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Gender In Fashion In The 21st Century Chapter One  

  • Writer: Grace Waltham
    Grace Waltham
  • Apr 16
  • 6 min read


Gender, as a term, is a construct designed to assign a term to different groups of people with differing attributes, generally conducted socially and culturally. After decades of societal norms being etched into people’s heads of how they should act according to the gender they identify with, in the 21st century there has been a shift in acceptance of and celebrating individuals to explore their gender identity – regardless of their identity put on them at birth. This essay will explore gender in the 21st century from a Western perspective. 

 

Chapter One 

One of the most obvious advances in gender exploration in the 21st century from previous, more restrictive years is the term androgyny – more prevalent in today’s Western society. This style of dress is when both traditionally masculine and feminine traits are combined to deliver something, or someone, that is aesthetically different to the generic admittance to the binary for a distinct ‘boy’ or ‘girl’. In the same breath, androgyny can be identified when there is an absence of gender conforming features to a person and/or the way they dress. A public figure who is an example of someone that epitomises androgyny is British born non-binary actor Emma D’Arcy.




Emma D’Arcy 

(2024)



Taylor (2024) interviewed Emma D’Arcy who stated, ‘it’s not for gender nonconforming people to solve the problems of category’ and ‘trans and gender non-conforming people will not go away’. L’Officiel Baltic (2024) also wrote about how androgyny is a trend in fashion. Androgyny can often be seen this way, yet this way of presenting oneself dates to much earlier decades. For many it isn’t just something entertaining, it’s about moving away from the binary because that is how they feel they can truly express themselves, through fluidity and not conforming to the ever-present traditional outlooks on gender.  

Another aspect of the exploration of gender in the 21st century is hyper feminine dress. The years of 2019-2024 (in particular) involved a significant rise in embracing hyper femininity in fashion (with the idea of channelling a style synonymous with traditional feminine associations). 

 





Valentino Pink PP Collection Autumn Winter 22/23

(2022)



In their findings (Hammack, P.L and Wignall, L., 2023, p. 101616) it was said that ‘The internet and digital technologies have had a transformational impact on sexual and gender identities, opening new opportunities as well as presenting unique challenges.’ The influx of TikTok users for example flood our daily lives with runways and influencers embracing previously established ideals of femininity. The coquette style of dress started as a trend generally popularised by TikTok to viewers has turned into much more than the derogatory connotations. Harrison (2023) explains the direct meaning of a coquette is a woman who flirts to gain male attention and is somewhat ‘feared by men’. Historically this term has derogatory connotations to those who identify as a woman, but when interviewed for the BBC, influencer Marine Ellard expressed how this movement is all about the reclamation of femininity and nostalgia of times of youth, not necessarily frivolity and hyper sexualisation for male attention. The escapism that can be found in dressing in a coquette manner contributes to a different idea of self-expression to androgyny for example but is still just as valid if the wearer feels it is authentic to them. Lee (2024) discusses how embracing this style of dress can be a way to reject derogatory terms and prove resistance despite external opinions. It is important to recognise this style is much more accepted by society on white people, and black people generally face more barriers. Baker (2024) speaks on the criticism black women face when they express their femininity in this way.  




Simone Rocha Ribbon Daisy Chain Multi Slit Dress

(2025)



Whilst hyper feminine dress is often associated with women, it is also adopted by other groups of people, potentially for a different reason. In queer fashion, these traditional archetypes of feminine dress can be adopted by individuals who don't identify necessarily as a woman, to acknowledge their queerness and turning notions of this identification on their head, perhaps as a resistance against stereotypical ideals.  

 

 

On the other hand, A Jaded Gay (2025) speaks on how reclaiming masculine dress (should it personally resonate) can help an individual express their own ideas on masculinity, despite the expectations of straight and queer dress. In their analysis, Beyer (2025, p. 71) reflects on how ‘oppositional dress as a form that is aesthetically and conceptually set against the hegemonic culture’. One may see this intersectionality as an interesting way to honour identity through fashion, as it involves dressing as if one is a part of the straight community, in which they generally have no space made for them. It is also perhaps viewed as more respectable in the current climate and so could act as a helping hand to continue to move forward in this society, whether that be socially or professionally. Whilst sexuality and gender are not necessarily direct correlations of one another, the queer community involves many people that present themselves in lots of different ways, for some this means adhering to a different gendered way of dress. For others, this means blending and/or rejecting the gender formats laid out for us to follow. Self-expression, comfortability and empowerment can be found in blending archetypal ways of dress regardless of gender.   

     

  

Bryne (2025) discusses gender inclusive design and how it allows space for people to explore gender/gender fluidity and supports the movement away from the binary and beauty ideals assigned to each ‘gender’ as of current, despite efforts to do so, this still exists and gender fluidity is still not hugely normalised by a lot of people. It is important to note that despite the different kinds of gender exploration detailed above, gender in the 21st century is becoming more explorative than ever, and for more people, despite opposing views to this advancement. 

 

 


Bibliography   

 

A Jaded Gay (2025) Castro Clones: How the Hyper-Masculine Archetype Shaped LGBTQ+ Identity and Fashion. Available at: https://www.ajadedgay.com/blog/castro-clones-how-the-hyper-masculine-archetype-shaped-lgbtq-identity-and-fashion/ (Accessed: 4 November 2025). 

Author Unknown. (2024) 'Androgyny in Fashion: How Gender Fluidity Redefines Contemporary Style', L'Officiel Baltic, Issue information unavailable, Page reference unavailable. Available at: https://www.lofficielbaltic.com/en/mode/androgyny-in-fashion-how-gender-fluidity-redefinescontemporary-style (Accessed: 4 November 2025).  

Baker, E. (2024) Hyper-Feminine Fashion Isn't Just For The "Girls" - It's For Everyone. Available at: https://www.refinery29.com/en-gb/hyper-feminine-girl-fashion-trend-2024 (Accessed: 5 November 2025). 

Beyer, J. (2025) Antigender Fashion. Bloomsbury. 

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Hammack, P.L and Wignall, L. (2023) 'Sexual and gender diversity in the twenty - first century', Current Opinion in Psychology, 52, pp. 101616-101616. Available at: https://doi.org/10.1016/j.copsyc.2023.101616 

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Liu, L. (2021) 'Rick Owens on improvising during Covid-19, gender-bending style and how he learned to appreciate the brand collaboration – check his latest Drkstar Converse sneakers – interview', My News (23 November). Available at: https://www.scmp.com/magazines/style/luxury/article/3157115/rick-owens-fashions-lord-darknessimprovising-during-covid (Accessed: 5 November 2025).  

 

Lee, N. (2024) Coquette: The ultra-girly movement sparking debate. Available at: https://www.bbc.co.uk/culture/article/20240724-coquette-the-ultra-girly-movement-sparking-debate (Accessed: 5 November 2025). 

  

Owens, R. (2023) 'Rick Owens Knows We All Have 'A Taste For Moody Exoticism''. Interview by Genevieve Phelan for Harrolds, 23 March. Available at:  

  

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Taylor, J. (2024) 'House of the Dragon star Emma D'Arcy: "Trans and gender non-conforming people will not go away."', The Standard, 16 May, Culture section. Available at: https://www.standard.co.uk/culture/emma-darcy-house-of-the-dragon-interview-b1158147.html (Accessed: 4 November 2025). 

 
 
 

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