Kitsch

Kitsch (pronounced kich)

(1) Something though tawdry in design or appearance; an object created to appeal to popular sentiment or undiscriminating tastes, especially if cheap (and thus thought a vulgarity).

(2) Art, decorative objects and other forms of representation of dubious artistic or aesthetic value (many consider this definition too wide).

1926: From the German kitsch (literally “gaudy, trash”), from the dialectal kitschen (to coat; to smear) which in the nineteenth century was used (as a German word) in English in art criticism describe a work as “something thrown together”.  Among “progressive” critics, there was a revival in the 1930s to contrast anything thought conservative or derivative with the avant garde.  The adjective kitchy was first noted in 1965 though it may earlier have been in oral use; the noun kitchiness soon followed. Camp is sometimes used as a synonym and the two can be interchangeable but the core point of camp is that it attributes seriousness to the trivial and trivializes the serious.  Technically, the comparative is kitscher and the superlative kitschest but the more general kitschy is much more common.  The alternative spelling kitch is simply a mistake and was originally 1920s slang for “kitchen” the colloquial shortening dating from 1919.  Kitsch & kitchiness are nouns, kitschify, kitschifying & kitschified are verbs and kitschy & kitchlike are adjectives; the noun plural is kitsch (especially collectively) or kitsches.  Kitschesque is non-standard.

Kitsch can become ironic: a lava lamp in "hot dog stand" red & mustard.  Lava lamps were in the 1970s briefly fashionable as symbols of the modern but were soon re-classified kitsch.  In the twenty-first century, such was the demand that re-creations of the originals became available, bought because they were so kitsch; iconic can thus be ironic.

For something that lacks an exact definition, the concept of kitsch seems well-understood  although not all would agree on what objects are kitsch and what are not.  Nor is there always a sense about it of a self-imposed exclusionary rule; there are many who cherish objects they happily acknowledge are kitsch.  As a general principle, kitsch is used to describe art, objects or designs thought to be in poor taste or overly sentimental.  Objects condemned as kitsch are often mass-produced, clichéd, gaudy (the term “bling” might have been invented for the kitsch) or cheap imitations of something.  It can take some skill to adopt the approach but other items which can be part of the motif include rotary dial phones ("retro" can be a thing which transcends kitsch) and three ceramic ducks "flying" up the wall (although when lava lamps were in vogue, lava lamp buyers probably already thought them kitsch).  An application of physics of thermodynamics and fluid mechanics, the lava lamps once so admired by stoned hippies work by exploiting differences in density, thermal expansion, and buoyancy within two immiscible fluids (ie they do not mix), the dynamics driven by a localized heat source and the construction is simple; in a variously shaped glass vessel, there is a wax-based compound (the “lava”, which typically is paraffin wax mixed with additives to adjust density and melting point), floating in a liquid (usually water or a water-based solution with salts or alcohols to achieve the desired density).  At the base of the vessel there is a source of light and heat which traditionally was an incandescent bulb, the heat a product of the inefficiency with which the energy was converted into light; when the bulb is switched on, the liquid becomes heated and as the wax absorbs some of this heat, it melts and thermally expands, density thereby decreasing to the point it’s slightly less dense than the surrounding liquid.  Buoyant force then causes the wax to rise through the liquid in blobs, randomness meaning tiny variations in surface tension and viscosity create infinitely different shapes of the rounded forms which cool as they move away from the heat source, meaning the wax contracts, increasing its density beyond that of the liquid, causing it to sink back toward the bottom.  Because it’s a closed system working on a continuous cycle, the heating & cooling repeats continuously and, component failure and material decay aside, in theory a lava lamp could run forever.

Lindsay Lohan: Prom Queen scene in Mean Girls (2004).  If rendered in precious metal and studded with diamonds a tiara is not kitsch but something which is the same design but made with anodized plastic and acrylic rhinestones certainly is.

Führerkitsch: A painting attributed to Adolf Hitler.

The Nazi regime devoted much attention to spectacle and representational architecture & art was a particular interest of Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945).  Hitler in his early adulthood had been a working artist, earning a modest living from his brush while living in Vienna in the years before World War I (1914-1918) and his landscapes and buildings were, if lifeless and uninspired, executed competently enough to attract buyers.  He was rejected by the academy because he could never master a depiction of the human form, his faces especially lacking, something which has always intrigued psychoanalysts, professional and amateur.  Still, while his mind was completely closed to any art of which he didn’t approve, he was genuinely knowledgeable about many schools of art and better than many he knew what was kitsch.  However, the nature of the “Führer state” meant he had to see much of it because the personality cult built around him encouraged a deluge of Hitler themed pictures, statuettes, lampshades, bedspreads, cigarette lighters and dozens of other items.  A misocapnic non-smoker, he ordered a crackdown on things like ashtrays but generally the flow of kitsch continued unabated until the demands of the wartime economy prevailed.

