From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #10870 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Thursday, March 9 2023 Volume 14 : Number 10870 Today's Subjects: ----------------- Sit comfortably everywhere you go ["Klaudena" ] ---------------------------------------------------------------------- Date: Thu, 9 Mar 2023 12:44:31 +0100 From: "Klaudena" Subject: Sit comfortably everywhere you go Sit comfortably everywhere you go http://clarisilpro.shop/4V7NF7TzPgWhocVSRYn1jble4DGiseRRVZljAAfnXTLqlAodGA http://clarisilpro.shop/9z2LZby5jLGzVBtZ1KI6bRaTldbemBvCxUd89XhlJwNBrdNqCg Some writers have explored the artistic and cultural implications of the armadillo heels. Their existence as impractical but visually striking footwear has been used to support the argument that fashion is an art form in its own right. Writing for The New York Times in 2009, Amanda Fortini connected their immense height to the so-called hemline theory, which posits that fashion designs tend to reflect the state of the economy. She suggested that the extreme heels on the armadillo boots reflected an attempt to "lift our collective spirits" given the impact of the Great Recession of 2008. Fashion historians Beth Dincuff Charleston and Francesca Granata have each argued, in 2010 and 2017 respectively, that the shoes function closer to medical or corrective devices than footwear. Mass media theorist Paul Hegarty discussed Lady Gaga's use of the armadillo heels in her "Bad Romance" video as a combination of dominance and submission: their height restricts Gaga's movement, indicating submissiveness, but her ability to walk in them indicates a subversive kind of dominance. In this way, the video "looks at complicity with controls as a way of surmounting them". In 2014 Isabelle Szmigin and Maria Piacentini discussed them as an example of how high fashion concepts b in this case, extremely high heels b are absorbed into popular culture and then spread to individuals, affecting their desires and behaviour as consumers. Shahidha Bari, professor of fashion cultures, described them in 2020 as a parody of a ballerina's pointe shoes: "gorgeous and cruel, but it also makes explicit the mercilessness of the pointe shoe". Philosopher Gwenda-Lin Grewal called them an example of surrealist high comedy in fashion, comparing them to the absurdist shoe hat created by Italian designer Elsa Schiaparelli in 1937. Performance scholar Franziska Bork Petersen picked up the thread of Charleston and Granata's arguments in her book Body Utopianism (2022), analysing the armadillo shoes as analogous to prosthetics in their altering of the human form. Petersen noted that while watching the runway show, the distinctive gait of the models wearing the armadillo heels became a visual norm, and that the more typical gait of models wearing other shoes "stand out in their otherness." She argues that their ability to wear the difficult shoes proficiently makes them "technicians" on the runway, and that it is the movement of the models which completes the visual impact of the sho ------------------------------ End of alt.music.moxy-fruvous digest V14 #10870 ***********************************************