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 et al 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 an 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 document 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 comes 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 for Fetishistic Disorder and three specifiers:

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 (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) 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 the stuff as a theme will be guilty of something but their condition is, in a legal sense, incidental to the offence.

Cybernetic

Cybernetic (pronounced sahy-ber-net-ik)

(1) Of or relating to cybernetics (the theoretical study of communication and control processes in biological, mechanical, and electronic systems, especially the comparison of these processes in biological and artificial systems).

(2) Of or relating to computers and the Internet (largely archaic (ie "so 1990s").

1948 (in English): From the Ancient Greek κυβερνητικός (kubernētikós) (good at steering, a good pilot (of a vessel)), from κυβερνητική τέχνη (kubernētikḗ tékhnē) (the pilot’s art), from κυβερνισμός (kubernismós) or κυβέρνησις (kubérnēsis) (steering, pilotage, guiding), from κυβερνάω (kubernáō) (to steer, to drive, to guide, to act as a pilot (and the ultimate source of the Modern English "govern").  Cybernetic & cybernetical are adjectives, cybernetics, cyberneticist & cybernetician are nouns and cybernetically is an adverb; the noun cybernetics is sometimes used as a plural but functions usually as a as singular (used with a singular verb)  

Although it's undocumented, etymologists suspect the first known instance of use in English in 1948 may have been based on the 1830s French cybernétique (the art of governing); that was in a paper by by US mathematician and philosopher Norbert Wiener (1894-1964) who was influenced by the cognate term "governor" (the name of an early control device proposed by Scottish physicist James Clerk Maxwell (1831–1879)), familiar in mechanical devices as a means of limiting (ie "governing") a machine's speed (either to a preferred rate or a determined maximum).  That was obviously somewhat different from the source in the original Greek kubernētēs (steersman) from kubernan (to steer, control) but the idea in both was linked by the notion of "control".  The French word cybernétique had been suggested by French physicist and mathematician André-Marie Ampère (1775-1836), (one of the founders of the science of electromagnetism and after whom is named the SI (International System of Units) unit of measurement of electric current, the ampere (amp)) to, describe the then non-existent study of the control of governments; it never caught on.  From cybernetics came the now ubiquitous back-formation cyber which has, and continues, to coin words, sometimes with some intellectual connection to the original, sometimes not: cybercafé, cybercurrency, cybergirlfriend, cybermania, cybertopia, cyberculture, cyberhack, cybermob, cybernate, cybernation, cyberpet, cyberphobia, cyberpunk, cybersecurity, cybersex, cyberspace, cyberfashion, cybergoth, cyberemo, cyberdelic et al.

Feedback

MIT Professor Norbert Wiener was an American mathematician and philosopher and one of the early thinkers developing the theory that the behaviour of all intelligent species was the result of feedback mechanisms that perhaps could be simulated by machines.  Now best remembered for the word cybernetics, his work remains among the foundations of artificial intelligence (AI).

The feedback loop at its most simple.

Cybernetics was an outgrowth of control theory, at the time something of a backwater in applied mathematics relevant to the control of physical processes and systems.  Although control theory had connections with classical studies in mathematics such as the calculus of variations and differential equations, it became a recognised field only in the late 1950s when the newly available power of big machine computers and databases were applied to problems in economics and engineering.  The results indicated the matters being studied manifested as variants of problems in differential equations and in the calculus of variations.  As the computer models improved, it was recognised the theoretical and industrial problems all had the same mathematical structure and control theory emerged.  The technological determinism induced by computing wasn’t new; the embryonic field had greatly been advanced by the machines of the eighteenth and nineteenth centuries.

Cybernetics can be represented as a simple model which is of most use when applied to complex systems.  Essentially, it’s a model in which a monitor compares what is happening with what should be happening, this feedback passed to a controller which accordingly adjusts the system’s behavior.  Wiener defined cybernetics as “the science of control and communications in the animal and machine”, something quite audacious at the time, aligning as it did the working of machines with animal and human physiology, particularly the intricacies of the nervous system and the implication the controller was the human brain and the monitor, vision from the eyes.  While the inherently mechanistic nature of the theory attracted critics, the utility was demonstrated by some success in the work of constructing artificial limbs that could be connected to signals from the brain.  The early theories underpinned much of the early work in artificial intelligence (AI).

