The mainstreaming and commodifying of queer aesthetics
Written by Ilman Ramadhanu | Read in Indonesian
Throughout history, fashion has been a medium for queer people to express their identities and desires. There is evidence that illustrates the role of fashion as a means of communication for the queer community during the time when it was impermissible to be themselves or simply as a form of self-expression that often becomes a source of inspiration for many fashion designers.
These historical evidence underpin the notion that queer aesthetic goes beyond just what one wears. Rather, it represents the resilience of the queer community. It is a notion that is echoed by Indonesian queer activist Noval Auliady who stated, “Sometimes we want to wear certain clothes but we are scared if it’s not gonna fit into social norms or we would be looked down upon, so queer aesthetic is a liberation for those norms. Wearing what we want to wear without holding back or afraid of those norms and judgement and of course embracing our gender expressions through that.”
Nowadays, this intrinsic meaning behind the queer aesthetic seems to have been erased. It could be seen from the multitude of non-queer celebrities and influencers appropriating a style that has historically been closely linked to queerness.
One obvious example is the quasi-queer fashion icon Harry Styles. His seemingly fluid fashion expressions, from frilly blouses to pearl earrings, sequin jumpsuits and fur coats, constantly generate assumptions about his sexuality, a topic which he is always ambiguous about.
His style inspires a generation of cis-heterosexual male who wants to challenge gender norms a little, but not so far to the point of identifying themselves as queer. It is apparent on TikTok where you can never go anywhere without seeing cis-heterosexual male influencers with earrings, necklaces, or nail-polish.
This style feels as though it is more of a reflection of a trend rather than as a means to express one sexual or gender identity. The labelling of queer aesthetic as a trend is then vindicated by the fashion industry who deems queerness as a lucrative business route.
In 2020, Esquire dubbed that year as “the year of men-icure”. It was a response to the trend that embraced the feminine side of men through nail polish. The trend was invigorated by the myriad of seemingly non-queer male celebrities such as Lil Yachty, ASAP Rocky, Machine Gun Kelly, Bad Bunny and Harry Styles that were rarely seen in public without pristine, colourful and, at times, artistic nail art.
Esquire is proven to be correct as this trend still holds its grip today with many of the aforementioned celebrities are now coming up with their own genderless nail polish line.
Machine Gun Kelly launched his own nail polish line called UN/DN LAQR in 2021. The line seems to be built upon the radical sense of individual self-expressions, as he told Esquire, “Individualism is dying and self-expression is how we keep it alive.”
The commodification of queer aesthetics would not have been possible without an already existing market that the fashion industry could cater to. According to a study done by Gallup, the Gen Zs are more likely to identify themselves as queer or something other than cis-heterosexual.
In an interview with Them, Gallup Editor Jeffrey Jones said that this is due to the increasing acceptance of LGBTQ+ identities. The identity of the Gen Zs has a direct impact on their purchase behaviour.
According to another study by Hyojung Kim, Incho Cho and Minjung Park, consumers choose fashion brands based on how such brands could enhance their individuality rather than based on gender norms.
With the younger generation becoming more queer-er, an argument could be made that queer aesthetics have been so completely assimilated into the mainstream culture that they are no longer considered a subversion.
An indication of one’s sexual or gender identity could also no longer be made based on how one expresses themselves, including those who express themselves in a way that is outside of the gender binaries.
Therefore, it could be perceived as fair game when someone like Machine Gun Kelly who seems to have no connection whatsoever to the queer community to profit off the queer aesthetic due to Gen Z’s obsession with individualistic self-expression because queer aesthetic has become a trend owned by everyone.
However, given the history of queer aesthetic and its significance in the livelihood of the queer community, such argument could be perceived as unfair. Especially when many queer people today still receive societal persecution for authentically expressing their identities.
Case in point, Trevor Wilkinson, a high-school student in Texas who received a suspension from wearing nail polish to school in the same year that Esquire dubbed as the year of menicure.
According to Noval, it is a little disheartening to see these celebrities profit off of queer aesthetics without any social responsibility. “What I don’t like is that these celebrities are using queer aesthetics without addressing the real situations (that many queer people face, such as), discrimination, violence and criminalisation.”
With many of these non-queer celebrities detaching themselves from any kind of social responsibility, the commodification of queer aesthetics that they are doing seem to devalue the meaning of queer aesthetics. Years of history in which fashion was used as a symbol of resistance are now diluted into something as frivolously purchasable as nail polish.
For Noval, it should all fall behind the intention behind these celebrities. “These celebrities are more than just a person; they are also a brand trying to sell something. Therefore, we have to look at the intention. Do they hold the same value as us or do they appropriate queer aesthetics because it sells.”
“(Queer aesthetic) is more than just an aesthetic; it represents years of fighting and the expression of power”, Noval reiterated a sentiment that is best describe the intrinsic role of fashion for the queer community.
With all eyes from the fashion industry and popular culture set on the queer aesthetic and culture for inspiration, there is one optimistic outlook.
One that makes Noval hopeful for more queer visibility: “I hope that queer people could acknowledge, learn and be proud of the (queer) culture and history. (Our) fashion and aesthetics are always progressing and I hope that many queer people do not feel afraid to express themselves, to be visible, and for once just try to embrace it because its fun.”
