Boutique

Boutique (pronounced boo-teek]

(1) A small shop, especially one that sells fashionable clothes and accessories or a special selection of other merchandise.

(2) Within a larger store, a small specialty department.

(3) As a modifier, any (usually small(ish)) business offering customized service (boutique law firm; boutique investment house; boutique winery etc).

(4) In informal use, a small business, department etc, specializing in one aspect of a larger industry (such as the “mining sector analysts”, “transport sector analysts” etch within a financial services research organization).

(5) Of, designating, denoting or characteristic of a small, specialized or exclusive producer (sometimes of the bespoke) or business (either attributive or self-applied).

1767: From the French boutique, from the Middle French, probably from the Old Provençal botica & botiga, from the Latin apotheca (storehouse), ultimately from the Ancient Greek apothēkē (apothecary) (storehouse).  The original meaning in the 1760s was “a small retail outlet (shop) of any sort” boutique, an inheritance from the fourteenth century French source and it wasn’t until the early 1950s it assumed the still familiar sense of “trendy little shop selling fashion items”.  The link with the mid-fourteenth century noun apothecary lay in its sense of “shopkeeper”, the notion of one being a place where is stored and sold “stores, compounds & medicaments (what is now described variously as “a pharmacy: or “chemist shop”) emerged quickly and soon became dominant.  The word was from the French apothicaire, from the Old French apotecaire, from the Late Latin apothecarius (storekeeper), from the Latin apotheca (storehouse)m from the Ancient Greek apothēkē (barn, storehouse (literally “a place where things are put away”)), the construct being apo- (away) + thēkē (receptacle (from a suffixed form of primitive Indo-European root dhe- (to set, put)).  The same Latin word produced French boutique, the Spanish bodega and the German Apotheke; the cognate compounds produced the Sanskrit apadha- (concealment) and the Old Persian apadana- (palace) and one quirk was that had the usual conventions been followed, the Latin apotheca would have emerged in French as avouaie.  The French masculine noun boutiquier (the plural boutiquiers; the feminine boutiquière) translates as “shopkeeper, storekeeper”.  Boutique is a noun & adjective and boutiquey & boutiquelike are adjectives; the noun plural is boutiques.  Of the adjectival use (resembling or characteristic of a boutique (however defined), the comparative is “more boutiquey”, the superlative “most boutiquey”).

Lindsay Lohan at the Singer22 boutique (described as the company’s “flagship store”), Long Island, New York, March 2011 (left) and at the opening of the Philipp Plein (b 1978) boutique, Mykonos, Greece, June 2019 (right).  Among fashion retailers, the term “boutique” is used both of high-end designer outlets and mass-market, high volume operations.  What the word implies can thus vary from “exclusive; expensive” to “trendy, edgy, celebrity influenced” etc.

Modern commerce understood the linguistic possibilities and that included the portmanteaus (1) fruitique (the construct being fruit + (bout)ique) (a trendy (ie high-priced) fruit shop in an area of high SES (socio-economic status)) and (2) postique (the construct being post(al) +‎ (bout)ique).  Originally, postique was a trademark of the USPS (US Postal Service) but it came to be used of retail stores selling items relating to postal mail (stamps, stationery and such).  One interesting trend in middle-class retailing has been the niche of the “boutiquey” stationery shop where the focus is on elegant versions of what are usually utilitarian office consumables; impressionistically, the client base appears almost exclusively female.  The “e-boutique” is an on-line retailer using the term to suggest its lines of garments are targeting a younger demographic.  The term “boutique camping” (services offering “going camping” without most of the discomforts (ie with air-conditioned tents, sanitation, running hot water etc) never caught on because the portmanteau “glamping” (the construct being glam(our) + cam(ping)) was preferred and, as a general principle, in popular use, a word with two syllables will tend to prevail over one with four.

By the 1970s, the term “boutique” had spread in fashion retailing to the extent it was part of general language; it tended to be understood as meaning “exclusive, small-scale fashion stores” which were in some way niche players (more on the cutting edge of design, specializing in a certain segment et al) in a way which contrasted with the large department stores.  The word gained a cachet and by the 1980s the “boutique hotel” was a thing, probably meaning something like “We are not the Hilton”.  That may be unfair and the classic boutique hotel was smaller, sometimes in some way quirky (such as being in a heritage building) and not necessarily cheaper than the major high-end chains.  The advertizing for boutique hotels often emphasized “individuality” rather than the “cookie-cutter” approach of the majors although the economics of running a hotel did conspire against things being too different and the standardization operations like Hilton or Hyatt offered around the world was a genuine attraction for many and not just the corporate clients.  Additionally, what the majors had done was raise the level of expectation and there was thus a baseline of similarity on which boutique players had to build.  Some successfully marketed the “difference” but structurally, there are more similarities than differences.  In the 1990s, the metaphorical sense was extended to just about anything in commerce which could be marketed as “specialized” although initially the most obvious differentiation was probably that the operations so dubbed tended to be “smaller and not part of a large multi-national”.  Thus appeared boutique law firms, boutique investment house, boutique wineries, boutique architects and such.

Boutique Hotel Donauwalzer, Hernalser Gürtel 27, 1170 Wien, Austria.