Of cyberpunks and cybergoths

A cyberpunk Lindsay Lohan sipping martinis with Johnny Depp and a silver alien by AiJunkie.

The youth subcultures “cyberpunk” and “cybergoth” had common threads in the visual imagery of science fiction (SF) but differ in matters of fashion and political linkages.  Academic studies have suggested elements of cyberpunk can be traced to the dystopian Central & Eastern European fiction of the 1920s which arose in reaction to the industrial and mechanized nature of World War I (1914-1918) but in its recognizably modern form it emerged as a literary genre in the 1980s, characterized by darkness, the effect heightened by the use of stark colors in futuristic, dystopian settings, the cultural theme being the mix of low-life with high-tech.  Although often there was much representation of violence and flashy weaponry, the consistent motifs were advanced technology, artificial intelligence and hacking, the message the evil of corporations and corrupt politicians exploiting technology to control society for their own purposes of profit and power.  Aesthetically, cyberpunk emphasized dark, gritty, urban environments where the dominant visual elements tended to be beyond the human scale, neon colors, strobe lighting and skyscrapers all tending to overwhelm people who often existed in an atmosphere of atonal, repetitive sound.

Cybergoth girls: The lasting legacy of the cybergoth's contribution to the goth aesthetic was designer colors, quite a change to the black & purple uniform.  Debate continues about whether they can be blamed for fluffy leg-warmers.

The cybergoth thing, dating apparently from 1988, thing was less political, focusing mostly on the look although a lifestyle (real and imagined) somewhat removed from mainstream society was implied.  It emerged in the late 1990s as a subculture within the goth scene, and was much influenced by the fashions popularized by cyberpunk and the video content associated with industrial music although unlike cyberpunk, there was never the overt connection with cybernetic themes.  Very much in a symbiotic relationship with Japanese youth culture, the cybergoth aesthetic built on the black & purple base of the classic goths with bright neon colors, industrial materials, and a mix of the futuristic and the industrial is the array of accessories which included props such as LED lights, goggles, gas masks, and synthetic hair extensions.  Unlike the cyberpunks who insisted usually on leather, the cybergoths embraced latex and plastics such as PVC (polyvinyl chloride), not to imitate the natural product but as an item while the hairstyles and makeup could be extravagantly elaborate.  Platform boots and clothing often adorned with spikes, studs and chains were common but tattoos, piercings and other body modifications were not an integral component although many who adopted those things also opted to include cybergoth elements. 

Although there was much visual overlap between the two, cyberpunk should be thought of as a dystopian literary and cinematic genre with an emphasis on high-tech while cybergoth was a goth subculture tied to certain variations in look and consumption of pop culture, notably the idea of the “industrial dance” which was an out-growth of the “gravers” (Gothic Ravers), movement, named as goths became a critical mass in the clubs built on industrial music.  While interest in cyberpunk remains strong, strengthened by the adaptability of generative AI to the creation of work in the area, the historic moment of cyberpunk as a force in pop culture has passed, the fate of many subcultures which have suffered the curse of popularity although history does suggest periodic revivals will happen and elements of the look will anyway endure.

Doppelganger

Doppelganger (pronounced dop-uhl-gang-er or daw-puhl-geng-er (German))

(1) In legend, a ghostly apparition of a living person, especially one that haunts such a person.

(2) A counterpart of a living person, identical in appearance; a person remarkably similar in appearance to another.

(3) In the pop-culture fantasy genre, a monster that takes the forms of people, usually after killing them.

(4) An evil twin (often as alter ego)

1826 (1824 as a German word in English): From the German Doppelgänger, literally "double-goer" or “double walker” originally with a ghostly sense.  Although now less common, it was once sometimes the practice to use the half-English spelling doubleganger.  Doppel was from doppelt (double), from doppeln (double (made up of two matching or complementary elements)), from the Old French doble (to double), from the Latin dūplus, from the Proto-Italic dwiplos, the construct being duo (two) +‎ plus, from the Old Latin plous, from the Proto-Italic plous, from the primitive Indo-European pleh- & pelhu- (many) and cognate with the Ancient Greek πολύς (polús) (many) and the Old English feolo (much, many).  It was influenced by the Ancient Greek διπλόος (diplóos) (double), the construct being δι- (di-), from δύο (dúo) (two), + -πλόος (-plóos) (-fold) and the Proto-Germanic twīflaz (doubt). A doublet of Zweifel.  Gänger was from Middle High German genger (to go, to walk), the construct being Gang +‎ -er.  Gang was from the Middle High German ganc, from the Old High German gang, from the Proto-Germanic gangaz (pace, step, gait, walk) and cognate with the English gang.  The synonyms in the various senses include double, lookalike, dead-ringer & alter ego.

