Oscar Wilde enjoyed the extravagant promises of the Victorian Age, capturing the imagination of London’s aesthetic elite. However, beyond the enlightened few, everything about the man provoked consternation to the prudish, hypocritical Victorians—from the green carnation in his buttonhole to his sensational novel, The Picture of Dorian Gray.
Like his suits, Wilde, a tireless self-promoter and purveyor of the unforgettable bon mot, was exquisitely tailored. While young, he was best dressed in bold plaid, plus fours, starched shirts with high, tight collars or gabardine suits cut short above the hip. Wilde traded his own slender, youthful visage (French
pleated hair and Cupid lips) for a bloated middle age rife with extravagant capes and voluminous fur-lined coats.
In his revisionist biography of Oscar Wilde, Who Was That Man?, Neil Bartlett describes how Wilde became a huge man with a penchant for young, willowy boys. He was an intriguing mass of contradictions: The love letters he sent to his wife, Constance, are as beautiful as the letters he sent to the dark-hearted “Bosie,” his lover. The innocent stories he wrote for his beloved children were a counterpoint to the pornographic tales he created from his forays into London’s dank underworld.
The pornography attributed to Wilde in the British Library, under the pseudonym “Teleny,” reveals his sado-pedophilic fantasies. Young boys figure highly in these violent, disturbing texts. The virginal youths are deflowered by older, cruel men, their innocence torn from them.
In The Picture of Dorian Gray, it is the reworking of these same themes that lead Wilde to his pessimistic and wholly modern conclusions about our shared horror of the loss of youth and how we might reclaim it.
When casting for a perfect Dorian, I was not interested in hiring a great beauty, but rather, a young boy. After all, beauty is subjective, youth indisputable.
For the movie’s Dorian Gray, it was imperative that our actor, David Gallagher, look effortlessly chic. David is very much the stick-thin look of right now and Dior Homme (as reinvented by our costume designer, Hedi Slimane). Dressing the literary youth icon of our age was a perfect solution for us and Dior: Slimane set his homoerotic boy-man aesthetic against the new Puritanism of American mainstream culture.
It is Lord Henry Wotton who appeals to the youthful Dorian Gray and speaks for the moisturized 40-plus generation, when he says to Dorian: “I wish that I could change places with you. To get back my youth; I’d do anything in the world. You are the type that the age is searching for and is afraid that it has already found. The world has always worshipped you—and it always will.”
If Wilde’s sensational sodomy trial had happened today, would the acclaimed wit have ended up in prison? Given that we find it hard to throw celebrities in jail, perhaps not. But Wilde’s predilection for sex with underage boys? I am sure that his hard drive would have been littered with unsavory images of children.
Once in prison, Wilde was given a thin gray cotton shirt and pants. Issey Miyake—or Kim Jong Il—might have gotten a kick out of this minimal Bauhaus look, but Wilde loathed it and woefully described his prison uniform in the poem The Ballad of Reading Gaol. A couple of years later, he was dead. (“It’s either me or the wallpaper.”) But as hard as I look, I cannot discover what he was buried in. Except, of course, shame.
This article was edited by Black Book for whom the piece was originally written. It has been pointed out to me that Hedi lent us the clothes for Dorian rather than designing them for the film. I have also been asked what happened to the film. How did it do? Well, in my own estimation it did OK. It closed the London Lesbian and Gay film Festival, opened the Miami G&L film festival and opened the New York G&L film festival amongst others. It had a small life and then vanished.
