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that gender is not a fact but a construction of performances, and that a body is not simply gender
driven because of biological nature, or the hegemonic ideals of society (7). Butler’s theories have
helped propel the definitions of gender roles, and gender acceptance into cultural discourse by
influencing socials norms and constructs (Nealon and Giroux 180). The semiotic nature that is
ubiquitous in the fashion world as also been influenced by Butler’s theories. The prevalence of
these theories is demonstrated in the evolution of fashion through the ages due to signs and
signifiers.

Semiotics studies the significance of signs and signifiers in our culture as defined by
Ferdinand de Saussure (Berger 49). Signs and signifiers in fashion are cues to the signified,
which imbue an object with meaning (52). What is signified is unconsciously governed by our
preconceived gender norms. For example, suspenders are signifiers for an elderly gentlemen’s
normal wear (Kleist 1). The suspenders inherently signify as male, and socially signify as male,
but in the world of fashion, suspenders are not beholden to only male identity (1). Paris Fashion
Week of 2014 heralded the suspender for women, particularly in designer Ulyana Sergeenko’s
case (Kleist 1).

The gendering of fashion is not inherently harsh towards only females. The emergence of the
male handbag or messenger bag is in direct correlation with the female handbag (Berger 52). For
example, the sign is handbag, which is ingrained as an indicator of female identity, but as fashion
predominance mediates, males can carry certain types of “handbags” or “messenger bags” in a
socially acceptable manner, thus alerting the signified meaning (52). Male and female identity is
not only sociologically influenced, but is influenced by the semiotic nature of the current cultural
climate, and by the preformativity of gender. Fashion and material culture will always pave the