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Bondage As Couture A Case Study of Versa
Bondage As Couture A Case Study of Versa
Bondage As Couture A Case Study of Versa
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Regan Loggans
th
Final Paper (20 Cent)
Bondage as Couture: A Case Study of Versace’s
Miss S&M
Miss S&M
In 1992, Versace’s Autumn/Winter line, , provided one of the first
mainstream fashion lines incorporating BDSM subcultural fashions within the designs.
The strappy harnesses, belted tops, studs, leather, and buckles were reminiscent of the
queer club fashion scene, and yet elevated to the couture fashion runway. Super models
like Naomi Campbell, Cindy Crawford, Christy Turlington Burns, and Nadége du
Bospertus walked down the runway bound, clad, and strapped in leather ensembles.
Their chests were caged, their waists cinched, and studs adorned their bodies like
wartime rivets. However, these were not new looks.
Though they were new to the fashion couture community, these design aesthetics
were costumes for the queer community, within the BDSM subculture. Categories like
Hetero, homo, bi, are based on the normative social constructs in which sexual
1
orientation is based on who one chooses to have sex with
. However, the queer realm
does not align with such social constructs. Queer will be defined as sexual and gender
performances that do not align the traditional heteronormative patriarchal ideologies of
2
1,
sex and gender . Members of the queer community, whether gay, nonbinary, or
asexual, participate as antinormative players within sex and gender performances.
BDSM (
bondage
,
dominance and submission
, )
sadomasochism performances are
1
Alison Bancroft, Fashion and Psychoanalysis:
“Queering Fashion, Dressing Transgression”
(London: I.B. Tauris & Co Ltd., 2012). Pp. 103148.
2
Ed., Joan Nestle, Clare Howell, and Riki Wilchins,
GenderQueer: Voices Beyond the Sexual
Binary, “It’s Your Gender Stupid” (New York: Alyson Books, 2002).
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inherently queer, as they either exaggerate or reverse the roles of heteronormative power
performances. Therefore, when we consider the adoption of BDSM costuming within
fashion, it is the adoption of queer culture by the mainstream.
Miss S&M
What elevated the Versace’s beyond a subcultural context and brought
BDSM queer fashion into mainstream, globalized fashion? This paper will explore the
elevation of BDSM queer fashion through primary sources: suits from Versace’s
Miss S&M New York Magazine’s
runway, “Ordinary People” article and reactions by the
fashion community, and contemporary repercussions and resurrections of Versace’s
Miss S&M.
designs and those influenced by
At this point, it is important to note that
Versace is not the only queer designer that elevated BDSM fashions. Nevertheless, this
case study will focus on Versace’s influence on the elevation of such a subcultural
fashion.
Versace: Miss S&M
Versace sent models down the runway clad in black harnesses and gold medusa
buckles like Amazonian goddesses. The most quintessential look being Naomi
Campbell’s last ensemble (see figure 1). Gianni Versace’s leather evening dress included
a caged bodice, belted waist, and ankle length full leather skirt. The metal
embellishments included gold grommeting along the skirt, buckles along the waistline,
and studs throughout. This juxtaposition between the femininity of the design and
heaviness of the metal acts as metaphorical symbol of postmodernist fashion. As the
models came down the runway, there was no mistaking the inspiration of the line. Coined
Miss S&M
Versace’s ‘Bondage” line, was a couture awakening. The casualness of jeans
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and tshirt revolution of the late 1960’s was now replaced with a sexier counterpart,
bondage and sex would become the new normal.
Ranked twentyone on Vogue’s list of “Top 25 Most Unforgettable Runway
3
Miss S&M
Shows”, took critics by storm
.
Fashion critic, Suzy Menkes, of the
International Herald Tribune
stated postshow, “I don’t want to be in bondage…I don’t
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want women to be sex objects or any of that’.
