In January 1977, Potassa de Lafayette visited Andy Warhol’s studio wearing a black velvet and taffeta evening gown. The Dominican model sat for sketches by visiting artist Jamie Wyeth and photographs taken by Warhol that together reveal the sequence in which Potassa raised her skirt and lowered her stockings to expose her penis. This contribution explores Potassa’s strategies of self-presentation amid the politics at play in the studio that day. The author reads Potassa as a self-possessed figure fully in control of her image because hers is an identity not predicated on a gendered or sexed body, but on a visual sensibility – as one who ‘loves beautiful things’. As an aesthete and as one of the first openly transgender models of color, Potassa, the author argues, negotiated difference through beauty and glamor in Warhol’s studio and across New York’s high art and fashion scenes.

中文翻译：

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“我是一个喜欢美丽事物的人”：Potassa de Lafayette 作为模特和缪斯

1977 年 1 月，Potassa de Lafayette 穿着黑色天鹅绒和塔夫绸晚礼服参观了安迪沃霍尔的工作室。这位多米尼加模特坐在来访艺术家杰米·怀斯 (Jamie Wyeth) 的草图和沃霍尔 (Warhol) 拍摄的照片中，这些照片共同揭示了波塔萨 (Potassa) 提起裙子并放下丝袜以露出阴茎的顺序。这篇文章探讨了 Potassa 在当天工作室里的政治活动中自我展示的策略。作者将 Potassa 解读为一个自我拥有的人物，完全可以控制她的形象，因为她的身份不是基于性别或性别的身体，而是基于视觉敏感性——作为一个“热爱美丽事物”的人。作者认为，作为美学家和第一个公开的跨性别模特之一，波塔萨，