Brace

Brace (pronounced breys)

(1) Something that holds parts together or in place, as a clasp or clamp.

(2) Anything that imparts rigidity or steadiness (sometimes called a bitbrace or bitstock).

(3) In drilling, a hand tool for drilling holes, with a socket to hold the drill at one end and a cranked handle by which the tool can be turned in full (also called a bitstock).

(4) In building trades, a piece of timber, metal, etc., for supporting or positioning another piece or portion of a framework.

(5) In Admiralty use, on a square-rigged ship, A rope reeved through a block at the end of a yard, by which the yard is moved horizontally (also as the rudder gudgeon).

(6) In nautical use, to swing round the yards of a square rigged ship (using braces), to present a more efficient sail surface to the direction of the wind.

(7) In music, the leather loops sliding upon the tightening cords of a drum to change their tension and the drum's pitch.

(8) In dentistry, a system of wires, brackets, and elastic bands used to correct crooked or irregularly arranged teeth or to reduce overbite, placed directly against the surfaces of the teeth.

(9) In orthopaedic surgery, a device or appliance that supports or holds a movable part of the body in correct position while allowing motion of the part.

(10) In fashion, an alternative name for suspender (almost always in the plural as braces).

(11) A pair; a couple, used originally of dogs, and later of animals generally (eg a brace of grouse) and then other things, but rarely people.  Now usually used in the context of hunting or (in sport) scoring a pair of goals, tries etc (though not related to the “pair” in cricket, the unhappy record of being dismissed twice without scoring in each innings of a first class or test match.

(12) In typography, one of two characters { or } used to enclose words or lines to be considered together.  Also called a bracket, though not recommended because technically, they’re [ and ]. 

(13) In mathematics, as { or } used for connecting lines of printing or writing or as a third sign of aggregation in complex mathematical or logical expressions that already contain parentheses and brackets.

(14) In musical composition, as { or } also called accolade, a line or bracket connecting two or more staves of music

(15) A protective band covering the wrist or lower part of the arm, especially a bracer.

(16) In military parade drill, a position of attention with exaggeratedly stiff posture.

(17) Literally and figuratively, to prepare for an impact or an event.

(18) In informal slang, to become resolute; to stimulate or freshen.

(19) A form of armor for the arm, also called vambrace (obsolete).

(20) In mining, the mouth of a shaft (apparently a localism restricted to Cornwall).

(21) A medical device, a kind of compression fitting used on joints (ankles, knees etc) to provide support during the healing process.

(22) A measurement of length, originally representing a person's outstretched arms (obsolete).

(23) In engineering, a piece of material used to transmit, or change the direction of, weight or pressure; any one of the pieces, in a frame or truss, which divide the structure into triangular parts.  It may act as a tie, or as a strut, and serves to prevent distortion of the structure, and transverse strains in its members.

(24) A kind of riding equipment or horse tack (in historic reference only).

(25) A peninsula; a cape or slice of land jutting into the sea (in historic reference only).

(26) A perch (unit of measure) (in historic reference only).

(27) A point of a cross or rood (in historic reference only).

1300–1350: From the Middle English brace & bracen and the Anglo-French bracier borrowed from the from the Old French brace (arm), derived from the Latin brāchia & brācchia (the nominative and accusative plural (taken as feminine singular)) of brāchium & brācchium (arm) drawn from the Ancient Greek βραχίων (brakhíōn), most influenced by the plural Latin form bracchia (two arms).  The variety of spellings from the medieval period are extinct, the usual forms now bracchium or bracchia in the plural.  The prior etymology is wholly speculative, may have come from Gothic brasa (glowing coal), Proto-Germanic brasō (crackling coal) or the primitive bhres (to crack, break, burst).  It was cognate was the French braise (embers), Swedish brasa (to roast) and Icelandic brasa (to harden by fire), all thought related to the Sanskrit भ्रज bhraja (fire).  Brace & bracing are nouns & verbs and braced is a verb & adjective; the noun plural is braces.

The original, early fourteenth century meaning was “an item of armor for the arms (and also “a thong or strap for fastening”), reflect the link to the Old French brace (arms) and it was from here that emerged brace as “a length measured by the span of a man’s two arms”.  The meaning "that which holds two or more things firmly together" (derived originally on the notion of clasping arms) emerged in the mid-fifteenth century and came to be applied to an array of fastening and tightening devices in a wide range of endeavours including art, engineering, carpentry, agriculture et al.  The specific meaning as a “prop, supporting strut” began in architecture in the 1520s and came to be applied to just about anything involving physical objects, the figurative use noted from the late sixteenth century.  The idea of things in pairs (first dogs, later game such as ducks, grouse etc) dates from circa 1400 and was later applied to various pairs (pistols, carriages et al); the use in sport to describe scoring twice in the one game (goals, tries etc) was a twentieth century coining, apparently by print journalists wanting something different from “pair” or “two”.  Braces in the sense of “straps passing over the shoulders to hold up the trousers” was from 1798, used after 1945 to describe the hardware used for wires for straightening the teeth.

The verb brace emerged in the mid-fourteenth century meaning both “to seize, grasp, hold firmly” & “wrap, enshroud; tie up, fetter”, something gained from the Old French bracier (to embrace), again the idea of grasping by the arms.  The meaning "make tense, render firm or steady by tensing" was noted from the mid-fifteenth century although decades earlier it had been used in the figurative sense of "strengthen or comfort someone”.  From this, by the 1740s, developed the later extension to tonics which "brace" the nerves (the bracer a "stiff drink"), a throwback to the original bracer (the early fourteenth century piece of armor protecting the arm) and by 1826 a bracer had assumed the specific use as “an alcoholic drink taken early in the morning”.  From the 1580s, a bracer was also “any sort of stay or clamp which braces or makes firm”, used typically in engineering or construction.  To brace oneself (place oneself in the position of a brace in anticipation of some shock or impact) is documented by 1805 but there is peripheral evidence the phrase may have been in use as early as circa 1500, probably in relation to horse-drawn transport and now familiar to many from the safety demonstration dutifully conducted by flight attendants before every take-off.  Because braces are designed and used for many purposes, there are a large number of derived terms including angle brace, curly brace, neck brace, ankle brace, tower brace, tower brace etc.

