Latex

Latex (pronounced ley-teks)

(1) A sometimes colorless, sometimes milky liquid containing protein, starch, alkaloids etc in certain plants, which exists in plants such as milkweeds, euphorbias, poppies, or the plants yielding India rubber, that coagulates on exposure to air.

(2) In chemistry, a suspension of synthetic rubber or plastic in water, used in the manufacture of synthetic rubber products.

(3) In industrial chemistry, a manufactured emulsion of synthetic rubber or plastic droplets in water that resembles the latex of plants. It is used in paints, adhesives, and synthetic rubber products.

(4) A general term, used as noun or adjective for latex products.

(5) In ancient medicine, clear liquid believed to be a component of a humor or other bodily fluid, especially plasma and lymphatic fluid (obsolete).

(6) In computing, as LaTeX, a digital typesetting system for mathematical and scientific formulae layout, based on the code of TeX.

1655–1665: From the Medieval Latin latex (genitive laticis) (clear fluid which is part of a humour or bodily fluid), a variation of the Classical Latin latex (water; liquid, fluid) which may be from the Ancient Greek λᾰ́τᾰξ (látax) (dregs or a drop of wine), from the primitive Indo-European root lat (wet; moist) but etymologists note the semantic shift from "drop of wine" to "water" is undocumented and may indicate origins from separate languages.  It’s also speculative that the Old & Middle Irish laith (liquid; beer), the Old High German letto (clay, loam), the Welsh llaid (mud, mire) & llad (beer), the Proto-Celtic lati-, Proto-Germanic ladjō-, the Old Norse leðja (mud, dregs), the Lithuanian latakas (pool, puddle) and the Old Norse leþja (filth) are related.

Demask Latex Shop, Zeedijk 64, 1012 BA Amsterdam, The Netherlands.

From 1835 the word was used in the sense of "the milky liquid from plants", the meaning "water-dispersed polymer particles" as used in rubber goods, paints and other industrial products) dating from from 1937.  Latex was first noted as an adjective in 1954 as a popular (and more convenient) substitute for the classically correct laticiferous.  Thoughtfully, the developer of LaTeX (the TeX-based digital typesetting system) provided a pronunciation guide, the final consonant of TeX pronounced similar to loch or Bach.  The letters of the name represent the capital Greek letters Τ (tau), Ε (epsilon), and Χ (chi), as TeX is an abbreviation of Ancient Greek τέχνη (tékhnē) (the root word of "technical").  Inevitably however, English speaking nerds who haven't read the guide often pronounce it tek.  The noun latexosis is used to refer to an abnormal flow of latex from a plant.  Latex is a noun & adjective; the noun plural is latexes.

Notes on Latex

Latex is a natural material that requires special care not necessary for fabrics. It is sensitive to external factors that cause tearing, discoloration or weakening.

What to avoid

Oil: Oils will degrade latex so avoid any contact with oil-based fluids or solvents, hand creams, grease, leather etc. Always handle latex with clean hands.

Metal: Latex will react with copper, brass and bronze, resulting in stains; even handling these metals before touching light colored latex may result in discoloration.

Sunlight, heat and humidity: Exposure to sunlight or other UV light sources will cause white patches where the color has been bleached, dark colors being especially prone to this.  Exposure to heat and humidity may result in discoloration or degradation.  Latex is flammable and should not be exposed to raised temperatures; this includes radiators, heat sources and tumble dryers.

Rita Ora in Latex, London, January 2023.

Sharp objects:  Any sharp object can puncture or tear latex so observe particular caution with long fingernails; those required frequently to handle latex are recommended to wear cotton or latex gloves.

Flame:  Latex is flammable; it must not be exposed to flame.

Ozone: Ozone is produced from oxygen by UV-radiation from the big industrial fluorescent lamps.  Prolonged storage without a protecting bag will lead to damage not unlike sunlight, the consequences being discoloration and brittleness.

Polishing

Latex can be rendered in a matte or polished finish.  To achieve a shine, coat surface in a silicone lubricant or other latex polish; this may be sprayed or spread, either with bare hands or a soft, lint-free cloth (Don't rub too hard; this can damage latex.  With transparent latex, applying the liquid to both sides will enhance the transparency.

Lindsay Lohan in Latex, 2020.

Cleaning

Latex should regularly be cleaned by rinsing well in warm water.  Some manufacturers recommend using a mild soap, while others suggest only water, the general principle being to follow their recommendations.  To dry, hang on a plastic or wooden hanger or lay flat; latex can be wiped gently with a soft towel to decrease drying time if desired.  When one side is dry, turn inside out and let the other side dry.  When completely dry, separate any latex that has stuck together and lightly dust with talc powder to prevent any further sticking (manufacturers caution against using liquids for this purpose).

Storage

Prepare latex for storage by washing, drying and lightly powdering as described in the cleaning routine.  Ideally, latex should be kept in a black plastic bag in a cool, dry place.  Light and dark pieces of latex should not be stored in direct contact as this can cause discoloration of the lighter.

A latex crop top appended to Duran Lantink's (b 1998) fall 2025 Duranimal collection, Paris Fashion Week, March.  Although technical details weren't provided, based on the realistic "jiggle" achieved, the "garment" may have included "ballistics gel" in the critical elements.

