Veavage

Veavage (pronounced vee-vig)

(1) The expanse of bare skin a woman displays when wearing a dress (or top) with a neckline cut in a deep (often called plunging) “V”, the vertex (the bottom junction where the two diagonal strokes meet) typically reaching the midriff but the lines can intersect as low as the waist or even the hipline.  As a design, it’s the familiar “V-neckline” taken to its logical conclusion although much the same can be achieved with what technically are “scalloped necklines” or “U-plunges”.

(2) As “veavage dress”, “veavage top” etc, a garment so designed.

2026 (2010 for an earlier, now extinct purpose): A portmanteau word, the construct being ve(e) + (cle)avage.  In English, vee had a long history as an illustration of the pronunciation for the letter “V” but it was in US English in the mid-1860s it began widely to be used in building, architecture and engineering to describe various structures, components or configurations.  Because of the attractive properties of triangles, the “V-shape” would for millennia have been part of the man-made environment (indeed, it exists in botany, animals and geology) but the form “vee” appears in this context to have been well documented only from the mid-nineteenth century and use as a direct substitute for the Latin script letter “V/v” is documented from 1869.  In internal combustion engines, “vee” seems first used of piston engines in this configuration by 1915 although the first known V-twin was built in 1889 and the first V8 in 1903.  Although common as a descriptor of shapes or physical objects, the more abstract re-purposings included (1) a polyamorous relationship between three people, in which one person has two partners who are not themselves romantically or sexually involved and (2) in the (male) gay community, “a Vee” is a verbal shorthand for “a versatile” (one who is not exclusively “a top” (or “pitcher”) or “a “bottom” (or “catcher”) but indulges in both practices.  The coining is too recent for derived forms to have emerged but the possibilities include veavaged, veavaging and veavesque.  Veavage is a noun (and potentially a verb & adjective); the noun plural is veavages.

Of Vee

Cricket's “vee”, recommended for “high-percentage” shots.

Teevee was a respelling of the abbreviation TV (for television) so the two are synonymous but the former (with its four superfluous vowels) survived only as a “niche word”.  In the era between the early post-war years and services like YouTube and its many imitators becoming mainstream, a “teeveen” was a young person who “watched too much TV”.  In SF (sci-fi, science fiction) a three-vee was a screen able to display in three-dimensions; authors used also “3v”, “tri-v” “tri-vid”, “tri-d”, “trideo” & “tridim” and although they didn’t show quite the disdain for capitalization as later would emerge in the business of computer hardware & software, the literary preference seems to have tended to the lower case.  The humorists of the 1980s used a mix of upper and lower when creating shorthand critiques of the US cable television channel (1981) MTV (pronounced emm-tee-vee and an initialism of “Music Television”).  Claiming the channel’s programming was banal, they conjured up “eMpTyV”, “empty-vee”, “Empty-V”, “Emptyv”, “emptyV” & “eMpTy V”, all to be pronounced emp-tee-vee.  That was a variant of the technique used to produce rebus abbreviations (in structural linguistics technically a “gramogram”) such as “NRG” for “energy” or “XLR8” for “accelerate”.  All worked best when written because although non none possessed classic phonetic assimilation, sloppiness in real world use, sloppiness in pronunciation probably often rendered the sound of emm-tee-vee vs emp-tee-vee indistinguishable.  In cricket, the “vee” describes the arc of the field, forward of the batter, from cover to midwicket, in which drives classically are played (a shape better visualized as an “L” because, like many “vee” engines, the vertex is a 90^o angle) and coaches still instruct batters to “play in the Vee” because that’s most productive for “high percentage” (ie more runs, fewer dismissals) but in the newer, shorter forms of the game, that’s now less relevant.  Whether “veagage” catches as jargon for coaches advocating “playing in the Vee” remains to be seen.

Playing in the vee.  Australian cricketer Ellyse Perry (b 1990) with the trophies of the two Cricket Australia (the new name for the old Board of Control) Cricketer of the Year awards she won in 2023 (in the T20 and ODI (One Day International) categories). Note the splendid shoulder & upper-arm muscle definition.

In typography & computing, typography, a “vee” was a unit of vertical spacing, typically corresponding to the height of an ordinary line of text.  In machinery, a vee-belt (often as v-belt) was a drive-belt of reinforced rubber or other compounds which was mounted on drive wheels or pullies, the name gained from the V-shaped cross-section (some with notches which were called “toothed belts”).   “Vee Dub” was a slang term for a vehicle produced by Volkswagen (VW) and a Vee Dubber was a VW fan boy.  A veejay was the host of a television programme who presented videos, based on the earlier “DJ” (disc jockey, a radio presenter who introduced music broadcast by playing tracks from discs, a use which has survived many DJs now operating without discs).  A VJ was also a “vertical joist” which was a length of timber used as a vertical upright for structural support.  In vulgar slang, “VJ” also was a term for the vulva or vagina and Urban Dictionary has an entry from 2010 listing “veavage” with the construct v(aginal) + (cl)eavage (ie the infamous “camel toe”) but the use didn’t then catch on.  A veep is “a vice-president” but that form is now almost wholly associated with the VPOTUS (vice-president of the US).  

Of Veagage

Actor Keira Knightley (b 1985) in a classic black veavage dress, illustrating how the emphasis has shifted to the skin rather than the cleavage which was the traditional focus of the deeper “V-necklines”, things now done with “a hint”: less is more.

With due acknowledgment of the use in 2010 (documented by Urban Dictionary), which never gained traction, “veavage” is a new word but it doesn’t describe a wholly new though the emphasis genuinely is a variation of an old theme.  Veagage is a deeply plunging V-shaped cut in a garment which displays some of the chest & midriff down sometimes as far as the hipline although most stop at the waist.  Obviously something best worn on red carpets or for photo-shoots in controlled environments (light, surface irregularities, wind-speed & direction, crowds etc), it differs from the traditional approach to the chest in that emphasis is on the skin rather than the breasts, the veagage look de-emphasising those glands so the cut is ideal for those able to summon much of a cleavage only with structural engineering such as a bra or Hollywood Tape (better known by the more evocative “tit-tape”).  So it can be a good, eye-catching choice for those without the anatomical advantage demanded by outfits optimized for “peak cleavage” but it has been criticized as a form of “privilege-dressing” which is said to carry the whiff of “white feminism”.