Lindsay Lohan’s injured right ankle in foot-brace, Mykonos, Greece, 2018.  It’s believed she made a good recovery but may never play rugby again.

Knocking back a bracer: Crooked Hillary Clinton enjoys a quick belt of Crown Royal Bourbon Whiskey, Bronko's restaurant, Crown Point, Indiana, Saturday 12 April, 2008.

Brace of single-shot duelling pistols in hardwood case, featured by Hallowell, the design from England and in vogue circa 1770-1850.  Many items were produced in pairs for many reasons but with duelling pistols it was obviously culturally deterministic.  Most used either flintlock or percussion ignition, and were supplied with the cleaning and loading accessories (the cleaning kit still something to ensure is supplied when one buys (or otherwise obtains) one’s AK47).  Duelling pistols tended to be lighter than contemporary service pistols and were often made with a finer finish, reflecting the upper-class market for which they were produced.  The ballistics techniques varied and although most appear to have been smooth-bored, some were scratch-rifled and there were octagon (or octagon-to-round) barrels, all around 9-10 inches (228-254 mm) long.  Almost all were forged from some form of Damascus steel, with bores slightly larger than a half-inch (50 mm) and supplied with ramrods, rudimentary sights front and rear, single-set triggers, roller-bearing frizzens and curved grips integral with full or half-stocks.  Although usually of high quality construction (sometimes with silver furniture), unlike the boxed braces produced for display or ceremonial purposes, duelling pistols tended to be relatively plain and unembellished.

Noted pheasant plucker Boris Johnson (b 1964, UK prime-minister 2019-2022) after bagging a brace of pheasants.

1970 Dodge Hemi Challenger with strut brace (also called strut bar), triangulated against the firewall.  Strut braces are stiff metal bars which connect the strut towers (front or rear), the purpose being enhanced structural rigidity.  Depending on the vehicle, the difference can be anything from transformative to non-existent and manufacturers of high-end machinery are aware of their appeal.  There have in recent decades been enormous advances in structural engineering and engineers admit that on some exotic machinery, the torsional rigidity is so high that strut braces add nothing except a little additional weight but they’re installed anyway, simply for the visual effect and to meet buyer expectation.  They’re a popular retro-fit to many of the machines from the 1960s and 1970s which frankly were over-powered when new and more so when modified.

DPRK’s military parades.  The 2010 event (left) during the era of the Dear Leader and the 2015 event (right) after the accession of the Supreme Leader.

Although in production for almost two decades, Mercedes-Benz built only 2677 600s and of those, 428 were the long-wheelbase Pullmans.  Of those, 59 were the Landaulets with a convertible roof extending either over the rearmost seats or the whole passenger compartment.  Just 12 of the latter were built and the only one known to have bought a brace was Kim Il-sung (Kim I, 1912–1994; Great Leader of the Democratic People’s Republic of Korea (the DPRD, North Korea)) who ordered two in 1968.  Just as the DPRK and its grateful population passed to his descendents, Kim Jong-il (1941–2011; Kim II, Dear Leader of the DPRK 1994-2011) and Kim Jong-un (Kim III, b 1983; Supreme Leader of the DPRK since 2011), they also inherited the Landaulets which for decades were a fixture at state occasions like military parades.  Buying a brace ensured an unusual distinction of rarity; the parades are said to be the only occasions when two 600 long-roof Landaulets were seen in the same place at the same time.  The Supreme Leader updated in 2015 to the new S600 Pullman Landaulets but they’re mass-produced compared with the original, lack gravitas and look something like a very big Hyundai.  For this reason, the old 600s are retained for occasions when there’s a need really to impress folks and maintain the dynasty’s image of continuity which stretches back to the Great Leader.

Illusion

Illusion (pronounced ih-loo-zhuhn)

(1) Something that deceives by producing a false or misleading impression of reality.

(2) The state or condition of being deceived; misapprehension.

(3) An instance of being deceived.

(4) In clinical psychology, a perception, as of visual stimuli (optical illusion), that represents what is perceived in a way different from reality.

(5) A very thin, delicate tulle of silk or nylon having a cobwebbed appearance, for trimmings, veils and similar designs.

(6) The act of deceiving; deception; delusion (mostly obsolete).

1340–1350: From the Middle English, from the Latin illūsiōn(em), stem of illūsiō, (irony, mocking), the construct being illūs(us), past participle of illūdere (to mock, ridicule) + lūd (play) + tus (past participle suffix) + iōn.  The suffic -ion was From the Middle English -ioun, from the Old French -ion, from the Latin -iō (genitive -iōnis).  It was appended to a perfect passive participle to form a noun of action or process, or the result of an action or process.  It was from the Latin lūd that English ultimately gained ludicrous, illudere meaning "to mock at" (literally "to play with").  The borrowing from Latin displaced the Old English dwimmer, from the Old English ġedwimor or dwimor (illusion, delusion, sleight, magic) and, as absorbed by both Medieval English & French, meaning tended towards “act of deception” rather than “mocking or irony” which was the Classical Latin form.  The English sense is reflected in the word’s use in Church Latin which is thought the source of the meaning-shift.  In modern English use, particularly since the rise of mass-market visual entertainment, to some extent the preponderant meaning has shifted back.  Illusion & illusionist are noun, illusionary, illusional and illusioned are adjectives; the noun plural is illusions.

