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In full disclosure, I never wear these shoes and indeed deplore their horrifying cost at a time of urgent social needs.
Nevertheless, I acknowledge and admire the high heel as a contemporary icon and perhaps our canonical objet d’art.
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Hence high heels have a masculine lineage, latent in their use by emancipated women eager to rise to men’s level.
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.
Alfred Hitchcock’s fetishistic focus on high heels can be seen throughout his murder mysteries, from his early silent films in London to his Technicolor Hollywood classics like Vertigo and The Birds, where Tippi Hedren (a former fashion model) demonstrates the exquisite artifice of high-heel wearing as well as its masochistic vulnerability, chronicled in a thousand low-budget horror movies.It’s a solid division of labor, with one notable exception: Richard.