The predominant material used in the more expensive commercial breast forms is silicone gel inside a very thin, slick plastic shell with tapered edges. Other materials such as rubber/latex, foam, or cotton batting are sometimes used. Here are the main qualities of each of the types of materials used to help in deciding if a certain material is right for you. 1735Silicone Breast Forms  The material gives the form a comparable weight, movement and feel of a natural breast. The silicone can be coloured; many forms of this type are available in a variety of shades to match skin tone. Realistic nipples and areolas can also be produced. The material of this type of form warms to your body temperature and feels very comfortable. Silicone can be whipped with air to produce forms just as realistic, yet are much lighter to wear. It is NOT the same material that was used in breast implants. It is similar, but the main problem with silicone implants came from their use INSIDE the body. Even if a breast form is punctured, the contents can not be absorbed through the skin. BTS116Rubber/Latex Cheaper alternative to silicone, while still retaining some of the qualities of silicone that make it so desirable. While still having some of the qualities of silicone to a certain degree, rubber/latex can not dare to match the weight, feel or movement of even the cheapest silicone forms. Some people are allergic to rubber or latex. Foam Commercial foam forms are very cheap and can even be easily homemade. Can't be punctured or ruptured like silicone forms. Holds shape well, even in restrictive wear like sports bras. Whatever type of breast you are looking for Transformation has the ideal pair for you. Go to our instant transformation section to see everything we have on offer. 

Travelling

  The true secret of a feminine appearance is not found in make-up, hairstyle or clothes. Of course, these things are important, but to really be a convincing woman you must act like one. This is where deportment is essential, and these tips will help you learn how to make your body behave in a more feminine manner. The secret of good posture is very simple. Imagine a rucksack extending from the shoulders to the buttocks, pulling you back, throwing your chest forward, pulling in the stomach muscles and tightening the muscles of your bottom. Arms should be held loosely behind the side seams of the skirt. The hip or pelvic bones should be on an imaginary upward tilt. This is the foundation on which you can build the habit of good deportment. The need to practice Practice walking in high heels by laying a piece of tape on the floor in a straight line. Starting with the right foot, place the heel on the line and the toe slightly off the line. When taking a step forward, peel the back foot, the ankle passing the front leg's instep while the knee is bent. When it becomes the front leg the knee straightens and the foot is gently placed on the straight line as before with the heel on the line. Walk head high, chin parallel to the floor, legs together, arms relaxed and fingers curled to the sides.  
  Easy on the eye and the body A woman will always look at the seat of the chair before she sits. If there is anything there she will remove it. Feel the chair with the backs of the legs, hold the skirt in position, sit on the front of the chair and push back into the seat to sit comfortably with shoulders straight. It is proper to sit right against the backrest with both legs slanting to one side and feet pointing the same way, with one foot slightly in front of the other. Except when wearing a straight knee-length skirt the legs may occasionally be crossed. Clasp the hands lightly. A matter of balance Stand tall and do not slouch. Keep the knees together when standing still, the weight on one leg and the other slightly bent with the foot pointing outwards. A handbag tucked under the gives the body focus, and a glass held lightly by the stem gives you balance. Do not lean against the wall or stand with legs apart, hands in pockets or on hips.  
  Elegance at the table A woman must never appear gross, indelicate or inconsiderate at the table. A healthy appetite is itself desirable but greed and speed are not feminine attributes. Conduct yourself with a minimum of aggression and at all times be considerate of your partners when dining. Always hold the cup by the handle with the fingers arranged gracefully. Take care when drinking from tumblers or large glasses not to pour liquid down your throat. Do not overload the fork or spoon and do not leave lipstick on cups, glasses or napkins. Improve your car performance Entering or leaving a car requires particular care. Never put your legs in first and then swing in your body. Always seat yourself and then gently swing your legs, knees and ankle together, adjusting your skirt or dress over the knees. To exit swing your feet and legs out of the car, holding knees together, followed by the head and body. The folds of ones dress should fall naturally into place.