English offers many variations on the theme; words like fantasy, hallucination and delusion all refer to false perceptions or ideas.  An illusion is either (1) a false mental image produced by misinterpretation of stuff that actually exists or (2) a deliberate creation in some form to create an impression of stuff in a way not real.  A mirage is a distortion of reality produced by reflection of light against the sky but in general use is widely deployed as a synonym for anything illusory. A hallucination is a perception of a thing or quality that is either wholly or partially unreal.  A delusion is a persistent false belief that need not have any basis.  A chimera is something which, while unreal, has many elements of the real and thus seems more plausible.  A fantasy is either (1) a fictional creation where one is aware of its untruth or (2) a fictional creation one believes.

The Illusion Panel

The illusion panel is a visual trick used by fashion designers which to some extent mimics the appearance of bare skin.  It’s done by using a flesh-colored fabric, cut to conform to the shape of wearer and the best known products are called illusion dresses although the concept can appear on other styles of garment.  Done well, the trick works, sometimes even close-up but it’s really intended for photo opportunities.  Lindsay Lohan illustrates the idea in a few examples:

At left is a gown from the Fendi Spring/Summer 2016 collection, worn at the Asian Awards, London, April 2016.  The gown was technically a different take on the illusion panel because the skin was real: Fashion faking itself.  It’s a playful take on the idea because above the modest cut at the midriff were translucent panels which created a nice effect, especially when in motion although opinion was divided on whether the geometric pattern was too busy for the concept, some suggesting a solid color or even some bold stripes might have lent better emphasis.

The centre image is of a Julien Macdonald green and blue sequin embellished mini dress with open neckline, accented with illusion panel & black hemline, from her Fall 2013 collection, worn at Gabrielle's Gala, Old Billingsgate Market, London, May 2014.  Some comment was provoked by the choice not to retain the black belt with which it was shown on its catwalk debut and it true that did work well with the hemline trim, width and shade of both matching.  However, a panel with quite that much illusion doesn’t demand accessories and probably is more effective with neither belt nor necklace to distract.

At right, dating from January 2013 is a black Dion Lee cocktail dress with illusion panels and an off-the-shoulder silhouette, the shoes Christian Louboutin peep-toe booties.  It’s a classic example of why it’s thought illusion dresses work best if tailored in solid colors with a marked contrast between material and skin tone.

Kylie Jenner (b 1997, left) in 2017 used the idea in what was (by the standards of her clan) quite subtle but trolls quickly realized the possibilities offered by digital editing (centre).  Swedish musician Tove Lo (Ebba Tove Elsa Nilsson, b 1987, right) actually enhanced the illusion with a T-shirt which included shadow effects so the look would be consistent even in settings where ambient light was unhelpful.  Pairing the T-shirt with an oversized, double-breasted blazer was a nice touch.

As a garment, an illusion dress is not technically difficult to cut or assemble but for its effect it relies on a close congruence between the colors of panel and the skin.  Assuming such fabrics are either available or can be dyed to suit, that’s fine for bespoke creations but in the vastly bigger prêt-à-porter (ready-to-wear) market, buyers are compelled to pick whatever is the closest match, the technique of choice being to alter the skin tone for the occasion, fake tanning product the usual choice which is fine if a darker hue is needed but when lightening that’s needed, the creams used temporarily to cover tattoos are said to work well, better even than the (now often controversial and in some cases dangerous) skin-lightening preparations popular in some markets.

The illusion industry also borrows motifs.  A cage bra is built with a harness-like structure which (vaguely) resembles a cage, encapsulating the breasts using one or more straps.  Few actually use the straps predominately to enhance support and the effect tends to be purely aesthetic, some cage bras with minimal (or even absent) cup coverage and a thin band or multi-strap back.  Some things about cage bras can be illusory but the skin on show is usually real whereas when used over a skin-toned panel, the straps exist to enhance the illusion although, there’s no reason why they can’t also be structural, functioning effectively as an external bra.  Ashley Graham (left) in cage bra with the focus on flesh and Ricki-Lee Coulter (right) in a dress with illusion panel under straps illustrate the difference.

The Great Illusion (1910) by Norman Angell (1972-1967) was first published in the United Kingdom in 1909 as Europe's Optical Illusion.  Angell’s theme was that the economies, financial systems, markets and supply chains of the world’s big industrial and military powers had become so inter-twined and inter-dependent that war had become impossible.  Angell proved that not only would war be unprofitable, in any big conflict, the victor would suffer at least as much as the vanquished so no nation would be so foolish as to start one.  Quickly, The Great Illusion was translated in eleven languages and in the optimistic world of early twentieth century Europe, it became a cult, its thesis a dogma.  The aristocrat commissioned to review the British Army after its disastrous performance in the Boer War (1899-1902) were understood instantly became an adherent to the idea that “new economic factors clearly prove the insanity of aggressive wars”, delivering lectures in which he pointed out that “a twentieth century war would be on such a scale… that its inevitable consequences of commercial disaster, financial ruin and individual suffering [would be] so pregnant with restraining influences” as to render the thought of war unthinkable.

