Fashion focus: drag queens

Fashion icons, as previously discussed in my column, are defined by their individuality, authenticity, and creativity. These characteristics are the necessary principles of drag – a form of art, self-expression, or performance where one dresses up or presents differently. This is often in highly stylized ways with exaggerated gender signifiers, beyond societal confines. Therefore, we can look towards drag artists, with subversive styles and political influences, as a source of inspiration for our own acts of self-expression, and to encourage us to break down societal expectations and gender norms.

Drag queens have dominated fashion spaces in the 2020s, from magazine covers to runway shows to campaigns. For example, in 2020, Pabllo Vittar and Gloria Groove appeared on the front cover of Vogue Brasil, as the first two queens to achieve this milestone. This achievement was later mirrored by Gottmik and Violet Chachki who appeared on the cover of British Vogue (August 2022) and Vogue Czechoslovakia (March 2023). Similarly, other drag icons have appeared in Vogue, such as Aquaria in Vogue Italia, Valentina in Vogue Mexico, RuPaul in American Vogue, and Miss Fame featuring in at least seven editions – including American Vogue.

In terms of runway shows, we have been graced by Bimini Bon Boulash in London Fashion Week as part of Art School’s autumn/winter 2021 runway. Similarly, we witnessed Raja in Paris Fashion Week featuring in a look from LGN’s (Louis Gabriel Nouchi) autumn/winter 2024 collection. These both follow the groundbreaking work of Lypsinka, who made history with Thierry Mugler as a catwalk model in 1992 at the Century Plaza Hotel in LA. Furthermore, many drag queens have appeared in fashion campaigns – with Tayce as the face of Beauty Bay’s Pride Collection, as well as modelling for Jean Paul Gaultier’s Perfume in 2021.

The intensity and extravagant nature of drag have inspired the evolution of fashion to go beyond societal boundaries

Therefore, it is undeniable that drag queens are active features in the fashion industry, but what does this mean for their impact? It means that specific drag queens – such as Raja and Chachki, who are known as ‘fashion queens’, have developed relationships with designers, which beyond providing access to modelling opportunities, demonstrates that these individuals having power and influence in fashion spaces.

This influence on drag as a culture, however, has existed since the 1990’s when drag was defining artistic directions and altering aesthetics. For example, Marc Jacobs drew inspiration from drag culture for his spring 1993 collection for Perry Ellis, just as Celine Dion did at the 1999 Oscars, and Halle Berry in 2002 at the Academy Awards – they echoed the daring and glamour of drag. Therefore, drag has been able to challenge conventional style, birth new trends, and redefine style norms. The intensity and extravagant nature of drag have inspired the evolution of fashion to go beyond societal boundaries.

I hope to see artists and designers, who are indebted to the creativity of drag which underpinned their careers, demonstrate support

Drag is such a broad art form, with a disruptive and diverse array of aesthetics, messages, and influences. Drag is conceptual, drag is political, and drag is comedic. Drag is defined by its lack of limits. Therefore, it has been able to encourage the cosmetic and fashion industry to breach predetermined frontiers – which has ultimately altered how we interact with fashion. Notably, through influencing celebrity fashion and changing approaches to make-up. For example, the way we wear foundation, lipstick, and highlighter is influenced by drag. This is furthered by drag performers becoming major players in the make-up industry with Trixie Mattel and Kim Chi launching their own successful brands. Furthermore, the growth of drag is influencing emerging designers, with many studying fashion with the aspiration of working with drag queens. Importantly, drag has been a major component for people developing their individual style, becoming comfortable with experimentation, and authentic self-expression.

In the 2020s, while drag has remained a cornerstone for the fashion industry, the art form has simultaneously been attacked by legislators and wider society – notably in the US with baseless accusations rooted in homophobia and transphobia. In 2023, Tennessee became the first state to explicitly ban drag shows in public spaces, and similar bills have been introduced in at least 14 other states. These pieces of legislation inhibit the principles of free speech for the LGBTQIA+ community and send a message to the LGBTQIA+ community as being unwelcome in these states. Therefore, I hope to see artists and designers, who are indebted to the creativity of drag which underpinned their careers, demonstrate support, and make efforts to uplift this marginalised community. Similarly, we should support drag artists and the community in solidarity against their oppression, which can be achieved through acknowledging and appreciating their impact on fashion.