男裙

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蘇美爾男性穿著考納克斯，約前3,000年

用途型蘇格蘭裙

裙子在西方時尚文化當道的現代社會，多被當成是女性的典型服裝，然而在非西方文化及歐洲歷史的不同時期，男性的主要服裝其實包括裙裝及類似長裙的袍子，例如聖職人員穿著的法衣和蘇格蘭男性現在仍有穿著的短裙。熱帶地區男性穿著罩袍，至今仍是日常普遍的傳統服裝。

現今西方社會曾有人嘗試提倡男性穿裙，並企圖消除這種性別角色的差異；但是，裙子自16世紀以來，一直被當成是女性的服裝，絕大部分男性已經拋棄穿裙的習俗，因此這項倡議僅取得有限的成功，並遭遇巨大的文化阻力。

西方文化

古代

裙子自史前時代起就被穿着，成為古代各文化中男女的標準服飾。例如，在美索不達米亞的蘇美爾王國記錄了兩種服裝類別。男性的儀式服裝是用綁在腰間的毛皮裙，叫做Kaunakes。最初指的是羊毛，後來也用來指代這種衣物。起初用的動物皮毛被Kaunakes布料所替代，這種布料模仿羊皮的毛茸茸感。Kaunakes布料也在宗教藝術中被用作象徵，如施洗約翰的毛皮斗篷。

古亞述帝國和巴比倫的國王及其侍從在文物上的描繪顯示，他們穿着圍繞在袖套束腰束起來的編邊布。

古埃及的服裝主要是白色亞麻製成。古埃及服裝的主要特徵是男女穿着類似的直筒式亞麻衣，這種風格在古埃及時期幾乎未有改變。從公元前2130年左右的古埃及早期王國時期開始，男性也開始穿着包裹式的長裙（褶裙），稱為shendyt。它們由一塊長方形布料裹繞在下半身，並系在前面。到了中王國時期，出現了更長的褶裙，幾乎像裙子一樣，從腰部延伸到腳踝，有時從腋下垂下。在新王國時期，男性流行穿帶有褶皺三角部分的褶裙。底下還穿着三角形的腰布，名為loincloth或shente，其兩端用繩子繫緊。

已隱藏部分未翻譯內容，歡迎參與翻譯。

在Ancient Greece，簡單的有袖T形束腰外衣是由三塊縫在一起的布管構成的，這種風格起源於閃米特近東地區，並且與基於Semitic的單詞khiton有關，也被稱作chiton。 束有腰帶的亞麻chiton是男性和女性的主要服裝。

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  Statue of Ramaat, an official from Gizeh wearing a pleated Egyptian kilt, ca. 2.250 BC
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  A Greek charioteer from Delphi wearing a long chiton, ca. 470 BC
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  An illustration from between 1325 and 1335 showing an English man in a skirted garment
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  Men's dress made of red silk (1480–90) to be buttoned on the front, History Museum of Bern (Switzerland)
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  Duke Ulrich of Mecklenburg wearing a doublet and diverted skirt with codpiece and black tights, (1573)
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  Henry VIII wearing a doublet and diverted skirt with codpiece

The Romans adopted many facets of Greek culture, including the same manner of dressing. The Celts and Germanic peoples wore a skirted garment which the historian Diodorus Siculus (fl. 1st century BC) called chiton. Below they wore knee-length trousers. The Anglo-Saxons, Normans, Franks and other people of Western and Northern Europe continued this fashion well into the Middle Ages, as can be seen in the Bayeux Tapestry.