Controversial and not accepted by all as something “real”, “white feminism” is said to be a fork of feminism concerned almost exclusively with concerns of white, middle-class, cisgender, and heterosexual women, the problems of women not ticking those boxes ignored.  It’s thus an individualistic strain of feminism which aims to maximize one’s advantage within existing systems rather than seeking systemic reform for the collective benefit.  From there it may seem a bit of a leap to veagage as marker of political exclusion but it’s true there may be a link (the notion of v=(c+p) (cleavage + privilege = veavage)) in that while it accommodates at least some on the spectrum of breast size, slenderness is essential and for those not genetically lucky or disciplined, there are the GLP-1 (Glucagon-like peptide-1) drugs and overwhelmingly, they remain a tool for those who are (in global terms) “rich”.

Lindsay Lohan, Olympus Fashion Week, Bryant Park, Manhattan, February 2006.  Although more associated with the traditional use of the V-neckline, this is archetypical veavage.

Unlike some “straight-line letters” such as “W” or “X”, the letter “V” is almost always rendered with straight lines but fashion editors are more forgiving than geometers (since the time of the third century BC mathematician of Ancient Greece Euclid the historic term for mathematicians whose primary research field was geometry) who would insist the plunging neckline of Ms Lohan’s red dress is not a “V” but a “curvilinear angle” (an angle with sides of curves rather than straight line segments).  In elementary geometry, the classic angle consists of two straight rays meeting at a vertex, whereas in a curvilinear angle the sides are arcs or other curves intersecting at a point.  In fashion, up to a certain stage, a “curvilinear angle” is still a “V-neckline” because the visual effect is so close but, as the curves become more curved, at some point the cut becomes closed to a “scallop” or “scoop” and is so described.

Model & writer Hari Nef (b 1992) in Schiaparelli.  Like the trade-off in warship design between armor & speed, less gland means more veavage so those not best suited to cleavage in a V-neckline have an alternative.

So with V-shaped necklines descending to the navel (or a little beyond) hardly a novelty given their not infrequent appearances over the last two-decades-odd, why did the word “veavage” suddenly make an appearance in 2026?  The obvious answer is of course “click-bait” but that’s not of necessity a bad thing because, in a sense, that trick is supply anticipating demand and there are aspect of the internet (which at least for now seem to have become structural) that should arouse more concern.  It’s a good word and a welcome addition to the fashion business; presumably an industry commentator noted a spike in the “deep vee” showing up on the catwalks or red carpets and, things “on trend” needing a tag, conjured up (or re-purposed) “veagage”.  The speculative link to the look becoming more prevalent because GLP-1s have rendered more women with physiques suitable for such things is intriguing but wholly impressionistic and trends anyway tend to wax and wane in its niche, veagage seems here to stay.

Of Cleavage

Actor Sydney Sweeney (b 1997) with a more traditional implementation of the V-neckline.  Empirically, this look is likely to remain the dominant approach although, as it has for years, the veavege will run in parallel. 

The noun cleavage seems first to have appeared in the 1805, the construct being cleave + -age.  It was used first in geology and mineralogy to describe “the tendency (of rocks or gems) to break cleanly along natural fissures” with the generalized meaning “action or state of cleaving or being cleft” emerging in the mid 1860s.  Although the artistic record confirms the popularity of the look had over the centuries come and gone in the cyclical way fashion behaves, use of “cleavage” in the sense of the “the hollow between a woman's breasts (usually when artificially supported), especially as exposed by a low-cut garment” appears not to have been seen in print prior to the use in an article in Time magazine discussing the (nominally) self-censorship codes of practice adopted (not entirely willingly) by the Hollywood film studios.  In finding a single word, Time’s editors proved good practitioners of journalistic succinctness because what they were reducing to a word had been described in the industry’s bureaucratese as “the shadowed depression dividing an actress' bosom into two distinct sections.”  Cleavage caught on although to this day the more up-market fashion glossies still hanker after the French borrowing décolletage.

Variations on a theme of Vee: Lindsay Lohan (during blonde phase) in V-neckline, V Magazine's Black and White Ball, Standard Hotel, New York City, September 2011.

Cleave was in use prior to 950 and was from the Middle English cleven, from the Old English strong verb clēofan (to split, to separate), from the Proto-West Germanic kleuban, from the Proto-Germanic kleubaną, from the primitive Indo-European glewb- (to cut, to slice).  It was a doublet of clive and cognate with the Dutch klieven, the dialectal German klieben, the Swedish klyva, the Norwegian Nynorsk kløyva; it was akin to the Ancient Greek γλύφω (glúphō) (carve) and the Classical Latin glūbere (to peel).  Given the time and place of cleave’s emergence, etymologists suspect the original sense was likely related to the handling of timber (ie to split or divide by or as if by a cutting blow, especially along a natural line of division, as the grain of wood).  The suffix -age was from the Middle English -age, from the Old French -age, from the Latin -āticum.  Cognates include the French -age, the Italian -aggio, the Portuguese -agem, the Spanish -aje & Romanian -aj.  It was used to form nouns (1) with the sense of collection or appurtenance, (2) indicating a process, action, or a result, (3) of a state or relationship, (4) indicating a place, (5) indicating a charge, toll, or fee, (6) indicating a rate & (7) of a unit of measure.  The French suffix -age was from the Middle & Old French -age, from the Latin -āticum, (greatly) extended from words like rivage and voyage.  It was used usually to form nouns with the sense of (1) "action or result of Xing" or (more rarely), "action related to X" or (2) "state of being (a or an) X".  A less common use was the formation of collective nouns.  Historically, there were many applications (family relationships, locations et al) but use has long tended to be restricted to the sense of "action of Xing".  Many older terms now have little to no connection with their most common modern uses, something particularly notable of those descended from actual Latin words (fromage, voyage et al).

Bella Hadid (b 1996, right), Cannes Film Festival, 2021.

A veavage can of course be an eye-catching billboard and the obvious stuff to advertise is jewellery (left).  Model Bella Hadid showed how it could be done with scalloped neckline, wearing a black Schiaparelli gown (cut for the purpose with an untypically wide aperture) used to frame a sculptural piece, fashioned in gilded brass to resemble an anatomical cast of the lungs’ bronchi (the paired series of cartilaginous, tube-like airways branching from the trachea into each lung, acting as the primary passage for air distribution).

Golfer and multi-media personality Paige Spiranac (b 1993).

