OhBaby:TheSurprisingWaysNeotenyShapesHowWeThinkAboutNakedBodies,Style,andDesign

byYuleHeibel(April2015)

Someofuswillalways,whenwethinkofDianaRigg,thinkofherasMrsEmmaPeel,acharactersheplayedonthe1960sBritishTVshow,TheAvengers.Shewasthebeautifulandterriblyintelligentsecretagentwhoinspiredatleastone10yearoldgirltowantacareerinespionage.WhatEmmaPeelsaidanddid,andhowshedidit,castapowerfulspell.Sowhensherecently(inaMarch2014interviewwithTheGuardian)saidthatolderwomenlookbetterthanoldermen,somemenmusthavecringedeitherinrecognitionorwithresentmentorboth.Riggbolsteredheropinionbyreferringtothedescentofbreastsandtesticles.Imsureanelementofreversesexismwasperceivedwhenshesaid:Ithinkwomenofmyagearestillattractive.Menofmyagearent.Shenoted,Theyvegottheircojoneshalfwaytotheirknees,adding,They[thetesticles]havethesamedescentastits.SinceherearlytelevisiondaysasMrs.Peel,whowasdescribedintheshowsopeningcreditsasatalentedamateur,Riggseemstohaveenjoyedbeingacontradictioninterms.ThecharacterofMrs.Peelforonewassophisticatedyetsometimesgamin,comfortableinultrastylishclothesyetconvincingincatsuitsandothermodattire.Andshewasalwaysclassy,evenwhenshekaratechoppedthebadguysintounconsciousnesswiththepanacheofaShakespearean.Incontrast,Riggsbluntdismissalofoldermenmighthaveseemedmorecrassthanclass,andconfusing,toboot.Doesntthedominantculturalnarrativetellusthat,evenwhenolder,menaretheoneswhocontinuetoenjoythesexualavailabilityofoftenmuchyoungerwomen,whileolderwomenhavetocontendwithbeingignored?Dontalphamalesdivorcetheiroldwivesandmarryyoungtrophies?WasDameDianahavinguson,orwassheontosomething?Ithinktheresawaytothinkaboutwhatshesaidwhichinvolveslookingcloselyamatteroffollowingclues,abitofespionage.Riggsvividreferencetothedescentoftesticlesandbreastsshowsshewasspecificallytalkingabouthowhowoldermenandwomenlookwhennaked.Shewastalking,inotherwords,aboutexternalsexualmarkers,theiragedappearance,theaestheticeffecttheyhaveonus.Womenandmenlookdifferentnaked.Breastsareveryvisible,butwomensothersexualorgansaretuckedupinsidetheirbodies.Thesexualorgansofmenareallexternal.Andifyoureanakedwomanyoumightsupportsaggingbreastsbyartfullycrossingyourarms,an

effectanakedmancrossinghislegstosupportorcoverthetesticlescanthopetoreplicate.Buttheresanothersignificantadvantageawomanmighthavewhichworkstogiveherbodyavisuallifttowardgreateryouthfulness,anditdoesntinvolveameresleightofhand(orarm).Ifwelookatournakedbodiesforawhilelonger,wellfindtheresmoretosay.Andittellsusalsoabouthowwecoverup,howweusefashionanddesign.Breastdosageventually,evenifperkinessmaybehelpedalongbytherightundergarment.Fornow,picturethenakedfemalebreast.Itshairlessandeveniftherearestretchmarks,itslikelystillsmoothskinned.Andthebreasthasthesamecolorastherestofthebody:itsnotdarkerorredderorcoloreddifferentlythananyotherbodypart.Thesamethingistrueforothervisiblemarkers.Eventheouterlabia(whichisallyoucanseeunlessawomanspreadsherlegs),whilehairyunlessdepilated,aresmoothskinnedand,likebreasts,thesamecolorastherestofthebody.Awomansbodyisgenerallyfarlesshairyaswellasmoresmoothskinnedthanamans,eventhroughdecadesofaging.Ifanything,thedifferencescanbecomeevenmorestrikingasthebodiesage.Andshouldawomansthighsorbuttocksdeveloporangepeelskin(cellulite),itsconsideredsomekindofcalamitywhichmustbeeliminated(orcoveredup),forlumpyskinisaboutastellingasoldtesticles.Andwhydoweprizehairlessnessandsmoothnessinalltherightplaces?Ifonlyasmarkersofyouth,whyprizeabundantmanesofheadhair,orofbeardsonmen?Shouldntweallbebaldasbabies,ifitwerethatsimple?Weprizehairlessness(intherightplaces)andsmoothnessofskinbecausetheysuggestjuvenilization.Andthatswheremaleandfemalebodiesreallydiffer. TheAmericannovelistandsciencewriterDavidBrindescribesjuvenilization(or:neoteny)astheretentionofchildlikecharacteristicsinmaturemembersofaspecies.Thisprocessappearssoamplifiedinhumanitythatwehavebeencalledtheneotenousclanofapes.Neotenyischaracterizedbyseveralverydistinctivephysicaltraitswhichcontributetosexualdimorphism,thewaysthatmenandwomenlookdifferentfromoneanother.Apparently,werehardwiredtofindneotenyinstinctuallyappealing,andforbetterorworse,neotenymanifestsmorestronglyinfemaleswhereitalsoreceivesaculturalstampofapproval.So,nearlyallofthefollowingneotenoustraitsdescribedesirablefemaleattributes:arelativelydelicateskeletonandsmallerjointstheabsenceofaNeanderthalbrowandnobonycartilageinthethroatrelativelylargeeyeslessbodyhairbutmoreretentionoffetalbodyhair(thosesoft,nearlyinvisible,downyhairs)armsthatarerelativelyshorterthanlegsahigherpitchedvoiceandsmalljawsandmouth.Neotenydescribesnotjustgeneralyouthfulness,butspecificphysicaltraits.Andtheyaremorepronouncedinwomen,evenastheyage.Theresoneneotenoustraitthathasfallenoutoffashionasadesirablefemaleattribute,however:aglanceatadvertisingorfashionmagazinessuggeststhatwenowlikelarge,toothysmilesinwomen,whichcontradictsanearlier,clearlyjuvenilizingpreferenceforsmalljawsandmouth.InWestern(Caucasian)beautyideals,comparisonsofnineteenthorearlytwentiethcenturybeautyproductadvertisementswithsimilaradstodayillustratetheshift.In

