Celebrating the BEST of FASHION and
our Community, we present the
LEGENDS GALA... Showcasing a night
of Music, Fashion, Art & Libations.
We also honor leaders in our
community who go Above and Beyond
to Lead by Example, at the FROST
ART MUSEUM @ FIU
ART IS A DRAG, and our annual
ART/DIVA BUS TOURS proves it, as
our Diva Hostesses entertain you on a
luxury bus, giving you VIP access to
Art & Artists work and inspiration.
Food, Music & Liquor is also involved!
FROST Art Museum@FIU
Art After Stonewall Exhibit
Artists Warehouse Collection
MANA Downtown Miami Studios
SHOWCASING THE BEST ARTISTS -
Local, National & International, our
juried Artists Showcase always
JUAN MANTILLA, aka PUSSILA
MOVIE NIGHT@ Gaythering, featuring
Alexander McQUEEN documentary
MOVIE NIGHT@ VILLAIN Theater,
MAHOGANY starring Diana Ross
Performers, Illusionists, DIV@S &
Celebrities create a one-of-a-kind
DivaDoll IN THEIR OWN IMAGE!
DivaDolls will be on Exhibit during
ORGULLO, then be auctioned off.
100% of Gala & DivaDoll profits go to
fund Unity Coalition|Coalición Unida's
year round Programming & Services
for the Latinx|Hispanic, Trans, POC,
Youth, and all underrepresented
communities across South Florida.
Be a part of ORGULLO!
Our event covers demographics in
every age category, orientation,
ethnic & economic bracket.
MEDIA Coverage of ORGULLO
Throughout the twentieth
century, clothing has been
used by lesbians and gay men
as a means of expressing
self-identity and of signaling
to one another.
The AIDS Epidemic all but
wiped out a generation of
Talent, Artists, Designers, and
sent the LGBT community
back in the closet for fear of
FASHION FORUM explores
FASHION & GENDER PRESENTING FLUIDITY | Throughout the twentieth century, clothing has been used by the LGBTQ community as a means of expressing self-identity and
of signaling to one another.
MODA Y PRESENTANDO GENEROS FLUIDOS | A lo largo del siglo XX, la comunidad LGBTQ ha usado la ropa como un medio para expresar su propia identidad y para
comunicarse entre sí.
Even before the twentieth century, transvestism and cross-dressing among men were associated with the act of sodomy. By the eighteenth century,
many cities in Europe had developed small but secret homosexual subcultures. London's homosexual subculture was based around inns and public
houses where "mollies" congregated. Many of the mollies wore women's clothing as both a form of self-identification and as a means of attracting sexual
partners. They wore "gowns, petticoats, head-cloths, fine laced shoes, furbelowed scarves, and masks; [and] some had riding hoods; some were dressed
like milk maids, others like shepherdesses with green hats, waistcoats, and petticoats; and others had their faces patched and painted"
Male Fashion of 1960s
Male homosexuals continued to cross-dress in both public and private spaces throughout the nineteenth century. In the 1920s, the Harlem drag balls
offered a safe space for gay men (and lesbians) to cross-dress. Similarly the Arts Balls of the 1950s in London offered an opportunity denied in everyday
life. Cross-dressing performers, commonly known as drag queens, used women's clothes to parody straight society and create a gay humor. One of the
greatest American drag performers was Charles Pierce, who began his career in the 1950s, and was best known for his impersonations of film stars such
as Bette Davis and Joan Crawford. The tradition has been carried on by gay drag performers such as American performers Divine and RuPaul and British
television star Lily Savage.
