Mystique

Mystique (pronounced mi-steek)

(1) A framework of doctrines, ideas, beliefs, or the like, constructed around a person or object, endowing the person or object with enhanced value or profound meaning:

(2) The aura of mystery (real, imagined or confected) or mystical power surrounding a particular occupation or pursuit:

1891: A borrowing by English in the sense of “atmosphere of mystery and veneration”, from the French noun & adjective mystique (a mystic; the act of a mystic; the mystical), from the Latin mysticus, from the Ancient Greek μυστικός (mustikós) (secret, mystic), from μύστης (mústēs) (one who has been initiated).  Mystique is a noun; the noun plural is plural mystiques.

A Dangerous Liaison (2008) by Carole Seymour-Jones (1943-2015).

When Le Deuxième Sexe (The Second Sex (1949)) was published by French feminist and social theorist Simone de Beauvoir (1908–1986), it was recognized almost at once as a landmark in feminist thought but it was in the twenty-first century re-evaluated when gender came to be re-defined as a spectrum rather than a binary.  Of particular interest was de Beauvoir’s mapping of existentialist thought on to the matter, asserting that being a woman was a construct, something obviously dependent on being born female but the product of processes integral to a society in which women had been defined as inferior to men, a tradition she traces back centuries.  The Second Sex and Germaine Greer’s (b 1939) The Female Eunuch (1970) remain the two most important texts of late twentieth century feminism.  De Beauvoir is one of those writers who led a life which many choose to entangle with what she wrote but The Second Sex is best read by allowing the words to prevail.  

However, the complexity of The Second Sex, infused as it was with strands of French structuralism, meant that it lacked accessibility unless a reader had some background in certain philosophical traditions and it was American feminist Betty Friedan’s (1921–2006) The Feminine Mystique (1963) which, by sheer weight of numbers, proved the greater influence politically, many claiming still it was the work responsible for the emergence of second wave feminism.  The Feminine Mystique is by comparison a slight work and although not of excessive length, is thematically repetitious and can be deconstructed as a long social media post about one woman’s discontent with her life, something to which she (not without justification) links the structure of the patriarchal society in which she exists.  That made it a compelling polemic for the receptive millions of women who read it as their own biographies and ensured its success but it also lent second-wave feminism (which greatly the book at least influenced) a distinctly white, Western, middle-class flavor which asked many of the right questions but ignored (rather than deliberately excluded) most of what lay beyond that fashionable but narrow cultural vista.

Jane Birkin and the mystique of the Birkin Bag

Jane Birkin (with her usual straw bag) and Serge Gainsbourg (1928-1991) at the premiere of their film Slogan, August 1969.

One well-known example of manufactured mystique is that attached to the Birkin Bag manufactured by the French fashion house Hermès, the origin of which was a chance meeting in 1984 on Paris-London shuttle flight between the English actress Jane Birkin (1946-2023) and Jean-Louis Dumas (1938-2010), then executive chairman Hermès.  Ms Birkin was placing her usual straw bag in the overhead locker when “everything fell out” her belongings scattering over her and Monsieur Dumas.  The inevitable conversation ensued and the pair thrown together by circumstances spent the brief flight designing Ms Birkin’s ideal leather bag for weekend travel, the airline’s sick bags improbably used for the first sketches.  Within months, the Birkin was a Hermès part-number.