Especially since the ratio of fabric to flesh on red carpets shrunk during the last two decades, critics and the public alike have become jaded, shock and surprise harder to achieve on the catwalk.  However, at Paris Fashion Week 2025, what had become elusive with fabric and flesh and was achieved with latex, a male model appearing in a gender-bending top during the presentation of Dutch designer Duran Lantink's (b 1998) fall 2025 Duranimal collection.  What turned out to be the most publicized item in the Palais de Tokyo Room wasn’t the collection of pieces featuring bold animal prints with striking silhouettes, but one never to be in any high street catalogue, a flesh-colored torso with a pair of realistic, jiggling, prosthetic breasts worn by male model Chandler Frye.

Tit for tat: Mica Argañaraz strutting in latex T-shirt.

What the male mode wore was, in design terms, a crop top, albeit one with untypical choices in material and construction, and the companion piece was worn by model Mica Argañaraz: a T-shirt also in skin-tone latex, molded in the form of an idealized male torso, something like those the sculptors of Antiquity once carved in marble.  Both were on display on a catwalk which snaked around a maze of cubicles filled with headset-wearing workers shuffling and stapling papers, something which may have had some thematic connection which what was on show although no explanation was provided.  While the T-shirt seems to have provoked few comments, there were criticisms of the latex boobs, usually in some way an objection to the objectification of the female body (something generally thought a battle long lost) while others denied this could possibly thought “fashion” which was about as pointless an observation as any of those by the many who over the years have dismissed porcelain urinals, drip paintings and such as “not art”.  When asked about the use of a woman’s body as a “costume” (nobody asked about the make torso), Mr Lantink replied it was “…about cosplay, it’s playing with bad taste, it’s about form. Every season, we’re trying to sort of surprise ourselves with how can we change an original piece into something that we find interesting”, adding: “And we’re gonna do whatever the fuck we want because we’re free.”

Catwalk

Catwalk (pronounced kat-wawk)

(1) A narrow walkway, especially one high above the surrounding area, used to provide access or allow workers to stand or move, as over the stage in a theater, outside the roadway of a bridge, along the top of a railroad car etc; any similar elevated walkway.

(2) By extension, a narrow ramp extending from the stage into the audience in a theatre, nightclub etc, associated especially with those used by models during fashion shows (although the gender-neutral “runway” is now sometimes used in preference to “catwalk”).

(3) In nautical architecture, an elevated enclosed passage providing access fore and aft from the bridge of a merchant vessel.

(4) By extension, as "the catwalk", industry slang for the business of making clothes for fashion shows.

1874: The construct was cat + walk.  The use of catwalk to describe a long, narrow footway was a reference initially to those especially of such narrowness of passage that one had to cross as a cat walks.  It applied originally to ships and then theatrical back-stages, the first known use with a fashion show runway dating from 1942.  In architecture on land and at sea, the catwalk soon lost its exclusive association only with the narrow and came instead to be defined by function, used to describe any walkway between two points.  The noun plural is catwalks.  For both nautical and architectural purposes, the English catwalk was borrowed by many languages including Norwegian (Bokmål & Nynorsk) and Dutch and it’s used almost universally in fashion shows.  Some languages such as the Ottoman Turkish قات‎ use the spelling kat and some formed the plural as catz.

Cat (any member of the suborder (sometimes superfamily) Feliformia or Feloidea): feliform (cat-like) carnivoran & feloid or any member of the subfamily Felinae, genera Puma, Acinonyx, Lynx, Leopardus, and Felis or any member of the subfamily Pantherinae, genera Panthera, Uncia and Neofelise and (in historic use, any member of the extinct subfamily Machairodontinae, genera Smilodon, Homotherium, Miomachairodus etc, most famously the Smilodontini, Machairodontini (Homotherini), Metailurini, "sabre-toothed cat" (often incorrectly referred to as the sabre-toothed tiger) but now most associated with the domesticated species (Felis catus) of felines, commonly and apparently since the eight century kept as a house pet)) was from the Middle English cat & catte, from the Old English catt (male cat) & catte (female cat), from the Proto-West Germanic kattu, from the Proto-Germanic kattuz, from the Latin cattus.

Cat has most productively been applied in English to describe a wide variety of objects and states of the human condition including (1) a spiteful or angry woman (from the early thirteenth century but now almost wholly supplanted by “bitch” (often with some clichéd or imaginative modifier)), (2) An aficionado or player of jazz, (3) certain male persons (a use associated mostly with hippies or sub-set of African-American culture), (4) historic (early fifteenth century) slang for a prostitute, (5) in admiralty use, strong tackle used to hoist an anchor to the cathead of a ship, (6) in admiralty use, a truncated form of cat-o'-nine-tails (a multi-lash (not all were actually nine-tailed)) whip used by the Royal Navy to enforce on-board discipline), (7) in admiralty use, a sturdy merchant sailing vessel (long archaic although the use endures to describe the rather smaller "catboat", (8) as “cat & dog (cat being the trap), a archaic alternative name for the game "trap and ball", (9) the pointed piece of wood that is struck in the game of tipcat, (1) In the African-American vernacular, vulgar slang or the vagina, a vulva; the female external genitalia, (11) a double tripod (for holding a plate etc) with six feet, of which three rest on the ground, in whatever position it is placed, (12) a wheeled shelter, used in the Middle Ages as a siege weapon to allow assailants to approach enemy defenses, (13) in admiralty slang, to vomit, (14) in admiralty slang to o hoist (the anchor) by its ring so that it hangs at the cathead, (15) in computing, a program and command in the Unix operating system that reads one or more files and directs their content to the standard output (16) in the slang of computing, to dump large amounts of data on an unprepared target usually with no intention of browsing it carefully (which may have been a sardonic allusion of “to catalogue or a shortened form of catastrophic although both origins are unverified, a street name of the drug methcathinone, (17) in ballistics and for related accelerative uses, a shortened form of catapult, (18) for purposes of digital and other exercises in classification, a shortening of category, (19) an abbreviation of many words starting with “cat”) (catalytic converter, caterpillar (including as “CAT” by the manufacturer Caterpillar, maker of a variety of earth-moving and related machines)) catfish, etc, (20) any (non military-combat) caterpillar drive vehicle (a ground vehicle which uses caterpillar tracks), especially tractors, trucks, minibuses, and snow groomers.

