Simulacrum

Simulacrum (pronounced sim-yuh-ley-kruhm)

(1) A slight, unreal, or superficial likeness or semblance; a physical image or representation of a deity, person, or thing.

(2) An effigy, image, or representation; a thing which has the appearance or form of another thing, but not its true qualities; a thing which simulates another thing; an imitation, a semblance; a thing which has a similarity to the appearance or form of another thing, but not its true qualities

(3) Used loosely, any representational image of something (a nod to the Latin source).

1590–1600: A learned borrowing of the Latin simulācrum (likeness, image) and a dissimilation of simulaclom, the construct being simulā(re) (to pretend, to imitate), + -crum (the instrumental suffix which was a variant of -culum, from the primitive Indo-European –tlom (a suffix forming instrument nouns).  The Latin simulāre was the present active infinitive of simulō (to represent, simulate) from similis (similar to; alike), ultimately from the primitive Indo-European sem- (one; together).  In English, the idea was always of “something having the mere appearance of another”, hence the conveyed notion of a “a specious imitation”, the predominant sense early in the nineteenth century while later it would be applied to works or art (most notably in portraiture) judged, “blatant flattery”.  In English, simulacrum replaced the late fourteenth century semulacre which had come from the Old French simulacre.  As well as the English simulacrum, the descendents from the Latin simulācrum include the French simulacre, the Spanish simulacro and the Polish symulakrum.  Simulacrum is a noun and simulacral is an adjective; the noun plural is simulacrums or simulacra (a learned borrowing from Latin simulācra).  Although neither is listed, by lexicographers, in the world of art criticism, simulacrally would be a tempting adverb and simulacrumism an obvious noun.  The comparative is more simulacral, the suplerative most simulacral.

Simulacrum had an untroubled etymology didn’t cause a problem until French post-structuralists found a way to add layers of complication.  The sociologist & philosopher Jean Baudrillard (1929-2007) wrote a typically dense paper (The Precession of Simulacra (1981)) explaining simulacra were “…something that replaces reality with its representation… Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal.... It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real.” and his examples ranged from Disneyland to the Watergate scandal.  One can see his point but it seems only to state the obvious and wicked types like Karl Marx (1818-1883) and Joseph Goebbels (1897-1975; Nazi propaganda minister 1933-1945) said it in fewer words.  To be fair, Baudrillard’s point was more about the consequences of simulacra than the process of their creation and the social, political and economic implication of states or (more to the point) corporations attaining the means to “replace” reality with a constructed representation were profound.  The idea has become more relevant (and certainly more discussed) in the post-fake news world in which clear distinctions between that which is real and its imitations have become blurred and there’s an understanding that through many channels of distribution, increasingly, audiences are coming to assume nothing is real.

Mannerist but not quite surrealist: Advertising for the 1961 Pontiac Bonneville Sports Coupe (left) with graphical art by Art Fitzpatrick (1919–2015) & Van Kaufman (1918-1995) and a (real) 1961 Pontiac Bonneville Sports Coupe (right) fitted with Pontiac's much admired 8-lug wheels, their exposed centres actually the brake drum.

The work of Fitzpatrick & Kaufman is the best remembered of the 1960s advertising by the US auto industry and their finest creations were those for General Motors’ (GM) Pontiac Motor Division (PMD).  The pair rendered memorable images but certainly took some artistic licence and created what were even then admired as simulacrums rather than taken too literally.  While PMD’s “Year of the Wide-Track” (introduced in 1959) is remembered as a slogan, it wasn’t just advertising shtick, the decision taken to increase the track of Pontiacs by 5 inches (127 mm) because the 1958 frames were used for the much wider 1959 bodies, rushed into production because the sleek new Chryslers had rendered the old look frumpy and suddenly old-fashioned.  It certainly enhanced the look but the engineering was sound, the wider stance also genuinely improved handling.  Just to make sure people got the message about the “wide” in the “Wide Track” theme, their artwork deliberately exaggerated the width of the cars they depicted and while it was the era of “longer, lower, wider” (and PMD certainly did their bit in that), things never got quite that wide.  Had they been, the experience of driving would have felt something like steering an aircraft carrier's flight deck.

1908 Cadillac Model S: The standard 56 inch (1422 mm) track (left) and the 61 inch (1549 mm) "wide track" (right), the more "sure-footed" stance designed for rutted rural roads.  

Pontiac made much of the “Year of the Wide Track” and it worked so well “wide track” would be an advertising hook for much of the 1960s although the idea wasn’t new, Cadillac in 1908 offering a wide track option for their Model S.  While the four cylinder Cadillacs were coming to be offered with increasingly large and elaborate coachwork, to increase the appeal of the single cylinder, 98 cubic inch (1.6 litre) Model S for rural buyers, there was the option of a 61 inch (1549 mm) track, 5 inches (127 mm) wider than standard.  The extra width was designed exactly to match the ruts in the roads of the rural Southwest, cut by generations of horse-drawn wagons.  Though a thoughtful gesture, times were changing and the 1908 Model S would prove the last single cylinder Cadillac, the corporation the next season standardizing the line around the Model Thirty which upon release would use the 226 cubic inch (3.7 litre) four-cylinder engine although in a harbinger of the 1950s and 1960s, it would be enlarged to 255 cubic inches (4.2 litre) for 1910, 286 cubic inches (4.7 litres) for 1911-1912 and finally 366 cubic inches (6.0 litres) for 1914.  For 1915, there was another glimpse of Cadillac’s path in the twentieth century with the introduction of the Model 51, fitted with the company’s first V8 with a displacement of 314 cubic inches (5.1 litres).  As the photographs suggest, nor was the luxurious tufted leather upholstery Detroit in the 1970s came to adore anything new, the style of seating used in the early (“brass era”), up-market automobiles taken straight from gentlemen’s clubs.

Fitzpatrick & Kaufman’s graphic art for the 1967 Pontiac Catalina Convertible advertising campaign.  One irony in the pair being contracted by PMD is that for most of the 1960s, Pontiacs were distinguished by some of the industry’s more imaginative and dramatic styling ventures and needed the artists' simulacral tricks less than some other manufacturers (and the Chryslers of the era come to mind, the solid basic engineering below cloaked sometimes in truly bizarre or just dull  bodywork).

This advertisement from 1961 hints also at something often not understood about what was later acknowledged as the golden era for both the US auto industry and their advertising agencies.  Although the big V8 cars of the post-war years are now remembered mostly for the collectable, high-powered, high value survivors with large displacement and induction systems using sometimes two four-barrel or three two-barrel carburetors, such things were a tiny fraction of total production and most V8 engines were tuned for a compromise between power (actually, more to the point for most: torque) and economy, a modest single two barrel sitting atop most and after the brief but sharp recession of 1958, even the Lincoln Continental, aimed at the upper income demographic, was reconfigured thus in a bid to reduce the prodigious thirst of the 430 cubic inch (7.0 litre) MEL (Mercury-Edsel-Lincoln) V8.  Happily for country and oil industry, the good times returned and by 1963 the big Lincolns were again guzzling gas four barrels at a time (the MEL in 1966 even enlarged to a 462 (7.6)) although there was the courtesy of the engineering trick of off-centering slightly the carburetor’s location so the primary two throats (the other two activated only under heavy throttle load) sat directly in the centre for optimal smoothness of operation.  Despite today’s historical focus on the displacement, horsepower and burning rubber of the era, there was then much advertising copy about (claimed) fuel economy, though while then as now, YMMV (your mileage may vary), the advertising standards of the day didn’t demand such a disclaimer.

Portrait of Oliver Cromwell (1650), oil on canvas by Samuel Cooper (1609-1672).

Even if it’s something ephemeral, politicians are often sensitive about representations of their image but concerns are heightened when it’s a portrait which, often somewhere hung on public view, will long outlive them.  Although in the modern age the proliferation and accessibility of the of the photographic record has meant portraits no longer enjoy an exclusivity in the depiction of history, there’s still something about a portrait which conveys, however misleadingly, a certain authority.  That’s not to suggest the classic representational portraits have always been wholly authentic, a good many of those of the good and great acknowledged to have been painted by “sympathetic” artists known for their subtleties in rendering their subjects variously more slender, youthful or hirsute as the raw material required.  Probably few were like Oliver Cromwell (1599–1658; Lord Protector of the Commonwealth 1653-1658) who told Samuel Cooper to paint him “warts and all”.  The artist obliged.

Randolph Churchill (1932), oil on canvas by Philip de László (left) and Randolph Churchill’s official campaign photograph (1935, right).

There have been artists for whom a certain fork of the simulacrum has provided a long a lucrative career.  Philip Alexius László de Lombos (1869–1937 and known professionally as Philip de László) was a UK-based Hungarian painter who was renowned for his sympathetic portraiture of royalty, the aristocracy and anyone else able to afford his fee (which for a time-consuming large, full-length works could be as much as 3000 guineas).  His reputation as a painter suffered after his death because he was dismissed by some as a “shameless flatterer” but in more recent years he’s been re-evaluated and there’s now much admiration for his eye and technical prowess, indeed, some have noted he deserves to be regarded more highly than many of those who sat for him.  His portrait of Randolph Churchill (1911-1968) (1932, left) has, rather waspishly, been described by some authors as something of an idealized simulacrum and the reaction of the journalist Alan Brien (1925-2008) was typical.  He met Churchill only in when his dissolute habits had inflicted their ravages and remarked that the contrast was startling, “…as if Dorian Gray had changed places with his picture for one day of the year.”  Although infamously obnoxious, on this occasion Churchill responded with good humor, replying “Yes, it is hard to believe that was me, isn’t it?  I was a joli garçon (pretty boy) in those days.”  That may have been true for as his official photograph for the 1935 Wavertree by-election (where he stood as an “Independent Conservative” on a platform of rearmament and opposition to Indian Home Rule) suggests, the artist may have been true to his subject.  Neither portrait now photograph seems to have helped politically and his loss at Wavertree was one of several he would suffer in his attempts to be elected to the House of Commons.

Portrait of Gina Rinehart (née Hancock, b 1954) by Western Aranda artist Vincent Namatjira (b 1983), National Gallery of Australia (NGA) (left) and photograph of Gina Rinehart (right).

While some simulacrums can flatter to deceive, others are simply unflattering.  That was what Gina Rinehard (described habitually as “Australia’s richest woman”) felt about two (definitely unauthorized) portraits of which are on exhibition at the NGA.  Accordingly, she asked they be removed from view and “permanently disposed of”, presumably with the same fiery finality with which bonfires consumed portraits of Theodore Roosevelt (TR, 1858–1919; US president 1901-1909) and Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955), both works despised by their subjects.  Unfortunately for Ms Reinhart, her attempted to save the nation from having to look at what she clearly considered bad art created only what is in law known as the “Streisand effect”, named after an attempt in 2003 by the singer Barbra Streisand (b 1942) to suppress publication of a photograph showing her cliff-top residence in Malibu, taken originally to document erosion of the California coast.  All that did was generate a sudden interest in the previously obscure photograph and ensure it went viral, overnight reaching an audience of millions as it spread around the web.  Ms Reinhart’s attempt had a similar consequence: while relatively few had attended Mr Namatjira’s solo Australia in Colour exhibition at the NGA and publicity had been minimal, the interest generated by the story saw the “offending image” printed in newspapers, appear on television news bulletins (they’re still a thing with a big audience) and of course on many websites.  The “Streisand effect” is regarded as an example “reverse psychology”, the attempt to conceal something making it seem sought by those who would otherwise not have been interested or bothered to look.  People should be careful in what they wish for.

Side by side: Portraits of Barak Obama (2011) and Donald Trump (2018), both oil on canvas by Sarah A Boardman, on permanent display, Gallery of Presidents, Third Floor, Rotunda, State Capitol Building, Denver, Colorado.

In March 2025 it was reported Donald Trump (b 1946; US president 2017-2021 and since 2025) was not best pleased with a portrait of him hanging in Colorado’s State Capitol; he damned the work as “purposefully distorted” and demanded Governor Jared Polis (b 1975; governor (Democratic) of Colorado since 2019) immediately take it down.  In a post on his Truth Social platform, Mr Trump said: “Nobody likes a bad picture or painting of themselves, but the one in Colorado, in the State Capitol, put up by the Governor, along with all the other Presidents, was purposefully distorted to a level that even I, perhaps, have never seen before.  The artist also did President Obama and he looks wonderful, but the one on me is truly the worst. She must have lost her talent as she got older.  In any event, I would much prefer not having a picture than having this one, but many people from Colorado have called and written to complain. In fact, they are actually angry about it!  I am speaking on their behalf to the radical left Governor, Jared Polis, who is extremely weak on crime, in particular with respect to Tren de Aragua, which practically took over Aurora (Don’t worry, we saved it!), to take it down. Jared should be ashamed of himself!”