SKIRTS

  Skirts - tight skirts - split skirts - twirly skirts - flirty skirts. If you didn't love them, the chances are that you wouldn't be reading this. The skirt, more than any other object, can stand for the entire femi- nine outfit. In writing transvestite articles, one often needs a phrase meaning 'a feminine presentation'. Repeating the same phrase time after time would make for dull reading, so we writers rack our brains for something different from 'en femme' or 'cross dressed'. 'In a skirt' is a fairly popular variation on the theme. Here, 'skirts' stands for not only an entire set of clothes, but for the wig, the make-up, everything. If a skirt can stand - so effectively - for the entire outfit, it clearly carries a special significance for transvestites. It defines, in some way, what we are. It is part of our lives - and, undeniably, an object of desire. Lawrence Langer thought that 'the invention of the trouser and the skirt has enabled western men and women to achieve a balance social and sexual relationship.....' (The Importance of Wearing Clothes p70). Quite an achievement for a pair of garments! Perhaps the skirt stands for even more than it seems. Entire outfits are small beer compared with Langer's 'balanced social and sexual relationship'. For all of that, skirts are so much a part of my life - watching them on other people, wearing them myself - that often I take them for granted. But the skirt is quite a triumph of human ingenuity. In basis, it is the simplest - and very likely the first - garment worn by the human race. I suppose that the first skirt was a strip of animal skin fixed round the waist, very likely held in place with a bone pin. How different are the skirts in my wardrobe! They are complex structures formed from various pieces of carefully shaped fabric. I have a panel skirt made from twelve separate pieces of cloth, each in the form of a truncated triangle. In addition, it has a separate waist band and zip. I'm sure it's not the most complex skirt ever sewn - and maybe not even be the most complex of mine. Separately shaped pieces of fabric aside, there are pleats, tucks, darts, splits.... A lot of work goes into designing and making a skirt. People have devoted a lot of thought to the matter. Put in a lot of effort. The thought and effort are not random. Not only transves- tites, but people in general obviously like and desire skirts. They are widely considered worth the time, thought and effort they consume. There's a lot of pleasure in watching a well-designed skirt in motion. While trousers are essentially lifeless, a skirt is much more like a living thing - especially a fairly full skirt. The hemline hops like a rabbit or flutters like a bird. And with each hop or flutter, areas of the leg emerge or vanish. I am sometimes reminded of the sea - the rise and fall of the hemline like the bobbing of waves. Especially interesting variations in the life of the hemline can be achieved with splits. Although they're currently (and I trust, tem- porarily) not much in fashion, I harbour a lot of fond memories of skirts split above knee level. A teenage fashion, which I recall with particular affection, teamed over the knee socks and knee-length skirts with a small back split. As the girl stepped, a small triangle of thigh above the sock kept appearing and vanishing. It was an enchanting sight.  
  f642_177gnrsxdofskirtspage2.jpgThere's a lot of pleasure involved in watching a well designed skirt in motion. While trousers are essentially lifeless, a skirt is much more like a living thing - especially a fairly full skirt. The hemline hops like a rabbit or flutters like a bird. And with each hop or flutter, areas of the leg emerge or vanish. I am sometimes reminded of the sea - the rise and fall of the hemlines like the bobbing of the waves. Especially interesting variations in the life of the hemline can be acieved with splits. Although they're currently (and I trust only temporarily) not much in fashion, I harbour a lot of fond memories of skirts split above the knee level. A teeneage fashion, which I remember with particular fondness, teamed over-the-knee socks and knee-length skirts with a small back split. As the girl stepped, a small triangle of thigh above the sock kept appearing and disappearing - it was an enchanting sight. Paradoxically, a skirt can have the effect of exposing the wearer more than it covers her. I think, for example, of a woman I saw last summer. She wore a long button-up skirt with only the top 2 or 3 buttons fastened. Underneath, she wore a pair of cycling shorts. She could have worn the shorts without the skirt - in which case, I think, I wouldn't have given her a second glance - and certainly not had her in my mind a year later. Given the skirt, the shorts took on an aspect of an item of underwear, which appeared and disappeared (together with an expanse of leg) with every step. The effect was undeniably sexy. From the point of view of an ordinary man - if such a creature exists - I suppose the feeling inspired was purely of desire for the woman whose legs flickered in and out of her skirts. For me, it was more complex. That element of desire for her was present, but combined with a desire to be her, or at least to strut the street similarly covered and uncovered... The reference to 'strutting the street' illuminates an important aspect of skirt-wearing. It is something to be shared with the public at large, to be put on display. Much less than some other feminine items is the skirt a thing to be enjoyed in the privacy of a trannie's bedroom. Some of the joy of wearing frilly undies and sheer hosiery is, to be sure, lost in keeping them to ourselves - and not all of the pleasure of wearing a skirt is lost in private enjoyment. It's a matter of degree - with a skirt more of the pleasure is concentrated in the effect it produces in others. Thighs Nor do all of the specifically street-strutting pleasures stem entirely from other people. There is, for example, the effect of the breeze. There is something delicious in feeling the breeze about one's thighs, in a way which trousers would not permit. The breeze also, of course, makes a significant difference to the motion of the skirt - especially of a full skirt. I've already referred to the hem of a skirt bobbing up and down like sea waves. It will do so purely from the action of one's legs, and it is controllable insofar as this is the cause. The breeze introduces an uncontrollable and unpredictable element into the situation. That feels dangerous, and like all dangerous things is also exciting. It's exciting for those beholding the wind-whipped skirt, but may be even more exciting for the person wearing the skirt!  
  f642_369gnrsxdofskirtspage3.jpgIf I was writing an article on the first time I tried on feminine clothes - behind closed doors - I would not use the words 'in a skirt' to mean an entire outfit. Very often, the first time a trannie slips into something silky, a skirt will not be included in the outfit. Very likely, it will be a case of trying on a few pairs of panties, plus stockings or tights, perhaps. It may also be significant that, with hardly a moment's thought, I came up with 'slips into something silky' for this first act of cross dressing. At this early stage, the texture of fabrics may be more important than the form of the garments - how it feels, rather than what it is. Not that the way it feels is absent from the pleasure in a skirt. I have already mentioned feeling the breeze about one's thighs - and there are other delicious sensations, too. It's more that one has to put the skirt through its paces to experience the pleasant feelings, it's less an immediate pleasure on slipping on the garment. The slower dawning of the pleasure, though, is not necessarily a bad thing - something to anticipate, to enjoy at leisure. The initial pleasure, the first time one tries on a skirt, is likely to be visual - looking at the effect in a mirror, we see ourselves transformed into a closer approximation of the women we see in the streets. Glancing down, we see the skirt from an angle we have not seen before: on our own bodies. It is new, it is exciting. Perhaps we sit - inevitably without much grace. Inevitably, too, the skirt rides up - those are our own thighs suddenly exposed... thus we are drawn into the first pleasures of wearing a skirt. The skirt riding up as we sit down may be our first introduction to the skirt modifying the way we move. With a full skirt, a massculine gait may set the hemline moving more than we wish. With a tight skirt, our step is restircted much more directly. A long stride is impossible without damaging the garment. The feeling of a skirt confining our legs as we attempt too long a step may be our first experience of a direct physical sensation arising from skirt-wearing. There is something akin to bondage - sexually potent, arousing - in this sensation. In extreme cases (ie the hobble skirt), our legs are more or less trussed up. Wearing full skirts, it's a question of whether (and how much) we wish to expose our thighs. If the tight skirt is exciting because it reduces our options, a full one may be exciting because it increases them. We can elect to step demurely - or we could decide on the opposite. Maybe we'll do a twirl in front of the mirror, we might flash our knickers that way, if the skirt is full - although succeeding in that may take a little practice. Assuming control of a full skirt is a skill. Once beyond the confines of our own homes we may well choose to wear our skirts modestly, or boldly, by turns. Tripping down the street, our modest little steps are probably best, hems bouncing a little but not outrageously. Stepping onto the dancefloor, we encounter the allure of spinning, allowing our skirts to fly like birds, the joy of flashing our undies. The choice between modesty and boldness lies not only in the ways we move, but in which skirt we select. There is an enormous range of variations on the theme of the skirt. They cannot only vary from the tightest sheath-like creations to full circle skirts - but the hemline can be anywhere between the floor and the upper thigh. To judge from the people I see, mini skirts are very popular with trannies. I have several of them myself - they're so hard to resist. The trouble with a mini is that it allows little scope for the "now you see, now you don't" tease. Of course, they do allow the possibility of knicker-flash - that said, flashing one's knickers in a really pleasing way whilst wearing a very short skirt is less easy than it may seem. It can be done - tennis players provide a good example - but it will require a bit of thought and practice. This element of putting thought and practice into getting the most out of wearing a skirt is, surely, a factor in the skirt being such an object of desire. Effective skirt wearing is an art, and  
  Art f642_368gnrsxdofskirtspage4.jpgThe 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...  
  f642_199gnrsxdofskirtspage5.jpgSkirts are to be enjoyed!! All of this mirror work revolves around manipulating your skirts, seeing what works, what doesn't, what looks vulgar, what's enticing. There is a lot of fun - and a lot of instruction - to be had before ever taking your skirts beyond the bedroom door. Once out on the street, or in a trannie-friendly venue, your skirts can be a whole lot more fun. They are there to be enjoyed!! Skirts are not only fun, but comfortable. They're not as restrictive as trouser, and they don't chafe the legs. The inner thighs are amongst the more sensitive parts of the body - stroking them can release powerful sensual feelings. The effect of chafing these delicate areas with rough trousers is not, I feel sure, something most men consider. Become used to the way a skirt feels, however, and we can hardly fail to notice - the skirt is so much more comfortable! Of course, skirts are generally worn with thigh-encasing hosiery: stockings or tights. Indeed, as the temperature drops, skirts cease to be comfortable without such hosiery. On a really cold night, it is not comfortable without thick tights. But wearing stockings or tights is not at all like wearing trousers. They don't rub the thighs so much as move with them, like a second skin. As well as being physically comfortable, skirts bring a sense of freedom. Our legs escape from the restrictions imposed by their individual cloth tubes. The thighs can rub against each other. There's a whole gamut of extraordinarily pleasant sensations. Not only does a skirt give a sense of freedom to the wearer, but the freedom extends to people with whom we're on intimate terms. I never heard of sexual dalliance in the form of a hand up the trousers - a hand up the skirt is another matter. The openness of a skirt gives the hand plenty of room to manoeuvre. It's pleasant for the person whose hand it is, but in my experience it's a lot more pleasant for the person in the skirt. Thinking about that particular joy of skirts seems a good place to leave this article. At the time of writing, I own 54 skirts - not counting my dresses - tight, full, long, shorter; such a variety that it feels as though there could never be too many. They're fun for me, and I trust they are also for friends and special friends... Keep the skirts twirling! I think that's what transvestism is all

