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Left pto address of Warner Brothers; appropriate pto address of HBO

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Everywhere you attending these days, bodies attending like ladies. At the movies, Leonardo DiCaprio struts about West Egg like it was his claimed aerodrome in Jay Gatsby’s iconic blush accouterment and admirable shirts. On television, Michael Douglas inherits Liberace’s feathered, bedazzled crimson in HBO’s Behind the Candelabra. Museum exhibitions—David Bowie Is … at the V&A, Punk: Chaos to Couture at the Met, and Artist/Rebel/Dandy: Men of Appearance at the RISD Museum—celebrate mac appearance iconoclasts. Contempo books on the wardrobes of Liberace and Michael Jackson abundant admiring absorption on anniversary rhinestone and sequin.

On his own, a Gatsby, Liberace, Bowie, or Jackson is an eccentric; together, they accompany a connected array of peas, addition all the way aback aloft the aftermost aeon and beyond. “Not abashed of the odd, the outré, and alike the pastel, he additionally does not abrrence the effeminacy ociated with the dandy’s art,” writes Monica L. Miller in the Artist/Rebel/Dandy catalogue. She is anecdotic André Benjamin, but it’s a advantageous ogue of the modern-day dandy.

In actual terms, singling out ertive men as awfully accessory is a adequately contempo phenomenon. Until the backward 18th century, anybody w could allow them—male or female—wore active silks and velvets, lace, embroidery, fur, ribbons, and cosmetics. Muffs, earrings, cottony stockings, wigs, and high-heeled ses were uni garments. Luxurious, clear clothes were not advised indicators of adultod or femininity, but signs of abundance and taste.

They still are. Tugh the French Revolution fabricated sartorial displays of abundance politically incorrect, it was a bleep rather than a axis point. From the bits of the Bastille rose the dandy, beneath baroque than his ancien régime ancestors but appropriately fastidious. “As others dress to live, he lives to dress,” Tmas Carlyle quipped.

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For best of animal history, new accouterment has been abnormally expensive; to change clothes was to change cl. Gatsby (né James Gatz) and Liberace acclimated clothes to affirm that they’d arrived; if they proclaimed it a little too loudly, alone a high-hat would notice. Gatsby and Liberace were not authentic dandies—their clothes (like Gatsby’s parties) were a agency to an end, rather than the end itself. But they were masters of the art of adult self-presentation.

Liberace, built-in Wladziu Valentino Liberace, was the quintessential immigrant fabricated good. The third of four accouchement of an Italian ancestor and Polish mother, he grew up in Depression-era Milwaukee. As a adolescent piano igy, he performed in his brother’s hand-me-downs. Back he confused to New York to breach into swbiz in the 1940s, Connie Furr Soloman and Jan Jewell acknowledge in Liberace Extraanza!, the disturbing adolescent artist adored up ketchup packets to accomplish soup.

When you go from rags to riches, the aboriginal affair you do is alter the rags. “I vowed that if I became affluent and famous, I’d never abrasion annihilation ripped, broken or patched,” Liberace once said. He fabricated a point of cogent audiences absolutely w abundant his adorned date apparel had cost. His gim of accession onstage in a chauffeured car was not addition affectation, but a applied necessity; he couldn’t airing in tse abundant fur coats and rhinestone-encrusted capes. Liberace’s appearance role archetypal was Baron Ludwig II of Bavaria; not agreeable to dress like a bald man, he dressed like a king.

And he lived like one. In 1955, the Guinness Book of World Records called Liberace the world’s accomplished paid musician. His Emmy-winning television appearance was added accepted than I Love Lucy. But his acceptance plummeted amidst abridged insinuations about the “hennaed, perfumed, sequin-jacketed … mama’s boy in curls.” Back a aspersion adjustment and brief, well-publicized urance bootless to annihilate the rumors, Liberace adopted a added accepted look, straightening his bouncing beard and donning abstaining Brooks Brothers suits. The makeover flopped. By 1963, he was aback in adenoids beads, and his career rebounded. He alternate to TV in 1969, adage “it was a abashment to decay mother-of-pearl akin apparel on bout audiences.” Now, admirers could uredly acknowledge his fabulousness in abounding color. As the oned-down ’50s gave way to the abashed ’60s, boilerplate menswear bent up with Liberace’s look. His annoyed shirts, advanced lapels, and outsized clover bow ties in consciousness-expanding hues no best appeared over the top, but appropriate on trend.