olderversions,theideal(white)femalemodelhasababyishpoutandeventhinlips.Ifanyteethareshowing,theyaresmall,notprominent.Inmodernadsthemodelhasalargemouth,fulllips,andisshowingreallyalotofteeth.TwentiethandtwentyfirstcenturyorthodontistsandoralsurgeonseverywherenodoubtapplaudthisrevisedpostWorldWarIIbeautystandard,butitsalsointerestingtoconsiderthatitblossomedintheUSduringatimewhenAmericanwomenofallcolorswereachievinghigherlevelsofemancipation,leadership,andworkforceintegration.Theresnothingquitelikebeingabletotakeabiteoutoflife,andstrongjawswithhealthyteethconveyitvividly.Theoppositeimageofatoothlesseldergummingherfoodfearofoldage,inotherwordsperhapssuggestssomeofwhatpropelsourcurrentinterestindentalhealth.Butmoreonthatlater.Evenpowerful,bigmouthedwomennaturallyretainmoreneotenouscharacteristicsthanmeneverwill,however.Weallstartoutasjuveniles,andwhilegirlsmaturefasterthanboys,neotenyremainsmuchmorepronouncedinadultwomenasitdisappearsinmenwhentheytransitionoutofadolescence.Thisdimorphicdifferencecancontinuewhenhumansbecomequiteold,withwomenretainingaspectsofneotenywhichspeaktoageneralcategoryofattractiveness. Althoughwomenretainafirmergripontheneoteny/attractivenessadvantage,italsodoesnthurtthattheycanchoosetoenhancetherightplacesforhair(ontopofthehead)throughcleverstylingordyeingawaythetelltalegray,evenastheyhaveanarrayofoptionsfordepilatingwherehairisunwanted.Malepatternbaldnessislesseasytomanage,andoptionsformenaremorelimited.ThepeacockofRenaissancefashiondisappearedlongago,buriedunderworkroutinesandnineteenthcenturyindustrialgray,whilehugebusinessessprunguptooffercosmeticandnowsurgicalenhancementstopeahens.Sinceweliveinagenerallyyouthobsessedculture,however,welloffmenarenowalsobecomingthetargetsofsimilarenhancements.NeotenyisntjustaWesternorCaucasianphenomenon,either,whetherbiologicallymanifestorculturallyenforced.Theexistenceofneoteny,andoftenapreferenceforitsaesthetics,cutsacrosstribalandracialnorms.Asiansareconsideredthemostneotenizedpeopleonearth,andthere,too,juvenilizationisprized.AmericascartoonBettyBoopmightlooklikeaCaucasianbabyinhighheelsandpermedcurls,butJapaneseMangaandAnimecartoonsmatchherpaedomorphicfeaturesframebyframe.Norisskincoloradefiningcharacteristic.ThesamephysicaltraitscanbefoundinAfricanpeople,particularlytheSan(orSaan).Thisdoesntmeanthatneotenyisuniversallyfetishizedasabeautystandard,butitdoesmeanthatneotenyisfoundacrossthehumanraceanditsmostobviousmanifestationissexualdimorphismwhichmayormaynotbecomeculturallyexaggerated. Butneotenyisntjustaphysicalthing,amatteronlyofappearances.Brindescribesneotenysbehavioralaspect,whathecallsaplasticityofbehaviorthatistypicallyfoundamonganimalsonlyintheyoung.Inotherwords,adefiningmentalorbehavioralneotenoustraitofhumansisthatweplayandarecapableofgreatbehavioralchangesmeaningthatwecontinueto