Walk was from the Middle English walken (to move, roll, turn, revolve, toss), from the Old English wealcan (to move round, revolve, roll, turn, toss) & ġewealcan (to go, traverse) and the Middle English walkien (to roll, stamp, walk, wallow), from the Old English wealcian (to curl, roll up), all from the Proto-Germanic walkaną & walkōną (to twist, turn, roll about, full), from the primitive Indo-European walg- (to twist, turn, move).  It was cognate with the Scots walk (to walk), the Saterland Frisian walkje (to full; drum; flex; mill), the West Frisian swalkje (to wander, roam), the Dutch walken (to full, work hair or felt), the Dutch zwalken (to wander about), the German walken (to lex, full, mill, drum), the Danish valke & waulk), the Latin valgus (bandy-legged, bow-legged) and the Sanskrit वल्गति (valgati) (amble, bound, leap, dance).  It was related to vagrant and whelk and a doublet of waulk.

Walk has contributed to many idiomatic forms including (1) in colloquial legal jargon, “to walk” (to win (or avoid) a criminal court case, particularly when actually guilty, (2) as a colloquial, euphemistic, “for an object to go missing or be stolen, (3) in cricket (of the batsman), to walk off the field, as if given out, after the fielding side appeals and before the umpire has ruled; done as a matter of sportsmanship when the batsman believes he is out or when the dismissal is so blatantly obvious that the umpire’s decision is inevitable, (4) in baseball, to allow a batter to reach first base by pitching four balls (ie non-strikes), (5) to move something by shifting between two positions, as if it were walking, (6) (also as “to full”, to beat cloth to give it the consistency of felt, (6) in the slang of computer programming, to debug a routine by “walking the heap”, (7) in aviation, to operate the left and right throttles of an aircraft in alternation, (8) in employment, to leave, to resign, (9) in the now outlawed “sports” of dog & cock-fighting, to put, keep, or train (a puppy or bird) in a walk, or training area, (10) in the hospitality trade, to move a guest to another hotel if their confirmed reservation is not available at the time they arrive to check-in (also as to bump), (11) in the hospitality trade, as “walk-in”, a customer who “walks-in from the street” to book a room or table without a prior reservation, (12) in graph theory, a sequence of alternating vertices and edges, where each edge's endpoints are the preceding and following vertices in the sequence, (13) In coffee, coconut, and other plantations, the space between the rows of plants (from the Caribbean and most associated with  Belize, Guyana & Jamaica, (14) in orchids, an area planted with fruit-bearing trees, (15) in colloquial use, as “a walk in the park” or “a cakewalk”, something very easily accomplished (same as “a milk-run”) and (16) in the (now rare) slang of the UK finance industry, a cheque drawn on a bank that was not a member of the LCCS (London Cheque (check in the US) Clearance System), the sort-code of which was allocated on a one-off basis; they had to be "walked" (ie hand-delivered by messengers).

A crop top appended to Duran Lantink's (b 1998) fall 2025 Duranimal collection, Paris Fashion Week, March.  Although technical details weren't provided, based on the realistic "jiggle" achieved, the "garment" may have included "ballistics gel" in the critical elements.

Especially since the ratio of fabric to flesh on red carpets shrunk during the last two decades, critics and the public alike have become jaded, shock and surprise harder to achieve on the catwalk.  However, at Paris Fashion Week 2025, what had become elusive with fabric and flesh and was achieved with latex, a male model appearing in a gender-bending top during the presentation of Dutch designer Duran Lantink's (b 1998) fall 2025 Duranimal collection.  What turned out to be the most publicized item in the Palais de Tokyo Room wasn’t the collection of pieces featuring bold animal prints with striking silhouettes, but one never to be in any high street catalogue, a flesh-colored torso with a pair of realistic, jiggling, prosthetic breasts worn by male model Chandler Frye.

Tit for tat: Mica Argañaraz strutting in T-shirt.

What the male mode wore was, in design terms, a crop top, albeit one with untypical choices in material and construction, and the companion piece was worn by model Mica Argañaraz: a T-shirt also in skin-tone latex, molded in the form of an idealized male torso, something like those the sculptors of Antiquity once carved in marble.  Both were on display on a catwalk which snaked around a maze of cubicles filled with headset-wearing workers shuffling and stapling papers, something which may have had some thematic connection which what was on show although no explanation was provided.  While the T-shirt seems to have provoked few comments, there were criticisms of the latex boobs, usually in some way an objection to the objectification of the female body (something generally thought a battle long lost) while others denied this could possibly thought “fashion” which was about as pointless an observation as any of those by the many who over the years have dismissed porcelain urinals, drip paintings and such as “not art”.  When asked about the use of a woman’s body as a “costume” (nobody asked about the make torso), Mr Lantink replied it was “…about cosplay, it’s playing with bad taste, it’s about form. Every season, we’re trying to sort of surprise ourselves with how can we change an original piece into something that we find interesting”, adding: “And we’re gonna do whatever the fuck we want because we’re free.”

