The latest version of women’s styles en travesti, exemplified by yesterday’s dour black and white portrait of London architect Sophie Hicks looking stern in Céline, brings to mind the fashion’s most outspoken proponent during the 1780s and 1790s: Marie-Antoinette. While Caroline Weber championed the queen’s “heroic” adoption of equestrian styles in her 2006 book, suggesting that dressing as a man was proof of her strong character and visionary fashion sense, Marisa Linton in her 2013 book reminds us of another reason for dressing like a man: invisibility. As the New York Times article states, “Invisible. That is what Phoebe Philo’s clothes for Céline make you feel. … Simply invisible. A woman in a perfectly cut shirt and a pair of pants. And, oh, what a relief!” What better reason to dress like a man, especially if one needed to sneak out of the castle at night to attend meetings of the Austrian Committee.