男裙

提示：此条目的主题不是易服癖。

裙子在西方時尚文化當道的現代社會，多被當成是女性的典型服裝，然而在非西方文化及歐洲歷史的不同時期，男性的主要服裝其實包括裙裝及類似長裙的袍子，例如聖職人員穿著的法衣和蘇格蘭男性穿著的短裙。熱帶地區男性穿著罩袍，至今仍是日常普遍的傳統服裝。

蘇美爾男性穿著考納克斯（英语：Kaunakes），約前3,000年

用途型蘇格蘭裙

現今西方社會曾有人嘗試提倡男性穿裙，並企圖消除這種性別角色的差異；但是，裙子自16世紀以來，一直被當成是女性的服裝，男性已經拋棄穿裙的習俗，因此這項倡議雖然取得有限的成功^[1]，卻也遭遇巨大的文化阻力^[2]。

西方文化

已隱藏部分未翻譯内容，歡迎參與翻譯。

古代

Skirts have been worn since prehistoric times. They were the standard dressing for men and women in all ancient cultures in the Near East and Egypt.

The Kingdom of Sumer in Mesopotamia recorded two categories of clothing. The ritual attire for men was a fur skirt tied to a belt called Kaunakes（英语：Kaunakes）. The term kaunakes, which originally referred to a sheep's fleece, was later applied to the garment itself. The animal pelts originally used were replaced by kaunakes cloth, a textile that imitated fleecy sheep skin.^[3] Kaunakes cloth also served as a symbol in religious iconography, as the fleecy cloak of St. John the Baptist.^[4][5]

Depictions of kings and their attendants from the Old Assyrian Empire（英语：Old Assyrian Empire） and Babylonia on monuments like the Black Obelisk of Salmanazar show men wearing fringed cloths wrapped around their sleeved tunics.^[6]

Ancient Egyptian garments were mainly made of white linen.^[7] The exclusive use of draped linen garments, and the wearing of similar styles by men and women, remained almost unaltered as the main features of Ancient Egyptian costume. From about 2130 BC during the Old Kingdom of Egypt, men also wore wrap around skirts (kilts) known as the shendyt（英语：shendyt）, They were made of a rectangular piece of cloth wrapped around the lower body and tied in front. By the Middle Kingdom of Egypt there was a fashion for longer kilts, almost like skirts, reaching from the waist to ankles, sometimes hanging from the armpits. During the New Kingdom of Egypt, kilts with a pleated triangular section became fashionable for men.^[8] Beneath was worn a triangular loincloth（英语：loincloth）, or shente,Template:Which lang whose ends were fastened with cord ties.^[9]

In Ancient Greece the simple, sleeved T-shaped tunics were constructed of three seamed tubes of cloth, a style that originated in the Semitic Near East, along with the Semitic-based word khiton, also referred to as a chiton（英语：Chiton (costume)）.^[10] The belted worn linen chiton was the primary garment for men and women.^[11]

•  

  Statue of Ramaat, an official from Gizeh wearing a pleated Egyptian kilt, ca. 2.250 BC

•  

  A Greek charioteer from Delphi wearing a long chiton, ca. 470 BC

•  

  An illustration from between 1325 and 1335 showing an English man in a skirted garment

•  

  Men's dress made of red silk (1480–90) to be buttoned on the front, History Museum of Bern (Switzerland)

•  

  Duke Ulrich of Mecklenburg wearing a doublet and diverted skirt with codpiece（英语：codpiece） and black tights, (1573)

•  

  Henry VIII wearing a doublet and diverted skirt with codpiece（英语：codpiece）

The Romans adopted many facets of Greek culture, including the same manner of dressing. The Celts and Germanic peoples wore a skirted garment which the historian Diodorus Siculus (fl. 1st century BC) called chiton. Below they wore knee-length trousers. The Anglo-Saxons, Normans, Franks and other people of Western and Northern Europe continued this fashion well into the Middle Ages, as can be seen in the Bayeux Tapestry.^[12]

 

