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Nazi Fashion Wars:
The Evolian Revolt Against Aphroditism in the Third Reich, Part 1

Wolf Willrich, “Family”

2,546 words

Part 1 of 2

“We would like women to remain women in their nature, in the whole of their lives, in the aim and fulfilment of these lives, just as we likewise wish men to remain men in their nature and in the aim and fulfilment of their nature and their aims.”—Adolf Hitler

National Socialism promoted two images of woman: the hardworking peasant mother in traditional dress, and the uniformed woman in service to her people. Both images were an attempt to combat two types of woman that are foreign to Traditional European societies: the Aphrodisian and Amazonian woman.

To understand the implications of these types, we must first outline J. J. Bachofen’s theory of the phases of human development and their relation to the Traditionalism of Julius Evola, who translated Bachofen’s Das Mutterrecht (Mother Right) into Italian and wrote the introduction. Bachofen posited a progressive view of history. The earliest and most primitive civilizations were earth-based, what Bachofen called “hetaerist-aphroditic,” since they were characterized by promiscuity.

As a revolt against the mistreatment of women in these early societies, Bachofen determined, agricultural-based Demetrian societies were developed. This phase of development was matriarchal, and exalted woman in her role of wife and mother, since it viewed woman and the earth as sources of generation.

Next, patriarchy developed, in which the sun and man were seen as the source of life. States of consciousness, correspondingly, went beyond the earth and the moon in solar-oriented societies.

Bachofen also outlined several regressions within his system. The cult of Dionysus was a regression from a Demetrian back into an earth-based cult, as exemplified by its emphasis on the vine (i.e., earth), a drunken dissolution into nature, and the promiscuous maenads who were its followers. Another regression was found in the various examples of Amazonian women in Western history, who did away with the need for a male principle.

Evola said that he integrated Bachofen’s ideas in “a wider and more up-to-date order of ideas.” [1]. He posits the Arctic cycle of the Golden Age as the primordial tradition. Demetrian societies came later, and eventually declined into Amazonian and Aphrodisian cycles. Meanwhile, there were descents into Titanic and Dionysian cycles, with a brief revival of the Northern spirit in the heroic age. Although Evola and Bachofen disagreed about the primacy of the Northern tradition, their interpretations of Aphroditism and other degenerations are similar.

As an earth-based society, the Aphrodisian is entirely focused on the material world. These societies are ruled by “the natural law (ius naturale) of sex motivated by lust, and with no understanding of the relationship of intercourse to conception.” [2] Even the afterlife is viewed not as an ascent to a heaven, but a return to nature. Bachofen describes woman’s status in these cultures as the lowest—she is only a sex object, the property of the tribal chief or any man who wants her. Evola’s interpretation is that in Aphrodisian societies, it is man’s status that is the lowest, since woman is the “sovereign of the man who is merely slave of his senses and sexuality, merely the ‘telluric’ being that finds its rest and its ecstasy only in the woman.” [3] Whether interpreting Aphrodisian societies as degrading to men, women, or both, one aspect is clear: Such a worldview emphasizes the lower aspects of sex, and presents woman as an object of base lust. Contrasted to this are Demetrian societies, in which monogamy and the love of the wife and mother replace mere lust.

Such Aphrodisian cultures are found only in pre-Aryan and anti-Aryan societies. In the history of the West, Evola theorizes that solar-based societies originally were found throughout Europe. In the more southern areas of Europe, in the timeline of recorded history at least, the solar forces did not withstand opposing forces for long. According to Joseph Campbell, these earth and lunar forces migrated to the Mediterranean from the East, as the Oriental principle was found in the “Aphroditic, Demetrian, and Dionysian legacies of the Sabines and Etruscans, Hellenistic Carthage and, finally, Cleopatra’s Hellenistic Egypt.”[4] Thus, much of what we associate with classical Greece cannot be assumed to be European, but must be interpreted in light of the degenerations that developed from its contact with the East. Rome, according to Evola, was able to ward off the influence of the telluric-maternal cult due to its establishment of a firm political organization that was centered on the virile principles of a solar worldview.

In addition to the spheres of love and family, Aphrodisian societies have far-reaching political implications as well. Earth and lunar cults were not necessarily (in fact, rarely) governed by women, yet like gynaecocracy, they foster “the egalitarism of the natural law, universalism and communism.” The idea is that Aphrodisian, earth-based societies viewed all men as children of one earth. Thus, “any inequality is an ‘injustice’, an outrage to the law of nature.” The ancient orgies, Evola writes, “were meant to celebrate the return of men to the state of nature through the momentary obliteration of any social difference and of any hierarchy.”[5] This also explains why in some cultures, the lower castes practiced tellurian or lunar rites, while solar rites were reserved for the aristocracy.