Read even now, the wealth of examples he offered and the incontrovertibility of his argument seem convincing.  Unfortunately, Wilhelm II (1859–1941; Kaiser (Emperor) of the German Empire 1888-1918), although it’s known he received a copy of the book, was more influenced by one published in 1911 by the Prussian General Friedrich von Bernhardi (1849–1930) with the unambiguous title Deutschland und der Nächste Krieg (Germany and the Next War).  Bernhardi’s text is of great interest to students of military, diplomatic and political history but the casual reader can gain the necessary understanding merely by glancing at the table of contents, the uncompromising chapter headings including The Right to Make War, The Duty to Make War and World Power or Downfall.  In case anyone might have thought he had written a work of abstract theory, another chapter was titled Germany’s Historical Mission.   Describing war as a "divine business", his central two-pronged strategy was the one which would doom both the Second Reich and the Third: Wage wars of aggression and ignore treaties.

World War I (1914-1918) was something probably worse than even Angell had prophesized and in its aftermath the phrase “the war to end all wars” was popular although some of the delegates leaving Paris after the Treaty of Versailles (1919) weren’t so sanguine, reckoning all that had been gained was a truce.  Despite the cynicism however, the 1920s were the years in which the (now mostly forgotten) successes of the League of Nations included the notion that war had been made not only unthinkable (both because of Angell’s analysis and the shock of the World War) but actually unlawful.  It was a brief, shining moment and by 1933 Angell felt compelled to add to a revised edition of The Great Illusion the new theme of the need for collective defense.  Other things happened in 1933, the implications of which would mean that too would prove an illusion itself but that year, Angell was awarded the Nobel Peace Prize.

Illusions however seem to be something to which men can’t help but be drawn and by the late twentieth century, as globalization 2.0 accelerated, another part of Angell’s conceptual framework gained a new audience.  Angell had noted the obvious: That the imperative of modern capitalism was profit, not romantic nationalism and that there was more to be gained from peaceful trade than attempts at conquest with its unpredictable outcomes.  By the 1990s, political commentator Thomas Friedman (b 1953) had reduced this to what came to be called the “Golden Arches Theory of Conflict Prevention (the idea that countries with McDonalds restaurants didn’t go to war with each other) and while that’s since been proved untrue, the point he was making was the same as Angell: That democracies run according to the rules of market capitalism don’t go to war with each other because the it’s too threatening to the hegemonic class which owns the means of production and distribution.

By the time Mr Putin (Vladimir Putin, b 1952, president or prime-minister of Russia since 1999) began his special military operation (the invasion which started the Russia-Ukraine war in 2022), it’s doubtful there were many left in Europe with illusion about the nature of man.  Unfortunately, it may be that in the Kremlin the reading of Bernhardi may not have gone beyond those first few bellicose chapters because deeper into his book, the author moved beyond the justification of “necessity” to the nuts and bolts of “method” for once one convinces one’s self one has a duty to make war, one must ensure it is waged with success.  To be successful he explained, the state must begin a war at “the most favourable moment” of its own choosing, striking “the first blow” in a manner which guarantees victory.  Mr Putin had illusions of his own, about the people of Ukraine, about the West and about the state of his own military.

In 2014, an illusion outfit attracted much comment when the Colombian women’s cycling team uniform was first seen at an event in Italy, held in honour of former Italian champion Michela Fanini (1973–1994).  Despite the appearance, it wasn’t a two-piece, the otherwise standard strip augmented by a flesh-coloured section across the lower torso and upper hips.  The photographs caused a stir and the unusual degree of international attention must have pleased the team’s sponsor, the city government of Colombia's capital, Bogota.  Innovations like this might be one way to redress the imbalance in the media coverage afforded to women's sport.

Sterling

Sterling (pronounced stur-ling)

(1) Of, relating to, or noting British currency.

(2) Someone or something thoroughly excellent in quality; genuine and reliable.

(3) The standard of fineness for gold and silver coin in the United Kingdom, 0.91666 for gold and 0.500 for silver (also called sterling silver: silver having a fineness of 0.925, now used especially in the manufacture of table utensils, jewelry etc).

(4) A former English silver penny (about 240 of which weighed 1lb (0.453kg), thus setting the value of the British pound sterling, a measure which lasted until decimal conversion in 1971).

1250–1300: From the Middle English, possibly under the influence of the Old English steorra (star), from the Proto-West Germanic sterrō, variant of sternō, from the Proto-Germanic sternǭ, from primitive Indo-European hzstḗr.  The Middle English sterling, sterlinge, sterlynge & starling remain however of uncertain origin.  It may well be from sterling (starling (the bird)) which at one time was engraved on one quarter of the coin or perhaps from the Middle English sterre ((star) + -ling) (as in shilling), as some early Norman silver pennies featured stars.  Sterling is a noun & adjective, sterlingly is an adverb and sterlingness is a noun; the noun plural is sterlings. 

Disputes

Lindsay Lohan wearing sterling silver Evil Eye necklace, Los Angeles, April 2011.

Not all etymologists accept the orthodox view, noting the starred coins were not especially common among Anglo-Saxon currency and the stars on them tended to be small.  The alternative theory is that sterling was from the Old French estedre (stater) and the meaning broadened by the 1560s to "money having the quality of the sterling," and by circa 1600 to "English money in general", operating as an adjective from the early fifteenth century.  From the 1640s came the general sense of "capable of standing a test" (as a sound currency would).  The small silver coin (the sterling) was instrumental also in the origin of “pound” as a measure of money, a pound sterling being originally "a pound weight of sterlings" equal to about 240 coins.  Still more imaginative is the theory that the Hanseatic League was the origin for both the definition and manufacture for in its name is the German name for the Baltic (Ostsee (East Sea)) and from this the Baltic merchants were called Osterlings, or Easterlings.  In 1260, Henry III (1207–1272; King of England 1216-1272) granted them a charter of protection and land for their Kontor, the Steelyard of London, which by the 1340s was also called Easterlings Hall, or Esterlingeshalle and because the value of League's money tended to be more stable than that of England, English traders often stipulated their debts should be in pounds of the Easterlings which commercial practice contracted to "'sterling".  Support for this etymology is limited.

