Skirts
By Sylvia Silk
Art
The element of developing an art is found in much of what transvestites do. Applying make-up is a good example - the first time one tries to apply cosmetics, the result is usually a mess. It takes time, practice and patience to get it right. Insofar as wearing a skirt is an art, however, it's significantly different from applying amke-up. The art of doing our faces is one of getting ready. The art of wearing a skirt is one which continues throught our time spent cross dressing.
There is a contrast, too, with other feminine arts which continue beyond the process of getting ready. Wlaking in high heels is definitely an art, and one that isn't easily acquired. There is however respite from walking in heels every time we sit down. A skirt still needs to be managed while (and especially so) we are sitting.
The act of sitting with any decorum in a crinoline must have been quite a challenge for Edward Boulton, Frederick Park, and their fellow Victorian trannies. It involved sliding into the seat with the utmost care - plonking oneself straight down into the chair would have pushed the skirt hoops up into a vertical position, violently and startlingly disarranging the garment. The effect of sitting down without caution in modern skirts is less dramatic, but the act can expose areas we might choose to keep hidden.
The idea of choice is central, here. We may choose to expose our thighs or even our knickers, but if we cannot control our hemlines there is no choice. It is in the exercise of such choices, in calculating our degree of exposure, that a lot of the pleasure in skirt wearing lies.
Neither does control over the skirt cease to be an issue once one is seated. A skirt can easily ride up slowly while one is sitting. That, I think is the decisive factor in many women choosing to sit on public transport with large bags on their laps.
At some point in our transvestite development, the desire to present a genuinely convincing feminine appearance is almost certain to arise. The first time one sits in a skirt, exposing ones underwear, will probably feel exciting. Sooner or later, though, there arises a feeling that a real woman wouldn't do this.
One may regard a skirt therefore not just as something to wear, but a teacher - an instructor in the ways of femininity. Walking in a tight skirt, it is worth taking careful note of the way it restricts the length of onne's stride. There is a pleasure in feeling the tug of the hemline, but, to learn something, ignore the pleasure. Take shorter steps. Reduce them to the point where the skirt no longer restircts the stride. Look carefully at that short-step gait in the mirror - does it make you appear more feminine? I'd be surprised if it didn't.
To learn from a fuller skirt, and to learn about feminine ways of sitting, the mirror is needed again. Sit down in front of a full length mirror. How far does your skirt ride up? Could you sit in a different way with less effect on your hemline?
Try composing your legs in different ways - crossing them near the ankle; crossing your thighs; placing your ankle on the opposing thigh. You'll soon see why the last of those postures is so entirely masculine. Press your legs tightly together, then spread them far apart. Your skirts speak volumes about masculine and feminine body language, if you watch what they're telling you.
Mirror work to learn more subtle points can involve switching viewpoints. Imagine you are a woman trying to give subtle encouragement to a man sitting opposite, without wishing to appear cheap or vulgar. How do you arrange your skirt? Just how much leg do you display?
Now imagine you're the man sitting opposite. The reflection in the mirror is a woman you don't know. What do you think of her? Is it too blatant a come-on? Are you intrigued? Be honest...
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