Shaun Cole 's ' Clubbing At The Blitz, The Batcave And Beyond

1570 Words Dec 18th, 2015 null Page
Taken from his book which outlines the history of gay men’s dress in the twentieth century, Shaun Cole’s ‘Clubbing at the Blitz, the Batcave and Beyond’ focuses on establishing a connection between the fashion choices of the New Romantic subculture and the early eighties LGBTQ+ community. This discussion on their intertextuality differs to other writings about the period, which very much look to the politics or the fashion of the era. His perspective on the movement celebrates the freedom that the scene’s questioning of constrictive gender presentation gave young, effeminate gay men. The views he expresses are backed up by the chapter being a part of a whole, which acknowledges threads which run throughout queer fashion history.

As an opener, Cole references the way the subculture was born out of dissatisfaction with the way ‘punk had become a parody of itself’ (Cole, 2000) that, once adopted by the mainstream, began to alienate ‘many of those who were at first attracted to it’s embracing of difference and individuality’ (Cole, 2000). In its beginnings, ‘punk’s deliberate association with deviant sexualities made it relevant to many LGBTQ youth’ (Steele, 2013). However, it eventually streamlined into something uniform and hyper-masculinised. In doing so, the scene became much less of a welcoming space for LGBTQ+ youth, such as George O’Dowd (better known today as cultural icon, Boy George) and the Bromley Contingent (which included Siouxsie Sioux and Billy Idol) who…

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