Sunday, November 27, 2016

Are All Male Models Gay?!




 
Heterosexual men in many instances do not need all of these qualities to attract women (as well as many lesbians.)  Additionally, "straight" couples have social pressures to pair off with a mate earlier, progressing to getting married and having kids.  Generalizing, but once you're taken especially in a marriage people often have numerous priorities over keeping up an appearance.  Where as gay men even once in a relationship continue to have fitness and looks meshed into their social groups creating a feeling of keeping up with the Jones.  
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Many gay men tend to be image-conscious in a similar way that heterosexual women are because typically their objects of affection are stimulated visually.  As a gay man I see several variables that come into play.  Going to the gym, keeping up with youthful appearances and dressing for the affair is constantly discussed in our social circles.  The dating scene requires a "model" type look to attract the cream of the crop.

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Getting off topic a bit, but back to your question... The modeling world is somewhat more accepting of stereotypical gay tendencies and gay lifestyle therefore a gay individual may feel more comfortable working as a model and making that a goal.
There are plenty of straight male models, the gay ones just don't have to closet themselves (because the industry as a whole is not generally homophobic), so you notice "more" gay men than you do in the everyday world.
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 The industry as a whole is more open to varying sexual orientation than many other industries.
  1. There are a number of gay males already in the industry and starting out as a model you will work with a lot of different photographers and other models and many straight males are intimidated about working with gay males especially in a situation where everyone is looking at you so natural selection keeps a number of straight males from continuing in the profession.
  2. As many have already mentioned gay men tend to care more about their appearance and don't underestimate the amount of work that goes into maintaining you body image as a male model. 

 

  1. Many gay men tend to have creative and dramatic flair which draws them to careers such as acting, dancing, ice skating, modeling, hair styling, interior design, fashion design, etc.

Ugly truth of fashion's model behaviour

 
Interviewed a Fashion Model in NYC that doesn't want his/her name printed in my blog...
This is the kind of remark I often hear about my efforts to establish fair labor standards for models working in the American fashion industry. Modeling is a seemingly glamorous profession, and models are certainly not the people you picture when you think of bad working conditions. But wipe off the sheen and another reality emerges.
 
At 29, I have worked as a model for over half my life, and I'm the first to admit that I've been lucky in my career. I have worked with some of fashion's most talented, creative people as the face of some of the industry's most recognized brands. I enjoy modeling, a job that not only paid my bills, but also allowed me to put myself through school. I have no reason to speak negatively about an industry that has given me so much. And, yet, I can no longer stay silent about rampant abuses that I have experienced firsthand.
The modeling business today is unregulated and relies on a compliant labor force of children. 
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Sexual abuse and systematic theft occur at the highest levels of the industry, and because models are considered to be "independent contractors", the rule of law in terms of workplace standards does not exist. Sadly, the notion that fashion is frivolous encourages a dismissive, misogynistic attitude toward the industry's young workers, and it is precisely this sentiment that allows the abuse of vulnerable young people to persist.
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When I entered the business as a 14-year-old schoolgirl, I was routinely asked to do topless shoots and pose seductively. To this day, in an industry dominated by minors, there is no policy of informed consent for jobs involving full or partial nudity. A recent survey shows that 86.8% of models have been asked to pose nude at a casting or job without advance notice.
Sexual abuse is a pervasive problem. Consider just the last few years: in 2008, fashion designer Anand Jon was found guilty of rape  and multiple counts assault on aspiring models, who ranged from 14 to 21 years old. 
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Last year, models began to speak out in numbers against Terry Richardson, one of the industry's most powerful photographers,  who has been accused of pressuring models to disrobe at castings and conducting shoots that involve what he claims are consensual sex acts performed on him by models. (Among Richardson's regular clients are H&M, Vogue, and GQ.)
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What is worse, in an industry where the majority of models start their careers before age 16, most working unchaperoned and far from home, the incentive to say nothing in order to keep your job creates an unconscionable environment of coercion.
Lack of financial transparency is also a significant problem. Last year, three models brougt a lawsuit against their New York agency Next for allegedly withholding $750,000 of their earnings. 
 