At the unveiling in 2019 it was well-received by the Republicans assembled.  If Fox News had an art critic (the Lord forbid), she would have approved but presumably that would now be withdrawn and denials issued it was ever conferred.  

Intriguingly, it was one of Mr Trump’s political fellow-travellers (Kevin Grantham (b 1970; state senator (Republican, Colorado) 2011-2019) who had in 2018 stated a GoFundMe page to raise the funds needed to commission the work, the US$10,000 pledged, it is claimed, within “a few hours”.  Ms Boardman’s painting mush have received the approval of the Colorado Senate Republicans because it was them who in 2019 hosted what was described as the “non-partisan unveiling event” when first the work was displayed hanging next to one of Mr Trump’s first presidential predecessor (Barack Obama (b 1961; US president 2009-2017), another of Ms Boardman’s commissions.  Whether or not it’s of relevance in the matter of now controversial portrait may be a matter for professional critics to ponder but on her website the artist notes she has “…always been passionate about painting portraits, being particularly intrigued by the depth and character found deeper in her subjects… believing the ultimate challenge is to capture the personality, character and soul of an individual in a two-dimensional format...”  Her preferred models “…are carefully chosen for their enigmatic personality and uniqueness...” and she admits some of her favorite subjects those “whose faces show the tracks of real life.”

Variations on a theme of simulacra: Four AI (artificial intelligence) generated images of Lindsay Lohan by Stable Diffusion.  The car depicted (centre right) is a Mercedes-Benz SL (R107, 1971-1989), identifiable as a post-1972 North American model because of the disfiguring bumper bar. 

So a simulacrum is a likeness of something which is recognizably of the subject (maybe with the odd hint) and not of necessity “good” or “bad”; just not exactly realistic.  Of course with techniques of lighting or angles, even an unaltered photograph can similarly mislead but the word is used usually of art or behavior such as “a simulacrum or pleasure” or “a ghastly simulacrum of a smile”.  In film and biography of course, the simulacrum is almost obligatory and the more controversial the subject, the more simulacral things are likely to be: anyone reading AJP Taylor’s study (1972) of the life of Lord Beaverbrook (Maxwell Aitken, 1879-1964) would be forgiven for wondering how anyone could have said a bad word about the old chap.  All that means there’s no useful antonym of simulacrum because one really isn’t needed (there's replica, duplicate etc but the sense is different) while the synonyms are many, the choice of which should be dictated by the meaning one wishes to denote and they include: dissimilarity, unlikeness, archetype, clone, counterfeit, effigy, ersatz, facsimile, forgery, image, impersonation, impression, imprint, likeness, portrait, representation, similarity, simulation, emulation, fake, faux & study.  Simulacrum remains a little unusual in that while technically it’s a neutral descriptor, it’s almost always used with a sense of the negative or positive.

Zephyr

Zephyr (pronounced zef-uhr (U) or zef-er (non-U))

(1) A gentle, mild breeze, considered the most pleasant of winds.

(2) As a literary device, the west wind personified which should be used with an initial capital letter and not capitalized if referring to some gentle waft.

(3) Any of various things of fine, light quality (fabric, yarn etc), most often applied to wool.

(4) The usual (Westernised) spelling of Ζεφυρος (Zéphuros or Zéphyros), the Greek and Roman god of the west wind.  The Roman name was Zephyrus, Favonius.

(5) A model name used on various cars produced by the Ford Motor Company, including some under the Lincoln and (the now defunct) Mercury brands.

Circa 1350: From the Middle English zeferus & zephirus, from the Old English zefferus, from the Latin zephyrus, from the Ancient Greek Ζέφυρος (Zéphuros or Zéphyros) (the west wind), probably from the Greek root zophos (the west, the dark region, darkness, gloom).  The Latin Zephyrus was the source also of zéphire (French), zefiro (Spanish) and zeffiro (Italian).  The plural is zephyrs and the derived term is zephyrette (capitalised and not); the alternative spellings were zephir & zefir.  The casual use in meteorology dates from circa 1600.  While, as Zephyr, classically something warm, mild and occidental, zephyr can be used to refer to any gentle breeze or waft where the wish is to suggest a wind not strong as in a gust, gale, cyclone, blast, typhoon or tempest, the adjectival form being zephyrean.

Cupid and Psyche (1907) by Edvard Munch (1863–1944).

In Greek mythology, Ζεφυρος (transliterated as Zéphuros or Zéphyros) was the god of the west wind, one of the four seasonal Anemoi (wind-gods), the others being his brothers Notus (god of the south wind), Eurus (god of the east wind) and Boreas (god of the east wind).  The Greek myths offer many variations of the life of Zephyrus, the offspring of Astraeus & Eos in some versions and of Gaia in other stories while there were many wives, depending on the story in which he was featured.  Despite that, he’s also sometimes referred to as the “god of the gay”, based on the famous tale of Zephyrus & Hyakinthos (Hyacinthus or Hyacinth).  Hyacinth was a Spartan youth, an alluring prince renowned for his beauty and athleticism and he caught the eye of both of both Zephyrus and Apollo (the god of sun and light) and the two competed fiercely for the boy’s affections.  It was Apollo whose charms proved more attractive which left Zephyrus devastated and in despair.  One day, Zephyrus chanced upon the sight of Apollo and Hyacinth in a meadow, throwing a discus and, blind with anger, sent a great gust of wind at the happy couple, causing the discus to strike Hyacinth forcefully in the head, inflicting a mortal injury.  Stricken with grief, as Hyacinth lay dying in his arms, Apollo transformed the blood trickling to the soil into the hyacinth (larkspur), flower which would forever bloom in memory of his lost, beautiful boy. Enraged, Apollo sought vengeance but Zephyrus was protected by Eros, the god of love, on what seems the rather technical legal point of the intervention of Zephyrus being an act of love.  There was however a price to be paid for this protection, Zephyrus now pledged to serve Eros for eternity and the indebted god of the west wind soon received his first task.  There are other tales of how Cupid and Psyche came to marry but in this one, with uncharacteristic clumsiness, Cupid accidently shot himself with one of his own arrows of love while gazing upon the nymph Psyche and it was Zephyrus who kidnapped her, delivering his abducted prize to Cupid to be his bride.

Chloris and Zephyr (1875) by William-Adolphe Bouguereau (1825-1905), Musee des Beau-Arts of the Musées Mulhouse Sud Alsace.

Zephyros was in classical art most often depicted as a handsome, winged youth and a large number of surviving Greek vases are painted with unlabeled figures of a winged god embracing a youth and these are usually identified as Zephyros and Hyakinthos although, some historians detecting detail differences list a number of them as being of Eros (the god of Love) with a symbolic youth.  Although sometimes rendered as a winged god clothed in a green robe and crowned with a wreath of flowers, in Greco-Roman mosaics, Zephyros appears usually in the guise of spring personified, carrying a basket of unripened fruit.  In some stories, he is reported to be the husband of Iris, the goddess of the rainbow and Hera’s messenger and in others, Podarge the harpy (also known as Celano) is mentioned as the wife of Zephyrus but in most of the myths he was married to Chloris.  Chloris by most accounts was an Oceanid nymph and in the tradition of Boreas & Orithyia and Cupid and Psyche, Zephyrus made Chloris his wife by abduction, making her the goddess of flowers, for she was the Greek equivalent of Flora, and living with her husband, enjoyed a life of perpetual spring.

Lindsay Lohan resisting a zephyr's efforts to induce a wardrobe malfunction, MTV Movie Awards, Los Angeles, 2008.

Ford's Zephyrs

Lincoln Zephyr V12, 267 cubic inches (4.4 litre).  It was the last of the American V12s.

In the inter-war era, the finest of the big American cars, the Cadillacs, Lincolns, Packards and Duesenbergs, offered craftsmanship the equal of anything made in Europe and engineering which was often more innovative.  The 1930s however were difficult times and by mid-decade, sales of the big K-Series Lincolns, the KA (385 cubic inch (6.3 litre) V8) and KB (448 cubic inch (6.3 litre) V12) were falling.  Ford responded by designing a smaller, lighter Lincoln range to bridge the gap between the most expensive Ford and the lower-priced K-Series Lincolns, the intention originally to power it with an enlarged version of the familiar Ford V8 but family scion Edsel Ford (1893–1943; president of the Ford Motor Company 1919-1943), decided instead to develop a V12, wanting both a point of differentiation and a link to K-Series which had gained for Lincoln a formidable reputation for power and durability.  Develop may however be the wrong word, the new engine really a reconfiguration of the familiar Ford V8, the advantage in that approach being it was cheaper than an entirely new engine, the drawback the compromises and flaws of the existing unit were carries over and in some aspects, due to the larger size and greater internal friction, exaggerated.

Lincoln Zephyr V12, 267 cubic inches (4.4 litre).

The V12 however was not just V8 with four additional pistons, the block cast with a vee-angle of 75^o rather than the eight’s 90^o, a compromise between compactness and the space required for a central intake manifold and the unusual porting arrangement for the exhaust gases.  The ideal configuration for a V12 is 60^o and without staggered throws on the crankshaft, the 75^o angle yielded uneven firing impulses, although, being a relatively slow and low-revving unit, the engine was felt acceptably smooth.  The cylinder banks used the traditional staggered arrangement, permitting the con-rods to ride side-by-side on the crank and retained the Ford V-8’s 3.75 inch (90.7 mm) stroke but used a small bore of just 2.75 inches (69.75 mm), then the smallest of any American car then in production, yielding a displacement of 267 cubic inches (4.4 litres), a lower capacity than many of the straight-eights and V8s then on the market.

Because the exhaust system was routed through the block to four ports on each side of the engine, cooling was from the beginning the problem it had been on the Ford V8 but on a larger scale.  Although the cooling system had an apparently impressive six (US) gallon (22.7 litre) capacity, it quickly became clear this could, under certain conditions, be marginal and the radiator grill was soon extended to increase airflow.  Nor was lubrication initially satisfactory, the original oil pump found to be unable to maintain pressure when wear developed on the curfaces of the many bearings; it was replaced with one that could move an additional gallon (3.79 litre) a minute.  Most problems were resolved during the first year of production and the market responded to the cylinder count, competitive price and styling; after struggling to sell not even 4000 of the big KAs in 1935, Lincoln produced nearly 18,000 Zephyrs in 1936, sales growing to over 25,000 the following year.  Production between 1942-1946 would be interrupted by the war but by the time the last was built in 1948, by which time it had been enlarged to 292 cubic inches (4.8 litre (there was in 1946, briefly, a 306 cubic inch (5.0 litre) version) over 200,000 had been made, making it the most successful of the American V12s.  It was an impressive number, more than matching the 161,583 Jaguar built over a quarter of a century (1971-1997) and only Daimler-Benz has made more, their count including both those used in Mercedes-Benz cars and the the DB-60x inverted V12 aero-engines famous for their wartime service with the Luftwaffe and the Mercedes-Benz T80, built for an assault in 1940 on the LSR (Land Speed Record).  Unfortunately, other assaults staged by the Third Reich (1939-1945) meant the run never happened but the T80 is on permanent exhibition in the factory's museum in Stuttgart so viewers can ponder Herr Professor Ferdinand Porsche's (1875–1951) pre-war slide-rule calculations of a speed of 650 km/h (404 mph) (not the 750 km/h (466 mph) sometimes cited).

1939 Lincoln-Zephyr Three Window Coupe (Model Code H-72, 2500 of which were made out of the Zephyr’s 1939 production count of 21,000).  It was listed as a six-seater but the configuration was untypical of the era, the front seat a bench with split backrests, allowing access to the rear where, unusually, there were two sideways-facing stools.  In conjunction with the sloping roofline, it was less than ideal for adults and although the term “3+2” was never used, that’s probably the best description.  The H-72 Three Window Coupe listed at US$1,320, the cheapest of the six variants in the 1939 Zephyr range.

