The Man Looks Stylish But Who is He?

He is a dandy that who. Does his name even matter? Dandyism, as a term, highlights men who place particular importance on physical appearance and personal grooming, refined language and leisurely hobbies. It dates back to the late 18th Century but in more modern terms could be a self-made man both in person who emulated the aristocratic style of life regardless of his middle-class origins. The heyday was during the late 18th and early 19th centuries in Britain. However, the 20th century took this mantle forward sometimes adopted by some flamboyant artists, and a few made the headlines. Think of English raconteur Quentin Crisp and pop star Boy George to name but a couple. Find out more about the latest Exhibition about Leigh Bowery at the Tate Modern here in The Man Looks Stylish But Who is He?

The first roots of the Dandy were in France, with the early manifestations of dandyism known as  Le petit-maître (the Little Master) musk-wearing ‘Muscadin’ ruffians, young perfumed men, relatively well-off and dressed in a dandy style who were often part of the Thermidorean reaction relating to the French revolution 1794–1795, and a shift to more moderate policies), but it was the Brits with their concrete social structures that took the ideas of the dandy to heart.

Beau Brummell, engraved in the 19th century from a portrait miniature.

One of the first and still one of the most well-known Dandy’s was the handsome British man Beau Brummell aka George Bryan Brummell, 1778–1840. He was seen as the model British dandy since his days as an undergraduate at  Oxford Colledge, and later as an associate of the Prince Regent George IV, although Brullell was no aristocrat.

Bathed, shaved, powdered and perfumed, groomed and immaculately dressed in a dark-blue coat Brummell’s tailoring was perfectly fitted, clean. An elaborately knotted cravat completed the aesthetics of Brummell’s suite of clothes.

During the mid-1790s, the handsome Beau Brummell became a personable man-about-town in Regency London’s high society, who, not unlike many a TV social media star today was famous for being famous. Celebrated for nothing but his charm and social connections.

In 17th-century England, a dandy may also have been known as a “fop” “coxcomb”, “fribble”, “dandy”, “fashion-monger”, “ninny” and Macaroni man.

By the 20th Century in Britain, the idea of dandy had merged much more towards the idea of being a fop, an undertone that hinted at a gentleman’s sexuality.

There are several great examples of British dandies in the 20th century. The great raconteur Quentin Crisp and pop star Boy Geroge the singer of 80’s band Culture Club, singer, Stuart Leslie Goddard aka Adam Ant from the band Adam and the Ants who actually dressed like a cross between a regency prince and a pirate.

But one man who was not as famous as either of the above, but just an infamous within his circles was probably one of the truly great dandies. Leigh Bowery 1961-1994.

Charles Atlas, Still from Because We Must 1989 © Charles Atlas. Courtesy Courtesy of the artist and Luhring Augustine, New York.

Starting out his journey in the UK as a club kid frequenting the same locations as Boy Geroge, Adam and many in the post-punk era of The New Romantics nightclub scene native Australian Bowery went on to carve a unique place in not just club culture, but also the world of art.

A fearless originator, one who pushed boundaries, making himself a walking sculpture. Known for everything from an artist, performer, club kid, model, TV personality, and fashion designer all the way to a musician.

Bowery refused to be limited by convention, his reimaging clothing and makeup as forms of sculpture and painting, tested the limits of decorum as he was quite comfortable walking out in public as a piece of art. Part of this was his form of performance art that explored the body as a shape-shifting tool with the power to challenge norms of aesthetics, sexuality and gender.

Fergus Greer, Leigh Bowery Session 1 Look 2 1988 ©Fergus Greer. Courtesy Michael Hoppen Gallery.

Bowery arrived in the UK in 1980 into a very creative nightclub scene created by many art school students. Emerging alongside a network of notable figures such as Scarlett Cannon, Boy George and Princess Julia, Bowery cemented his international reputation with the launch of his club night along with his partner Trojan, called ‘Taboo’ in 1985, which went on to become legendary space offering Bowery and friends the freedom to explore their identity and transform themselves.

The DJs were Jeffrey Hinton, Rachel Auburn and Mark Lawrence. Regular guests included stars from across music film, dance and fashion, Boy George, George Michael, John Galliano, Judy Blame, Bodymap, Michael Clark, John Maybury, and Cerith Wyn Evans: only lasting a very short time Taboo closed in 1986.