On the catwalk: Lindsay Lohan in a Heart Truth Red Dress during Olympus Fashion Week, Fall, 2006, The Tent, New York City.

How to walk like catwalk model

Traci Halvorson of Halvorson Model Management (HMM) in San Jose, California, has written a useful guide for those wishing to learn the technique of walking like a catwalk (increasingly now called the gender-neutral “runway”) model.  Although walking on a wide, stable flat surface, in a straight line with few other instructions except “don’t fall over”, doesn’t sound difficult, the art is actually a tightly defined set of parameters which not all can master.  Some models who excel at static shots and are well-known from their photographic work can’t be used on a catwalk because their gait, while within the normal human range, simply isn’t a “catwalk walk”.  It’s thus a construct, of clothes, shoes, style and even expression and catwalk models need to be adaptable, able to achieve essentially the same thing whether in 6-inch (150 mm) high stilettos or slippery-soled ballet flats; it’s harder than it sounds and as all models admit, nothing improves one’s technique like practice.

(1) The facial expression.  It sounds a strange place to start but it’s not because if the facial expression is unchanging it means it’s easier to focus on everything else, the rational being that humans use their range of facial expression to convey emotion and attitude but this all has to be neutralized to permit the photographers (paradoxically the audience is less relevant) to capture what are defined “catwalk” shots.  Set the chin to point slightly down though don’t hang the head; the angle should be almost imperceptible and it recommended to imagine an invisible string attached to the top of the head holding the chin in its set position.

(2) Do not smile.  Catwalk models do not smile because it draws attention away from the product although this does not mean looking miserable or unhappy; instead look “serious” and this usually is done by perfecting what is described as a “neutral” expression, one which would defy an observer being able to tell whether the wearer is happy or sad.  To achieve this, the single most important aspect is to keep the mouth closed in a natural position, something like what is recommended for a passport photograph and ask others to judge the look but as a note of caution, there will be failures because some girls just look sort of happy no matter what.  In most of life, this will be of advantage so a career other than the catwalk will beckon.

(3) On the catwalk, keep the eyes focused straight ahead.  This not only makes walking easier but also self-imposes a discipline which will help maintain the static facial expression.  Because the eyes are focused straight-ahead, it will stop the head moving and the look will be the desired one of alertness and purposefulness.  Some models recommend imagining a object moving in front of them and focus on that and in the situations where there’s a procession on the catwalk, it’s possible usually to fixate on some unmoving point on the model ahead.

(5) Don’t fall over.  It’s an obvious point but it does happen and usually, shoes are responsible, either because the nature of the construction has so altered the model’s centre of gravity or there's  contact between footwear and some flowing piece of fabric, either one’s own or one in the wake of the model ahead.  There is no better training to avoid “catwalk stacks” than to practice in a wide variety of shoe types.

(5) If possible, arrange a replica catwalk on which to practice, it need only to be a few paces long and arranged so the walk is towards a full-length mirror.  For side views, film using a carefully positioned camera and compare the result with footage of actual catwalk models at work.  If possible, work in pairs or a group because you’ll hone each other’s techniques but remember this is serious business and criticism will need to be frank; feelings may need to be hurt on the walk to the catwalk.

(6) Stand up straight, imagining the invisible string holding the head in place being also attached to the spine.  Keep the shoulders back but not unnaturally so, posture needs to be good but not stiff or exaggerated and a good posture can to some extent compensate for a lack of height.  Again, this needs to be practiced in front of a mirror and practice will improve the technique, the object being to stand straight while looking relaxed and comfortable.

(7) Perfecting the actual catwalk walk will take some time because, although it looks entirely natural when done by models, it’s not actually the “natural” way most people walk.  To train, begin purely mechanistically, placing one foot in front of the other and walking with (comfortably) long strides, the best trick being to mark a line on the floor with chalk and imagine walking on a rope, keeping one foot in front of the other, allowing the hips slightly to move from side to side; the classic model look.  With sufficient practice, what designers call the model’s “strut” will evolve and in conjunction with the other techniques, there’ll be a projection of assuredness and confidence.

(8) However, the hips need symmetrically and slightly to move, not swing.  Catwalk models are hired as platforms for clothes within a narrow dimensional range and this includes not only the cut of the fabric but also the extent it is required to move as the body moves and motion must not be exaggerated.  When practicing this, again it’s preferable to work in pairs or groups.

How it's done.  Catwalk models need to look good coming or going.

(9) Limit the movement of the arms when walking.  Let the arms hang at the sides with the hands relaxed, the swing of the limbs sufficient only to ensure the look is not unnaturally stylized and certainly nothing like that of most people on the street.  Many report when first practicing that there’s a tendency for the hands to clench into fists and that’s because of the discipline being imposed on other body parts but from the start, ensure the hands are relaxed, loosely cupped and with a small (natural) gap (something like ¼ inch (5-6 mm) between the fingers.  Allow the arms slightly to bend and they’ll sway (just a little) with the body.