playandlearnwellintoadulthood.Andwedontstopdoingthosethingsjustbecausewegetold.Especiallytoday(soweretold,sinceweliveinahyperspeedyworld),ourbrains,themselvesmarvelsofplasticity,needtostaysuppleandreceptiveforeverlongerspans,anditlookslikebehavioralneotenyishumanitysproverbialaceupthesleeve.Thismightexplainalsowhythemindisourbiggestsexorgan(andyes,youngreaders:oldpeopledohavesex)andwhyweprizetheimaginativecapabilitiesofthosewedesire(mostpeoplewantthefeelingofbeingonasimilarwavelengthastheirpartner,andtobelovedfortheirminds,notonlytheirlooks),justasweuseourownimaginationstoembroider,lengthenandstrengthenourowndesires.Romanceisstorytellingandinvention,andthebetter(moreneotenous,terrificallyplastic)yourimagination,thebetterforyou.Theresahitch,ofcourse.Sadly,ourimaginative,juvenilizingbrainsalsoallowustogetmiredandwelatchontothewrongideas.Thatswhatwedowhenwefallbackonstereotypeandcaricature,whichwedowhenwewantahandyshortcuttodescribetheworld,whetheritsaperson,acategory,asocalledrace,orevenanentireculture.Inhisbook,OnSecondThought:OutsmartingYourMindsHardWiredHabits,scienceandpsychologyjournalistHerbertWraycallsittheCaricatureHeuristic.Itsalittlementalshortcutweusetoassessandthenperhapsunderstand(ornot!)asituationquickly.Inevolutionaryterms,theCaricatureHeuristichasbeenabenefit,allowinghumanstomakesplitseconddecisionsthatcouldbelifesaving.Butthinkingincaricaturesorstereotypesbringspitfalls,too,evenbeyondtheobviousonesofallowingnegativebeliefsandprejudicetodominateandcrowdoutfreshdata.Soforexamplewhenweholdnegativebeliefs,say,aroundagingwhileweourselvesarestillyoung,wemightactuallygrowintothosenegativebeliefsandletthembecomeourrealitywhenweactuallydogetold.Asastudybegunin1968showed,theresasalientlinkbetweenholdingnegativeageistbeliefswhileyounganddevelopingcardiovasculardiseaselateron.Wraywrites:

thosewhoviewedoldageasatimeofhelplessnessweremuchmorelikelytoexperiencesomekindofcardiovasculardisorderoverthenextfourdecades.Theepisodesofheartdiseasecouldnotbeexplainedbysmoking,depression,cholesterol,familyhistory,oranyofamyriadotherpossibleriskfactors.Whatthissuggestsisthatpeopleareinternalizingstereotypesofoldagewhentheyarestillquiteyoungwithfarreachingconsequences.Thisisthefirstscientificlookatpeoplematuringintotheverypeopletheyhavebeenunkindlycaricaturing.Itcouldbetakenasacautionarytaleforthosewhothinktheyllnevergrowold.Whenwetradeinunfaircaricatures,weliterallytakethemtoheart.[Wray,OnSecondThought,p.203.]

Wrayamplifiesthatweareallvictimsofourownstereotypesaboutagingandhealthwhenweacceptnegativeculturalcues[that]shapeourselfconceptsandourbehavior.

Butwhatarethesecues?Again,likethesexualdimorphismwithwhichwebegan,theyreoftenvisualtriggers.Andoneareathatsrifewiththemisfashion,theclothesweweareveryday.People,especiallywomenwhofollowallthefashiondictates,getmorefrequentagingcuesastheykeepabreastoffashiontrends.Subsequently,theycaneasilyinternalizeagestereotypeswhichareoftendownrightnegative.Andtheresaflipsidetothis.HarvardprofessorEllenLangerfoundthatpeoplewhowearworkuniforms(andtherebyavoidfashionsdictates)hadfewerhealthproblems(seealsoWraysbook,p.205).Theyhadfewermisseddaysduetoillnessorinjury,fewerdoctorsvisitsandhospitalizations,andfewerchronicdiseases,thanpeoplewhofreelychosetheirdailywardrobes.Isitbecausetheuniformwearersclothingchoicesdidnt,ateveryturn,remindthemoftheirownaging?Anxietiesaroundfashioncontinuallydestabilizeus,whetheritsafearofbeingcaughtoutin

momjeans(soold!),shortshorts(tooyoung!),oratubetop(OMG,unsupportedbreasts!,quick,crossyourarms!)thelistgoeson.Agingcuesaffectourperceptionofhowwethinknotjustofotheroldpeople,butourselvesasold,andfashionfauxpasarefartooeasytomake.Theonesrelatedtoageappropriatenessarehardlyeasytoavoid.Whohasntseenthearticlesinthewomensmagazines?Theadviceonwhattowearwhenyouretwenty,thirty,forty,fifty,orevensixtywith,letsfaceit,theunderlyingmessage,heavenhelpthewomanwhofailstodressherage?Because,itsimplied,dressdeterminesbehavior!Acrucialdifferencebetweenuniformsandfashionseemstorevolvearoundhowbothconveyasenseoftime,inparticularitspassing.Auniformisnttimely,itstimeless.Itignorestimeandfashioncycles.Therearefashionsinuniforms,ofcourse,butthecyclespinsfarmoreslowlyandsoitsfarlessperceptible.Fashionontheotherhandisforeveroncycles,anditsalwaysabouttimeliness.Fashionisbydefinitionnevertimeless,anditconstantlyremindsitsfollowersthatthisisinwhilethatisout:outoftimeandinappropriate(untilitsrecycledinsomefutureseason).Style,sometimesconfusedwithfashionbutactuallyverydistinct.Itsnotthesameasfashion,butinsteadacurious,almostelusive,otherthing.Styleseemstosquarethecirclebetweentimelinessandtimelessness.Howdoesitgoaboutdoingthis?Greatstyle,evenifitsfashionable,istimelessbecauseitsauthoritative.Itthusfunctionslikeauniform(signaling