Bowery thrived on appearing exceptional. He quickly learned the social currency of ‘working a Look’ setting himself apart from the crowd through his distinctive style. He collaborated with his friends like Nicola Rainbird (who went on to be his wife) and corset maker Mr Pearl, on his outlandish costumes.

Fergus Greer, Leigh Bowery Session 4 Look 17 August 1991 ©Fergus Greer. Courtesy Michael Hoppen Gallery.

In true dandy style, it was noted in an interview conducted by Mark Ronson for Interview Magazine with Boy George that Bowery would sometimes speak with a ‘posh’ English accent, and it wasn’t always clear if he was sincere or mocking

On his catwalk of life, Bowery naturally glided from clubland to costume and onto the stages of the dance and art worlds. In 1984, Bowery was invited to design the costumes for wild-child ballet supremo Michael Clark’s dance works, beginning a collaboration that would last almost a decade.

Charles Atlas, Still from Because We Must 1989 © Charles Atlas. Courtesy Courtesy of the artist and Luhring Augustine, New York.

Ever the performer yet ever the artist, Bowery’s dandyism came to the fore when she staged his ‘Mirror’ performance in 1988. For five days he dressed up and posed in front of a two-way mirror, lay on a 19th Century divan, primping and preening himself at his reflection allowing viewers to watch him while he was oblivious to their gaze. A potent reimaging against the sterility of the gallery scene, whilst making a social event at the same time. Each day he changed costumes so visitors would often come back to see what he would be wearing next.

Another piece of performance art was the ‘birth work’, in which Bowery strapped Nicola Rainbird to his chest and gave ‘birth’ to her on stage, showing just how much he pushed the limits of the human form.

Fergus Greer, Leigh Bowery Session 7, Look 37 June 1994 ©Fergus Greer. Courtesy Michael Hoppen Gallery.

Like any good dandy Bowery became close friends with one of the foremost 20th-century English portraitist artists, Lucian Freud. It was this that marked a turning point in his relationship with the contemporary art world in the late 1980s.

Lucian Freud, Nude with Leg Up (Leigh Bowery) 1992 © The Lucian Freud Archive. All Rights Reserved 2024.

Prompted by the intimacy of posing for Freud, Bowery increasingly began using his body as raw material, notably stating “Flesh is the most fabulous fabric”.

Bowery’s foray into music with his band Minty, was his opportunity to unite his love of performance, shock value and humour, enabling him to achieve the full expression of his creative ideas, showcasing his constant desire to experiment, take risks and create a space for questions.

Fergus Greer, Leigh Bowery Session 8 Look 38, June 1994 ©Fergus Greer. Courtesy Michael Hoppen Gallery.

New Year’s Eve 1994 / the early hours of New Year’s Day, 1995 Leigh Bowery died. at the Middlesex Hospital then in Fitzrovia.

Only his close friend Sue Tilley knew he was ill and he told her that when he died, “Tell them I’ve gone to Papua New Guinea to help the natives.”

Galleries over the years have shown his work or presented retrospectives including several in his native Australia but now Bowery is to be the subject of a retrospective Art exhibition ‘Leigh Bowery!’ at Tate Modern in London, England from February 2025-August 2025, curated by the Tate in collaboration with Nicola Rainbird (Nicola Bowery, nee Bateman), Director and Owner of the Estate of Leigh Bowery.

This Spring, The Tate Modern will celebrate the provocative and boundary-pushing career of Leigh Bowery, and his short but extraordinary life. Bringing together Bowery’s outlandish and dazzling costumes alongside painting, photography and videos to explore how he changed art, fashion and popular culture forever.

Costume Photography 2024 © Tate Photography (Seraphina Neville). Courtesy Leigh Bowery Estate. Costume Photography 2024 © Tate Photography (Seraphina Neville). Courtesy Leigh Bowery Estate.

Visitors will be able to explore the intricate costumes he hand-crafted with collaborator Nicola Rainbird, and corsetier Mr Pearl, while photographs by Fergus Greer illustrate how Bowery brought these to life in animated ways.

A music and video installation by filmmaker and DJ Jeffrey Hinton, made especially for the exhibition, will convey the frenzied excitement of the Taboo era, transporting audiences back to a vibrant underground community.

