Mysteries of the visible
Dandies, cross-dressers and freaks in late-Victorian Gothic
in Fashioning Gothic bodies
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter focuses on two personae in the Victorian period as having particular relevance for Gothic fiction: the dandy and the cross-dressed or 'manly' woman. It explores the twentieth-century understanding of the relationship between dandies and freaks. Dandyism was an important influence on Gothic even when not directly represented within it, as its emphasis on the surface embodied in the charismatic, amoral male crystallises many of the genre's pre-existing characteristics. James I. Walpole's camp nostalgia, which led him to affect elaborate archaisms in his dress as well as collect kitsch antiquities, can be thought of as an antecedent of Aestheticism if not necessarily of dandyism proper. Dandyism and female cross-dressing, connected through their parallel negotiations with existing gender roles, constitute the specific fashion technologies through which the Gothic surface is articulated. Nevertheless, not only gender but also class and colonialism are implicated in the attendant narratives.


All Time Past Year Past 30 Days
Abstract Views 281 67 6
Full Text Views 58 20 2
PDF Downloads 17 7 2