From Victorians to Ravers: The Lustrous Magic of Iridescence in Fashion

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Ellen Terry wanted to look like a snake. She wanted her body to glimmer on stage, hard and soft at once, as though she were wearing the finest chainmail, the lightest armor. She was going to play Lady Macbeth, and Terry could be fussy about what she wore onstage. Not because she was vain, but because she understood both Shakespeare and the needs of her body; she knew instinctively, for instance, that Ophelia had to wear pink at the start of the show, and pale gold for the nunnery scene. She also knew she needed freedom of movement if she were to act properly; she had to be comfortable to embody her characters, to convince the audience. So she requested an iridescent dress, green and blue, fine and light, supple and strange.

of the Nettleship dress), we have so many other ways to create iridescence that it’s no longer necessary to rely on insects for most outfits. Emerald green sequins have a similar look, as do glazed beads. You can buy both real beetle wings online and fake ones, depending on whether you want to make your embellished denim jacket “vegan” or not. Plus, we can make fabrics out of plastic, so you no longer need to have that scaley, snake-y look.

Beetle wings may have limited appeal—I love them, but I can imagine why someone with entomophobia might not—but iridescence itself is far more widely embraced, particularly the so-called mermaid version. There are, I think, two main schools of iridescence: the light and the dark. The light is opalescent, heliographic, translucent, sweet. Think baby pink, rose gold, pastel blue, and metallic mauve. The light belongs toand Ariel. The dark is mallard green, cobalt blue, and copper.

But when they rise and fall in trendiness, they tend to do so together. Light holographic iridescence was a big hit among pacifier-sucking ravers, who wore shiny, translucent backpacks to parties and mirrored sneakers to dance. The 90s and the early 2000s were awash with plastic fantastic fashion. Aqua’s infectious classic banger “Barbie Girl” was released in 1997, and I think that might mark the high point for shimmery, candy-colored plastics.

Six months ago, when I went out in public, I dressed to fit in and fade away. I wore things like ivory fleece jackets, white to match the winters in Maine. I wore dark jeans and black leather boots, things that look ordinary, practical. That was my camouflage. But lately, now that I can’t be seen by anyone, I find myself missing the gaze of others so heartbreakingly much. I’m stuck at home, under a baby wrapped in pink. Static, invisible, weighed down, quieted down.

 

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