It may sound strange that in a country still recovering from the Great Depression Ford would introduce a V12 but the famous “Flathead” Ford V8 was released in 1932 when economic conditions were at their worst; people still bought cars.  The V12 was also different in that although a configuration today thought of as exotic or restricted to “top of the line” models, for Lincoln the Zephyr was a lower-priced, mid-size luxury car to bridge a gap in the corporate line-up.  Nor was the V12 a “cost no object” project, the design using the Flathead’s principle elements and while inaccurate at the engineering level to suggest it was the “Ford V8 with four cylinders added” the concept was exactly that and if the schematics are placed side-by-side, the familial relationship is obvious.  Introduced in November 1935 (as a 1936 model), the styling of the Lincoln Zephyr attracted more favourable comment than Chrysler’s Airflows (1934-1937), an earlier venture into advanced aerodynamics (then known as “streamlining”) and the name had been chosen to emphasize the wind-cheating qualities of the modernist look.  With a raked windscreen and integrated fenders, it certainly looked slippery and tests in modern wind tunnels have confirmed it indeed had a lower CD (drag coefficient) than the Airflows which looked something like unfinished prototypes; the public never warmed to the Airflows, however accomplished the engineering was acknowledged to be.  By contrast, the Zephyrs managed to cloak the functional efficiency in sleek lines with pleasing art deco touches; subsequently, New York’s MOMA (Museum of Modern Art) acknowledged it as “the first successfully streamlined car in America”.  So much did the style and small V12 capture the headlines it was hardly remarked upon that with a unitary body, the Zephyr was the first Ford-made passenger vehicle with an all-steel roof, the method of construction delivering the required strength at a lighter weight, something which enabled the use of an engine of relatively modest displacement.

The American Home Front 1941-1942 (2006) by Alistair Cooke (1908-2004),  The cover illustration was of him filling up the Zephyr's V12, Pasadena, California, 1942.

In 1942, just after the US had entered the war (thereby legitimizing the term “World War II” (1939-1945)) the expatriate (the apocope “expat” not in general use until the 1950s when Graham Greene's (1904-1991) novel The Quiet American (1955) appears to have given it a boost) UK-born US journalist Alistair Cooke began a trip taking from Washington DC and back, via Virginia, Florida, Texas, California, Washington state and 26 other states, purchasing for the project a 1936 Lincoln Zephyr V12, his other vital accessories five re-tread tyres (with the Japanese occupation of Malaya, rubber was in short supply and tyres hard to find), a gas (petrol) ration coupon book and credentials from his employer, the BBC (British Broadcasting Corporation).  It was a journalist’s project to “discover” how the onset of war had changed the lives of non-combatant Americans “on the home front” and his observations would provide him a resource for reporting for years to come.  Taking photographs on his travels, he’d always planned to use the material for a book but, as a working journalist during the biggest event in history, it was always something done “on the side” and by the time he’d completed a final draft it was 1945 and with the war nearly over, he abandoned the project, assuming the moment for publication had passed.  It wasn’t until two years after his death that The American Home Front 1941-1942 (2006) was released, the boxed manuscript having been unearthed in the back of a closet, under a pile of his old papers.

Cooke had a journalist’s eye and the text was interesting as a collection of unedited observations of the nation’s culture, written in the language of the time.  In the introduction Cooke stated: “I wanted to see what the war had done to the people, to the towns I might go through, to some jobs and crops, to stretches of landscape I loved and had seen at peace; and to let the significance fall where it might.”  During his journey, he interviewed many of the “ordinary Americans” then traditionally neglected by history (except when dealt with en masse), not avoiding contentious issues such as anti-Semitism and racism but also painted word-pictures of the country through which he was passing, never neglecting to describe the natural environment, most of it unfamiliar to an Englishman who’d spent most of his time in the US in cities on the east and west coasts.  As a footnote, although the Zephyr’s V12 engine has always been notorious for the deficiencies in its cooling system, at no time during the journey did Cooke note the car overheating so either the radiator and plumbing did the job or he thought the occasional boil-over so unremarkable he made no remark. 

1969 Ford (UK) Zephyr Zodiac Mark IV.

Lincoln ceased to use the Zephyr name after 1942, subsequent V12 cars advertised simply as Lincolns, distinguished in name only by the coachwork.  The Zephyr badge was in 1950 revived by Ford of England for their line of mainstream family cars, augmented after 1953 by an up-market version called the Zodiac, noted for its bling.  The first three generations (1950-1966) were well-regarded (the Mark III (1962-1966) in most ways a superior car to the contemporary US Ford Falcon) and enjoyed success in both the home and export markets but the Mark IV (1966-1972), despite a tantalizingly advanced specification and offering a lot of interior space and external metal for the money, proved so ghastly the name was retired when the range was replaced with something (the Mark 1 Granada (1972-1977) which was on paper less ambitious but was, on the road, much superior.  Not having suffered the tainted Mark IV Zephyrs, Ford felt it safe to recycle the Zephyr name in the US, firstly on the bland Mercury clone (1978-1983) of the (US) Ford Fairmont and finally, for two seasons (2005-2006), on an undistinguished Lincoln which with some haste was re-branded "MKZ".  On either side of the Atlantic, there have been no Zephyrs since.

 

1962 Ford Galaxie 500/XL Sunliner Convertible 390 (left), 1967 Ford Zodiac Executive (centre) and 1974 Leyland P76 V8 Executive (right). 

The Mark IV Zodiac's wheel covers (the design concept known as "starburst") had first been seen in the US on the 1962 Ford Galaxie and for Detroit's colonial outposts the use of components, years after they'd been discontinued in the US, was common.  In Australia, for the Fairlane and LTD, Ford at various times used the wheel covers introduced on the 1969 & 1970 Thunderbird (replacing the former with something flatter after owners reported vulnerability to damage from curbsides so either Australians were less competent at parking or the guttering designs used by cities was different) and some were still being fitted as late as 1982.  At least that was within the corporate family.  in 1973, Leyland Australia clearly so liked what ended up on the Zodiac they pinched the idea for the ill-fated P76 (1973-1976).  God punishes those who violate his seventh commandment but in fairness to Leyland (even in retrospect they need all the help they can get), the "starburst" motif had long been popular for wheelcovers, hubcaps (there is a difference) and aluminum wheels.

Starburst sea anemone (left), Kelsey-Hayes cast aluminum wheel for 1967 C2 Chevrolet Corvette (centre), the five-stud (option code N89) version unique to the 1967 range, replacing the knock off version (option code P48, 1963-1966) which had to be retired when US regulators passed rules restricting the use of the centre-lock, knock-off hubs.  To conceal the five studs, there was a "centre cap" (ie a hubcap in the classic sense) in the style of the wheel and these colloquially are known as "starbursts" (right).  The Corvette's wheels were manufactured by Western Wheel Corporation (a division of Kelsey-Hayes).

As a noun & verb, “starburst” widely has been used in slang and commerce but its origin is owed to astronomers of the 1830s and in the field it’s been used variously to describe (1) a violent explosion, or the pattern (likened to the shape of a star) supposed to be made by such an explosion and (2) a region of space or period of time (distinct concepts for this purpose) with an untypically or unexpectedly high rate of star formation.  In SF (science fiction), starbursts can be more exotic still and have described machines from light-speed propulsion engines to truly horrid doomsday weapons.  In typography, a starburst is a symbol similar in shape to an asterisk, but with either or both additional or extended rays and it’s used for a brand of fruit-flavored confectionery, the name implying the taste “explodes” in the mouth as one chews or sucks.  In corporate use, starburst is slang for the breaking up of a company (or unit of a company) into a number of distinct operations and in software it was in the early 1980s used as the brand name of an application suite (based around the Wordstar word-processor) which was (along with Electric Office) one of the first “office suites”, the model Microsoft would later adopt for its “Office” product which bundled, Word, Excel, the dreaded PowerPoint and such.  It was the name of a British made-portable surface-to-air missile (MANPADS) produced in the late twentieth century, in botany it’s a tropical flowering plant (Clerodendrum quadriloculare), the term applied also to a species of sea anemone in the family Actiniidae and, in human anatomy, certain cell types (based on their appearance).  In photography, the “starburst effect” refers to the diffraction spikes which radiate from sources of bright light.

 

2006 Lincoln Zephyr.

 

Available only in 2005-2006 before it was “refreshed” and renamed MKZ (2007-2012), the Lincoln Zephyr picked up its styling cues from a concept car displayed at the 2004 New York International Auto Show although with the lines tempered for production-line reality.  In a sign of the times, it replaced the rear wheel drive (RWD), V6 & V8 powered LS sedan (2000-2006, with one model sharing showrooms with the Zephyr for its final year) which had been well-reviewed in press reports but never succeeded as a challenger to the BMW 5-Series and Mercedes-Benz E-Class.  The twenty-first century Zephyr wasn’t a “bad” car in the sense the word is attached to the English Mark IV Zephyr & Zodiac but it was bland and built on the Mazda CD3 front wheel drive (FWD) platform which provided the underpinnings for also the Mazda 6, Ford Fusion and Mercury Milan; despite Lincoln’s efforts, had it not had the badges, most would have assumed the Zephyr was a fancy Ford or a Mercury, so closely did it resemble both.  Struggling to find some point of differentiation, journalists always mentioned the wood trim in the interior was “real timber”, quoting with approval from the document in the press-pack: “Ebony or maple wood inserts”.  Even that wasn't enough to persuade many it was worth some US$30,000, a US$6000-odd premium over the substantially similar Mercury Milan Premier V6.  It did though undercut by US$4000 what a basic V6 LS has cost the year before so the price of entry to Lincoln ownership became less but that also brought the usual marketing conundrum: “Lowering the price increases sales but tarnishes the perception of the brand as a prestige product”.

 

2012 Lincoln MKZ.

There was also the name.  The original Lincoln Zephyr had existed only between 1935-1942 and, except a as niche among collectors, had long ago faded from public consciousness, the same phenomenon which made the choice of “Maybach” by Mercedes-Benz so curious; Toyota’s decision to create “Lexus” was a much better idea and perhaps an indication Japanese MBAs were better informed than German MBAs.  For 2007 the Zephyr was renamed MKX and even that “naming strategy” (now an MBA fixation) may not within the corporation been well-communicated because initial suggestions for pronunciation included “Mark 10” & “Mark X”, picking up on the (actually quite muddled) history of Lincoln's “Mark” cars which, off & on, existed between 1956-1998 (although the label was in 2006-2007 revived for a pick-up truck(!)).  Neither caught on and before long, like everyone else, company executives were saying “em-kay-zee”.  The “Mark” moniker would have been tempting because, as the “Zephyr affair” demonstrated, despite a history stretching back to 1917, the only Lincoln brand names with any traction in the public imagination are “Continental” and “Mark something”.  When MKZ production ended in 2012, the demise wasn’t so much unlamented as unnoticed.

Pink

Pink (pronounced pingk)

(1) A definition of perceived color varying between a light crimson to a pale reddish purple (sometimes described as fuchsia); any of a group of colors with a reddish hue that are of low to moderate saturation and can usually reflect or transmit a large amount of light; a pale reddish tint.

(2) Any of various Old World plants of the caryophyllaceous genus Dianthus, such as D. plumarius (garden pink), cultivated for their fragrant flowers including the clove pink or carnation (sometimes referred to as the pink family); the flower of such a plant; any of various plants of other genera, such as the moss pink.

(3) The highest or best form, degree, or example of something (expressed usually as “in the pink” or “the pink of”).

(4) As the disparaging slang "pinko", either (1) a communist or one so suspected (US) or (2) a socialist (UK and English-speaking Commonwealth) (both dated).

(5) In informal use, a document provided in commerce or by government for some purpose which was historically issued on pink tissue paper (usually a carbon copy), the term still in some cases enduring for the modern digital analogue.

(6) In fox hunting as “the pinks”, a coat worn by riders (although actually in a shade of scarlet).

(7) In military tailoring, the pinkish-tan gabardine trousers once worn in some regiments as part of an officer’s dress uniform.

(8) In the stone trade, the general term for marble of this color.

(9) In informal use, of or relating to gay people or gay sexual orientation and used sometimes as a modifier in this context (pink vote, pink dollar, pink economy et al (many now dated)).  The pink triangle was a literal description of the fabric patch worn on the uniforms of homosexual inmates in Nazi concentration camps.

(10) In labour market demography, as pink collar, that part of the workforce or those job categories predominately female (dated and now rare because it's assumed by many to be a gay slur).

(11) In commerce, as a modifier, such products as may be discerned as being of this color (champagne, gin, salmon, diamonds et al).

(12) To pierce with a rapier or the like; to stab (based on the idea of a pinkish stain appearing on the clothing of one so stabbed); figuratively, to wound by irony, criticism, or ridicule.

(13) In tailoring, to finish fabric at the edge with a scalloped, notched, or other pattern, as to prevent fraying or for ornament.

(14) To punch cloth, leather etc with small holes or figures for purposes of ornament; to adorn or ornament, especially with scalloped edges or a punched-out pattern (mostly UK use).

(15) As pink disease (infantile acrodynia), a condition associated with chronic exposure to mercury.

(16) In nautical use, a sailing vessel with a narrow overhanging transom (historically a vessel with a pink stern).

(17) As pinky or pinkie, the fifth digit (little finger).

(18) In gardening, to cut with pinking shears.

(19) In US slang, an operative of the Pinkerton National Detective Agency (archaic but still used as a literary device of detectives generally).

