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Woman as seducer or seduced can also lance and castrate.
Helmut Newton, whose superb fashion photography was suffused with the perverse world view of his native Weimar Berlin, captured the disturbing complexities of the high heel in Shoe, a picture taken in Monte Carlo in 1983.
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At the Neiman Marcus department store at the King of Prussia Mall in suburban Philadelphia, a visitor ascending the escalator to the second floor is greeted by a vast horizon of welcoming tables, laden with designer shoes of ravishing allure but staggering price tags (now hovering between 0 and 0 a pair but soaring to 00 for candy-colored, crystal-studded Daffodile pumps by Christian Louboutin).
Despite my detestation of its decadence, this theatrical shoe array has for years provided me with far more intense aesthetic surprise and pleasure than any gallery of contemporary art, with its derivative gestures, rote ironies, and exhausted ideology.
But this quest for equality, dominance, or merely assertive presence at work and play is contradicted by a crippling construction: no item of female dress since the tight-laced Victorian corset is so mutilating.
A woman in high heels, unable to run, is a titillating target for attack.
But the high heel as an instrument of sex war can be witnessed in action in a stunning face-off in Butterfield 8 (1960), where Elizabeth Taylor as a glossy call-girl, her wrist painfully gripped by Laurence Harvey at a chic Manhattan bar, implacably grinds her phallic spike heel into his finely leathered foot.
From the curators: The stiletto heel—named after the slender Italian dagger of the Renaissance—first appeared in the 1930s.
The inventor of this long, often steel-spiked, thin heel remains in dispute, but today many attribute its rise in fame to Roger Vivier’s work for Christian Dior in the early 1950s.