A panel exploring the history of costuming, club kids, and sub cultural aesthetics as a queer art form. The discussion speak to costumes as a medium for works of great cultural significance e.g. Peter Minshall’s Madame Hiroshima, Brenton Heath Kerr’s Self Portrait in Latex, and the near limitless potential for joy, spectacle and political power costume can contain. It also looks to the evolution of queer costume in Ball culture, and its significance to First Nations queers and queer communities of colour; as well as the challenges posed by the ephemerality of wearable art.