To the Berghof, his alpine headquarters on the Bavarian Obersalzberg near Berchtesgaden, Barvaria, there were constant deliveries of things likes cushions embroidered with swastikas in which would now be called designer colors and more than one of his contemporaries in their memoirs recorded that the gifts sometimes would be accompanied by suggestive photographs and offers of marriage.  Truly that was “working towards the Führer”.  At the aesthetic level he of course didn't approve but appreciated the gesture although they seem never to have appeared in photographs of the house’s principle rooms, banished to places like the many surrounding buildings including the conservatory of Hans Wichenfeld (the chalet on which the Berghof was based).

Hitler's study in the Berghof with only matched cushions (left) and the conservatory (centre & right) with some pillowshams (embroidered with swastikas and the initials A.H.).

In the US, Life magazine in October 1939 (a few weeks after the Nazis had invaded Poland) published a lush color feature focused on Hitler’s paintings and the Berghof, the piece a curious mix of what even then were called “human-interest stories”, political commentary and artistic & architectural criticism.  One heading :“Paintings by Adolf Hitler: The Statesman Longs to Be an Artist and Helps Design His Mountain Home” illustrates the flavor but this was a time before the most awful aspects of Nazi rule were understood and Life’s editors were well-aware a significant proportion of its readership were well disposed towards Hitler’s regime.  Still, there was some wry humor in the text, assessing the Berghof as possessing the qualities of a “…combination of modern and Bavarian chalet” styles, something “awkward but interesting” while the interiors, “…designed and decorated with Hitler’s active collaboration, are the comfortable kind of rooms a man likes, furnished in simple, semi-modern, sometimes dramatic style. The furnishings are in very good taste, fashioned of rich materials and fine woods by the best craftsmen in the Reich.”  Life seemed to be most taken with the main stairway leading up from the ground floor which was judged “a striking bit of modern architecture.”  Whether or not the editors were aware Hitler thought “modern architecture” suitable only for factories, warehouses and such isn’t clear.  They also had fun with what hung on the walls, noting: “Like other Nazi leaders, Hitler likes pictures of nudes and ruins” but anyway concluded that “in a more settled Germany, Adolf Hitler might have done quite well as an interior decorator.”  There was no comment on the Führer’s pillows and cushions.

Lindsay Lohan themed pillowshams are available.

Whatever Life’s views on him as interior decorator, decades later, his architect was prepared to note the dictator’s “beginner’s mistakes” as designer.  In Erinnerungen (Memories or Reminiscences), published in English as Inside the Third Reich (1969)), Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) recalled:

“A huge picture window in the living room, famous for its size and the fact that it could be lowered, was Hitler s pride.  It offered a view of the Untersberg, Berchtesgaden, and Salzburg. However, Hitler had been inspired to situate his garage underneath this window; when the wind was unfavorable, a strong smell of gasoline penetrated into the living room.  All in all, this was a ground plan that would have been graded D by any professor at an institute of technology. On the other hand, these very clumsinesses gave the Berghof a strongly personal note. The place was still geared to the simple activities of a former weekend cottage, merely expanded to vast proportions.”

He commented also on the pillowshams: “The furniture was bogus old- German peasant style and gave the house a comfortable petit-bourgeois look.  A brass canary cage, a cactus, and a rubber plant intensified this impression.  There were swastikas on knickknacks and pillows embroidered by admiring women, combined with, say, a rising sun or a vow of "eternal loyalty."  Hitler commented to me with some embarrassment: "I know these are not beautiful things, but many of them are presents.  I shouldn't like to part with them."

The gush was also trans-Atlantic.  William George Fitz-Gerald (circa 1870-1942) was a prolific Irish journalist who wrote under the pseudonym Ignatius Phayre and the English periodical Country Life published his account of a visit to the Berchtesgaden retreat on the invitation of his “personal friend” Adolf Hitler.  The idea of Hitler having a "friend" (as the word conventionally is understood) is not plausible but that an invitation was extended might in the circumstances have been though is unexceptional.  Although when younger, Fitz-Gerald’s writings had shown some liberal instincts, by the “difficult decade” of the 1930s, experience seems to have persuaded him the world's problems were caused by democracy and the solution was an authoritarian system, headed by what he called “the long looked for leader.”  Clearly taken by his contributor’s stance, in introducing the story, Country Life’s editor called Hitler “one of the most extraordinary geniuses of the century” and noted “the Führer is fond of painting in water-colours and is a devotee of Mozart.”

Country Life, March 1936 (both Hermann Göring (1893–1946) and Werner von Blomberg (1878–1946) were then generals and not field marshals).  General Göring wearing the traditional southern German Lederhosen (leather breeches) must have been a sight worth seeing.