Victorian interpretation of the Normans' (1000–1100) national dress

Technological advances in weaving with foot-treadle floor looms and the use of scissors with pivoted blades and handles in the 13–15th century led to new designs. The upper part of dresses could now be tailored exactly to the body. Men's dresses were buttoned on the front and women's dresses got a décolletage. The lower part of men's dresses were much shorter in length than those for women. They were wide cut and often pleated with an A-line so that horse riding became more comfortable. Even a knights armor had a short metal skirt below the breastplate. It covered the straps attaching the upper legs iron cuisse to the breastplate.^[13][14] Other similar garments worn by men around the world include the Greek and Balkan fustanella（英语：fustanella） (a short flared cotton skirt)

衰退

The innovative new techniques specially improved tailoring trousers and tights which designs needed more differently cut pieces of cloth than most skirts. "Real" trousers and tights increasingly replaced the prevalent use of the hose (clothing) which like stockings covered only the legs and had to be attached with garters to underpants or a doublet（英语：doublet (clothing)）.^[15] A skirt-like garment to cover the crotch and bottom were no longer necessary. In an intermediate stage to openly wearing trousers the upper classes favoured voluminous pantskirts and diverted skirts like the padded hose or the latter petticoat breeches（英语：petticoat breeches）.^[16]

Though during most of history, men and especially dominant men have been colourful in pants and skirts like Hindu maharajas decked out in silks and diamonds or the high heeled King Louis XIV of France with a diverted skirt, stockings and long wig.^[17] The French Revolution and the Industrial Revolution changed the dress code for men and women not only in France. From the early Victorian era, there was a decline in the wearing of bright colours and luxurious fabrics by men, with a definite preference for sobriety of dress.^[18][19][20] This phenomenon the English psychologist John Flügel（英语：John Flügel） termed "The Great Masculine Renunciation".^[21] Skirts were effeminized. "Henceforth trousers became the ultimate clothing for men to wear, while women had their essential frivolity forced on them by the dresses and skirts they were expected to wear".^[22] By the mid-20th century, orthodox Western male dress, especially business and semi-formal dress, was dominated by sober suits, plain shirts and ties. The connotation of trousers as exclusively male has been lifted by the power of the feminist movement（英语：feminist movement） while the connotation of skirts as female is largely still existing leaving the Scottish kilt and the Albanian and Greek fustanella（英语：fustanella） as the only traditional men's skirts of Europe.

復興

In the 1960s, there was widespread reaction against the accepted North American and European conventions of male and female dress. This unisex fashion movement aimed to eliminate the sartorial differences between men and women. In practice, it usually meant that women would wear male dress, i.e., shirts and trousers. Men rarely went as far in the adoption of traditionally female dress modes. The furthest that most men went in the 1960s in this regard were velvet trousers, flowered or frilled shirts and ties, and long hair.^[23]

In the 1970s, David Hall, a former research engineer at the Stanford Research Institute (SRI), actively promoted the use of skirts for men, appearing on both The Tonight Show Starring Johnny Carson（英语：The Tonight Show Starring Johnny Carson） and the Phil Donahue Show（英语：Phil Donahue Show）. In addition, he was featured in many articles at the time.^[24] In his essay "Skirts for Men: the advantages and disadvantages of various forms of bodily covering", he opined that men should wear skirts for both symbolic and practical reasons. Symbolically, wearing skirts would allow men to take on desirable female characteristics. In practical terms, skirts, he suggested, do not chafe around the groin, and they are more suited to warm climates.

 

A saxophone player wearing a skirt

 

