“The clone look was certainly about a white gay man’s response and engagement with those archetypes,” says Ben Barry, the dean of the school of fashion at the New School’s Parsons School of Design, whose research focuses on fashion’s relationship to masculinity, sexuality, and the body.
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became this amalgam and then Parker really took off with it.”īut not everyone was equally free to wear the costume. Things that are traditionally masculine vocations. And it goes back to these American fashion lineages like cowboys, sailors, lumberjacks, mechanics. “Part of escaping from that was costuming. “When I think back on having lived through the time, it was like gay guys were escaping from this stereotype that was just inculcated into the culture of sissies and faggots,” says Woodruff. Dressing like a clone, he says, was a rejection of those older gay stereotypes. (Not to mention the 1964 article in Life magazine called “Homosexuality in America,” which described a “sad and often sordid world.”) “That’s the kind of imagery”-backwards stereotypes that basically villainized queer people-“that a lot of my generation who became the clone people grew up within the crucible of the 60s,” Calendo continues, when the civil rights and gay liberation movements were expanding ideas of equality and freedom.
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He points to the gay minstrel stereotypes in the 1967 film The Producers, along with the timid-looking guys on the illustrated covers of gay pulp books with names like All the Sad Young Men.
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“The clone was a reaction to things you would see in movies of gay men being flitty and nelly,” says John Calendo, a writer who lived in LA and New York City throughout the 70s and 80s, and worked as an editor at the clone-incubating skin mags Blueboy and In Touch for Men. While other fashion influences at the time, like International Male, invited guys to embrace more feminine and playful styles, the clones veered in another direction, taking traditional masculinity and queering the hell out of it.
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You can draw a direct line from the clones of yesteryear to Lil Nas X’s wild red carpet fits, along with much of the output of the latest generation of queer designers.
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(The look was also known as the “Castro clone,” nodding to its likely origins in the Castro neighborhood of San Francisco before spreading to New York City and elsewhere.)Īnd while the nickname was initially pejorative, the clone period marked perhaps the first time that gay men presented themselves with a queer-signaling uniform that was a direct response to societal stereotypes.
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The clone was born in the hyper-stylized worlds of porn centerfolds from prolific companies like Colt Studio, but quickly emerged into the real world. Like the Marlboro Man.if he happened to be into other Marlboro Men. But when one particular look cropped up in the post-Stonewall gay scene of the 1970s, it was so popular-and so distinct-that the guys who sported it were dismissed as “clones.” Inspired by archetypes like cowboys and bikers, the clone look was all about denim, plaid shirts, bomber jackets, and t-shirts, with a body-conscious bent. Every historical social scene has had its uniform.