Although in her later years Ms Birkin ceased to carry one (it became “just too heavy"), over the last four decades, the Birkin has become a coveted item, much sought by those attracted by its association with pop-culture celebrities and the price-tag which begins somewhere over US$10,000 and can, for a custom unit, extend into six figures.  Although the Birkin range is advertized both in the glossy catalogues and on-line, it’s not a “display item” carried on the shelves of the bricks & mortar stores and it’s long been part of the product’s image that as well as being PoA (price on application), they’re not “for everyone”, Hermès selling them only to someone “suitable”; it’s all part of the mystique.  There has long been speculation about how “real” this mystique may be, the suspicion being that if anyone offers cold hard cash (or its modern equivalent), a store manager would think of their end-of-year bonus and make the sale.  However, in March 2024, two disgruntled (rejected) Birkin customers filed suit in Federal court in California, alleging Hermès was in violation of US antitrust legislation by allowing only those with a “sufficient purchase history” with the company to bag a Birkin.  Essentially, the case hinges on the lure of the right to buy a Birkin being used as an inducement to spend money on shoes, jewellery, scarves and such, the carrot of the bag dangled while the stick is used to force folk to create a “purchase history”.  The suit also noted the company’s sales associates are driving the scheme, thereby gaining benefits for both themselves and Hermès, an important technical point in US antitrust law.

Hermès Birkin 3-en-1: "(1) a canvas clutch topped with the emblematic leather flap, (2) A leather tote with side straps & turnlock and (3) A clutch & tote together recreate the eternal Birkin."  The 3-en-1 is one of many current designs in the range.

Interestingly, it was further alleged the floor staff don’t earn commissions on Birkin bag sales and are instructed to use the handbags only as a device “…to coerce consumers to purchase ancillary products” while only “…those consumers who are deemed worthy of purchasing a Birkin handbag will be shown a Birkin handbag” in a private viewing room.”  Any civilian (ie a non-celebrity or not someone identified as rich) walking into the store and asking to see a Birkin is told they’re “out of stock”.  The lawsuit requested class-action status for thousands of US consumers who bought Hermès goods or were asked to buy them as a prerequisite for buying a Birkin and sought unspecified monetary damages and a court order banning Hermès’s allegedly anti-competitive practices.

A certain, brutish mystique: 1974 Holden Torana L34.

Restrictions on a right to purchase are not unusual.  Ferrari have specified that some of their low-volume models are available only to previous customers and that has sometimes demanded the prior purchase of more than one of the Italian machines.  Whether apocryphal or not, the story is that on more than one occasion, upon being informed of the clause, the buyer would at random pick a Ferrari from the showroom stock and buy it, just to qualify.  Somewhat down the food chain, in 1974 when quietly Holden in Australia introduced their L34 option (a homologation package to ensure certain parts could be used in racing) for the Torana SL/R 5000, although the thing could be registered for road use, it was specified it could be bought only by holders of a certain level of competition licence issued by CAMS (Confederation of Australian Motor Sport).  That policy was a pre-emptive strike to ensure there would be no repetition of the moral panic stirred up two years earlier by the tabloid press which claimed the three local manufacturers were selling “160 mph (257 km/h) supercars” to the public, summoning the fear of the usual suspects (males aged 17-25) unleashing these lethal weapons on public roads.  As was often the case in moral panics, the tabloids were being economical with the truth but their campaign spooked the politicians and the manufacturers, the new generation of high-performance machinery swiftly cancelled.  Ironically, when tested, it transpired the L34 package was about durability rather than power or speed and was actually a little slower than a standard SL/R 5000 but the exotic terms & conditions (T&Cs) certainly gained it some mystique.

The Mean Girls (2004) crew on DeviantArt by SBBeauregarde in cosplay mode: Marvel Comics' Mystique.

The Mystique de la Merde 

The word mystique even has a place in what must be one of the darker corners of literary theory.  The term Mystique de la Merde dates from September 1956 when an article by Robert Elliot Fitch (1902-1986) was published in the New Republic.  Fitch was a Congregationalist minister who graduated successively from Yale (1923), the Union Theological Seminary (1926) and Columbia (1929), later becoming a professor of Christian ethics and dean of Berkeley's Pacific School of Religion but he was interested also in literary theory, often as a device by which he could explore the decline in Western society associated with God’s withdrawal from the place.  Fitch’s Mystique de la Merde wasn’t literally “the mystique of shit” but a description of what he detected in literature (and therefore life in general) as “a preoccupation with the seamier, muddier, bloodier aspects of life, as well as, excessively, with sex and money.”  Befitting the decline of civilization, Mystique de la Merde was a deliberately more vulgar version of Nostalgie de la boue (nostalgia for mud), a phrase coined in 1855 by French dramatist Émile Augier (1820–1889) meaning “an attraction for low-life culture, experience, and degradation (in individuals, institutions & culture).”