Despite the etymological implication, a veagage is about the display of skin and is not dependent on being framed in a “V” but the point about it is the de-emphasis of the breasts (and thus the cleavage).  What Paige Spiranac wore to Sports Illustrated 60^th anniversary event could (with some strategically placed double-sided tape) be used for the purpose but technically the ensemble was a variant of the “curtain reveal” motif (in “open” mode).  Whether it would produce a veagage or a cleavage would depend on the wearer.

In the 1980s, US political scientists used the term “cross-cutting cleavages” to describe what had been revealed as a phenomenon both increasing frequency and spreading demographically and geographically.  The term referred to a social structure in which different lines of division in society intersect rather than coincide (ie groups created by one social division are mixed across the groups created by another division, instead of aligning with them).  In the West, as an identifiable trend, this likely was something that had ebbed and flowed since the decline of feudalism but in the post-war years it became of interest to political scientists because it was clearly something influencing social conflict and voting behaviour, the issue-by-issue alignment within and between sectional classifications no longer as predictable.  What had become obvious was the membership of groups in one dimension was overlapping with multiple groups in another.

Influencer Sophadophaa (she stresses : “It’s Sophia not Sophie”) in red gown with plunging vee.

Because the veagage effect is most effective when at its most 2D (two dimentional), when that’s what’s wanted, the usual approach is to have the fabric cling to the skin (with double-sided tape as required) but V-necklines can be executed differently for other outcomes; the double-sided tape is still applied but in different places.

Overlap was not new in that “coalitions of interest or concern” had long been known to be subject to these “crossovers” (especially at the margins) but in the days before big machine databases transformed this into something political parties could not merely manage but exploit, it was a genuine problem.  The more optimistic academics suggested cross-cutting cleavages operated to stabilize democracy because, with individuals simultaneously belonging to many groups (class, religion, occupation, region), the overlap prevented politics from collapsing into a series of polarized conflicts, what some called “the Balkanization of society”.  The argument was the behaviour compelled political parties to build broad coalitions across multiple groups, moderating the inherent tendency to conflict and reducing the likelihood of groups becoming the captives of extremist positions.  There may have been something in this because in the US, between the 1930s & 1980s it was those broad (notably geographical) coalitions which characterized US politics; political conflict didn’t go away but it was diffuse rather than binary.  In operation, that mid-century model was very different from Europe.  There, “cleavage theory” was a descriptive model of the way several centuries of major (and often bloody) social conflicts (cleavages) worked finally as the catalyst for state formation and industrialization.

Wonderbra New Deep Plunge Bra.

The manufacturers have for decades noted the appeal of the V-neckline and have created a vibrant market in accessories and devices.  Up to a point, the conventional cantilever method works but there are practical limits.  However, while physics can’t be fooled, optics can and what Wonderbra did for the New Deep Plunge Bra was replace the conventional fabric-covered gore with one of translucent plastic, thus creating a “one skin tone fits all” fitting.  Except on close inspection, it was close to invisible.

The West (and especially the US) is of course now in the age of “mega identity politics” and the parameters of those identities are in the effective control of a relative handful of extremists (“absolutists” or “purists” the more polite forms) who have the historically unique (in reach, immediacy and scope) platform of social media set agendas and cancel transgressors; even in groups originally created because of oppression, now routinely oppress heretics who depart from the orthodoxy.  This does not imply political parties have become “single issue” operations but substantially they are tending towards the ideologically monolithic as aggregations of what scholars have labelled “stacked identities” and the process of “purification” is not organic: within the party machines, those seeking absolute control undertaking purges, witness the gradual preponderance within the Republican Party of the MAGA (Make America Great Again) over those condemned as “pseudo conservatives”, the RINOs (Republicans in Name Only).  In the Democratic Party, identities have come to trump (the verb) all else and few now dare to raise the matter of trans-females competing in sporting competitions for women because the “trans rights” have become a litmus-paper test of adherence to orthodoxy.  So, the machinery which decades ago assembled coalitions of interest now creates tribes with much of what that word implies, political scientists sanitizing things a bit with the tag “affective polarization”.  While the cause-and-effect processes in all this were not wholly binary, it has rendered conflict now identity-based in that conflicts are between world views and way of life rather than the minutiae of policies.

Ultradeep U-Plunge.  Where the vee didn't plunge so deep, a more conventional construction could be used although many did include "clear" shoulder straps, made of the same kind of material as sometimes used for the gore.

So, whereas the national and state legislatures once thrashed things out and often managed to achieve compromises, that’s now less common because a “compromise” is seen as a “surrender” or “betrayal” and the consequences for that included being “cancelled” or “primaried”, two weaponized devices able successfully to be deployed by a remarkably small number of committed extremists.  None of this is any secret but there’s no obvious solution because the simple fix (mass active participation of the electorate (the so-called “sensible centre”) in party politics) has little appeal for either the voters or those running the party machines, both groups for their own reasons appalled by the notion.  The days are gone when the Republicans had their “moderate” faction (the so-called Rockefeller Republicans (named after Nelson Rockefeller (1908–1979; US vice president 1974-1977 and who earned immortality by having “died on the job”) and the Democrats their “Southern Conservatives” (the so-called “Dixiecrats” in the not always attractive tradition of figures like old Strom Thurmond (1902-2003; senator for South Carolina 1954-2003)).  By the 2020s, that overlap has almost completely disappeared with politics now more polarized than at any time in living memory and political scientists lament the shift but they should recall a remark in the paper Toward a More Responsible Two‑Party System (1950), published by the APSA (American Political Science Association): “The two parties do not differ enough.”  Expanding on that, the authors added: “Alternatives between the parties are defined so badly that it is often difficult to determine what the election has decided even in broadest terms.”  As a critique this came to be called the “Tweedledum & Tweedledee problem” (two characters in Through the Looking-Glass, and What Alice Found There (1871) by Lewis Carroll (pen name of Charles Lutwidge Dodgson (1832–1898)) who had different names but look the same and behave in identical ways.

Das U-boob theory.

Orla U-Plunge Backless Adhesive Bra in Black (left) and Salma Hayek (b 1966, right) demonstrates the uvage, Evening Standard Theatre Awards, London, November 2015.  Orla's “adhesive” is a reference to the side panels which adhere directly to the skin (using the same technology as surgical tape), allowing the bra to a achieve a “backless” effect.  Because the cut of some gowns obviously is a “U” rather than a “V”, the fashionistas might feel compelled to add “uvage” (pronounced yoo-vig, the construct being u + (clea)vage)) to the lexicon because, if the two styles appear together on the catwalk, single-word differentiation might be helpful.