(20) In the slang of fishing, various fish according region including the common minnow and immature Atlantic salmon, the origin of all probably the Middle Dutch pincke.

(21) In snooker, one of the color balls (colored pink), with a value of 6 points and in use since the nineteenth century.

(22) In vulgar slang, sometimes as “pink bits”, the vagina or vulva.

(23) In slang, an unlettered and uncultured, but relatively prosperous, member of the middle classes (similar to the Australian CUB (cashed-up bogan)) (UK archaic).

(24) In informal use, having conjunctivitis (ie pinkeye).

(25) To turn a topaz or other gemstone pink by the application of heat.

(26) In (spark ignition) ICEs (internal combustion engines), to emit a high "pinking" noise, usually as a result of ill-set ignition timing for the fuel used.

(27) Of a musical instrument, to emit a very high-pitched, short note.

(28) In color definition, any of various lake pigments or dyes in yellow, yellowish green, or brown shades made with plant coloring and a metallic oxide base (obsolete).

(29) As pinkwashing (al la greenwashing and the figurative use of whitewashing), a fake or superficial attempt to address issues of gay rights (though often applied to LGBTQQIAAOP issues in general).

Circa 1200:  From the Old English pungde (to pierce, puncture, stab with a pointed weapon) which by the early fourteenth century had acquired the sense of "make holes in; spur a horse" the source uncertain but perhaps from a nasalized form of the Romanic stem that also yielded French piquer (to prick, pierce) and the Spanish picar or else from the Old English pyngan (to prick) and directly from its source, the Latin pungere (to prick, pierce), from a suffixed form of primitive Indo-European root peug or peuk- (to prick).  By circa 1500, it had come to mean "to decorate (a garment, leather) by making small holes in a regular pattern at the edge or elsewhere" and that sense endures to this day in pinking shears (although they were not so-named until 1934).  The English pinge, pingen, pinken, pung & pungen (to push (a door)), batter, shove; prick, stab, pierce; punch holes in) was from the Old English pyngan (to prick) and dates from 1275–1325 and may be from (1) the Latin pungere (to prick, pierce), (2) the Low German pinken (hit; to peck) & Pinke (big needle) or (3) the Dutch pingelen (to do fine needlework), the root again the primitive Indo-European peug (to prick).  Pink is a noun, verb & adjective, pinker, pinkest, pinkish and pinky are adjectives and pinkness is a noun

Lustre-Creme shampoo “Pink is for Girls” advertising posters, 1960s.

Lustre-Crème was emphatic “pink is just for girls” which was at the time hardly controversial for most although the claim they produced the “only pink shampoo” might have been ambitious.  It might also have seem a bit adventurous to suggest there exists a “pink fragrance” but it’s not unknown to have the sense of the senses shifted (in Opera it’s common to speak of a soprano’s voice “darkening” as she matures) and Lustre-Crème did note that “…should a certain someone get too close, he'll notice that we have a delightful ‘pink’ fragrance too.”  Covering the market, for the practical young lady mention was made of the “…unbreakable plastic squeeze bottle with the new Flip 'n Tip Spout (no more cap-twisting).”  A "Flip 'n Tip Spout" is one of those small innovations which made life more civilized.  

The "pink is just for girls" equation is however of recent origin.  In the West, until the late nineteenth century, infants tended universally to be dressed in white because doing the laundry was a more tiresome (and certainly labor-intensive) task than today, thus the attraction of white fabric which could be bleached.  Until the early twentieth century, pink tended to be thought a “strong, masculine” color, (apparently on the basis of being a variant of red) while blue was seen as more delicate and so suitable for girls; as well as being considered “dainty”, blue had a strong historic association with the Virgin Mary because of the manner in which she’d been depicted by generations of artists.  As late as 1927, department stores like Marshall Field routinely would suggest pink for boys but within a decade the shift clearly had begun because by the late 1930s the Nazis had (eventually) settled on pink as the color of the identifying triangle worn by prisoners incarcerated under Paragraph 175 of the German penal code (which criminalized homosexual activity between men).  It was in the US in the post-war era of plenty that the “blue for boys, pink for girls” thing was established and it was a product of marketing, the attraction being that with a clear gender divide, parents would have to buy more clothes.  From there, the idea infected just about every industry, even tool manufacturers producing lines of pink tool kits for men dutifull to buy as gifts for Wags (wives & girlfriends).

Speak (2004) by Lindsay Lohan, pink vinyl edition, 2000 of which were in 2020 pressed for Urban Outfitters.  

The words "pinkie" & “pinky” were from the Dutch pinkje, a diminutive of pink (little finger) and of uncertain origin, the earliest known used in Scotland in 1808 and common in Scottish English, US English and elsewhere in the English-speaking world.  The nautical use dates from circa 1450, from the late Middle English pynck & pyncke, from the Middle Dutch pinke (fishing boat).  The flows were so named in the sixteenth century and surprisingly, the use to describe the color didn’t emerge until the eighteenth century, perhaps as a shortening of "pinkeye".  The flower family was so named in the 1570s, the common name of Dianthus, a garden plant actually of various colors.  The family picked up the name “pink” probably because of the idea of the "perforated" (scalloped) petals (ie “pinked” in the earlier sense) although etymologists did suggest there might be a link to the Dutch pink (small, narrow (in the sense of pinkie)), via the term pinck oogen (half-closed eyes (literally "small eyes), borrowed in the 1570s, the speculative link being the Dianthus sometimes has small dots resembling eyes.  The coincidence in the dates is interesting but there’s no documentary evidence.  It was the example of the flower which, by the 1590s, led to the figurative use of "pink" for "the flower" or highest type or example of excellence of anything.

Cadillac “targeted” advertising, gowns for mother and daughter by Jane Derby of New York, 1959 Cadillac Series 62 Convertible, body by Fisher.

1959 Cadillac Series 62 Convertible in non-original pink.

This (unedited) photograph may be compared with the crafted image (above) as an example of the way advertising agencies often preferred simulacrum to reality, some of the representations in the era having a similar relationship to the physical as promotional photographs of hamburgers have to what's really delivered to customers.  With the US cars of the era, the finest practitioners of the era were Art Fitzpatrick (1919–2015) & Van Kaufman (1918-1995) whose best known work was the collection of memorable images for General Motors' (GM) Pontiac Motor Division (PMD) during the 1960s.  What the chains do to advertise hamburgers blatantly (though not legally) is deceptive & misleading but the exaggerations in the graphical art used for the cars was less so because the distortions are so obvious and they were more in the tradition of mannerism, Fitzpatrick & Kaufman never quite becoming surrealists.

By 1959 Cadillac's advertising had for years emphasized the power and speed of their cars or intricacies such as air suspension or finned brakes.  This was aimed at the men who would be impressed by such things but the company also had advertisements for women, assuring them “…one of the special delights which ladies find in Cadillac ownership is the pleasure of being a passenger” before going on to invite them “…to visit your dealer soon – with the man of the house – and spend a hour in the passenger seat of a 1959 Cadillac.”  All that probably did still accurately reflect US society in 1959 (at least that sub-set which bought cars from Cadillac dealers) but it was in one way misleading.  Although Jane Derby’s (1895–1965) New York fashion house surely made many pink gowns, no pink Cadillac left the factory in 1959.  There are now many, many pink 1959 Cadillacs, the model regarded as having the most extravagant fins available during Detroit's crazy macropterous era, the effect heightened by the equally memorable "twin bullet" tail-lamps (although the fins on the 1961 Imperial were just under an inch (25 mm) more vertiginous) but it was only in 1956 Cadillac had a pink hue on the option chart (as "Mountain Laurel" (code DAL-70663-DQE)).  It was that the popular singer Elvis Presley (1935-1977) purchased (for his mother) a pink Cadillac and the use of the phrase in popular culture (song & film) which made the trend a thing although that car was a 1955 Fleetwood Sixty Special which was originally blue with a black roof.  The roof was later re-sprayed white (the sun is harsh in the South) but people adopting the "Pink Cadillac" motif usually go monochromatic and pastels ("baby pink" the best known) seem more popular than "hot pink".

Pink Pig Porsche 917-20, 1971.

Although it raced only once, the “Pink Pig” (917-20) remains one of the best remembered 917s.  In the never-ending quest to find the optimal compromise between the down-force needed to adhere to the road and a low-drag profile to increase speed, a collaboration between Porsche and France's Société d’Etudes et de Réalisations Automobiles (SERA, the Society for the Study of Automotive Achievement) was formed to explore a design combine the slipperiness of the 917-LH with the stability of the 917-K.  Porsche actually had their internal styling staff work on the concept at the same time, the project being something of a Franco-German contest.  The German work produced something streamlined & futuristic with fully enclosed wheels and a split rear wing but despite the promise, the French design was preferred.  The reasons for this have never been clarified but there may have been concerns the in-house effort was too radical a departure from what had been homologated on the basis of an earlier inspection and that getting such a different shape through scrutineering, claiming it still an “evolution” of the original 917, might have been a stretch.  No such problems confronted the French design; SERA's Monsieur Charles Deutsch (1911-1980) was Le Mans race director.  On the day, the SERA 917 passed inspection without comment.

Der Trüffeljäger von Zuffenhausen (The Trufflehunter from Zuffenhausen), a fibreglass display (some 45 inches (1150 mm) in length) finished in the Pink Pig’s livery.  It includes battery-operated LED (light emitting diode) fixtures within the nostrils, activated by a toggle switch under an access panel on the neck.  Weighing some 50 lb (23 kg), it measures (length x width x height) 45 inches x 20 x 32 (1140 x 510 x 810 mm).  In an on-line auction in 2024, it sold for US$3800.

Pink Pig Porsche 917-20, Le Mans, 1971.

At 87 vs 78 inches (2200 mm vs 2000 mm), the SERA car was much wider than a standard 917K, the additional width shaped to minimize air flow disruption across the wheel openings.  The nose was shorter, as was the tail which used a deeper concave than the “fin” tail the factory had added in 1971.  Whatever the aerodynamic gains, compared to the lean, purposeful 917-K, it looked fat, stubby and vaguely porcine; back in Stuttgart, the Germans, never happy about losing to the French, dubbed it Das Schwein (the pig).  Initially unconvincing in testing, the design responded to a few tweaks, the factory content to enter it in a three hour event where it dominated until side-lined by electrical gremlins.  Returned to the wind tunnel, the results were inconclusive although suggesting it wasn't significantly different from a 917K (Kurzheck (short tail) and suffered from a higher drag than the 917-LH (Langheck (long-tail)).  It was an indication of what the engineers had long suspected: the 917K's shape was about ideal.

Pink Pig Porsche 917-20, Le Mans, 1971.

For the 1971 Le Mans race, the artist responsible for the psychedelia of 1970 applied the butcher’s chart lines to the body which had been painted pink.  In the practice and qualifying sessions, the Pig ran in pink with the dotted lines but not yet the decals naming the cuts; those (in the Pretoria typeface), being applied just before the race and atop each front fender was a white pig-shaped decal announcing: Trüfel Jäger von Zuffenhausen (the truffel hunter from Zuffenhausen); the Pink Pig had arrived.  Corpulent or not, in practice, it qualified a creditable seventh, two seconds slower than the 917-K that ultimately won and, in the race, ran well, running as high as third but a crash ended things.  Still in the butcher's shop livery, it's now on display in the Porsche museum.

Pink Pig Porsche 917-20, 1971.

Scuttlebutt has always surrounded the Pink Pig.  It's said the decals with the names of the cuts of pork and bacon were applied furtively were applied, just to avoid anyone demanding their removal.  Unlike the two other factory Porsches entered under the Martini banner, the Pink Pig carried no Martini decals, the rumor being the Martini & Rossi board, their aesthetic sensibilities appalled by the porcine lines, refused to associate the brand with the thing.  Finally, although never confirmed by anyone, it's long been assumed the livery was created, not with any sense of levity but as a spiteful swipe at SERA although it may have been something light-hearted, nobody ever having proved Germans have no sense of humor.

A coffee table in Pink Pig livery built on a M28 Porsche V8 engine (introduced in 1977 for use in the new 928 and, much updated, still in production).

Coffee tables in this form are not uncommon as display or promotional pieces and are sometimes advertised as “the gift for the man who has everything”; whether the pink paint will extend the attraction to many women seems improbable but, despite the perceptions, there are women who share the stereotypically male attachment to cars and their components.  Almost all coffee tables built around engine blocks use a glass top so the interesting bits are visible; if there’s thus a flat surface they are as functional as any of the same dimensions.  Some however have some of the mechanical bits protruding, usually just for visual impact although there have been some V8s and V12s where the heads are not installed, the open cylinders used as somewhere to place jars of sauces, dressings and such.  On this table, the intake manifold extends above the table-top through a surface cut-out so it reduces the usable area but the tubular intake rams are there to be admired.  Although all-aluminium, the M28 was built for robustness and was no lightweight: the table weighs some 240 lb (110 kg) and measures (length x width x height) 43 x 20 x 32 inches (1090 x 940 x 432 mm).  In an on-line auction in 2024, it sold for US$5300.