In his New Republic piece, Fitch started as he intended to continue: "…perhaps we should take note of a brand of piety which may best be characterized as the mystique de la merde. This might be rendered in English as the deification of dirt, or the apotheosis of ordure, or just plain mud mysticism.  At any rate it provides a label for a sectarian cult which appears to have attracted some of the best talent in contemporary literature."  He nominated Ernest Hemingway (1899–1961) as a founding father of the cult (he must have been tempted to call him the “high priest”) in whose writing he identified a surfeit of “…fertility, money, blood and iron."  One sex was stirred into that mix (as Hemmingway did), one has, as Fitch noted: all “…the basic ingredients of ultimate reality" as seen by the merde mystics.

Ernest Hemingway in Cuba, 1952.  F Scott Fitzgerald's (1896–1940) wife Zelda (1900–1948) described Hemmingway's novel The Sun Also Rises (1926) as "Bull fighting, bull slinging, and bullshit".  Had she lived, she may have found "Mystique de la Merde" a needless gloss.

Writing in the milieu of the beat generation writers, Fitch observed that in handling what clearly was a literary phenomenon, the critic was at some disadvantage because while writers could function on the “four letter [word] level”, “…the critic must stick to three-syllable words.”  He concluded, presumably not without regret, that: “When we have become honest, we discover that the reigning God is only a devil in disguise" and the real reason for this is that God “…has made us unhappy.”  He cites Mrs Evans in Eugene O'Neill’s (1888–1953) soliloquy heavy Strange Interlude (1928) who affirms that the only good thing is being happy: “I used to be a great one for worrying about what's God and what's devil, but I got richly over it… being punished for no sin but loving much.”  One suspects Fitch might have written a critique of the early twenty-first century with some relish.

Flounce & Ruffle

Flounce (pronounced flouns)

(1) To go with impatient or impetuous, exaggerated movements.

(2) To throw the body about spasmodically; flounder.

(3) An act or instance of flouncing; a flouncing movement.

(4) A strip of material gathered or pleated and attached at one edge, with the other edge left loose or hanging: used for trimming, as on the edge of a skirt or sleeve or on a curtain, slipcover etc.

1535–1545: Of obscure and contested origin.  Some sources suggest something akin to words from old dialectal Scandinavian forms such as the Norwegian flunsa (to hurry) or the Swedish flunsa (to plunge; to splash) but the first record of these is two centuries after the English is first documented.  Thus more preferred is a derivation of the obsolete Old French frounce (wrinkle), from the Germanic froncir (to wrinkle) and the eventual spelling in English was probably influenced by bounce.  Notions of "anger, impatience" began to adhere to the word during the eighteenth century although, as a noun of motion, use dates from the 1580s.  The use to describe “an ornamental gathered ruffle sewn to a garment by its top edge” (a kind of ruffle) was first noted in 1713, from the fourteenth century Middle English frounce (pleat, wrinkle, fold) from the Old French fronce & frounce (line, wrinkle; pucker, crease, fold) from the Frankish hrunkjan (to wrinkle), ultimately derived from the Proto-Germanic hrunk.  The plural is flounces.

Ruffle (pronounced ruhf-uhl)

(1) To destroy the smoothness or evenness of; to produce waves or undulations.

(2) In avian behaviour, for a bird to erect the feathers, usually to convey threat, defiance etc.

(3) To disturb, vex, or irritate; disturbance or vexation; annoyance; irritation; a disturbed state of mind; perturbation.

(4) Rapidly to turn the pages of a book.