Substantially, the piece in Country Life also appeared in the journal Current History with the title: Holiday with Hitler: A Personal Friend Tells of a Personal Visit with Der Führer — with a Minimum of Personal Bias”.  In hindsight it may seem a challenge for a journalist, two years on from the regime’s well-publicized murders of probably hundreds of political opponents (and some unfortunate bystanders who would now be classed as “collateral damage”) in the pre-emptive strike against the so-called “Röhm putsch”, to keep bias about the Nazis to a minimum although many in his profession did exactly that, some notoriously.  It’s doubtful Fitz-Gerald visited the Obersalzberg when he claimed or that he ever met Hitler because his story is littered with minor technical errors and absurdities such as Der Führer personally welcoming him upon touching down at Berchtesgaden’s (non-existent) aerodrome or the loveliness of the cherry orchid (not a species to survive in alpine regions).  Historians have concluded the piece was assembled with a mix of plagiarism and imagination, a combination increasingly familiar since the internet encouraged its proliferation.  Still, with the author assuring his readers Hitler was really more like the English country gentlemen with which they were familiar than the frightening and ranting “messianic” figure he was so often portrayed, it’s doubtful the Germans ever considered complaining about the odd deviation from the facts and just welcomed the favourable publicity.

As a "cut & paste" working journalist used to editing details so he could sell essentially the same piece to several different publications, he inserted and deleted as required, Current History’s subscribers spared the lengthy descriptions of the Berghof’s carpets, curtains and furniture enjoyed by Country Life’s readers who were also able to learn of the food severed at der Tabellenführer, (the leader's table) the Truite saumonée à la Monseigneur Selle (salmon trout Monseigneur style) and caneton à la presse (pressed duck) both praised although in all the many accounts of life of the court circle’s life on the Obersalzberg, there no mention of the vegetarian Hitler ever having such things on the menu.

Djuna Barnes (1892–1982) in polka-dots.

Briefly, Putzi Hanfstaengl was engaged to the US author Djuna Barnes who, although she denied being predominantly lesbionic, was regarded by some contemporary critics as having written the most definitive expressions of lesbian culture since Sappho.  It was one of Hanfstaengl's wives who spoke the most succinct thumbnail sketch of Hitler's sexuality: “I am telling you Putzi, he is a neuter.”

Fitz-Gerald was though skilled at his craft and interpolated enough that was known to be true or at least plausible to paint a veneer of authenticity over the whole.  Of the guests he reported: (1) Hitler’s long-time German-American acquaintance & benefactor (when speaking of Hitler, both better words than "friend") Ernst "Putzi" Hanfstaengl (1887–1975 and a one-time friend of Franklin Delano Roosevelt (FDR, 1882–1945, US president 1933-1945) was a fine piano player (which nobody ever denied), (2) that Joachim von Ribbentrop (1893–1946; Nazi foreign minister 1938-1945) was a wine connoisseur (he entered the wine business after marrying into the Henkell family’s Wiesbaden business although his mother-in-law remained mystified, remarking of his career in government it was: “curious my most stupid son-in-law should have turned out to be the most successful” and (3) that Dr Joseph Goebbels (1897-1975; Nazi propaganda minister 1933-1945) was an engaging dinner companion and a “droll raconteur” (it is true Goebbels’ cynicism and cruel wit could be amusing even to those appalled by his views, something like the way one didn’t have to agree with the press baron Lord Beaverbrook (Maxwell Aitken, 1879-1964) to enjoy his tart cleverness).  Much of the credibility was however sustained by it being so difficult for most to “check the facts” and few would have been able to find out that in the spring of 1936 when Fitz-Gerald claimed to be enjoying the Führer’s hospitality, the quaint old Haus Wachenfeld was part of a vast building site, the place being transformed into the sprawling Berghof, the whole area unliveable and far from the idyllic scene portrayed.

Führerkitsch: A painting attributed to Adolf Hitler.

Dutifully, Hitler acknowledged the many paintings which which were little more than regime propaganda although the only works for which he showed any real enthusiasm were those which truly he found beautiful.  However, he knew there was a place for the kitsch… for others.  In July 1939, while being shown around an exhibition staged in Munich called the “Day of German Art”, he complained to the curator that some German artists were not on display and after being told they were “in the cellar”, demanded to know why.  The only one with sufficient strength of character to answer was Frau Gerhardine "Gerdy" Troost (1904–2003), the widow of the Nazi’s first court architect Paul Troost (1878–1934) and one of a handful of women with whom Hitler was prepared to discuss anything substantive.  “Because it’s kitsch” she answered.  Hitler sacked the curatorial committee and appointed his court photographer (Heinrich Hoffmann (1885–1957)) to supervise the exhibition and the depictions of happy, healthy peasants and heroic nude warriors returned.  Hitler must have been satisfied with Herr Hoffman's selections because in November that year he conferred on him the honorific "professor", a title he would award about as freely as he would later create field marshals.

Kitsch: One knows it when one sees it.

What is kitsch will be obvious to some while others will remain oblivious and the disagreements will happen not only at the margins.  Although there will be sensitive souls appalled at the notion, it really is something wholly subjective and the only useful guide is probably to borrow and adapt the threshold test for obscenity coined by Justice Potter Stewart (1915–1985; associate justice of the US Supreme Court 1958-1981) in Jacobellis v Ohio (1964):

I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description and perhaps I could never succeed in intelligibly doing so. But I know it when I see it…

Matinée de septembre (September Morn (1911)), oil on canvas by Paul Émile Chabas (1869–1937), in the collection of the Metropolitan Museum of Art, New York City (not currently on display).

