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The stiletto high heel is modern woman’s most lethal social weapon.First imagined in the 1930s but not realized until postwar technology made it possible in the early 1950s, the stiletto is a visual slash born to puncture and pierce.
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The eroticization of high heels (still at medium height) was sped along in the 1920s by the rising hemlines of flappers showing off their legs in scandalously hyperkinetic dances like the Charleston.
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.
A woman in high heels, unable to run, is a titillating target for attack.
The high heel in its dazzlingly heraldic permutations (as dramatized in Sex and the City) is beyond the comprehension of most men: only women and gay men can tell the difference between a Manolo Blahnik and a Jimmy Choo.
In full disclosure, I never wear these shoes and indeed deplore their horrifying cost at a time of urgent social needs.
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.