Making reference to the dandy, discuss this in relation to representations of male identity in

contemporary mens fashion magazine Another Man or The Rake.

In this essay, I will be discussing the representations of male identity in contemporary mens
fashion magazine. I will be using Issue 39, the international edition of The Rake magazine
featuring Samuel L. Jackson on the cover. I will also be making reference to the male dandy,
highlighting its evolution from its origin to its modern nature and how it applies to the
representations of male identity in The Rake magazine.
Generally speaking, the representation of male identity in contemporary fashion magazine has
changed drastically over the years.
What started off as lad magazines with portrayals of the new lad which is characterised by
hedonistic, postfeminist and concerns revolving around beer, football and women has changed
to the new man which, mainly depicted by sensitivity, emotional awareness and respect towards
women. The social construction of masculinity have yet to be examined thoroughly, and mens
gender and class performance via fashion, grooming and consumer habits has been largely
overlooked or ignored by cultural historians. (Shannon, 2004)
However, as we are now living in a more liberal and open-minded society, we are starting to
become accepting of males having effeminate characteristics like dressing up to look good and
having materialistic values.
The Rake Magazine is self-described as the modern voice of classic elegance and the champion
of discreet luxury the worlds leading luxury mens style and lifestyle magazine for men with
taste. From the flamboyant flaneur and the 18th century macaroni which were the very early
stages of the dandy, the ideals of The Rake magazine focuses on these qualities.
The modern dandy is a term coined in the 21st century that covers the values and beliefs of 21st
century man who values his appearance and takes particular pride in wanting to look good. As
the tagline of The Rake magazine is the modern voice of classic elegance, it captures the
modern embodiment of the classic dandy.
The characteristics of the dandy rely heavily on self-care and self-involvement to the point that it
can be class as narcissism and this was often the criticism of Beau Brummel who possessed a
sense of style and fashion different to those in the Georgian era and his fellow kinship.
According to Fickelstein (1991), Brummell ushered in an era when social ascendancy and
character were no longer needed to be viewed as inherent.
The dandy is portrayed as a stoic hero of urban modernity. It is very important to recognise the
origin of the dandy which stemmed from Baudelaires flaneur who is the outside observer of
modern live living in the city. It talks about the space of modernity and the site of consumption
and this is key to the development of the contemporary ideas of the dandy as the individual style
of the observer becomes a marketable look.
Beau Brummell relied on his sense of fashion to obtain, not necessarily power, but status within
himself. His superiority was based on his clothes and how he dressed was of utmost importance
to him. How he viewed himself and this very much reflected societys standards and views about
him. In the figure of Beau Brummell, there was the declaration of self-produced modern
individual, whose identity was fashioned from material possessions. Entwistle (2015)
Similarly, The Rake paid tribute to class and elegance with Samuel L. Jackson as the front man of
their international edition. Masculinity is portrayed in a very traditional way in the cover of the
issue.
Jacksons facial expression possesses a very stoic quality to it with his slightly furrowed eyebrows
and his thin lipped smile. The focus of his gaze is very stern which has a very boss-like
characteristic and his authoritative quality is amplified by his body language. Sat on an elegant
grey chair with his elbows on the arm chair and his right leg crossed over the left, it carries a very
assertive and powerful connotation. The way his hands are positioned, like he is cracking his
knuckles, makes it look like he is ready to start a fight which further emphasises his dogmatic
nature.
The colours of the front cover are another aspect to consider. Different tones and shades of grey
are very evident here, from the suit he is wearing to the chair he is sitting on and finally to the
background of the magazine. Grey is a very balanced and neutral colour which has a very cool
and timeless quality to it. It can be typically associated with meanings of dullness and old age but
in the front cover of The Rake magazine featuring Samuel. L Jackson, it carries connotationS of
conservativeness, formality and sophistication.
The typography featured on the front page is another feature to acknowledge. The mast head of
the magazine instantly portrays a classical and wealthy characteristic due to the typeface being a
serif font and the colour being silver.
The level of sophistication and wealth that Samuel L. Jackson maintains on this cover is
exemplified by his clothing and what pioneers the entire ideal of a successful man relies on his
attire. His grey suit is clean cut and evidently tailored for him which makes him seem very
powerful and of very high position.
Editorials featured in the magazine also resonated class and elegance with middle aged gentlemen
adorning the glossy pages of the magazine. The portrayal of what is considered to be the norm
of the male gender is consistent. Men dressed immaculately in tailored suits is promoted
throughout the entirety of the magazine with brands such as Ralph Lauren and Armani being the
front runners of said suits.
Impeccable tailoring is the trademark of the dandy. Modern Gentleman states that, Tailoring is
so vital to a dandy because his clothes are an expression off his self, how he wears the garments
conveys to the world that he takes his pride in his appearance and by extension, his own person.
He has confidence and accordingly his garment should be spot-on to match. (Burrows, 2014)
Throughout the entire magazine, wealth is an aesthetic that is portrayed ostensibly. Fancy cars,
expensive watches and designer brands such as Ralph Lauren and Armani aesthetically adorn the
pages of the glossy magazine.