Teenage & Teen-age

Teenage (pronounced teen-ige)

In boundary-line construction, a technique of weaving which interleaves brushwood to produce a type of fencing called wattle.  The weave is usually effected horizontally around vertical uprights planted in the ground.

Circa 1700.  The construct was teen + age.  Teen was from the dialectical Kentish variation of tine (enclose within a wattle fence; brushwood for fences and hedges)), from the Middle Dutch tene & teene (plural tenen, diminutive teentje) from the Old Dutch tein & tēn from the Proto-Germanic tainaz, also ultimately the source of twig, which existed in Dutch as twigg.  The –age suffix was from the Middle English -age, from the Old French –age, from the Latin –āticum.  It was used, inter alia, to form nouns with the sense of collection or appurtenance. It was cognate with the French -age, the Italian -aggio, the Portuguese -agem, the Spanish –aje & the Romanian -aj.

Wattle fences built with the teenage method.

Teen-age (pronounced teen-age).

(1) A person aged between thirteen and nineteen.

(2) Of or relating to the characteristics of a teenager.

1911: Used originally in reference to Sunday school classes, the adjectival form teen-aged first noted 1922.  The construct was teen + age.  Teen is from the Middle English -tene, from the Anglian Old English -tēne (a variant was –tīene in West Saxon), from an inflected form of Proto-Germanic tehun (ten).  As a suffix, -teen was used to form the cardinal numbers from thirteen to nineteen, the model being n + ten so, for example, fourteen (4+10) was from the Middle English fourtene, from the Old English fēowertīene, from the Proto-Germanic fedurtehun. It was cognate with the West Frisian fjirtjin, the Dutch veertien, the German vierzehn & the Danish fjorten.  Used in this context as a functional suffix, age (sometimes –age), was from the Middle English age (lifetime, measure of the years), borrowed from the Anglo-Norman age, from the Old French aage & eage (which exists in Modern French as âge), from the (assumed but unattested) Vulgar Latin aetāticum, from the Latin aetātem, accusative form of aetās, from aevum (lifetime), ultimately from the primitive Indo-European hueyu- (vital force).  It displaced the native Middle English elde (age) and the Old English ieldu, eldo & ieldo (age).

Montage of teen-aged Lindsay Lohan photos.

There’s a paucity of material about the specialized form of fence-building called teenage.  Most will go through their lives never reading of the field and thus be never troubled by the distinction between the technique and those of teen-age years.  Usually then it matters not if the word is hyphenated to refer to the latter and even when some possibility of confusion might exist, readers can probably be relied upon to pick up the meaning from context.  Purists still, when writing of the young, the New Yorker magazine continues to insist on a hyphen though whether that's to entice subscriptions from fencing contractors or suggests some concern for baffled readers, isn’t known.

Concierge

Concierge (pronounced kon-see-airzh or kawn-syerzh (French))

(1) A person who has charge of the entrance of a building and is sometimes the owner's representative; a doorkeeper.  Historically, the role is most associated with residential buildings in large French cities but the role is increasingly common in both residential and commercial buildings in many countries.

(2) A member of a hotel staff in charge of certain services for guests including (1) those provided for a fee by third parties including securing tickets for the theatre, tours or other entertainment, taxis, airport transfers etc and (2) internal hotel matters such as baggage handling, delivering and collecting laundry, providing directions etc.  Many do offer certain services such as hire-cars (and most famously prostitution) on the basis of secret commissions.

(3) An employee stationed in an apartment house lobby who screens visitors, controls operation of elevators, accepts deliveries to the tenants, etc.

(4) A custodian or warden of a prison (obsolete).

(5) As concierge medicine (also known as retainer medicine), pertaining to or being medical care for which the patient pays the doctor an annual fee, either for special or additional services or to guarantee priority attention when required.

(6) A synonym of conciergerie or concergius (obsolete).

(7) As shopping concierge, a part of the gig-economy which offers personal assistance in shopping in a particular area, additionally providing services (such as international shipping) which may not be offered by a retailer.  Shopping concierges charge usually either by time or a percentage of the transactions effected (or a combination of both) and it's assumed secret commissions are also paid by retailers.  In an informal sense, the idea has been extended to the finance sector where concierge is sometimes used as slang to describe brokers.

1640-1650: From the twelfth century French concierge (caretaker, doorkeeper of a hotel, apartment house, prison etc; porter of uncertain origin.   It may have been from the Old French cumserges, which may be from the Vulgar Latin conservius, from the Latin conservus (fellow slave), an assimilated form, the construct being con- (from com-) (with, together) + serviēns, present participle of servīre (to serve) and related both to servius (slave) and the modern “serve”.  The con- prefix was from the Middle English con-, from the Latin con-, from the preposition cum (with), from the Old Latin com, from the Proto-Italic kom, from the primitive Indo- European ḱóm (next to, at, with, along).  It was cognate with the Proto-Germanic ga- (co-), the Proto-Slavic sъ(n) (with) and the Proto-Germanic hansō.  It was used with certain words to add a notion similar to those conveyed by with, together, or joint or with certain words to intensify their meaning.  Servus was from the Proto-Italic serwos (guardian), from the primitive Indo-European serwos (guardian) which may be related to ser- (watch over, protect); it was cognate with servō and the Avestan haraiti (he heeds, protects).  In Latin, over the years, servus (genitive servī, feminine serva) could be used to mean servant, serf or slave.  The suggestion, attributed to nineteenth century French novelists, that concierge is a contraction of comte des cierges (a servant responsible for maintaining the lighting and cleanliness of medieval palaces (literally “count of candles”) is considered a figment of the literary imagination.  Like English, some languages (such as German and Portuguese adopted the French spelling while others produced variants including the Catalan conserge, the Russian консье́рж (konsʹjérž), the Serbo-Croatian консијерж (konsijerž) and the Spanish conserje.  Concierge is a noun; the noun plural is concierges.