Like the plaintiffs, I also left Next after becoming increasingly wary of their opaque bookkeeping, and I was paid the outstanding earnings they owed me only after my lawyer threatened legal action. As a model, simply getting paid can be a major issue, and, of the models who achieve a coveted spot walking in New York fashion week, many, in fact, are never paid at all; instead, working for free or for clothes. Needless to say, a tank top doesn't pay the rent.
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To combat this systemic abuse, I recently formed the Model Alliance, a nonprofit organization that aims to give models in the American fashion business a voice. With the support of other top models (Coco Rocha, Doutzen Kroes, Crystal Renn, Shalom Harlow), industry leaders, and the Fashion Law Institute at Fordham Law School, we produced a draft models' bill of rights to demand fair treatment from modeling agencies and clients.
 
 Our backstage privacy policy, endorsed by Diane von Furstenberg and the Council of Fashion Designers of America (CFDA), aims to protect models from invasive photography while they are naked and changing backstage at New York Fashion Week. The Model Alliance has also partnered with Actors' Equity and the American Guild of Musical Artists (AGMA), members of the AFL-CIO, America's largest federation of trade unions, to establish Model Alliance Support, a confidential grievance service to members who have experienced any kind of abuse.
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Our glossy industry often provokes superficial criticism of models' weight and body image, but the fact is that most models' clout in their workplace is as tiny as their size-zero frames. It is time to delve beneath the surface and consider models' concerns from a labor and public health standpoint. Photographs of models pervade our culture, and we cannot promote healthy images without taking steps to protect the faces of this business. This effort starts with giving the faces of this business a voice. Correcting these abuses starts with seeing models through a different lens: not as dehumanized images, but as human beings who deserve the same rights and protections as all workers.
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Monday, November 21, 2016

Wanna be a Male Model?!

 
Being a male model doesn't mean getting a free ride to the best parties in town. It takes hard work to be a male model, as well as long hours, and sometimes, little payoff. That being said, breaking into the modeling industry as a male is a bit easier than it is for women, because male models don't have to meet the same rigid physical requirements all the time and can work for many years -- some of them working well into their fifties. If you want to get into male modeling, learn how to get exposure within the modeling industry, sign with an agent, and start looking for work while staying in top physical and mental shape.
 
Meet the industry standards. Though male models have a bit more flexibility in terms of their looks than female models, there are still some general standards that you should meet if you want to be a male model. But if you don't meet all of these standards, don't be too discouraged; if you've really got "the look," then you may be able to find work even if you're below the average height or above the average weight for male models. 
 
Here are some points to consider as you decide whether or not you should get in to male modeling:
  • Industry standards are between 5’11” and 6’2” in height.
  • Unlike female models, who are mostly out of work by the age of 25, male models can find work well into their 50s.
  • Men from 15 to 25 make up the “young men’s” market.
  • Men from 25 to 35 are the “adult men’s” market.
  • A typical weight for men is between 140 and 165, but this will depend on your Body Mass Index.
  • Average measurements are 40 regular to 42 long.
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  • Typically, the modeling industry doesn't go for overly hairy men in the chest and arm region. Be prepared to do some waxing before you pursue your career.
 
  • Decide what kind of modeling you are interested in pursuing. The type of modeling you do can influence the way you look for work, the type of photos you take to get work, and the approach you take as you start off in your modeling career. For example, you will have to meet different standards to look like a runway model instead of a catalogue model, who is supposed to offer a more realistic view of men. Here are the types of modeling that you may pursue:
    • Fashion models promote clothing and apparel.
    • High fashion models work with the famous fashion houses or designers.
    • Editorial models only work for certain publications.
    • Runway models work at fashion shows.
    • Showroom models display clothing at fashion parties or boutiques.
    • Commercial print models are photographed for magazines, newspapers, billboards and other print ad materials.
    • Catalogue models are hired to appear in catalogues.
    • Promotional models work in conventions or trade shows.
    • Specialty models specialize one part of their body such as hands, legs, neck, hair or feet.
    • Character models are used to portray ordinary people.
    • Glamour modeling focuses more on the model than the actual product.
     
    •  Get some exposure. Though you can skip this step and move right on to trying to sign with an agent, it couldn't hurt to have your face out there and to have some modeling experience so you have something to point to when you approach agencies. Try to appear in local newspaper ads, TV shows, magazines, or even fashion shows. You might get the attention of the right people without even appealing to an agent directly.
     
