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Female masking is a form of cross-dressing in which men wear masks that present them as female. [85] Some drag kings may use binders or chest plates to give the impression of a more stereotypically male physique, but others forego this. [86] They may also paste or draw on fake facial hair.
Comic Costume Race (1896) – Men compete in running, wearing women's clothes. The Four Horsemen of the Apocalypse (1921) – During a drunken feast in an occupied castle, some German officers start dancing while wearing women's dresses.
A dominant woman and a submissive man practicing feminization. Feminization or feminisation, sometimes forced feminization (shortened to forcefem or forced femme), [1] [2] and also known as sissification, [3] is a practice in dominance and submission or kink subcultures, involving reversal of gender roles and making a submissive male take on a feminine role, which includes cross-dressing.
Many female-born workers dressed in men's clothing to secure a laborer's wage to provide for their families. Testimonial accounts from cross-dressing women who had been arrested reflect that many chose to identify as male due to financial incentives, even though basic cross-dressing had been deemed immoral and could lead to legal consequences.
Stella Gonzalez-Arnal of the Department of Philosophy at the University of Hull sees pinaforing as a "politically incorrect form of sexuality" in which "women's clothing and women's traditional occupations" are regarded "as inferior and humiliating; reinforcing undesirable stereotypes by characterising females as submissive, passive, helpless and subservient."
Transvestic fetishism is a psychiatric diagnosis applied to people who are sexually aroused by the act of cross-dressing and experience significant distress or impairment – socially or occupationally – because of their behavior.
The women's clothing in the early Tang dynasty were quite similar to the clothing in the Sui dynasty; the upper garment was a short-sleeved short jacket with a low-cut; the lower garment was a tight-fitting skirt which was tied generally above the waist, but sometimes as high as the armpits, and a scarf was wrapped around the shoulders.
Hall was raised as a female [2] and performed traditional women's crafts, such as needlework. [2] At the age of twelve, Hall was sent to London to live with an aunt, and lived there for ten years and observed the popularity among the aristocracy of crossover male and female fashion. These trends may have influenced Hall to break away from ...