Heart & wedge: Luciana Heart Cut Out Long Sleeve Mini Dress in black (left) and French content creator & author Léna Situations (Léna Mahfouf, b 1997), Academy Awards ceremony, Los Angeles, March 2026.

However, although tempting, being too specific about geometry might lead to a proliferation of terms because designers have proved inventive in the shapes of the “cut-outs” in gowns.  A heart shape could perhaps attract “carveage” (pronounced kar-vig, the construct being car(diac) + (clea)vage) and an inverted vee could be called a “wedgeage” (pronounced wed-jige, the construct being wedge + (cleav)age).  In formal logic, the wedge symbol (∧) represents “AND” (the logical conjunction); in its opposite orientation (V) the symbol is called a “vee” and represents logical “OR”.  So, imposing precision may be a needless solution to a non-existent problem and the industry seems likely to continue to tolerate what Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) in 1906 called “terminological inexactitude” (used as a euphemism for the un-parliamentary “lie” and coined because in the House of Commons, Mr Speaker had long since proscribed use of  “mendacious”).  Beyond the "V", "U", "heart" and "wedge", there are may more shapes so veavage seems likely to serve as a generic for what’s produced by all.

In 1950, the conclusion was there was “too great a degree of internal heterogeneity” in that, housing both liberal and conservative wings, the forces tended to “cancel each other out” with the consequence being party programmes which were vague and often similar, meaning voters found it hard to identify clear policy alternatives.  In a sense, that took the “science” out of “political science” and the academics didn’t like it, preferring clear battle-lines (Roundheads vs Cavaliers; democracy vs fascism and such) for without clear differences, there really was no politics; all that remained was the dreary business of management.  In retrospect, the APSA likely agrees people should be careful what they wish for and and many contemporary political scientists now argue the system has moved too far in the opposite direction, producing intense polarization and reinforcing cleavages.  Still, we may as well get used to the system because most conclude it’ll likely get worse before it gets better.

Of Vee Engines

Ford FE V8 (left) and Y-Block (right). The frontal view of the FE engine illustrates both why the configuration is called a “vee” and why it would have been understandable had the 90^o engines been dubbed “L8s”.  Ford’s first OHV (overhead valve) V8 (for pick-up trucks & passenger vehicles) picked up the nickname “Y-Block” because the skirt extended to an unusually low point, the additional cast iron thus recalling the tail of the letter “Y”.

The “V” in certain engines (V4, V8, V16 etc) is a reference to the angle of the banks of the block’s cylinder banks when viewed along the line of the crankshaft and the configuration in ICE (internal combustion engines) was used within half-a-decade of the “first” automobile appearing on the roads in 1886, Wilhelm Maybach (1846-1929) and Gottlieb Daimler (1834-1900) in 1889 installing a 565 cm³ (34 cubic inch) V-twin (ie two cylinder) unit in the Daimler Stahlradwagen (steel-wheeled car).  The Stahlradwagen’s V-twin used what was, by the standards of which would follow, a very narrow angle for the vee (quoted usually a 17^o but listed also “in the 20^o class”) and over the years, “vee” engines have appeared with angles ranging between 12.5 and 180^o (while the latter may seem a contradiction in terms, the 180^o vee (e a straight line) is accepted engineering jargon).  The first V8 (1903) & V12 (1904) appeared in what was for each the “ideal vee angle” (90 & 60^o respectively), the number dictated by desire for the even firing intervals to ensure the smoothest power delivery and those pioneers set the template which has tended since to be followed although there have been many exceptions.  Of course, a V8 in a 90^o configuration really should be a “L8” but because the Maybach & Daimler V-twin had established the terminological model, regardless of the angle, such things have always been “V-something”.  

Ferrparts schematic of crankcase parts for the 365 GT4 BB's 4.4 litre (270 cubic inch) flat-12.  According to engineers, this is a "flattened vee".

That’s fine because, conceptually, there’s always a vertex but according to Ferrari, the “Flat 12” engine fitted the various iterations of the Berlinetta Boxer (1973-1974) was also a type of “vee”, despite the two banks of six being horizontally opposed (ie at 180^o); they called it a “flattened vee” which, as Euclid would have told them, there being no vertex, that means they’re describing a “straight-line segment”.  The engineers would have acknowledged the wisdom of the geometers but argued the use was an established convention in engineering to distinguish the two types of “flat” engines (those with pistons which move in and out simultaneously (on the model of a boxer’s gloves) being “boxers” and those in which the pistons move in unison being “flattened vees” or “180^o vees”.  The Ferrari website explains all this while variously and cheerfully calling the engine a “flat 12”, “boxer-type” or “180^o V12”; so, take your pick.  It’s on that site the factory acknowledged the true story about how the original 365 GT4 BB (1973) picked up the “BB” designation and why “Berlinetta Boxer” was concocted as a cover story.

1930 Cadillac V16 452.

At one end of the spectrum, Lancia produced a range of what they described as “narrow-angle” small-displacement V4s and that was apt because the vee was set at 12.5^o, the compactness of the jewel-like power-plant permitting outstanding packaging efficiency.  Less obviously efficient was Cadillac which, for a brief, shining moment, made a 452 cubic inch (7.4 litre) V16 with the two banks eight arrayed in a 45^o vee; that made it a photogenic piece of machinery but it had the misfortune of being introduced in 1930, right at the onset of the Great Depression and although an encouraging 2,500 left the line in the first year of production, demand collapsed and it was only for reasons of prestige GM (General Motors) kept it in the catalogue.  By the time it was withdrawn from sale in 1938, not even a further 1400 had been ordered.  It was in that year replaced by a technically less intriguing 431 cubic inch (7.1 litre) V16 which, built with a 135^o vee, was even less successful, a reported 516 engines leaving the plant although it’s believed only 499 were installed in rolling chassis.  Also with a  vee was the most charismatic V16 of all, the BRM V16 (1947-1955) which was one of those “glorious failures” at which the British are so adept but no grand prix car since has sounded so good.

Factory cutaway diagram of Daimler-Benz DB 605 Inverted V12 as fitted to Messerschmitt Bf-109.