These were the Aphrodisian elements that had made their way into the Weimar Republic and Third Reich, and which the National Socialists tried to restrain, along with modern Amazonian woman (the unmarried, childless, career woman in mannish dress). The Aphrodite type was represented by the “movie ‘star’ or some similar fascinating Aphrodisian apparition.”[6] In his introduction to the writings of Bachofen, National Socialist scholar Alfred Baeumler wrote that the modern world has all of the characteristics of a gynaecocratic age. In writing about the European city-woman, he says, “The fascinating female is the idol of our times, and, with painted lips, she walks through the European cities as she once did through Babylon.”[7]

The Nazis’ attempts to combat the Aphrodisian type of woman were manifest in various campaigns and in the writings of Nazi leaders. Most prominent was the promotion of the Gretchen type (the Demetrian woman, in her role as mother and wife), and the discouragement of anything that encouraged the fall of woman into a sex toy rather than a partner for men. Primary emphasis was placed on the discouragement of provocative dress, makeup, and unnatural hair, all which have associations with earth-based cults from the East. According to Evola, the Jewish spirit emphasizes the materialist and sensualist sides of life, with the body viewed as a material instrument of pleasure rather than an instrument of the spirit. Thus, ideologies such as cosmopolitanism, egalitarianism, materialism, and feminism are prevalent in a society that has a worldview infused with a Semitic spirit.[8]

Evola categorized the Aryan spirit as solar and virile, and the Jewish spirit as lunar and feminine. Using Bachofen’s classification system, the latter classifies most easily with Aphrodisian and earth-based cultures — where woman-as-sex-object prevails over woman-as-mother. In fact, there were various versions of “royal Asian women with Aphrodisian features, above all in ancient civilizations of Semitic stock.”[9] A review of archaeological evidence of Aryan and Semitic peoples reveals that, indeed, the only records of Aphrodisian culture in the West (as determined by a culture’s molding of woman into a sex object through fashion, makeup, and the idea of unnatural beauty) are the result of Eastern influence.

Aphrodisian Fashion and Cosmetics Are Absent from the History of Northern Europeans, and Found in Mediterranean Cultures as a Result of Eastern Influence

European civilizations unanimously associated unnatural beauty, achieved by cosmetics and dyed hair, with the lowest castes. This is because in Traditional societies, “health” was a symbol of “virtue” — to feign health or beauty was an attempt to mask the Truth.[10] Although cosmetics and jewelry were used ritually in ancient civilizations, their use eventually degenerated into a purely materialistic function.


The earliest Europeans tended toward simplicity in dress and appearance. Adornments were used solely to signify caste or heroic deeds, or were amulets or talismans. In ancient Greece, jewels were never worn for everyday use, but reserved for special occasions and public appearances. In Rome, also, jewelry was thought to have a spiritual power.[11] Western fashion often was used to display rank, as in Roman patricians’ purple sash and red shoes. The Mediterranean cultures, influenced by the East, were the first to become extravagant in dress and makeup. By the time this influence spread to northern Europe, it had been Christianized, and makeup did not appear again in northern Europe until the fourteenth century, after which followed a long period of its association with immorality.[12]

There is no firm evidence, archeological or narrative, for the use of makeup among the Anglo-Saxons. Only one story exists about its use among the Vikings, that of tenth century A.D. traveler  Ibrahim Al-Tartushi, who suggested that Vikings in Hedeby (in modern northern Germany) used kohl to protect against the evil eye (obviously an import from the East). Instead of makeup (outside of their often-described war paint), early northern Europeans focused on cleanliness and simplicity, as well as plant-based oils and aromatherapy. Archeological evidence reveals grooming tools for keeping hair tidy and teeth clean, and long hair was an essential beauty element for women.[13] Much of the jewelry worn by Vikings was religious, received as a reward for bravery in battle, or used to fasten clothing (such as brooches).[14]

Roman man and wife, Pompeii, first century or before

Ancient Greece and Rome started out similar to northern Europe in the realms of fashion and beauty, but were quickly influenced by the East. Cosmetics were introduced to Rome from Egypt, and become associated with prostitutes and slaves. Prostitutes tended to use more makeup and perfume as they got older, practices that were looked down on as attempts to mask the unpleasant sights and odors of the lower classes. In fact, the Latin lenocinium means both “prostitution” and “makeup.” For a long time, cosmetics also were associated with non-white races, particular those from the Orient. As Rome degenerated, however, the use of makeup spread to many classes, with specialized slaves devoting much time to applying face paint to their masters, especially to lighten the skin color.