Although the use of the descriptor “boutique” didn’t become mainstream until the twenty-first century, “boutique” car manufacturers have existed since the early days of the industry and there have been literally hundreds (some of which didn’t last long enough to sell a single machine) and while a few endured to become major manufacturers or be absorbed by larger concerns, most fell victim either the economic vicissitudes which periodically cull those subsisting on discretionary expenditure or in more recent decades, the increasingly onerous web of laws and regulations which consigned to history the idea of "real" cars emerging from cottage industries.  Today, there are boutique operations and they tend to be either (1) parts-bin specialists which combine a bespoke body and interior fittings with components (engines, transmissions, suspension) from the majors or (2) those who modify existing vehicles (Ferraris & Porsches especially favored) with more power, bling or a combination of both.  Either way, the price tag can reach seven figures (in US$ terms).

The established high-end manufacturers noted the industry and although many had long offered customization services, the approach is now more institutionalized and exists as separate departments in separate buildings, there to cater to (almost) every whim of a billionaire (since the expansion of the money supply in the last quarter century they’re now a more numerous and still growing population).  The way the cost of a Porsche, Bentley or Ferrari can grow alarmingly from the list price (and these are not always the fiction some suggest) as the options & “personalizations” accumulate has attracted some wry comment but it’s not something new and the values are relative:  In the late 1960s, a Chevrolet Camaro might be advertized at around US$2800 but by the time the buyer had ticked the desired boxes on the option list, the invoice might read US$4400 or more.  Compared with that, adding US$55,000 in different paint, leather and wheels to a US$350.000 Ferrari starts to make LBJ era Detroit look like a bunch of horse thieves.

Monteverdi’s boutique Swiss concern

Peter Monteverdi (1934–1998 (and believed not in the lineage of Italian composer Claudio Monteverdi (1567–1643)) was a successful Swiss businessman and a less than successful race driver.  He was also one of the many disgruntled customers of Enzo Ferrari (1898-1988) and one of several inspired by the experience to produce cars to compete with those made by Il Commendatore.  For a decade between 1967-1976, his eponymous manufacturing concern (unique in Switzerland) produced over a thousand big, elegant (and genuinely fast) coupés, convertibles and sedans, all with the solidly reliable drive-train combination of Chrysler’s 440 cubic inch (7.2 litre) V8, coupled usually with the TorqueFlite automatic transmission and unlike some of the less ambitious boutique players in the era, Peter Monteverdi included engineering innovations such as the DeDion tube rear suspension (which had the advantage of keeping the rear wheels parallel in all circumstances, something desirable given the torque of the 440 and the tyre technology of the era).  In the post oil shock world of stagflation, it couldn’t go on and it didn’t, the last of the big machines leaving the factory in 1976 although Monteverdi did follow a discursive path until production finally ended in 1982; by then it was more (lawful) “chop shop” than boutique but those ten golden years did bequeath some memorable creations:

1970 Monteverdi Hai 450 SS.

The Lamborghini Miura (1966-1973) had fundamental flaws which progressively were ameliorated as production continued but the design meant some problems remained inherent.  People who drove it at high speed sometimes became acquainted with those idiosyncrasies but for those who just looked at the things forgave it because it was stunning achievement in aggression and beauty; it validated the notion of the mid- engined supercar.  Noting the Miura and the rumors of a similar machine from Ferrari (the prototype of which would be displayed at the 1971 Turin Auto Show and be released two years later as the 365 GT4 BB (Berlinetta Boxer the cover-story for the “BB” dsignation, the truth more exotic)), Peter Monteverdi built the Hai 450 SS (painted in a fetching “Purple Mist”) which created a sensation on the factory’s stand at the 1970 Geneva Motor Show.  “Hai” is German for “shark”; the muscular lines certainly recall the beasts  and the specification meant it lived up to the name.  Powered not by the 440 but instead Chrysler’s 426 cubic inch (7.0 litre) Street Hemi V8 (a version of their NASCAR racing engine tamed for street use) and using a ZF five-speed manual gearbox, the claimed top speed was a then impressive 180 mph (290 km/h), some 6-8 mph (10-13 km/h) faster than any Ferrari or Lamborghini and although the number seems never to have been verified, it was at least plausible.  Tantalizing though it was, although orders were received (the price in the UK was quoted at Stg£12,950, some 20% more than a Rolls-Royce Silver Shadow), series production was never contemplated and Peter Monteverdi was quoted explaining his reticence by saying “This car is so special you can’t deliver it to everybody.” So although over the years four were built (two with significant differences in mechanical specification) it was only the original prototype which ended up in private hands, the others retained by the factory (displayed at the Monteverdi museum in Binningen, Basel-Landschaft until it closed in 2016).  For trivia buffs, the Hai was the only car powered by a Street Hemi ever to have "factory-fitted" air-conditioning. 

1975 Monteverdi Palm Beach.

By 1975 it was obvious the writing was on the wall for the way things had been done in the era of US$2 a barrel oil but the Palm Beach, shown at that year’s Geneva Motor Show was a fine final fling.  The factory had had a convertible in the catalogue for years but the Palm Beach was different and rather than being a Monteverdi Berlinetta with roadster coachwork (as the appearance would suggest), it was based on the older High Speed 375 C platform with which the company had built its reputation.  It was thus the familiar combination of the 440 and TorqueFlite and the styling updates were an indication of how things would have progressed had events in the Middle East not conspired against it.  Although promotional material was prepared for the show and even a price was quoted (124,000 Swiss Francs), the Palm Beach remained an exquisite one-off.