Suzy Menkes’ reaction to the show is a
quintessential quote, in which her distaste in the line is palpable. However, her dislike
comes from the statement that she herself would not like to be in bondage, and therefore,
she herself would not like to be seen as a sex object. While on the other hand, members
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of the fetish community identify with that objectification as inherently powerful
. Fetish
fashion often resembles that of dominatrix costuming, and is therefore a costume of
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power
. The kink that is associated to fetishism is a dynamic of power, the subheading
being, women in power. Considering that many of the fashion premodernism fashion
trends were not based women’s empowerment, fetishism in fashion outwardly and
inherently displays power for women and queer bodies through the juxtaposition of the
softness of the body and the harshness of the materials used to define rather than contain
the body behind them.
Vogue’s
January 1996 issues included a “Best and Worst looks of the 90’s” article
Miss S&M
which criticized as a one of the worst looks of the decade. Bondage fashion
3
“Top 25 Most Unforgettable Runway Shows”, Vogue Archives
:
http://www.vogue.com/13298028/marcjacobsversacepradavogues25best90sshows/
4
Suzy Menkes, International Herald Tribune, Throwback Thursday with Tim Blank.
5
Emily Prior ,
"Women's Perspectives of BDSM Power Exchange" . (Electronic Journal of Human
Sexuality, 2013).
6
Fetish: Fashion, Sex, and Power
Valerie Steele, (new York: Oxford University Press, 1996).
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was, according to the article given “street credibility” by Gianni Versace, “but is still not
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one of the best”.
This statement reflects normative fashion ideologies, in which BDSM
fashion was/is another fleeting trend to be replaced by another more important trend.
Miss S&M
However, unbeknownst to Betts, was a catalyst to BDSM fashion being
engulfed by mainstream fashion. Though this article stresses the lack of endorsement of
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Miss S&M
the line, is Versace’s most sought after line, twentyfour years later
. Naomi
Watts was photographed (see figure 2 ) wearing a dress from Miss S&M in 2013. In the
same year, Miley Cyrus and Kat Graham were photographed in dresses from the
Miss S&M
collection (see fig 3). Resale sites, like Resurrection Fashion, report constant
Miss S&M
demand for ensembles from the 5
runway. This demand for such an iconic line
can be interpreted as women seeking fashions of empowerment in a fashion age where
there is a disconnection between fashion and consumer. Seeking queer fashions of
empowerment make a statement of strength; those seeking out vintage Versace are
seeking symbolisms of strength in a time of disconnection and amalgamation. In the same
way that queer people sought out BDSM costuming and performances in the wake of
strong cultural and societal oppression, it seems that women are seeking out the Versace
of the past to adopt a nostalgic representation of strength without having to participate in
BDSM.
Miss S&M
The Museum at FIT owns two of the items from the runway show (see
fig 4). The two suits from the Autumn/Winter 1992 line are not the raciest of the pieces
7
Vogue
Katherine Betts, "Fashion: The Best & Worst Looks of the '90s." , Jan 01, 1996. 118,
http://libproxy.fitsuny.edu:2074/docview/879297568?accountid=27253.
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Resueerction reporting
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available from the collection. However, they still display the queerness and adoption of
BDSM motifs within couture fashion. The suit, originally modeled by Bevery Peele (see
figure 5) is black wool and leather with metal embellishments. The harshness of the black
wool and leather maintains the aesthetic of BDSM costuming. However, the aesthetic has
been transformed in the most classic and traditional fashion, the suit. The fact that Gianni
Versace designed these suits with the intention to harness BDSM fashion is symbolic of
the taming of queer fashion for a nonqueer fashion eye. The association between the
queer and the nonqueer is evident in the juxtaposition of the traditional suit versus the
material used in this design. Not to mention the usage of crossbodice caging on the
bodice to evoke the aesthetic of chestharnesses used by queer peoples in BDSM.
The leather applique along the neck, chest, and center front mimics leather body
bondage; the cross sections mimic leather caging, all contained in the strictness of a suit.