In historic documents, concierge appears sometimes to be a synonym for a number of roles but many of these are historically (and sometimes geographically) specific including castle-keeper, lodge-keeper of a château and jailor (or keeper) in a prison.  Even in modern use, there’s some overlap in function and a caretaker, custodian or janitor will perform some of the roles associated with a concierge but not all.  The greatest degree of overlap occurs in city hotels, the larger having clear distinctions between the duties undertaken by commissioners (doormen), porters and a concierge proper but these demarcations blur or disappear in smaller operations.  Concierge can be a concept as well as an individual, some hotels having concierge departments but staffing them without using anyone with the exact title.  In the France of L'Ancien Régime, the title was once attached to a high royal official of the household.  When the spellings (the original Latinized forms) were concergius or concergerius, the role was that of the guardian of a house or castle and in the later middle ages it came to be used for the court official who acted as the custodian of a royal palace.  In Paris, circa 1360, as the Palais de la Cité ceased to be a royal residence and became the seat of the courts of justice, the Conciergerie was turned into a prison, an institution for which L'Ancien Régime sometimes had great need. As late as the year leading up to World War I (1914-1918), in Europe it was common for a hotel's concierge to be referred to as a a "Suisse", reflecting the frequency with which men from Switzerland filled the role.

The Secret Society of the Les Clefs d’Or

Escutcheon of the Secret Society of the Les Clefs d'Or.

The Secret Society of the Les Clefs d’Or is the international organization of hotel lobby concierges.  Now with chapters in many countries, it was registered originally in Paris in 1929 as the Union Internationale des Concierges d'Hôtels (UICH) and this identity was maintained formally until 1995 when, at the 42nd International Congress held in Sydney, Australia, a resolution was passed changing the name to Union Internationale des Clefs d'Or (UICO).  The international membership now exceeds 4000.  Properly pronounced as lay-clay-door, the literal translation from French is keys of gold, reflected in their membership symbol, most frequently seen as the twinned lapel pins worn by members, something remarkably similar to the escutcheon of the Holy See and neither the Vatican nor the Les Clefs d’Or has ever denied that a relationship may exist.  To become a member of Les Clefs d’Or, one must be at least twenty-one years of age, of good moral character and active within their concierge community.  Additionally, they must be employed by hotels in the usual sense of the word (not corporate or residential buildings) and have been employed thus for a minimum of five years (two if that service has been under the supervision of a member).  Also, the desk at which they work must have a sign that includes the word “concierge.”  Approval of membership is subject to the provision of documents, sponsorship by two existing members and a formal interview process.

Promotional poster for Il portiere di notte (The Night Porter (1974)), directed by Liliana Cavani (b 1933).  Note the crossed keys of the Les Clefs d'Or or Bogart's lapel.

Novelists and film makers have often been fond of concierges, presumably because they can be used as a quasi-narrator or linkage device between protagonists, the dramatic and comedic potential frequently (though not always convincingly) explored.  The best film in this sub-genre remains the cult favourite The Night Porter (1974), set in the high cold war Vienna of 1957 and starring Dirk Bogarde (1921–1999) as former Nazi concentration camp officer and Charlotte Rampling (b 1946) who had been one of his youthful inmates and one upon whom he imposed a sadomasochistic relationship.  Although not without flaws in its editing, The Night Porter is memorably evocative of the era and is more highly regarded now than at the time of its release.  In 2018 it was one of the films included in the Venice Classics at the Venice International Film Festival.

Dirk Bogart in The Night Porter with the paired crossed keys of the Les Clefs d'Or on the lapels.

Most concierges aren’t sadomasochistic (as far as is known) but they can still be involved in bizarre stuff.  One former member of the secret society is Australian Elvis Soiza (concierge at 111 Eagle Street, Brisbane) who says he can procure anything (as long as it's legal).  No longer a member because the Les Clefs d’Or restricts its rolls to those working in hotels, he notes there’s remarkably little difference between what’s done in a corporate building and a luxury hotel, the concierge still the “human face to a property” and one there to “offer advice, sooth, inform, entertain and organise”.  He sums up such buildings as “a hotel without bedrooms” (although Elon Musk may have blurred things a bit).

Lindsay Lohan usurping the escutcheon of the Les Clefs d'Or (digitally altered image).

During his years in hotels, Mr Soiza had many interesting requests but the most remarkable came in London during the 1980s when a Middle Eastern sheik asked him to arrange a pink elephant as a birthday surprise for his wife.  Thinking he needed a large stuffed toy he began to peruse the Harrods’ catalogue, only to be told the sheik wanted a real elephant, painted pink.  It took some doing, requiring Mr Soiza to coordinate a local circus, the Royal Society for the Prevention of Cruelty to Animals (RSPCA), local government (it's not clear which one, the Greater London Council (GLC, 1965-1986) was in 1986 dissolved by the Thatcher government with its responsibilities assigned to existing borough councils), the Indian High Commission and the Metropolitan Police but, within twelve hours, he’d secured an elephant, had it painted pink, obtained the required permit and, with a police escort, had the beast led to the hotel in time for the birthday party.  Quite remarkable.

The original image (left), the photoshopped fake (centre) and an actual African pink elephant (a form of partial albinism).

