This article addresses theoretical problems around the notion of ‘choice’, using empirical data from a three-year, ESRC-funded study of identity, transition and footwear among both women and men. With a focus on female participants who wore, or had worn high-heeled shoes, it draws on Budgeon’s argument for viewing the body as event, as becoming, and Finch’s use of the concept of display, to explore the temporalities of high-heeled shoe wear, particularly as an aspect of ‘dressing up’. Data from both focus (...) groups and year-long case studies allowed everyday and life course patterns of high-heeled shoe wear to be explored – in many cases, as they unfolded. This material has led us to critique the linear, goal-oriented nature of a modernist ‘project of the self’, and to argue that identification, as a dynamic process, may often be erratic, partial and temporary. Emphasized femininity, it is suggested, can be ‘displayed’ episodically, as an aspect of ‘doing gender’, a perspective that problematizes notions of a ‘post-feminist masquerade’ that inevitably secures gender retrenchment. Through an examination of the occasions and non-occasions that pattern the temporalities of women’s lives, therefore, the article demonstrates a distinction between displaying femininity and doing gender, one that simultaneously sheds light on their relationship with one another. (shrink)

This paper examines the cultural phenomenon of `new burlesque', a subculture in which young women take part in striptease performances which invoke the iconic styles and routines associated with mid-20th century cabaret. By reading burlesque websites alongside the celebrity culture and advertising, the article examines how the retro styles of dress and make-up associated with this subculture have circulated through a range of media sites as an alternative mode of femininity. By focusing on the intersections between online fan communities, popular (...) images of burlesque, fashion, and beauty, I argue that burlesque styles involve a reclaiming of traditionally normative sites of identity production and that computer technologies are an extension of the technologies of dress, cosmetics and movements through which femininity is produced. I go on to suggest a re-framing of burlesque as a site of parody and resistance which `troubles' critiques of femininity within both feminist theory and queer theory. (shrink)