For one in 10,000 of the population, a hormonal imbalance in the uterus about six to nine weeks after conception is where it all starts. A study from the Netherlands examined the brains of straight and gay men, women and male-to-female transsexuals. They looked at part of the hypothalmus, an area of the brain that is affected by sex hormones during its development, and discovered that while the brains of straight and gay men were the same, the transsexual-to-female brains were almost identical to the brains of women. However, knowing that the way you feel is due to a quirk of nature doesn't make life any easier, especially when puberty kicks in and your body starts to head off down a route that is diametrically opposed to the way you want to go. "I have people turning up who are on the point of suicide," says Fran Springfield, specialist gender identity counsellor, "and self mutilation is not uncommon." But, in a strange way, these are the lucky ones - they've recognised their situation and have taken the first step. Others are not so lucky. "Many transsexuals go through periods when they attempt to suppress or deny their condition. Some choose hobbies or jobs that are hyper-masculine in order to try to prove that they are not transsexual." Transsexuals can be found in all walks of life: Springfield has even had former SAS members come to her for help. Some transsexual-to-females who visit are in the 40s or 50s, have married and have children. Having made the initial contact the patient is now ready to embark on the journey from transsexual-to-female.
   
f842_1845.jpgSTEP ONE: Counselling   "Clients undergo many hours of counselling to determine that they are really transsexual and to rule out other psychiatric problems," says Springfield. The only specialist nurse gender counsellor in the country, she has worked in the gender field for ten years, and is a member of the Harry Benjamin International Gender Dysphoria Association, an organisation which governs the treatment of transsexuals. The client is then referred to a psychiatrist for further evaluation. STEP TWO: Hormone Treatment Transsexual-to-females are given oestrogen which prompts them to develop breasts and a smaller waist. They will see more fat on their hips and smoother skin along with a reduction of body hair and loss of libido. Hormones do not usually stop beard growth which has to be removed by electrolysis. It can take up to 1,000 hours of electrolysis at £35 per hour to remove a full beard. Hormones do not alter voice pitch either, although speech therapy can help in that respect. STEP THREE : Changing gender role Patients will have to live in their new gender role for at least 12 months before an operation can be performed. During this time, all documents relating to the client are changed - driving license, National Insurance, everything except birth certificate. The patient must also come out at work - following the case of P vs Cornwall Council in the European Court in April 1996, transsexuals are now protected against discrimination in the workplace. A Home Office working party is expected to report in 2000/2001 on changing the birth certificates of post-operative transsexuals to reflect their new gender identity. "The real life experience is important," says Springfield. The 12-month period is a duration laid down by Harry Benjamin, who actually coined the term transsexual and, on a quite unrelated point, lived to be 102 years old. During this time transsexuals are checked up on to make sure that they are not cheating.  
  f842_1846.jpgSTEP FOUR : Counselling and Referral. Psychiatric examination follows more counselling to rule out delusion in the patient. After all, there will be no going back after the operation. STEP FIVE : Surgery It's not only the end results that are good, there are also very few complications following the 4-5 hour operation. The patient is out of hospital in ten days and can be back at work in three months. The risk of prolapse is small and usually only occurs if patients have sex too soon after surgery or if the surgery is poor. Satisfaction rates with good surgery are 100 per cent. "The patient has got they body they always wanted," says Springfield. "To see patients going from desperation to complete satisfaction makes the job very rewarding." Following surgery cases, 40 per cent of transsexual-to-females live as heterosexual women, 40 per cent are lesbian and 20 per cent pursue a bisexual lifestyle. "Transsexuals are ordinary people who've gone through an extraordinary experience," says Springfield. "Many live their lives without anyone knowing their background. You have probably met some without even knowing." You can contact Fran Springfield at http://members.aol.com/gics

 