The DB 60X series was literally “an upside-down V12” but it was regarded thus only because the convention had been to mount them in the still familiar aspect.  Equipped with a dry-sump and direct fuel-injection, the angle assumed in flight made little difference to the engine, unlike the early Allied aero-engines which were carburetor-fed.  In combat, that was a great advantage for the German pilots who were fortunate the British didn't accept a spy's offer to supply them with a stolen example of the vital DB fuel pump.  As it was, the RAF (Royal Air Force) had to wait until Bendex developed a "pressurized carburetor" (a type of throttle-body fuel-injection) although the stop-gap "fix" which proved a remarkably effective partial amelioration was "Miss Shilling's orifice".   

In the first half of the twentieth century, the V12 engine held great appeal for the designers of military aircraft because the layout solved several critical aerodynamic and mechanical problems which would have remained insurmountable (and probably exacerbated) had the traditional in-line engines been further extended or enlargedused.  More cylinders meant more power and this the V12s achieved without the excessive length (and thus the dreaded “crankshaft flex”) which would have been suffered by an in-line 12.  The virtues the designers sought were (1) robustness, (2) lightness, (3) power and (4) compactness, the quest always for a better power-to-weight ratio and for this the V12 proved the “sweet-spot”.  The British industry in the inter-war years developed many V12 aero-engines (notably the Rolls-Royce Merlin which became famous by powering all the early Supermarine Spitfires) but because the Germans didn’t return to military aviation until the mid-1930s, they had the advantage of working on a “clean sheet of paper”, one of their many innovations being the “inverted V12”, the most numerous the Daimler-Benz DB 600 series.  In these, the crankshaft was above the cylinders so the cylinder banks pointed downward and this offered several advantages including (1) improved pilot visibility, (2) greater propeller ground clearance (meaning also the larger propellers became possible without needing longer landing gear), (3) easier access to accessories (fuel pumps, magnetos and such at atop, meaning mechanics could fix or replace components more quickly), (4) the fitting of a Motorkanone (a cannon firing through the propeller hub) became viable (5) shorter exhaust stacks and (5) the plumbing for the advanced MFI (mechanical fuel injection) system was both simplified and made more accessible.

Exhaust stubs of left-hand bank of a BRM V16.

Like the DB inverted V12s, some of the BRM V16 had low-mounted exhaust stubs but whether the flow of the gasses had any effect on aerodynamics was never studied although, the breathing must have been efficient because the 1.5 litre (91 cubic inch) V16 could at 12,000 rpm generate up to 600 HP.  At full cry it produced the most glorious sound ever heard in Formula One but unfortunately it was at the threshold of pain for those standing close so the system was revised to use a pair of long "dump pipes".

Almost as a footnote, the German designers noted they were able also to exploit the location of the stubs to gain unanticipated benefits from the path of the inverted V12’s exhaust thrust and cowling flow.  It’s overstating things to call it a “jet thrust” effect but that’s how it can be visualized, high-velocity exhaust gases exiting the stacks producing a small rearward thrust component and the engineers experimented to find the optimum length and angle, calculating the “effective thrust” at between 50–150 lb (220–670 N) depending on the power setting and throttle used.  In real-world conditions, this translated into perhaps an additional 25-odd horsepower which may not sound significant in engines generating over a thousand but in combat, it could be the difference between life and death.  Additionally, the aeronautical engineers used an aspect of fluid dynamics to improve the “boundary-layer management” along the cowling (ie using the hot, high-energy exhaust stream flowing along the sides of the cowling to “energize” the boundary layer of air "attached" to the fuselage surface).  What this did was slightly delay any flow separation, reducing “draw” and providing a better flow over the wing’s critical root area.  The differences were slight and subtle but again, in combat happening at altitude, at hundred of mph, inches and seconds matter so it could be the difference between life and death.

Nipple

Nipple (pronounced nip-uhl)

(1) In anatomy, the small, conical projection near the center of the areola of each mammary gland (breast); also called mamilla, papilla or teat.  In females, the nipple contains the outlets of the milk ducts.

(2) Something resembling (often in scaled-up form) a female’s nipple, as the mouthpiece of a nursing bottle or pacifier (in some places an informal word for a pacifier).

(3) Any device resembling a nipple in shape or function.

(4) A mechanical device through which liquids or gases can be passed in a regulated manner; as grease nipple a small drilled bush, usually screwed into a bearing (or other component needing periodic replenishment of a greasing agent) through which grease is introduced.

(5) In plumbing & gas-fitting, a short piece of pipe with threads on each end, used for joining valves.

(6) Any small physical protrusion on an automotive, a machine part or any other part that fits into a groove on another part (now rare).

(7) In computer (hardware) slang, the pointing device in the centre of the keyboard of certain laptops, partially fulfilling the functionality of a mouse, trackball or track-pad (although some (male) users insist it is called “the clit”).

(8) In pre-modern ballistics, a perforated segment that fits into part of the breech of a muzzle-loading gun, on which the percussion cap is fixed.

(9) In the design of bicycles, an internally threaded piece which holds a bicycle spoke in place on the rim.

(10) To fit (a baby's bottle etc) with a nipple (archaic).

(11) To give one's nipple to (a baby) to allow breastfeeding (archaic).

1520–1530: From the Middle English nipple, from the earlier neble, nibble, nible & nepil (all of which may be derived from nib & neb (tip; point).  The Old English nypel (elephant’s trunk) was formed analogously as “a protuberance from one's neb”.  The late twelfth century pap & pappe (nipple of a woman's breast) was first attested in Northern and Midlands writing, probably from a Scandinavian source (there’s no record in the Old Norse but there was the dialectal Swedish pappe), from the primitive Indo-European imitative root pap- (to swell), the source also of the Latin papilla (nipple) which may have influenced the English papula (a swelling, pimple) and the Lithuanian papas (nipple).  The spellings neple, nypil, nyppell, neapel, neaple, neble and all obsolete.  Nipple is a noun & verb, nippling is a verb and nippleless & nippled are adjectives; the noun plural is nipples.

