| Abstract | Over the past eight years, the Westminster Menswear Archive (WMA) has collected garments from Vince Man’s Shop, a Soho boutique founded in 1954 by physique photographer Bill Green, which specialised in casual and leisurewear for men. While menswear historians have long acknowledged Vince’s influence on post-war British fashion, very little survives in institutional collections. To date, we have identified around 20 extant garments, ten of which are now held by the WMA. This paper outlines the challenges of locating and interpreting these pieces and argues that the process of collecting and analysing material culture allows us to move beyond recycled anecdote. Vince is often described as a niche ‘gay boutique’ known for flamboyant design. However, our research suggests it employed a more complex strategy, what we term sartorial passing. While catalogues used homoerotic language and photography, the garments themselves remained plausible within conventional menswear. This dual coding allowed Vince to signal queerness to those attuned, while appearing fashionable to others. Like the use of the Polari, the coded form of slang used by gay men in 1950s Britain, Vince’s garments functioned through plausible deniability: present, legible, yet deniable within mainstream society. |
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