A HISTORY OF CORSETRY

Perhaps he could equally have suggested that without 'fashion' there would be no need of foundations! For without womens' (and mens') obsession throughout history with a tiny waist and thrusting breasts - except perhaps for the flat 'tube'-like fashion of the 1920s - corsetry and bras alike would probably never have been invented. Interestingly enough, women living in the few remaining primitive societies do not seem to have the same desperate desire for small waists and certainly do not seem to be unduly worried or self-conscious about their winging bobbling breasts in the way that our ancestors were. The Cretan women, for example, are known to have worn corsets laced-in tightly to accentuate their waists as long as 4000 years ago, although they still left their breasts free to sway and bounce. As far as is known, the first serious attempt made by women to control the movement of their breasts and to enhance their shape was around 450 BC, when a crude type of bra was fashioned out of soft leather. Probably the most bizarre corset ever devised was a hinged iron contraption invented around 1600 AD as a result of Catherine de Medici, the wife of Henry II of France, deciding that the ideal measurement for a woman's waist was 13 inches!!! This resulted in women allowing themselves to be bolted into suitably shaped iron cages - a habit that persisted well into the 17th century. How they not only bore the pain of being gradually but relentlessly bolted into these corsets, but also put up with the continuing discomfort throughout the day defies imagination. These painfully small waists were further exaggerated later in the century by underpinning their full skirts with hoops and panniers.  
  f681_479gnrsxdofcorsetpage2.jpgBy around 1820 the better-off woman was wearing a heavily boned (whalebone) corset tightly laced at the back, with specially shaped cups for the breasts. It was not until the mass production techniques of the Victorians enabled corsets to be made by machine, rather than by hand, that the grasually reducing prices enabled the majority of women to willingly imprison their bodies in rigid corsets. It was not unreasonably suggested that these unforgiving and physically limiting corsets were simply another attempt by men to keep women helplessly imprisoned at home (and in constant danger of fainting), but most mothers seemed quite happy to lace up their young daughters as tightly as possible into these body disciplining contraptions that would eventually ensure they had the obligatory 14 inch waist - not to mention an extraordinary lack of mobility and probably constant indigestion! It was not really until the First World War that any dramatic change came about in the idea of women encasing themselves in what had by now become steel rather than whalebone reinforced corsets. For now, not only was the steel needed for the war effort but also the women were needed to work in the factories - something they could not be expected to do in constricting corsets.  
  f681_712gnrsxdofcorsetspage3.jpgAfter the war, two factors brought about a virtual revolution in women's foundation garments. First, in 1920 Mary Jacobs, a New York debutante, invented the forerunner of the bra as we know it with the help of two silk handkerchiefs and some ribbon. Second, elastic webbing was invented in the USA, which would stretch both ways. It now became possible to still substantially control the body shape whilst allowing the body considerably more flexibility of movement - altogether a much more comfortable state of affairs. The girdle had been born and from it the pantie girdle would emerge. Oddly enough though, there is still a surprisingly large demand for the much less comfortable boned corsets - corsets that not only control and discipline the more wayward bodies, but also offers the wearer feelings of confidence, 'safety', and often a certain pleasure into the bargain. Of course this demand for the heavily boned and laced corsets so reminiscent of the Victorian era is much enhanced by the number of TVs who derive considerable pleasure and contentment from the control and discipline demanded. There can be little doubt that imprisoning and often embarrassingly restrictive corsets, when really tightly laced, put the wearer into an extremely vulnerable physical position - a position that demands a submissive and placatory response towards threatening or aggressive behaviour from a male - or in the case of a TV, another male. To attempt to 'stand up' for yourself in such a physically handicapping situation would be little short of foolhardy. Indeed, one cannot help asking oneself to what extent corsets have played a part in ensuring that women have been conditioned to accept a submissive role in society...

Gender Terms

Gender: A concept of maleness or femaleness which is considered independent of sexual characteristics. A fluid definition which has different classifications across cultures. In many cultures there are three or more recognised genders. Sex: This what you are called at or around birth based on primary sex characteristics i.e. genitalia. Male or Female sex is assigned by the way one looks to the medical staff at the time of birth. Gender identification is frequently (but by no means always) concordant with the sex identification. Sexuality: The sexual orientation of a person or how one relates to other people physically and emotionally. Homosexuality, Bisexuality and many other orientations are identified. Where there is ambiguity or blurring of gender "boundaries", some of the standard descriptions of orientation fail due to the assumption of fixed gender i.e., is a male to female transsexual who has a relationship with a genetic women a lesbian relationship? Genetic Male: A person who was assigned male gender as a result of having predominantly male sex characteristics at birth. Genetic Female: A person who was assigned female gender as a result of having predominantly female sex characteristics at birth. Intersexed: A person who was ambiguously male or female at birth and may have been assigned to a gender at the discretion of the treating medical officer at or near birth. Surgical adjustment to genitalia may have subsequently been performed to "confirm" the gender assigned. Cross Dresser: A person who wears the clothes of another gender. This is rarely applied to a genetic woman who wears male clothing and is mostly applied to genetic males who wear overtly female clothing. The term Transvestite is a term often used to refer to the same thing but has overtones of fetishism and obsessive behaviour. Transgenderist: A person who adopts a lifestyle where they live a life closely mirroring that of a different gender to that assigned at birth. This person may live as their preferred gender on either a part time or full time basis. This term usually refers to people who choose not to seek Sex Reassignment Surgery (SRS) and may (but many do not) choose hormone therapy. Other surgery and facial hair removal are frequently considered important for those who are genetically male and wishing to present as female in daily life. The boundaries between Transgenderism and Transsexuality are often blurred.  
  f825_1787.jpgTransgender: A general term that was originally coined to refer to people who cross-lived in a different gender but did not seek surgical intervention. It has become popular as a relatively benign term to cover all forms of unconventional gender expression. It is specifically used to refer collectively to people who cross-dress, cross-live in a different gender and to transsexuals who wish to permanently alter their bodies. A useful short definition is that it refers to the diverse groups of people who show some kind of variation from cultural norms in their gender expression. Transsexual: (TS) A person who intends to change their body to more closely resemble that of the sex that they would prefer to be. This usually involves hormone therapy and often includes some cosmetic surgery. SRS is sought in a small proportion of cases. There are two main categories by which Transsexuals are referred - Male to Female (MtF) and Female to Male (FtM). MtF (Male to Female Transsexuals): This refers to genetic males who seek to change their bodies to resemble female bodies. This usually requires medical intervention with hormone treatment, cosmetic surgery (in many cases) and possibly SRS. Facial hair removal, speech therapy/voice surgery and treatment for receding hair line are frequently sought. (FtM) Female to Male Transsexuals: This refers to a genetic female who seeks to change their body to resemble a male body. This is usually achieved by hormone treatment and bilateral mastectomy. Standards of Care: The Harry Benjamin Standards of Care (SoC) are a set of standards which were developed in the 1940's and 50's for the treatment of transsexuals who wished to have SRS (primarily genetic males who wished to be women). The standards were developed in an environment where there was resistance from the medical profession (predominantly conservatives) to the provision of ANY assistance for transsexuals to change their sex/gender. Transition: This is the process of changing from presenting as a Woman to presenting as a Man or visa versa. This process varies according to the individual's life circumstances, personal objectives and overall outlook on life. It also depends on considerations for work, family and friends. The process defined in the Standards of Care are not always appropriate and individuals are more often inclined to make their own choices when they are not obliged to follow the SoC. Transition may or may not result in SRS/GRS. SRS (Sex Reassignment Surgery): Also referred to as GRS, Gender Reassignment Surgery (Note: logically, gender cannot be reassigned by surgery. It is innate to a person's identity) or Genital Reconstruction Surgery. The semantics are less relevant than the reality of the surgery which is unchanged by the description! For MtF transsexuals the surgery involves such procedures as orchidectomy (removal of the testes), penectomy (removal of the penis), labioplasty (construction of a labia, usually from the scrotal tissue) and vaginoplasty (construction of a functional vagina and clitoris from the penis skin and glans with possibly a colon transplant for additional depth). For a FtM procedures include bilateral mastectomy (removal of both breasts), hysterectomy (to remove the uterus and ovaries) and phalloplasty (to create a functional and cosmetically appealing penis) It is widely regarded that MtF SRS is more successful in producing a functional and cosmetically appealing result that FtM SRS
   
f825_1558.jpgHormones: This refers to the Gonadal hormones. Male gonadal hormones are called Androgens and are mainly confined to testosterone which produces all the readily identifiable Secondary Sex characteristics. The main female hormone is oestrogen with progesterone as a secondary one. A MtF will usually need to use an anti-androgen to suppress testosterone. The effects of gonadal hormones are often quite significant but it is reported that the effectiveness of the hormone treatment decreases with the age at which a person starts taking them.   Primary Sex Characteristics: The Genitals are the primary sex characteristics. The usually definitively identify a person as either male or female. Secondary Sex Characteristics: These include the existence of breasts (or not), hairline, facial shape, body shape (the hour-glass figure is typically female) and the distribution of body hair. Since these characteristics are more visible, they are used as cues when people identify gender. Other cultural cues include length and style of hair, fingernail length, and use of makeup. These are not really body characteristics but a culturally determined set of gender clues that can be quite easily changed. Primary Transexual: A term that was used to describe those who strongly identified feelings of being transgendered at an early age. It was highly regarded by the medical profession for a person to have "felt like this since I first talked". These days, it is not often used for diagnosis. Secondary Transexual: A term used to indicate that a person identified transgender feelings at a later age.