Nothing says cosmopolitan or civilized like a suit, yet the assumed barbarism of the
BDSM is clearly the influence for the design. The use of leather for adornment is also
symbolic of power play. Collin McDowell discusses the strength of leather as a disguise
for the bodies inadequacies, that leather provides a “sense of heightens sexual
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awareness”.
Leather is an iconic material, it functions as an icon of butch, masculinity,
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and power.
The gold metallic and embellishment are quintessential Versace, and evoke
eighties tawdriness. Even the usage of the Medusa head on the embellishments is
9
Collin McDowell, Dressed to Kill: Ex, Power & Clothes
(London: Hutchinson, 1992)
10
Fetish: Fashion, Sex, and Power
Valerie Steele, (new York: Oxford University Press,
1996).
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connected to the queer BDSM world. In Greek mythology, Medusa was punished for her
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lustful and seductive actions.
The ideology of punishment and the power play
between submissive and dominator is a relevant dialogue within the BSDM community.
Using a mythological symbol that perpetuates that discourse furthers the elevation of
queer idiosyncrasies within Versace’s designs.
New York Magazine
Miss S&M’s intensity was even met with an article in the November 1994 issue
of New York Magazine. The cover of the publication stated “in 1974 it was free sex, in
1984 it was safe sex, in 1994 its MEAN SEX” (see figure 6). The article, written by
journalist Melinda Blau, explored the new fascination with BDSM within mainstream
culture. Within the article, Melinda Blau discusses the shock that ordinary people
participate in an inherently queer subculture. That those, who look to transcribe to
heterosexual, patriarchal, genderbinary lives actually practice queer power play in daily
life through their sex lives, fashion, and personal relationships.
The subset article within the larger piece titled “S&M Comes to the Supermarket”
provides a small glimpse of how BDSM has been absorbed into the larger market i.e.
with music, fashion, and media. Blau states, under the Fashion subtitle, that Gianni
Versace, “shocked the couture community when he sent Cindy Crawford out in bondage
MFIT Label (see bibliography for citation).
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12
A. Pratt,
Archetypal Empowerment: Medusa, Aphrodite, Artemis, and Bears: A Gender
Comparison . (Bloomington: Indiana University Press, 1994).
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getups”(see figure 7).
The juxtaposition between the girl nextdoor persona of Cindy
Crawford and BDSM is the focal point of this whole conversation; that BDSM has found
its way into the home and into the media. BDSM has become the new normal; queer has
become the new normal. It took Cindy Crawford modeling leather bondage for BDSM
fashion to be illuminated and elevated to couture fashion.
New York Magazine
The Article in the also delves into the paradox of BDSM as
empowerment for women. A number of women are interviewed, one being a
fortyyearold dominatrix named June who states that she is only doing it for the
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empowerment. The ability to act and perform as a dominatrix, when women are
constantly subjugated during daily sexist transgressions, empowers women and elevates
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selfempowerment as an art form. The costuming of empowerment is part of allure; the
leather, latex, and hardness of the physique are armor against those daily transgressions.
In the same way the corsetry matched the segmentation of men’s armor during the
medieval era, the costuming of BDSM is in reaction to daily sexist transgressions that
women experience. They, like corsets of the past, are wearing their armor. The fashioning
of this armor into mainstream fashion, as seen with the Miss S&M runway looks, is an
adoption of this armor and mentality in which women are symbolically and literally
wearing their reaction to years of oppression. Gianni Versace, perhaps influenced by the
AIDS epidemic of preceding years, is armoring his models for a societal and sexual
battle. Though critics, like Suzy Menkes, view this objectification as a lowering of
women’s fashion to oppressive standards, the reality is that costuming of BDSM is a
13
New York Magazine:
Melinda Blau, “Ordinary People”, November 28, 1994.