andconferringauthority),evenasitprotectsagainstmeretimeliness.Hereliesanimportantdifferencebetweenfashionandstyle.Takeforexampletheolderdoyennesoffashionwhoinrecentyearshavebeenpopularizedindocumentaries,blogs,andmagazines.WhetheritsIrisApfel(b.1921),DianaVreeland(190389),theolderwomenofAdvancedStyle,ortheFabulousFashionistas,sixBritishwomenwithanaverageageofeightywhowereprofiledfortheirawesomesenseofstyle:thesewomenprojectanauthoritativecontrolovertheirlook,acontroltheyexertwithseemingeffortlessness.Wereadmiringlesstheirfashionsenseandmoretheirapparentlyinnatesenseofstyletheirmastery.Thesewomenknowwhattheyredoing.Theyhavebecomeexpertauthorities,evenastheycontinuetoexperimentandplay(thatsbehavioralneoteny!)withfashion.Theirauthoritativepowerasstylistselicitsarespectakintowhatstraditionallyaccordedtotheuniformed,evenastheirplayfulartistryputsthembeyondordinaryreach:youorIcantjustgoandbuythisqualityofftherack.Yettheirauthoritativenesslooksinnate(natural)andsomehoweasyenoughsothatyouandImightthinkwecouldifonlyweknewwheretoshop.Whenstylelooksaseffortlessornaturalasitdoesonsomeofthesewomen,itturnsintocompellingglamour,whatVirginiaPostrelexplainsasthepowerofglamour.Theactualworkthatwentintodevelopingandgrowingthatauthorityisdisplacedbyanimageofpersonalease,butitsaneasepossibleonlybecausethepractitionerknowsexactlywhatsheisdoingandhasbeenpracticingforyears.Thepointistolookchicandeffortless:allthehardworkthatwentintoitaswellasanypastuncertaintyishidden.Thisishowgreatstylistswieldpower.Theresasimilarityheretotheglamoursurroundingsomeyogapractitioners.Take,forexample,NewYorkCitybasedStralaYogasfounderTaraStileswhohasadancerstrainingandthephotogenicgoodlooksofaformermodel(aswellastheadvantageofyouth).Themantrasheencouragesinherfansistopracticeyogawithease,aneasesheisabletoconveywhileinthemosttortuousposes.Withease,frombreathingtotwistingtobalancing,explicitlyunderwritestheintentionofherteachingstyle.Consequently,Stilessyogaliketheeffortlessnessprojectedbyaprimaballerinawhohastrainedforyearslooksdesirableandaspirationalaswellglamorous,muchasPostreldescribesitinherincisivebook.Sotheideaisthatyousetyourintentiontopracticeyogawitheasebecausethiswillspilloverintoyourwholelife.Thus,yogaandlifeitselfbecomeakindofGesamtkunstwerk,atotalitythatsartfulandmasterful,auniverseofwhichyouarethecenter.Whowouldntwanttolivelifewithease,takehardshipinstrideifnotdeflectitentirely?Inthenewsportycumnewagemillennium,thatsonewaytoliveadesirablelife.Anditcanbeyours,ifyoupractice,preferablyinayogauniformexpressiveofyourownpersonalstyle.

Soweseenowthatneoteny,viewedthroughthelensofsexualdimorphism,aging,aswellasfashionandcosmeticinterventions,iseasilyleveragedforaestheticendsandadvantages.Butnowwealsoknowthatplayingthehumaninclinationtobefullofplay,longafteroutgrowingyouthispartofbehavioralneoteny.Itsaninheritancewecanalllayclaimto,madepossiblebythosewonderfullyplastic(malleable)brainsofours.Forabrieftimeinourcollectivehistory(chieflyduringtheperiodwhenmechanicalbiologicalmodelsruledourthinking)welookedatourbrainsasazerosumfield,andwebelievedthatcellsdestroyedwerecellsforevergone.Wewerealsoconvincedthatthebiggestcellthiefwassimpleaging.ButsinceElizabethGouldsbreakthroughworkfromtheearly2000s,itsclearthatneurogenesisisrealandthatwekeepgrowingourbrains(evenifdegenerationtakesitstollatsomepoint).Atthesametime,itsnostretchtosaythatifwekeepfillingthosefreshyoungcellswithbadoldideasfromthehandykitofCaricatureHeuristics,wemightgetcaughtinagingtrapsofourowndevising.Uniformsandfashionplayabigroleinsettingandmodifyingthestereotypeswecarryaroundinourheads.Mostofuswouldagreethat,givenhowwerenaturallypredisposedtowardsneotenyinappearanceandbehavior,wellgenerallypreferbeginningstoendings:notjustyouth,butalsothefreshstart,puppiesandkittens,anewday.Thelistgoeson.AndsoitsnosurprisethattheideaofaNewFrontier,withitspromisesofnearlyperpetualnewbeginningsandeverlastingyouthifnotoutrightimmortality,hasastrongholdonthecollectiveimagination.Butevenaswecontinuetobesuckersforyouth,whetheritskittensonFacebookorperfectlyfreshyoungthingsgenerally,wereallyshouldtrytochangenegativebeliefsaboutagingifonlyforourownfuturehealth.Ofcoursewevealsobuiltacultureandaneconomywhereyouthisasellingpoint,whereyouthcultureisathingamarketersdreamthing.Itsthealtarwhereweveeagerlycelebratedandofferedupsacrifice.Andsometimesanentireregion,alongwithmostitspopulation,iscelebratedoverdecadesastheembodimentofyouthculture.IreferofcoursetoCalifornia.TakeLosAngeles,cityofangels,cityofdreamsandaspirations.In2011,theLACountyMuseumofArt(LACMA)puttogetheranexhibition,billedasthefirstmajorstudyofmodernCaliforniadesign,whichin2014traveledtothePeabodyEssexMuseum(PEM)inSalem,Massachusetts:CaliforniaDesign,19301965:LivinginaModernWaywasabrilliantoverviewofhowCaliforniasrisetodesignprominencewasinformedbylifestyleaspirationsaswellastechnology.ItalsoillustratedinsimilarwaysasPostrelhasinherbooktheglamourofNewFrontiers,reinvention,aspiration,youth,andlivingwithease.ButitwasapaneldiscussionatPEM,hostedinMarch2014byDawneShandandKirunKapurofTheTannerySeries,thatreallygotmethinkingabouttherelationshipofneotenyto