In the pink: 1983 Porsche 928S in  a “rauchquarzmetallic” wrap.  The 928 was the first Porsche to use the M28 V8. 

In production between 1977-1995, with a front-mounted, water-cooled V8, the 928 was a radical departure from the configuration of their previous road cars, all air-cooled flat fours or sixes and mostly with a true rear engine layout (the power-plant installed aft of the rear axle).  By the early 1970s the Porsche management team had come to believe (1) the fundamental limitations and compromises physics imposed on cars with so much weight at the rear extreme meant such engineering was a cul-de-sac, (2) demand for the by then decade-old 911 would continue to decline and (3) US regulators (then much in the mood to regulate) would soon outlaw rear engines and air-cooling, along with convertibles.  As things turned out, the election of Ronald Reagan (1911-2004; US president 1981-1989), a one-time Hollywood film star with fond memories of convertibles and some distaste for “excessive and intrusive regulations” was elected with the (never explicitly stated but well-understood) agenda to make America great again and a new mood prevailed in Washington, convertibles and much else surviving the expected fall of the axe.  The 928 was well-received by the press but like Toyota’s Lexus which never quite managed to achieve the reputation it deserved because it was “not a Mercedes-Benz” (actually perhaps “not what a Mercedes-Benz used to be”), the 928 suffered from being “not a 911”.  Although the 928 joined the list of machines out-lived by those which they were intended to replace, it was a success and in production for some eighteen years although in the twenty-first century depressed values in the after-market meant it became associated with drug dealers and people with maxed-out credit cards (at some points, certain used 928s were the cheapest 160 mph (260 km/h) cars on the market).  The perception has now improved and around the planet there are solid 928 communities although the members have nothing like the devotional feelings of the 911 congregation.

1974 Lamborghini Espada Series III in pink.  This color was not available from the factory.

First shown Geneva Auto Salon in March 1968, the Espada was conventionally engineered (by the standards of exotic Italian thoroughbreds) but audaciously styled, the design brief to create something with genuine seating for four while retaining the dramatic lines which had become a signature of the company which was then barely five years from having branched out from building tractors.  It was one of those machines which from some angles was seductively attractive yet from other aspects could look ungainly but it did work in that although ingress and egress was compromised, four comfortably could be accommodated and after 1974 Chrysler’s robust and versatile TorqueFlite automatic transmission became available, further extending the market appeal.  In what became a difficult era, it proved Lamborghini’s most successful model with 1226 produced in three series: (176 Espada 400 GT Series I (1968-1969), 578 Espada 400 GTE Series II (1970-1972) & 472 Espada 400 GTS Series III (1972-1978).  Espada is a Spanish word meaning “sword”, the reference specifically to the blade a torero uses in bullfighting to kill the unfortunate beast and to this day Lamborghini still uses terms from the tradition for its models.  That’s perhaps surprising given bullfighting is now not as socially respectable as it was during the 1960s although disapprobation of the “sport” is not new and Pius V (1504–1572; pope 1566-1572) as early as 1567 called the practice: “alien from Christian piety and charity” and “better suited to demons rather than men”.  Like many papal though bubbles which never quite make it to the status of doctrine, his ban was soon ignored and after his death the edict quietly was allowed to lapse.

Flamingo's Exotic Dancer's boots in baby pink are available in in calf (left), ankle (centre) and thigh (right) length in a variety of heel and sole heights.  Because of the commonality of design elements and interchangeability of components, there's a degree of production-line rationalization which means the range economically can be produced.  

Actor Florence Pugh (b 1996) in hot pink Valentino Tulle gown with Valentino Tan-Go pink patent platform pumps, July 2022.

The noun meaning "pale red color, red color of low chroma but high luminosity" was first noted in 1733 (although pink-colored dates from the 1680s), developed from one of the most common and fancied of the flowers and pink had come into use as an adjective by 1720.  As a physical phenomenon, the color pink obviously pre-dated the word pink as a descriptor and the earlier name for such a color in English was the mid-fourteenth century incarnation (flesh-color) and as an adjective (from the 1530s) incarnate, from the Latin words for "flesh".  These however had other associations and tended to drift in sense from “flesh-color” & “blush-color” toward “crimson” & “blood color”; it is thus a discipline to “translate” even early Modern English.

Lindsay Lohan in pink pantsuit with Valentino’s Rockstud pumps, New York, October 2019.

The noun pink-eye (and pinkeye) (contagious eye infection) was an invention of US English from 1882 although, dating from the 1570s, it one meant "a small eye".  The adjectival pink-collar (jobs generally held by women or those considered characteristically feminine (1977) or the female workforce generally (1979) was a back-formation based on the earlier blue-collar, white-collar etc.  Pinky as an adjective (pinkish, somewhat pink) dates from 1790, building on the earlier pinkish (somewhat pink), noted since 1784.  The derogatory adjectival slang pinko (soon also a noun in this context) was used of those with social or political views "tending towards “red” (ie sympathetic to communism, the Soviet Union (USSR) etc) since 1927 although as a metaphor that had existed at least since 1837.  It was in the context of the time a euphemistic slur; a way of calling someone a communist (or at least a fellow traveler) without actually saying so.  In Australia, old Sir Henry Bolte (1908-1990; premier of Victoria 1955-1972) would often refer to the local broadsheet The Age as “that awful pinko rag” although he wasn’t unique in his critique, the paper’s one-time headquarters known by many as the “Spencer Street Soviet”.

On any Wednesday.

In idiomatic use, to be "in the pink" is to be healthy, physically fit, or in high spirits; to be "tickled pink" dates from 1909 and is to be very happy with something.  The "pink slip" (apparently originally a "discharge from employment notice" and historically issued on pink tissue paper (usually as a carbon copy)),  is attested by 1915 and pink slips had various connotations in employment early in the twentieth century, including a paper signed by a worker attesting he would leave the labour union or else be fired.  The term pink slip came to refer to a wide variety of documents (in the US it was often the title to a car) provided in commerce or by government for some purpose (although not all literally were pink) the term still in some cases enduring for the modern digital analogue.  To “see pink elephants”, a euphemism for those suffering alcohol-induced hallucinations, dates from 1913 when it appeared in Jack London's (1876-1916) autobiographical novel, John Barleycorn although such things are not always apparitions.  Some languages such as Chuukese and German use pink but other descendants include the Afrikaans pienk, the Finnish pinkki, the Irish pinc, the Japanese pinku (ピンク), the Korean pingkeu (핑크), the Marshallese piin̄, the Samoan piniki, the Scottish Gaelic pinc, the Southern Ndebele –pinki, the Swahili -a pinki, the Tokelauan piniki, the Tok Pisin pinkpela, the Welsh pinc and the Xhosa –pinki.

In the natural environment, pink is all around.  Sexy pink orchids in Fuschia (left), an Amazon River Dolphin (Inia geoffrensis, centre) and a pink baby elephant (right).

Pink elephants are of course hard to find in London but they're rare anywhere.  On the internet, there have been claims the creatures can be found in parts of India, the color the result of the red soil in the environment, the creatures spraying dust on their hides to protect themselves from biting insects.  However, it turned out to be fake news, the supporting evidence created with Photoshop and wildlife experts that while elephants cover themselves in mud, this doesn’t change the colour of their skin.  It's true there is a rare genetic disorder (technically a form of albinism) which can result in the skin of young African elephants displaying a slight pink hue but it's nothing like the vivid hot pink in the Photoshopped fake news.  While in London, famous Australian concierge Elvis Soiza (once a leading figure in the Secret Society of the Les Clefs d’Or) managed, at remarkably short notice, to procure a pink (painted) elephant to be led through the streets of Chelsea to delight one of the wives of a visiting dignitary from the Middle East.  It’s apparently not since been done.

The Playmate-Pink Cars, 1964-1975

Hugh Hefner (1926-2017; founder and long-time editor-in-chief of Playboy magazine) in his 1955 Cadillac Series 62 Convertible. 1955 was Cadillac’s year of “peak dagmar” and amateur psychoanalysts should make of Mr Hefner’s taste in automobiles what they will although, sometimes, a Cadillac is just a Cadillac.

The Playboy Motor Car Corporation was established in New York in 1947 by a pre-war car dealer who believed there would be much demand for a smaller, less expensive car than those in the ranges offered by the established manufacturers, almost all of which essentially differed little from the models which abruptly had ceased production in 1942.  In some ways it was a modern concept, in-house manufacturing minimized in favor of outsourcing and, wherever possible, the use of standard, off-the-shelf parts.  Conceived as a small convertible with three-abreast seating, it offered the novelty of a multi-part, retractable hard-top, something not new but which would not be offered by a volume manufacturer for almost a decade (before being mostly abandoned for forty years).  Like many thousands (literally) of optimistic souls who have for more than a century succumbed to the temptation of entering the car business, the hopes of Playboy’s founders were high but many factors conspired against the project, not the least of which was the car’s tiny size and under-powered engine; it offered economy in an age when austerity was becoming unfashionable and not even a hundred were built before the company entered bankruptcy in 1951.

Not Hugh Hefner's sort of car: 1949 Playboy Convertible.

With that, the Playboy name might have passed forgotten into the annals of the New York Bankruptcy Court.  However, not long after the company’s demise, Hugh Hefner received a C&D (“cease and desist” letter) from counsel for Stag magazine (a men’s adventure title), advising a trademark protection suit would be filed were he to proceed with the release of the magazine he intended to launch with the title Stag Party.  A new name was thus required and after pondering Pan, Sir, Top Hat, Gentleman, Satyr & Bachelor, Hefner’s friend (and Stag Party’s co-founder), Eldon Sellers (1921-2016) (apparently prompted by his mother who had worked for the failed car company) suggested it was the ideal name.  Hefner agreed although whether that had anything to do with the clever mechanism with which the little car could be made topless has never been discussed.  With Marilyn Monroe (1926-1962) on the cover, Hefner in 1953 issued the first edition of Playboy magazine and the rest is history.  One footnote in Playboy’s history is that between 1964-1975, the car gifted to the playmate of the year (PotY) was usually pink.  After that, the gifts were still given but no longer in pink:

1964: Donna Michelle Ronne (1945-2004), Ford Mustang convertible.

The Mustang was the industry’s big hit for 1964, setting sales records which even now are impressive.  It was also highly profitable, most mechanical parts borrowed from existing Ford lines and the very platform on which it was built was that of the humble Falcon, introduced a few years earlier as a compact (in US terms), economy model.  Only the body was truly new but it was “the body from central casting” and while it didn't (quite) invent the “pony car” segment, it certainly defined it and the linguistic connection lent the sector its name.  The lines, which in 1964 created a stir, established the motif which would be imitated by many and, sixty-odd years on, Mustangs, Dodge Challengers and Chevrolet Camaros still were all all variations of the 1964 original.  That original had wide appeal, able to be configured with relatively small six-cylinder engines (in the sexist language of the age: "secretary's cars") or larger V8s, soon to include even highly-strung solid-lifter versions, a sign of things to come.  Aged 18 at the time of her shoot, Ms Ronne (who modelled as "Donna Michelle") remains the youngest PotY.

The 1964 PotY’s car was finished in a special-order color which anyone could order but it quickly became known to the public as “Playmate Pink” or “Playboy Pink” although it was only later Ford added the latter to the option list as code #WT9301.  That would be one of four shades of pink the corporation would offer between 1964-1972 including Dusk Rose (code #M0835 and offered originally on the 1957 Thunderbird), Passionate Pink (code #WT9036 which was part of a Valentine’s Day promotion in February 1968) & Hot Pink (code #WT9036).  Interestingly, regarded as niche shades, most of the hues of pink rarely appeared on the mass-distribution brochures and could be viewed only on DSO (Dealer Special Order) charts.  Social change, workforce participation and the contraceptive pill combined in the 1960s to let women emerge as influential or even autonomous economic units and Ford was as anxious as any of the cogs of capitalism to attract what was coming to be described as the "pink dollar".  The tie-in with Playboy wasn’t the only time a pink Mustang was a promotional prop, the Tussy Lip Stick Company offering three 1967 Mustangs as prizes for contest winners, each finished in a shade of pink which matched the lip sticks Racy Pink, Shimmery Racy Pink Frosted & Defroster.  Defroster sounds particularly ominous but to set minds at rest, Tussy helpfully decoded the pink portfolio thus:

Racy Pink: "A pale pink".