Overt gay men, who did not want to go so far as to cross-dress, sometimes adopted the most obvious signifiers of female mannerisms and dress: plucked
eyebrows, rouge, eye makeup, peroxide blond hair, high-heeled Women's Shoes blouses. In America it was illegal for men (and women) to cross dress
unless attending a masquerade. At least three items of clothing had to be appropriate to the gender. Adopting such an appearance was dangerous, for it
was risky to be overtly homosexual. In his autobiography, The Naked Civil Servant (1968), Quentin Crisp recalls being stopped a number of times by police
because of his effeminate appearance. However, the risks were worthwhile for many. Dressing as a "flaming queen" was a means of entering into the
subculture of gay society. Also, by adopting female characteristics and by adhering to strict gendered rules of sexual behavior, queens could attract allegedly
"normal," straight sexual partners. The adoption of effeminate dress codes began to wane with the rise of gay liberation, but has continued to play a role in
Masculinity and Lesbian Dress
In the late nineteenth and early twentieth centuries, the adoption of male dress was a means for many women, including many lesbians, to protest the
status of women and the roles assigned them by patriarchal societies. Cross-dressing had been and continued to be utilized by women to allow them
to "pass" as men and be accepted. Some, like writer George Sand and painter Rosa Bonheur utilized the methods in order to have their professional work
be taken seriously. The period between the two World Wars saw a rise in lesbian visibility. The typical masculinized lesbian dress of the period is typified
by the wing collar, monocle, and man's jacket worn by Lady Una Troubridge (lover of Radclyffe Hall, author of The Well of Loneliness) in her portrait by
Romain Brooks. In America, lesbian performers such as Ma Rainey and Gladys Bentley wore men's top hat and tails to express their identity, while
bisexual film stars Greta Garbo and Marlene Dietrich wore masculine clothes both on-and offscreen.
Until the 1970s, the public image of lesbians was very much centered on masculinity. As a means of asserting difference and signaling to other lesbians, many women-loving women adopted certain "masculine" markers, such as a collar and tie
or trousers. In America, it was illegal for women to dress completely in men's clothes, and they were required to wear "three pieces of women's clothing" (Nestle, p. 100). Public reaction was not sympathetic to "butch" lesbians. American lesbian
writer and activist Joan Nestle "walked the streets looking so butch that straight teenagers called [her a] bulldyke" (Nestle, p. 100).
Not all lesbian women felt drawn to the adoption of male clothing, preferring instead more conventional female attire: makeup, high-heeled shoes, and skirts. Many accounts of lesbian bar life note the prevalence of "butch" and "femme" identities
and behavior, where butch lesbians were expected to form relationships only with femme lesbians, and lesbians were expected to identify with one role or the other.
The illegality of homosexuality and the moral disapproval that it attracted forced gay men and lesbians to live virtually invisible lives in the first part of the twentieth century. Up until the gay liberation movement of the late 1960s, the most important
criterion of dressing in public, for the mass of gay men and lesbians, was to be able to "pass" as heterosexual. Despite this need, many were aware of the dress codes and items that could be used to signal sexual orientation. These symbols of
identity often took the form of a specific type or color of accessory and, like other secret symbols, developed and changed over time. The primary signifier at the time of the Oscar Wilde trials in the 1890s was the green carnation. Indeed, the color
green had been associated with the effeminate and sometimes sodomitical macaronis of the 1770s and continued to have gay associations in clothing through the first part of the twentieth century. George Chauncey notes that in 1930s New York
City, green suits were the badge of open "pansies." Other signifiers for gay men included a red necktie (worn in New York City before World War II) and suede shoes (one of the most international and enduring gay signifiers). Lesbian signifiers
included accessories such as ties and cufflinks, short haircuts (particularly the "Eton crop" of the 1920s), and the color violet.
During the "menswear revolution" of the 1960s, the association of fashion and homosexuality began to diminish. With the rise in subcultural fashions and the dissemination of Carnaby Street fashions around the world, it was suddenly acceptable
for young men to be interested in fashion, and to spend time and money on clothes and appearance. Carnaby Street fashions were initially sold to a gay "theatrical and artistic" clientele by a former physique photographer by the name of Vince from
a shop near Carnaby Street. John Stephen, who was later to be known as the "King of Carnaby Street," had worked at Vince's shop and produced the clothes faster, cheaper, and for a younger market. In America, too, a close-fitting "European
style." worn primarily by gay men, was sold from "boutiques" in Greenwich Village, New York, and West Hollywood in Los Angeles.
