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Among the diverse fabric of masculinities that prestigious authors such as Pedro Calderon de la Barca, Tirso de Molina and Agustin Moreto weave into their plots, fashion proves to be a common thread and a particularly useful tool. Thus, as I approach the idea of "Fashionable Masculinities" and investigate a few "macho" and/or not so "macho men" in Early Modern drama I hope to go beyond the traditional interpretations, stereotypes and icons often associated with men---in particular, Spanish men in Golden Age drama. This will be achieved by revisiting typical cases and compared through research and documentation of atypical representations of maleness that could be considered displacements and/or subversions of the social matrix. In effect, this study explores how the male ideal is shaped and judged both by the essence of his personality, as well as his physical appearance (i.e.: clothing, hairstyle, mannerisms, discourse and voice). As such, it becomes evident that masculinity is moulded, influenced, enhanced, exaggerated and even muted as it is subject to the whim of different fashions prevalent at a specific moment in time. Moreover, a multitude of social, cultural, racial and historical factors determine the always changing image of the so called "macho man". / Therefore, in order to explore distinct representations of masculinity I approach three different comedias by three different playwrights while comparing how the main character's masculinity fared in three very important spaces: physical, social and sexual. I focus my attention on Saber del mal y del bien by Calderon. Secondly, Don Gil de las calzas verdes by Tirso and explored El lindo don Diego by Moreto. Each one the these represents a different degree of palatable male identities given this particular social construct.

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