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Genetically Baroque Beings: Cybergender, Transexuality and Natrificiality

Adam Geczy

Source: The Artificial Body in Fashion and Art. Marionettes, Models, and Mannequins, 2018, Berg Fashion Library

Book chapter

Take La CicciolinaLa Cicciolina. Is there any more wonderful embodiment of sex, of the pornographic innocence of sex? She has been contrasted with MadonnaMadonna, the virgin product of aerobics and a glacial aesthetic, devoid of all charm and sensuality, a muscled android, ripe for precisely that reason for conversion into a computer-generated idol on account of the strange deterrence she generates. But, if we think about it, is not La Cicciolina also a transexual? Her long, platinum-blonde hair,

Academic Research on Footwear

Yuniya Kawamura

Source: Sneakers. Fashion, Gender, and Subculture, 2018, Berg Fashion Library

Book chapter

Human beings have been covering their feet and wearing some form of footwear for centuries. While there are countless accounts on who created the first shoes or why/where they were first made, the primary common reason for wearing shoes was to protect feet from an unpleasant or dangerous natural environment. For instance, an American sailor’s shoe in the nineteenth century was made out of hemp cord because it provided traction even when it was wet, and double rubber-walled insulated boots were ma

Siouxsie Sioux

Fiona Corbridge

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

The Medusa-like Siouxsie Sioux, who fronted her own band, Siouxsie and the Banshees, is closely identified with 1970s British punk and the post-punk era. Gleefully subverting convention and with an inescapably dark aesthetic, forbidden worlds of sex and fetishism were crossed with theatrical display in a wardrobe that was crowned by the graphic beauty of a pale face with exaggerated kohl eyes, red lips, and savage spikes of dark hair. Fashion has continued to embrace the theme of subversion and m

Pam Hogg

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Fetish

Frenchy Lunning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

This article discusses the origins and history of fetish fashions (and gives an explanation of forms and functions) from the late nineteenth century to the early twenty-first century. Beginning with late nineteenth-century Paris, when these forms came into play, it tracks the development through modernist culture and into the postmodern culture of the late twentieth and early twenty-first centuries, noting the similar cultural conditions of gender instabilities and roles. It explains how fetish f

Vivienne Westwood

Aimee Scott

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Mugler

Laura Snelgrove

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Fashion and the Law: The Muslim Headscarf and The Modern Woman

Barbara Vinken

Source: Fashion Media. Past and Present, 2013, Berg Fashion Library

Book chapter

Subcultural Body Style and Identity

Therèsa M. Winge

Source: Body Style, 2012, Berg Fashion Library

Book chapter

Each subculture member has individual lived body experiences, which collectively create the generalizations about the subculture’s identity. These generalizations are then further extended to collective ideas about identity regarding the individual member, the specific subculture, and the entirety of all subcultures to some degree. The subcultural body becomes an amalgam of experiences—for example, piercings, tattoos, spiky hair, and propensity toward pain. Furthermore, each subculture has unwrit

Subcultural Body Style

Therèsa M. Winge

Source: Body Style, 2012, Berg Fashion Library

Book chapter

While it may seem contrary to the individualistic nature of subcultures, these groups have style guidelines expected by members. Subcultural groups subtly and visually communicate acceptable dress and styles to current and future members, as well as to outsiders and posers (i.e., individuals who purposefully mimic subcultural dress). Accordingly, Ted Polhemus and Lynn Proctor (1978) state: The dress code of a social group prescribes limits, not absolute uniformity. To suggest that social identity

Fetish Fashion

Valerie Steele

Source: The Berg Companion to Fashion, 2010, Berg Fashion Library

Encyclopedia entry

Becoming Neo: Costume and Transforming Masculinity in the Matrix Films

Sarah Gilligan

Source: Fashion in Fiction. Text and Clothing in Literature, Film, and Television, 2009, Berg Fashion Library

Book chapter

Magic Fashion

Elizabeth Wilson

Source: Classic and Modern Writings on Fashion, 2nd Edition, 2009, Berg Fashion Library

Book chapter

Routine makes drudgery of beauty care and the upkeep of the wardrobe. Horror at the depreciation that all living growth entails will arouse in certain frigid or frustrated women a horror of life itself; they endeavour to preserve themselves as others preserve furniture or canned food. This negative obstinacy makes them enemies of their own existence … good meals spoil the figure, wine injures the complexion, too much smiling brings wrinkles, the sun damages the skin, sleep makes one dull, work we

Goth Music and Media

Dunja Brill

Source: Goth Culture. Gender, Sexuality and Style, 2008, Berg Fashion Library

Book chapter

As a music-based subculture, Goth and its gendered meanings call for an analysis of how gender is represented in Gothic music and the subcultural music press. However, there is a crucial difference between the self-representations of individual Goths in interviews or Internet forums, on the one hand, and the mediated, formally published sonic, textual and visual representations in Goth music and media, on the other hand. There exist different cultural fields in or through which the Gothic subcult

Revealing and Concealing: Observations On Eroticism and Female Pubic Hair

Jack Sargeant

Source: Hair. Styling, Culture and Fashion, 2008, Berg Fashion Library

Book chapter

[H]e strained until the corners of his eyes began to ache. He tried all the obscenity he knew, but words alone couldn’t penetrate that thicket.

Hell for Leather: Bikers, fum and Fetishisation

Shaun Cole

Source: ‘Don We Now Our Gay Apparel’. Gay Men’s Dress in the Twentieth Century, 2000, Berg Fashion Library

Book chapter

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