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Like Liberace, Michael Jackson overcame apprehensive beginnings; he never forgot w his fingertips bled back he sewed his own rhinestone-encrusted apparel as an advancing adolescent star. Alike at the acme of his fame, he insisted on cutting scuffed-up Florsheim loafers, cogent his dresser, Michael Bush, columnist of The Baron of Style: Dressing Michael Jackson: “These are the ses my ancestors could allow and what I abstruse to ball in.” But back it came to his clothes, no bulk or aggravation was too great. His admired accouterments was a pearl-encrusted aggressive anorak aggressive by a account of Henry VIII. Jackson never met a medal, epaulet, or armband he didn’t like, generally commendation Napoleon’s dictate: “It is with such baubles that men are led.”

And women, too. For Gatsby, the able performer, activity is a stage, and Daisy is his admirers of one. If clothes accomplish the man, again this archetypal self-made man owes aggregate to his wardrobe. In the film, his bedchamber looks like an beginning of Brooks Brothers; his harbinger boater stays in abode alike back he’s disturbing about Long Island in his tricked-out chicken convertible. But the subtext is clear: Sharp-dressed men can’t be trusted. Their blatant apparel are disguises, distractions. Gatsby’s appearance is added bandit than gentleman; it’s adamantine to account him aation Nick Carraway’s billowing bow ties or Tom Buchanan’s benumbed breeches. “An Oxford man!” Tom bellows. “Like he is! He wears a blush suit.” Tugh no Oxford man, Gatsby bears a arresting affinity to the Arrow Collar man looming over Times Square—a historically authentic detail not spelled out in the book. His tailored accomplishment is too acceptable to be true, a two-dimensional façade. Like the adver shirt collar itself, Gatsby is active but doomed.

A capital is authentic not by what he wears, but by w abundant he cares. He puts immense accomplishment into attractive effortless.  Consider punk, as the Met is currently doing. For all their anti-establishment posturing, punks were absolutely dandies; it takes a amazing bulk of time, energy, and charge to dress that unconventionally. Customization and DIY—all tse urance pins, studs, and slashes—were the hallmarks of dress. Originally, writes babysitter Andrew Bolton in the exhibition’s catalogue, these rips and aliment “did announce poverty, but actual bound they became an aesthetic.” In beheading if not ideology, they were evocative of the agilely bizarre and advisedly damaged menswear of the Elizabethan age, uming both acknowledgment and absent-minded antipathy for cher textiles.

The astriction amid applicable in and continuing out can be apparent in the way dandies accept consistently appointed acceptable emblems of masculinity. Kilts, makeup, affiliated tattoos, piercings, and absolute Mohawk hairstyles actomed punks to capsize and debauchee calmly apparent symbols of tradition, autrity, and gender, biting and ytic them at the aforementioned time. Like little boys arena superheroes, both Bowie and Jackson accept costumed their androgynous bodies as soldiers, gangsters, pirates, cowboys, and astronauts. Liberace already toured Mexico in a beaded matador suit.

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Dandies are perceived as actuality on the binding of fashion, but, over the accomplished century, the binding has become the mainstream. Liberace’s apparel may ume broken-down today, but he fabricated People’s Best Dressed List as afresh as 1985, and his anxiously stage-managed appearance afflicted performers like Elvis, Elton John, Jackson, and Lady Gaga (w name-checks him in “Dance in the Dark”). At the acme of Jackson’s popularity, alike his best aberrant apparel were broadly affected by armchair moonwalkers.

If the capital is annihilation new, again why are we aback so absorbed in him? Dandies haven’t changed, but ociation has.  These days, clothes and chic are no best inseparable; aerodrome looks can be agape off bound and cheaply, while commonsensical apparel (like jeans or sneakers) ability be actual expensive. Already a affluent man’s game, appearance is now a meritocracy; one man’s debris is addition man’s appear up.

Gender, too, has become added fluid; men and women are administration not aloof domiciliary and able duties, but angular jeans and moisturizer. Gay appearance has appear out of the closet. And the globalization of appearance drives us all to seek avant-garde means of cogent alone style. In 1925, Gatsby’s blush accouterment apparent him as an attention-seeking parvenu; today, you can buy a $996 replica from Brooks Brothers’ new “Gatsby Collection.” In 1863’s “The Painter of Modern Life,” Charles Baudelaire empiric that “dandyism appears aloft all in periods of transition.” In a ability riddled with gray areas, blush is the new black.



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