Transvestism thrives on the differences between men’s and women’s clothing – that’s obvious. The difference between a man’s sock and a woman’s stocking is especially satisfying. The sock is coarse, the stocking sheer. The sock doesn’t advance beyond the shin, the stocking clings intimately to our thighs.

 

A sock is something you use – with a stocking it’s closer to a relationship. You have to treat her gently (I make no apology for calling a stocking ‘her’ – she’s too much like a lover to be an ‘it’). You need to smooth any raggedness from your nails. She should be caressed, not tugged.

 

There is something sensuous, too, in fastening the suspenders. Position them carefully. They must grip the welt, not the sheer fabric beneath. Slide the suspender gently into place, feel it take the tension. I love that moment.

 

The contrast between the female suspender belt and the nearest male equivalent is at least as striking as that between stocking and sock. If I were making a film, and wished to make a male character look entirely ridiculous, I would deprive him of trousers and put him in sock suspenders. They must be the least flattering garment ever devised – it’s no wonder that so few men wear them.

 

If, making that film, I wanted to make my leading lady look as sexy as possible (in a bedroom sort of way) I can’t think of anything better than suspernders. Let her lose her skirt – or trousers – to reveal stocking tops and suspenders. It can’t fail.

 

Thirty years after stockings and suspenders were ‘replaced’ by tights, a lot of women still have them in their lingerie drawers – and on their legs. The appeal of the stocking continues, and not just for transvestites. Indeed, very few transvestites could squeeze themselves into the tiny suspender belts made for teenage girls long after their mothers – or grandmothers – swapped stockings for tights.

 

Possibly the most sexy pictures I’ve ever seen were in a glossy women’s magazine. It showed the model hitching up her skirt with one hand to adjust a suspender with the other. It wasn’t the look at her sexiness of what one of my friends describes as ‘one handed magazines’ – it was an I want to be that girl sexiness. Inevitably so as glossy women’s magazines exist to sell clothes, make-up, perfume, all things femme. They’re in business to make the reader want to be that girl.

 

The point is that stockings and suspenders can ooze sex appeal to women as well as to men. All the same, the sex appeal for the two genders seems to be rather different. For men it has to do with stocking tops and suspenders being displayed. For women – and for at least some transvestites – it has more to do with them being hidden.

 

I have an illustrated history of girlie magazines. It includes a fair number of pictures of girls in stockings and suspenders – as we’d all expect. In every case, stocking tops and suspenders are fully exposed. If there is any other clothing, it’s pushed back well away from the thighs. The girls are presented as ready for sex. There is always the sense of their being observed, all of the girls seemed aware of the camera.

 

In women’s magazines, it seems a much more private thing. The image of the girl adjusting her suspender, which I found so sexy, seemed to capture a fleeting moment in which stocking top and suspender were revealed. Only a moment later, one has the impression, the glimpse of underwear will pass into history. The suspender will be adjusted, and the girl will drop the hem of her skirt. Then there will be no way for anyone but her to know that she’s wearing stockings rather than tights.

 

There is something similar in the magic moment of seeing a woman in stockings and suspenders climb inexpertly into or out of a car. It’s very sexy. In that sexiness there is a strong element of sharing a secret with the woman.

 

Another difference between the women’s magazine image and the one for men is that the girl adjusting the suspender is self-absorbed. The act of adjustment is for her alone, it does not have the look of a display for another person. In spite of the camera, it remains private. The person who looks at that picture and thinks I want to be that girl – whether woman or transvestite – does not see herself as displaying the suspender for the benefit of an onlooker.

 

In all of this, the transvestite is in a rather privileged position. We can place ourself in the private world of the woman. This is an especial satisfaction when stepping out with suspenders and stocking tops hidden under our skirts. We know, but no one else does.

 

Alternatively, we can take the part of the male observer. Many of us do this while standing before a full length mirror in our favourite undies. We are both the man who looks, and the girl at whom he looks. It’s no wonder that we love mirrors so much!

 

It isn’t just a matter of looking good though – stockings and suspenders feel exquisite. It’s hard to think of more enjoyment to be had from simply wearing clothes than the sensation of sheer hosiery clinging to our legs. The stockings feel great as we roll them on, but even better as the suspenders take up the tension. The suspender belt, too, feels a whole lot nicer once it’s engaged with the stockings

 

There is something lovely about running ones hand up a woman’s leg, under the skirt, caressing her nylon sheathed thighs, toying with a suspender and hooking ones fingers inside the stocking top. Wonderful as that certainly is, the sensation from within the stocking is even better. As the hand explores, everything which makes the stocking such a delight to wear is intensified. It’s electrifying!

 

Stockings give rise to a whole range of more simple thrills as well. As ordinary a thing as crossing your thighs – allowing one nylon thigh to stroke the other – can be tremendous fun. Another delight is to step out in skirt and stockings on a warm day. The cool area of the upper thigh above the stocking top is something to relish. It feels even better with a breeze to play about your thighs. The breeze cannot only caress your thighs directly, but it can also stroke them with the fabric of your skirt. Wear something silky, you won’t regret it!

 

Come the winter, it must be admitted, a strip of cool thigh above the stocking top is a whole lot less pleasant. It is then that tights come into their own, and the denier I prefer zooms up from 15 to 70. But I’m never really happy with tights. They don’t feel as good – and they sure look a lot less sexy.

 

Stockings are sexy – and they’re practical for sexual purposes. As long as the knickers are worn over the suspenders, there’s no need to disturb stocking or suspender to have sex. The knickers slide down (do it slowly, perhaps with the teeth) and we’re ready for action.

 

The same thing applies for both women and transvestites. Sex with both of you in stockings carries my strongest recommendation. The friction of nylon upon nylon – wow!!

 

Sex in tights, well there’s a joke about that:

 

HE: “If I’d known you were a virgin, I wouldn’t have done that…”

 

SHE: “If I’d known you were going to do that, I would have taken off my tights…”

 

It’s hard on your clothing, but tights-wrecking sex is perfectly possible. It can be fun too, but to make it work properly you really need to prepare for it in advance, in spite of the joke.

