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Meeting again: They meet again after a too long absence. With her scarf, she wears a long jacket color salmon on a light blue jeans. In a natural style, she wears sport shoes and a small banana bag out of black leather. Him, with his enormous hold-all bag as suitcase and his glasses of motorcyclist on the face, he abores the underground style. Over his skirt, he carries a long thick tweed coat and large boots of walk. Gabrielle Lys April 2006.
Meeting again:
They meet again after a too long absence. With her scarf, she wears a long jacket color salmon on a light blue jeans. In a natural style, she wears sport shoes and a small banana bag out of black leather. Him, with his enormous "hold-all" bag as suitcase and his glasses of motorcyclist on the face, he abores the "underground" style. Over his skirt, he carries a long thick tweed coat and large boots of walk. Gabrielle Lys April 2006.


BEAUTIFUL PAST: High wrinkled skirt with great width and inspired of the skirts of the end of the 18th century. Matched make-up. Gabrielle Lys. April 8th 2008.
BEAUTIFUL PAST:
High wrinkled skirt with great width and inspired of the skirts of the end of the 18th century. Matched make-up.
Gabrielle Lys. April 8th 2008.


THE COURTIER: The courtier put his more beautiful ornament. But is this to court or to be courted ?  Wrap and silk coat. Leather boots and hat. Style half of the 18th century re-examined and corrected. Gabrielle Lys. May 14, 2008.
THE COURTIER:
The courtier put his more beautiful ornament. But is this to court or to be courted ?

Wrap and silk coat. Leather boots and hat. Style half of the 18th century re-examined and corrected.
Gabrielle Lys.
May 14, 2008.


The night bird: the night come, he wanders in the bars of the city. White shirt with collar out of V, cotton anthracite skirt, boots of rough riding and black raincoat out of  leather. Gabrielle Lys 2005.
The night bird: the night come, he wanders in the bars of the city. White shirt with collar out of V, cotton anthracite skirt, boots of rough riding and black raincoat out of leather. Gabrielle Lys 2005.


Androgyny and fashion

ANGELIC... He wears high heels long time ago before Rick Owens. Leaned on a bar of the halles Saint Gery popular place of Brussels, he flaunts himself with his angelic face... With his ruffled skirt in the Mana romantic style, he remains a hunter which is waiting his hour... Gabrielle Lys. September 2007.
ANGELIC...
He wears high heels long time ago before Rick Owens. Leaned on a bar of the "halles Saint Gery" popular place of Brussels, he flaunts himself with his angelic face... With his ruffled skirt in the "Mana romantic" style, he remains a hunter which is waiting his hour...
Gabrielle Lys. September 2007.

Androgyny in the history.

dot  After the First World War, the fashion of 1920 devoted the garçonne[1]. The figure of the androgyny occupied a considerable place there. The women bandaged their chest to erase it. The cuts of clothing avoided underlining the femininity of the bodies, gaining a new freedom to them. The war which had involved the men with the face, had opened the way of the emancipation to the women who, left their hearths, had occupied the functions hitherto exclusively reserved for the male sex. It is this indecision of the roles which generated perception that the loss of the traditional borders between men and women continued like a powerful factor of transformation of the world. Still today, the androgyny is perceived like the expression of a will to change the world.[2]

PERFECT LOOK: He is 16 years old and plays to be a bishonen. Hair and blue boots. Wool Skirt and sweater without  handles matched on a shirt with short handles. Gabrielle Lys. September 2007.
PERFECT LOOK:
He is 16 years old and plays to be a bishonen. Hair and blue boots. Wool Skirt and sweater without handles matched on a shirt with short handles.
Gabrielle Lys. September 2007.

Androgyny in the fashion.

dot  The history of the mode abounds in scandals caused by the vestimentary and behavioral innovations. Rupture with the laid down rules of the collective, the fashion rupture is felt through the ages like a provocation. In the competition of the individuals and social groups for the control of their time and power, fashion takes place by touch or by radical caesura and it is felt like a powerful individual assertion. The fashion in its renewal, in its will to dissociate previous times, attack frontally their taboos.[2] And doesn't the androgyny remain a taboo of our time ?

