countenances. No elder statesman or senior executive of the 
1940s would have ventured to wear so dead and sculptural a 
pan as the child of the TV age. The dances that came in with 
TV were to match—all the way to the Twist, which is merely a 
form of very unanimated dialogue, the gestures and grimaces 
of which indicate involvement in depth, but “nothing to say.”

     Clothing and styling in the past decade have gone so 
tactile and sculptural that they present a sort of exaggerated 
evidence of the new qualities of the TV mosaic. The TV 
extension of our nerves in hirsute pattern possesses the power 
to evoke a flood of related imagery in clothing, hairdo, walk, 
and gesture.

     All this adds up to the compressional implosion—the 
return to nonspecialized forms of clothes and spaces, the