Staying updated with the latest fashion trends can sometimes require sacrifices to health and comfort for the sake of style. Contemporary trends, such as oppressive corsets, delicate shoes, and gigantic bags, have caused suffering to those who wear them. However, these are considered harmless when compared to several more dangerous fleeting fashions from history, some of which were lethal.
The invention of the stiletto heel in the 1950s generated divergent opinions. While for some women it represented a symbol of empowerment and femininity, with many valuing the added height, others found the stiletto heel uncomfortable to walk in. Concerns about the potential damage caused by these shoes thus arose.
In 1953, the British photojournalism magazine Picture Post published an article titled 'The Risks of the Stiletto Heel,' reporting doctors' fears about the imminent dangers of wearing these shoes, ranging from ankle sprains to fractures. Decades later, apprehensions about the harmful effects of high-heeled shoes persist, as studies have proven a direct link between wearing high heels and musculoskeletal injuries.
Furthermore, the use of stiletto heels is not limited to physical damage; in 2016, the newspaper The Telegraph reported that these heels were used as weapons in hundreds of assaults. A notorious case occurred in 2013, when American citizen Ana Trujillo, known as the 'Stiletto Killer,' was sentenced to life imprisonment for stabbing her boyfriend 25 times with a blue suede stiletto shoe.
The corset has a long and often controversial trajectory, dating back centuries. Since the 16th century, this intimate garment was made with whalebone and sometimes steel, used to shape the waist. However, over time, concerns grew about the possible harm resulting from wearing corsets, particularly due to the practice of 'tight lacing.'
One example is the book published in 1793 by the German physician and anatomist Samuel Thomas von Sömmerring, where he expressed his worries about the prolonged use of tight corsets. In this work, Von Sömmerring argued that such practice could compress internal organs and ribs, resulting in thoracic cage deformities. Later, in June 1890, the medical journal The Lancet published an article detailing the devastating effects of excessively tight corsets, including rib fractures, organ damage, respiratory problems, deformities, and even death.
Although the trend of wearing tight corsets has decreased, doubts remain about the impacts that more modern versions, such as shapewear, may have on the body. Research has indicated that wearing restrictive garments, such as shapewear, can negatively affect respiratory capacity.
During the Victorian era, a fatal trend emerged related to a specific shade of emerald green, which became popular in fabrics, decorative items, and fashion. Due to the difficulty in producing this vibrant and desired hue, Victorian seamstresses used a specific dye called Scheele's green, which was rich in arsenic. The public was unaware of the risks of these arsenic-laden dresses until the renowned chemist A. W. Hoffman published the article 'The Dance of Death' in 1862, exposing the dangerous toxicity of the green dye. The following week, the popular British satirical magazine Punch published a caricature titled 'The Arsenic Waltz,' depicting a skeleton in a ball gown. The lethal effects of these dresses included ulcers, organ failure, and ultimately, death. Young women who made such dresses in factories also exhibited symptoms such as open wounds, convulsions, vomiting, and even death.
Queen Elizabeth I was recognized for her porcelain complexion, seen as an emblem of beauty and status at the time. However, the makeup used by Queen Elizabeth I to achieve this look also served as a cover for smallpox scars on her skin. The monarch achieved her paleness through the use of Venetian ceruse, a lead-based makeup believed to be the cause of her death. Recent research revealed that Queen Elizabeth I's white makeup was actually a mixture of lead and white vinegar, which would facilitate the absorption of lead into the body in greater quantities than in other formulations of Venetian ceruse.
Like many other fashions, lead-based makeup has a long history. The Egyptian queen Cleopatra used a lead-based kohl eyeliner, which, according to more recent analyses, might have actually prevented illnesses.
Hair, often a fashion symbol, has also been the scene of various toxic trends over the years. For example, the Pompadour hairstyle of the 1900s, named after the 18th-century French courtesan Madame de Pompadour, achieved its volume using toxic lead pomades that were fashionable. The early 20th century also saw an unusual and dangerous trend of products containing radium, including radioactive tonics and hair oils. Some products claimed that radioactivity would aid hair growth and cure dandruff. On occasion, radium was applied to the hair with a brush to give it shine in the dark. However, prolonged exposure to radium caused numerous adverse effects, affecting bones and blood, even years after use.