One extinct verb which, perhaps surprisingly, wasn’t revived even after it became apparent trends of use on the internet suggested it might be helpful, was expapillate (bare the breasts to the nipples), identified by the outstandingly good Online Etymology Dictionary as an entry in an early English "dictionary", published in eleven editions between 1623 and the 1650s.  The book was neither a prescriptive or descriptive work encompassing the whole language but was described as “An Interpreter of Hard English Words”, an approach others later took including Wilfred Funk (1883–1965) in his Word Origins and Their Romantic Stories (1950), the idea being to focus on the less known or more obscure.  The construct of expapillate was ex- + papillate.  The ex- prefix was from the Middle English, from words borrowed from the Middle French, from the Latin ex (out of, from), from the primitive Indo-European eǵ- & eǵs- (out).  It was cognate with the Ancient Greek ἐξ (ex) (out of, from), the Transalpine Gaulish ex- (out), the Old Irish ess- (out), the Old Church Slavonic изъ (izŭ) (out) & the Russian из (iz) (from, out of).  The “x” in “ex-“, sometimes is elided before certain constants, reduced to e- (eg ejaculate).  The Latin papillate was the vocative masculine singular of papillātus (having nipples or buds; shaped like a nipple or bud) and was used in English as a transitive verb (to cover with papillae) and intransitive verb (to take the form of a papilla, or of papillae).

In 1974, The British Medical Journal (BMJ) used the term "guitar nipple" to describe "the irritation to the breast that can occur from the pressure of the guitar against the body."  That was indicative of the trend in the English-speaking world for newly-identified (and sometimes novel) conditions to be constructed with English elements, rather than the Latin historically used.  In the same spirit, two years later a contributor to the JAMA (Journal of the American Medical Association) was more imaginative still, coining "hot pants syndrome" when documenting cases in which a burn to the skin had been induced by a patient carrying a battery-powered transistor radio in the pocket of their trousers.  There was also in 1978 the New England Journal of Medicine's (NEJM) "disco digit" which referred to "a sore or infected finger caused by too much finger snapping while dancing."    

Jaguar tool kit supplied with 1966 E-Type (XKE, 1961-1974).  The grease gun (left) was used to force grease into various components through grease nipples.  This was a regular part of automobile maintenance until recent decades and is still a feature of the servicing schedules of heavy vehicles and machinery.

Until the 1970s, it was common for cars to need periodic “greasing” of certain components, a process which involved attaching a “grease gun” to a “grease nipple” which permanently was mounted on the relevant part; manually, the gun (usually a type of plunger) was used to force grease through the nipple.  This was undertaken either by owners, chauffeurs or mechanics at service stations who routinely would perform an “oil and grease” which included (all or some of): changing the engine, gearbox & differential oil, replacing the filter(s) and greasing all required grease points.  On more expensive vehicles, “one-shot lubrication” systems (known also as CLS (centralized lubrication systems) & ALS (automated lubrication systems)) were introduced during the 1920s, the technology adapted from the hardware used in aviation.  Although some attempts were made to create wholly automated systems, the most widely used were those which incorporated a foot pump for the driver to press at specified intervals; this action forced grease from a central reservoir to the required points.  Being a sealed system, this meant that nowhere in the system were grease nipples required (although some often still were included in components which demanded less frequent attention or were of a design which made their inclusion in the CLS plumbing too difficult.  ALS systems remain common in many places including heavy machinery, ships and the industrial plant used in factories, power plants etc.

The standard grease nipple used on the Jaguar E-Type (XKE) (left) and a diagram with a legend listing the E-Type's oil, brake fluid, transmission fluid and grease nipple locations.  The grease nipples are indicated by the obelus (†).  In automobiles, by the 1970s the need for multiple grease points or one-shot lubrication had begun to be eliminated (although some older designs maintained the legacy for decades) as advances in metallurgy and lubrication technology permitted the development of sealed, maintenance-free components which are “packed with grease" and thus “lubricated for life”.  However, for heavy-duty machines such as trucks and earth-moving equipment operating in adverse conditions, there are often still components demanding regular greasing and thus grease nipples are still a thing.

Also a thing is the “nipple orgasm”, at least for those for whom a nipple is a “hardwired erogenous zone” responsive to stimulation; that's a sub-set of the population and there are probably no reliable estimates of the prevalence.  Although in humans orgasms are typically thought an ejaculative, vaginal or clitoral phenomenon, sexologists list more than a dozen types, varying in instance or intensity based on the individual, the circumstances and sensitivity to stimulation.  When warming to the topic, these specialists will also discuss the details of “energetic orgasms” (which can, without physical touch, be triggered by meditation or fantasy) and “sleep orgasms”, said to have been experienced by an “estimated” 37% of women and 83% of men.  Quite how those numbers were obtained isn’t clear but helpfully, in 2011, New Jersey-based neuroscientist, psychotherapist & sex therapist Dr Nan Wise (b 1967) undertook a study to reveal how nipple stimulation affects the brain.  What Dr Wise wanted to build on was the existing understanding “…the clitoris, vagina and cervix are mapped on the genital sensory cortex”, something which sits between the brain’s two hemispheres and which she labels “hedonistic pleasure zone” or, more illustratively “the crotch of the brain”.

What Dr Wise did was have the study’s subjects stimulated with various mental fantasies while in an MRI (magnetic resonance imaging) machine, allowing her team to observe how distinct parts of the brain responded to various experiences.  The results were generally in line with expectations except that nipple stimulation proved an outlier.  While her hypothesis had been there would have been activity in the brain region associated with chest sensation (the theory being nipple orgasms might occur because stimulation of the organ releases oxytocin, a hormone that can cause uterine contractions, potentially leading to vaginal orgasm), instead it was found nipple stimulation activated the genital sensory cortex itself, leading Dr Wise to conclude: “The nipples are a hardwired erogenous zone, like the genitals, when nipples are stimulated, the brain gets activated, and regions processing the sensation communicate with those responsible for pleasure.”  This tied in with one of the accepted dictums in neuroscience: “neurons that fire together wire together” and the study’s findings do seem to suggest it is plausible there exists a neural pathway between the nipples and the genitals.  Sexologists however caution individual responses will vary and techniques which produce pleasing results for one will induce no response in others.  So, YMMV (your mileage many vary) and the sexologists recommend experimentation.

The SKIMS Nipple Bra

Wearing it well: Kim Kardashian in SKIMS "nipple bra"

The admirable (and much admired) Kim Kardashian (b 1980) in October 2023 announced the latest addition to her SKIMS product line: a bra with “built in” nipples, designed to be prominent enough obviously to protrude through clothing.  Said to offer the “ultimate shock factor” (although after the shocks of the last decade-odd, some of which those associated with Kardashian clan have instigated, that may be hyperbolic) the viewer response suggested many weren’t certain whether product was real or a gimmick designed to attract publicity.  It certainly attracted publicity but turned out to be real (with SKIMS part number).  Even if the concept wasn't as “innovative” as claimed, the promotional approach in the video certainly was, the spin being that if women can don a bra to emulate one of the more pleasing consequences of cold weather, the psychological effect might be they’ll be less inclined to turn on (or up) the air-conditioner, thus reducing energy use, thereby lowering carbon emissions, meaning a lesser contribution to the concentration of atmospheric CO₂ (and other greenhouse gasses) which causes accelerated climate change including higher temperatures.  That seems to be drawing a long bow but doubtlessly somewhere there will be published research which can be spun to support (or at least not disprove) each of the steps in the internal Kardashian logic.  It was certainly an example of the way commerce is attempting to monetize concerns about climate change.  