Androgyny in my work of designer

dot  The world was born from the rupture of the perfect unit. It was born from the separation of the male principle and the principle female. The androgyne represents the perfect unit before the appearance of the world. It is located beyond the border where the masculine is distinguished from female and thus beyond the tensions and from the conflicts which are established between the two sexual poles of the life. The androgyne is perfect because the separation of the sexes is the image at the base of all the imperfections of the life.

dot  God who is at the same time One and All created the man with his image but created it male or female. Each man thus carries in him the androgyny. My research is that of a perfect model relating to the identity. I could discover only the images which proclaim the union of the opposites, the radical desire to be - man and woman - one in the other abolished. To coincide with divine is to find the preexistent unit.
LONG DRESS: Long dresses for all boys equipped like my been engaged The great shock for most vicious it is soon hunting for the witches ambiguous until the retina [Le 3ime sexe - INDOCHINE] Gabrielle Lys August 2007.
LONG DRESS:
Long dresses for all boys
equipped like my been engaged
The great shock for most vicious
it is soon hunting for the witches
ambiguous until the retina
["Le 3ime sexe" - INDOCHINE]

Gabrielle Lys August 2007.

dot  The fashion, material reality but spiritual activity is essential for me like symbolic quest of this research. there isn't other ways for me that to dig matters and forms in the search of this guiding principle. The fashion offers this field of experiments where the beauty is linked with itself as with its opposite by the myth of the androgyne...
Gabrielle Lys


Bibliography:
[1] See my article on "Les garçonnes" .
[2] "Essai sur la mode dans les sociétés modernes".
Eric Sommier, L'Harmattan édition 2007.



The site is a success thanks to you all. Thank you for your expressions of sympathy in the golden book and ideological support of members. Thank you also with those which write personal messages to me. They suit me right to the heart and push me to advance always further.
Gabrielle Lys

LAPSE MEMORY COLORS: Since shade wins. Since it is not mountain. Higher than the steps of memory lapse. Since it is necessary to learn. Failing to understand it. [Puisque tu pars - Jean-Jacques Goldman]  Climb steps of memory lapse. Skirt in satin veil to the colors of memory lapse on a black blouse. Gabrielle Lys. July 10, 2008.
LAPSE MEMORY COLORS:
"Since shade wins.
Since it is not mountain.
Higher than the steps of memory lapse.
Since it is necessary to learn.
Failing to understand it."
[Puisque tu pars - Jean-Jacques Goldman]

Climb steps of memory lapse. Skirt in satin veil to the colors of memory lapse on a black blouse. Gabrielle Lys. July 10, 2008.


SPIRIT OF THE SEA: You know what it is necessary to do to live in the middle of the sirens? You go down at the sea-bed very far So far blue does not exist any more Where the sky is nothing any more but one to remember Once you are there, you remainders in silence And if you decide that you want to die for them To remain with them for eternity Then they come towards you and judge the love that you carry to them If it is sincere, if it is pure, and if they like you Then they will take you along for always [from the movie Le grand bleu]  The spirit of the sea with blue hair wears a dress sirne out of plastic. Gabrielle Lys. December 1th, 2008.
SPIRIT OF THE SEA:
"You know what it is necessary to do to live in the middle of the sirens?
You go down at the sea-bed very far
So far blue does not exist any more
Where the sky is nothing any more but one to remember
Once you are there, you remainders in silence
And if you decide that you want to die for them
To remain with them for eternity
Then they come towards you
and judge the love that you carry to them
If it is sincere, if it is pure, and if they like you
Then they will take you along for always"
[from the movie "Le grand bleu"]

The spirit of the sea with blue hair wears a dress "sirne" out of plastic.
Gabrielle Lys. December 1th, 2008.


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Last member
20/02/2012 - 17h35
Pauline
- L'hay les roses - France -
Mais le symbole plus emblématique de la mode à la garçonne est la coupe de cheveux. Incarnée au cinéma par l’actrice Louise Brook, la coupe courte devient célèbre et est porté par toutes les femmes. Symbole d'émancipation, la coupe courte séduit et s'impose. En 1925, une femme sur trois aurait fait couper ses cheveux. Mais déjà en 1903, Colette arborait la coiffure courte. En mai 1917 Paul Morand écrit : « depuis 3 jours, c’est la mode de porter les cheveux courts. Toutes, elle suivent le mouvement, mené par Mme Letellier et Channel…». Les cheveux sont donc coiffés suivant la mode masculine, sous un chapeau cloche, à haute caloque cylindrique et dont les bords étroits tombent juste au dessus des sourcils. Les frères Antoine et René Rambaud devienne maitre dans l’art de cette coiffure qui fut renommer la coupe à la garçonne.
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Last member
24/10/2017 - 15h37
Christophe Hadri
- Le breuil - France -
Cherche ou acheter le modèle jupe du guerrier.
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Julieknitstl Julieknits - Julieknits - Julieknits - Julieknits - added 10/11/2017.
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