Racy Pink Frosted: "Shimmers with pearl". 

Defroster: "Pours on melting beige lights when you wear it alone, or as a convertible top to another lip color".

The fate of the cars is unknown but nerds might note the three prizes were 1967 models while the model (as in the Mustang) in the advertisement is from the 1966 range.  That's because the advertising copy had to be made available before the embargo had been lifted on photographs of the 1967 range.  The men on Madison Avenue presumably dismissed the suggestion of what might now be thought "deceptive and misleading" content with the familiar "she'll never know".

1965: Jo Collins (b 1945), Sunbeam Tiger.

Although from a different manufacturer, the 1965 PotY’s car actually had the same engine as her predecessor’s gift.  Introduced in 1961 with a capacity of 221 cubic inches (3.6 litres), Ford’s small-block V8 (known as the Windsor after the location of the foundry in the Canadian province of Ontario at which it was first built), it pioneered the use of “thin-wall” casting techniques and, on sale between 1961-2002, would be enlarged first to 260 cubic inches (4.2 litres), then 289 (4.7), 302 (4.9) and 351 (5.8) and installed in everything from pick-up trucks to the GT40 (#1075) which won the Le Mans 24 hour classic in 1968 & 1969.  AC used a 221 as a proof of concept exercise in what, with the 260, would be released as the first Shelby American Cobras, the most numerous of which used the 289, the most famous either the 427 or 428 cubic inch (7.0 litres) FE V8.

In England, Sunbeam (then part of Rootes Group) had been attracted by the Windsor’s light weight and compactness, finding, with a little modification and some help from Carroll Shelby (1923–2012), it could (just) fit in the bay of their little Alpine sports car, otherwise never powered by anything larger than a 1.7 litre (105 cubic inch) four.  Fit it did although one modification was the inclusion of a hatch in the footwell to permit a hand to reach one otherwise inaccessible spark plug, an indication of how tight was that fit.  However, the project proved successful and the Tiger sold well although Sunbeam never offered the high-powered versions of the Windsor Shelby used in the Cobras, the platform really at its limit using the more modestly tuned units.  The US was a receptive market for the little hot rod and one featured in the Get Smart TV series, although it’s said that for technical reasons, a re-badged Alpine was actually used, the same swap effected for the 2008 film adaptation, a V8 exhaust burble dubbed where appropriate, a not unusual trick in film-making.  In 1967, after taking control of Sunbeam, Chrysler had intended to continue production of the Tiger, by then powered by the 289 but with Chrysler’s 273 cubic inch (4.4 litre) LA V8 substituted.  Unfortunately, while 4.7 Ford litres filled it to the brim, 4.4 Chrysler litres overflowed; the Windsor truly was compact.  Allowing it to remain in production until the stock of already purchased Ford engines had been exhausted, Chrysler instead changed the advertising from emphasizing the “…mighty Ford V8 power plant” to the vaguely ambiguous “…an American V-8 power train”.  It’s not clear if the 1965 PotY received her Tiger as a gift or a twelve-month loan but either way she enjoyed a rarity.  The Tiger was produced for only three years, during which just over 7000 were made, most with the 260, but the PotY’s Mark II model was one of 663 fitted with the 289.  Now painted red, the car still exists.

1966: Allison Parks (1943-2010), Dodge Charger.

Detroit in the 1930s had produced fastbacks because "streamlining" had become a fashion and in the 1940s even had mainstream ranges of two & four door models but the fad proved brief.  By the early 1960s however experience on the NASCAR ovals had demonstrated how much more aerodynamically efficient were steeply sloped rear windows compared with the more upright “notch backs” that designers and public alike had preferred for the additional headroom the packaging efficiency created.  So buoyant was the state of the US industry at the time, the solution was to offer both and the most slippery form of all was the fastback, a roofline which extended in one curve from the top of the windscreen all the way to the tail.  As a generation of Italian thoroughbreds had shown, the fastback could be a dramatic and aesthetic success on smaller machines but on the big Americans, it was a challenge and one never really solved on the full-sized cars although the by the late 1960s, a formula had been found for the intermediates, necessitated by the shape delivering higher speed and lower fuel consumption on the NACSAR ovals.

In 1966, the formula was still being mixed and while the Dodge Charger’s wind-cheating tail (after some tweaks) delivered the extra speed, the slab-sidedness attracted criticism and, after an initial spurt, sales were never impressive and it wouldn’t be until the revised version was released to acclaim in 1968 that the promise was realized.  In fairness, the 1966 Charger, while not as svelte as its successor, was a better interpretation of the big fastback than some others, notably the truly ghastly Rambler (later AMC) Marlin.  Mechanically, the Charger was tempting, the top engine (though not the biggest, a tamer 440 cubic inch (7.2 litre) V8 also available) option the newly released 426 cubic inch (7.0 litre) Street Hemi which was a very expensive, slightly detuned race engine and the dashboard featured Chrysler’s intriguing electroluminescent instruments which, rather than being lit with bulbs, deployed a phenomenon in which a material emits light in response to an electric field; the ethereal glow much admired.

Apparently the 1966 PotY wanted something roomy and practical with which to take her family to swimming practice so the spacious Charger was a good choice and the rear bucket seats, although separated by a full-length console, could be folded flat, creating a surprisingly capacious compartment.  Wisely, the Playboy organization didn’t give her a Hemi Charger, the dual quad monster inclined to be noisy, thirsty and even a little cantankerous, the pink car fitted with a 383 cubic inch (6.3 litre) V8, the engine nominated by Chrysler’s engineers at the time as the best all-round compromise, the two-barrel version their usual recommendation, a four-barrel for those prepared to sacrifice economy for performance.  The fate of the car is unknown.

1967: Lisa Baker (b 1944), Plymouth Barracuda fastback.

However ungainly the fastback may have appeared on the Charger, it worked well on the smaller Barracuda although there are students of such things who maintain the almost Italianesque lines of the notchback version are better and there was a convertible too, matching the coachwork by then offered on the Mustang.  What all agreed however was the second series Barracuda, released in 1967, was a vast improvement on its frumpy predecessor, now noted mostly for the curiosity of its huge, wrap-around rear-window.  Things could have been different because the original Barracuda, using the same concept as the Mustang (a poetic form disguising a prosaic structure) was actually released a few weeks before the sexy Ford and was in some ways a superior car but it had nothing like the appeal, being so obviously based on an economy car whereas the Mustang better hid its humble origins.

The second series Barracuda looked much more attractive although, being less changed underneath, didn’t fully emulate the “long hood, short deck” motif with which the Mustang had created the pony car template.  Still, it’s reception in the marketplace encouraged Chrysler and soon, to match the now widened Mustang, big block engines began to appear.  The Barracuda was not actually widened but this was the 1960s and though Chrysler couldn’t easily install a big-block, they could with difficulty and so they did although the 383 was a tight fit and compromises were required, the exhaust system a little restrictive and niceties like power steering weren’t offered; with the big lump sitting over the front wheels, at low speed they did demand strength to manhandle.  Almost 2000 were built with the 383 V8 but there were some who wanted more and in 1969, in a package now called ‘Cuda, a few were fitted with the 440.  At first glance it looked a bargain, the big engine not all that expensive but having ticked the box, the buyer then found added a number of "mandatory options" so the total package did add a hefty premium to the basic cost.  The bulk of the 440 was such that the plumbing needed for disc brakes wouldn’t fit so the monster had to be stopped with the antiquated drum-type and again there was no space for power steering.  The prototype built with a manual gearbox frequently snapped so many rear suspension components the engineers were forced to insist on an automatic transmission, the fluid cushion softening the impact between torque and tarmac but, in a straight line, the things were quick enough to entice almost 350 buyers.  To this day the 440 remains the second biggest displacement engine Detroit put in a pony car, only the 455 (7.5 litre) Pontiac used in the Firebird and Trans-Am was larger.

The 1969 440s weren’t exactly anti-climatic but true megalomaniacs had in 1968 been more impressed when Plymouth again took the metaphorical shoehorn used to fit the 383 and installed the 426 Street Hemi, 50 of which were built (though one normally reliable source claims 70) and, with fibreglass panels & much acid-dipping to reduce weight, there was no pretence the things were intended for anywhere except a drag strip, living out sometimes brief lives in quarter mile (402m) chunks.  The power-to-weight ratio of the 1968 Hemi ‘Cudas was the highest of the era but lurking behind the Sturm und Drang stirred by the big blocks was one of the best combinations of the era: The 'Cudas fitted with Chrysler's 340 cubic inch (5.6 litre) (LA) small block V8 were superior machines except in straight line speed and the visceral reaction a Hemi can inspire.

Dior Rouge 999.

The Hemi ‘Cuda reached its apotheosis in 1970 when, on a unique widened (E-body) platform, it and the companion Dodge Challenger were finally fully competitive pony cars.  Unfortunately, just as the 1967 Barracuda would likely have been a bigger success if released in 1964, so the 1970 car was three years too late, debuting in a declining market segment.  In 1970, an encouraging 650 odd Hemi ‘Cudas were sold but the next year, under pressure from the soaring costs of insuring the things, sales collapsed, barely reaching three figures.  The smaller engined versions fared better but the emission & safety regulations added to the negative market forces and the first oil shock in 1973 was a death knell, both the Barracuda and Challenger cancelled in 1974, the four-year E-body programme booking a significant financial loss.  In the agonizing reappraisal undertaken in the aftermath of what was labeled "a debacle", careers were said to have suffered.  It was as an extinct species the later ‘Cudas achieved their greatest success... as used cars.  In 2014, one of the twelve 1971 Hemi ‘Cuda convertibles sold at auction for US$3.5 million and in 2021, another attracted a bit of US$4.8 million without reaching the reserve.  If it survives, the 1967 PotY’s pink Barracuda wouldn’t benefit from quite that appreciation but it would have some appeal and there were reputedly another ten pink cars built for the occasion, all from the one California plant, the paint code #999, which, coincidently, is shared with Dior’s cor Rouge 999 lip stick and nail enamel.  Red rather than pink, the 999 reference was  borrowed from the gold industry, a purity of 99.9-something percent as pure as gold gets.  Known also as "24 karat" or "pure gold", because of the softness, it's not suitable for all decorative or industrial uses but is a required standard for investment purposes such as bars, bullion or coins.  The 999 standard permits an alloying with 0.1% impurities or other metals (usually silver, copper or lead) and some metals exchanges even specify the proportion of the other metals which may be included in the 0.1%.

1968: Angela Dorian (b 1944), AMC AMX.

Before Tesla, American Motors Corporation (AMC) was the last of the "independents" (some of which formed agglomerations in an attempt to survive) which tried to compete with Detroit’s big three, General Motors (GM), Ford & Chrysler.  In the post-war years this was mostly a struggle and AMC’s brightest years had come in the late 1950s when, then run by George Romney (1907–1995 and father of Mitt Romney (b 1947; Republican nominee for US president 2012)), the company began to compete against small, imported cars, then a market segment in which the big three offered no domestically produced vehicles.  That however changed in the early 1960s and AMC’s halcyon days soon ended although they continued for years along the road to eventual extinction and one of their more interesting ventures was the short-lived AMX (1968-1970).

The AMX exemplified the AMC approach in that it was conjured up something new by taking an existing model and, at low cost, modifying it to be something quite different, an approach which, for better and worse, they were compelled to follow to the end.  The AMX was a short-wheelbase, two-seater version of AMC’s Javelin pony car which, introduced in 1967 to contest the then booming segment, had been well-reviewed by the press and, despite the latter-day perception of its lack-lustre performance in the market, sometimes out-sold the Barracuda and actually out-lived it by a few months but unlike some Barracudas (actually the 'Cuda derivative), neither Javelins nor AMXs command multi-million dollar prices at auction.  The corporation originally used the AMX name (standing for “American Motors experimental”) for a “concept car” and two show cars (somewhat misleadingly at the time referred to as “prototypes”) which toured the show circuit in 1966-1967.  All were a radical departure from the staid image associated with the economical, practical vehicles on which the company had built its reputation (and most of its profits) but the response was positive and with the post-war baby boom having created a large number of males aged 17-25 who were the most affluent young generation in history, AMC decided to enter the “sporty” car market.  In fairness, at the time, it would have seemed not only a good idea but also an obvious one given the extraordinary success of machines like the Ford Mustang & Chevrolet Camaro.  Like many manufacturers, AMC liked three letter designations and they also had a trim package called “SST” which, according to internal documents, stood for “Super Sport Touring” and not “Stainless Steel Trim” as is sometimes suggested (although use was made of the metal for some of the bright-work so the assumption was not unreasonable).  Doubtlessly AMC expected some positive association in the public mind with the SST (supersonic transport) projects several US aerospace manufacturers were in the era pondering as competition for the Anglo-French Concord(e).