As Ms Kardashian put it: “The earth’s temperature is getting hotter and hotter. Sea levels are rising. The ice sheets are shrinking. I’m no scientist, but I believe everyone can do their skillset to do their part.  That’s why I’m introducing a brand-new bra with a built-in nipple so matter how hot it is, you’ll always look cold.  Some days are hard but these nipples are harder. And unlike the icebergs, these aren’t going anywhere.”  The bra was said to be available in six colors with a stated “10% of sales” (the exact math of that calculation not disclosed) to be a “one off donation” to 1% for the Planet (a multi-national collective of businesses pledged to gifting at least 1% of their annual revenue to “environmental causes”).  So it sounded like a real product with a real part-number (not then listed) but there were those who thought the release date being Halloween (October 31) might suggest it might not be wholly serious.  Even had it not been real, it would have been a good case-study for students of such things learning the craft of the promotional video clip, the only opportunity missed being Ms Kardashian should first have appeared in a scientist's white lab coat, peeling it off as she spoke the words "I'm no scientist".  The part-number's later appearance in the catalogue verified the availability.   

The 1970s: Rudi's sheer bra (left & right) and the original Nipple Bra.

It’s not a new idea.  In the early 1970s, several manufacturers advertised a line of bras with cups in a sheer fabric which offered coverage and support (within a limited mass range) but clung to the nipples' definition, the most celebrated being those of Austrian-born Rudolf "Rudi" Gernreich (1922–1985), remembered as the "designer" of the "monokini" (ie a bikini supplied without the top part).  This approach was for those who wanted to display the profile of their own nipples.  The "Nipple Bra" offered enhanced engineering was the ancestor of the SKIMS bra in that rather than using, as Herr Gernreich did, the human body's "built-in" nipples, it provided some.  The pitch all those decades ago was aimed at those who wanted to look “provocative” and in 1975 to achieve that the “Nipple Bra” cost US$20 (US$114.42 adjusted for 2023) so Ms Kardashian setting her price at US$120.00 seems not unreasonable.  The somewhat obtuse contribution to averting climate change aside, reaction to the product included the observation the bra will provide permanently “perfectly aligned nipples”, something not always achieved by the real things because, like most body parts, between left and right, there’s often some variation in size, shape, direction or distance from the ground.  Like many aspects of structural engineering, “perfect alignment” is achieved often with slight adjustments to variables like strap length.

Rudi not required: Lindsay Lohan displays perfect alignment, Venice Beach, Los Angeles, California, 2011.

In the United States, patent law exists to protect inventions, processes, and methods rather than abstract ideas and the general criteria (interpreted with some latitude) for eligibility is that an invention should be novel, non-obvious, and useful.  What does qualify is the implementation or embodiment of an idea in a tangible form so while a mere thought or concept can't be patented, a specific application or embodiment of that idea can be and this includes a new product, process, machine, or composition of matter.  Within all that, patents can be granted to cover improvements made to existing inventions.  Whether SKIMS have applied for or been granted a patent isn't clear but several for products in this vein have been granted over the last 50-odd years.  On 24 August 1976 Mr Jakob E. Schmidt of Charlestown, Indiana was granted U.S. patent #3976083 (Brassiere Having Simulated Nipples) as well as #4241737 & #4127128 covering “Brassiere Having Simulated Nipples and Attachable-Detachable Nipple Simulators”.

Conceptual drawing supplied with application for patent #3976083 (Brassiere Having Simulated Nipples), granted 24 August 1976.  The patent expired 24 August 1993.

The abstract filed with the application for #3976083 included: A brassiere is disclosed having cups which are provided with a nipple-like protuberance simulating the bulge of a natural nipple. The nipple-like bulge or protuberance may be a built-in component of the brassiere, usually situated under the fabric of the cup; a component which is permanently attached to the external surface of the brassiere cop; or an individual structure which may be attached to or detached from the brassiere cup as will, by means of several linkage and attachment mechanisms.  Simulated nipples for a brassiere would offer an acceptable compromise for ladies who do not wish to go without a brassiere and a welcome release from the subconscious effects of the suppression brought on by wearing brassieres of the types variously available, which obliterate the nipple.  That’s informative but Ms Kardashian might have phrased things in a more "Tik-Tok friendly" way. 

A nipple patch (left), the nipple patch writ large to function as a special-purpose bra (centre) and the advertising concept (right) which could be used by the manufacturers of either the "nipple bra" or the "nipple patch".  All that would be required is transposing the photographs, depending on whether the object was to display or conceal.

However, while one niche market will like the idea of being “so provocative”, there are others who find the sight of their own nipples “too provocative” and for this niche, there are ranges of products which offer coverage and concealment, smoothing away any suggestion of a nipple with patches which can be worn under bras with cups of even the most sheer fabric.  Self-adhesive (using a skin-friendly temporary glue), they can also be used without a bra and the same technology has been adapted to larger-scale units which actually function as a bra.  Marketed as being ideal to be used when wearing “backless” dresses or tops, they’re also said to be easier to use than the “fashion tape” (better known in the industry as “booby tape” or “tit tape”), especially if being self-applied.  Helpfully, if one changes one’s mind after having smoothed away the nipples, stick-on nipples are available in a range of styles and colors.

Piece from Miguel Castro Freitas’s “Stardust Aphrodite” collection for Mugler, Paris Fashion Week, October. 2025.

Miguel Castro Freitas’s (b 1980) first collection for Mugler was called “Stardust Aphrodite” and the designer described the pieces as “a trilogy of glorified clichés”, the three elements being (1) oversize and bulky, with big fluffy fabrics or shoulder pads, (2) severely tailored with extreme hourglass figures or (3) lightweight, sheer dresses; critics detected some overlap in the use of the motifs.  Although there were a number of nods to Mugler’s historic use of materials in bulk for dramatic effect, the collection otherwise tended to the “less”, one eye catching piece a gown with sparkly silver stars, its straps hung from bare-breasted nipple piercings.  To re-assure those whose toes had curled, critics noted that one was made from “a very lightweight fabric”.  The technique had be seen before, a “nipple grown” the best-remembered thing from the catwalk from one of Mugler’s shows in 1998 and this year’s model was an acknowledged homage but apart from that, it certainly was on-theme, Victoria’s Secret unlikely to see much business generated from those taken with Stardust Aphrodite.