His work with dancer Clark will be represented in the exhibition through excerpts of Charles Atlas’s quasi-fictionalised documentary Hail the New Puritan 1985, and the film Because We Must 1989.

Whilst Filmmaker Dick Jewell’s (What’s Your Reaction to the Show? 1988) will reveal the honest opinions of the cast of friends, colleagues and passersby who witnessed this ambitious ‘mirror’ performance.

Several of Freud’s most personal portraits of Bowery will be displayed at Tate Modern, showing how the renowned artist presented a fresh view of this flamboyant performer.

There will also be portraits by photographers including Nick Knight and films by Charles Atlas and John Maybury, showing how Bowery was able to use his body as a form of contemporary surrealism, reimagining himself as an alien-like creature.

The exhibition will culminate with Bowery’s foray into music with his band Minty. Uniting his love of performance, shock value and humour, it enabled him to achieve the full expression of his creative ideas, showcasing his constant desire to experiment, take risks and create a space for questions.

Bowery’s final performance at London’s Freedom Café in November 1994 was attended by a young Lee ‘Alexander’ McQueen and Lucian Freud, demonstrating how far-reaching his influence on the worlds of both art and fashion had become.

The show charts an almost imaginary yet real journey of a young boy from the polite middle-class suburbs of Melbourne, Australia, who became a globally recognised cultural figure, Leigh Bowery! offers a portrait of an outrageous, complex and creative figure who left a distinct and undeniable mark on contemporary art and beyond.

Leigh Bowery! 27th February until 31st August Tate Modern, Tate Modern, Bankside, London SEl 9TG; Open daily l 0.00-18.00 Tickets available at tate.org.uk and +44(0)20 7887 8888Follow @Tate #LeighBowery. Related publications Leigh Bowery

Edited by Fiontan Moran Published February 2025, Paperback £30, Hardback £40. Published to accompany Tate Modem’s major exhibition, this comprehensive monograph on Leigh Bowery features over two hundred images by and of the artist – spanning an eclectic and dynamic career which included fashion photography, club polaroids, film stills, paintings, postcards, and ephemera. In addition to Bowery’s own works, the book also includes paintings of the artist by Lucian Freud, and works made with and about Bowery by Stephen Willats and Trojan Barnes, among others. A visual inventory of all of Bowery’s costumes, held by the artist’s estate, has been newly photographed – published here for the first time.

Fergus Greer Photographic print on paper Limited edition of l 00 Dimensions 24 x 30 inches £300 (Members £270) Available on 29 February (Members 27 February).

Related events

Spirit of the Times 25 January 2025, 19:00-2 l :00 Tate Britain; £l 5/ £l 0 concessions. Step into the bold, experimental spirit of the 1980s with an unforgettable evening of live and sound art performances. Drawing on the cultural memory of the 1980s, the gallery will come alive with daring sounds and the great noise of artistic expression, as contemporary practice echoes the innovative art-making of that critical decade.

Acceptable at the time? l March 2025, 12:00-18:00 Various locations across Tate Modern; Free – selected events will ticketed Join us for an afternoon exploring the bold ideas embodied by the lives and practices of Leigh Bowery and Helen Chadwick. In the Starr Cinema, hear from artists and thinkers as they unpack ideas of respectability, desire, subversion and wit in queer and feminist artmaking. A welcoming hangout space in the Blavatnik Building will offer hands-on activities exploring textiles, identity and self-expression.

After Taboo l March 2025, 19:00-22:00 Tate Modern, South Tank; fl 5/£10 concessions. 18+ Step into the daring world of international queer counterculture with a night of performances in Tate Modem’s subterranean Tanks. Inspired by the fearless spirit of Leigh Bowery, this event brings together boundary-defying artists who challenge conventions of aesthetics, sexuality, and gender, igniting conversations around the politics of the body and the power of art to subvert societal norms. Join us for an afterparty in Corner with DJs drawn from London’s queer club cultures.

Late at Tate Britain x Polyester Zine: 80s Valentine’s Ball 14 February 2025, 18:00-22:00 Various spaces across Tate Britain; Free Join Polyester Zine as they takeover Tate Britain for an 80s Valentine’s Ball. Expect an evening of workshops, panels, club kid performances, photo opportunities, DJ sets and a special live recording of The Polyester Podcast.

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