AMX 36-24-35, post-restoration, 2015.

Still, the AMX was an interesting, even a "brave" (in the sense Sir Humphrey Appleby (the fictional senior bureaucrat in the BBC's Yes Minister (1980-1984) & Yes, Prime Minister (1986-1988) series) might have used the word) innovation, a two-seat coupé added to a market in which there was no similar model (Chevrolet’s Corvette was a true sports car), the last attempt at such a thing the two-seat Ford Thunderbird (1955-1957) which had been retired and replaced by a vastly more successful four-seat version.  That was not encouraging but AMC persisted, able to leverage its resources and produce lines at lower cost than the big three could manage.  The AMX, like the Javelin was a piece of typically solid AMC engineering, enjoyed some success in competition and quixotically, two dozen were assembled in Australia in right-hand-drive configuration, sold under the old Rambler name which had so well served George Romney, the marque lingering on there for a few more years where, remarkably to Americans, it was marketed as a "prestige" product.  However, the costs involved in maintaining the shorter AMX platform were too great and when a revised Javelin was released in 1971, AMX became just an option package.  The Javelin too would be axed in 1974 but AMC continued to use the AMX name (which had actually started life in 1966 for concept cars on the show circuit) until 1980.

By 1968, the deeply religious George Romney was long gone from AMC, having moved into Republican politics; like his time in the car business, his second career had its ups and downs and (like his son and many others) he never realized his goal of reaching the White House.  Had he still been in the chair, it may be that never would he have countenanced the idea of AMC getting mixed up with Playboy magazine and, even if persuaded, probably would have drawn the line at the PotY’s vital statistics blatantly being celebrated.  As it was, with no Mormon veto, the AMX, one of several said to have been painted “Playmate Pink” was delivered to Ms Dorian with a plaque on the dashboard engraved AMX 36–24–35 (the numbers verified by the staff at Playboy, experts in such matters).

Ms Dorian too had her ups and downs, eventually parting with AMX 36-24-35 after forty-two years but keeping the Walther (9mm) PPK handgun which had been a gift from a friend, the film-maker Roman Polanski (b 1933), the two having met when Dorian appeared as a recovering heroin addict in Polanski's Rosemary's Baby (1968).  She was also a friend of the director's then wife Sharon Tate (1943-1969) and in August 1969, after followers of cult leader Charles Manson (1934-2017) murdered the eight months pregnant Tate (and four others), Polanski gave his personal Walther PPK to Dorian for self-protection and it was with this that in 2010, after an argument, a 66 year-old Angela Dorian shot her husband of two decades.  He survived the shooting and was quoted by the press lamenting "I loved her for nearly 25 years. A divorce would have been sufficient, not a bullet...", which, in the circumstances, does seem generous.  Charged with attempted murder (later reduced to attempted voluntary manslaughter to which she pleaded no contest), she received a nine year sentence and was released on parole in April 2018.  AMX 36-24-35 also had its ups and downs, repainted (like many of the playmate cars) in something less eye-catching before being found in a dilapidated state.  It’s since been restored to its original pink splendor and remains in its original configuration, equipped with the base (short-deck) 290 cubic inch (4.8 litre) V8, automatic transmission, air conditioning, tilt wheel, AM radio & 8-track stereo player and the optional rear bumper guards.  It remains unique as a PotY car but the factory’s records do list one other “Playmate Pink” AMX, “special-ordered” late in 1968 by a dealership in Potosi, Missouri and it would have been a bit quicker, running the (short deck) “AMX” 390 (6.4), coupled with an automatic transmission, the “GO" option (a high-performance & dress-up package), air conditioning, and leather trim.

1969: Connie Kreski (1946-1995), Shelby Mustang GT500 with the ultimate hood ornament between the NACA ducts.

In their run of half a decade, Carroll Shelby’s Mustangs were transformed from race cars which, conveniently, could be road-registered and driven to the track, into elaborately embellished, luxuriously equipped cars usually just a little more powerful than those upon which they were based yet managing still to look faster still.  In 1965, Shelby was aware of the Mustang’s potential in competition and looking for a profitable line to sell, the new seven litre (427 & 428 cubic inch) Cobra giving every indication it would become the loss-making venture it proved (although they became an extraordinarily profitable investment for anyone buying at the right point).

Shelby American created the first of their Mustangs in 1965, using basic, fastback cars sent by Ford to the factory in Venice Beach, the facilities later moved to 6555 West Imperial Highway (now the Qantas freight terminal) adjacent to Los Angeles International Airport (LAX) when more space was required.  All the cars built in 1965-1966 used the familiar Windsor 289 in essentially the same sate of tune as the Cobras and the drive-train was beefed-up to handle both the additional output and the lateral forces encountered in the extremes of competition.  The Cobra DNA in the early Shelby Mustangs was thus no affectation and the “Cobra” name was often applied to the cars, both in marketing materials and on parts prominently displayed.  The cars however were as much about what was left out as what was put in.  Shelby had been a race driver (winning the 1958 Le Mans 24 Hour) and understood the significance of lightness which improved performance, tyre wear & fuel consumption and reduced the stresses to which mechanical components were subject so, reflecting his philosophy that a sports car was one “with noting on not there for the purpose of making it go faster”, the Shelby Mustangs were stripped of whatever wasn’t essential, including carpets and sound deadening.  That helped the performance on the track but did make driving a noisy, uncomfortable experience.  At the time, the 1965 Shelby Mustang GT350 was memorably described as “a brand new, clapped-out racing car”.  Sometimes the weight-saving was necessitated by the letter of the law, the rear seat removed so the things could be defined as “two seat sports cars” and thus be eligible for competitions run by the Sports Car Club of America (SCCA), a modification which proved handy because it allowed the spare tyre to be kept where once the seat sat, improving weight distribution.  It was definitely not for everyone but 562 were sold, 34 of which were the specially prepared GT350R which for three years won its SCCA championship class.

The retreat from rawness began in 1966, the need to homologate for competition having been satisfied.  An automatic transmission became optional and the cars, now labelled as Shelby GT350s, were no longer fitted with some of the suspension, exhaust and other modifications which had distinguished the 1965 run although the rarely-ordered option of a Paxton supercharger (a version of the old Mcculloch unit rebranded after the company was absorbed by STP) was added to a growing list.  Famously too, in that year some 1000 GT350Hs were built on order from the Hertz Rental Car Company and there are stories, some of which may be true, of them being rented on Saturday, raced on Sunday and returned on Monday.  These days, the deal with Hertz might be called a “related party transaction", Ford (a big holder of Hertz stock) having prevailed on their management to place the order.

1967 Shelby GT500 (427, "Super Snake").

In 1967, the trend towards civility continued, a prototype convertible built (although technical problems prevented production) and all were now full-fledged road cars, Shelby’s interest now entirely in cheque-books rather than chequered flags.  Ford had given the 1967 Mustangs a wider platform so the 390 cubic inch (6.4 litre) big-block (FE) V8 could be fitted and this enabled Shelby to introduce the GT500 which used the 428, until then something used effortlessly and quietly to propel luxury sedans and coupés.  Shelby used the 428 in "Police Interceptor" specification, added the brace of four barrel carburetors and tuned things a little but the quest had shifted from raw performance to making slightly faster versions of Mustangs which looked faster still and could attract a higher price.  Later GT500s used Ford's factory supplied 428 CobraJet which, with a single four-barrel carburetor was more powerful.  However, in a glimpse of what might have been (and was not quite realized even when the Boss 429 Mustang later appeared), Shelby did build one GT500 with a 427 FE.  With fractionally less displacement than the 428, the 427 was a genuine racing engine, more oversquare in configuration with enhanced lubrication and a strengthened bottom end; it twice won at Le Mans and had been intended as an option for the 1968 Mustangs before the accountants worked out quite how expensive that would prove.  Dubbed the "Super Snake", Shelby’s 427 GT500 was used to test tyres in high-speed use and remained a one-off, selling at auction in 2013 for US$1.3 million.

In 1968 the convertible was added as an option and from then on, the Shelby GT350s and GT500s became less interesting and more successful, the engines sometimes growing larger but less powerful, Shelby’s decisions vindicated by rising sales and healthy profits.  However, Ford was less content and, the arrangement having served its purpose, the corporation gradually assumed control, the 1969 models the end of the line although a few cars built that year were re-listed as 1970 models and sold in the first few months of that year.  The PotY GT500 (Shelby serial #1027 & Ford vehicle identification number (VIN) 9F02R481027) was regular production item with a 428 cubic inch (7.0 litre) Cobra Jet V8, an automatic transmission and no air-conditioning.  Not accounted for in the Shelby registry, its fate is unknown though one quirk of note is that it left the line finished in Pastel Grey (code M3303A) and was re-painted prior to delivery, making it the only car known to have emerged from Shelby American's facility in pink.

1970: Claudia Jennings (1949-1979), Mercury Capri.

From a Shelby GT500 to a Mercury Capri isn’t quite the sublime to the ridiculous but it’s quite a change.  That said, the Capri, a product of Ford’s European operation and built in both England and Germany, was always regarded as “Europe’s Mustang” and borrowed the same successful and lucrative model of construction: sexy shape, basic underpinnings.  So, on the uninspiring but reliable and cheap to produce platform of the Cortina (UK) and Taunus (Germany), a two-door fastback coupé appeared in 1968 and, over three generations, it remained in production until 1986.  In the US, sold by Mercury dealers, it enjoyed great success and was at one point the highest-selling import and although advertised as the "Mercury Capri", never did a "Mercury" badge appear.  Imported from Germany, the last were sold in the US in 1978, the strengthening of the Deutsche Mark against the US dollar rendering the project unviable.

In Europe, it was available initially with an engine as small as 1.3 litres (79 cubic inches) but the bigger sellers were 1.6 (98 cubic inch) & 2.0 litre (122 cubic inch) fours (some of which, unusually, were V4s) and the V6s of 2.3 (140 cubic inch), 2.6 (159 cubic inch), 2.8 (170 cubic inch) & 3.0 litres (183 cubic inches).  Additionally, a few 3.1 liter (189 cubic inch) V6s were built for homologation and even some 3.4 litre (207 cubic inch) engines appeared purely for use in competition.  Ms Jennings missed out on the 2.6 which came later in the US; she was just in the right place at the wrong time.  In 1970, the only engine Ford offered in the Capri was the 2.0 litre in-line four shared with the the Pinto which would be introduced that year.  At least she didn’t get one of them (although in the early years the Pinto didn’t carry the stigma which would be attached by later events).  What the US and most of the world also missed was the best Capri of them all, something enjoyed only by South Africans.  That was the Perana, a creation of Basil Green (1937-2022) who had created his own 3.0 V6 Capris before Ford.  When the factory produced their own, Green responded by slotting in the 302 cubic in (4.9 litre) Windsor V8, Basil Green Motors between 1970-1973 selling over 500 before the first oil crisis put an end to the fun.  

Ford Capri RS and BMW 3.0CSL, Spa Francorchamps Belgium, 1974.

The so-called Cologne Capris were among the most famous to compete in European touring car racing during the 1970s and to counter the threat BMW produce their 3.0CSL, the be-winged, lightweight version of their E9 coupé (dubbed the "batmobile"), the battles between the two the stuff of legend.  For many seasons sharing space on European circuits, the more unfortunate link between the two was a vulnerability to rust, E9s and Capris prone to rot at a rate bettered only south of the Dolomites, Fiats, Lancias & Alfa Romeos of the era crumbling more quickly still.  On the road, even with the bigger or the later turbocharged V6s, the Capri was always competent rather than dominant and the only ones to make a serious attempt to make genuine high-performance version were the South African Peranas which were both rapid on the road and dominant on the track.  Again, the fate of the pink car is unknown but given the Capri's propensity to rust, hopes are not high.

1972: Sharon Clark (b 1943), Spectra 20 Ski Boat.

That Ms Clark received a boat (and one more red than pink) rather than a car attracted comment.  Many concluded she just liked boats or perhaps skiing and that seems to be the case because Playboy's archives record that she met the boat’s designers after recognizing them as the fathers of two of her high-school friends, the donation of a Spectra 20 Ski Boat as her prize happening some months later so there’s presumably some relationship between events.  It proved synergistic, the publicity said to have improved sales to the extent that Spectra offered her a weekend job taking prospective customers on test rides at Long Beach.  Later she would work full-time for Spectra.

1972: Liv Lindeland (b 1945), De Tomaso Pantera.