What makes something defined (or re-defined) as kitsch is thus a construct of factors including artistic merit (most obviously when lacking), the price tag and the social or political circumstances of the time.  When Paul Émile showed Matinée de Septembre at the Paris Salon of 1912, it did not attract much comment, female nudes having for decades been a common sight in the nation’s galleries (although there had been a legislative crackdown on low-cost commercial products, presumably on the basis that while the “educated classes” could appreciate nudes in art, working class men ogled naked women merely for titillation).  In other words, Parisian salon-goers had seen it all before and Matinée de Septembre, while judged competently executed, was in no way compelling or exceptional.  The work may thus have been relegated to an occasional footnote in the history of art were it not for the reaction in Chicago when a reproduction appeared in the street-front window of a photography store.  Reflecting the contrasting aspirations of those Europeans who first settled in the continent, in the US there has always been a tension between Puritanism and Libertarianism and one of the distinguishing characteristics of the USSC (US Supreme Court) is that it has, over centuries, sometimes imperfectly, managed usually to interpret the constitution in a way which straddles these competing imperatives with rulings cognizant of what prevailing public opinion will accept and while the judges weren’t required to rule on the matter of Matinée de Septembre’s appearance in a shop window, the brief furore was an example of one of the country’s many moral panics.

Although at first instance a jury found the work not obscene and thus fit for public view, local politicians quickly responded and found a way to ensure such things were restricted to art galleries and museums, places less frequented by those “not of the better classes”.  The notoriety gained from becoming a succès de scandale (from the French and literally “success from scandal”) made it one of the best-known paintings in the US and, not being copyrighted, widely it was reproduced in prints, on accessories and parodied in what would now be called memes.  The popularity however meant a re-assessment of the artistic merit and many critics dismissed it as “mere kitsch” although it was in 1957 donated to New York’s Metropolitan Museum of Art where it has on occasion been hung as well as being loaned to overseas institutions.  The Met placed it in storage in 2014 and while that’s not unusual, whether the decision was taken because of it’s the depiction of one so obviously youthful isn’t clear.  The artist claimed his model was at the time aged 16 (thus some two years older than the star-cross’d lover in William Shakespeare’s (1564–1616) Romeo and Juliet (1597) and half a decade older than the girl who appeared on the cover of Blind Faith’s one-off eponymous album (1969)) but there is now heightened sensitivity to such depictions.

Kitsch also has a history also of becoming something else.  As recently as the 1970s, tea-towels, placemats, oven mitts, tea-trays and plenty else in the West was available adorned with depictions of indigenous peoples, often as racist tropes or featuring the appropriation of culturally sensitive symbols.  These are now regarded as kitsch only historically and have been re-classified as examples variously (depending on the content) of cultural insensitivity or blatant racism.

Kitsch at work: Lava Lamps and Random Number Generation

Some may have dismissed the Lava Lamp as "kitsch" but the movement of the blobs possesses properties which have proved useful in a way their inventor could never have anticipated.  The US-based Cloudflare is a “nuts & bolts” internet company which provides various services including content delivery, DNS (Domain Name Service), domain registration and cybersecurity; in some aspects of the internet, Cloudflare’s services underpin as many as one in five websites so when Cloudflare has a problem, the world has a problem.  For many reasons, the generation of truly random numbers is essential for encryption and other purposes but to create them continuously and at scale is a challenge.  It’s a challenge even for home decorators who want a random pattern for their tiles, their difficulty being that however a large number of tiles in two or more colors are arranged, more often than not, at least one pattern will be perceived.  That doesn’t mean the tiles are not in a random arrangement, just that people’s expectation of “randomness” is a shape with no discernible pattern whereas in something like a floor laid with tiles, in a random distribution of colors, it would be normal to see patterns; they too are a product of randomness in the same way there’s no reason why if tossing a coin ten times, it cannot all ten times fall as a head.  What interior decorators want is not necessarily randomness but a depiction of randomness as it exists in the popular imagination.

Useful kitsch: Wall of Entropy, Cloudflare, San Francisco.  Had this been in an installation in a New York gallery circa 1972, it would have been called art.  

For most purposes, computers can be good enough at generating random numbers but in the field of cryptography, they’re used to create encryption keys and the concern is that what one computer can construct, another computer might be able to deconstruct because both digital devices are working in ways which are in some ways identical.  For this reason, using a machine alone has come to be regarded as a Pseudo-Random Number Generator (PRNG) simply because they are deterministic.  A True Random Number Generator (TRNG) uses something genuinely random and unpredictable and this can be as simple as the tiny movements of the mouse in a user’s hand or elaborate as a system of lasers interacting with particles.