Victorian interpretation of the Normans' (1000–1100) national dress

Technological advances in weaving with foot-treadle floor looms and the use of scissors with pivoted blades and handles in the 13–15th century led to new designs. The upper part of dresses could now be tailored exactly to the body. Men's dresses were buttoned on the front and women's dresses got a décolletage. The lower part of men's dresses were much shorter in length than those for women. They were wide cut and often pleated with an A-line so that horse riding became more comfortable. Even a knights armor had a short metal skirt below the breastplate. It covered the straps attaching the upper legs iron cuisse to the breastplate. Other similar garments worn by men around the world include the Greek and Balkan fustanella (a short flared cotton skirt)

衰退

The innovative new techniques specially improved tailoring trousers and tights which designs needed more differently cut pieces of cloth than most skirts. "Real" trousers and tights increasingly replaced the prevalent use of the hose (clothing) which like stockings covered only the legs and had to be attached with garters to underpants or a doublet. A skirt-like garment to cover the crotch and bottom were no longer necessary. In an intermediate stage to openly wearing trousers the upper classes favoured voluminous pantskirts and diverted skirts like the padded hose or the latter petticoat breeches.

Though during most of history, men and especially dominant men have been colourful in pants and skirts like Hindu maharajas decked out in silks and diamonds or the high heeled King Louis XIV of France with a diverted skirt, stockings and long wig. The French Revolution and the Industrial Revolution changed the dress code for men and women not only in France. From the early Victorian era, there was a decline in the wearing of bright colours and luxurious fabrics by men, with a definite preference for sobriety of dress. This phenomenon the English psychologist John Flügel termed "The Great Masculine Renunciation". Skirts were effeminized. "Henceforth trousers became the ultimate clothing for men to wear, while women had their essential frivolity forced on them by the dresses and skirts they were expected to wear". By the mid-20th century, orthodox Western male dress, especially business and semi-formal dress, was dominated by sober suits, plain shirts and ties. The connotation of trousers as exclusively male has been lifted by the power of the feminist movement while the connotation of skirts as female is largely still existing leaving the Scottish kilt and the Albanian and Greek fustanella as the only traditional men's skirts of Europe.

復興

在20世紀60年代，出現了廣泛反對被北美和歐洲普遍接受的男女着裝慣例的現象。這種unisex時尚運動旨在消除男性和女性之間的服裝差異。在實踐中，這通常意味着女性會穿男裝，即襯衫和長褲。而男性很少採用傳統的女性着裝方式。在20世紀60年代，大多數男性在此方面最多只到穿天鵝絨長褲、有花或荷葉邊的襯衫和領帶，以及留長髮的地步。

In the 1970s, David Hall, a former research engineer at the Stanford Research Institute (SRI), actively promoted the use of skirts for men, appearing on both The Tonight Show Starring Johnny Carson and the Phil Donahue Show. In addition, he was featured in many articles at the time. In his essay "Skirts for Men: the advantages and disadvantages of various forms of bodily covering", he opined that men should wear skirts for both symbolic and practical reasons. Symbolically, wearing skirts would allow men to take on desirable female characteristics. In practical terms, skirts, he suggested, do not chafe around the groin, and they are more suited to warm climates.

A saxophone player wearing a skirt

Man in tartan-patterned skirt originally intended for schoolgirls

In 1985 the French fashion designer Jean-Paul Gaultier created his first skirt for a men. Transgressing social codes Gaultier frequently introduces the skirt into his men's wear collections as a means of injecting novelty into male attire, most famously the sarong seen on David Beckham. Other famous designers such as Vivienne Westwood, Giorgio Armani, John Galliano, Kenzo, Rei Kawakubo and Yohji Yamamoto also created men's skirts. In the US Marc Jacobs became the most prominent supporter of the skirt for men. The Milan men's fashion shows and the New York fashion shows frequently show skirts for men. Jonathan Davis, the lead singer of Korn, has been known to wear kilts at live shows and in music videos throughout his 18-year career with that band. Mick Jagger from the Rolling Stones and Anthony Kiedis from the Red Hot Chili Peppers were photographed wearing dresses by Anton Corbijn. For an FCKH8 anti-discrimination campaign Iggy Pop was seen wearing a black dress and handbag. Guns N' Roses' singer, Axl Rose, was known to wear men's skirts during the Use Your Illusion period. Robbie Williams and Martin Gore from Depeche Mode also performed on stage in skirts. During his Berlin time (1984–1985) Martin Gore was often seen in public wearing skirts. In an interview with the Pop Special Magazin (7/1985) he said: "Sexual barriers and gender roles are old fashioned and out. [...] I and my girlfriend often share our clothes and Make-up". Brand Nubian Lord Jamar criticized Kanye West wearing skirts, saying that his style has no place in hip-hop.