Man in tartan-patterned skirt originally intended for schoolgirls

In 1985 the French fashion designer Jean-Paul Gaultier created his first skirt for a men. Transgressing social codes Gaultier frequently introduces the skirt into his men's wear collections as a means of injecting novelty into male attire, most famously the sarong seen on David Beckham.^[25] Other famous designers such as Vivienne Westwood, Giorgio Armani, John Galliano, Kenzo, Rei Kawakubo and Yohji Yamamoto also created men's skirts.^[26] In the US Marc Jacobs became the most prominent supporter of the skirt for men. The Milan men's fashion shows and the New York fashion shows frequently show skirts for men. Jonathan Davis（英语：Jonathan Davis）, the lead singer of Korn, has been known to wear kilts at live shows and in music videos throughout his 18-year career with that band. Mick Jagger from the Rolling Stones and Anthony Kiedis from the Red Hot Chili Peppers were photographed wearing dresses by Anton Corbijn.^[27] For an FCKH8（英语：FCKH8） anti-discrimination campaign Iggy Pop was seen wearing a black dress and handbag. Guns N' Roses' singer, Axl Rose, was known to wear men's skirts during the Use Your Illusion（英语：Use Your Illusion Tour） period. Robbie Williams and Martin Gore from Depeche Mode also performed on stage in skirts. During his Berlin time (1984–1985) Martin Gore was often seen in public wearing skirts. In an interview with the Pop Special Magazin (7/1985) he said: "Sexual barriers and gender roles are old fashioned and out. [...] I and my girlfriend often share our clothes and Make-up". Brand Nubian Lord Jamar（英语：Lord Jamar） criticized Kanye West wearing skirts, saying that his style has no place in hip-hop.^[28][29]

In 2008 in France, an association was created to help spur the revival of the skirt for men.^[30] Hot weather has also encouraged use. In June 2013, Swedish train drivers won the right to wear skirts in the summer when their cabins can reach 35 °C（95 °F）,^[31] whilst in July 2013, parents supported boys wearing skirts at Gowerton Comprehensive School（英语：Gowerton Comprehensive School） in Wales.^[32]

America is also not without its own contemporary advocates of skirts as menswear. One male blogger "denies that skirts are exclusively feminine garments" and suggests that the prevailing societal view reflects a "symbology of power" that persisted even in wake of the women's liberation movement（英语：women's liberation movement）.^[33] He suggests an apparent causality paradox in the perception of skirts as exclusively womenswear: "are skirts perceived as feminine because women wear them or do women wear them because skirts are perceived as feminine?"^[34] Though lamenting the lack skirts designed specifically for men, he discusses in detail how to "advance a viewpoint of masculine aesthetics" in his how-to guide for men.^[34] Other internet denizens echo these sentiments (with varying degrees of anonymity) in the "Skirt Cafe" internet forum "dedicated to exploring, promoting and advocating skirts and kilts as a fashion choice for men."^[35] However, the forum's moderators conspicuously assert that "this is NOT a transvestite or crossdresser forum. We are committed to a fundamentally masculine gender identity."^[36]

大都會藝術博物館展覽

In 2003, the Metropolitan Museum of Art displayed an exhibition, organized by Andrew Bolton（英语：Andrew Bolton (curator)） and Harold Koda（英语：Harold Koda） of the Museum's Costume Institute and sponsored by Gaultier, entitled Bravehearts: Men in Skirts.^[37] The idea of the exhibition was to explore how various groups and individuals (from hippies through pop stars to fashion designers) have promoted the idea of men wearing skirts as "the future of menswear". It displayed men's skirts on mannequins, as if in the window of a department store, in several historical and cross-cultural contexts.^[38]

The exhibition display pointed out the lack of a "natural link" between an item of clothing and the masculinity or femininity of the wearer, mentioning the kilt as "one of the most potent, versatile, and enduring skirt forms often looked upon by fashion designers as a symbol of a natural, uninhibited, masculinity". It pointed out that fashion designers and male skirt-wearers employ the wearing of skirts for three purposes: to transgress conventional moral and social codes, to redefine the ideal of masculinity, and to inject novelty into male fashion. It linked the wearing of men's skirts to youth movements and countercultural movements such as punk, grunge, and glam rock and to pop-music icons such as Boy George, Miyavi and Adrian Young（英语：Adrian Young）.^[38] Many male musicians have worn skirts and kilts both on and off stage. The wearing of skirts by men is also found in the goth subculture.

