During the 1980s, Theresa Coburn established a reputation as a designer working principally with musicians associated with the emerging, subcultural Goth scene in London. The garments she produced for Jonny Slut (Jonny Melton) of Specimen are era–defining, featuring in Ted Polhemus’s Popstyles (1984) and Streetstyle: From Sidewalk to Catwalk (1994). Coburn’s work was also included in the influential V&A exhibition from Club To Catwalk: London Fashion in the 1980s (2013). This paper will draw upon personal testimonies to consider Coburn’s design relationship with Slut in the role of a client, model, and muse who styled himself in excess of gender binaries. It will examine her choice of unconventional, synthetic materials such as latex for its symbolic references to anti–fashion fetish–wear and body adornments and for its technical capacity to behave literally without “bias.” Latex demands bespoke treatment in the workshop and this paper will consider how that behaviour mirrors the performance of gender in Alternative Clubs during the 1980s through the assertion of a highly individuated artistic self. The paper will consider how Coburn’s deconstructed, flayed silhouettes evoke the spirit of contemporaneous critical theory, notably Julia Kristeva’s The Powers of Horror (1982), and finally, how they contrast with the contemporary volumetric, cocoon silhouettes which characterize approaches to designing “gender–fluid” fashion today.