The Black Leather Motorcycle Jacket6.3 Leathermen6.4 Men of Rock6.5 Greesers and Punks7. Superheroes7.1 The Origin Stories7.2 Masked Masculinity and the Phallic Hero7.3 The Costume, or the Superheros Struggle with Fashion7.4 The Fabric of Superheroes7.5 Everyone’s a Superhero. Role-Play and Cosplay7.6 Who Does Batman Bat for?8. Gangstas8.1 "Ghettocentricity" and Street Cred8.2 Early Gangsta Style. Pachucos and the Zoot Suit8.3 Leave Political Correctness at the Door. Gangsta’s Paradise8.4 The Tyranny of Masculinity8.5 White GangstasConclusion

"This book makes an invaluable contribution to the rapidly emerging field of masculinity and gender studies by providing innovative, critical insights into the impact of historic and contemporary popular culture icons and archetypes on the formation and expression of male identity and multiple masculinities. This engaging exploration of the origins and existence of contemporary male icons from vampires and hipsters to Barbie’s Ken, exposes the socio-cultural contradictions that they espouse in their representation of dynamic masculinities. Finally we have a book that will spark lively interactions in the classroom and nuanced debates in future scholarship." -- Anne Peirson-Smith, City University of Hong Kong