While some would argue the format of the freak show never gone away, the scopophilic frisson of the American sideshow, coupled with the message that internal depravity rather than physical disability is the true marker of the ‘freak’ has largely been absent in popular culture since Tod Browning’s ‘Freaks’ was filmed in 1932.
Though journalist James Harkin‘s theory sits in the context of economics, it could be applied to the rise of niche fragrances we are currently witnessing. While large beauty corporations like Coty, Givaudan or International Flavors and Fragrances (IFF) continue to thrive, small ‘niche’ companies have proven to be highly successful competitors.
The Fashion Cycle, or Trend Cycle, helps us trace a garment’s journey from ‘in’ to ‘out’ of fashion. It’s a idea most would be familiar with, even those who don’t maintain a particular interest in fashion, since it presents a framework for looking at the economics of the fashion system as a whole, encompassing high to low.
The really nasty ones, the killers, the rapists, the child killers and child rapists; the ones who have been held in custody, denied bail, too dangerous to release, flight risk, suicide risk; they arrive in prison vans. They’re tricky, the vans. The toughened plastic windows are tinted, and we all hold up our cameras and take shot after shot anyway, but almost all of the time the results are useless. Nothing but close-ups of a black plastic window.
The term ‘unisex’, rather fittingly, was coined in the Sixties. Prefixing ‘sex’ with ‘uni–‘ (meaning ‘one’) in the context of fashion refers to a single garment or aesthetic that is shared by both sexes. It suggests that a garment or hairstyle is not engendered and can be worn by either sex without connotations of masculine or feminine.
‘There is an obvious and prominent fact about human beings,’ notes Bryan Turner at the start of The Body and Society, ‘they have bodies and they are bodies.’ However, what Turner omits in his analysis is another obvious and prominent fact: that human bodies are dressed bodies.
The dress she would wear was laying out on the bed. Hazel and Etta had both been good about lending her their best clothes – considering that they weren’t supposed to come to the party. There was Etta’s long blue crêpe de chine evening dress and some white pumps and a rhinestone tiara for her hair. These clothes were really gorgeous. It was hard to imagine how she would look in them.