  • However, this does not mean that you should get absolutely any work you can. Remember that you're trying to build and maintain your image, so don't do something that is completely below your dignity, not taken by a real photographer, or which doesn't represent who you are at all.
  • Do not shoot in anything less than your underwear unless you're getting paid. You may be told that you should shoot nude or an implied nude to get some free photos, but you should avoid these kinds of offers like the plague. Don't shoot nude unless it's for a professional, reputable, and established company that pays you for your work. If you take nudes with sketchy photographers, who knows where they will end up.
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Get some professional photos taken. Though you'll be able to develop your portfolio after you sign with an agency, getting some professional photos taken beforehand will make you look professional and will give you something to point to if you catch the eye of someone in the industry. Don't just get your photo taken by someone with a cheap camera who only has experience taking yearbook photos; get your photo snapped by an above-average photographer so that you look, well, above average.
  • Make sure you get a Model Release form signed by every photographer you work with. This will ensure that you know exactly what happens to the photos that are taken of you.
  • Don't waste your time with a "portrait" photographer. You want to take modeling shots, not your senior year photo.
  • Make sure that you have a standard headshot and multiple full body shots.
  • Because people needing your services will probably want to see what your body type looks like, include a full body shot in shorts or underwear and a tank top.
  • Include an additional shot in casual clothing, and a third shot in business casual or a full suit.
  • Get black-and-white and color photos.
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Avoid scams. Unfortunately, scams are all too present in the modeling agency. You can get scammed during pretty much any step along the way, from being tricked into taking expensive photos from a shady photographer or getting "signed" with a fake or disreputable agent. Here are some things to be wary about as you move forward:
  • Photographers who charge ridiculous rates for getting your portfolio together. Once you sign up with an agency, you'll be able to fully develop your portfolio, so avoid the pushy photographers who offer to sell you a portfolio for thousands of dollars, claiming it's the only way for you to approach an agent.
  • Agencies who charge exorbitant up-front fees. If an agent asks you for a large registration or portfolio fee, run for the hills. Agents shouldn't profit until they get you a gig and get a cut of your profit. These untrustworthy agencies will typically not have many clients, be new in the industry, and won't have the connections necessary to get you work.
 
  • Expensive modeling schools. Keep in mind that there are no certified schools for modeling. Sure, they can help you learn how to walk, pose, and manage your facial expressions, but you may be better off learning these skills online or from reading a book. These schools may claim to get you work, but don't get sucked in to them unless they can really prove that they have helped other models get work.
  • People who approach you out of the blue. Sure, the occasional model has a story about being randomly approached at an event or even at a nightclub being told that he has "the look," but most of the time, this is done by shady characters who think they can get money just by stroking your ego. If these men ask for shady methods of payment, this is even more of an indicator that you should stop contact with them. Of course, if these men prove to have real connections, then you just got lucky.
  • People who offer you money for your personal information online. Avoid any online sites, such as Model Mayhem, where people may offer you money in exchange for your credit card information and other personal information. This makes you a target for identity theft.
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 Consider moving to a big city. If you're really serious about being a male model, then you can't live in a town with only two traffic lights forever. You should move to one of the big modeling cities, such as New York City, Los Angeles, London, Milan or Paris. You might also find regional work in other cities such as Chicago or Miami. Don't feel like you can't be a model if you can't afford the move right away; try looking up model searches in your area or contact agencies directly from home (more on that later). 
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 Attend an open call. An open call is when a modeling agency lets anyone come in to their office to audition. You'll have to wait in line with many other models until you're called into a room individually to have the agents take a look at you and see if you've got what they're looking for. Often, you can wait for hours just to be seen for less than a minute. This may be a bit nerve-wracking, but hey, it's what you're signing up for.
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 Go to a model search. A model search is like an open call except it is held by agencies that travel to small towns searching for models. Since they do make the effort to travel to your location, you will have to pay a small fee to be seen, which should cost somewhere around $25 dollars. This is a great option if you live in a smaller town where there are less modeling opportunities. Just like a modeling call, your chances of getting selected aren't high, but you could make some valuable connections.
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Enter a modeling competition. Though these are hard to win, if you do manage to win a modeling competition, it really can jump start your modeling career. Make sure it's a reputable contest run by a reputable establishment, and that you don't have to pay a ridiculous entry fee. Many of these competitions will even get you signed with an agency if you win. And even if you don't win, it'll be another way to put yourself out there.
  • Make sure you look in to the specific requirements necessary for entering a modeling competition. It's likely that you'll need to be prepared with a set of pictures.
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Go to modeling conventions. This is a perfect way to get some exposure as well as to meet other professional models and agents. Unfortunately, it can get pretty expensive to attend one of these conventions (typically around $200 - $4000) so if you do, you have to make the most of it by acting professional and meeting as many people as possible. 
 