Kim Jong-un, 2019-2020.

Rumors that Kim Jong-un (b circa 1994, Supreme Leader of the Democratic People’s Republic of Korea (North Korea, the DPRK) since 2011) was incapacitated with (unspecified) health problems spiked in late 2021 when he appeared looking notably thinner than in his appearances only months earlier, the conspiracy theory hinging on the idea the part of the Supreme Leader was being played by a doppelganger.  Most speculation centered on Mr Kim’s apparently chronic obesity, chain smoking and legendarily enthusiastic intake of his favorite Swiss cheese, some suggesting the doppelganger would fulfill the role until a team of foreign doctors working in secret restored the Supreme Leader to good working order while others opined he may actually be dead and the elite of the ruling Workers' Party of Korea (the WPA, a kind of cross between the a communist party and the Kim family’s holding company) was just buying time while they worked out what to do next.

Noted DPRK watchers, the National Intelligence Service (NIS), the Republic of Korea's (South Korea, the ROK) spy agency, dismissed the idea and said the new, sexy, slimmed-down Supreme Leader was real, their findings based on a comparison using facial recognition software, weight-tracking models and analysis of high-resolution video.  According to the NIS, Mr Kim’s weight which by 2019 had reached 142 kg (313 lb), less than a year later had further ballooned to around 146 kg (322 lb) while his appearances in late 2021 indicated a loss of between 20-25 kg (44-55 lb).  They added he appeared to be in rude good health.

Kim Jong-un, 2021.

If that’s true, the weight-loss could be accounted for either by Mr Kim’s desire to slim down for reasons of health or may be political, the DPRK facing one of its worst food shortages in many years and he may wish to convey the impression he’s sharing in the deprivations being suffered by his people.  Various seasonal factors would anyway have squeezed the food supply but the COVID-19 measures taken certainly exacerbated the problem, the closure of the borders inducing the sharpest economic contraction since the loss in the early 1990s of economic assistance from the Soviet Union.  The DPRK’s trade with its main trading partner, the People’s Republic of China (PRC), dropped by between 80-90% from pre-pandemic levels and the NIS noted it was the “mismanagement” of the economy which had caused inflation rates to surge beyond that afflicting all but a few other countries but, with a chronic shortage of ink and paper, the DPRK was unable to resort to the short-term expedient of printing money.  Still, things appear not actually on the point of collapse, ballistic missile tests continuing and the COVID-19 policy has, as stated by official DPRK propaganda, proved an outstanding success, Pyongyang confirming the country has suffered zero cases since the pandemic began.  It does seem to prove a “shoot to kill” border policy works, something a few Western politicians have long suspected and probably longed for.

Kim Jong-un looking at morning tea.

Targeted sanctions imposed in response to the regime’s nuclear weapons recalcitrance had already resulted in some humanitarian suffering but the closure of the PRC-DPRK border and has increased this by blocking shipments of grain, fertilizer and farming equipment.  Severe flooding caused by powerful typhoons in 2020 which so lowered that year’s harvest also had effects which lingered, crop yields again very low in 2021.  It had become so bad that in a rare public admission, Mr Kim in 2021 told a Worker’s Party meeting that the “people’s food situation is now getting tense” and his immediate policy switch was to order all citizens to devote all their effort to farming, making sure to secure “every grain” of rice.  With apparently all NGO and UN staff having left the country, most sources of foreign aid have evaporated and the DPRK is more dependent on its own resources than at any time since the end of the Korean War (1950-1953).  All this might explain Mr Kim’s weight-loss, although not yet obviously malnourished, he’s at least setting an example.

Manchu Tuan, Shenyang, PRC (left) and the Supreme Leader (right).