(10) Practice specifically for the occasion.  Just as even the best tennis players have to practice on grass if they’ve just come off playing on clay or hard-courts, at least an hour before an actual catwalk session should be spent practicing in the same style of shoes as will be worn for the session(s).  This applies even if wearing something less challenging like flats because the change in weight distribution and the resultant centre of gravity is profound if the last few days have been spent in 6 inch (150 mm) heels.     

(11) Practice with different types of music because the catwalk walk really is an exercise in rhythm and if one can find a piece which really suits and makes the walk easier to perfect, if it’s possible to imagine that while on the catwalk, that’s good although sometimes there’s music at the shows and not all can focus on what’s in the head while excluding what’s coming through the speakers.

Traci Halvorson's instructions were of course aimed at neophytes wishing to learn the basic technique but among established models there are variations and the odd stake of the individualistic, the most eye-catching of which is the "fierce strut", a usually fast-paced and aggressive march down the catwalk while still using the classic one-foot-in-front-of-the-other motif which so defines the industry.  It's thus not quite Nazi-style goose-stepping or even the hybrid step used most enthusiastically by the female soldiers in the DPRK (North Korean) military but it's clearly strutting with intent.

Recent fierce struts on the catwalk (runway).

Melcryptovestimentaphilia

Melcryptovestimentaphilia (pronounced mel-krip-toh-ves-tuh-muhn-tah-fil-ee-uh)

(1) A desire or fondness for women's black underwear.

(2) A compulsion to steal women's black underwear.

(3) Being able to achieve sexual arousal only when women's black underwear is in some way involved.

Mid-twentieth century:  A portmanteau word, the construct being mel- (from the Ancient Greek μέλας (mélas) (black; dark) (genitive μέλανος (mélanos)) + -crypto- (from the Ancient Greek κρυπτός (kruptós) (hidden, secret) + -vestimenta-, a back-formation from the Latin vestimentum (clothing; garment), the construct being vestīre (clothe), from vestis (a garment, gown, robe, vestment, clothing, vesture), from the primitive Indo-European wéstis, from wes- (to be dressed) +‎ -mentum (from the Latin suffix -menta (familiar in collective nouns such as armenta (herd, flock)) from the Proto-Italic -məntom, from the plural primitive Indo-European -mn̥the + -philia, from the Ancient Greek φιλία (philía) (fraternal) love).  It was used to form nouns conveying a liking or love for something and in clinical use was applied often to an abnormal or obsessive interest, especially if it came to interfere with other aspects of life (the general term is paraphilia).  The companion suffix is the antonym -phobia. The related forms were the prefixes phil- & philo- and the suffixes -philiac, -philic, -phile & -phily.  Melcryptovestimentaphilia & melcryptovestimentaphilism are nouns, and melcryptovestimentaphiliac is a noun & adjective; the noun plural is melcryptovestimentaphiliacs.  Were the situation to demand an adverb, it would be melcryptovestimentaphilially.

Model Adriana Fenice (b 1994) in black underwear.

The origin of melcryptovestimentaphilia is unknown but it was more likely a coining for humorous purposes than something documented in clinical psychiatry.  The word appears in An Almanac of Words at Play (1975) by US philologist & writer Willard Espy (1910–1999) which is one of the language's more eclectic gatherings of words, phrases, fables, fragments of verse, parodies, anagrams, clever sayings, palindromes, fractured & tortured English, graffiti, typographical blunders (a polite description of what James Joyce (1882–1941) called “bitched type”), anecdotes, appalling stanzas, coined words, epitaphs, slang, collective nouns, last words of the dying (including the apocryphal which are among the best) and linguistic curiosities such as malapropisms, spoonerisms, macaronies, oxymorons, acrostics, acronyms, Clerihews, lipograms and rhopalic verse.  It’s one of those books which can be read either in lineal form or by just opening it at random to see what one finds.

Lingerie, the DSM and the ICD

Unsurprisingly, melcryptovestimentaphilia appears in neither the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) nor the World Health Organization’s (WHO) International Classification of Diseases (ICD), not because the syndrome doesn’t exist but because the profession’s modern view of such things is such a focus should not in itself be considered a disorder, unless accompanied by distress or impairment although it was noted by many that if even a nominally “harmless” fetish became an obsession, it certainly could impair healthy sexuality.  Since the DSM-5 (2013), a diagnosis of paraphilia (a type of mental disorder characterized by a preference for or obsession with unusual sexual practices) was assigned to individuals who experience sexual arousal from objects or a specific part of the body not typically regarded as erotic and presumably any body part or object can be a fetish, the most frequently mentioned including underwear, shoes, stockings, gloves, hair and latex.   Fetishists may use the desired article for sexual gratification in the absence of a partner although it’s recorded this may involve nothing more than touching smelling the item and the condition appears to manifest almost exclusively in men, the literature suggesting a quarter of fetishistic men are homosexual but caution needs always to be attached to these numbers (because fetishism is something which many happily enjoy their whole adult lives, it never coming to the attention of doctors and a high proportion of the statistical material about fetishism is from patients self-reporting).  The statistics in a sense reflect thus not the whole cohort of the population with the condition but rather those who either want to talk about it or are responding to surveys.  That is of course true of other mental illnesses but is exaggerated with fetishism because so much lies with the spectrum of normal human behavior and the definitional limitations in the DSM-5 reflect this, including three criteria and specifiers for Fetishistic Disorder:

Criterion 1: Over a six month period, the individual has experienced sexual urges focused on a non-genital body part, or inanimate object, or other stimulus, and has acted out urges, fantasies, or behaviors.