One of Cloudflare’s devices encapsulating unpredictability (and thus randomness) is an installation of 100 lava lamps, prominently displayed on a wall in their San Francisco office.  Dubbed Cloudflare’s “Wall of Entropy”, it uses an idea proposed as long ago as 1996 which exploited the fluid movements in an array of lava lamps being truly random; as far as is known, it remains impossible to model (and thus predict) the flow.  What Cloudflare does is every few milliseconds take a photograph of the lamps, the shifts in movement converted into numeric values.  As well as the familiar electrical mechanism, the movement of the blobs is influenced by external random events such as temperature, vibration and light, the minute variations in each creating a multiplier effect which is translated into random numbers, 16,384 bits of entropy each time.

Wall of Entropy, Cloudflare, San Francisco.

The arrangement of colors which avoids any two being together, in the horizontal or vertical, was a deliberate choice rather than randomness although, there's no reason why, had the selection truly been random, this wouldn't have been the result.  Were there an infinite number of Walls of Entropy, every combination would exist including ones which avoid color paring and ones in which the colors are clustered to the extent of perfectly matching rows, colums or sides.  What Cloudflare have done in San Francisco is make the lamps conform to the popular perception of randomness and that's fine because the colors have no (thus far observed) effect on the function.  In art and for other purposes, what's truly random is sometimes modified so it conforms to the popular idea of randomness.

Nude & Naked

Nude (pronounced nood or nyood)

(1) Naked or unclothed, as a person or the body.

(2) Without the usual coverings, furnishings etc; bare.

(3) In art, being or prominently displaying a representation of the nude human figure.

(4) In law, a contract made without a consideration or other legal essential and therefore invalid (nudum pactum).

(5) In historic commercial use (usually for underwear), a light grayish-yellow brown to brownish-pink color (no longer in common use; now considered offensive because of the cultural implications of its association with white skin).

1531: As an artistic euphemism for naked, use was first applied to sculpture first emerged in the 1610s but the term not common in painting until the mid-nineteenth century when the idea of "the nude" was recognized as a genre.  The origin of the use in painting in the sense of "the representation of the undraped human figure in visual art" is said to date from 1708 and be derived from the French nud, an obsolete variant of nu (naked, nude, bare) also from the Latin nūdus.  The phrase idea of being in the nude (in a condition of being unclothed) emerged in the 1850s in parallel with the use in art criticism.

The adjective nude in legal use dates from the 1530s and meant "unsupported, not formally attested", the use from the Latin nūdus (naked, bare, unclothed, stripped) from the primitive Indo-European root nogw- (naked).  In legal matters it was typically applied in contract law (hence the "nude contract") and, by extension, the general sense of "mere, plain, simple" emerged twenty years later.  is attested from 1550s. In reference to the human body, "unclothed, undraped," it is an artistic euphemism for naked, dating from 1610s (implied in nudity) but not in common use in this sense until mid-nineteenth century.  The noun nudie (a nude show) dates from 1935 while the much earlier noun nudification (making naked) was from 1838, presumably a direct borrowing of the French nudification which had been in use since 1833.  The practice of nudism actually has roots in Antiquity but nudist (as applied to both practitioners and practice) came into use only in 1929 as an adjective and noun, both influenced by the French nudiste.  The noun nudism (the cult and practice of going unclothed) also dates from 1929 and in the UK, however inaccurately, it was described as a cult of German origin which had been picked up also by the more bohemian of the French, the more respectable London press linking the practice with vegetarianism, physical exercise, pagan worship and the eating of seeds.  Nude, nudeness  & nudist are nouns & adjectives and nudity & nudism are nouns; the noun plural is nudes.

Naked (pronounced ney-kid (U) or neck-ed (non-U))

(1) Being without clothing or covering; nude.

(2) Without adequate clothing.

(3) A natural environment bare of any covering, overlying matter, vegetation, foliage, or the like.

(4) Bare, stripped, or destitute.

(5) A descriptor of the most basic version of something sometimes more elaborate or embellished.

(6) In optics, as applied to the eye, sight etc, unassisted by a microscope, telescope, or other instrument.

(7) Defenseless; unprotected; exposed.

(8) Not accompanied or supplemented by anything else.

(9) In botany, (of seeds) not enclosed in an ovary; (of flowers) without a calyx or perianth; (of branches etc) without leaves; (of stalks, leaves etc) without hairs or pubescence.

(10) In zoology, having no covering of hair, feathers, shell etc.

(11) In motorcycle design, a machine in which the frame and engine are substantially exposed by virtue of screens and fairings not being fitted.