The De Tomaso Mangusta (1967-1971) was achingly lovely but adapting a race car for the road necessitates compromises and the Mangusta had a few.  The 32/68% front/rear weight distribution delighted racing drivers but induced characteristics likely to frighten everybody else and the interior was cramped, something tolerated in competition vehicles but not endearing to buyers looking for something with which to impress the bourgeoisie.  However, it sold well enough to encourage de Tomaso to pursue the concept and the better designed (if less beautiful) replacement, the Pantera, lasted from 1971 to 1993, over seven-thousand being sold, most fitted with US or Australian-built versions of the Ford 351 cubic inch (5.8 litre) Cleveland V8.

1969 De Tomaso Mangusta.

The Pantera was designed from the start as a road-car and was thus a far more satisfactory experience for most drivers and the Ford Motor Company, interested in having in their showrooms a competitor for Chevrolet’s Corvette, began to import the car into the US in 1972.  Predictably, there were quality control problems (Elvis Presley famously shot his when, once too often, it refused to start) which compelled some investment from Ford and although the sales volumes never challenged those of the Corvette, in the four years it was available in the US, well over five-thousand were sold.  After being withdrawn from the US market in 1975, De Tomaso maintained production on a smaller scale, the majority sold in Europe and it enjoyed a long Indian summer, the final examples not leaving the factory until 1993 by which time the output was reduced to a trickle.

1985 De Tomaso Pantera GT5.

Disappointingly, despite on paper appearing to possess a promising specification, there was never a stellar career in competition although factory support was offered and private teams ran regular campaigns.  Conspiracy theorists have long attributed the paucity of success to the more established players like Ferrari and Porsche having undue influence on the regulatory bodies, nudging them always in directions favoring their machines.  The factory arranged small runs of Panteras which conformed to Group 3 and Group 4 racing regulations, some of which owners later converted to Group 5 specifications but consistent success proved elusive.  De Tomaso however knew their market.  Even if their cars couldn’t often beat the Porsches and Ferraris on the track, as the years went by the Panteras adopted increasingly wild styling and they certainly looked the part.  

The playmate-pink Pantera re-imagined, for better or worse, 2022.

Panteras have a high survival rate and the pink car still exists, though no longer is it recognizable as the playmate’s prize.  Extensively modified (as are many Panteras) and now painted a vivid (almost a Dior 999) red, the engine has been enlarged to 397 cubic inches (6.5 litres), the interior refinished and wheel-arch flares added to accommodate wider, staggered-diameter wheels.  It sold at auction in June 2022 for U$110,000, a not exceptional price for the breed and it may have been more valuable if left in the original pink livery.

1973: Marilyn Cole (b 1949), Volvo 1800ES, the last descendent of the P1800.

Still one of the more admired Volvos (although, given the appearance of most of those produced in recent decades, that may be faint praise), the 1800ES (1972-1973) underwent an exquisitely executed conversion from a coupé (1961-1972), the re-design undertaken entirely in-house, the proposal by Pietro Frua's (1913-1983 and the P1800's original designer) thought too avant-garde for Volvo buyers.  They may have had a point because Volvo owners do seem impressed more by frugality of operation and longevity than anything flashy and there are several 1800s which are documented as having covered more than a million miles (1.6 million km).  The coupé gained much from its use in a popular TV series shown in the early 1960s, a promotional opportunity made possible only because Jaguar declined to loan the production company one of its new E-Types (XKE) which had debuted in the same year as the P1800.  Still, the seductive E-Type hardly needed an image-boost from a TV.  Doubtlessly the equally seductive Ms Cole won PotY on merit but her photo-shoot was the first in which a "full-frontal nude" image appealed in the magazine so that alone may have been enough to persuade the judges.  When Ms Cole took her prize back to London, she had it repainted, choosing tan.  Eye-catching the pink may have been but it seems when Playboy models are clothed, there are times when they prefer anonymity; it was the fate of most of the pink prizes.  Despite being involved in an accident in 2005, it’s still registered for road use in the Netherlands although it’s not known if it’s been restored to the pink.

Ms Cole was the first English PotY, taking her car home to England and the range has an English connection, the first 6000-odd of the coupés built at Jensen’s West Bromwich Albion factory.  Those early models (1961-1963) were called P1800 but when production moved to Sweden, the name 1800S was adopted (1963-1970), changed again in 1970 to 1800E (1970-1972) to mark the addition of fuel injection.   The "E" stood for Einspritz (German for "injection") and the Swedes used "E" because the Germans were pioneers in the development of fuel injection (the Luftwaffe doing much of the product testing); the use by Mercedes-Benz of "E" to indicate certain models were fuel-injected had in Europe become widely understood.  Interestingly, when BMW added fuel-injected models, just to be different, they used a lower case "i" and Volvo would have anticipated that had they used the Swedish injektion.    Another quirk in Volvo nomenclature was it continued to be labelled "1800" even after the engine's displacement was in 1969 increased to 2.0 litres.  It transpires too there are other uses for an 1800 coupé, one gifted amateur engineer, taking advantage of a similarity in dimensions and angles, using one to build his own (partial) replication of the 1967 Ferrari 275 GTB/4 NART Spyder.

1974: Cyndi Wood (b 1950), Mercedes-Benz 450 SL (R107).

The Mercedes-Benz R107 (1971-1989) had a unexpectedly long life, a longevity which slightly exceeded even the 600 (W100; 1963-1981) although across the Grosser’s eighteen years, the only obvious change was when the two-piece hubcap & trim-ring combination (the appearance of which suited the design) was replaced with a one-piece wheel cover (which wasn't as satisfactory) whereas during much the same duration, eight different engines and several transmissions were fitted to the R107:

280 SL: 2.7 litre (168 cubic inch) straight 6 (M110)

300 SL: 3.0 litre (183 cubic inch) straight 6 (M103)

350 SL: 3.5 litre (215 cubic inch) V8 (M116)

380 SL: 3.8 litre (231 cubic inch) V8 (M117)

420 SL: 4.2 litre (256 cubic inch) V8 (M117)

450 SL: 4.5 litre (274 cubic inch) V8 (M117 (iron-block))

500 SL: 5.0 litre (301 cubic inch) V8 (M117)

560 SL: 5.5 litre (338 cubic inch) V8 (M117)

1988 Mercedes-Benz 560 SL.

Not all versions were sold in all markets, the sixes never offered in the US, the 420 sold mostly in Europe and the 560, an emission-controlled special restricted mostly to Australia, Japan and the US.  Some 500s are seen in the US and Australia but all are private or grey market imports and it remains the most powerful (and among the most toxic) engine offered in the roadster.  The labelling of the early US versions was however confusing; although called a 350 SL (as it was in the rest of the world where it used the 3.5) it was fitted with the 4.5 litre V8, chosen because (1) the 4.5 was certified for sale in the US, (2) the improved low-speed torque characteristics of the long-stroke 4.5 was better suited to US driving conditions and (3) the increased displacement partially offset the power loss caused by the early, primitive anti-emission equipment.  The US market cars were later re-badged 450 SL, matching RoW (rest of the world) production.  Fuel consumption of both the 3.5 & 4.5 was poor, even by the slight standards of the time, the larger 6.3 litre (386 cubic inch) and 6.8 litre (417 cubic inch) big-block V8s surprisingly little more thirsty when cruising though those were fitted to much heavier cars.  The 3.5 litre 350 SLs are notable for being among the final Mercedes-Benz V8s available with a manual transmission, the last apparently sold as late as 1980.  Not exactly Lotus-like in precision of operation, the gear-shifts can be a little clunky but, as a manual V8, those 350 SLs (there were also some fitted to 350 SLCs (C107; a long wheelbase 2+2 coupé version of the SL) and a handful were appeared in the earlier W111 coupé & cabriolet and the W108 & (remarkably) long wheelbase (LWB) W109) do enjoy a cult following among collectors.

The R107 had always been intended to be exclusively V8 powered but the 280 SL entered the line in 1974 in response to the first oil shock (1973) and in many markets, a six cylinder version remained available to the end.  That the end didn’t come until 1989 is because for much of the R107’s early life, the very future of convertibles in the US was uncertain, threatened by what was thought to be impending US legislation which would ban the things.  That never transpired but much of the 1970s and 1980s were troubled times and there were other priorities so the R107 remained the only convertible offered until replaced in 1989 and a four seat drop-top didn’t return to the line until 1992.  SL actually stands for “super light” which was sort of true when first it was used of a race car in 1952 but by 1971 was misleading at least, the R107 no lightweight and a grand tourer rather than a sports car.  For years, the factory never much discussed what the abbreviation "SL" stood for and the assumption had long been it meant Sports Light (Sports Leicht), based presumably on the SSKL of 1929-1931 (Super Sports Kurz (short) Leicht) but the factory documentation for decades used both Sports Leicht and Super Leicht.  It was only in 2017 it published a 1952 paper discovered in the corporate archive confirming the correct abbreviation is Super Leicht. However defined, the R107 is heavy, the removable hard-top famously so and although that roof was fashioned in the "pagoda" shape, a la its (W113) predecessor, it was only the earlier model which picked up the nickname.

A whiff of scandal attaches to the 1974 “PoTY pink” 450 SL: it was white.  Vogue's artists made their models thinner, Playboy's made their cars pinker.

Whether Mercedes-Benz couldn’t or wouldn’t supply a pink car isn’t known and in photographs, Ms Wood seems unconcerned.  Playboy's (pre-digital) production staff were famously adept at air-brushing and other editing techniques so making a white car appear pink would not have been a challenge, even if the bodywork was a little more rectilinear than their usual fare.  Whether it survives isn’t known but anyone who fancies a pink R107 should find one to paint, a remarkable 227,000-odd produced over 18 years and they were for decades the preferred (one suspects almost the obligatory) transport for types such as interior decorators, Hollywood starlets, successful hairdressers and the wives of cosmetic surgeons.

1975: Marilyn Lange (b 1952), Porsche 911S.  The bumper bars were fitted to the post 1974 911s (the so-called "short hood" models) to comply with US law and while disfiguring, proved an ideal height for a Playboy PoTY adopting a variation of the "flamingo pose".  

Ms Lange’s 911S proved to be the first of eight Porsches awarded over the years to subsequent PotYs.  First introduced in 1963, the 911 is the improbable survivor of Europe’s rear-engined era and by 1974, even Porsche thought it was in its final days, Volkswagen and many others having long concluded the rear-engined configuration had no place in the modern world.  Indeed, work was by then well advanced on Porsche’s new generation of front-engined cars which would use water-cooled four, five & eight cylinder engines.  In time, augmenting these, there would be a line of mid-engined sports cars which would benefit from the lessons learned by Porsche in the development of machines like the 908, 914 and, of course, the famous 917.  Both visions were realized but the 911 endured.

Alternative approach: 1981 Porsche 911SC Targa with 500 cubic inch (8.2 litre) Cadillac V8.  Handled with care, the driving experience would be entertaining and it's not as extreme a thing as it may first appear because someone modified a 1986 Yogo by discarding the 1.1 litre (67 cubic inch) in-line four and installing two of the 500 cubic inch Cadillac V8s (one to the front, one to the rear).   

It was a vision of the future which made complete sense to everyone except 911 buyers who made it clear they would accept no other configuration and regarded any quirks inherent in the layout not as insoluble problems or dangerous characteristics, but charming idiosyncrasies to be cherished in a way drivers of bland, predictable machinery would never get to experience or understand if they did.  The customer being always right, their view prevailed and the 911 survived, emerging much changed but still rear-engined and still recognizable, sixty-odd years on.  Nor have those inherent problems proved insoluble, modern electronics and tyres permitting Porsche’s engineers to create 911s with driving characteristics indistinguishable from more conventional layouts unless driven by experts at speeds higher than should ever be attempted on public roads.

So the 911 survived but the playmate-pink tradition did not, subsequent cars finished in colors chosen seemingly at random.  Quite why this happened is speculative but may be as simple as pink becoming less fashionable (even within the Playboy organization where the hues in the publication and the clubs were tending darker) and there’s no record of a feminist critique, even though the tradition began just as second-wave feminism was gaining critical mass.  There is a bulky literature documenting the many strains of feminist criticism of pornography and it's likely the matter of pink cars, if noticed, was thought not substantive.  Of course it may be that some feminists really like pink, a secret which few now dare speak.

Paris Hilton (b 1981) with her 2008 Bentley Continental GT during a photo-shoot to note the release of Hold Me Closer (2022), a variant of Tiny Dancer (1971) by Elton John (Reginald Dwight; b 1947) & Bernie Taupin (b 1950) and performed as a duet by Mr John and Britney Spears (b 1981), Los Angeles, August 2022.  It's not known if Ms Hilton was influenced in her choice of car by the Continental being introduced at the 2002 Paris Motor Show but the color was apparently to do with her fondness for the Barbie Doll aesthetic.