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powerful statement of protection. If we consider the HIV/AIDS epidemic of the late
1980’s and early 1990’s as a catalyst for the designs exhibited by a number of queer
Miss S&M
designers, then it would be logical to make the same assumption of . In a time
marked by fear and judgment by members of the nonqueer community, it is logical that
fashion designs of armament would be sought out. Therefore, elevating fashion to this
standard arguably asserts BDSM as a statement of authorization rather than
objectification; protection and defense rather than submission.
New York Magazine
This issue of included the Calvin Klein add for Calvin 1, a
scent for either “man or woman” (see fig 8). This advertisement is relevant, as this is
another example of queer, gender nonconforming identities being marketed into
mainstream consumerism. Jenny Shizmu, an androgynous model, who walked in Jean
Let Tattouges
Paul Gaultier’s Spring 1994 line, is a symbol of adoption of queerness into
the mainstream. Crouching, topless in hard leather working boots, denim, and leather belt
next to the bottle, her gender and sexual identity is a mystery. Her coolness and striking
androgyny is synonymous to the genderfluidness and redefinition of sexuality in the
fashion of the early 1990’s. It seems almost too perfect that the Calvin 1 advertisement is
sharing the pages with the “S&M Goes Mainstream” article. Jenny Shizimu’s existence
within the pages as a gender nonconforming model frames the “S&M Goes Mainstream”
article within the queer realm. The advertisement and article are both queer subcultures
on the forefront of consumerist conversation.
Contemporary Context
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The active queer community adopts the elevations of BDSM queer fashions with
different mentalities. Etsy is littered with smalltime queer designers attempting to
compete with the massmarket production of their culture. Therefore, I would argue that
the necessary elevation of BDSM fashion is still found in the couture world. The
conversation that is not being had a massmarket retailors is still being had by couture
designs. Perhaps the most important elevation of queer fashion is the continuation of
bondage fashion in today’s couture world. Last week’s Met Gala:
Manus X Machina
showcased the influence that Versace’s Miss S&M has had on contemporary BDSM
fashion. Celebrities that wore Versace: including Lady Gaga, FKA Twigs, and Kate
Hudson were reminiscent of the 1992 line (See figure 9, 10, 11). All three Versace
ensembles incorporated the segmentation of corsetry, the use of leather and latex, and
adopted hardness as feminine empowerment.
However, it seems unlikely that one would question these fashion choices
currently, when contemporary fashions are saturated with queer BDSM inspiration.
Harnesses can be purchased at bigbox retailers like Forever21, Urban Outfitters, and
H&M (see fig 12). Rather than queerness in fashion being elevated, the queerness of
BDSM had become the trend. This trend has removed the importance of empowerment
away from the wearer; empowerment has been replaced by trend. It is unlikely that the
customers of these quick fads are aware of the subcultural citations that exist. In the same
lack of thoughtfulness that exists with cultural appropriation of Native American designs
on fasttrend fashion, that same mentality is mirrored in the mass adoption of queer
costuming as trend fashion.
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Zana Bayne, a contemporary queer designer, has been the new name in the
continued elevation of BDSM fashions. Her entire collections are based on the
subcultural costuming of the BDSM community. Her collections have been featured in
Vogue and worn by a number of celebrities including: Niki Minaj, Angelina Jolie, Lady
Gaga, Violet Chotchki, Madonna, Debbie Harry, and w
hose pieces were most recently
Lemonade
featured in Beyoncé’s (see fig 13). Zana Bayne’s biography states that her
designs are a
“unique highend take on S&M/punkinspired aesthetics creating a range of
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styles of leather harnesses”
. Zana Bayne’s designs are BDSM fashions, that link do not
need to be made as she has already spelled it out. This definiteness is similar to Versace’s
take on BDSM queer fashion, in which there is no need to hypothesize the inspiration.