Gay Men and Masculinity
By the late 1960s, lesbians and gay men throughout the Western world had begun to question their position as second-class citizens and their stereotype as effeminate "queens" or "butch dykes." Along with the demands for equality and
recognition, lesbians and gay men began to address their appearance. There had always been gay men who dressed in a conventionally masculine style, but in the early 1970s, gay men in New York and San Francisco looked to the epitomes of
American masculinity-the cowboy, the lumberjack, the construction worker-for inspiration for a new dress style. The clones, as they were known, adopted the most masculine dress signifiers they could find-work boots, tight Levi's, plaid shirts,
short haircuts, and moustaches. Their clothes were chosen to reveal and celebrate the contours of the male body.
Some clones also developed their sexual tastes by experimenting with sadomasochism. Consequently, they sometimes adopted a "leatherman" appearance and lifestyle, which involved a strict codification of dress and a new system of signifiers,
most notably colored handkerchiefs in a back pocket, specifying particular sexual interests. The hypermasculine image has continued to be important even after the supposed death of the clone in the late 1980s, when the image became
associated with an older generation of pre-AIDS gay men. Gay men have interpreted and demonstrated their masculine looks through the celebration of muscular "gym" bodies and clothing that shows off those bodies, as well as the emergence
of other masculine subcultural styles such as the shaven-headed, boots and braces wearing, but not necessarily racist skinhead.
Post-Liberation Lesbian Style
The advent of both the women's and gay-rights movements led to a questioning of the stereotyped dress choices previously available to lesbians. Trousers had become increasingly acceptable for women from the 1950s, and during the 1960s it
became more difficult to identify lesbians on the grounds of trouser-wearing. "Androgyny" became a key word in fashion, and this manifested itself in various ways. Initially, the move was toward a feminine look for men, but the radical lesbian and
gay community rejected this in favor of a more masculine look for both men and women.
The rise of radical feminism saw a rejection of fashion-forced femininity. Flat shoes, baggy trousers, unshaved legs, and faces bare of makeup made a strong statement about not dressing for men. Radical feminist politics during the 1970s took
this to an extreme as a new stereotype was born-that of the dungaree-wearing, crew-cut lesbian feminist.
The 1980s and 1990s saw a new diversification in lesbian dress. The breakdown of the old butch and femme divides, the changes instigated in women's dress by feminism and punk, and the increasing visibility in public life of lesbians opened
up the debate about what lesbians could and should wear. One of the most significant developments was the appearance of the lipstick lesbian (also known as glamour or designer dyke). Dress styles signaled a move away from the traditional
butch or radical-feminist styles and allowed out gay women to develop a fashionable urban look that combined signifiers of lesbianism or masculinity with fashionable women's dress. However, critics accused lipstick lesbians of hiding behind a
mask of heterosexuality.
The Fashion Industry
The large proportion of gay men who have worked in creative fields of fashion and the theater and service industries, such as catering, has been well documented by historians such as Ross Higgins, whose study highlighted the involvement of
gay men at all levels of the fashion industry in Montreal.
Throughout the twentieth century, many of the top couture fashion designs were gay, even though social pressure called for them to keep their sexuality quiet if not secret. Indeed, many of the greatest names in twentieth-century fashion were gay or
bisexual, including such figures as Christian Dior, Cristobal Balenciaga, Yves Saint Laurent, Norman Hartnell, Halston, Rudi Gernreich (who was one of the founding members of the first American homophile organization, the Mattachine society),
Calvin Klein, and Gianni Versace.
As designers took over from traditional tailors and gentleman's outfitters in men's fashion, a new gay influence became evident. Because gay men were often more willing to experiment with new ideas, styles, and fabrics in clothing, designers
such as Jean-Paul Gaultier began to look at what was happening at street level and in gay clubs for ideas for their men's collections. Moreover, gay men bought clothes that were influenced by and styled toward a gay aesthetic, so their taste
influenced fashion in both obvious and subtle ways.