 

Normally, someone in tights wears a pair of knickers underneath. The knickers can’t be removed without removing the tights or putting an awful lot of work into wrecking them. Try the experiment at home and I’m sure you’ll agree – tights-wrecking sex really needs an absence of knickers.

 

There are other kinds of feminine hosiery. Fot a start, we have girly socks. With more than a hint of the shcoolgirl, these certainly look cute on catwalk models. How well a transvestite can carry them off is another matter. With these, how they look is everything. They don’t caress your legs as a stocking does – or even a pair of tights.

 

Another variation is the hold up – a stocking without the suspender. Here, the first objection is: stockings feel good, so why do without them?

 

Sometimes there may be a reason. I think that suspenders look really naff under a lycra skirt. That said, my lycra skirts are the only good reasons I’ve ever found for wearing hold ups.

 

Lycra skirts appeal to the tart in me, and about four years ago I wore them quite often with hold ups. When I stopped, it had nothing to do with the lycra. It was that the hold ups were so bloody uncomfortable, they cut into the thighs.

 

The thigh is a very sensitive part of the body – in fact I see it as almost a sexual organ (licking the inside of the thigh, above the stocking top, is highly recommended!). Hold ups may suit the sort people whos idea of fun is represented by nipple clamps, but I don’t like them.

 

Wearing feminine clothes is a very special experience. There’s a saying The most fun you can have with your clothes on – but I have much more fun with them on than with them off. So – why go for half measures? Let’s pamper ourselves.

 

As far as I’m concerned, that definitely includes stockings and suspenders. They’re great! Don’t you love them too?