A fragment from Fashion Feed’s take on Paris Fashion Week, 2025.

Of course the point of the catwalk is it makes it possible to see a garment in motion, interacting with the body.  That can be transformative: an outfit that on a hanger or mannequin seemed bland or lifeless can, when worn by a strutting model, come alive although equally, one which seemed admirable when static might reveal flaws of design or in construction once on the move.  Had the already infamous “nipple-piercing gown” been assessed purely on the technical criteria usually applied it would have been judged a success because the suspended sparkly chiffon flowed and swished as the designer knew it would but that achievement wasn’t much commented upon because the usual factions quickly were posting, the l'art pour l'art (art for art's sake) crowd calling the piece “an artistic vision” and dismissing criticism as the unwanted intrusion of a resurgent “purity culture” while those who disapproved called it “inappropriate” and yet another example of the way women’s bodies are exploited for the benefit of the “male gaze”.

One perhaps daring observation was that despite “many of the biggest names in women’s fashion being gay men… their designs often over-sexualise women instead of empowering them.”  Quite how much of the collective energy of gay men over the years been devoted to empowering women isn't known but Indian fashion commentator Pranjal Jain (b 2001) seemed to speak for her faction by adding that having a model parade “…a topless dress down the runway” and presenting it homage to the original of a quarter-century earlier was absurd because in the particular social & political context of the late 1990s such a dress could be understood as something “sensuous and provocative” but in 2025, “…what the fuck was the topless dress doing next to structured blazers and mini dresses?  I can tell you, the dress was a social media stunt engineered for virality.  Yet again, a man using a woman’s body for shock value.”  “Here”, she concluded, “is a perfect example of how fashion is political and historical, because context matters.”  As it has been for centuries, the critical deconstruction of frocks remains a serious matter.

Chappell Roan on the red carpet, Grammy Awards, Crypto.com Arena, Los Angeles, California, February 2026.  The rich auburn hair worked well with the hues of the gown and body art.

Even if Mugler’s “Stardust Aphrodite” didn’t at once migrate from the Paris catwalk to high street stores, the house didn’t abandon the motif and in February 2026, singer Chappell Roan (stage name of Kayleigh Rose Amstutz, b 1998) wore another of Mugler's interpretations (this time a burgundy gown) for the walk down the red carpet at the 68^th Annual Grammy Awards.  Predictably the event’s most publicized outfit, men everywhere doubtless were intrigued at the possibilities but the immediate reaction of women, regardless of their views of the aesthetic, may have been an involuntary curling of the toes as they imagined donning the gown.  That phenomenon is known as “mirror-touch synesthesia” which describes the experience when, upon observing another individual being touched or injured, a corresponding tactile or pain sensation is elicited in the anatomically matching location in the observer’s own body.  It’s very common but is a spectrum condition, most experiencing it as momentary sensation but in rare cases there have been patients for whom the effects have been long-lasting.  Technically, it’s triggered by a (usually temporary) reduction in the “self–other distinction” at the neural processing level, the causes thought to include (1) an heightened cross-activation between the visual and somatosensory cortices and (2) hyperactive or atypical functioning of the brain’s mirror neuron system.  There seems to be evidence an individual’s susceptibility to mirror-touch synesthesia is more significant in frequency of occurrence than the perception of the extent of the sensation (eg severity of an injury) witnessed.

Mirror-touch synesthesia is quite specific in its “virtual emulation” and differs from the vicarious responses (typically, a flinching when seeing someone suffer an injury) in being usually qualitatively stronger and manifested by a location-specific somatic sensation; it may run in parallel with emotional empathy (which happens typically without the literal bodily sensation) but is a separate phenomenon.  There are of course exceptions and the traditional (probably culturally obligatory) reaction of cricketers seeing a batsman struck “in the groin region” by a ball (delivered sometimes at 90 mph (145 km/h) or more) is one of mirth rather than empathy.

Drawing the lens: Chappell Roan photographed in front of the backdrop.

It would however seem the toes of mirror-touch synesthetes may uncurl because in the many photographs and video clips circulated, Ms Roan appeared not at all discomforted and the physics of that would have been determined by (1) the use of faux nipple piercings, (2) the lightweight fabric and (3) the gathering at the waist, ensuring each nipple had to bear the weight only of a few square inches of material.  No doubt pleased (if not surprised) by the interest generated, Ms Roan insisted it was not “that outrageous of an outfit”, adding “the look’s actually so awesome and weird” before concluding “I recommend just exercising your free will; it’s really fun and silly.”  The look was complimented with temporary body art, an extensive lace panel spread over her bare back with a pony on the chest, both credited to artist Jenny Collins of Puppy Puppy Playtime; the gold choker and earrings were by Buccellati.  Perhaps disappointing some, the outfit made only a one-off appearance on the red carpet, Ms Roan changing into something warmer when serving as an award-presenter.

Skims Ultimate Pierced Nipple Push-up Bra.

Of course, for such gowns to work (and that really is the correct expression), it relies on the wearer's nipples having appropriate fittings and these can be real (as body-piercings) or faux (attached with an adhesive or clamping device, the latter on the model of “clip-on” earrings).  However, what the use of light-weight fabrics should make possible is the material's attachment directly to the nipples with either a transparent surgical-grade glue or strategically placed double-sided tape ("boob-tape" or "tit-tape" in the jargon) but some of the effect would be lost because of the extent of the surface area of skin such adhesives would require.  More to the point, were it not done with genuine fittings (piercings or clamed-on), some of the “edginess” would be lost and it was this vibe Skims picked up on in the promotional video for “The Ultimate Pierced Nipple Push-up Bra”.  The tag line was: “Our sexiest bra gets even hotter with a faux nipple piercing design so you can get the ‘Ooo’ without the ouch!” and there’s no reason why, for certain events (if not the street), a Mugleresque gown couldn’t be hung from the bra’s fittings.  Done well, it could look good although Ms Jain likely would remain unimpressed.

Skims promotional video: “The Ultimate Pierced Nipple Push-up Bra”.