Pre 900: From the Middle English nakede & naked (without the usual or customary covering" (of a sword etc)) from the Old English nacod (nude, bare, empty or not fully clothed); related to the Old High German nackot, the Old Norse noktr and Latin nudus; cognate with the Dutch naakt, the German nackt, the Gothic naqths; akin to the Old Norse nakinn, the Latin nūdus, the Greek gymnós and Sanskrit nagnás.  Source was the Proto-Germanic nakwathaz, also the root of the Old Frisian nakad, the Middle Dutch naket, the Old Norse nökkviðr, the Old Swedish nakuþer and the Gothic naqaþs and ultimate source the primitive European nogw (naked), related to the Sanskrit nagna, the Hittite nekumant, the Old Persian nagna, the Lithuanian nuogas, the Old Church Slavonic nagu, the Russian nagoi, the Old Irish nocht and the Welsh noeth.  As applied to qualities, actions, etc, use emerged in the early thirteenth century, the phrase “naked truth” first noted in 1585 in Alexander Montgomerie's (circa 1550-1598) The Cherry and the Slae.  The phrase “naked as a jaybird (1943) was earlier referenced as “naked as a robin” (1879); the earliest known comparative based on it was the fourteenth century “naked as a needle”.  “Naked eye” is from 1660s, the form unnecessary in the world before improvements in lens grinding technology led to the invention of telescopes and microscopes.  The adjective nakedly (without concealment, plainly, openly) was from circa 1200.  The noun nakedness was from the Old English nacedness (nudity, bareness).  Naked is a verb & adjective and nakedness & nakedhood are nouns.  The special use of naked as a noun applies to motorcycles in which case the noun plural is nakeds.

Naked motorcycles:  2010 Ducati 1098 Streetfighter (left) and 2015 MV Agusta Stradale (right).

Those with a fondness for such things can spend a long time admiring the intricacy of machines like these, the exposed pipework of exhaust systems exerting a particular fascination.  On the BMW motorcycle forums (fora for those who insist on the Latin plural) it’s not uncommon to read of longings for the factory to produce a naked version of the straight-six K1600, a machine available since 2011 only with extensive fairings, befitting its role as a “touring bike”.  What the aficionados want is to see are the curves of the six stainless exhaust headers which would be as pleasing as those on the old Benelli Sei (Six, 1973-1978).

1976 Benelli Sei 750.  This is the appeal of the naked look; it would be sad to conceal the sensuous steel beneath some sort of plastic.

The concept of the naked motorcycle is a machine reduced to its essence of a frame, wheels and an engine, thereby making it lighter than more exotically configured models which may include flashings, windshields, saddlebags or fairings.  Simple physics mean a machine with less mass accelerates, turns and stops with less demand of energy and at low speed they tend to be easier to manoeuvre, are lighter to hold up when static and certainly easier to mount on a centre-stand.  There's also the attraction there are fewer things to break, fibreglass fairings being notorious for getting cracked, scratched or broken and Perspex screens are, with age, prone to cloudiness.  The look however is why some buy naked bikes, the intricacies of the exposed mechanicals appealing especially to engineers anxious to display the quality of the frame's welding or the indefinable but real attraction of Allen-headed bolts.  They're also quick.  Although sacrificing the aerodynamic advantages gained by fairings means in some cases the naked machines can have lower top speeds, they tend to accelerate with more alacrity, offer instant responsiveness and, in street use, top speeds are now anyway rarely approached.

1936 John Deere Model B Row Crop Tractor (“Unstyled”).

The concept known to motorcyclists as the “naked” existed also in agricultural machinery, all of which presumably began in a “naked” form with protective housings added later.  As such equipment became big business in commerce, decorative embellishments would have been the last appendages to appear.  Until the 1939 model-cycle, John Deere’s (JD) row crop tractors were “naked” in execution with the steering post, radiator and most of the engine exposed, the wheels often with spokes running from hub to rim.  However, in 1938, JD hired the industrial designer Henry Dreyfuss (1904-1972) and he created the shapes of the sheet metal which was added to cover many of the exposed areas, including the radiator, the new grill unmistakably from the art deco era and perhaps influenced by the memorable “coffin-nosed” Cords (810-812, 1936-1937).  Mr Dreyfuss’s distinctive radiator cowling was for generations a signature element of many of JD’s Tractors.

1956 John Deere Model 60 Row Crop Tractor (“Styled”).

At the time, such ventures were thought “styling” rather than “designing” so the new JD ranges came to be dubbed the “Styled” and the predecessors retrospective this became the “Unstyled” and also a marker of the new was the use of solid steel wheels to replace the spoke units.  Although heavier and using more steel, the solid wheels were cheaper to produce because they eliminated the use of much labor.  JD’s switch to “Styled” versions was phased in over several years with the models “D” & “G” being the last to appear in the original “naked” configuration.  JD and Mr Dreyfuss put effort and capital into the “Styled” project and as the company’s product line for decades indicated, they were well-pleased with the result and no doubt would not have predicted that early in the twenty-first century, with vintage tractors a collectable item (and definitely there are identifiable cults among the calling), there would be those who would take a 1942  “Styled” JD and lovingly transform it into an “Unstyled”.

Trimline phone in white, available also in designer colors.  Western Electric's original Trimline was available in 36 finishes (33 shades plus faux teak or walnut and the obviously daring “Transparent”) including JD’s signature green & yellow.