f708_454genresxdresshisbraDo you love bras? I do. I have a whole drawer-full of them. Lacy cups, stretchy straps - irresistible! My love affair with bras goes back a long way. When I first tried on my sister's clothes as a teenager, perhaps the most interesting - and pleasurable - garment was the bra. Flat chested, I had no real need to wear it, but didn't consider omitting it as I dressed. The web of straps was completely alien to the clothes in my own drawers. That, in itself, was exciting. Slipping the straps over my shoulders was no problem. Then, I tried to fasten it behind my back. The hook and eye seemed to occupy that area of the back where one can never scratch an itch - I tried reaching from below, I tried reaching down from above. Neither did the least little bit of good. f671_724gnrsxdofbrapage4I struggled with the bra for ages and, eventually, I gave in. Unlooping my arms from the shoulder straps, I turned the bra back-to-front and fastened it around my chest. Then, I swivelled it back and wriggled my arms back through the shoulder straps. Admitting defeat on fastening the bra behind my back was the most disappointing part of trying on my sister's clothes. I had a sense of cheating, of not doing the thing properly. On subsequent occasions - and there were, of course, many of them - I tried repeatedly to engage the elusive hook and eye behind my back. The struggle became a regular feature of my dressing. That was over half a lifetime ago. many things have changed since then, and - not least - I have changed. No longer do I struggle to fix the bra behind my back. Without thinking about it, I fasten my bra in a similar way to that first attempt. I do it rapidly, with more assurance and usually without geting the straps tangled - but the method remains much the same. Over the years, I must have seen a number of women putting on their bras, but, oddly, cannot recall how any of them managed it. They include a wife to whom I was married for ten years. Perhaps my teenage feeling of putting the bra on wrongly placed some psychological block in the way of taking note of the methods real women used? Bras do not have to fasten at the back, although that remains the standard way of fixing them. Front fastening bras exist - indeed, I have one in my collection. I haven't seen one, but I know side fastening bras have also been made. Apart from front, side and back fastening, the fourth possibility is not to fasten at all. I f671_722gnrsxdofbrapage1also have a bra with no breaks in the straps, which I put over my head, as though it was a camisole. It's made from a stretchy fabric but - in spite of that - of all the many bras I own, it is the most difficult to put on. I suppose my teenage self would have liked that, but would have regretted its lack of hooks and eyes - so different from the ways in which male clothes were allowed to fasten. The bra without hooks and eyes hugs me delightfully - and it is very pretty - but I don't wear it very often.  
  f671_723gnrsxdofbrapage2Fastening I think that the difficulty in fastening the bra was one of its attractions in my early cross dressing days. For the same reason I then enjoyed struggling into dresses with back zips. One element may have had to do with enjoying the process of dressing in girls' clothes. There were so many experiences to be savoured. If it took a while to struggle into a garment, that prolonged the process, gave me longer to savour it. Now - it seems - I enjoy being dressed rather than enjoy the process of dressing. I still take pleasure in wearing a bra - but very little in putting it on. There may also be a link between difference and difficulty. If it was difficult to put clothes on, it was at least partially because they were different from my male garments. There would have been no point in taking the risk of wearing my sister's things if they were no different from mine. The reasons I no longer feel that way are probably complex. For one thing, difference is second cousin to novelty. Once something is familar it is no longer different - and wearing women's clothes has certainly become familiar. More - over the years I have become increasingly comfortable with my cross dressing. The clothes help me to feel the way I am. They are an extension of an inner, feminine, me. The familiarity of the bra, not it's difference, is something I now enjoy - an expression of the me with whom I've struggled to come to terms, and whom I now treasure.   Finally, perhaps, there were considerations around adventure and danger. Exploring my sister's clothes from the inside - and making the first steps to explore my feminine self - was an adventure. Nor was it an adventure without danger. I cross dressed when alone in the house - but I was not in control of my family's movements. People could return unexpectedly (and, on at least one occasion, did so). I didn't know exactly how they would react to discovering me in my sister's clothes, but preferred not to find out. There is a sense that an adventure is not an adventure unless there are difficulties and dangers on the way. The difficulties increase the dangers. If something was difficult to put on, it would also be - to some extent - difficult to take off. The scene is easy to picture. The sound of a key in the lock. Me struggling with a zip at my back, and then with the bra fastenings. The sweetness of that danger of discovery! Now, I share a house with a fellow transvestite - and all of that teenage danger is far in the past. In recent years, however, I have once more known the sweetness of danger - by stepping out publicly in woman's clothes. Before I reached this stage in development, there was another sense of danger connected with the bra. This surfaced when I ventured out in feminine undies beneath my male clothes. It must be a step which many transvestites take. There didn't seem much danger in wearing women's knickers. They were unlikely to come to light unless I had an accident, in which case being exposed as a transvestite would not be my most pressing problem. On the other hand, I was a good deal less confident that the bra could not be seen through my shirt than that the knickers could not be seen through my jeans. This piled on a whole lot of fresh dangerous glamour to wearing my bras. After all, women's bra straps are often visible through the fabric of their blouses - especially from the back. I sometimes wonder whether women are unaware of this, or do it deliberately. Either way, the bra is the most frequently displayed item of women's underwear. I find that very attractive. On many occasions, dressing at home, I have craned my neck to see in the mirror whether I could glimpse my bra straps through the back of my blouse. There was always a pleasure in being able to trace them, and a disappointment in failing to do so.  
  Pleasure in wearing a bra beneath my male shirt led me on to a further piece of boldness. I started to take delight in hanging my freshly washed bras on the line in the back garden. There are few, if any, garments more instantly visible as non-male. Pegging out my bras, I had a feeling of displaying my transvestism to any neighbours who cared to look. That I enjoyed. The difficulty in struggling into it is not the aspect of wearing a bra to which my attitude has changed over the years. Trying one on for the first time, it felt - to my delight - quite different from anything I had worn before. It was uncomfortable - but an enjoyable discomfort. Today, I find my bras a lot more comfortable - and that now pleases me. These days, I look for three things in my bras - support, comfort and prettiness. I think that a lot of women would list the same things, and often in that order. Of these, the desire for support stems from my using correct weight breast prostheses - which are quite heavy and do need supporting. Comfort has to do with not liking my bra straps to cut in. The prettiness is the icing on the cake, but attractive trims and fabrics - such as lace - continue to delight me. They represent a lot of the point in cross dressing. The question of support brings us to the function of the bra. Essentially, it is a device for supporting the breasts. When I first tried on my sister's clothes, I don't think this had occurred to me. The bra was simply something girls wore. If I was to dress as a girl - and I was determined to do so - that meant wearing a bra. One day on the beach, the inter-relelationship of bra and breasts were brought to my attention. My sister had changed into her swimming costume, leaving her clothes in a neat pile with the bra at the top. It was a new one which I hadn't yet worn. While my sister went off for a swim, one of her school friends picked up the bra and said "I didn't realise that she needed falsies." The friend certainly had much larger breasts than my sister - and there was an element of bitchiness to the remark.'Falsies' was overstating the case but, unlike any of the bras I had tried on, it was padded. In each cup was a fairly stiff sponge rubber cone. For the first time, the bra presented itself to me as something to hold breasts - rather than just something girls wore. I know, too, that there would be no peace for me until I'd worn the padded bra. I had no breasts, and those 'falsies' were the nearest thing available to me. A desire had been awakened within me which would lead, many years later, to my prosthetic breasts. When I finally I had the chance to wear the padded bra, it came as a disappointment. Without small breasts inside the cups, they simply didn't work. They may have the power to make a real girl look as though she cups a size larger than reality, they didn't have the power to make my flat chest look as though I had breasts.  
  The idea of a padded bra had been placed in my mind. What I used were things from my sister's undies drawer - usually knickers. I rather over-did it. Not content with filling the bra cups, I inserterd several more pairs than they could hold. My reasoning was 'the bigger the better' - common enough thinking amongst transvestites, but not a view I still hold. In some ways, I was pleased with the effect of the knicker padded bra. In other ways, I remained doubtful about it. My doubts centred around taking measures which, I felt, a real girl would not. In a sense, it made me feel less girlish. On the other hand, it had a gratifying effect on my reflection in the mirror - especially when I wore something with a bit of stretch. During the years as a closet transvestite, the stretchiness of my sister's - and then my own - tops was probably the decisive factor in whether or not I chose to pad the bra. if it was stretchy I used padding, if it wasn't I didn't bother. As a variant on using undies to fill my bra, I also tried cotton wool. Eventually my choice fell on camisoles - I found that a neatly folded camisole was about the right size for filling a bra cup, without over-filling it. Moreover, two camisoles formed two equal sized breasts - collections of knickers proved difficult to keep even sized. I recall, long after my teens, cross-dressing for my future wife. "You're wearing a bra!"she said with obvious surprise in her voice. I was surprised by her surprise. Of course I was wearing a bra - it was an inevitable part of dressing as a woman. I hadn't attempted to pad it partly because the dress I was wearing wasn't of a stretch fabric. It was also partly because having the padding fall out as she undressed me would only emphasise my flat chesteness, and detract from the experience. It was only when I started to expose my feminine side to the public gaze - in clubs - that padding my bra became a matter of course. Belatedly, I became aware that, without my padding, my clothes didn't hang properly. With this awareness, my bras took on a fresh significance. I was still using two camisoles as breasts, and there was no way to hold them in position without a bra. Increasingly, I became aware of the shortcomings of the camisole in that role. Not before time, I bought a pair of cheap boobs. I suppose I could have glued these into place, but I never did so. One advantage of using a bra, rather than glue, was that it ensured that the boobs were correctly placed. It's unexpectedly difficult to figure precisely where the breasts should be. Another reason is that, from the start, I've liked bras, enjoyed wearing them - and still don't feel properly dressed without one. At last I gave up on the boobs and invested in a proper pair of prosthetic breasts. It was a step I've never regretted - except to regret that I didn't buy a pair years before. The prosthetic breasts have changed the sensation of wearing a bra. They are the correct weight - which means that they weigh heavily in the cups. The heavy cups tug on the bra straps in a way in which the boobs - and lighter forms of padding - never did. It's a wonderful feeling. Over the years my love affair with the bra has seen many changes. The older I grow, the more I love my bras. This is no mere infatuation, it's the real thing.