Monteverdis in the last days of the big blocks: 375/4 (front), 375/L (centre) and Palm Beach (rear).

Others in the trans-Atlantic ecosystem offered four-door sedans including Facel Vega, Iso and De Tomaso but none offered a 7.2 litre big-block V8 or rendered it in such a dramatic low-slung package as the Monteverdi 375/4.  First shown at the 1971 Geneva Motor Show, production didn’t begin until the following year but the big machine made an impression on the press; big and heavy though it was, the aerodynamics must have been better than a first glance would suggest because testers who took it to Germany to run on the Autobahn (really its natural environment), found it would run to a genuine 144 mph, (232 km/h), out-pacing even the Mercedes-Benz 300 SEL 6.3 which had for some time reigned as the fastest four door (although the fastest of the Maserati Quattroportes might contest that).  Regular production of the 375/4 ended in 1973 although it remained available on special order with some demand from the Middle East (where the price of fuel was wasn’t much thought about when filling up) and it’s believed as many as 34 had been built when the last was delivered in 1975.  The last of them looked as good as the first although it wasn’t as fast, the later 440s detuned to meet US emission control rules although 120 mph (195 km/h) was still possible.

Tube

Tube (pronounced toob or tyoob)

(1) A hollow (usually cylindrical or oval) body of metal, glass, rubber or other material, used especially for conveying or containing liquids or gases.

(2) A small, collapsible, cylinder of metal or plastic sealed at one end and having a capped opening at the other from which paint, toothpaste, or some other semi-fluid substance may be squeezed or pumped.

(3) In anatomy & zoology, any hollow, cylindrical vessel or organ:

(4) In botany, the lower part of a gamopetalous corolla or gamosepalous calyx, below the lobes but used generally of any other hollow structure in a plant

(5) As “inner tube” a rubber, synthetic or composite construction in the form of a torus (doughnut-shaped) which sits inside the tyres of bicycles, motorcycles and certain other vehicles for the purpose of sustaining inflation (now rare on passenger vehicles which tend to use “tubeless” tyres.

(6) In semi-formal use (originally UK colloquial but now trademarked), the London RTS (rapid transit system) railway system (should use initial upper case).  The name comes from the tube-like tunnels drilled for most on the original underground sections but “The Tube” is used of the whole network (which does extend beyond London) including the above-ground sectors.  “Tube” is used variously of (1) the service, (2) of the cylindrical tunnels and (3) the rolling stock (the trains and carriages).  The term is also used in other places to describe underground railways.

(7) In electronics as “electron tube” (clipped usually to “tube”); as the “vacuum tube”, the predecessor of the transistor.

(8) In materials, as “nanotube”, small carbon constructions some 50,000 times smaller than the diameter of a human hair.

(9) In fashion variously as (1) “tube top” (a tight-fitting, sleeveless garment extening from the armpits to the waist or hips, (2) “boob tube” a shorter type of tube top which covers only the breasts (often labeled as “bandeau tube top”) and (3) “tube skirt” (a close fitting skirt which differs from the similar “pencil skirt” which is tapered).

(10) In slang, a television set (also used as “boob tube” with “boob” used in the sense of “someone stupid or foolish”, an allusion either to the inanity of much of what was broadcast or slur upon the audience).  Historically, television screens (like pre-modern computer monitors) used a “cathode-ray tube” and this was the original source of the idea of televisions as “on the tube”.

(11) In the slang of surfers, the curled hollow space formed when a cresting wave pitches forward when breaking.

(12) In the slang of clinical medicine, to intubate.

(13) In Australian Slang, a can of beer.

(14) In slang, a telescope (now rare and used usually as a deliberate archaism).

(15) To furnish with a tube or tubes.

(16) To convey or enclose in a tube.

(17) To form or render into the shape of a tube; to make tubular.

1590-1600: From the Middle French tube, from the Latin tubus (tube, pipe), related to tuba (long trumpet; war-trumpet), of obscure origin, but possibly connected to tībia (shinbone, reed-pipe).  The idiomatic for “down the tube(s)” (into a ruined, wasted, or abandoned state or condition; lost, finished) dates from the early 1960s and carries the same meaning as “down the drain”.  Despite the similarity of the words and the shapes of the structures, etymologists believe tub (open vessel used for liquids or other substances) was unrelated to tube.  Tub was from the late fourteenth century Middle English tubbe & tobbe, from a continental Germanic source such as the Middle Dutch tubbe, the Middle Low German tubbe & tobbe or the Middle Flemish tubbe, all of uncertain origin.  Tube, tubage & tubing are nouns & verbs, tubulure is a noun, tubed is a verb, tubular, tubey, tubiform, tubesque, tubeless, tubelike, tubish, tuboid & tuboidal are adjectives; the noun plural is tubes.

Squeezed from a tube: The toothpaste one squeezes onto a toothbrush is called a "nurdle".