In general circulation, Kim Jong-un doppelgangers are not actually rare, at least two known to be available for hire from talent agencies.  Regardless of what happens in the DPRK, it may be a good gig because in 2012, satirical site The Onion named Kim Jong-un the world’s sexiest man, either because he was, in their words, “devastatingly handsome” or a nod to Henry Kissinger’s (b 1923; US secretary of state 1973-1977) claim (actually probably a boast) that “power is the ultimate aphrodisiac”.  The Onion’s winner in 2011 had been Syrian dictator Bashar al-Assad (b 1965; president of Syria 2000-) so the editors may have found Dr Kissinger persuasive.  Manchu Tuan sells kebabs in the north-eastern Chinese city of Shenyang and says business has boomed since this resemblance to Mr Kim appeared on social media and he has hired another cook to prepare the kebabs, much of his time now absorbed with customers taking selfies with him.

Donald Trump doppelganger: Dolores Leis Antelo, a farmer from Nanton, La Coruna, Spain.  The two are reportedly not related and have never met.

Shao Jianhua Changsha, Hunan, PRC and his queue of selfie-requesting customers.

Shao Jianhua, who five years ago moved from his native Zhejiang to Changsha, makes and sells meat pies with dried and pickled vegetables, a dish associated with costal Zhejiang.  His shop operates from a cluster near the university halls of residence and the students, although very fond of his highly-regarded pies, also request selfies, business having expanded since word spread of his resemblance to PRC president Xi Jinping (b 1953; PRC president 2013-).  Mr Shao, whose pies sell for 3.5 yuan (US$0.55) has increased production to 1,600 a day during peak season and the queues are frequently long.

The conspiracy theorists do apply some science to their subjects.  Of particular interest are ears, cosmetic surgeons noting that ears are so difficult to modify to match those of another person and that latex versions attached with surgical glue are the best solution for these purposes although even with these there are limitations.  It’s not the first time a head of government’s ears have attracted interest.  In 1939, Adolf Hitler (1889–1945; Führer of Germany 1933-1945) sent his court photographer Heinrich Hoffmann (1885–1957) with the party which in 1939 went to Moscow to execute the Nazi-Soviet Pact, his task, inter alia, to get a good shot of Comrade Stalin’s (1878-1953; Soviet leader 1924-1953) ear-lobes, the Führer wishing to be reassured his new (and temporary) ally’s lobes were “separate and Ayran” and not “attached and Jewish”.  He was satisfied with Hoffman’s evidence but that didn’t stop him later double-crossing Stalin.

Front and back of blood sample of prisoner #7 (Hess), “Spandau #7 Pathology SVC Heidelberg MEDDAC 1139.

The flight to England by Rudolf Hess (1894–1987; Deputy Führer 1933-1941) in 1941, an attempt to persuade the British to conclude the war on the eve of the invasion of Russia, was one of the strangest episodes of the war and whether or not his flight was approved by Hitler remained a matter of conjecture for decades although the available evidence does suggest the Führer was as shocked as everyone else.  Another conspiracy theory ran for years, that of whether the Hess the British produced for trial in Nuremberg (1945-1946) and who was subsequently imprisoned in Spandau until his suicide (other conspiracy theories explore this) in 1987 was actually a doppelganger.  Books with various explanations about why the British might have done this were written, including one by a doctor who examined Hess while a prisoner and couldn’t reconcile his physiology with the injuries he’s suffered while serving in the Imperial Army in the First World War.  Eventually even the suspicious authors conceded the incarcerated Hess was the real one and in 2019, after one of Hess’s hermetically sealed blood samples was discovered and subjected to a DNA analysis which found a 99.99% likelihood of a match with one of Hess’s living relatives.

Lindsay Lohan and body double Aoife Bailey during filming of Irish Wish (Netflix, 2024).

The most obvious doppelgangers are "body doubles", actors used when filming scenes when, for whatever reason, the lead actor can't be used.  Such are the tricks and techniques of film production, the body doubles don't have to be even close to exact doppelgangers, they need only be vaguely similar though they often share some distinctive characteristic (such a long red hair).  Generally, body doubles are used for three reasons:

(1) Dangerous stunts: Body doubles with specific expertise are often hired to perform dangerous scenes, such as car chases, fight scenes, or jumps from great heights.

(2) Time constraints: In some cases, the lead actor or actress may not be available to film certain scenes due to scheduling conflicts.  In these situations, a body double can be used to film the scene in their place, allowing production to continue without delay.

(3) Privacy: In some instances, actors may not wish to appear in certain scenes, typically those involving nudity.  Sometimes contractual clauses include these stipulations.

What stunt doubles do, Lindsay Lohan and body double Aoife Bailey during filming of Irish Wish (Netflix, 2024).  The car is a 1965 Triumph TR4A.