男裙

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苏美尔男性穿著考纳克斯，约前3,000年

用途型苏格兰裙

裙子在西方时尚文化当道的现代社会，多被当成是女性的典型服装，然而在非西方文化及欧洲历史的不同时期，男性的主要服装其实包括裙装及类似长裙的袍子，例如圣职人员穿著的法衣和苏格兰男性现在仍有穿著的短裙。热带地区男性穿著罩袍，至今仍是日常普遍的传统服装。

现今西方社会曾有人尝试提倡男性穿裙，并企图消除这种性别角色的差异；但是，裙子自16世纪以来，一直被当成是女性的服装，绝大部分男性已经抛弃穿裙的习俗，因此这项倡议仅取得有限的成功，并遭遇巨大的文化阻力。

西方文化

古代

裙子自史前时代起就被穿着，成为古代各文化中男女的标准服饰。例如，在美索不达米亚的苏美尔王国记录了两种服装类别。男性的仪式服装是用绑在腰间的毛皮裙，叫做Kaunakes。最初指的是羊毛，后来也用来指代这种衣物。起初用的动物皮毛被Kaunakes布料所替代，这种布料模仿羊皮的毛茸茸感。Kaunakes布料也在宗教艺术中被用作象征，如施洗约翰的毛皮斗篷。

古亚述帝国和巴比伦的国王及其侍从在文物上的描绘显示，他们穿着围绕在袖套束腰束起来的编边布。

古埃及的服装主要是白色亚麻制成。古埃及服装的主要特征是男女穿着类似的直筒式亚麻衣，这种风格在古埃及时期几乎未有改变。从公元前2130年左右的古埃及早期王国时期开始，男性也开始穿着包裹式的长裙（褶裙），称为shendyt。它们由一块长方形布料裹绕在下半身，并系在前面。到了中王国时期，出现了更长的褶裙，几乎像裙子一样，从腰部延伸到脚踝，有时从腋下垂下。在新王国时期，男性流行穿带有褶皱三角部分的褶裙。底下还穿着三角形的腰布，名为loincloth或shente，其两端用绳子系紧。

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在Ancient Greece，简单的有袖T形束腰外衣是由三块缝在一起的布管构成的，这种风格起源于闪米特近东地区，并且与基于Semitic的单词khiton有关，也被称作chiton。 束有腰带的亚麻chiton是男性和女性的主要服装。

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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.

复兴

在20世纪60年代，出现了广泛反对被北美和欧洲普遍接受的男女着装惯例的现象。这种unisex时尚运动旨在消除男性和女性之间的服装差异。在实践中，这通常意味着女性会穿男装，即衬衫和长裤。而男性很少采用传统的女性着装方式。在20世纪60年代，大多数男性在此方面最多只到穿天鹅绒长裤、有花或荷叶边的衬衫和领带，以及留长发的地步。

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."

大都会艺术博物馆展览

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".

现代风格

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.

威卡与新异教主义

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

欧美

在北美与欧洲的大部分地方，除非是著传统服饰，男人穿裙子通常被看做是女性角色的体现。尽管如此，人们做了各种男人穿裙的种种尝试，然而取得的成功很少，且遭受了相当的习惯阻力。

苏格兰裙，是苏格兰高地的民族服装，一种以格子花纹布料制造的及膝裙子，常被用作仪仗队制服。

历史

1960年代，一场打破传统（欧美）男女服装界限的运动被广泛发起。这场时尚运动的目的是消灭男女服装的差异。但实际行动上，通常是女性穿着男性服装，如衬衫与裤子。相反的，男性却很少采用女式服装。

1980年代, 一些男性名流穿着裙装，服装设计师如尚-保罗·高缇耶、乔治·亚曼尼、约翰·加利亚诺、高田贤三、川久保玲、山本耀司等试图推动男人穿裙的设想，但未推广开来。男性穿裙仍然被与女性化联系在一起。

2003年，在美国纽约大都会艺术博物馆举行了一场男裙展览，展览名为“勇敢的心：男人穿上裙子”。

亚洲

在热带地区，男子裙则是很常见的传统服装。东南亚、南亚、阿拉伯半岛、东非等地区的男性筒裙称为纱笼。而缅甸男子穿的筒裙，则称为“笼基”（笼吉）。

位于西亚的也门，当地男子通常四季皆着裙

中国

中国古代男女皆穿裙。上衣下裳是中国最早的服装形制之一。《辞海》释“裙”：“古谓下裳，男女通用”。六朝之时，男子着裙颇为盛行。裙子与木屐是六朝贵族子弟的常见装束，成语“裙屐少年”即源于此时。

非洲

由于气候炎热，索马里男子也有穿裙子的习俗。

大洋洲

在斐济，汤加，库克群岛等南太平洋国家和地区，男子着裙也很普遍。

故事

在故事中，男性角色穿裙的一个著名例子是科幻电视剧《星际旅行：下一代》中较早几集中的若干情节。

参见

• 苏格兰裙
• 穿裤礼