The original use in the 1590s was of the observed structures in anatomy and zoology (a hollow organ or passage in the body) and this was extended by the 1650s to mean “pipe or hollow cylinder” (especially a small one used as a conduit for liquids).  The use to describe a “sealed container in tubular form” began in 1859 with the vacuum tube, later extended in electronics to a sealed tube containing electrodes (in wide use until the 1950s when transistors achieved mass-production).  The use to describe televisions dates from 1959 and seems to have been as clipping of “cathode ray tube” (CRT, the technology use of pre-modern screens) or “picture tube”.  “The Tube” was also late nineteenth century for wired telephones, the use derived from ships where voice traffic between places was sometimes carried by “speaking tube”, the same technology also used in horse-drawn carriages and early motor vehicles where the passenger compartment was sealed and separated from the drive or chauffeur.  In limousines (with a glass partition or divider), speaking-tubes were still sometimes fitted as late as the 1960s because it was simple, reliable technology and over such short distances an electronic apparatus offer little advantage.  London’s underground railway (an early London RTS (rapid transit system)) came to be known as “the Tube” in 1847, based on the tubular tunnels drilled to created the network; in 1900, in the press, it was dubbed the “Twopenny Tube” (a reference to the basic fare).  “Tube” has come to be a slang for RTS systems in various places, even those with no tubular tunnels (a similar linguistic process to “wire” or “cable” for electronic transmission).

Tube maps (sort of):  The London Underground maps, 1908 (left), 1933 (centre) and 2014 (right).

Although referred to almost universally as the “London Underground Map”, pedants like to point out (1) it’s a schematic (or diagram) rather than a map and (2) over half the “Underground” is above ground.  The now familiar concept of the “map” was in 1931 devised by Henry Beck (1902–1974), then a 29 year old electrical draftsman, who envisaged the rail lines as wires, the stations as connectors and the whole network as an integrated and interconnected diagrammatic system, much like the electrical circuit boards he was accustomed to drawing.  What was revolutionary about Mr Beck’s concept was he understood the purpose was different from a conventional map where scale mattered, rail lines had to be drawn in exactly the shape the assumed and topographic features were included.  What people wanted in a map of “The Tube” was a navigation aid, something which made as simple as possible the task of working out the matter of getting from station-to-station. 

The verb “to tube” (receive, enclose, or dispatch in a (pneumatic) tube) was in use by at least 1870 and was a clipping of pneumatic-dispatch tube (PDT), tubes first installed in 1859 in buildings for the rapid delivery of documents between floors or offices and propelled by air pressure; for dispatch, the documents were rolled and inserted in a small cylinder, the external diameter of which was slightly less than the internal diameter of the tube infrastructure.  The noun tubage (insertion of a tube into a cavity or canal) dates from 1880 and by 1896 it was being used as a collective nouns for tubes.  The adjective tubular (having the form of a tube or pipe) was from the Latin tubulus (a small pipe) and was in the early 1960s adopted in California’s surfing culture to describe the hollow, curling waves, most ideal for riding.

Lindsay Lohan in green-hooped tube top (left) and Coco Avenue's range of boob tubes in designer colors (right).

In pneumatic tyres, although still common on bicycles and motor-bikes, inner tubes are now rare in passenger vehicle use but they are still produced for a variety of commercial application and they have been re-purposed for the recreational pastime of “tubing” (riding on the inflated inner tube of a large (truck, tractor etc) tyre), undertaken both as a water-sport and on ski-slopes.  The jocular slang noun “tube-steak” emerged in 1962 to described “a frankfurter” (ie hotdog sausage), the term obviously a reference to the shape and given that, it’s remarkable it seems not to have been used as a slang for “penis” until the mid-1980s.  The test-tube (cylinder of thin glass closed in rounded form at one end) was so named in 1909 because it was used to test the properties of liquids.  Surprisingly, “test-tube baby” predates by decades modern IVF (In vitro fertilization) and was first used in 1935 in reference to artificial insemination.  In the 1980s, “test tube baby” became the popular descriptor of IVF, “test tube” used as a synecdoche of the process rather than any suggestion of the use of the glass receptacles.  The name “tube-top” (a women's close-fitting elastic top) made its debut in 1972 (although the style had been seen before); the “tube skirt” appeared the next season (again, a re-labeling) while the first “boob tubes” (a truncated version of the “tube top” which wraps only around the breasts) were advertized in 1977.  Being elasticized, some wear boob tubes without a bra but they're available also with a "built-in" bra (like all forms of structural engineering, physics does limit what's possible) and some are made with a thicker material so a strapless bra unobtrusively can be worn underneath.  

YouTube content.  

YouTube is a US social media and online video sharing platform now owned by Google.  It first appeared in 2005 and is now the planet's second most visited internet site, only Google search generating more traffic (as expressed in volumes of unique visits per day).  YouTube was emblematic of the way the internet evolved in a manner somewhat different to that futurists had in preceding decades predicted.  Although it was clear it would be an inter-connected world of databases with content from “content providers” available for download, few predicted the extent to which the terms “viewer”, “user” and “content provider” would overlap; the upload phenomenon generally was not predicted.  Substantially, this was technologically deterministic: with a high percentage of the world’s population carrying cameras able to produce HD (high definition) photographs and films which easily can be uploaded to a global distribution platform at only marginal cost, a new industry emerged and others were disrupted or destroyed.

OSCA S187 (750S).  The Italians dubbed these tubo di dentifricio (toothpaste tube), illustrating yet again how everything sounds better in Italian.

In 1937, facing bankruptcy, the three surviving Maserati brothers (Bindo (1883-1980), Ettore (1894-1990) & Ernesto (1898-1975)) sold their eponymous company to the Orsi Group in Modena, the arrangement including a decade-long consultancy for the trio.  It’s not known if there was “no compete” clause in place but the brothers waited until 1947 when the contract expired before returning to San Lazzaro di Savena (near Bologna) where they founded Officine Specializzate per la Costruzione Automobili Fratelli Maserati S.p.A. (O.S.C.A.), the intention being to build small runs of racing cars for customers and for more than a decade production continued.  Most of the machines built used small displacement engines to contest the various series for such things (then popular in Italy) although in 1951 there was a one-off, 4.5 litre (273 cubic inch) V12, soon rendered an orphan when the Formula One rules were changed. 