The advent of the "new man" (as a media icon) in the 1980s was a result of men's reaction to major social changes brought about by a second wave of feminism. As a consequence, it became acceptable for straight men to be interested in their
appearance, clothes, and grooming products. New magazines aimed at a wider, heterosexual male consumer were published, but even here a gay influence could be perceived. It was not just that gay designers were creating the looks, but gay
stylists, hairdressers, and photographers all exerted a fashion influence. For example, stylist Ray Petri (featured in The Face, i-D, and Arena magazines) drew on looks that he saw in gay clubs to create a whole new style known as Buffalo. Buffalo
style dressed black and white, gay and straight models in an unlikely mix of elements such as cycling shorts, flight jackets, skirts, hats, and boots.
The early 1990s saw the advent of "lesbian chic" in the fashion world. This manifested itself most visibly in a series of photographs in Vanity Fair in 1993, including a cover that featured lesbian singer k. d. lang cavorting with supermodel Cindy
Today it is perfectly acceptable for straight men to be interested in fashion and to be obvious consumers of clothes, grooming products, and fashion or "lifestyle" magazines. Popular figures, such as soccer player David Beckham, are avid
consumers of clothes and even acknowledge their debt to gay men's influence on fashion. In an age where homosexuality is tolerated and to a great extent accepted in major urban centers, it has become increasingly difficult to distinguish gay
and straight men, and lesbians and straight women, on the basis of their dress. Acknowledging this, Elizabeth Wilson poses the following question: "Throughout the queer century we have disguised and revealed our deviant desires in dress,
masquerade, disguise. Now that everyone's caught on in a postmodern world, what do we have to do to invent new [gay and] dyke style?"
|2019's Celebrate ORGULLO The Art of FASHION | ARTE de la MODA, will explore all things
ART|ARTE, MODA|FASHION & CULTURA|CULTURAL about our community.
Fashion Forum | Community Forum and Q&A with expert panelists, Discussing Fashion, Design,
Art & the effects of AIDS on our community & talents.
Fashion Movie Night | Come enjoy McQUEEN, the life docu of Fashion Icon Alexander McQueen, presented by OUTShine Film Festival,
at the Gaythering Hotel library, in a Free, Fun & Social setting!!
ArtDiva BUS TOURS | VIP access to local artists, galleries & locations, with on board mistresses -
entertaining you, singing, dancing, pouring you some libations & sharing light fare along the way. This year we hit the road to:
1- Frost Art Museum@FIU and the Art After STONEWALL Exhibit
2- Art Deco Behind the Scenes in South Beach with Herb Sosa | Wolfsonian and Jewish Museum
3- Downtown Miami studios of RALF VIDAL, MANAMass@777 building
4- The Artists Warehouse in Oakland Park with YANKIEL MOMPELLER
ArteORGULLO | Exhibits at PRIDELINES Miami and around town of local, national and international artists, making
their mark and making a difference, featuring the work of MIGUEL RODEZ; one of a kind
DivaDolls, created by Artists & Icons, in their own image, & offered for auction.
FASHION GALA | Honoring the Best in our community, the Legends Honors Awards are presented at our annual fundraiser Gala.
Past recipients include Congresswoman Ileana Ros-Lehtinen, choreographer Pedro Pablo Peña, conductor Sebrina Alfonso,
Broadway producer Richard Jay-Alexander, singer Amara La Negra, & many more.
This year our GALA will be at the FROST ART MUSEUM at FIU, and feature the Art after STONEWALL curated exhibit,
The Art of ILLUSION |a showcase of avant-garde fashion designs & designers on the on the streets and in your dreams,
featuring the work of fashion designers CHAPLIN TYLER, BO KHASAMARINA in collaboration with artist CHLOE MARTINI,
and others, along with open bar, hors d’ oeuvres, live music and much more, Saturday, Oct 12th – 7pm.
DINNER, MODA y JAZZ | A fusion of Latin|Hispanic & Jazz performers, along with Spoken Word … oh yeah, & a delish dinner on South Beach!
Tuesday, Oct 1st
Community Forum and
Q&A with expert panelists,
Discussing Fashion, Design,
Art & the effects of AIDS on
our community & talents.