 Do it yourself. That's right. Another way to get signed by an agency is to get in touch with them yourself. Search the Internet for lists of reputable modeling agencies, such as Elite or Major Management, and get their email addresses. Then, send them a professional email with some professional photos of yourself in a variety of poses. Though this will require you to build a portfolio beforehand, it can pay off. 
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 Sign up with a scouting company. This is a good and relatively cheap way of putting yourself out there and not having to do all of the advertising work yourself. Find a reputable company, such as www.modelscouts.com and www.minxmodels.com, and pay them from between $60 - $150 dollars to help you find work. You'll have to submit your profile to them and they will forward your information to major agencies. 
 
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Sign up with an agent. Once you've jumped through the hoops and found an agent who likes your look, it'll be time to sign your contract. Again, make sure the agent doesn't ask for any money up front. A real agent should only make money after he or she makes you money. And even if the agent seems legitimate, make sure you have an attorney go over the contract with you to ensure that you're making a fair agreement.
  • When you're speaking with the agent, you can ask about any unions you're allowed to join and also ask if you can take modeling jobs on the side.
  • If you've signed with a top agent and have a chance of making some serious money, you can also think about meeting with an accountant to talk about how you will track your earnings.
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Start looking for work. Once you've signed with an agent, you will build your portfolio, which will help you get hired. The agencies will help you get the chance to go to modeling interviews, which are also known as go-sees. So, start going to the go-sees, act professional, and don't get frustrated if you don't get a gig right away.
  • The agency can't guarantee you work; but a good agent wouldn't take you on if he or she didn't think you had a solid chance at finding some great work.
  • Have perseverance. You won't get a gig with Calvin Klein on your first go-see, despite what you may hear.
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Stay professional. Whether you've made it big or are just starting out, you don't want to develop a reputation for being ungrateful, rude, or even late. If you want to last in the industry, here are some things you'll have to do to meet the standards of the profession, just as you would with any other career:
  • Be prompt to appointments.
  • Be courteous and professional to everyone you come in contact with.
  • Consider investing in a personal trainer to help you stay on a balanced diet and to attain exercise goals for optimal muscle tone.
  • Take a meticulous approach to your grooming and skin care regimen.
  • Retire for the evenings early on the nights before you have to work. Plenty of sleep will help you avoid dark circles under your eyes and give you a more rested and healthier appearance to those you are working for.
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Keep your day job. Though everyone hears the story about the male model who was discovered on a Russian cargo ship or just when he was hanging out at a bar in Vegas at three in the morning, the fact of the matter is that most male models don't just instantly get discovered and have to keep working hard even after they sign with an agent. This means that unless you are among the very few lucky male models who can solely survive on their modeling income, you'll need to keep your day job or find another source of income to keep you going.
  • If your day job is too much work, just find another source of income that works for you. Many male models are part-time waiters or bartenders.
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Stay physically and mentally healthy. Though the male modeling industry is slightly less grueling than the female modeling industries, male models fall victim to the same problems that plague female models, such as having a low self-esteem, feeling deeply insecure, or worse, having an eating disorder. Here are some things to keep in mind as you try to stay healthy during your career as a male model: 
  • Make sure you continue to eat healthy, get exercise, and remind yourself that you're a worthy person; don't let the modeling lifestyle get you down.
  • Rejection is part of the game and if you're already prone to insecurity and self-loathing, then male modeling may not be the best path for you.
  • Though part of the modeling lifestyle may require you to go to parties and schmooze with lots of people, don't become addicted to drugs or alcohol. Not only will this cause great pain for you mentally and physically, but it will have a negative effect on your physical appearance.
 