Although his name remains well-known in the field, Henry Dreyfuss is somewhat neglected in the public imagination although his breadth was remarkable, encompassing both industrial and consumer products ranging from vacuum cleaners, typewriters and alarm clocks to heavy locomotives, tractors and office buildings.  His most enduring contribution to daily American life was his involvement in the design of telephone handsets, his models for Western Electric serving as standard household and office fixtures between the 1940s and 1990s while the wall-mountable Trimline (1965) and twelve-digit touch-phone (1968) to this day remain available as retro items.

Nude or naked?

In many places the words may correctly be used interchangeably.  In law, a nude and a naked contract are the same, a pact which is unenforceable because if doesn’t possess all the elements required to be valid.  The legal maxim nuda pactio obligationem non parit signifies a naked promise which is a promise without anything being provided in return.  Nuda pactio obligationem non parit thus does not create a legal obligation.

The Nude: A Study in Ideal Form (1956) by Kenneth Clark, Bollingen Series, Pantheon Books, New York, 1956.

Lord Clark (Kenneth Clark, 1903-1983), a cultural elitist of a kind now perhaps either extinct or rendered silent by a less deferential culture, opened The Nude: A Study in Ideal Form by noting naked implied something embarrassing yet nude “…carries, in educated usage, no uncomfortable overtone.”  Clark certainly wrote for an “educated” audience and his view was there were works of art in which there were nudes but other depictions were just variations of nakedness for whatever purpose.  The nude, he concluded, “…is not the subject of art, but a form of art.”  In critical circles that's now mostly the accepted orthodoxy but since Antiquity not all elites (even the “educated” ones) have shared the view and it wasn't just medieval popes who sought to cover up the unclothed, sometimes with draping and sometimes fig leaves, all judiciously placed.  Other have been more destructive, burning or reducing to rubble “that which should offend thine eye”. 

Highly qualified content provider Busty Buffy (b 1996) who, as is done in her profession, appears sometimes “in the nude” although Lord Clark would have called that state of undress: “nakedness”.

In other words, the models in men's magazines were photographed naked while figures rendered in fine art were part of the tradition of the nude.  Photographers who thought their work artistic didn't agree and the onset of cultural relativism means such debates, whatever opinions may be held, are now rare.  However, the adoption by some that nude was something to used exclusively about works of art dates only from the eighteenth century, a movement led by critics and the commercial art industry which wanted the English market again to start buying the many nudes available for sale but which, even before the Victorian era, had fallen from fashion.

New York Magazine, February 2008 (Spring Fashion Issue).

Bert Stern’s (1929-2013) nude photo shoot of Marilyn Monroe (1926–1962) was commissioned by Vogue magazine and shot over three days, some six weeks before her death.  In book form, the images captured were compiled and published as The Last Sitting (first edition, William Morrow and Company (1982) ISBN 0-688-01173-X).  Stern reprised his work in 2008 with Lindsay Lohan, the photographs published in February 2008’s spring fashion issue of New York magazine.  Stern chose the medium of forty-six years earlier, committing the images to celluloid rather than using anything digital.  The reprised sessions visually echoed the original with a languorous air though the diaphanous fabrics were draped sometimes less artfully than all those years ago.  He later expressed ambivalence about the shoot, hinting regret at having imitated his own work but the photographs remain an exemplar of peak-Lohanary.

First published in 1968, New York magazine is now owned by Vox media and, unlike many, its print edition still appears on surviving news-stands.  The editorial focus has over the decades shifted, the most interesting trend-line being the extent to which it could be said to be very much a “New York-centred” publication, something which comes and goes but the most distinguishing characteristic has always been a willingness (often an eagerness) to descend into pop-culture in a way the New Yorker's editors would have distained; it was in a 1985 New York cover story the term “Brat Pack” first appeared.  Coined by journalist David Blum (b 1955) and about a number of successful early twenty-something film stars, the piece proved controversial because the subjects raised concerns about what they claimed was Blum’s unethical tactics in obtaining the material.  The term was a play on “Rat Pack” which in the 1950s had been used of an earlier group of entertainers although Blum also noted another journalist's coining of “Fat Pack”, used in restaurant-related stories.

Lindsay Lohan, Playboy magazine cover, January/February 2012.

Nudity & nakedness are defined by both context & circumstances.  The cover photograph for Lindsay Lohan's 2012 Playboy shoot was, in the narrow technical sense, ambiguous because the chair could have been concealing a pair of delicate lace knickers.  Importantly, even though there are stilettos on the feet, this is still a nude shot because, in this context, shoes don't count; everybody knows that.