Snce the first AIDS cases were reported in the United States in June 1981, the number of cases and deaths among persons with AIDS increased rapidly during the 1980s followed by substantial
declines in new cases and deaths in the late 1990s.
There were about 940,000 deaths from AIDS in 2017. The 2015 Global Burden of Disease Study, in a report published in The Lancet, estimated that the global incidence of HIV infection peaked in
1997 at 3.3 million per year.
In 2016, new HIV infections were estimated to be at 39,782 in the United States. This is down from 47,500 in 2010.
About 1.1 million people in the United States were living with HIV at the end of 2015, the most recent year this information was available. Of those people, around 15% (1 in 7) do not know they are infected.
How HIV Affects Different Groups of People.
By race and ethnicity | African Americans are most affected by HIV. In 2015, African Americans made up only 12% of the US population, but had 42% of all new HIV infections. Additionally,
Hispanic/Latinos are also strongly affected. They make up 17% of the US population, but had 26% of all new HIV infections.
By age | Young people, aged 13-24 are especially affected by HIV. They comprised 16% of the US population, but accounted for 26% of all new HIV infections in 2010. All young people are not equally at
risk, however. Young men who have sex with men (MSM), for example, accounted for 72% of all new infections in people aged 13-24, and young, African American MSM are even more severely affected.
According to the Centers for Disease Control, "In 2010, African American gay, bisexual, and other men who have sex with men represented an estimated 72% (10,600) of new infections among all African
American men and 36% of an estimated 29,800 new HIV infections among all gay and bisexual men. More new HIV infections (4,800) occurred among young African American gay and bisexual men
(aged 13-24) than any other subgroup of gay and bisexual men."
By risk group | Gay, bisexual, and MSM of all races and ethnicities remain the population most profoundly affected by HIV. In 2015, MSM had 68% of all new HIV infections, even though they made up only
around 2% of the population. Individuals infected through heterosexual sex made up 25.3% of all new HIV infections in 2015.
By geography | HIV is largely an urban disease, with most cases occurring in metropolitan areas with 500,000 or more people. However, HIV is not just isolated to metropolitan areas, rural areas can be
effected as well. The South has the highest number of individuals living with HIV, but when you take population size into account, the Northeast has the highest rate of persons living with new HIV
By the end of December 2017, a total of 12,635 persons were living with HIV/AIDS in Indiana. Most people living with HIV/AIDS in Indiana are concentrated in the urban areas of the state, however rural
areas can also be affected. The majority live in Central Indiana and the Indianapolis Metropolitan area.The disease continues to be male dominated, with the number of diagnosed males just over four
times higher than that of females. In 2017, the breakdown by ethnicity for those with the disease were: White - 48.4%, Black - 38%, Hispanic - 8.9%, Other - 4.7%.
Worldwide, there were about 1.8 million new cases of HIV in 2016.
Over 36 million people are living with HIV around the world, and in 2016, around 19.5 million people living with HIV were receiving antiretroviral therapy (ART).
An estimated 1 million people died from AIDS-related illnesses in 2013, and an estimated 39 million people with AIDS have died worldwide since the epidemic began.
Sub-Saharan Africa bears the biggest burden of HIV/AIDS, with almost 70% of the global total of new HIV infections for 2013. Other regions significantly affected by HIV/AIDS include Asia and the Pacific,
Latin America and the Caribbean, and Eastern Europe and Central Asia.