Criterion 2: The fantasies, urges, or behaviors cause distress, or impairment in functioning.

Criterion 3: The fetishized object is not an article of clothing employed in cross dressing, or a sexual stimulation device, such as a vibrator.

Specifiers for the diagnosis include the type of stimulus which is the focus of attention (1) the non-genital or erogenous areas of the body (famously feet) and this condition is known also as partialism (a preoccupation with a part of the body rather than the whole person), (2) Non-living object(s) (such as shoes), (3) specific activities (such as smoking during sex).

Fan de sous-vêtements noirs, Lindsay Lohan.  Women often choose the color of their underwear on the basis of the clothing with which it will be worn and beige is a big seller because it blends best with the skin of the white population (although in a nod to the DEI (diversity, equity & inclusion) imperative, the hue is no longer advertised as "skin-tone").  Black is popular because much black clothing is worn but there's evidence to suggest women really like both navy blue and gun-metal grey even though both are niche products compared with black, white & beige.

It was Sigmund Freud (1856-1939) who admitted that, lawfulness aside, as animals, the only truly aberrant sexual behavior in humans could be said to be its absence and that's something which the modern asexual movement re-defines rather than disproves.  It seemed to be in that spirit the DSM-5 was revised to treat a behaviour such as melcryptovestimentaphilia (and many other “harmless” manifestations of paraphilia) as “normal” and thus within the purview of the manual only to the extent of being described, clinical intervention no longer required.  Whether all psychiatrists agree with the new permissiveness isn’t known but early reports suggest there’s nothing in the DSM-5-TR (2022) to suggest those with even an obsessional fondness for black underwear will soon again be labeled as deviants.  Of course, those who feel compelled to steal the stuff or engage in anything non-consensual with black underwear the trigger will be guilty of doing something unlawful but their condition will, in a legal sense, be incidental to the offence.  While a disclosure of melcryptovestimentaphilism might by defence counsel be offered in mitigation, it seems unlikely even a melcryptovestimentaphiliac judge (however privately sympathetic) would much reduce the sentence.

Fellmonger

Fellmonger (pronounced fel-muhng-ger)

A preparer of skins or hides of animals; a person who deals in animal skins or hides.

1520–1530: A compound word fell + monger.  Fell was from the Middle English fellen, from the Old English fellan & fiellan (to cause to fall, strike down, fell, cut down, throw down, defeat, destroy, kill, tumble, cause to stumble) from the Proto-Germanic fallijaną (to fell, to cause to fall), causative of the Proto-Germanic fallaną (to fall); root was the primitive Indo-European (s)pōl- (to fall) and it was cognate with the Dutch vellen (to fell, cut down), the German fällen (to fell) and the Norwegian felle (to fell).  Monger was from the Middle English mongere & mangere from the Old English mangere (merchant, trader, dealer & mangian (to trade, to traffic) from the Proto-Germanic mangōną, from the Latin mangō (dealer, trader), perhaps from the Ancient Greek μάγγανον (mánganon) (contrivance, means of enchantment) from the primitive Indo-European mang- (to embellish, dress, trim).  Fellmonger & fellmongery are nouns and fellmongering & fellmongered are verbs; the noun plural is fellmongers.

Lindsay Lohan in leather, London, October 2015.

In the traditional sense of the world, a profession was understood to be a specialization in occupational activity.  What it meant was that a certain pursuit was either the exclusive source of an individual’s income or the most substantial part.  Not entirely facetiously, the business of prostitution has been said to be the “world’s oldest profession” with espionage just a little more recent.  While neither claim may be literally true, both are acknowledged to be ancient and obviously enduring but one profession likely to have been pursued almost as long and been part of just about any culture which has been studied was that of the fellmonger who prepared and processed the skins of animals, transforming them into the leather which people could use variously for footwear, clothing, shelters, receptacles, weapons, decorations and the myriad of items which were used when constructing useful devices and even machines.  Before even fabrics were woven from plant or animal fibres, there was leather and it was the fellmongers who developed the art and science which made the material stronger, longer lasting and better adaptable to more purposes.  A highly skilled business which demanded both skill & patience, the essence of the fellmonger’s trade was the ability expertly to strip the wool or fur from an animal hide and grade the raw skin into the various categories sought by tanners and other processors.  As well as dealing in the skins, many fellmongers also operated as tanners and in the early pre-industrial societies, vertical integration was sometimes attractive and the ownership and operation of a fellmongery and tannery might come under a common ownership.  Sometimes tertiary production such as that of a saddler might also be attached although it appears artisan trades such as cobblers remained independent.  The fellmonger thus extracted from the skins of dead sheep, goats, lambs and even dogs, products such as wool, pelts, skins, parchments, vellums and chamois leathers, much of which was sold to or passed on to a tannery which for centuries used oak bark in the dyeing processes.

Who wore it best?  Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011) in leather.  Probably no material is as sexy as leather and even in latex the Supreme Leader couldn't look more alluring; Lindsay Lohan probably envies the Supreme Leader rocking leather.  In the DPRK, only the Supreme Leader and his family are permitted to don black leather; the consequences of violating this rule are severe.

