Fashion design is a feminized occupation, but there is a widespread perception that gay male designers are advantaged in receiving awards, publicity, and praise. This article develops the notion of a “glass runway” to explain this inequality. First, using design canons and lists of award recipients, I show that men, especially gay men, receive more consecration than women. Second, I show how men and women are consecrated differently by analyzing the content of 157 entries in Voguepedia’s design canon and 96 (...) fashion media articles. Attributions of value and legitimacy construct a gendered image of the ideal fashion designer through discourses of art and culture that reinforce essentialist ideas about gender difference. Because cultural value is ambiguous, processes of valorization are shaped by gender essentialism, pushing male cultural producers down the glass runway and into the spotlight of fame, consecration, and legitimation. Finally, the case of fashion design offers insights into how intersecting inequalities can shape the glass runway. Gay designers experience both valorization and discrimination from intersections of gender and sexuality. (shrink)

Murga porteña, the satirical street theatre tradition associated with Carnival in Buenos Aires, Argentina, is historically a strongly patriarchal institution. Prominent roles such as reciting poetry, singing, and playing percussion instruments have been reserved exclusively for men. As the feminist movement in Argentina has grown in visibility and importance in recent years, feminist murga participants disrupted these patriarchal patterns. Women murga performers have begun to use murga as a space for feminist practice, both by creating women-only organizations to learn murga (...) skills and by bringing feminist perspectives into mixed-gender murgas. Murgueras are engaged in a multifaceted feminist project that disrupts gendered patterns by building women-only spaces to develop competence in the performance of historically masculine skills such as percussion. Drawing on ethnographic participant-observation of murga events as well as in-depth interviews with key organizers at the confluence of murga and feminism, we explore the ways in which murga has provided the spaces and strategies for collective feminist engagement. Murgas have become important social institutions in which women are “undoing gender” and disseminating feminist perspectives, even as most members join them not as explicitly feminist institutions. (shrink)

Masculinities vary by organizational context, demonstrating that organizational culture shapes the gendering of work even within the same occupation. The author draws on comparative and ethnographic data collected in two retail environments to understand how a common organizational culture is differently gendered by the organization of work. In these music stores, organizational culture is driven by masculinist fantasies of the rock musician lifestyle. As the products and knowledge of the rock musician lifestyle are made popularly accessible and retail work is (...) deskilled, a style of masculinity based on fraternization and competition takes the place of formal knowledge and experience—reaffirming rock musician as a populist, but exclusively male identity. The article concludes with a consideration of how the de-skilling of retail work reproduces gendered interactions that affirm men’s control over work and its products, even as retail work is presumed to be feminizing. (shrink)

This article provides an empirical example and an analytic argument for how queer theory can be useful for sociological inquiries of gender relations. Using data collected through participant observation of a rock music subculture, the author addresses the importance of conceptualizing sexuality and gender as analytically distinct. There are five major findings drawn from this analysis. First, members of this subculture queered sexuality despite identifying as heterosexual. Second, there is a dissonance between how members talked about sexuality and how they (...) enacted sexuality. Third, queering sexuality opened space for subverting hegemonic gender relations. Fourth, some forms of gender resistance relied on and reinscribed hegemonic sexual relations. Fifth, only by analyzing sexuality at multiple levels of analysis was this play of resistance and hegemony revealed. Both empirical and theoretical implications are suggested. (shrink)

Previous research demonstrates how activists who do not identify as feminist sometimes engage in “implicitly feminist practices.” In this paper, I extend this research by asking: Do self-identified feminists also employ such implicit strategies in the course of their activist efforts? If so, why would they “do” feminism implicitly? Based on participant observation and semistructured interviews at Girls Rock! Midwest—a week-long summer day camp program that aims to empower girls through rock music production—I develop the concept of implicit feminism. I (...) define implicit feminism as a strategy practiced by feminist activists within organizations that are operating in an anti- and postfeminist environment in which they conceal feminist identities and ideas while emphasizing the more socially acceptable angles of their efforts. My research demonstrates how feminist-identified activists employ implicitly feminist practices as a strategic response to feminist dilemmas stemming from competing organizational demands, how they envision the possibilities and drawbacks of such a strategy, and what this suggests for the shape and future of feminist politics. (shrink)