Pink elephants are of course hard to find in London but they're rare anywhere.  On the internet, there have been claims the creatures can be found in parts of India, the color the result of the red soil in the environment, the creatures spraying dust on their hides to protect themselves from biting insects.  However, it turned out to be fake news, the supporting evidence created with Photoshop and wildlife experts that while elephants cover themselves in mud, this doesn’t change the colour of their skin.  It's true there is a rare genetic disorder (technically a form of albinism) which can result in the skin of young African elephants displaying a slight pink hue but it's nothing like the vivid hot pink in the Photoshopped fake news.

Svelte

Svelte (pronounced svelt or sfelt)

(1) Slender, especially gracefully slender in figure; lithe.

(2) Suave, urbane elegant, sophisticated.

1817: Originally (and briefly) spelled svelt, from the seventeen century French svelte (slim, slender), from the Italian svelto (slim, slender (originally "pulled out, lengthened)), past participle of svellere (to pluck out or root out), from the Vulgar Latin exvellere (exvellitus), the construct being from ex + vellere (to pluck, stretch) + -tus (the past participle suffix).  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 vellere (which English picked up as a learned borrowing) was the present active infinitive of vellō (I pluck out; I depilate; I pull or tear down), from the Proto-Italic welnō, from the primitive Indo-European wel-no-, a suffixed form of uelh- (to strike), source also of the Hittite ualh- (to hit, strike) and the Greek aliskomai (to be caught).  The Latin suffix –tus was from the Proto-Italic -tos, from the primitive Indo-European -tós (the suffix creating verbal adjectives) and may be compared to the Proto-Slavic –tъ and Proto-Germanic –daz & -taz.  It was used to form the past participle of verbs and adjectives having the sense "provided with".  Latin scholars caution the correct use of the –tus suffix is technically demanding with a myriad of rules to be followed and, in use, even the pronunciation used in Ecclesiastical Latin could vary.  Svelte is an adjective and svelteness is a noun; the comparative is svelter and the superlative sveltest although in practice both are rare and constructions (however unhappy) such as very svelte, most svelte are more common.  Thankfully, sveltesque & sveltish seem not to exist and if they do, they shouldn’t.

Svelte: Lindsay Lohan, Olympus Fashion Week, Bryant Park, Manhattan, February 2006.

Because svelte is intended as a compliment to be extended in admiration, the true synonyms include refined, delicate, graceful, lithe, slender, lean, lissom, slinky, slim, elegant, willowy, waif & sylph-like.  Although can equally (and technically correctly) apply to the same image, words like thin, scrawny and skinny can be used with a negative connotation.  Interestingly, in some Nordic languages, the word has the sense of variations of “thin, hunger, starvation” and is used of a two player card game in which the goal is to "starve" the opponent of all their cards.  Svelte is a word usually applied to people, most often women; while men can be called svelte, most would probably prefer another label.  However, it’s a descriptor which references the slender and the elegant so can be used anthropomorphically and there have been cars which have gone from frumpy to svelte:

The Pontiac Grand Prix: The first generation (1962–1964) (left), the second generation (1965–1968) (centre) and the third generation (1969–1972) (right).

The first Pontiac Grand Prix was among the outstanding designs which emerged from the General Motors (GM) styling studios in the 1960s, truly the corporation's golden era.  The first was built on a full-sized platform and was thus undeniably large but such was the competence of the styling team that the bulk was well-disguised and unless the are other objects in the frame to provide a point of reference, at first glance the sheer size of the thing is not obvious.  Its rather bulbous replacement fares not so well but Pontiac were aware the universe was shifting, their own smaller GTO and the emerging ecosystem of pony cars attracting the buyers wanting high performance while the full-size machines were beginning their path towards increasingly cosseted luxury.  Other full-sized machines however looked better while doing what the Grand Prix did and sales of the second generation weren’t encouraging.  Pontiac changed tack for 1969 and in the third generation produced another classic, a smaller car which relied not on gimmicks or embellishments but simple lines, the long hood working because it was the sole extravagance and one perfectly balanced by what would otherwise have seemed an excessively large C pillar.  It was a high-water mark for Pontiac.

Continentals: the Mark II (1956-1957) (left) and the Lincolns, the Mark III-V (1958-1960) (centre) and the fourth generation (1961-1969) (right).

Wanting to create a landmark in style which was as much a reaction to the excesses of the era as it was a homage to mid-century modernism, Ford actually created a separate division to produce the Continental Mark II and in its very sparseness the look succeeded but the realities of production-line economics doomed the project which lasted only two years.  Seemingly having decided that good taste didn’t sell, the Continental nameplate returned to the Lincoln line in 1958 and the Mark III-V models were big, some 227 inches (5.8 m) in length and weighing in at 2 ½ tons (2540 kg) or more.  Indisputably flamboyant with an intricate grille atop chrome dagmars, canted headlights partially encapsulated in semi-closed ovoid apertures and embellished with chrome spears & sweeping cove embossments, the only restraint seemed to be the surprisingly demure fins but with those Ford never succumbed to the lure of the macropterous which made so distinctive the cars from Chrysler and GM during the era.  Even at the time criticized as too big, too heavy and too bloated, the styling nevertheless represented one of the (several) logical conclusions of the trends which had for a decade been evolving but it too was a failure, lasting only three seasons.  After this there was nowhere to go but somewhere else.  In 1961 Lincoln went there, creating a classic shape which would remain in production, substantially unchanged until 1969.  Remembered now for being the car in which President Kennedy was shot, for the suicide doors, and the soon to be unique four-door convertible coachwork, it was a masterpiece of modern industrial design which managed to combine severe lines without any harshness in the shape and was influential, other manufacturers essentially borrowing the motif although none did it better than the original.  Managing the almost impossible, to be big yet svelte, Lincoln in the six decades since produced nothing as good and much that was worse.

