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As Clare Sears writes in “Electric Brilliancy: Cross-Dressing Law and Freak Show Displays in Nineteenth-Century San Francisco,” public, but not private cross-dressing was against the law and, she notes, “As such, cross-dressing was marked as a deviant and secretive practice, rather than a public activity and identification.” A widow’s garb was the perfect cover for a transvestite, who, given the usual domestic organization of a 19 th -century working-class household, had little privacy or time for cross-dressing

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The Black dandy’s style is, from the beginning, always simultaneously personal, cultural, representative of ‘the race,’ and about representation even as it evaluates norms of racialization, class privileges, gender assignments, and the rules of sexuality in ways similar to that of his European dandy brothers.” This is where the queerness of the dandy enters the conversation—not always in terms of sexual identity, but in the broader sense of existing outside societal norms

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