Article
Culture
Politics
Psychology
5 min read

To troll or be trolled?

Laughing at others conceals a terror of being laughed at ourselves.
Donald Trump gestures with his hands while someone holds a mic in front of him,

Politics and satire belong together, they deserve each other. Humour has been part of politics ever since the first jester dared jingle a bell in the face of a king. Those who get their kicks from bursting the bubbles of the pompous are drawn to the corridors of power like moths to a flame. But in recent weeks laughter has hit the headlines again. A couple of weeks ago, when Democratic presidential candidate Kamela Harris chose her running mate Tim Walz, the only thing most of us knew about him was that he was the one who had called Trump ‘weird’. A few minutes of furious googling later we knew much more, but the suspicion lingered that he had been picked for having finally answered the question that had plagued the Democrats for nearly a decade: how do you deal with Donald Trump? 

As a psychologist who works with leaders I have been asked this question numerous times. How do you go up against someone with the magnificent trolling skills of Trump? Is it possible to win against a person so adept at humiliating those who oppose him? And I think Walz is on to something. He hasn’t called Trump a threat to democracy or labelled his supporters a basket of deplorables. No. He has called Trump weird, and his supporters good dinner guests. Why is Trump weird? Because, says Walz, he has never seen him laugh. 

Trump is not the only one accused of being humourless. Our own former Prime Minister, Liz Truss, was equally unamused at becoming the butt of the joke, when a banner reading ‘I Crashed the Economy’ next to a googly eyed lettuce quietly descended behind her during an onstage interview. She left the stage abruptly and was quick to respond on X that what had happened was not funny. Most people thought it was funny and that she – like Trump – was slightly weird not to laugh it off, at least a little bit. As the political prankster Noël Godin once said: there is no better way to judge a person’s character than by how they behave when hit by a custard pie. 

We spend our lives subtly and unconsciously evading the slightest whiff of humiliation. 

There is however a deep psychology behind all this hilarity, or lack of it. For decades now psychologists have conducted numerous studies on the phenomenon of Gelotophobia. Not the fear of ice-cream, as one might initially think. Gelotophobes you’ll be pleased to know are perfectly capable of holding it together in the presence of a knickerbocker glory. What they fear is being laughed at, and as always this sounds infinitely more sophisticated translated into Greek (gelos/laughter, phobos/fear). Much of the gelotophobia literature is a heartbreaking tale of young people crippled by the fear that others will laugh at their weight, or their acne, or target them for bullying. Sticks and stones may break our bones, but mocking words it seems can leave us socially terrified for the remainder of our adult life. In its most debilitating forms gelotophobia is a cause for clinical intervention.  

But the study of gelotophobia goes further than treating the clinically distressed. Lurking among the samples and statistics is a wisdom that helps us understand why Trump and Truss are the people they are, and more importantly teaches us something about ourselves. Because most of us in some mild sub-clinical way are gelotophobes. We spend our lives subtly and unconsciously evading the slightest whiff of humiliation.  Margaret Atwood was no doubt right to say that men are afraid that women will laugh at them, and women are afraid that men will kill them. But many people would rather die than be laughed at. 

Could it be that our love of laughing at others conceals a terror of being laughed at ourselves? 

One of the primary findings about gelotophobia, is that those who are most scared of being laughed at are also scared to laugh. To say of Trump or Truss that they lack humour is equally to say that the last thing on earth they want is to be the object of laughter. Most gelotophobes were once victimised, ostracised or bullied, and humour was the chief instrument of their humiliation. They were forged by the cruel conditioning of mockery. As a result, they view laughter-eliciting situations negatively. In facial coding studies they show less joy and more contempt when presented with smiling joyful people. The inner freedom to join others in laughter has been quashed by the suspicion that the laughter of others is a threat. Some compensate for this by making sure they always have the upper-hand, always the troll never the trolled. Which speaks to another finding, more applicable to Trump than to Truss, that derisive humour is the way narcissists conceal their vulnerability. Behind every grandiose expression of superiority, lies a shame and inferiority that can be defended by attacking others. 

