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Queering Glamour in Interwar Fashion Photography The “Amorous Regard” of George Platt Lynes

Queering Glamour in Interwar Fashion Photography The “Amorous Regard” of George Platt Lynes Obviously, glamour is queer. But has this always been true? This article offers queer histories of capitalism and interwar glamour through an analysis of George Platt Lynes's photographic work. Lynes, an American photographer for Condé Nast publications, was one of numerous queer photographers, including Baron de Meyer, Cecil Beaton, George Hoyningen-Huene, and Horst P. Horst, who defined a queer aesthetics of fashion photography in New York, Paris, London, and Hollywood in the years before World War II. I historicize what Lynes called the “amorous regard” of his fashion photography through an analysis of his male nudes and the sexual history for which they are a visual record. In this article, I show how both Lynes's fashion images and his male nudes emerged from a market-imbricated queer kinship network to produce a discourse of interwar glamour that accommodated both dominant readings of heteronormativity and resistant readings of queer, white, belonging. photography George Platt Lynes fashion queer kinship cruising http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png GLQ: A Journal of Lesbian and Gay Studies Duke University Press

Queering Glamour in Interwar Fashion Photography The “Amorous Regard” of George Platt Lynes

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Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
1064-2684
eISSN
1527-9375
DOI
10.1215/10642684-3818429
Publisher site
See Article on Publisher Site

Abstract

Obviously, glamour is queer. But has this always been true? This article offers queer histories of capitalism and interwar glamour through an analysis of George Platt Lynes's photographic work. Lynes, an American photographer for Condé Nast publications, was one of numerous queer photographers, including Baron de Meyer, Cecil Beaton, George Hoyningen-Huene, and Horst P. Horst, who defined a queer aesthetics of fashion photography in New York, Paris, London, and Hollywood in the years before World War II. I historicize what Lynes called the “amorous regard” of his fashion photography through an analysis of his male nudes and the sexual history for which they are a visual record. In this article, I show how both Lynes's fashion images and his male nudes emerged from a market-imbricated queer kinship network to produce a discourse of interwar glamour that accommodated both dominant readings of heteronormativity and resistant readings of queer, white, belonging. photography George Platt Lynes fashion queer kinship cruising

Journal

GLQ: A Journal of Lesbian and Gay StudiesDuke University Press

Published: Jan 1, 2017

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