fashion,style,uniforms,anddesign.ThediscussionfeaturedAshleyMearsandSigridNunez,twospeakerstaskedwithdescribingfortheaudiencethechangingroleandappearanceofwomeninpostWorldWarIIAmerica.Atfirstglancethetwopanelistsseemedtobeapproachingthetopicfromverydifferentangles.AshleyMears,aformerfashionmodelandauthorofthebookPricingBeauty,teachessociologyatBostonUniversity.SigridNunezistheauthorofsixnovelsaswellasSempreSusan:AMemoirofSusanSontag.Nunezreadfromoneofhernovels,TheLastofHerKind,toconjurethefeelofchangingmoresinlate60sand1970sAmerica.ShethenalsotalkedaboutSusanSontag,inwhoseNewYorkapartmentshelivedduringthe1970swhenshewasSontagsassistantwhileinarelationshipwithSontagssonDavidRieff.WhereNunezfocusedonfictionalindividualsaswellasarealintellectualhero(Sontag),Mearstalkedaboutthefashionindustryasawhole.Mearsspokefirst,anddescribedshiftsinfashionasthe1950sgavewaytothe1960s.Inthe50s,fashionmagazinesshowedmostlyhautecouture:themodelsrepresentedarelativelywideagerange(somewereevenintheir40s!),theirimmobilefacesmadeupwithwhitepowder(themagazinesfeaturednowomenofcolorthen).Theyworebrightredlipstick,hadperfectlycoiffedhair,and,asMearsputit,curiouslyarchedeyebrowswhichimpartedanairofsophisticationandasowhat?attitude.Fastforwardtothe60sandthingschangerapidly.Foronething,thefashionmodelsgetveryyoungwhiletheoldonesdisappearoutright.ThenewItgirlofthe60sisateenager:Twiggy,57tallandweighingamere90pounds.Gone,too,arethewhitepowderedfacesanddeepredlipsofthe50s,replacedbybabyblushesandpastelhues.Themouthissmallerandtheeyesarelargerasjuvenilizationisstronglyemphasized.Aroundthistime,asthegoldendaysofthebigdepartmentstoregivewaytonimbleandresponsivesmallboutiques,fashionalsostartstocelebrate(somemightsayexploit)streetstyle.Nowthemodelscrouchandjump,havetousledhair,andhoparoundasiftheywerekidsatplay.Withthearrivalofstreetstyle,youalsostarttoseeacorrespondingsocialcasualization.Suddenly,evenmillionairesarewearingjeans,acasualstyleexemplifiedbytheCalifornialook.Butjustlikeitsmoreformal50sancestor,casualstyleisdeeplyaspirational.Insofarasitconveysasenseofease,italsoconveysakindofglamour.Today,jeansandtshirtscoupledwithflipflopsandalsarepracticallythenewuniformoftheFacebookbillionaire,andthecuriouslyarchedeyebrowconveyingasowhatattitudemight

bereplacedbytshirts,someofwhichproclaimasuperiorapathyviaIdontcareslogansandevencruderformslikezerofucksgiven.Isthisstreetfashionorstreetuniform?Isjuvenilizationshapingourtendencytodresscasually,orhavemostofusjustbecomepoorerandsloppier?Andwhatconveyspowerandauthoritativenessmosteffectively,butalsowiththemostease?Justhowcasualcanyougetandstillconveystyle?ConsiderNunezsinsightsintoSusanSontag,awomanwhowasalmostresolutelyopposedtomerefashionbutwhocannonethelessstandasastyleiconbothforherwriting,butalsoforherlifestyleandherdistinctivelook:around1977PeteHamillwrotethatSontagwaspossessedofthemostintelligentfaceofhergeneration(quotedbyNunez,p.41).NunezobservedthatSontag,fleeingtouniversitybyage15andthentoNewYorkCity,havingapparentlynothingincommonwithhermother(herfatherdiedwhenshewasfive)orthesuburbanplaceswhereshewasraised,mayhavebeeninabighurrytoleavechildhood,butshewishedtoliveherentirelifeasifexemptfromtherealitiesofgettingolder(p.43).Sontagalsostronglyresistedwhatwemightcallconventionalwomanlycharacteristics.ShewouldchideNunezfordressingupandwearingmakeup,tellingher,Iwontdoanythingtodrawattentiontomylooks.Ifsomeonewantsto,theycantakeacloserlookandmaybetheylldiscoverImattractive.ButImnotgoingtodoanythingtohelpthem.Nunezadds,Minewasthetypicalfemaleway,herswasthewayofmostmen.(p.43)Instead,Sontagineffectworethesameuniformeveryday,basedonblacktshirts,jeans,sneakers.Shealsonevercarriedapurse.ItstruethatpublicityphotosofSontagshowherinarangeofclothingstyles,eventhoughNunezinsistsonSontagsrelianceonthejeansandtshirtandsneakersuniform.Presumablythatswhatshestucktowhileworking,evenifbookcoversandarticlesrequiredmorevariety(seethefabulous1972HenriCartierBressonphotoofherwearingaverygenderneutralcoatandpants,pairedwithamorefemininebutstillunderstatedshirt).Farfromneotenousor(heavenhelpus)girlish,herlookwasoftenmasculine.Butwhatshehadalsodone(whetherbyinclinationorluckyaccident)wastodeploytwostrategiesadoptinganandrogynousstyleaswellasdonningauniform(jeans,tshirts,sneakers),bothofwhichbothservedasabulwarkagainstaging.Style,unlikefashionbutlikeauniform,confersauthorityandthusarmorstheweareragainstagingcuesandnegativestereotypesaroundwhattoexpectwhenold.Andtherearesomanystylesofuniformtochoosefrom,fromyogastyletoblacktshirtswithjeansandbeyond.Onceitson,theuniformfreesthewearerfrommakingfurtherwardrobechoices.Ithelpsthewearertoavoiddecisionfatigueandletsherfocusonothermatters.