Although cosmetics became more accepted in Rome, their use was contrary to Roman beliefs and discouraged in their writings. Romans did not believe in “unnatural embellishment,” but only the preservation of natural beauty, for which there were many concoctions. Such unadulterated beauty was associated with chastity and morality. As an example, the Vestal Virgins did not use makeup. One who did, Postumia, was accused of incestum, a broad category that signifies immoral and irreligious acts.

In addition, Roman men found it suspicious when women tried to appear beautiful: the implications of cosmetic use included a lack of natural beauty, lack of chastity, potential for adultery, seductiveness, unnatural aversion to the traditional roles for women, manipulation, and deceitfulness. The poet Juvenal wrote, “a woman buys scents and lotions with adultery in mind.” Seneca believed the use of cosmetics was contributing to the decline in morality in the Rome Empire, and advised virtuous women to avoid them.[15] The only surviving text from Rome that approves of cosmetics, Ovid’s Medicamina Faciei Femineae (Cosmetics for the Female Face), gives natural remedies for whiter skin and blemishes but extols the virtues of good manners and a good disposition as highest of all beauty treatments.

Originally, the simplest hairstyles were prized in Rome, with women wearing their hair long, often with a headband. Younger girls favored a bun at the nape of the neck, or a knot on top of their head. Elaborate hairstyles only came into fashion during the Roman Empire as it degenerated.[16]

In ancient Greece, as well, makeup was the domain of lower-class women, who attempted to emulate the fair skin of the upper classes who stayed indoors. Rouge was sometimes used to give the skin a healthy and energetic glow. This tradition was continued by women in the Middle Ages, who also valued fair skin.

Roman women of the Empire

Cosmetics, dyed hair, and over-accessorizing continued to be associated with loose women as Western society was Christianized. Saint Irenaeus included cosmetics in a list of evils brought to the women who married fallen angels. The early Christian writers Clement of Alexandria, Tatian the Assyrian, and Tertullian also trace the origin of cosmetics to fallen angels.[17]

Dress presents a more difficult area to examine. Although the Nazis associated skimpy dress with foreign elements, this has not always been the case in West. Aryan societies generally did not moralize sex, nor see the body as shameful; women could show a bare breast or wear a short tunic without being viewed as a sex object. In fact, Bachofen reports that more restrictive dress represented a move toward Eastern cultures, which, seeing woman as temptress, insist on extensive covering. According to Plutarch, speaking on the old Dorian spirit:

There was nothing shameful about the nakedness of the virgins, for they were always accompanied by modesty and lechery was banned. Rather, it gave them a taste for simplicity and a care for outward dignity.[18]

Much of these distinctions in beauty treatments can be traced to deeper sources, to the differences in spirit of different peoples. Evola asserts the Roman spirit as the positive side of the Italian people, and the Mediterranean (more influenced by the East) as the negative that needs to be rectified. The first Mediterranean trait is “love for outward appearances and grand gestures”—it is the type that “needs a stage.” In such people, he says, there is a split in the personality: there is “an ‘I’ that plays the role and an ‘I’ that regards his part from the point of view of a possible observer or spectator, more or less as actors do.”

A different kind of split, one that instead supervises one’s conduct to avoid “primitive spontaneity,” is more befitting of the Roman character. The ancient Romans had a model of “sober, austere, active style, free form exhibitionism, measured, endowed with a calm awareness of one’s dignity.” Another negative trait of the Mediterranean type, Evola notes, is individualism, brought about by “the propensity toward outward appearances.” Evola also cites “concern for appearances but with little or no substance” as typical of the Mediterranean type.[19] Such differences in spirit will manifest in the material choices that are inherent to different peoples.



1. Julius Evola, Revolt Against the Modern World, trans. Guido Stucco (Rochester, Vt.: Inner Traditions, 1995), 211, footnote.

2. Joseph Campbell, Introduction, Myth, Religion, and Mother Right, by J. J. Bachofen, trans. Ralph Manheim (Princeton: Princeton University Press, 1967), xxx–xxxi.