  f622_1267What makes a drag queen tick? Angela Brown goes hunting on their trail... When I started to think about this article my first problem was to decide what a drag queen actually is. I know the name conjures up a vision in my mind, and no doubt in yours, but is it the same image? Is it a true image or one clouded by appearance and missing the underlying character? I felt I needed a definition to work from, so I talked to an ex-music hall performer now living in retirement. He was at first quite adamant about the definition. "A Drag Queen" he said, "is a man who performs as a female and never as a male. The difference between them and female impersonators is that a female impersonator will also appear as a man on occasion." During the conversation I got the distinct impression that he thought drag queens also dressed as women off-stage and were all homosexual. This made me wonder how accurate my friend's observations really were and it struck a chord in my mind about the general image of transvestites and drag queens. It appears that most people still consider both groups as homosexuals. One of the earliest practitioners in dealing with sexual problems, Kraftt-Ebbing, a 19th century German psychologist, considered that transvestism was a link between an ordinary fetish and homosexuality, and went so far as to say that homosexuality was always involved. Later studies by Magnus Hirschfeld, also a German working in the early part of this century, indicated clearly what I think all transvestites will agrede with: that the incidence of homosexuality, bisexuality and heterosexuality is as diverse in transvestites as it is in the rest of the population. Hirschfeld's students did a study of his cases which showed that 35% were heterosexual, 35% homosexual, 15% bisexual and 15% monosexual. But it must be remembered that his case files were confined to patients who felt they had a problem and had come for help. There was bound to be a bias towards homosexual cases, as Hirschfeld first became known in Germany for writing a book in 1896 called 'Sappho and Socrates', which dealt with the suicide of a homosexual army officer. In a much more recent survey by 'Accord' magazine of its transvestite readers, they discovered that 44% claimed to be heterosexual, 34% bisexual, 19% monosexual and only 3% homosexual.  
  f622_1145While all these surveys were nominally conducted amongst transvestites rather than drag queens, it would be impossible to say how many readers of Accord who took part could be called drag queens, and I suspect that the figures would be valid for them also. To pursue this matter further, and in the interest of research, I attended a "Fashion, Fetish and Fantasy" night in London. I went, as one charming drag queen put it, under cover - i.e. dressed in men's clothes. From the moment I entered I found everybody friendly and the atmosphere relaxed. It soon became obvious that over ninety five per cent of the patrons were wearing female clothes, at least ninety per cent were male. The crowd represented every facet of cross dressing, from some male transvestites wearing women's clothes but making no attempt to look like a woman, to drag queens dressed in long evening gowns covered in sequins, with beautiful wigs and perfect make up. Two well-built drag queens who were obviously friends were dressed in the shortest of skirts. One was in a pale purple leather skirt with a "V" cut in the bottom back-seam, through which you could catch glimpses of stocking tops. This lady had a bouffant wig, again in pink, which was at least twelve inches high and a see-through blouse with a black pattern. She wore a mass of heavy jewellery including a thick choker covered in diamante and other gems, and large drop earrings. Her friend favourted the leather look. A black leather waistcoat over a tight black and white, off-the-shoulder mini dress which displayed her thick chest hair. A leather collar, arm band and cap perched on a platinum blond wig completed the picture except for her neatly trimmed black beard and moustache. These 'ladies' were charming, but definitely caricatures of a woman, and quite definitely drag queens! As a complete contrast two ladies stood out not as drag queens but as true transvestites. Both were dressed in long evening gowns, one in pink and the other in silver with a blue flower pattern. With their make-up perfect but not overdone they would have both passed as ladies at a normal dance.  
  4609209734However, the stars of the show as far as I was concerned were three ladies all dressed in long evening gowns. Two, standing nearly seven feet high in their heels, wore sheath dresses with splits up the sides to the thigh. One was in white and the other in turqoise, and both covered every inch in sequins. With silver wigs and perfect make-up they would have passed for ladies except for their height and, even under the dresses, obvious masculine build. The third lady had a red gown, also covered in sequins, with short sleeves and a large 'puff' at the shoulder. Smaller and of a slighter build she would have passed for a woman but with the slight touch of the over-dressing which I feel characterises a drag queen. There were also a number of costumes which, although they did make their wearer appear as a caricature of a woman, did not make them in my opinion drag queens. Typical of these were a PVC maid's dress in red with a black apron, a schoolgirl's uniform and a very skimpy red teddy costume. These I felt reflected more of the fetish nature of the wearer's character than an attempt to be flamboyant. So what, if any, is the difference between a transvestite and a drag queen? By strict definition a drag queen must be a transvestite since he dresses in woman's clothes, which is the meaning of the word, but in my opinion what makes the difference is in the motivation behind the need to "dress". The origins and causes of transvestite behaviour are complex to say the least, but two factors seem to be quite common. A mother with a strong and often dominant personality and a job in middle management or the equivalent. I suspect the management element is there because some of the mother's strong personality is inherited. In general, a transvestite will make every effort to appear as convincing as possible, taking great trouble with make-up, body shape and dress sense. Drag queens take just as much trouble and in many cases far more with their dress and appearance, not to appear as a woman but as a caricature of a woman. Their dresses are flamboyant or very stylised. In many cases their wigs are over-elaborate and their make-up lavish. One factor which appears to separate drag queens from transvestite is that drag queens are all extroverts, a trait which probably takes a lot of them into show business. It is also possible that in many cases the motivation is not so much to look like a woman as to poke fun at women in general in much the same way as a pantomime dame does. To discover why someone would go to such lengths to make a visual statement in this way would need some deep psycho-analysis...

...and why men are such suckers for them The female breast posesses many wondrous qualities which transvestites envy and try to emulate. Its shape, size and sensitivity all contribute to the character and personality of its possessor. No wonder that men love beautiful breasts! Why are men so obsessed with women's breasts? The oft-given psychological explanation is that it is all the result of infant conditioning - whether you were breast fed or raised on the bottle. But if that were really the case, surely half the men in the world would be breast fiends and the remainder indifferent to a woman's most conspicuous charms. In fact, there can be few men who are not fascinated by the twin globes which women carry before them and which they display with varying degrees of boldness or coyness. Men's primary interest seems to be in their shape. Although some overweight or muscular men have rudimentary bosoms they do not posess the subtle, pendulous and ever-changing outline of the female variety. These are the characteristics that transvestites go to so much trouble to emulate. f631_706gnrsxdofbreastpage1.jpgAn examination of a well developed and beautiful female breast shows it to be finely balanced, with the tissue tension precisely matching the weight so that it has both form and mobility, rather like a trendy work of art. The modern breast forms favoured by TVs are remarkably successful in achieving many of these characteristics, being attached to the chest by strong adhesive so that the wearer feels that it is truly a part of himself. He can walk, run, dance or swim without any fear of coming adrift. A further attraction of the female breast is its infinite variety. Many small women have big breasts while some big women are, sadly, endowed in inverse proportion to their size. The same is true of nipples - a big swollen bosom might be crowned by two miniscule points, the proverbial bee-stings...  
  f631_707gnrsxdofbreastpage2.jpgOn the other hand some flat-chested girls, who might have no need for the support of a bra, are often forced to wear one to conceal oversized nipples which press eagerly and unbidden against the thin covering of a summer dress or blouse. Girl runners burn off so much fat that they often have chests as flat as a boy's, and female body builders develop such solid pectorals that their torsoes acquire an almost masculine form. Perhaps surprisingly, many men find both these extremes attractive. Perhaps it is the mystery of the breast that men find so appealing... what shape is it exactly? Women are very clever at giving clues, often revealing a tantalising swelling and leaving the admirer's imagination to figure out the rest. TVs who have not resorted to hormone treatment or implants can, nevertheless, achieve something of this effect by forcing up the flesh of their rudimentary breasts to give a hint of cleavage. Of course, the final appeal of the feminine breast is tactile. Most men find the desire to touch almost overwhelming and they will prostrate themselves in gratitude at the feet of a woman who allows them to handle her most treasured assets! The warm softness, the eager response of the nipples springing to attention beneath the gentle pressure of finger and thumb, the trembling of the woman's body and the look of contentment as she closes her eyes in rapture... Many men also have breasts and nipples which are remarkably sensitive, quickly responding to sexual signals by rising and hardening. Fortunate indeed is the TV who can find a sympathetic woman to indulge him in an evening of mutual mammarial manipulation!