Sincethenineteenthcenturymenhavetraditionallyhadtheirgrayornavysuitstorelyon,butmorerecentdesigngeniuseslikeSteveJobswerealsoknownfortheircasualizedandpredictableuniforms(inJobsscaseablackturtleneckandjeansheandSontagwouldhavemadeaninterestingsartorialpair).Androgynyismorecomplicated,butinsofarasithidesthemarkersofamorematurefemalesexuality,especiallyaconventionalheterosexuality,itpartakesofjuvenilization.Italsoplayswithdefinitions.Genderbendingisafterallaboutfreedom,abouttheideathatanythingispossibleandthatbiologyisnotdestiny.LiketheNewFrontier,itisafrontier,afreshbeginning,andandrogynysplaywithgenderidentityisinlinewithbehavioralneoteny.Play,aseveryoneknowsbynow,keepsyouyoung.

Isauniformstillauniformifitsnolongerasuitandtie?Aremenandwomenincasualtshirtsandjeansuniformedatall?Iftheyreleveragingtheliberatingpoweroftheuniformtofreetheirmindsforothertasks,thenyes,theyare.Andsincetheuniformisultracasualandclosetoandrogynous,italsodeflectssomeofthenegativestereotypesarounduniforms,namelyanuptightkindofauthority.Bythesametoken,anyuniformsassociationwithauthorityhintsathowitscombinationwithneotenyandyouthworshipcanproducetitillatingeffects.InMangaorsimilarcartoons,schooluniformswornbyneotenizedfemalescreatewhatisformanyaseductiveentanglementofauthoritativeness(viatheuniform,anauthoritythattypicallyaccruestoanolder,morepowerfulperson),andyouthfulinnocence(viathewearerscartoonishjuvenilecharacteristics).Butoftenuniformasstylebringsthetwotogetherincleverarrangement,signalingan

easyyetmasterfulcontrol.Merefashion,houndedbytimeliness,wobblesaroundparabolically,lookingforitsway.Themerelyfashionablewomanislikeajourneyman,stillapprenticingtopersonality,notyetamaster/mistress.Thestylishwomanontheotherhandhasleftapprenticeshipbehindandisthemistressofherself.Shestheonepeoplecalltimeless.Andfashioncanlooklikeaneffortifitsoverdone,say,oriftheeffortshows,whichagainexposesajourneymanaspect:thatthepractitionerisnotyetamaster/mistress.Butauthoritativestylelookseffortlessandcarriesasuggestionofease,whichhelpsmakeitappearglamorous.AsVirginiaPostrelwrote,glamourmakesthedifficultappeareasy(see