In 2008 in France, an association was created to help spur the revival of the skirt for men. Hot weather has also encouraged use. In June 2013, Swedish train drivers won the right to wear skirts in the summer when their cabins can reach 35 °C（95 °F）, whilst in July 2013, parents supported boys wearing skirts at Gowerton Comprehensive School in Wales.

America is also not without its own contemporary advocates of skirts as menswear. One male blogger "denies that skirts are exclusively feminine garments" and suggests that the prevailing societal view reflects a "symbology of power" that persisted even in wake of the women's liberation movement. He suggests an apparent causality paradox in the perception of skirts as exclusively womenswear: "are skirts perceived as feminine because women wear them or do women wear them because skirts are perceived as feminine?" Though lamenting the lack skirts designed specifically for men, he discusses in detail how to "advance a viewpoint of masculine aesthetics" in his how-to guide for men. Other internet denizens echo these sentiments (with varying degrees of anonymity) in the "Skirt Cafe" internet forum "dedicated to exploring, promoting and advocating skirts and kilts as a fashion choice for men." However, the forum's moderators conspicuously assert that "this is NOT a transvestite or crossdresser forum. We are committed to a fundamentally masculine gender identity."

大都會藝術博物館展覽

In 2003, the Metropolitan Museum of Art displayed an exhibition, organized by Andrew Bolton and Harold Koda of the Museum's Costume Institute and sponsored by Gaultier, entitled Bravehearts: Men in Skirts. The idea of the exhibition was to explore how various groups and individuals (from hippies through pop stars to fashion designers) have promoted the idea of men wearing skirts as "the future of menswear". It displayed men's skirts on mannequins, as if in the window of a department store, in several historical and cross-cultural contexts.

The exhibition display pointed out the lack of a "natural link" between an item of clothing and the masculinity or femininity of the wearer, mentioning the kilt as "one of the most potent, versatile, and enduring skirt forms often looked upon by fashion designers as a symbol of a natural, uninhibited, masculinity". It pointed out that fashion designers and male skirt-wearers employ the wearing of skirts for three purposes: to transgress conventional moral and social codes, to redefine the ideal of masculinity, and to inject novelty into male fashion. It linked the wearing of men's skirts to youth movements and countercultural movements such as punk, grunge, and glam rock and to pop-music icons such as Boy George, Miyavi and Adrian Young. Many male musicians have worn skirts and kilts both on and off stage. The wearing of skirts by men is also found in the goth subculture.

Elizabeth Ellsworth, a professor of media studies, eavesdropped on several visitors to the exhibition, noting that because of the exhibition's placement in a self-contained space accessed by a staircase at the far end of the museum's first floor, the visitors were primarily self-selected as those who would be intrigued enough by such an idea in the first place to actually seek it out. According to her report, the reactions were wide-ranging, from the number of women who teased their male companions about whether they would ever consider wearing skirts (to which several men responded that they would) to the man who said, "A caftan after a shower or in the gym? Can you imagine? 'Excuse me! Coming through!'". An adolescent girl rejected in disgust the notion that skirts were similar to the wide pants worn by hip-hop artists. Two elderly women called the idea "utterly ridiculous". One man, reading the exhibition's presentation on the subject of male skirt-wearing in cultures other than those in North America and Europe, observed, "God! Three quarters of the world's population [wear skirts]!"

The exhibition itself attempted to provoke visitors into considering how, historically, male-dress codes have come to this point and whether in fact a trend towards the wearing of skirts by men in the future actually exists. It attempted to raise challenging questions of how a simple item of dress connotes (in Ellsworth's words) "huge ramifications in meanings, behaviours, everyday life, senses of self and others, and configurations of insider and outsider".

