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The fashionable man is something of a shape-shifter in the history of British dress. Alternately worshipped and reviled, he has represented – across various centuries – the vain ‘Fop’, the ridiculous ‘Fribble’, the flamboyant ‘Macaroni’, the posturing ‘Peacock’ and, most prominently, the exquisite ‘Dandy’. ‘A Dandy’, wrote the historian Thomas Carlyle in an oft-quoted passage, ‘is a clothes-wearing Man, a Man whose trade, office and existence consists in the wearing of Clothes . others dress to live, he lives to dress’. This (rather monstrous) caricature has endured and thus men’s fashion as a topic of study has sometimes been reduced to overly simplistic analyses (usually tied up with questions of gender and sexuality), or ignored altogether in favour of women’s fashion. Of course, there are exceptions – Christopher Breward’s ....

United Kingdom , Shaun Cole , Thomas Carlyle , Christopher Breward , University Of Huddersfield , Peter Mcneil , Pretty Gentlemen , Dandy Style , British Men , Manchester Art Gallery , Sir Roy Strong , Cultural Studies , ஒன்றுபட்டது கிஂக்டம் , ஷான் கோல் , தாமஸ் கார்லைல் , பல்கலைக்கழகம் ஆஃப் ஹடர்ஸ்ஃபீல்ட் , பீட்டர் மக்நீல் , ப்ரெடீ மனிதர்களே , டான்டி நடை , பிரிட்டிஷ் ஆண்கள் , மான்செஸ்டர் கலை கேலரி , ஐயா ராய் வலுவான , கலாச்சார ஆய்வுகள் ,