ChapterFour,TheArtThatConcealsArtinThePowerofGlamour.Itsalsowhywomenwhoarestylishdontnecessarilyfollowfashion.Theymightevenweartheoftenmonochromeuniformofjeansandtshirtsorsimilarlyunderstated,pareddowngarb,ifthatstheirpersonalstylewhichistosaythatnotjustanyoneinjeansandtshirtsisstylish.SinceWorldWarIIstyleuniformshaverepeatedlyrevolvedaroundgenderbending.AsIsuggestedalready,androgynyconfoundsexpectationsaroundfemininity,butitcouldntsurviveasalegitimate,widespreadstyleoptionuntilrelativelyrecently,aftercasualizationfreedmenandwomenfromthestricturesofmoremanlyandmatronlygarb,respectively.MarleneDietrichinatuxedointhe1930swasafashionoutlaw,amodelforlesbiansinsemilegalnightclubs,andatitillationforthemainstream.Towardstheendofthetwentiethcentury,Dietrichinatuxcouldbecomeastyleiconforwomeneverywherewearingamanstraditionaluniform,noless.Androgynysgenderbendinggoesnicelywithuniforms,whetheritsmensformalwearorSontagsblacktshirtsandjeans:itintroducesquirksandplayswithexpectations.Whileitsacceptanceisclearlyrelatedtothewayssocietyletawiderrangeofideasregardingfemininityandwomanlinessflourish,wecanseethatplayingwithgenderexpectationsmayalsoexpressbehavioralneoteny.SinceIbeganthinkingaboutthisessaylastyearseveralfashiondesignersandstoreoutletshavebeenexperimentingwithunisexclothing,whichseemstomeanotherindicationthattheresplentyofmarketchurnaroundthistopic.Notionsoffemininityhavemovedaroundalotsincethe1960swheniconslikeRiggandSontagwerecomingonthescene,andandrogyny,whichismoreneotenousifonlybyvirtueofbeinglessidentifiablyfemale,lesslikewhata1950smatronwore,hasconsumerappealandmarketpotential.Thestaid(paternalistic?)covershavecomeoffjuvenilia,andinrushedmarkets.Inthatsense,too,breakingtheruleswasagoldmineforcapitalismandmarketconsumption,becauseitopenedthewaytobreakingwiththepast,withthecontinuityofconventionalnorms.Itinsteadallowedmarketingtoexpandintoeversmallersegmentsandniches.Sonowweliveinaculturethatworshipsyouthandfearsoldageperhapsmorethanever(unlessmarketsmakeagereallysexy).Werevelinneoteny,physicalandbehavioral.Wereencouragedtobecuriousandplayful(behavioralneoteny)becausemaybe,justmaybe,therightmindsetwillstaveoffbadhealthandsenility.Butthespellcastbyouraddictiontophysicalyouthfulness(notjustitsmentalequivalent)encouragesustocoverup,orevenresorttosurgicalinterventions.Inasfarasourmachinesmirrorourculturebacktous,werealsoincreasinglybeholdentogadgetsandmachinerywedontunderstandanymore.Wesuredonttakethemapart.Whetheritsourcars(whenwasthelasttimeyoupoppedthehoodandworkedontheengine,orevenjustcheckedtheoilyourself?)orourcomputers(whenwasthelasttimeyoutookoutyourlaptopsbatteryandreplaceditwithanewone?),ourmachineryisincreasingly

sealed,sortofliketheperfectsurfaceofaphotoshoppedmodel.Allthemachinesaremagicalwhentheywork,butwhentheywearoutorbreak,wecantfixthemourselves.Often,wedontfixthematallandjustbuyshinynewthings.Lastyearsmodelissolastyear.Thatistosay,old.Ofcoursewerenotencouragedtolookunderthehood.Wereincreasinglyalienatedfromtheinnerworkings,theguts,inalmosteverydomain.Obsessedwithhealthandyouth,weconsumemediaimageryofourselveswhichglossesovertheunderlyingworkings(andfailings).Fashion,style,andnowdesigninallthings,aregreatatmakingvisiblefunctiondisappear.Formincreasinglydoesntfollowfunction.Instead,formisbeautifulandelegant,butinscrutableandseeminglydoingthethingitdoesallonitsown,minusthesometimesmessyexcrescencesoffunction. Theresafunnystorythatrelatestothis.TheMuseumofModernArtinNewYorkCityhasanindustrialdesigncollectionwhichincludesworkbyRaymondLoewy,whosedesignswerealsofeaturedinLACMAsandPEMsCaliforniaDesignexhibition.LoewyhasbeencalledtheFatherofStreamliningand"themanwhochangedthefaceofindustrialdesign"toreflectelegant,aerodynamic,modernsensibilities.VirginiaPostrelcallsthemfantasiesofstreamlinedautonomy.Autonomysuggestsindependence,selfreliance.Butheresthefunnypartofthestory:PostrelwritesthatwhenPaolaAntonelli,MOMAsnewdesigncurator,arrivedin1994,shediscoveredthatsomeonehadsystematicallyvandalizedthe[museum]collectionslampsandelectricalappliances.Theircordshadbeencutoff.(ThePowerofGlamour,p.103)Why?Becauseelectricalcordsdisturbtheillusionofstreamlinedautonomy(and,asPostrelpointsout,destroytheillusionofglamour). Butperhapsyourenowaskingjusthowglamorousstreamlinedautonomyandneotenyareconnected?Foronething,ifapersonoranobjectistobeconsideredglamorous,yourenotallowedtolookunderthehood.Youdontgettoseehowitworksorhowhardithastowork(evenif,justalittlebit,designersanddeveloperswantyoutoknowhowharditwastomakesomethinglooksosimple:bothSteveJobsandTimCookofApplewereanxiousthatconsumersdidntthinkthatmakinganiPhoneorMacBookwasaseasyasusingit).Butitssupposedtolooklikemagic,perhapslikeeverythingisjusthappeningsomewhereelse,inthecloud,upthere.Workingsarehidden,orsupposedtohappenintuitively.Foranotherthing,weliveinanageofgreatconsumerseductionandoverwhelm.Neotenyisseductive,extremelyso.SteveJobsandhisteamatApplefamouslywereinspiredbyaGermanapproachtodesignthatstartedwithWalterGropiusattheBauhaus.ItwasanaestheticwhichcontinuedattheUlmSchoolofDesign,andcameintofullcommercialbloomatBraunGmbH,whosechiefdesignerwasDieterRams.(SeeEvgenyMorozovsTheiGod.)TheBauhaushadbeeninspiredbythecredothatformfollowsfunction,whichitselfhadsignaledarevoltagainstnineteenthcenturyornamentation,gewgaws,folderol,unnecessarystuff,famouslyexpressedbyAdolfLooss190810rantagainsttackedonbuildingfaades.