The revered fashion designer’s style was known
for being minimalist, and the designer often used
cashmere and Ultrasuede. His most famous
clients were Jackie Onassis, Andy Warhol, and
Liza Minnelli. He was also a figure of '70s nightlife
in New York and was a staple at the famed disco
Studio 54. His long time love was rumored to be
window dresser, Victor Hugo. Halston died in
1990 in San Francisco of Kaposi’s sarcoma, an
Perry Ellis (1940-1986)
Ellis is best known for his casual American style
of sportswear. His use of khakis, hand-knitted
sweaters, and oversize jackets led The New York
Times to proclaim that he “glorified the clean-cut,
all-American look.” At the time, his cause of death
was listed as viral encephalitis, but rumors of
Ellis’s HIV-positive status made news after it
came to light that his lover and business partner,
Laughlin Barker, died of Kaposi’s sarcoma, an
AIDS-related cancer. The Los Angeles Times ran
a 1986 series on journalistic ethics and whether it
was appropriate to include AIDS rumors in news
stories, with Ellis serving as the focus
Freddie Mercury (1946-1991)
Mercury, the front man for the widely successful
British rock band Queen, was known as bisexual
to many in the music industry. Shortly before his
death, a very gaunt Mercury joined his band
mates for one final video, “These Are the Days of
Our Lives,” a song in which the singer
reminiscences about his younger days. Mercury
died of bronchopneumonia brought on by AIDS in
1991, only one day after he publicly
acknowledged he had the disease. In 2010,
Rolling Stone named him number 18 on its list of
the 100 greatest singers ever.
Celebrate ORGULLO 2019 | South Florida’s first Hispanic LGBT Pride festival
- enters its 9th successful year with an International Artists Showcase,
ART|DIVA Bus Tours, Music, Writers Salons, A GALA and much more.
Celebrate ORGULLO continues to showcase quality events, artists, performances &
programming to Miami’s first Hispanic LGBT Pride festival. For 2019, we are
celebrating the ART of FASHION, through Art, Music, Dance, Photography, Film and
Proceeds benefit our LGBT Scholarship Fund and year round programming of the
Unity Coalition|Coalicion Unida, Inc.
Unity Coalition|Coalición Unida is a Florida 501(c)3 non-profit whose focus is the
Leadership, Protection & Promotion of Latinx|Hispanic LGBTQ rights (lesbian, gay,
bisexual, transgender, questioning) - The only organization of its kind in South
Florida since 2002.
We are proud to present the Annual Celebrate ORGULLO Festival which highlights,
celebrates and supports the contributions of the Hispanic LGBT community.
ABOUT NATIONAL HISPANIC HERITAGE MONTH
The observation started in 1968 as Hispanic Heritage Week under President
Lyndon Johnson and was expanded by President Ronald Reagan in 1988 to
cover the 30-day period from September 15 through October 15. The day of
September 15 is significant because it is the anniversary of independence for
Latin American countries Costa Rica, El Salvador, Guatemala, Honduras and
Nicaragua. In addition, Mexico and Chile celebrate their independence days
on September 16 and September 18, respectively.
|Celebrate ORGULLO 2019 | El primer festival hispano LGBT Pride del sur
de la Florida: entra en su noveno año exitoso, con una muestra internacional de
artistas, Viajes en omnibus a estudios de artistas, musica y literatura, una GALA,
y mucho mas.
Celebrate ORGULLO continúa exhibiendo eventos de calidad, artistas, actuaciones y
programación en el primer festival hispano de Orgullo LGBT de Miami. Para el 2019,
estamos honrando el ARTE de la MODA, a través de Arte,
Música, Danza, Fotografía, el Cine y la Palabra Hablada.
Unity Coalition|Coalicion Unida es una organisacion sin fines de lucro de la Florida, con
enfoque en el Liderazgo, protección y promocion de los derechos civiles de la comunidad
latinx|hispanx LGBTQ (lesbianas, gay, bisexual, transgénero, cuestionando)
en el sur de la Florida desde el 2002.
Somos orgullosos de presentar el Festival Celebrate ORGULLO, que celebra,
presenta y respalda las contribuciones de la comunidad hispana LGBT.
SOBRE EL MES DE LA HERENCIA HISPANA
La observación se inició en 1968 como la Semana de la Herencia Hispana durante la
presidencia de Lyndon Johnson y fue ampliado por el presidente Ronald Reagan en
1988 para cubrir un período de 30 días a partir del 15 de Septiembre hasta el 15 de
Octubre. El día 15 de Septiembre es importante porque es el aniversario de la
independencia de varios países de América Latina como Costa Rica, El Salvador,
Guatemala, Honduras y Nicaragua. Además, México y Chile celebran su independencia
el 16 y 18 de Septiembre, respectivamente.