Gelotophobia ultimately is a subtype of our fear of being disliked, and if the bestseller lists are anything to go by, this is clearly a pressing concern for many people. Fumitake Koga and Ichiro Kishmi brought the wisdom of Japan to the question in The Courage to be Disliked, and Ryan Holiday did the same from a Stoic perspective in Courage is Calling. How to live in a world that shapes us through the threat of ridicule has been pondered for thousands of years. It even turns up in the New Testament of the Bible. When the disciples of Jesus stepped out to deliver their first public discourses, they were accused of being drunk, stupid and presumptuous. The word used to describe them in the historical sources is parrēsia, usually translated bold, but perhaps more accurately rendered the freedom to say anything (pas- all; rheō- to utter). For them freedom of speech was not a societal given but a virtue they enacted in spite of their society. 

In the ancient world the term parrēsia was more often used to describe the counter-cultural courage of the Stoic philosophers. But the disciples were not Stoics. They weren’t schooled in the rigours of Greek philosophy, but rather apprenticed to the Hebrew prophetic tradition. A tradition which equally appreciated the inevitable opprobrium befalling those who presume to critique and rejuvenate a stale culture. They were simply following the teaching of the master who pointed to ridicule, scorn and gossip not as PR disasters to be managed, but as prophetic honours to be celebrated. Or, as Marty Babcock once claimed, ‘Jesus promised his disciples only three things: they would be absurdly happy, entirely fearless, and always in trouble.’  

We should be cautious then laughing too much at the embarrassments that befall our political class, and perhaps more attentive to what our schadenfreude might point to within us. Could it be that our love of laughing at others conceals a terror of being laughed at ourselves? Even worse, what if vindictively celebrating their misfortunes is itself a symptom of the inner helplessness, inertia and unfreedom we claim to oppose? Or, to give the same question a more positive inflection: what would we be doing or saying differently if we were genuinely and entirely free of the fear of being ridiculed?  

Blessed are those who do not fear the laughter of others for they may change the world. 

Article
Culture
Fashion
6 min read

London Fashion Week: unstitching the tension between designers and religion

Why couture turns churches into runways.
Two models stride along a catwalk of a fashion show held in a church
Orgamea, CC BY-SA 4.0, via Wikimedia Commons.

During London Fashion Week, galleries, warehouses, halls and factories transform into runways to showcase designers’ newest collections. But sometimes they choose a venue that would otherwise be unexpected for an industry-insider event- one of London’s many churches.

In some ways, the Christian chapel is a natural runway – a crowd cut in two with all eyes on a procession down the central aisle. A church wedding might be the most literal analogy- with the bridesmaids and wedding party as the models on a runway showcasing their fine gowns. But the reasons why a designer might choose a Christian venue go beyond a convenient space. 

A venue of smells, bells, fabrics and painting

The Christian Church has a rich history of materiality that other Western institutions would struggle to compete with. During the Middle Ages and the Renaissance, the Church was the main proprietor of all artistic practice. Churches commissioned painters to beautify their walls and to illustrate biblical stories in the form of triptychs and altars. Textile workers embroidered intricate patterns onto clerical vestments, and metal workers and glass makers collaborated to craft stained glass windows. The Church and art were inseparable and for many, attending church was the only way you would see these human-crafted artistic wonders. 

Church history and art history are so intertwined that even in the present day, it’s hard to be in the creative industries without some awareness of it. 

That sense of materiality is a strong reference point for many who grew up attending more traditional Catholic, Anglican or Orthodox churches, but even for those whose experience with church might involve only the occasional tour of a beautiful church in Italy or Spain. Jean Paul Gaultier, a French haute couture designer, used Catholic iconography in his 2007 show at Paris Fashion week. Each model donned a halo crafted from materials ranging from the roses, metal, feathers, jewells, pearls, gold and yes- even stained glass. Some models carried what looked like hymnals, and a few were even wearing the image of Virgin Mary or Jesus printed onto a veil or fitted dress. 

Andrew Bolton, curator of the 2017 exhibit Heavenly Bodies at the Metropolitan Museum of Art, said “what we call the Catholic imagination” has “engaged artists and designers and shaped their approach to creativity.” Regardless of personal belief, Bolton believes “Beauty has often been a bridge between believers and unbelievers.” 