Although less so than tanning, fellmongry was a messy, smelly business, most located close to rivers because the process demanded an abundant supply of pure clean water, the tide carrying out to sea the sludge and effluents.  When the skins arrived (and to avoid even more unpleasantness that had to be as soon as possible after slaughter), they were washed in warm, soapy water to be cleansed of all blood and then soaked so the tissue would swell to a living condition.  Once done, they were cleansed with a paste made from lime and sodium sulphate which “fed” the pelts, opening the pores so the wool could be stripped which was done in the “Pulling Room” where the fellmonger “pushed the wool”, grading it as went.  Once pulled, the wool was taken to a drying room where, once cool, it was stacked in bales to be ready for sale.  A paste made of Fuller's Earth or Whiting (calcium carbonate or chalk) was then rubbed into the pelts which were exposed to a moderate heat which ensured the fat on the pelts softened and was easily removed.  The clean pelts, after being bleached with a weak solution of chloride of lime were placed in floor pits to be “pickled” in a solution of salt & sulphuric hydrochloric acid and, once pickled, they were ready for dispatch to the tannery.  Historically, tanners graded skins into 10-12 categories and depending on the classification, they might be sold to manufacturers making fancy leather goods, parchments, vellums, leathers and glues.  Animal skins are remarkable in that they can be rendered as a material tough enough for saddles or boots or sufficiently soft & pliable for use in fine needlework and smooth enough to be used as writing material.

Batwing

Batwing (pronounced bat-wing)

(1) In zoology, the wing of a bat (and, informally, related creatures).

(2) In entomology, several South or Southeast Asian species of tailless dark swallowtail butterflies in the genus Atrophaneura.

(3) An object or design formed or shaped in a way resembling the extended wing of a bat.

(4) In architecture, as “batwing doors”, pairs of swinging doors which typically do not lock nor cover the full vertical range of the doorway (leaving a large gap at the top and bottom), common as entrances to commercial kitchens and in bars.  It was the US industry in the mid-1950s which adopted “batwing doors” to replace “saloon doors” because there was some “middle class resistance” to the association with such establishments; it was a in time which rising prosperity had made mass market interior decorating a thing, hence the re-branding.

(5) In fashion, a garment or part of a garment resembling or conceived of as resembling the wing of a bat, applied usually to a loose, long sleeve (some flaring out, some with a tight wrist and known also as the “magyar sleeve”) but also to hem-lines.

(6) In hairdressing, a variation of the pigtail (in which the tied hair extends from the scalp at close to 90^o before cascading) in which the tied hair extends from the scalp upwards at an acute angle before cascading.  Batwings can be single ties but more typically appear symmetrically to the sides, in emulation of the wings of a bat.

(6) In physical training, an exercise routine or posture on the stomach wherein a dumbbell row or lateral raise is performed.

(7) In slang, an area of flabby fat under a person's arms (known in some places as “tuck shop lady’s arms).

(8) In automotive design, a type of rear fin which extended laterally rather than upwards.

1955–1960: The construct was bat + wing.  Bat (in the sense of the small flying mammal) dates from the late 1570s and is thought to be from a Scandinavian source, possibly the dialectal Swedish natt-batta, a variant of the Old Swedish natt-bakka (night-bat).  It replaced the Middle English bake & bak, from balke & blake, also from a Scandinavian source.  The related Nordic forms included the dialectal Swedish natt-blacka and the Old Icelandic ledhr-blaka (bat), the construct being ledhr (skin, leather) + blaka (flutter) and understood in the vernacular as “leather flapper”, the sense something like the later Old Danish nathbakkæ (literally “night-flapper”).  The earlier use (to describe a club, staff etc) dated from the turn of the thirteenth century and was from the Middle English noun bat, bot & batte, from the Old English batt which may have been from Celtic (the Irish & Scots Gaelic bat & bata meant “staff, cudgel”.  The Middle English verb batten, came partly from the noun, influenced by the Old French batre (batter).  Wing dates from the mid-twelfth century and was from the Middle English plural nouns winge & wenge, from the Old Danish wingæ (the other Nordic forms including the Norwegian & Swedish vinge and the Old Norse vǣngr (wing of a flying animal, wing of a building)).  In the Old Norse, the architectural sense of “a building’s wing” extended to nautical use, a vængi a “ship's cabin”.  The Nordic forms came from the Proto-Germanic wēingijaz, from the primitive Indo-European hweh- (to blow (hence the connection with “flapping” & “wind”).  The cognates included the Danish vinge (wing), the Swedish vinge (wing) and the Icelandic vængur (wing).  In English, “wing” came to replace the Middle English fither, from the Old English fiþre, from the Proto-Germanic fiþriją), which merged with the Middle English fether (from Old English feþer, from Proto-Germanic feþrō).  The spellings bat wing & bat-wing are also used.  Batwing is a noun and adjective, batwinged & batwingish are adjectives; the noun plural is batwings.

Gothic Batwing Sleeved Mermaid Long Dress by Punk Design (left) and Gothic Black A-Line wedding dress with leg Slit, batwing sleeves and bat hem by Wulgaria Couture (right).  Goths like batwings (usually in black with the odd splash of purple), the flowing sleeves often paired with leather or the more accommodating “wet latex look”.  Wulgaria Couture describe the A-Line style as a “wedding dress in gothic black” but it’s available also in a blood red for those non-Goths who like the batwing aesthetic.

Alfa Romeo BAT 5 (1953, left), BAT 7 (1954, centre) and BAT 9 (1955, right), designed by Franco Scaglione (1916–1993).

