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An introduction to Gothic fashion
Catherine Spooner

-century women’s dress as a struggle between classical and Gothic styles, with the Gothic peaking in the 1840s. For Cunnington, the shapes created by women’s dress of this decade echoed those of Gothic Revival architecture, ‘so that sometimes it almost suggested that it was built up of scraps looted from an Early English church’. 10 The resonance this provides for Gothic fiction, as averse to the social and

in Fashioning Gothic bodies
Fashioning the self in Victorian Gothic
Catherine Spooner

waxwork at the Fair, representing I know not what impossible personage lying in state. Once, I had been taken to one of our old marsh churches to see a skeleton in a rich dress, that had been dug out of a vault under the church pavement. Now, waxwork and skeleton seemed to have dark eyes that moved and looked at me. 14

in Fashioning Gothic bodies
Dandies, cross-dressers and freaks in late-Victorian Gothic
Catherine Spooner

’s veiling of the Elephant Man is a standard horror trick. However, it also throws the emphasis on the viewer, foregrounding their own position as spectator. Just as later in the film Merrick will build a model of St Philip’s church, completing the building in his imagination from a glimpse of its spire above the rooftops, the audience is forced to produce an imaginative vision of Merrick’s body through a

in Fashioning Gothic bodies