Elizabeth Ellsworth, a professor of media studies,^[39] eavesdropped on several visitors to the exhibition, noting that because of the exhibition's placement in a self-contained space accessed by a staircase at the far end of the museum's first floor, the visitors were primarily self-selected as those who would be intrigued enough by such an idea in the first place to actually seek it out. According to her report, the reactions were wide-ranging, from the number of women who teased their male companions about whether they would ever consider wearing skirts (to which several men responded that they would) to the man who said, "A caftan after a shower or in the gym? Can you imagine? 'Excuse me! Coming through!'". An adolescent girl rejected in disgust the notion that skirts were similar to the wide pants worn by hip-hop artists. Two elderly women called the idea "utterly ridiculous". One man, reading the exhibition's presentation on the subject of male skirt-wearing in cultures other than those in North America and Europe, observed, "God! Three quarters of the world's population [wear skirts]!"^[38]

The exhibition itself attempted to provoke visitors into considering how, historically, male-dress codes have come to this point and whether in fact a trend towards the wearing of skirts by men in the future actually exists. It attempted to raise challenging questions of how a simple item of dress connotes (in Ellsworth's words) "huge ramifications in meanings, behaviours, everyday life, senses of self and others, and configurations of insider and outsider".^[38]

現代風格

The wearing of skirts, kilts, or similar garments on an everyday basis by men in Western cultures is an extremely small minority.^{[來源請求]} One manufacturer of contemporary kilt styles claims to sell over 12,000 such garments annually,^[40] resulting in over $2 million annually worth of sales, and has appeared at a major fashion show.^[41] According to a CNN correspondent: "At Seattle's Fremont Market, men are often seen sporting the Utilikilt（英语：Utilikilts）."^[42] In 2003, US News said that "... the Seattle-made utilikilt, a rugged, everyday riff on traditional Scottish garb, has leapt from idea to over 10,000 sold in just three years, via the Web and word of mouth alone."^[43] "They've become a common sight around Seattle, especially in funkier neighbourhoods and at the city's many alternative cultural events. They often are worn with chunky black boots," writes AP reporter Anne Kim.^[44] "I actually see more people wearing kilts in Seattle than I did when I lived in Scotland," one purchaser remarked in 2003.^[45]

In addition, since the mid-1990s, a number of clothing companies have been established to sell skirts specifically designed for men. These include Macabi Skirt in the 1990s, Menintime in 1999, Midas Clothing in 2002^[46] and Skirtcraft in 2015.^[47]

In 2010, the fashion chain H&M featured skirts for men in its lookbook.^[48]

In 2018, Zara added a skirt for men in its Reshape collection.^[49]

威卡與新異教主義

In Wicca and neopaganism, especially in the United States, men (just as women) are encouraged to question their traditional gender roles. Amongst other things, this involves the wearing of robes at festivals and sabbat（英语：Sabbath (witchcraft)） celebrations as ritual clothing (which Eilers equates to the "church clothes" worn by Christians on Sundays).^[50][51] Some denominations (called 'traditions') of Wicca even encourage their members to include robes, tunics, cloaks, and other such garments in their day-to-day wardrobes.

 

A group of upper-class Albanians

欧美

在北美与欧洲的大部分地方，除非是著傳統服飾，男人穿裙子通常被看做是女性角色的体现。尽管如此，人们做了各种男人穿裙的种种尝试，然而取得的成功很少，且遭受了相当的习惯阻力。

蘇格蘭裙，是蘇格蘭高地的民族服裝，一種以格子花紋布料製造的及膝裙子，常被用作儀仗隊制服。

历史

1960年代，一场打破传统（欧美）男女服装界限的运动被广泛发起。这场时尚运动的目的是消灭男女服装的差异。但实际行动上，通常是女性穿着男性服装，如衬衫与裤子。相反的，男性却很少采用女式服装。

1980年代, 一些男性名流穿着裙装，服装设计师如尚-保羅·高缇耶、喬治·亞曼尼、約翰·加利亞諾、高田贤三、川久保玲、山本耀司等试图推动男人穿裙的设想，但未推广开来。男性穿裙仍然被与女性化联系在一起。