Butmayberesistanceagainstornament,ifitcomesattheexpenseofvisible,accessiblefunction,goestoofar.AsMOMAsdisplayofindustrialdesignartefactssuggests,ifyoucutthecordsandremoveallthemarkersoffunctionalityinanattempttoprofilethepureform,yougetmagicalthinking.Sure,thatmodernistlampdoesnthaveacord,butitwillcastalight,right?Itstemptingtoassigntoobjectsfocusedonpureformakindofinternal,autonomous(andstreamlined,too)agency.Isitpossiblethatneotenyhasinfiltrateddesignperhapstoothoroughly?Canyouevendesignforneoteny,andwhatcouldthatlooklike?Asafirststepitmeansappealingtoourhardwiredpreferenceforyouth,andthengoingfurtherbycreatingobjectsthatliterallyembodyyouth.Successful,seductivedesignthesedaysneotenizesobjectsbyminimizingthevisiblemeansoffunctionevenwhenthatfunctionalityisstupendous,aswithcomputertechnology.ConsiderDesignedinCalifornia,Applestagline.GivenwhatweveseenofCaliforniasimportancetomoderndesignanditsroleinyouthculture,thatstatementisbothclueandsignal.Itsanencapsulationofneotenysunderlyingappeal:theideathatsophisticated,complexthingsshouldappearbeautifullyandpurelysimple.Justlikeachild.Youthful.Pure.Fullofpossibilities.Anewfrontieryoucancarryaroundwithyou.ApplesnewestMacbookisastunningmarveloffunctionality,inside,underthehood.Butyouwontevergettoseethatasyouliaisewiththecloudtoaccessyourstuff.ThenewMacbookhasjustoneport,andifyouwanttoattachperipherals,wellthen,youbettergetanintermediarygadgettohelpyou.Onitsown,withoutaclumsyperipheralappendage,functionisapparentlyvirtualized,likemagic.ThenewMacbookisperhapsthemostwonderfullyneotenousdeviceever,nearlyimpenetrable,itsabilitytointercoursewithothergadgetsreducedtoaslotonethirdthesizeofitspredecessors.Itisasappealingasachild,butwithanauthoritativeandalwaysreadytoplaybrainthesizeofaplanet:itistheneotenousobject,perfected.Sowhataboutthosemessyexcrescences,theuglybitsoffunctionalitywedontseeanymore?Isdesignleadingusintoanantisepticfuturewhereonlyperfectionispermitted?Willrealhumanembodiment(andattendantaging)stillmatter?Recallwhatstartedthisexplorationofneoteny,DianaRiggssaltycommentaboutthedescentofcojonesandtits.Riggwasremindingusthatgravitywinsintheend,evenifwomenhaveaslightedgeintheneotenydepartment.Butrecallalsoourabilitytotapintobehavioralneoteny,whichisentirelyindependentof(assignedorchosen)sexuality.Unlesslifebeatitoutofus,weallliketoplay.Wevecreatedouryouthworshippingcultureviaafeedbackloop:likingyouthinallthings(inourselves,inkittenorpuppyvideos,etc.)wecreatemoreofit,andinturnjuvenilizationdeterminesmoreofwhatwelike.Butintheend,theplaysthething,andhowweplayourpartsmatters.DameDianatheShakespeareancouldtellyouasmuch:Alltheworldsastage,Andallthemenandwomenmerelyplayers(admittedly,thatspeechendsonasournote,butIprefertothinkShakespearespointwasthattheplaysthething).Aswemight

guessfromhowsheportrayedEmmaPeelinTheAvengers,Riggenjoyedplayingacharacterwhowasacontradictioninterms,aneatillustrationoftheneotenousbraininaction.Currentlywellintoher70s,shesnotafraidtocontinueplayingweirdrolesevennow.Whatsublimeplayersdoiswieldtheauthorityoftheirstyle,askillthatusuallycomeswithexperience.Realpeoplehaveahistory,asdoesgreatdesignaskthegeniusesatApple.Intheend,wellalwaysworshipyouth.Weregenerallyhardwiredforit,andIthinkitslikelythatwedbeextinctwithoutapredispositiontobeenthralledbyouryoung.Butasweage,wecanexercisebehavioralneoteny,whichmightwellbethemosteffectiveelixirofyouth.CarolynLeighsmemorablelyrics,ascroonedbyFrankSinatra,putabitofasaccharinespinonit,butthegistisaboutright:

Dontyouknowthatitswortheverytreasureonearth,tobeyoungatheart?Forasrichasyouareitsmuchbetterbyfartobeyoungatheart.Andifyoushouldsurvivetoahundredandfive,lookatallyoullderiveoutofbeingalive.Andhereisthebestpart,youhadaheadstart,ifyouareamongtheveryyoungatheart.https://youtu.be/YTYHYbwjs

Sowhatsthetakeaway?Howshouldwethinkaboutembodimentandaging?Well,checkyourCaricatureHeuristicsandmakesuretheyrenothurtingyouinthelongrun.Learntotinker(includingwithyourbeliefs).Playwithfashion,butdontbeitsslave.Avoidbeingtooseducedbyneotenybecauseatsomepointyouwillbeold(ifyourelucky,thatisthealternativeisdyingtooyoung),andtheresnopointinchasingyourinnerbabyfaceforever.Bewareofstreamlinedautonomy:itsalie.Rememberwhathappenswhenthecordsarecutoff.Andplayon.Playon.(Note:ThepublicityphotoofDianaRiggasEmmaPeelisfrommypersonalcollectionalteredbymeviaphotoeditingtools.~YuleHeibel)