3. Evola, “Do We Live in a Gynaecocratic Society?”

4. Campbell, “Introduction” to Bachofen, xlviii.

5. Evola, “Gynaecocratic.”

6. Evola, “Matriarchy in J.J. Bachofen’s Work.”

7. Alfred Baeumler, quoted in Evola, “Matriarchy.”

8. Michael O’Meara, “Evola’s Anti-Semitism.”

9. Evola, “Gynaecocratic.”

10. Evola, Revolt, 102.

11. “Creationism & the Early Church.”

12. “Cosmetics use resurfaces in Middle Ages.”

13. “In Pursuit of Beauty.”

14. Fiona McDonald,Jewelry And Makeup Through History (Milwaukee, Wis.: Gareth Stevens, 2007), 13.

15. Wikipedia. “Cosmetics in Ancient Rome.”

16. “Roman Hairstyles.”

17. “Creationism & the Early Church.”

18. Plutarch, quoted in Bachofen, 171.

19. Evola, Men Among the Ruins: Post-War Reflections of a Radical Traditionalist, trans. Guido Stucco (Rochester, Vt.: Inner Traditions, 2002), 260–62.


  1. Posted January 31, 2011 at 1:12 pm | Permalink

    Evola in a slightly different context:

    SEX AND CHARACTER provoked Evola to write his own METAPHYSICS OF SEX two years later. Weininger’s views can be summed up in his following quote, “for true sexual union it is necessary that there come together a complete male and a complete female”.

    Hans Bluher abandoned theories of sexuality based on either biology, or on complimentary or supplementry mathematics grounded in the male-female duality. Instead, Bluher went back to basics and insisted on a single unified consciousness as being the source of sexuality.
    For Bluher, it is sexuality – the putative biological origin – that is an abstraction, and eros – the cultural facts of desire – that proves the sole concrete ground for analysis. Of course, this approach disarms the objection that homosexuality is “against nature.”

    For Evola’s theories of desire, Otto Weininger’s complimentary mathematics is the obvious direct inspiration for the METAPHYSICS OF SEX, and not Bluher’s idea of Eros creating meaning. For Evola, as for Carl Jung, the meaning of sex is the spiritual Hieros Gamos – the sacred marriage within the psyche. But in other books, notably REVOLT AGAINST THE MODERN WORLD and MEN AMONGST THE RUINS, Evola was happy to accept the broad outline of Bluher’s Mannerbund hypothesis, and indeed elaborates upon it.

    Alisdair Clarke, HANS BLUHER AND THE WANDERVOGEL talk from sixth New Right meeting in London, February 2006.

  2. Posted January 31, 2011 at 1:24 pm | Permalink

    “Evola asserts the Roman spirit as the positive side of the Italian people, and the Mediterranean (more influenced by the East) as the negative that needs to be rectified.”

    I’ve referenced Evola’s ideas on the Mediterranean Type in several context, from the Judaic promotion of hysteria and neuroticism in the Mahler cult, to the Negroid dancing in the endzone tomfoolery that has replaced the stoic, reticent WASP athlete.

  3. Giacomo
    Posted January 31, 2011 at 1:35 pm | Permalink

    In your penultimate paragraph, you wisely quote Evola as counseling his people to restrain what he refers to as the Mediterranean spirit, and that is well and good. But let’s not excuse the material and carnal narrowness that characterizes much of Italian fractiousness toward the South. If Evola had been genotyped, would he show more Mediterranean or Nordic subracial membership?

  4. Posted January 31, 2011 at 7:25 pm | Permalink

    Man, this would make Evola’s head explode. Look how much makeup and photographic trickery it takes to pass off some Hispanic as “beautiful”:

    MSNBC reports “She costs too much money and doesn’t sell enough,” says a source close to Epic Records says. “Her last album cover alone cost $60,000 in hair and makeup, lighting, photographers, re-touching, etc. The video budget was in the neighborhood of $300,000.”

    And that’s just what it costs to get the album out the door. Lopez performed on “Good Morning America” earlier this month, and “Epic had to eat the cost for that entire performance. From her makeup — which typically costs in the neighborhood of $8,000 per day — to the backup singers, to the rigging, lighting and sound — the woman requires everything short of flying monkeys to get on a stage.” Lopez also appeared on “Dancing With the Stars,” and [the source] estimates that it cost Lopez and her label at least $60,000.