Sunday, November 20, 2016

Anthony Parker by Sandy Lang

Anthony Parker by Sandy Lang (3)
Before we move on to this coming weekend, let’s meet hottest AF model Anthony Parker shot by Sandy Lang.
I think every model has to get a really hot portrait likes Sandy Lang does when he captures a cute dude.
Back to the hottie, Anthony, model/actor, he’s a chef (*sigh) 24 yo Midwest hairy chest guy and looking good with beard, and he’s with DT Models.
And well Sandy makes magic behind his lens.
Anthony Parker by Sandy Lang (1)Anthony Parker by Sandy Lang (4)Anthony Parker by Sandy Lang (2)Anthony Parker by Sandy Lang (3)http://graveravens.com/wp-content/uploads/2016/08/Anthony-Parker-by-Sandy-Lang-5.jpgAnthony Parker by Sandy Lang (6)Anthony Parker by Sandy Lang (7)Anthony Parker by Sandy Lang (8)Anthony Parker by Sandy Lang (9)Anthony Parker by Sandy Lang (10)Anthony Parker by Sandy Lang (11)

David Gandy: Masculine

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British model, columnist and charity ambassador David Gandy has blazed a trail within the male modelling industry since his career began aged 21. Often associated with reinstating a masculine standard in the fashion industry, Gandy admits that it was difficult to start out amongst his counterparts:"the trend was for skinny, androgynous guys who had bodies more like girls", he told Voguein 2010. Mario Testino, who has shot Gandy countless times concurs: "[Gandy] signifies a real shift in men's fashion. The male model world is changing", he told Vogue at the beginning of the model's career.

Born in 1980, Gandy was awoken to the world of modelling after winning a competition on ITV's This Morning after his housemates suggested that he enter. Gandy thought they were joking, but after being entered behind his back he landed a contract with Select Model Management, the UK agency that still represent him today.

Passionate about motors, Gandy worked transporting luxury vehicles to race tracks at the age of 17. The model's infatuation with all things automotive has endured throughout his career, forming a topic for his GQ column 'David Gandy Drives' which he has held since 2011 and lead to him being invited to participate in the 2013 Italian open-road endurance race, Mille Miglia, with fellow model Yasmin le Bon.

One of his biggest supporters, Dolce & Gabbana, named the model as the face of the brand in 2006, skyrocketing his rise to success with a 50ft Times Square advertisement of Gandy as part of a Light Blue fragrance campaign. In 2011, the Italian fashion house published a book solely on Gandy and his relationship with the brand. He is still a quintessential Dolce & Gabbana model, featuring in the 2014 Light Blue advertisement alongside Bianca Balti.

In May 2010, Gandy was invited to speak at the Oxford University Union, on a panel which included fashion photographer Tony McGee, the V&A's senior curator Claire Wilcox, fashion consultant Frances Card and VOGUE.CO.UK editor Dolly Jones. He stated the importance of male fashion, a topic that he has pushed throughout his career. In 2013, Gandy was invited to become an official ambassador for London Collections: Men alongside Tinie Tempah and Dermot O'Leary. He also writes about his style musings on his VOGUE.CO.UK blog.

Gandy was the sole male model to walk alongside supermodels Kate Moss, Naomi Campbell and a host of other models as part of the 2012 Olympics closing ceremony. In the same year the model featured on sixteen magazine covers and eighteen fashion editorials. He was also listed as one of the Evening Standard's 'London's Most Influential People' and launched a follow up to his successful style app named 'David Gandy Fitness and Training'.

The model is an avid charity supporter, named as brand ambassador for Battersea Dogs and Cats Home and Style for Soldiers. He was appointed fashion ambassador for Comic Relief in 2013 after which he launched Blue Steel Support, a charity auction that included a prize of a day with the model.

Gandy is set to release his own underwear range with Marks and Spencer on September 18 2014. He has had a long-standing relationship with the British brand and appeared in 2013's Christmas advertisement alongside Rosie Huntingdon-Whiteley and Helena Bonham Carter.

Monday, November 14, 2016

Is Fashion’s Love Affair With Washington Over?