現代風格

The wearing of skirts, kilts, or similar garments on an everyday basis by men in Western cultures is an extremely small minority. One manufacturer of contemporary kilt styles claims to sell over 12,000 such garments annually, resulting in over $2 million annually worth of sales, and has appeared at a major fashion show. According to a CNN correspondent: "At Seattle's Fremont Market, men are often seen sporting the Utilikilt." In 2003, US News said that "... the Seattle-made utilikilt, a rugged, everyday riff on traditional Scottish garb, has leapt from idea to over 10,000 sold in just three years, via the Web and word of mouth alone." "They've become a common sight around Seattle, especially in funkier neighbourhoods and at the city's many alternative cultural events. They often are worn with chunky black boots," writes AP reporter Anne Kim. "I actually see more people wearing kilts in Seattle than I did when I lived in Scotland," one purchaser remarked in 2003.

In addition, since the mid-1990s, a number of clothing companies have been established to sell skirts specifically designed for men. These include Macabi Skirt in the 1990s, Menintime in 1999, Midas Clothing in 2002 and Skirtcraft in 2015.

In 2010, the fashion chain H&M featured skirts for men in its lookbook.

In 2018, Zara added a skirt for men in its Reshape collection.

威卡與新異教主義

In Wicca and neopaganism, especially in the United States, men (just as women) are encouraged to question their traditional gender roles. Amongst other things, this involves the wearing of robes at festivals and sabbat celebrations as ritual clothing (which Eilers equates to the "church clothes" worn by Christians on Sundays). Some denominations (called 'traditions') of Wicca even encourage their members to include robes, tunics, cloaks, and other such garments in their day-to-day wardrobes.

A group of upper-class Albanians

歐美

在北美與歐洲的大部分地方，除非是著傳統服飾，男人穿裙子通常被看做是女性角色的體現。儘管如此，人們做了各種男人穿裙的種種嘗試，然而取得的成功很少，且遭受了相當的習慣阻力。

蘇格蘭裙，是蘇格蘭高地的民族服裝，一種以格子花紋布料製造的及膝裙子，常被用作儀仗隊制服。

歷史

1960年代，一場打破傳統（歐美）男女服裝界限的運動被廣泛發起。這場時尚運動的目的是消滅男女服裝的差異。但實際行動上，通常是女性穿着男性服裝，如襯衫與褲子。相反的，男性卻很少採用女式服裝。

1980年代, 一些男性名流穿着裙裝，服裝設計師如尚-保羅·高緹耶、喬治·亞曼尼、約翰·加利亞諾、高田賢三、川久保玲、山本耀司等試圖推動男人穿裙的設想，但未推廣開來。男性穿裙仍然被與女性化聯繫在一起。

2003年，在美國紐約大都會藝術博物館舉行了一場男裙展覽，展覽名為「勇敢的心：男人穿上裙子」。

亞洲

在熱帶地區，男子裙則是很常見的傳統服裝。東南亞、南亞、阿拉伯半島、東非等地區的男性筒裙稱為紗籠。而緬甸男子穿的筒裙，則稱為「籠基」（籠吉）。

位於西亞的也門，當地男子通常四季皆着裙

中國

中國古代男女皆穿裙。上衣下裳是中國最早的服裝形制之一。《辭海》釋「裙」：「古謂下裳，男女通用」。六朝之時，男子着裙頗為盛行。裙子與木屐是六朝貴族子弟的常見裝束，成語「裙屐少年」即源於此時。

非洲

由於氣候炎熱，索馬里男子也有穿裙子的習俗。

大洋洲

在斐濟，湯加，庫克群島等南太平洋國家和地區，男子着裙也很普遍。

故事

在故事中，男性角色穿裙的一個著名例子是科幻電視劇《星際旅行：下一代》中較早幾集中的若干情節。

參見

• 蘇格蘭裙
• 穿褲禮