The Mark IX was the final iteration of a decade-long line (the Mark VII, VIII & IX, 1951-1961) with a competition history which belied the stately appearance (left) while the Jaguar Mark X (1961-1970 and named 420G after 1967) never realized its potential because the factory refused to fit the Daimler V8 and its own V12 wasn’t ready until after production ended (centre) and the XJ (1968-1986) which, especially when fitted with the V12, may have been the best car in the world (right).

Svelte can be a relative term.  Although the Jaguar Mark X was soon criticized as being too big and bloated, upon release in 1961 it was thought sleek and modern because the car it replaced was stylistically something of an upright relic with its lines so obviously owing much to the pre-war era.  That warmth of feeling soon passed and it was too big (especially the width) for the home market while in the US where it could have been a great success if fitted with a V8 and air-conditioning as good as a Cadillac, it was neglected because the superior quality of the brakes and suspension meant little under US conditions.  The styling however did however provide a model for the slimmed-down XJ, released to acclaim in 1968 and greater adulation still when the V12 arrived in 1972.  The svelte lines aged well, especially on the short-lived two-door, and looked elegant still in 1986 when replaced.  However, the shape meant the hunter became captured by the game, Jaguar reprising the lines until 2009 although none matched the purity of the original.  The 420G was the last of the "big" Jags.

Dodge Chargers: 1966 (left) and 1968 (right).

The 1966 Charger featured one of the best interiors of the era, including a full-length centre console and rear-seats with a thoughtful design which folded flat, providing a usefully large storage area.  The highlight however was probably the dashboard featuring Chrysler’s intriguing electroluminescent instruments which, rather than being lit with bulbs, deployed a phenomenon in which a material emits light in response to an electric field; the ethereal glow much admired.  Inside was however the best place to be because it meant one didn’t have to look at the thing; it was chunky and slab-sided and while it could be said another fastback of the time (the truly ghastly Rambler (later AMC) Marlin) was worse, that really was damming with faint praise.  Still, on the NASCAR ovals the shape proved surprisingly slippery and when paired with Chrysler’s Hemi V8, it proved a trophy winner.  The welcome restyle of 1968 was transformative and seldom has there been such an overnight improvement.  Ironically though, the svelte lines proved not especially aerodynamic and on the racetrack, the sleek-looking Charger suffered in a way its frumpy predecessor had not, the stylishly recessed grill and the tunnel-effect used around the rear window compromising the aerodynamics and therefore the speed.  It took Dodge two attempts to solve the problem: The Charger 500 flattened both the grill and the rear windows but the instability remained so engineers (conveniently available from Chrysler’s recently shuttered missile division) fashioned a radical nosecone and a high rear wing which served well for the two seasons the modifications were permitted to be homologated for use on the Dodge Daytona in competition.  Ford suffered a similar fate in 1970: the new Torino looked better but the 1969 shape proved more efficient so the racers stuck with last year’s model until a solution was found.

Burkini

Burkini (pronounced boo-r-kee-nee or burr-kee-nee)

A type of bathing suit for women covering the torso, limbs, and head, leaving exposed the face, hands and feet.

2004: The construct was a portmanteau of bur(k)a + (bi)kini (by extraction from bikini, in interpreting the "bi" as a prefix "bi-), thereby creating the new suffix "bur-").  Burka (other spellings including burkha & burqa) was from 1836, from the Hindi बुरक़ा (burqā) (برقع‎ (burqā) in Urdu), from the Persian برقع‎ (borqa), from the Arabic بُرْقُع‎ (burqu).  The -kini was an adoption of the –kini in the Bikini, first noted in 1946.  Although known as the Eschscholtz Atoll until 1946, the modern English name is derived from the German colonial name Bikini, adopted while part of German New Guinea and was a transliteration from the Marshallese Pikinni (pʲi͡ɯɡɯ͡inʲːi), a construct of Pik (surface) + ni (coconut or surface of coconuts).  The alternative spelling is burqini.  Burkini is a noun; the noun plural is burkinis.    The name is proprietary and trademarked name (as Burkini and Burqini) owned by its inventor, Aheda Zanetti (b 1967), a Lebanese-born Australian fashion designer, so technically should be used with an initial capital in that context but lower-case is correct if used in the generic sense to describe similar swimwear.

Lindsay Lohan in burkini, Thailand, April 2017.  Note the exposed feet which would have attracted the disapprobation of Afghan Taliban’s Ministry for the Promotion of Virtue and Prevention of Vice.

Although most associated with those who adopt the style for religious reasons, it works functionally for anyone seeking to maximise skin protection.  The suits are made of SPF50+ fabric, generally using a finely-knit polyester swimsuit fabric rather than the heavier neoprene used for wetsuits.  The design is intended to respect Islamic traditions of modest dress but its acceptability is debated; few Muftis have seemed impressed and no Ayatollah is known to have commented although it’s known influential Hanafi scholars at Al-Azhar University in Cairo, Egypt, reject full-body swimsuits as allowable wear in mixed company.  Appeal is however cross-cultural; burkinis proving popular in Israel, among both Jewish-Haredi and Muslims and there is the functional appeal, especially for those with fair skin, of protection from harsh sun.  In France, where there had been controversy since 2009, in 2016 a number of French municipalities banned the burkini, citing concerns about the repression of women.  The Burkini was released in 2004, following Zanetti’s earlier creation, the Hijood (a portmanteau of hijab and hood) designed permit participation in sports by Muslim girls whose practice of observance didn’t allow the clothing traditionally used in the West.