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On Wednesday, when Hillary Clinton stood in the New Yorker Hotel for her farewell speech, she did so in one of her signature Ralph Lauren pantsuits. Dark gray, with purple lapels and a matching purple shirt (and a matching purple tie for Bill Clinton), it underscored, as so many of her fashion choices did in the run-up to the election, a point: the way two colors/factions — red and blue — can unite to make something new.
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But it also symbolized, perhaps, the end of what might have been an extraordinary relationship. And possibly the end of fashion’s seat at the power table.
More than any other industry, fashion had pledged its troth to Mrs. Clinton.  Vogue magazine formally endorsed her, the first time it had taken a public stand in a presidential election. The W magazine editor, Stefano Tonchi, declared his allegiance in an editor’s letter.
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Diane von Furstenberg, the designer and chairman of the Council of Fashion Designers of America, and Anna Wintour, the editor of Vogue and artistic director of Condé Nast, had aggressively raised funds for her, during fashion weeks and beyond: The week before Election Day, they chaired a fund-raiser in Washington at the Georgetown home of Connie Milstein, a major Democratic donor.
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Designers including Tory Burch, Marc Jacobs and Prabal Gurung created “Made for History” merchandise for Mrs. Clinton’s campaign store , and contributed to a runway show/benefit during September’s New York Fashion Week.  Elie Tahari ran an ad campaign featuring a female president for his fall collection.
At the CFDA/Vogue Fashion Fund awards last Monday night, the traditional potpies were dusted with paprika letters urging “vote” and festooned with little paper “Hillary for America” flags (in case anyone was wondering for whom). Ralph Lauren became Mrs. Clinton’s de facto sartorial consiglieri, helping her shape her image from the Democratic National Convention to the debate floor.
It was to be the culmination of a relationship that began with Mrs. Clinton’s appearance on the cover of Vogue in December 1998, the first time that a first lady had done so.
The relationship gained momentum through the Obama administration, with Michelle Obama’s embrace of the fashion world writ large, from accessible brands such as J. Crew to young designers such as Jason Wu and Christian Siriano  and established names like Michael Kors and Vera Wang. (Mrs. Obama also appeared on the cover of Vogue, in March 2009 and April 2013, and she will also appear, for the third time, in the December 2016 issue.)
In understanding how she could use fashion to “express ideas” — as Joseph Altuzarra, who made clothes for Mrs. Obama and contributed a T-shirt to Made for History, said — Mrs. Obama elevated the industry beyond the superficial to the substantive. She framed clothing as a collection of values: diversity, creativity, entrepreneurship. Mrs. Clinton seemed primed to continue that trend.
The Trumps, however, may not.
As their Washington revolution dawns, designers are assuming, Mr. Altuzarra said, that the main players “will have a different relationship to clothes” than fashion has come to expect from the White House, and on which it had placed its bets.
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Not to mention a different relationship with the designers themselves. The political and social establishments are not the only establishments the Trumps have ignored.
It was striking that on election night, for example, while Melania Trump also wore Ralph Lauren (a white jumpsuit), the outfit was, according to the brand, one she had bought off the rack, as opposed to one that she had worked with the designer to create.
Indeed, all the clothes she wore on the campaign trail seem to have been part of a shopping spree, as opposed to a strategic plan. There’s nothing wrong with that. Arguably it is part of what makes a woman who lives in a gilded penthouse seem more normal (she buys, just like everyone else!) But it reflects her distance from the industry.
And it is striking that while Ralph Lauren is an American brand, which may indicate a decision to support homegrown talent and promote local industry, Mrs. Trump has also worn Fendi (Italian), Roksanda Ilincic (British) and Emilia Wickstead (British) on the campaign trail. When she went to cast her vote, Mrs. Trump threw a gold-buttoned camel Balmain military coat (French) over her shoulders.
Neither her wardrobe nor that of the rest of the family has been used in the traditional way (see: Jackie Kennedy and Nancy Reagan), to telegraph the virtues of Made in America — though that has been one of Mr. Trump’s most vociferously promoted platforms.
Mr. Trump himself has stuck closely to his uniform of Brioni suits and made-in-China fire engine red ties from his own brand. His daughter and public surrogate, Ivanka, has worn an assortment of styles and high-fashion names, including her own label, the Roland Mouret asymmetric top she wore to the third debate, and the Alexander McQueen dress she sported at her father’s acceptance speech, though they can all be pretty broadly categorized as “power sheath.”
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If there is a unifying message to the Trump wardrobes, said Marcus Wainwright, chief executive of Rag & Bone (and another Made for History contributor), it is not about the on-shoring of manufacturing, but rather “looking rich.”
Indeed, on election night, when the family stood on stage surrounding the triumphant candidate, the lasting visual was not of the white (on Melania and Barron), blue (Ivanka and Tiffany) and red (Donald and daughter-in-law Lara) the Trumps wore — in part because they seemed more incidental than calculated, given there was also black and greige in there — but rather the sea of “Make America Great Again” red baseball caps in the wildly cheering audience.
Ultimately, it was the baseball cap that became the sartorial symbol that represented the winning campaign; that was the accessory imbued with meaning.
This may have to do with the fact that both Mr. Trump and Ivanka Trump have clothing lines of their own, and hence regard the products more as products than as vehicles for political expression. It may have to do with the fact that as far as Melania Trump goes, as a private citizen she has not really had to reflect on the way her choice of dress is interpreted.