The advertisement of watches is featured abundantly in the magazine, specifically at the start and
towards the end of it. As an accessory that can be identifiable and distinguished straightaway,
more so than the type of car a man drives and the brand of suit a man is wearing, expensive
watches have symbolic representations of success and this accessory played a vital role
throughout the advertisement of the magazine. Tungate (2008) stated that, The marketing of
watches combines some of the most predictable strategies for targeting men: the use of male
icons in print advertising, movie product placement, and heavy sport sponsorships. Seeing these
watches would influence the male readers to buy it as it owning an expensive watch will make
them seem successful.
As the Editor of the magazine stated at the front of the magazine, Samuel L. Jackson is an
example of how men are getting cooler, more relevant and more in touch with their essential
selves. Most young men would be aspiring to be like Samuel. L Jackson because of the
achievements that he has done over the decades that he has been active in the entertainment
industry.
Males of the mainstreamers demographics, between the ages of 15-24, are almost averse to
shopping for clothes and taking care of themselves due to the perceived notion that doing so will
make then effeminate. However, this notion is rapidly changing. Tungate (2008) has stated that,
As mens approach to grooming evolves, they are also becoming more concerned about their
attire. They have a renascent interest in cut and colour, and have accepted that dressing well does
not denote lack of masculinity.
If your clothing provoked raised eyebrows or even a sideways glance you were overdressed,
in Brummells opinions. What he sought was not ostentation but perfection. (Tungate, 2008)
Aesthetic minimalism is a thing in contemporary mens fashion magazines and it has become a
sign of sartorial understatement in dress. The man of the crowd as opposed to the man in the
crowd, Beau Brummel is the primary example of this as he subverted the typical fashion in the
Georgian era.
Baudelaire (1853) describes the dandy as the man of wealth and leisure, who even though weary
of it, has no other occupation than the pursuit of pleasure; the man brought up on luxury and
accustomed since his youth to the obedience of other men; the man, in short, who has no other
profession but that of elegance, will always have a distinctive appearance, one that sets him
utterly apart. And this is essentially the core of the Rake magazine. It revolved everything
around the lifestyle of those who are able to afford it. It takes into account the wealth and the
money that the readers may or may not have.
In terms of the physical appearance and sense of fashion, it can be said that The Rake channels
the dandy perfectly. However, it can be argued that the moral standpoint of the dandy does not
apply to that of The Rake magazines. Knox (2014) from The Journal wrote in an article stating
that, Being a dandy is not just about dress. It affects everything what you read, the way you
deal with individual. Dandies are gentlemen utterly charming and people enjoy being around
them.
It can also be argued that some dandies choose to dress in order to be distinguished from the
crowd whilst other dandies opt for their fashion choices to be an understated sort of elegance by
using muted colours and minimal orientation. An article in the Modern Gentleman stated that,
Over the years, however, dandy fashion has come to be associated less with over-the-top
dressing and is not typically used to mean any man who appreciates fashion and enjoys
expressing himself through sartorial choices. (Burrows, 2014)
In conclusion, the representations of male identity in contemporary males fashion magazines,
particularly The Rake, follow a very mainstream and traditional pursuit following the metrosexual
man. Contents of the magazine attempt to entice the demographic older men who have
successful lives. This can also trigger the aspirers of the generation who wish to have the same
lifestyle as them.
References
Benwell, B. 2003. Masculinity and mens lifestyle magazines. Oxford: Blackwell/Sociological Review.
Cicolini, A. 2007. The new English Dandy. London: Thames & Hudson.
Entwistle J. 2000. The fashioned body: fashion, dress and modern social theory. Malden, MA: Wiley, John
& Sons.
Tester, K. 1994. The Flaneur. New York: Routledge.
Tungate, M. 2008. Branded male: Marketing to men. London: Kogan Page.
Shannon, B. 2004. ReFashioning Men: Fashion, Masculinity and the Cultivation of the Male Consumer in
Britain, 1860-1914. Indiana University Press.
Knox, J. 2014. The Portfolio: The Modern Dandy. [viewed 01/07/16] Available from:
http://www.mrporter.com/journal/journal_issue147/2#1
Burrows, P. 2014. The elements of dandy fashion. [viewed 01/07/16] Available from:
http://www.moderngentlemanmagazine.com/the-elements-of-dandy-fashion/
Bibliography
Benwell, B. 2003. Masculinity and mens lifestyle magazines. Oxford: Blackwell/Sociological Review.
Burrows, P. 2014. The elements of dandy fashion. [viewed 01/07/16] Available from:
http://www.moderngentlemanmagazine.com/the-elements-of-dandy-fashion/
Cicolini, A. 2007. The new English Dandy. London: Thames & Hudson.
Entwistle J. 2000. The fashioned body: fashion, dress and modern social theory. Malden, MA: Wiley, John
& Sons.
Knox, J. 2014. The Portfolio: The Modern Dandy. [viewed 01/07/16] Available from:
http://www.mrporter.com/journal/journal_issue147/2#1
Shannon, B. 2004. ReFashioning Men: Fashion, Masculinity and the Cultivation of the Male Consumer in
Britain, 1860-1914. Indiana University Press.
Tester, K. 1994. The Flaneur. New York: Routledge.
Tungate, M. 2008. Branded male: Marketing to men. London: Kogan Page.