Accordingly, subsequent OSCAs were smaller and one of the most exquisite was the S187 which made its debut in 1956.  Built to contest the well-supported 750 cm³ (46 cubic inch) racing class, the name was derived from the displacement of each of the engine’s four cylinders, a convention used for years also by Ferrari.  The smallest engine O.S.C.A. ever made, it was of “square” configuration (the bore & stroke both 62 mm (2.44 inch)) with double overhead camshafts (DOHC) and a pair of twin-choke, side-draft Weber carburetors.  Modest the displacement may have been but the package generated an impressive 70 horsepower which, combined with low weight (a svelte 450 kg (990 lb)) and effective aerodynamics, delivered class-leading performance.  That was despite the S187 being a little heavier than had been envisaged because constraints in time & cash meant the planned multi-tubular space frame had to be abandoned, replaced with a more conventional ladder frame chassis.

OSCA 750S NART (North American Racing Team), one of four with a clamshell body.

The delicate aerodynamic body was by the coachbuilder Morelli and the S-187 (referred to usually as the 750S) was immediately successful, gaining a class victory at the 1956 Mille Miglia, followed the next year with a class win at the 12 Hours of Sebring.  Although in 1959 still competitive in the 750 cm³ class, the brothers produced a new cylinder head which raised the output by 5 horsepower which may sound slight but it was a 7% lift (it would be like adding some 30 hp to a 400 hp engine) and despite in competition being regularly run for sustained periods at the 7700 rpm redline, reliability continued to be outstanding and the 750S remained competitive until well into the 1960s.  Nineteen were built.

End of the line: 1963 OSCA 1600 GT2

Unfortunately, age caught up with the Maserati brothers and in 1963 they sold O.S.C.A. to Count Domenico Agusta (1907–1971) who, in 1945, founded the MV Agusta motorcycle company, a move necessitated by the post-war peace treaty which included a ban on Italian aircraft production which obviously rendered unviable the aviation business Costruzioni Aeronautiche Giovanni Agusta S.A. (formed in 1923 by Count Giovanni Agusta (1879–1927)).  The O.S.C.A. operation was closed in 1967.

Lipstick

Lipstick (pronounced lip-stik)

(1) A crayon-like oil-based cosmetic used in coloring the lips, usually in a tubular container.  Lip-gloss & lip-liner (hyphenated and not) are the companion products whereas lip balm is a non-cosmetic product to prevent drying & cracking of the skin.

(2) As “lipstick tree”, the shrub Bixa orellana, native to Mexico and northern South America.  The common name is derived from (1) the arils (tissue surrounding the seed) being the orange-red colourant annatto and (2) the texture & consistency of the arils recalling that of commercially manufactured lipstick.

(3) In slang, the canine penis.

(4) In certain LGBTQQIAAOP circles, as “lipstick lesbian”, a lesbian who displays traditional, conventional feminine characteristics (opposed to a “butch lesbian”).  Some guides to such things note (1) the term can be a slur if used in the wrong context and (2) in some sub-groups a “lipstick lesbian” is one attracted to “other feminine women”, as opposed to a “femme” (a feminine lesbian attracted to butch lesbians).  The alternative to “lipstick lesbian” is “doily dyke” but both alliterative forms should be used with care because in most contexts they are probably now at least microaggressions.

(5) In economics, as “lipstick effect”, a theory which suggests that during economic downturns, consumers display a greater propensity to purchase low cost luxury goods (such as premium lipsticks).

(6) To apply lipstick to; to paint with lipstick.

1875-1880: A coining in US English, the construct being lip + stick.  Lip was from the Middle English lippe, from the Old English lippa & lippe (lip; one of the two sides of the mouth), from the Proto-West Germanic lippjō (lip), from the Proto-Germanic lepjan & lepô, from the primitive Indo-European leb- (to hang loosely, droop, sag).  The Germanic forms were the source also of the Old Frisian lippa & West Frisian lippe, the Middle Dutch lippe, the Dutch lip, the Old High German lefs, the German Lippe & Lefze, the Swedish läpp, the Norwegian leppe and the Danish læbe.  However, some etymologists have questioned the Indo-European origin of the western European forms and the Latin labium, though it’s said they agree the Latin and Germanic words “probably are in some way related” and the Latin may be a substratum word.  The French lippe was an Old French borrowing from a Germanic source.  Stick was from the Middle English stikke (stick, rod, twig), from the Old English sticca (twig or slender branch from a tree or shrub (also “rod, peg, spoon”), from the Proto-West Germanic stikkō, from the Proto-Germanic stikkô (pierce, prick), from the primitive Indo-European verb stig, steyg & teyg- (to pierce, prick, be sharp).  It was cognate with the Old Norse stik, the Middle Dutch stecke & stec, the Old High German stehho, the German Stecken (stick, staff), the Saterland Frisian Stikke (stick) and the West Flemish stik (stick).  The word stick was applied to many long, slender objects closely or vaguely resembling twigs or sticks including by the early eighteenth century candles, dynamite by 1869, cigarettes by 1919 (the slang later extended to “death sticks” & “cancer sticks).  The first known use of “lipstick” in advertizing was in 1877 (although some sources claim this was really a “lip balm” and lipstick (in the modern understanding) didn’t appear for another three years.  “Liquid lipstick” was first sold in 1938 and by the mid 1960s variations of the substance in a variety of liquid and semi-solid forms was available in pots, palettes and novel applicators.  Lipstick is a noun & verb and lipsticking & lipsticked are verbs; the noun plural is lipsticks.