Actually, in the context of nude shots it’s probably more correct to say stilettos can be part of the construct of "the nude", the shoes having a long history as an element in such photo sessions, the connotation well-understood.  For that reason, the motif was the one addition to a “nude pin-up calendar” published in 2010 by EIZO Corporation (株式会社, EIZO Kabushiki-gaisha), a Japanese visual technology company which began in 1968 as a television manufacturer.  The name EIZO is an unaltered use of the Japanese 映像 (eizō) (image).  As electronics became progressively cheaper and more powerful there was a proliferation in the use of screens for many purposes and EIZO responded by diversifying into products such as arcade game hardware, computer monitors, VCRs (video cassette recorders) and cassette players.  In 2002, a range of monitors for medical imaging was introduced and the novel calendar appeared to promote its radiological devices.

Eizo Pin-up calendar, 2010.

Advertising Agency: Butter, Berlin & Duesseldorf, Germany
Creative Director: Matthias Eickmeyer
Art Director: Nadine Schlichte
Illustrator/CGI: Carsten Mainz
Copywriter: Reinhard Henke

The theme of the calendar was a model scanned in twelve stereotypical “pin-up” poses, the young lady nude except for her stilettos with the images in the form of classic X-Ray film.  What that meant was the model was in a sense more naked than most nudes because all that was visible (except for the stilettos) was the skeleton and an adumbrated outline of the skin; like the more “artistic” pornography, much was achieved by having a viewer’s mind “fill in the gaps” as it were.  It attracted much interest but it soon was revealed no model was irradiated in the making of the calendar, the images all created with CGI (computer-generated imagery).  The concept came from Berlin-based creative agency Butter and in terms of brand-recognition was an outstanding success because before images of the calendar went viral, it’s doubtful many outside the Japanese electronics industry had heard of EIZO and their highly-regarded monitors.

What a stiletto imposes on the wearer’s “metatarsophalangeal joint between the metatarsal and proximal phalangeal bones” attracted some comment.  It seems a small price to pay for the pleasure men gain from seeing a foot in these classic shoes.

Being the internet, the images were of course deconstructed even before Butter revealed the truth.  Those well acquainted with medical imaging pointed out it was obvious they were digital composites because some things appeared as “white” when they should have been “black”, Miss July’s nipples apparently an obvious clue (for those with a trained eye) while others pointed out a “conspicuous absence of bowel gas and pulmonary vascularity.”  What the careful analysis of the images did proved was just how well-trained those eyes must be because (presumably) no radiologists have ever before had to assess subjects imaged in quite these positions.

Butter's “No model was harmed in the making of EIZO's calendar” explanation of the production process: (1) The wireframe skeleton (top left) and skin (top right), (2) Rendering the skeleton (middle left) and skin (middle right), (3) Combining and inverting the skin & skeleton renderings (bottom right) and (4) the final image after detail editing.   It was at stage (4) that, had a trained consultant been on hand, something like the color of Miss July's nipples would have been corrected but that seems a minor quibble about what was an imaginative project.

In high fashion, there has for some time been pressure on the industry (in Europe in some jurisdictions this has even assumed a legislative form) to move away from the use of untypically (even unusually) thin models on catwalks and in advertising in favor of those with bodies more representative of the population.  Although it's obvious this has resulted in something of a "quota-system" of "plus-sized" models, to date the industry has proved remarkably adept in keeping the catwalks and photo-shots "thin" and unattributed sources within the agencies have been quoted as saying they are still requested by the fashion houses and publications to supply the traditional shape with "just enough" of the larger types added (thrown-in, as it were).  So, in an era when the "please do not feed the models" meme cut a bit close to the bone, to reassure the internet their calendar had required no model to be exposed to a high-dose of radiation, Butter published pictures of the physical wireframes constructed for the CGI modelling; while that proved she was all pixels and there was no exploitation, a feminist critique would still detect the gratuitous objectification of the female form.  Still, neither agency or client could resist the tagline: “The EIZO Medical pin-up calendar – just like EIZO monitors – really does show every detail.”

Nude bras by Flora & Fauna (left) and Capeizo (right).

The concept of the “nude bra” was one of the unanticipated consequences of the emergence of DEI (diversity, equality & inclusion) as part of the West’s linguistic and cultural framework.  The beige bra has long been an industry staple and although the products are sometimes described as a “boring beige bra”, their usual qualities (comfortable, supportive and unobtrusive) made them an “everyday essential”.  However, the functional, if unexciting, garments tended once to be marketed as “skin-tone” which obviously was intrinsically exclusionary because it implied skin was “beige” and thus one of the many examples of “white privilege”.  Accordingly, mostly the industry shifted to value-free descriptors such as beige, black, brown, green, grey, ivory, pink, purple, red, white etc.  The purpose of a nude bra is to be nearly imperceptible under clothing, achieved by the fabric as closely as possible matching the skin tone and the obvious implication is what is a nude bra for one might be quite the opposite for another.  Glamour has a a helpful on-line guide based on the idea of skin's undertones able to be classified as cool, warm, or neutral and notes that while in underwear "black" and "white" tend to be universal, colors like beige or brown are spectrums and there are variations, both between manufacturers and even within their ranges,  That's good because even within a construct like "black skin" or "white skin", there are variations so ideally the selection of a nude bra will involve a consumer comparing fabric with flesh.