The continuing adoption of BDSM costuming in high fashion, like that of Zana Bayne, is
due to the successfulness of Miss S&M. Gianni Versace paved the way for other queer
designers to voice and adopt BDSM costuming as a means of symbolic fashion for and
by the queer community. Zana Bayne, a queer identifying designer, has found her success
in designing for a number of women who are outspokenly feminist and/or queer. Her
usage of such models elevates BDSM beyond Versace’s beginning. By using models that
not only identify with the fashion but also the message of the fashion, Bayne is
reclaiming BDSM fashion away from the mass market and back to the queer couture.
Queer fashions are an amalgamation of imagery and symbolism as performance
against oppression. BDSM, being a subset of this queer dialogue, adds to the discourse in
which oppression is met with hard aggression. Perhaps it is that aggression that is so
14
Zana Bayne, Biography, Zanabayne.com, 2016.
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appealing in a time when queerness was/is still subject to hate and judgment. The
outward appearance of pride in queerness has become a literal defense, and is defined by
the dominating designs of the BDSM costume. Versace’s usage of this subcultural
defensive strategy as inspiration for couture, was an unbelievably aggressive and
powerful move. The continuation of bondage as couture provides insight into the
sociocultural motivations behind such designs. Whether as a symbol of empowerment,
objectification, fetish, or defense, BDSM fashions provide a perceptive and bold fashion
statement in which queer power performance is the focus.
This case study only goes so far in examining the influence and symbolism
Miss S&M.
behind Versace’s Ideally, more runway shows by both Versace and other
queer designers would need to be studied in order to solidify theory. Nonetheless, a
Miss S&M
correlation between and BDSM fashion in the contemporary world needs to
be made, and this is that beginning thread.
Bibliography
Anderson, Kristin. "When Beyoncé Wants 30 Custom Leather Harnesses, This Is Who
Vogue
She Calls." . April 29, 2016. Accessed May 3, 2016.
http://www.vogue.com/13431264/beyonceleatherbraharnessdesignerzanabay
nelemonadeinterview/.
Fashion and Psychoanalysis: Styling the Self
Bancroft, Alison. . London: I.B. Tauris,
2012.
Barnes, Ruth, and Joanne Bubolz. Eicher. Dress and Gender: Making and Meaning in
Cultural Contexts
. New York: Berg, 1992.
Betts, Katherine, "Fashion: The Best & Worst Looks of the '90s."
Vogue Archives.
Jan 01, 1996.
The New York Magazine
Blau, Melina. "Ordinary People." , January 28, 1994.
Geczy, Adam, and Vicki Karaminas . Queer Style
. London: Bloomsbury, 2013.
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Sex and Suits
Hollander, Anne. . New York: Knopf, 1994.
McDowell, Colin. Dressed to Kill: Ex, Power & Clothes
. London: Hutchinson, 1992.
Nestle, Joan, Clare Howell, and Riki Anne Wilchins. GenderQueer: Voices from Beyond
the Sexual Binary. Los Angeles: Alyson Books, 2002.
Phelps, Nicole. "Top 25 Most Unforgettable Runway Shows." Vogue Archives. August
29, 2015. Accessed April 28, 2016. http://www.vogue.com/13298028/marc
jacobsversacepradavogues25best90sshows/.
Prior, Emily. "Women's Perspectives of BDSM Power Exchange. “ Electronic Journal of
Human Sexuality , 2013. Accessed April 28, 2016.
Scott, Linda M . Fresh Lipstick: Redressing Fashion and Feminism. New York: Palgrave
Macmillan, 2005.
Fetish: Fashion, Sex, and Power
Steele, Valerie. . New York: Oxford University Press,
1996.
A Queer History of Fashion: From Closet to Catwalk.
Steele, Valerie. New Haven: Yale
University Press, 2013
Versace Bondage Show . Performed by Suzy Menkes. New York,
2014. Transcript.
"Zana Bayne Biography." Zana Bayne
. Accessed May 1, 2016. http://zanabayne.com/bio.
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