You are not the first GM thinking about this, and there has been quite some discussion about it on Barf Forth Apocalyptica, the forum run by Vincent Baker. All quotes below are taken from posts there. There is one thread discussing specific examples of how this move can be made real, which is where most of this insight is from.
Most MCs there play the move as written and give descriptions how to do that consistently with Agenda and Principles, and the fact that it has not changed between the first and the second edition of the game is a strong indication that it's not broken if you use it right. But given the discussions around it, I expect the 2E rulebook will contain some more insight on it, too, once it is out.
The advice given for running with “An arresting skinner” as written are
- Player's stylistic choice putting a natural limit on when it will be used,
- Movie-like spotlighting makes this seem far more real than straight narration,
- There are obvious choices for consequences of over-using the move in the real Apocalypse World.
Player's Stylistic Choice
The first thing to note is that it doesn't need to be abused like that.
The way I have seen the move limited in play: the player taking it agrees not to use it to shit all over the fun of the other players by constantly mind-controlling their characters with it. That seems to work fine.
The player does have the stylistic choice over when to use it, and they can decide to use it just in situations where they think it fits. And if you do that, you can nicely use it even for a skinner who is not a stripper.
Picture a dapper violin-cello player whipping his battered top-hat off with a flourish; the last lounge singer removing and hanging up her shawl with an "I own this place" attitude; the skinner whipping off his trademark ankle-length leather coat and flinging it over the back of the chair as he enters/interrupts the meeting. Consider that such non-sexy uses of the move might be the only way these skinners ever invoke it.
Guiding the Narration
[F]or me, this is another example of how AW mimics movie reality, not "real" reality. I don't find it necessary to consider the Skinner's power supernatural, because my group and I are creating something that flows rather like a movie. When that moment comes, and that sexy leading character is hit by those perfect blue lights and the soundtrack is awesome and the perfect body is being revealed, the plot may be in the middle of a fire or a fight scene, but for ten to thirty seconds all the camera sees - and therefore all we are looking at - is the Skinner.
In a moment we may find out that while that scene was going on, some of the other characters were doing things. So the next few player moves are like tiny "flashbacks" just going back a few seconds or minutes. That's cool, because those other characters weren't watching the Skinner scene. They were busy.
We see things like this in movies all the time. The smokin' hot protagonist drops the shoulder of their blouse, and everyone's eyes are pinned to that little patch of bare skin. The camera is pinned to it. Our shot goes medium-close, and all we see is the curve of their neck, the shadow of the clavicle. Reverse shot to the antagonist, nostrils flared, pupils dilated, lip glistening with just the smallest dot of unrestrained saliva. Shot retreats to medium distance, and we're suddenly surprised that one of the protagonist's teammates has somehow been next to the antagonist the whole time, and slits their throat!
These are the core narration options, and for these the MC needs the collaboration of the players. Personally, I did not need to go any further then this in the only game I saw use of this move.
If they are enough, that's cool – but if you still get the feeling that you need more tangible or unilateral ways of making Apocalypse World Seem Real, there are options for that, too, without sacrificing how the move works.
The Move happens in the World.
Don't make the "frozen" people be in love with the skinner; that's not the move. It's not a seduce and it's not a hypnotize. No, they KNOW that what they're doing isn't natural and the MC should tell her about how she can see that in their eyes.
In our game, the male skinner used this on a noble woman (our setting was drifted) to distract her. But she KNOWS what's going on, the way we play it. She knows she should have looked away and she knows she's being held there by how supernaturally hot he was, but she can't look away. How does that make her feel, after? She HATED him before. The MC talked at length about how she felt the need to shower. And her threat type jumped to 11, I'm sure.
And if the Move takes time and happens in a somewhat public place, Announce Future Badness:
[…] more people show up. And then more people. Dozens of people stop what they're doing and go nuts when a) the Skinner stops short or b) hits the naked zone and tries to get dressed and bug out.