Beyond materiality, the history of Christianity has given us much of the language and concepts by which we think through some of life’s biggest questions. Even if you have never thought of yourself as religious, you will have come into contact with ideas of creation, sin, and redemption that come from the Christian Faith. 

At a fashion show, the designer is Creator and his models walk across the runway to showcase his creations. The crowd may be just as religiously devoted to him as church goers are to their god. A church is the natural venue for a designer who thinks himself worthy of that kind of attention. 

A church-made-runway is a symbol of designer as god- god of their own creations, their brand, and perhaps the future of fashion itself. By taking on religious iconography, designers become the centre of glory- at least for the 45 minute runtime of the show. 

Sometimes, like Gaultier, they feel inspired by the church’s rich iconography. At other times, like McQueen- they are upset at a world created by people who take advantage of power and use religion against others.

Subverting religious ideas 

But using the language of Christianity is often about more than co-opting it for a designer’s own glory. It’s often also about subverting the symbolism of religion - to make statements about the hypocrisy or limitations of religion on individuals. 

One of the most famous shows at London Fashion Week was the 1996 Alexander McQueen Dante at Christ Church in Spitalfields, East London. Based on the Christian-inspired Dante’s Divine Comedy, the collection featured a combination of photographs taken during the Vietnam war, bold takes on men’s tailoring, and black crucifiction-adorned eye masks borrowed from the work of photographer Joel-Peter Witkin. According to McQueen, “religion has caused every war in the world, which is why I showed it in a church.” Other more recent shows at churches include Dilara Findikoglu's show in 2018 at St. Andrew’s Holborn which dressed models in devil-inspired costumes and Julien McDonald’s show at Southwark Cathedral in 2019 which was heavily criticised for bringing revealing clothes into a sacred space. 

McQueen and other designers use their shows in churches to question its integrity. Many who have experienced hurt in the church or from Christians in their personal lives resonate with these fashion statements. 

Fashion’s subversion of religious ideas cuts to a core tension many of us experience. I have always felt drawn to Christian ideas. I love the idea that God created humans in his image to “do his handiwork.” Such creativity has fueled human endeavours as famous as Michel Angelo’s Sistine Chapel and as ordinary as my personal wardrobe. And that a loving heavenly Father sacrificed himself to redeem the world and restore creation-it is an extraordinary thought. 

At the same time, the history of the world, of Christians and of the church feels weighty. Christians have used religion to justify colonialism, racism, slavery, and a host of other atrocious acts of taking advantage over vulnerable people. In our personal lives, Christians we know may have acted in bad faith- as greedy, selfish and unkind in their dealings with others.   

And so, Fashion often encapsulates this duality of having both awe and anger at the church.

But we also know that Fashion isn’t an answer to these problems either. Powerful people in the fashion industry deal with the same temptations of greed and power that others do. The industry is fraught with its own problems of hypocrisy, of doing harm to the women they praise, to the earth whose materials they use, and the vulnerable whose labour they exploit. 

I work at an arts and fashion university, where I often see students creatively wrestle with ideas of life, death, faith and hope. Sometimes, like Gaultier, they feel inspired by the church’s rich iconography. At other times, like McQueen- they are upset at a world created by people who take advantage of power and use religion against others. It can be easy for those who come from faiths that are questioned in art to be outraged at this subversion- like many were with McQueen’s original show. 

In the novel I am Asher Lev by Jewish rabbi Chaim Potok, a young Hasidic boy in 1950s Brooklyn grapples with the limitations of his religious community as he realises his passion for art. A key moment comes when he realises that there is a difference between the “good” and the “beautiful.” His mentor Jacob tells him, 

“I do not sculpt and paint to make the world sacred. I sculpt and paint to give permanence to my feelings about how terrible the world truly is.”

An anthropologist by trade, I look at the work of Fashion designers who use and subvert Christian ideas as a culture grappling with faith in a post-religion world. Humans are unique in their ability to change culture through the things they make and the concepts that come out of them. As a Christian, that creativity, and that freedom to wrestle with life’s toughest questions, are both gifts from God. 

Faced with fashions that challenge the status quo or make people uncomfortable, I ask this- What questions is this designer asking? Do I have similar questions? And importantly- where can I start to find some answers?

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