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The old adage applies: You know her when you see her. Butch is an aesthetic, but it also conveys an attitude and energy. Because part of being butch is owning it, the whole aura around it. What does owning it look like? Decades before genderless fashion became its own stylebutches were wearing denim and white tees, leather jackets and work boots, wallet chains and gold necklaces.
By refuting conventionally gendered aesthetics, butchness expands the possibilities for women of all sizes, races, ethnicities and abilities. Short hair, polo shirt, cargo pants and that ring of keys … It was the first time I saw the possibility of who I was. We disregard and reject the confines of a sexualized and commodified femininity. At these spots, where cocktails cost 10 cents and police raids were a regular occurrence, identifying yourself as either butch or femme was a prerequisite for participating in the scene.
These butches were, in part, inspired by 19th-century cross-dressers — then called male impersonators or transvestites — who presented and lived fully as men in an era when passing was a crucial survival tactic. We can also trace butchness back to the androgynous female artists of early 20th-century Paris, including the writer Gertrude Stein and the painter Romaine Brooks.
From their earliest incarnations, butches faced brutal discrimination and oppression, not only from outside their community but also from within. They pilloried butchness as inextricably misogynist and butch-femme relationships as dangerous replications of heteronormative roles. Such rhetoric has resurfaced, as trans men are regularly accused of being anti-feminist in their desire to become the so-called enemy. In her academic work, Butler argues that gender and sexuality are both constructed and performative; butch identity, as female masculinity, subverts the notion that masculinity is the natural and exclusive purview of the male body.
Soon after, butch imagery infiltrated the culture at large. The August issue of Vanity Fair featured the straight supermodel Cindy Crawfordin a black maillot, straddling and shaving the butch icon K. InEllen DeGeneresstill the most famous of butches, came out. These artists and their legacies are the cornerstones of our community. LIKE ANY QUEER subculture, butchness is vastly different now than it was three decades ago — though the codes have been tweaked and refined over the years, younger butches continue to take them in new and varied directions: They may experiment with their personas from day Looking for my stud girl day, switching fluidly between masculine and feminine presentation.
And while there remains some truth to butch stereotypes — give us a plaid flannel shirt any day of the week — that once-static portrait falls apart under scrutiny and reflection. Not every butch has short hair, can change a tire, desires a femme. Some butches are bottoms. Some butches are bi. Some butches are boys.
Different bodies own their butchness differently, but even a singular body might do or be butch differently over time. We move between poles as our feelings about — and language for — ourselves change. The ever-shifting ifiers of neither or both are what create meaning and complexity. Indeed, butch fluidity is especially resonant in our era of widespread transphobia.
Yet butches have always called themselves and been called by many names: bull dyke, diesel dyke, bulldagger, boi, daddy and so on. She is either cast out by a dominant society that does not — will not — ever see her or accept her, or she self-isolates as a protective response to a world that continually and unrelentingly disparages her. But when you talk to butches, a more nuanced story emerges, one of deep and abiding camaraderie and connection. Despite the dearth of representation, butch love thrives — in the anonymous, knowing glances across the subway platform when we recognize someone like us, and in the bedroom, too.
You can do more than just survive. You can contribute. Kerry Manders is a writer, editor and photographer whose personal work focuses on queer memory and mourning. Makeup by Yumi Lee at Streeters. Set de by Jesse Kaufmann at Frank Reps. Manicure: Ada Yeung at Bridge Artists. Digital tech: Stephanie Levy.
Hair assistants: Rachel Polycarpe and Lamesha Mosely. Makeup assistants: Elika Hilata and Wakana Ichikawa. The comments section is closed. To submit a letter to the editor for publication, write to letters nytimes. Next. Photo by Collier Schorr. Styled by Brian Molloy. Photos by Collier Schorr. Produced by Casey Legler. The Dynasties. The Directors. The Disciples. The Graduates. Chapter 2: Reunions and Reconsiderations The Neighbors. The Regulars. Hair Sweeney Todd Revival. Daughters of the Dust The Activists.
The Veterans. The Beauties. The Scenemakers. Olivier Rousteing and Co. Maria Cornejo and Co. Telfar Clemens and Co. Alessandro Michele and Co. The Journalists. Write a comment.Looking for my stud girl
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