![]() ![]() ![]() Her analysis is sometimes sketchy, but this is a thought-provoking overview of the relationship between sex and clothing. Steele's greatest strengths here are her flexible perspective and her deft negotiation of various theoretical perspectives. Consequently, psychoanalytic arguments that the fetish is always a stand-in for the phallus or feminist claims that certain fashions like corsets and high heels are intended to oppress women are potentially valid but reductive. The fascination with fetishist garb-corsets, underwear as outerwear, the use of ``kinky'' fabrics like rubber and leather-among prominent contemporary designers may, she proposes, signal our own culture's willingness to blur the boundaries between the ``normal'' and the ``perverse.'' Steele puts forward a fluid definition of fetishism, noting that its devotees exhibit a wide range of behaviors and that one particular style or object can have a variety of different meanings for different people. Although regarded as an essential element of fashionable dress from the Renaissance into the twentieth century, the corset was also frequently condemned as an instrument of torture and the cause of ill health. She asserts that fashion trends both reflect common sexual fantasies and help construct gender identities in this sense, clothing can function as an important marker of a culture's sexual politics. The corset is probably the most controversial garment in the history of fashion. Drawing on psychoanalytic, poststructuralist, feminist and Marxist theory, cultural historian Steele (Fashion and Eroticism) explores the role fetishist sexual practices play in shaping fashion history. ![]()
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