2003年，在美国纽约大都会艺术博物馆举行了一场男裙展览，展览名为“勇敢的心：男人穿上裙子”。^[52][53]

亚洲

在熱帶地區，男子裙則是很常見的傳統服裝。东南亚、南亚、阿拉伯半岛、东非等地区的男性筒裙称为纱笼。而缅甸男子穿的筒裙，则称为“笼基”（籠吉）。^[54][55]

位于西亚的也门，当地男子通常四季皆着裙^[56]

中国

中国古代男女皆穿裙。^[57]《辞海》释“裙”：“古谓下裳，男女通用”。六朝之时，男子着裙颇为盛行。裙子与木屐是六朝贵族子弟的常见装束，成语“裙屐少年”即源于此时。^[58]

非洲

由于气候炎热，索马里男子也有穿裙子的习俗。^[59][60]

大洋洲

在斐济，汤加，库克群岛等南太平洋国家和地区，男子着裙也很普遍。^[61][62]

故事

在故事中，男性角色穿裙的一个著名例子是科幻电视剧《星际旅行：下一代》中较早几集中的若干情节。

参见

• 苏格兰裙
• 穿裤礼

参考资料

1. "...[despite] the best efforts of designers like Jean Paul Gaultier and others, the men's skirt has failed to gain popularity (though the kilt appears appropriate wear for men on certain special occasions)." Fiona Margaret Wilson (2003), Organizational Behaviour and Gender. Ashgate Publishing, Ltd. ISBN 0-7546-0900-6, p. 199.
2. The Guardian, January 2002
3. Boucher, Francois (1987): 20,000 Years of Fashion: The History of Costume and Personal Adornment. New York: Harry N. Abrams
4. The Bible: Genesis 12:4–5
5. Roberts, J.M. (1998): The Illustrated History of the World. Time-Life Books. Volume 1. p. 84
6. Rief Anawalt, Patricia (2007): The Worldwide History of Dress. London: Thames & Hudson. p. 22
7. Barber, Elisabeth J.W. (1991): Prehistoric Textiles: The Development of Cloth in the Neolithic and Bronze Ages with Special Reference to the Aegean. Princeton: Princeton University Press. p. 12.
8. Rief Anawalt, Patricia (2007): The Worldwide History of Dress. London: Thames & Hudson. p. 25
9. Rief Anawalt, Patricia (2007): The Worldwide History of Dress. London: Thames & Hudson. p. 24
10. Rief Anawalt, Patricia (2007): The Worldwide History of Dress. London: Thames & Hudson. p. 88
11. Rief Anawalt, Patricia (2007): The Worldwide History of Dress. London: Thames & Hudson. p. 89
12. Koch-Mertens, Wiebke (2000): Der Mensch und seine Kleider: Die Kulturgeschichte der Mode bis 1900. Düsseldorf Zürich. Artemis & Winkler, p. 114.
13. Tortora, Phyllis et. Al. (2014): Dictionary of Fashion. New York: Fairchild Books. p. 11.
14. Koch-Mertens, Wiebke (2000): Der Mensch und seine Kleider: Die Kulturgeschichte der Mode bis 1900. Düsseldorf Zürich. Artemis & Winkler, pp. 156–162.
15. Koch-Mertens, Wiebke (2000): Der Mensch und seine Kleider: Die Kulturgeschichte der Mode bis 1900. Düsseldorf Zürich. Artemis & Winkler, p 130
16. Koch-Mertens, Wiebke (2000): Der Mensch und seine Kleider: Die Kulturgeschichte der Mode bis 1900. Düsseldorf Zürich. Artemis & Winkler, pp. 216–217
17. Noah Harari, Yuval (2014): Sapiens: A Brief History of Humankind. Vintage-books. pp. 168, 169
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20. Jennifer Craik. The Face of Fashion: culture studies in fashion . Routledge. 1994: 200. ISBN 0-415-05262-9. 
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22. Ross, Robert (2008): Clothing: A Global History. Cambridge: Polity. p. 59
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39. Elizabeth Ellsworth - Professor of Media Studies - Public Engagement. www.newschool.edu. 
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