  5. Posted February 1, 2011 at 6:03 am | Permalink

    There seems to be a tendency, influenced ironically by Jewish dominance, to understand “East” as the Middle or Near East.

    How much, if any, of this talk of the ‘East’ applies to the great solar civilizations of China and Japan? I suspect, on the basis of similar issues, that one would find a more nuanced approach than this simple and typically Persian-Judaic-Dualistic notion of fresh-faced Woman and Painted Slut.

    • Posted February 5, 2011 at 7:53 am | Permalink

      And further:

      No less an authority than Frithjof Schuon has asserted that on Traditional grounds, the ideal female attire was achieved by India, whilst the ideal male attire is that of Islam. The sari elevates the Eternal Feminine while the burkha, as our author suggests, seems to actually denigrate the woman as a presumed whore, or else is appropriate for the Kali Yuga where male sexual obsession needs to to be curbed.

      The Moslem robes, on the other hand, confer on man the dignity befitting his role as Vice-regent of Allah, and make the prayers and ablutions easy, while Western outfits make them difficult and ludicrous. Alan Watts made similar claims for the Japanese kimono.

      Interesting that Schuon doesn’t have anything to say about these NS ideas of ‘traditional’ clothing. Perhaps, coming from Alsace, and I believe briefly drafted into the German army, he has some negative experience with them… An then, of course, like many Germans [including Hitler] he was obsessed with the “Red Indian” which eventually led to his rather eccentric notions of ‘sacred nudity’….

  6. martin
    Posted February 1, 2011 at 9:48 am | Permalink

    Outstanding, outstanding article. Thank you Ms. Bradley.

  7. Greg Paulson
    Posted February 1, 2011 at 10:09 am | Permalink

    This was an excellent article! I am looking forward to reading part two.

  8. Posted February 1, 2011 at 3:19 pm | Permalink

    Alright, no one has asked it yet, so I guess I’ll have to.

    So, if the NS spent so much time and effort to designing and imposing ‘non-aphroditistic’ clothing, how did they become, and remain, the gold standard for fetish-wear? To the extent, that even when the local Nutzi’s dress up and march around, they are called ‘uniform fetishists.’

    A lesser question; did Göring follow these guidelines in his private hobby?

    • Greg Johnson
      Posted February 1, 2011 at 3:25 pm | Permalink

      Good question.

      One thought: our author is talking about women’s fashion, but the sexual fetishization of Nazis is based on Nazi men’s fashion, and very specifically on the uniforms of the SS, elements of which are transferred to women. When I was looking for illustrations of women’s fashion in NS Germany, a vast number of pictures came up of dominatrix types with SS hats. There’s a whole book to be written on SS & M. And the people who pushed it are, you guessed it, Jews . . .

      Wasn’t it P. J. O’Rourke who said “Nobody fantasizes about being tied to a bed and sexually ravished by someone dressed as a liberal”?

      • Posted February 5, 2011 at 7:43 am | Permalink

        Around the same time as O’Rourke, Edmund White, before he became the Grande Dame of Gay Letters, and before AIDS and Foucault, wrote a piece in New Times on S/M asking a similar question: why does gay porn etc. fetishize blue collar looks, like lumberjacks, construction workers, etc.? Well, what else could they use? What would upper middle class porn look like? Chinos with cuffs and button-down collars?

        As for NS and uniforms, the dominatrix look seems to be achieved by switching the male uniform to a female [Ilse of the SS, for example, or with a double switch, thus indicating submission, Charlotte Rampling in The Night Porter] sometimes just by using the iconic hat [also used by motorcycle gangs]. I don’t think the drindl look ever caught on as such, although popular with theme bars.

        One example, though, of ‘traditional’ female attire actually subverting itself, from a similar milieu: it always amuses me to see ‘traditional’ concerned parents demanding that their schools require uniforms. Now, you can see how they want to shield their children from consumerist crap about labels etc, but, while in this case the boys’ uniform is bland, the girls’ uniform is itself in the pantheon of fetishwear. You would think that they’d demand Maoist style grey jumpsuits, but no, it’s always the plaid skirt and knee socks, as promoted by the Catholic Church, another well known source of sexual perversity [see Hansen’s invaluable Catholicism and Decadence].

  9. Giacomo
    Posted February 1, 2011 at 3:35 pm | Permalink

    Yes, it was P.J. O’Rourke. And Ann Coulter loved it!

  10. Posted February 7, 2011 at 1:13 pm | Permalink

    Paradise Lost.
    They were the best team on the field.

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