In 1871, two sisters of Oscar Wilde attended a Halloween party in Ireland. Dressed in the latest fashions, they wore voluminous crinoline skirts. However, during the dance, their large skirts caught fire upon contact with the flame of a candle, resulting in the loss of both their lives. Their tragic story was not isolated; during the Victorian era, it is estimated that over 3,000 women met the same fate. The crinoline was valued for its lightness and mobility, but it was heavy and extremely flammable. In 1858, the New York Times recorded an average of three deaths per week, classifying the crinoline as one of the most dangerous fashions in history.
Just as fashion trends evolve, the risks associated with their use also change. One can consider oneself luckier than ancestors, as current fashions are largely less lethal than many of the past ones.
The Subaru Impreza WRC model by Colin McRae may receive an official version in the form of a Lego set. User TOMOELL presented the project on the Lego Ideas platform, recreating the car from 1925 pieces, and is now campaigning for the required 10,000 votes so that the Danish company can consider turning it into a marketable product.
This model reproduces the Impreza WRC98, a two-door coupe that the Scot used in his final season with the official Subaru team. The project accurately captures the blue color of the 555 Subaru World Rally Team, the golden wheels, the hood scoop, and the auxiliary lights on the bumper.
The number 3 on the door refers to the 1998 Monte Carlo Grand Prix, where McRae and navigator Nicky Grist finished third, behind Carlsson and Kankkunen. This position also corresponded to the driver's standing in the championship that year, where he achieved three victories.
What distinguishes this proposal is that it is not just a static model. The set includes a minifigure of McRae, and the replica functions as a modular diorama, allowing for the assembly of three different scenes: drifting, with curved wheels and clouds of dust made from beige parts; jumping, where the car is lifted above the base; and a service station equipped with a hydraulic jack, stands, and a tool trolley (in which case the wheels are removed, simulating real assistance).
The path to reaching the store is long and full of deadlines. According to Lego Ideas rules, the project must gather 100 supporters in 60 days, one thousand in a year, five thousand in six months, and then reach 10,000 within the following six months. Losing any stage means returning to the beginning. Upon reaching this milestone, the project undergoes an analysis, which usually takes months and includes an assessment of manufacturing feasibility, costs, and licensing—in this case, with Subaru and the rights holders of McRae's image, who died in a plane crash in 2007.
The reward, if the project is approved, is determined by contract: the creator receives 1% of the net revenue of the set, ten units of the product, and mention on the packaging. Not all participants in the 'ten thousand club' achieve this goal—Lego has completed entire evaluation cycles without approving a single project. On the other hand, the brand bets on automotive icons and has an established audience among fans of Subaru and 1990s rallying.
The president of the Iranian parliament criticized the United States' statements, labeling them as 'continuous theatrical diplomacy.' Qalibaf expressed his opinion on social media, referring to repeated statements by Donald Trump, who frequently interrupted announced attacks against Iran under the claim that the Islamic Republic was requesting negotiations.
Iran's chief negotiator demanded that the parties recognize the facts and fulfill their agreements, stating that 'we do not need more theatre.' He also maintained that using intimidation, unfulfilled promises, and fake news as bargaining tools constitutes an ineffective tactic.
In this context, Donald Trump posted on social media that, in Iran, 'a country that has been devastated with the goal of never allowing itself to possess a nuclear weapon, things are going very well!'
The United States and Iran have been in a state of war since February 28, following a coordinated offensive between Israel and the United States. In response, Tehran carried out attacks in the region and announced the blockade of the Strait of Hormuz.
Previously, on June 17, the two nations had signed a memorandum of understanding that provided for an immediate ceasefire and the opening of negotiations for a period of 60 days aimed at a definitive peace agreement. However, the parties returned to military confrontation.
Tehran reintroduced the announcement of restrictions in the Strait of Hormuz, through which 20% of global oil trade circulated before the conflict, while Washington resumed a naval blockade on Iranian ports. Trump, for his part, ordered the suspension of air attacks, claiming to have acted at the request of mediating countries and the Islamic Republic itself. However, the latter denies holding conversations with Washington, asserting that it negotiates only with Oman regarding passage through the Strait of Hormuz.
The Esh Hotel & Spa is a hotel complex consisting of 29 units, located on a sloping plot in the Nosara region of Costa Rica. The project concept emerged to solve the challenge of developing a destination hotel on a property where panoramic views were restricted.
Instead of focusing the guest experience on distant landscapes, the design was conceived to build an internal environment using the elements present on the property itself. Elements such as preserved trees, a natural stream, shaded outdoor areas, courtyards with gardens, and water mirrors function as the main reference points throughout the hotel.