Dior Rouge Lipstick #999.

In economics, the “lipstick effect” is a theory which suggests there is an identifiable phenomenon in consumer behavior in which there’s an increased propensity to purchase small, affordable luxury goods (“designer lipsticks” the classic example) during economic downturns as an alternative to buying larger, more expensive items.  The idea is that as a consumer’s disposable income contracts, the lure of luxury goods remains so although the purchase of the $4000 handbag may be deferred, the $50 lipstick may immediately be chosen, an indulgence which to some extent satisfies the yearning.  The theory is not part of mainstream economics and has been criticized for being substantially impressionistic although more reliable data such as the volume of chocolate sold by supermarkets had been mapped against aggregate economic indicators and this does suggest sales of non-essential items can increase during periods of general austerity.

Beauty Bakerie Lip Whip Matte Liquid Lipstick in Mon Cheri.

The phrase “put lipstick on a pig” is a clipped version of “even if you put lipstick on a pig, it’s still a pig” and it means that cosmetically altering something in the hope of making it seem more appealing than it is doesn’t alter its fundamental characteristics and flaws.  It’s a saying in the vein of “you can't make a silk purse of a sow's ear”, “you can’t polish a turd”, “mutton dressed as lamb” & “old wine in a new bottle” and is often used of products which have been updated in a way which superficially makes them appear “improved” while leaving them functionally unchanged; it’s often used of cars and political platforms, both products which have often relied on spin and advertising to disguise the essential ugliness beneath the surface.  It’s been part of American political rhetoric for decades and usually passes unnoticed but did stir a brief controversy when Barack Obama (b 1961; US president 2009-2017) used: “You can put lipstick on a pig. It's still a pig.” as part of his critique of the “change” theme in the campaign of John McCain (1936–2018), his Republican Party opponent in the 2008 presidential election.  The reason Mr Obama’s use attracted was that earlier, Sarah Palin (b 1964) had said during her acceptance speech as Mr McCain’s running mate: “You know the difference between a hockey mom and a pit bull?  Lipstick.”  It turned out to be the best line of their lackluster campaign.  Because of her well-publicized speech and the fact Ms Palin was the only one of the four candidates on that year’s ticket actually to wear lipstick (as far as is known), it was immediately picked up as a potentially misogynistic slur.  However, the outrage lasted barely one news cycle as the fact-checkers were activated to comb the records, revealing Mr McCain the previous year had used it when deriding the abortive healthcare proposal developed by the equally doomed crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) while installed as FLOTUS (First Lady of the United States).

Lindsay Lohan in applying red lipstick (left) and smoking a "stick" (right), from a photo-shoot by Terry Richardson (b 1965) for Love Magazine, Spring/Summer Edition, 2012.

Use turned out to be a long “across the aisle” thing. Thomas Harkin (b 1939; US senator (Democratic-Iowa) 1985-2015) applying it in 1989 to George HW Bush’s (George XLI, 1924-2018; US president 1989-1993) plan to send military aid to the El Salvador government and Ann Richards (1933–2006; governor (Democratic) of Texas 1991-1995) in 1992 added a flourish when she said of the administration’s call for the Democratic-controlled congress to move on a constitutional amendment to force the government to keep a balanced budget: “This is not another one of those deals where you put lipstick on a hog and call it a princess.”  The line received much attention and she added a new variation in 1990 when criticizing the administration for using warships to protect oil tankers in the Middle East (which she labeled a “hidden subsidy for foreign oil”): “You can put lipstick on a hog and call it Monique, but it is still a pig.”  At least in Texas, that may have achieved some resonance because in her failed 1994 gubernatorial race against George W Bush (George XLIII, b 1946; US president 2001-2009), her campaign used the slogan “Call it Monique” as a way of disparage her opponent’s proposals.  The use of “Monique” was apparently random; as far as is known there was no “Monique problem” in the White House of George XLI in the way there was a “Jennifer with a ‘J’ problem”. Commendably, Governor Richards did stick to the theme, unlike Mr Obama in 2008 who couldn’t resist a further metaphor in case his audience was too dim to understand the first, adding: “You can wrap an old fish in a piece of paper called ‘change’.  It's still going to stink.”  That was laboring the point by gilding the lily.

Sarah Palin and Barack Obama, 2008.  Sarah Palin was wasted in politics and was a natural for Fox News and such.

Helpfully, the industry has defined the math of "perfect lips" and even more helpfully (for imperfect women), a lip pencil can be used to apply lip liner to make one's shape tend towards the perfect, providing the definition lines within which lipstick can be applied.  When using a lip pencil, a pencil sharpener is an essential accessory.

Nars Velvet Matte Lip Pencil in Dragon Girl.