The Alfa Romeo BAT (Berlina Aerodinamica Tecnica, best translated as “exploration of aerodynamic principles in cars”) concept cars were among the most stylistically adventurous (and aerodynamically successful) of the transatlantic movement in the 1950s which focused on applying the lessons learned from progress in aeronautics during World War II (1939-1945).  The tail fin had been seen as early as the 1920s and their role in enhancing straight-line stability was imported directly from aircraft design but on the road they’d tended to be single, upright structures, best remembered from the use in the pre-war Czechoslovakian Tatras, intriguing things which, configured with a rear-mounted V8 engine, at speed needed a “stabilizing fin” more than most.  However, it was in the 1950s, when such publicity was afforded to jet aircraft, rockets & missiles, that designers took a renewed interest in fins & wings.  In the US, they quickly became extravagances, divorced from any functional relationship to fluid dynamics much beyond the merely coincidental but for Europeans, for whom fuel was more expensive and incomes lower, it was understood aerodynamics alone could improve both a vehicle’s economy and its performance.

Batwings: A grey-headed flying fox.

The performance of the trio was, by contemporary standards, remarkable, all able to attain in excess of 200 km/h (125 mph), despite being powered by a relatively small 1.9 litre (115 cubic inch) engine, albeit one fitted with double overhead camshafts (DOHC).  The wings (the BAT acronym for the cars was opportunistic) were just one part on a design which in all aspects was intended to optimize air-flow and although even at the time there were cars with smaller frontal areas, the BATs gained much of their advantage from the lowering of the front coachwork and the drag coefficient (CD) of the three ranged from 0.19-0.23, impressive even today.  It’s on BAT 7 that the batwing motif is most pronounced, the wings extending as a single structure from the base of the A-pillar, at the rear tilting and sweeping in an arc towards the centre-line.  When the metalworkers in the coach-building house first saw the design, their reaction was something like that of the structural engineers on first viewing the “sails” on the blueprints of Jørn Utzon’s (1918–2008) Sydney Opera House but they rose to the occasion.  The design would never have been suitable for mass-production; the famous fins on the US cars of the era were not only simpler structures but also designed in a way which accommodated the relatively “lose” manufacturing tolerances which permitted them being built quickly and at scale.  Perhaps tellingly, BAT 9 appeared with appendages less batwing-like and more attuned to the way Detroit was doing things.

It's the batwings which made BAT 7 the most memorable of the three and in 2008, Carrozzeria Bertone (builders of the original trio) built the Alfa Romeo BAT 11dk prototype, a conceptual rendering in clay, Styrofoam & filler, designed to use the underpinnings of the Alfa Romeo 8C Competizione.  Commissioned by a former owner of BAT 7, the Global Financial Crisis (GFC) scuttled its appearance at the Geneva Motors Show and certainly any prospect of a small production run or even a one-off creation.

Misty was a weekly British comic magazine for girls which, unusually, was found also to enjoy a significant male readership.  Published UK house Fleetway, it existed only between 1978-1980 although Misty Annual appeared until 1986.  The cover always featured the eponymous, raven haired beauty.  Befitting its theme, bats often featured in the artwork.

Lindsay Lohan in Anger Management (2013) demonstrates the batwing (left), defined by the tied hair extending upwards from the scalp before cascading, as distinct from the “pig tail” (centre) which extends from the scalp at close to 90^o before cascading.  Batwings can be single ties (centred or asymmetric) but more typically appear symmetrically to the sides, in emulation of the wings of a bat.  There are also batwing hair clips (right), also called “batwing hair claws” which is more evocative.

Chevrolet Bel Air: 1957 (left), 1958 (centre) and 1959 (right).

The 1959-1960 Chevrolets quickly picked up the nickname “batwing” and richly it was deserved; there was nothing like them at the time and there’s been nothing since.  The 1959 range actually had a strange and rushed gestation.  The fins on the 1955-1956-1957 cars (the so-called “tri-five Chevies”) had grown upwards in the fashion of the time but the corporation decided something different was needed and for 1958 chose baroque, the embryonic batwings obvious now but it was only when the next year’s model was released they would be understood thus.  The reason the General Motors (GM) 1958 body shape would last only one season was that at time it suffered by comparison with the sleek Chryslers; it was thought frumpy and even bloated and that it was released into that year’s short but sharp recession, didn’t help. The re-design for 1959 had its flaws (many of which (including toning down the batwings) were fixed for 1960) but it could never have been called “frumpy” and the “cats eye” taillights are admired even today.  Still the market didn’t respond as GM would have liked and the batwings soon flew off; by 1964 the Chevrolet was so blandly inoffensive it was being described as “a little bit like every car ever built”.  It proved a great success.

1960 Chevrolet "bubbletop" Impala Sport Coupe (left) and 1963 Ford Consul Capri (right).  On the 1960 Chevrolets, the memorable “cats eye” taillights were replaced by round units, three aside for the top-of-the-line Impala, two for the less expensive Bel Air & Biscayne.

For 1960, Chevrolet made the batwings a little less “batwingish” and the idea travelled across the Atlantic, Ford in the UK applying the scaled-down motif to their Ford Consul Classic (1961-1963) and Consul Capri (1961-1964), the latter a two-door coupé which the company wanted to be thought of as a “co-respondent's car” (ie the sort of rakish design which would appeal to the sort of chap who slept with other men’s wives, later to be named as the “co-respondent” in divorce proceedings).  Whether or not the “batwingettes” played a part isn’t known but neither the Classic nor the Capri were successful.