The transgender population of the 1960s was a hidden one. When those in the trans community at the time were open, they risked violence, criminalization, criticism, harassment, loss of employment, becoming unhoused, disownment, and in extreme cases death from hate crimes. Needless to say, it was difficult to be out during this time, but even those who must hide long for community. The magazine Transvestia, crafted a community of crossdressers and trans individuals through their publication. This magazine was founded by Virginia Prince in the 1960s. Virginia Prince herself was a transgender woman, activist, and author. She published the issues bi-weekly via Chevalier Publications in Los Angeles. This was at least until 1980 when Transvestia was sold and continued under Carol Beecroft. Transvestia lasted six more years, before the publication ended in 1986. (“Transvestia.”)
Transvestia states its purposes in each volume. Volume 1 No. 5 describes three objectives. “To provide EXPRESSION for those interested in the subjects of exotic fashion and unusual dress.” “To provide INFORMATION to those who, through ignorance, condemn that which they do not understand.” “To provide EDUCATION for those who see evil where none exists.” (Prince, Virginia 1960) This volume goes on to reaffirm its objectives and to make it clear this publication is dedicated to "transvestism" and not things like homosexuality, lesbianism, bondage, etc. as those topics have their own magazine. “Thus, Transvestia is for Transvestites.” (Prince, Virginia 1960) It also confirms via poll results that there are, in fact, many people interested in “transvestism” alone for this magazine to focus on it solely.
Starting from Volume 1, No.1, the base design of the Transvestia masthead was created. The masthead, as well as the system of the magazine cover changed many times during Transvestia's active period. From Vol. 1, No. 5 - Vol. 8, No. 48, the masthead changes a few times but keeps a similar font and design approach. Each time the masthead changes, the lace at the far left of the magazine changes, as well as how the photo is framed, and how it displays its respective volume number. When the masthead and lace are remaining consistent, the only thing that changes from cover to cover is the single color used, and the cover girl, who gets her own segment of the magazine where they may recount their journey with gender and appearance. In this way Transvestia acts almost as a forum of sorts.Then from Vol. 9, No. 50 the masthead changes drastically to a script font. Transvestia no longer shows a cover girl, but rather a lone simple illustration that remains consistent until Vol. 10, No. 61. It is at this point the illustration is joined by geometric framing. The masthead also changes to a non-script font, but it is still unlike its original font. Cover girls make a comeback on Vol. 17, No. 101. They are framed by a rounded square graphic, and the masthead has now changed to a 3D font. Vol. 18, No. 104 and onward keep this masthead and system, but the square has changed into an oval and there is a color background surrounding the rest of the page.
As for the interior side of Transvestia, it remains virtually the same up until Vol. 10, No. 61. Before this, Transvestia was not heavily designed in the way other magazines are. The only time design is experienced is arguably on the cover and the placement of images inside the magazine. Otherwise, this magazine’s text is set like a book. In Vol. 10, No. 61 we start seeing some graphics used alongside the text. These frame the table of contents as well as titles throughout the issue. The use of simple graphics is some of the few design choices used in Transvestia up until Vol. 18, No. 104. In this issue the text is put into columns, sometimes with lines dividing them, as well as drop caps, illustrations, and title hierarchy.
Citations
Prince, Virginia, Transvestia, vol. 1, no. 5, Chevalier Publications, Sept. 1960
“Transvestia.” Nypl.Org, www.nypl.org/events/exhibitions/galleries/seen-community/item/10934. Accessed 6 Sept. 2026.
