Navigating the Politics of Power Dressing

The power of self-expression is undeniable. Fashion possesses an ability to sway moods, influence first impressions, push an agenda and construct an identity. My style oscillates between feminine and masculine energies, a deliberate choice to combat the male gaze and subvert expectations whilst owning and embracing my femininity. Yet, the insights of Dr. Lauren Gurrieri, senior lecturer at RMIT University who specialises in gendered inequalities in consumer and digital cultures, shed light on a disconcerting truth - power dressing often reflects the lionisation of stereotypically masculine attributes, perpetuating a binary where masculinity is admired and respected, and femininity devalued.

Masculinity, acknowledged as a social construct, continues to dominate societal structures, conversations, and, incidentally, fashion. Despite strides in degendered fashion, patriarchal standards persist, woven into the very fabric of our style choices; the fashion industry is a stage where gendered inequalities play out. The visible roles for women often revolve around aesthetic labour, reinforcing narrow and unrealistic beauty ideals, mirroring the power dynamic of the male gaze.

Embracing feminine silhouettes becomes a paradox for many women, a simultaneous form of power dressing and a potential submission to gendered standards. Gurrieri aptly notes that dressing in stereotypically feminine ways can operate as the flip side of the dynamic, associated with marginal meanings of submissiveness and frivolity. Unravelling and disabling this paradox requires confronting the structures that fashion exists in, not shying away from the gender bias ingrained in our thoughts. 

Refashioning masculinity becomes imperative in this discourse. Modern Western society has framed fashion in opposition to hegemonic masculinity, creating different configurations of masculinity through an interplay between men's social identities and fashion. The concepts of unmarking, marking, and remarking illustrate how fashion functions as a gender practice, with historical examples like men wearing high heels to symbolise status and power.

The recurrent paradox of patriarchal oscillation between fascination with female sexuality and moral contempt complicates the landscape further. In a postfeminist era, a 'new sexual contract' emerges, granting women the illusion of choice but tethering them to complex gender and power dynamics. The male gaze constructs femininity as a performance, akin to clothing that can be put on and taken off at will.

Despite the contradictions, hyper-feminine styles wield subversive capabilities. The sexualization of the female body can be turned on its head, transforming hyper-feminine attire into a mode of power dressing that challenges societal boundaries and defies control. However, the dichotomy persists - by subverting gender norms, are we merely reinforcing the patriarchal notion of the power and rationality of masculinity, or by embracing hyper-femininity, are we perpetuating harmful stereotypes?

As I glance at my blazer, it's a reminder of the fast-walking businessmen carrying important briefcases. There's nothing inherently wrong with equating blazers with power and control, but the challenge lies in unlearning the gender bias entangled in these thoughts. Dressing for myself means grappling with the structures that fashion exists in, navigating the dichotomy without succumbing to the polarised gender performances.