People have been expressing the idea in different ways for at least centuries.  In 1732 the English physician and lay-preacher Thomas Fuller (1654–1734) published Gnomologia: Adagies and Proverbs; wise sentences and witty saying, ancient and modern, foreign and British which included “A hog in armour is still but a hog.”  The English antiquary & lexicographer Francis Grose (circa 1725-1791) included an entry for “hog in armour” in his A Classical Dictionary of the Vulgar Tongue (1785) which he explained was “an awkward or mean looking man or woman, finely dressed.”  So, something like “mutton dressed as lamb”, a put-down rendered more cutting still by what used to be called the Fleet Street tabloids coining “mutton dressed as hogget”, a classic example of what used to be called bitchiness, a genuine red top speciality.  Charles Spurgeon (1834-1892) was an English Particular Baptist preacher (with all that implies) and although most of his prodigious writing was concerned with defending his sect against the encroachments of liberal & pragmatic theology and ritual, he did publish odd secular work including The Salt-Cellars (1887), a compendium of proverbs in which he noted: “A hog in a silk waistcoat is still a hog” meant “Circumstances do not alter a man’s nature, nor even his manners.”

Dior Addict Lip Gloss Glow Oil in 007 Raspberry.

But it was pigs & lipstick which became the most common form but apparently only after the mid 1980s although the incongruity of the juxtaposition of pigs and lipstick had appealed earlier appealed to some.  In 1926 the “colorful” journalist Charles Lummis (1859-1928) had a piece in the Los Angeles Times which included: “Most of us know as much of history as a pig does of lipsticks.” but the first known appearance of the modern phrase is thought to have been in the Washington Post in 1985, quoting a San Francisco radio host who suggested plans for renovating Candlestick Park (instead of building a new downtown stadium for the Giants “…would be like putting lipstick on a pig.”  After that it’s never gone away, an anti-abortionist in 1992 quoted as saying of legislative amendments of which he did not approve: “You don't want to put lipstick on a pig” and Rick Santorum (b 1958; US senator (Republican-Pennsylvania 1995-2007) added spelled it out, telling the chamber legislative reforms to government subsidies for southern peanut and sugar farmers were the lipstick while the pig was the subsidy programme itself.  In 1998, the often lachrymose Republican John Boehner (b 1949; Speaker of the US House of Representatives 2011-2015), apparently while dry-eyed, bemoaned what he called a “rudderless Republican congress”: "When there's no agenda and there's no real direction, what happens is you really can't have a message; you can put lipstick on a pig all day long, but it's still a pig.”

Lipstick, lip gloss, lip liner & lip balm

Lipstick is primarily for style, there to add color (and they are produced in just about every shade imaginable) but it also protects and to some extent hydrates the lips, indeed, some have additives for just this purpose.  The texture can be creamy, matte, satin, or glossy and lipsticks have included glitter and even a swelling agent for those who want a plumper-lipped look although it applied with some expertise, even an unadulterated lipstick can provide the visual effect of greater fullness. 

Lip Gloss can be used either as a stand-alone product or as a finisher over lipstick, somewhat analogous with a “clear coat” over paint, providing a “varnishing” effect.  What lip gloss does is add shine and often a hit of color to the lips.  As the name implies, the texture is glossy and although usually lightweight, the finish can be sticky, models often applying lip gloss sever times during a photo-shoot to ensure the luster is constant.  They’re mostly sheer or translucent, though some have shimmer or glitter added, thus they can produce a (sort-of) natural, shiny look or add visual depth to lipstick.

Fenty Beauty Stunna Lip Paint Longwear Fluid Lip Color in Uncensored.

Lip Liners (applied with a lip pencil) are a maintenance tool.  What a lip liner does is define the edge of the lips, providing a protective barrier which prevents feathering or bleeding of lip color (ie from a lip stick or lip gloss.  Almost always matte, lip liners are essentially pencils for the lips and their use requires the same firm consistency in application that an artist adopts when putting graphite to paper.  Specialists caution it does take practice to master the art and their golden rule is “less is more”: begin with several light applications until technique is honed and arcs can be described in one go.  Done well, a lip liner can be outline the lips, fill them in for longer-lasting color and to a remarkable extent, change the appearance of their shape.

Lip Balm is only incidentally a beauty aid; they’re used to moisturize, soothe, and protects lips from dryness or chapping so are used by those playing sport, sailing rock-climbing and such.  Most are creamy and waxy, designed to endure for several hours of outdoor use (and often include a sunscreen) although some intended for those in indoor, dry-air environments (such as air-conditioned offices) are lightweight and glossy; aimed at the female market these are often flavored (mandarin, cherry, strawberry etc).  The indoor variety typically are transparent or lightly tinted and while some can be used as a base under other products, not all lipsticks or lip glosses are suitable; it depends on the composition.

Cultural practices mean “lipstick” is associated mostly with shades of red although (depending on the manufacturer) just about any color is available including some which sparkle.  Goths and emos of course like black and purple but a few manufacturers do have white in their range but it doesn’t suit everyone or every occasion.  Apart from looking remarkably like one's recent application of zinc cream just prior to spending time in the summer sun, to use white lipstick requires more than the usual attention to the surrounding colors (outfit, hair, skin tone, eyeliner et al).  Paired with dyed gray hair, white-framed spectacles or the right clothing it can work but the most dramatic contrast is of course available to those with dark skin who should probably use white lipstick as a stand-alone highlight, however tempting may be the accessories.

The "Lipstick Mark": 1976 Lincoln Continental Mark IV, with Lipstick and White Luxury Group in Lipstick Red with White Normande grain vinyl roof in Landau style (left) and white on white (right).

