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| ･゜ﾟ･:.｡..｡.:*･'𝓣𝓱𝓮𝓼𝓲𝓼 ᶘ ᵒᴥᵒᶅ'･*:.｡. .｡.:*･゜ﾟ･*🥀🩸 | | ･゜ﾟ･:.｡..｡.:*･'𝓣𝓱𝓮𝓼𝓲𝓼 ᶘ ᵒᴥᵒᶅ'･*:.｡. .｡.:*･゜ﾟ･*🥀🩸 |
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| ===<div style= "color:#b6789d";>Introduction</div>===
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| I want to examine the connection between cyberfeminism, the aesthetics of cyborg, and Taiwan/Asian queer communities.
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| Within the cyborg concept, there’s a focus on non-binary opposition and the ambiguity of identity and boundaries. Similar to queer and non-binary people, liberate gender, break free from binary-centered opposition, and actively embrace a future of diversity, heterogeneity, and hybrid identities. In addition, I am interested in exploring cyberfeminism within an Asian context.
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| Modern queer and gender spectrums have already broken down the traditional binary concept of gender; could there be even more possibilities? Do we still need this or similar myths and metaphors?
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| ===<div style= "color:#b6789d";>❣ Chapter I. Cyborg Aesthetics and Queer Identity</div>===
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| In this chapter I want to examine how cyborg,cyberfeminsim aesthetic enhance the understanding of queer and non-binary identites, particularly in Asia contexts.
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| ====I.I Artistic representations of the Queer-Cyborg====
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| '''How do artistic representations (e.g., fashion, wearable tech, performance art) visualize and express queer experiences through the cyborg?'''
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| There are various mediums to embody the cyborg aesthetic, with fashion being one of the most prominent. Manfred Thierry Mugler's FW95 haute couture collection is a quintessential example, featuring his iconic robot-style metallic suit, which combined with silver armour, and transparent perspex cut-outs at the bust, belly and legs, emplifies the fusion of human and machine. Mugler’s design draws inspiration from 'Maschinenmensch' (Maria), the chimera-like character from Thea von Harbou's novel ''Metropolis'', later adapted into the sci-fi silent film ''Metropolis'' by Fritz Lang. Recently, this fembot suit regained attention when actress Zendaya wore it at the ''Dune 2'' premiere in London in February 2024. Its timeless appeal shows the heman-machine hybrid aesthetic.
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| In late 2019, I had the opportunity to see this iconic robot suit in person at the ''Thierry Mugler: Couturissime'' exhibition at Kunsthal Rotterdam. The experience was breathtaking—I was astonished by the intricate craftsmanship and empowered by the bold statement of the design. Mugler's work frequently celebrates the idea of women as powerful, metaphorical weapons. Through his collections, he emphasized strength and fearlessness, often blending femininity with futuristic elements. As Garelick (2012) noted:
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| <blockquote>Thierry Mugler refused “pretty,” or “soft” fabrics and sculpted clothes instead in latex, metal, Vulcanized rubber. They were not meant to be comfortable or liberating. Mugler was the first to create stiletto heels out of actual steel, turning the foot into a James Bond-style metal weapon. He put women in body armor; he made them look like space aliens or futuristic warriors. The frequently outrageously masculine nature of the fantasies somehow managed to exaggerate the femaleness of the women inside.</blockquote>
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| While Mugler's designs empower women, I believe they also resonate with non-binary and fluid identities. Femininity, in my view, is not only for a single gender; it is a spectrum of personal traits that can be embraced by anyone.
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