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Dominic Janes - Freak to Chic: Gay Men in and out of Fashion after Oscar Wilde

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Dominic Janes Freak to Chic: Gay Men in and out of Fashion after Oscar Wilde
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Freak to Chic: Gay Men in and out of Fashion after Oscar Wilde: summary, description and annotation

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In this unique intervention in the study of queer culture, Dominic Janes highlights that, under the gaze of social conservatism, gay life was hiding in plain sight. Indeed, he argues that the worlds of glamour, fashion, art and countercultural style provided rich opportunities for the construction of queer spectacle in London. Inspired by the legacies of Oscar Wilde, interwar and later 20th-century men such as Cecil Beaton expressed transgressive desires in forms inspired by those labelled freaks and, thereby, made major contributions to the histories of art, design, fashion, sexuality, and celebrity.
Janes reinterprets the origins of gay and queer cultures by charting the interactions between marginalized freaks and chic fashionistas. He establishes a new framework for future analyses of other cities and media, and of the roles of women and diverse identities.

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Freak to Chic

Freak to Chic

Gay Men in and out of Fashion after Oscar Wilde

Dominic Janes

Some of us are looking at the stars Oscar Wilde Lady Windermeres Fan - photo 1

Some of us are looking at the stars.
Oscar Wilde, Lady Windermeres Fan(1892).

I thank the following libraries, archives, and collections that were consulted in the course of this research:

Birkbeck Library, University of London

Bodleian Libraries, University of Oxford

British Library, London

British Museum, London

Cambridge University Library

Cecil Beaton Studio Archive, Sothebys Picture Library, London

Columbia University Libraries, New York

Harry Ransom Center, University of Texas at Austin

John Deakin Archive, London

Keele University Library

Metropolitan Museum of Art, New York

National Archives, London

National Fairground and Circus Archive, University of Sheffield

National Library of Scotland

National Portrait Gallery, London

New York Public Library

Syracuse University Library

Tate Gallery, London

University of Brighton Design Archives

University of Kent, British Cartoon Archive

University of Sussex, Mass Observation Archive

Victoria and Albert Museum, London

Wellcome Collection Library, London

Yale University Library

The publisher and I gratefully acknowledge the following permissions granted to reproduce copyright material in this book:

Alamy Ltd, Fig. 2.1.

Beerbohm, Max, estate of, Fig. 2.5.

Bodleian Library, University of Oxford, Fig. 2.5.

Boston Public Library, Fig. 1.1.

British Cartoon Archive, University of Kent, Fig. 7.2.

British Library, Figs 2.2, 2.3, 6.8, and 6.9.

Cond Nast Publications Ltd, Figs. 4.15 and 5.5.

Cond Nast, Figs. 3.14, 4.8, and 7.1.

Copyright reserved, Figs. 3.6, 4.10, 5.6, 6.3, 6.9, 6.11, 6.15, and 7.3.

Crystal Bridges Museum of American Art, Fig. 6.2.

DACS, Fig. 5.8.

Hearst Magazines UK, Figs. 4.16, 5.4, and 6.15.

George Hoyningen-Huene Estate Archives, Figs. 4.13 and 4.16.

Keele University Library, Figs. 2.6, 2.10, 4.2, and 4.6.

Mary Evans Picture Library, Figs. 2.8, 3.1, 3.5, 4.3, 4.4, 4.5, 4.10, 4.11, 4.12, 4.14, 5.1, 5.6, 5.7, 5.9, 5.10, 5.11, 5.12, 5.13, 5.14, and 5.15.

National Portrait Gallery, Figs. 2.7, 4.12, 4.13, and 6.3.

Nottingham City Museums and Galleries, Fig. 5.4.

Philpot, Jongleur,owner, Fig. 5.2.

Pd Courtaulds Group, Fig. 6.9.

Punch Cartoon Library/Topfoto, Figs. 1.2, 1.3, 1.4, 1.5, 2.4, 3.2, 3.3, 4.1, 4.7, 6.1, 6.10, 6.12, 6.13, and 6.14.

Revlon Inc., Fig. 4.11.

Rhys, Emilie, Fig. 5.4.

Solo Syndication, Fig. 7.2.

Sothebys, Figs. 4.9, 4.17, 5.3, and 6.5.

TI Media Ltd, Fig. 6.8.

Wellcome Library, Figs. 5.9 and 7.3.

Ziolkowski, Professor Jan M., Fig. 5.2.

Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material.

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