(Though there was a flurry of excitement around the Gucci pussy-bow blouse she wore after the leaking of the vulgar Trump tape, in the end, given that she doubled down on it for her final debate appearance, it seemed less a piece of insider commentary than a nod to more conservative female attire, and how she sees her role.)
And it is possible, Diane von Furstenberg said, referring to Mr. Trump’s conciliatory victory speech, that this attitude will change when he gets into office. Maybe, Mr. Wainwright agreed, Mr. Trump will use clothing to show his commitment to the idea of supporting the garment district and homegrown factories. But he didn’t sound very convinced.
This new reality has left fashion feeling bereft, in a way that goes beyond backing the losing candidate and to the core of the industry’s identity.
It ”makes you realize how powerless we are,” said Stefano Tonchi, the editor of W. According to Mr. Wainwright, it’s hard to see what fashion is going to have to do with the new administration. Clothes are a tool, but if they are not used where everyone can see them, can they have an impact?
 Now the industry has to wrestle with what happens next: how it defines itself if it is marginalized — reduced to mere decoration — in a Trump administration, and whether there will be repercussions for either its pledge of allegiance to the president-elect’s opponent or some of the more angry postelection statements designers have made on social media.
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Dao-Yi Chow of Public School and DKNY, for example, vented on Instagram, noting in part: “Thank you America for the wake up call. Thank you for setting the record straight. Thank you for smashing the grace and beauty I grew up around so I could see how much work I have to do to educate my children so they don’t get lulled to sleep like I did.”
Pointedly, Anna Wintour (who had attended Mr. Trump’s wedding to Melania in 2005 and featured her on her cover, dressed in a couture Christian Dior bridal gown designed by John Galliano) declined to comment for this article.
Spokespersons for Ralph Lauren and Alexander McQueen, while acknowledging on background that the Trumps had worn their clothes, did not issue the usual press releases boasting about the relationship.
 But Ms. von Furstenberg quoted Hillary Clinton’s concession speech, and said fashion should heed her words and “do what we can” to accept a democratic result and work with the president.
Which is different from the president and his family wanting to work with them.
The first great test of both sides will be the inaugration: a time when the eyes of the world will be on the first family and what they wear — and if, especially for those family members who do not speak, there is more to the clothes than just, well, clothes.
Not one designer contacted said they would not dress Mrs. Trump if she asked, though Ms. von Furstenberg noted that Mrs. Trump may not need anyone’s help. “I’m sure she knows what to do,” she said, given that Mrs. Trump is a former model.
Mr. Altuzarra, who pointed out that Ivanka Trump has worn his clothes, got a little tangled up in his negatives but said, “I don’t want to not dress people I disagree with.”

Mr. Wainwright echoed his words: “It would be hypocritical to say no to dressing a Trump. If we say we are about inclusivity and making American manufacturing great again, then we have to put that before personal political beliefs.”
The question may prove moot: Given Mrs. Trump’s past choices, she may continue her own tradition of wearing a European high-fashion brand to what will probably be the most-watched black tie event of her life.
That would be a declaration of independence, of a sort.
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