The Ford Motor Company’s Lincoln Continental Mark IV (1971-1976) was a classic “land yacht”, a class of car which was a feature of the US motoring scene of the 1960s & 1970s; it was an exemplar of the “personal luxury car”, a subset of the breed.  Although an exercise in packaging of wonderous inefficiency which today seems remarkable, the Mark IV was a great success for the corporation and was highly profitable because it was built on the same platform as the Ford Thunderbird with which it shared both a mechanical specification and a substantial part of the structure with only some panels, interior fittings and additional bits & pieces distinguishing the two.  The pair was among the industry’s most profitable lines and in 1976, Lincoln released the first of its “designer” series Mark IV’s, “trim & appearance” packages which included touches from the associated designers (Bill Blass, Cartier, Givenchy & Pucci) and to ensure those watching knew just which design house’s bling a buyer had chosen, the C-Pillar “opera window” (a much-loved affectation of the age) was etched with the signature of the relevant designer.  More profitable even than the standard line, of the 56,110 Mark IVs produced in 1976, 12,906 were one or other of the designer editions.

Extract from 1975 Lincoln Continental Mark IV brochure.

As well as the “branded” designer edition cars, beginning in 1973, Lincoln made available its LGO (Luxury Group Option), trim package which offered a color-coordinated exterior, vinyl roof, and interior with the color mix changed each season.  The Lipstick and White Luxury Group first appeared on the Continental Mark IV option list for the 1975 range but in its first season, externally, the cars exclusively were white, the choice for the “White Normande grain” (code LW) vinyl roof between a full covering of the optional “Landau” style which spread only over the rear section; there was also an alternative vinyl called “Cayman” (designed to resemble the skin of the tropical American crocodilian which is similar to an alligator).  The red was limited to the interior, the accent stripes across the button-tufted white leather upholstery (code DN), the cut-pile carpets and other fittings such as the dashboard, steering wheel and highlights on the doors.  In 1975 the package listed at US$400 but it was an era of high inflation and by 1976 this had risen to US$477; in the same season Ford offered a similar “Lipstick Luxury Group” on the Thunderbird which was listed at US$337-546 depending on the configuration.  It’s the 1976 editions which are most memorable because of the choice of red paint and for maximum effect red vinyl side moldings could be added for those who thought the ensemble otherwise too subtle.  Just how many were built (an often quoted number is 1250) isn’t known but while most seem to have opted for white paint, it’s the red ones which are most associated with the option and the shade appears closest to Dior's lipstick #744 (Party Red). 

1976 Lincoln Continental Mark IV, Lipstick Edition.

So a 1976 Continental Mark IV with the Lipstick and White Luxury Group (known among the Lincoln cognoscenti as “The Lipstick Mark”) could be painted White (code 9D) with optional red pinstripes (code 3) or Lipstick Red (code 2U) with optional white pinstripes (code 2) and either could be paired with the red or white vinyl roof coverings.  In the brochure, like the side moldings, the custom pin stripes were “recommended”.  All that meant from the outside one’s Lipstick Mark could appear either as a typical “white on white” land yacht of the era or really make a lipstickesque statement in red & white or all red; it was a matter of what one wanted from life.  Such a splash did the Continental’s visual choices make in 1975 that for many buyers, the significant feature of four wheel disk brakes probably passed unnoticed and it's not known if Ford ever attempted (al la the Bill Blass, Cartier, Givenchy & Pucci associations) to partner with Dior or any other cosmetics house for the Lipstick edition.

1993 Rolls-Royce Corniche IV in "Ferrari Red" (“red, on red, on red”).

The Lipstick Marks must have made an impression but there was a least one person who would have found them understated because in 1991 Rolls-Royce issued a work-order (WO) for a Corniche IV Convertible (by the 1990s even Rolls-Royce no longer called such things DHCs (drophead coupé)) ordered by a customer in Switzerland who had specified a number of what the factory called “production deviations and special features”.  Stating the obvious, the theme clearly was “red” and the WO specified everything was to be finished in what was described as “Ferrari Red 9520120” and it certainly appears to emulate the Italian factory’s famous Rosso Corsa (racing red).  There may have been technical reasons why a timber like rosewood wasn’t used but the effect was achieved with the WO instruction: “Veneer to be birdseye maple to match Ferrari Red” although there must be something different about the leather used for steering wheels because the WO included the proviso: “Steering wheel to be in red hide dyed to match Ferrari Red if possible.  Otherwise St James Red”.

These days, high-end manufacturers all run “bespoke” divisions which exist to accommodate just about any billionaire’s whim within what physics and engineering permit but by the standards of the early 1990s, this “Ferrari red” Corniche was an exceptional build; the closest matches in the Dior lipstick color chart are #999 Velvet and #080 Red Smile (#754 Pandore being slightly more subdued).  The industry term used to describe the color scheme of convertibles is “paint, on upholstery, on roof”.  Between 1971-1995, the factory produced 6823 Corniches (including the equivalent Bentley model), of which 244 were the Corniche IV (1992-1995) and while not a few were “black, on black, on black” or “white, on white, on white” (the latter in the 1960s & 1970s also a favorite among Cadillac owners), this “red, on red, on red” one truly is unique, a genuine “one-of-one”.

In a promotion, the Tussy Lip Stick Company offered 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".