時尚中的性別流動―在超性化與性別遊戲之間

在人類史中，服裝不僅作為防禦身體的功用，更存在其社會文化的意涵，尤其致力於性別的建構與區分。過去西方社會長期以來男女逕渭分明的服裝規範影響甚深，至今，二元的服裝觀念仍或多或少限縮現代人們對於性別的想像。本論文針對二元的性別觀以及性別化的服飾提出疑問，並試圖在性別光譜的兩極中，探尋服裝時尚是如何發展，而達到多元流動的可能。首先，透過女性主義的演變，我們得以理解性別的概念如何與生物決定論脫鉤，成為異性戀父權體制下，權力關係的產物。而因此能進一步藉由政治行動，翻轉此一支配與附屬的不平等關係，朝男/女、陰柔/陽剛氣質、異/同性戀二元之外的多元性別表達發展。接著，服裝作為建構性別的主要途徑之一，我們藉由爬梳西方時尚史的發展脈絡，探討近代性別化的服裝規範是如何奠定，並成為支配者維持其統治體制的手段;而性別二分的服飾疆野，又是如何從第一次世界大戰至今，相互拉鋸、消長，走向不設限的道路。最後，以法國服裝設計師尚．保羅．高提耶(Jean-Paul Gaultier)的設計作品及影像廣告為例，分析其如何打破性別窠臼、玩轉既定的性別符號。時尚因此不僅造就性別，也同時具有顛覆常規的力量。

關鍵字

時尚；性別流動；超性化

並列摘要

Clothing is not only limited to the function of protecting the body, but also as a silent language used to reflect the social fact, status, individual and collective identities, etc. In particular, it is one of the places that participates in the social construction of the difference of the sex. In Western societies, dress codes have dictated for centuries that women wear skirts and sophisticated clothing, and men wear trousers and more sober clothes (later spreading to the rest of the world). Even today, this binary vision of clothing is more or less anchored in the collective imagination. In this thesis, we will seek to question the binary vision and its stereotypes, and we will discuss, in a spectrum of gender between hypersexualization and games of gender, how fashion evolves and frees itself from the binarity of gender to acquire its fluent possibilities and embrace all the different sexual expressions. In the first component, through the study of feminisms, gender differentiation in masculinity and femininity should not be considered as biological determinism, unchangeable, but as a product of social relations in the heteropatriarchal system, modifiable. Beyond the binarity of male/female, masculinity/femininity, hetero-/ homosexuality, our concept of gender can thus be oriented towards all the multiplicities of identity/sexuality. Regarding the second part, by the history of fashion, socio-cultural facts and current events, we are going to unravel how society imposes on men and women the dress codes to stabilize the standards set out by the system of power, and how gender borders in fashion are moving from the 1920s to the present day. In the last part, we will take the creations and advertisements of the creator Jean-Paul Gaultier as an example to explore how he transgresses gender codes and plays with the clichés proper to each sex. Fashion can thus not only be constructed as a marker of gender, but at the same time has the potential to overturn conventions.