(5) In the handling of playing cards, rapidly to pass cards through the fingers while shuffling.

(6) In tailoring, to draw up cloth, lace etc, into a ruffle by gathering along one edge.

(7) In military music, in the field of percussion, the low, continuous vibrating beating of a drum, quieter than a roll (also called a ruff).

(8) To behave riotously; an arrogantly display; a swagger (obsolete).

(9) In zoology, the connected series of large egg capsules, or oothecae, of several species of American marine gastropods of the genus Fulgur.

1250-1300: From Middle English ruffelen, possibly from the Old Norse hruffa & hrufla (to graze, scratch) or the Middle Low German ruffelen (to wrinkle, curl) but beyond that the origin is unknown.  It was related to the Middle Dutch ruyffelen and the German & Low German ruffeln.  The meaning "disarrange" (hair or feathers) dates from the late fifteenth century; the sense of "annoy, distract" is from the 1650s.  As one could become ruffled, so too one be unruffled, that adjectival form dating from the 1650s.  The literal meaning, in reference to feathers, leaves and such was first recorded in 1816.

The use in dressmaking to describe “an ornamental frill" is attested from 1707, derived from the verb ruffle.  Related stylistically to the ruffle is the ruff in the sense of the large, stiffly starched collar especially common in the seventeenth century, a style which dated from the 1520s; used originally in reference to sleeves, it came to be applied to collars after the 1550s, almost certainly a a shortened form of ruffle which described something physically much bigger.  As applied to playing cards, it’s actually a separate word, dating from the 1580s, from a former game of that name.  In this context, word is from the French roffle, from the early fifteenth century romfle, from the Italian ronfa, possibly a corruption of trionfo (triumph).  The game was popular between 1590-1630.  The now obsolete sense of an arrogant display or swagger is from the fifteenth century and the origin is obscure but may related to some perception of those who wore ruffs or ruffles.  The meaning as used in the percussion section of military bands is from 1715–1725 and may have been imitative of the drum sound.

The verbs (used without object) are ruffled & ruffling, ruffly is an adjective and ruffler a noun.  Synonyms (though sometimes overlapping or inaccurately applied) as applied to fabrics include strip (of fabric), frill, pleat & furbelow.  As applied to the state of mind there’s disarrange, disorder, wrinkle, rumple, disturbance, agitation, commotion, flurry & perturbation.  The plural is ruffles.

Consciously or not, designers can find themselves adding to whatever post-modernism now is.  Whether overlap or irony, when it hard to work out where the ruffle ends and the flounce begins, think of it all as frills.   

Describing various flavors of embellishment, flounce and ruffle have long been used interchangeably but in the narrow technical sense they’ve never been synonymous.  A ruffle is a piece of material gathered, usually at the top, the fullness extending the entire length of the fabric, while a flounce tends to flare, almost always smooth at the top and wider and fuller towards the bottom.  In dressmaking, as in any engineering discipline, terminological exactitude should be encouraged because one would be disappointed to receive ruffles if one really wanted a bit of flounce.  For those for who the distinction seems abstract, all such creations can be regarded as just “frilly” although, even within the industry, there are those who call flounces “circular ruffles”.

Lindsay Lohan in a ruffled dress.

As a general principle, a ruffle is created by the manipulation of a piece of fabric cut in the shape of a rectangle.  Actual geometric precision is not required because depending on the garment and the effect desired, the shape may vary but it will at least tend towards the rectangular.  The technique is to gather the fabric at the top into a smaller area; when this is sewn into a seam line, typically at the waist or neck-line, the pleats created by the gather will fall naturally, the swishing movement inherent in the fullness of the fabric being the ruffle.  The outcome is determined by the fabric’s relationship of width and length and the weight and type of material used.

The first ruffles were probably nothing to do with fashion but merely a layered appendage to protective clothing, usually as a form of water-proofing.  In the decorative sense, although antecedents can be identified in ancient Egyptian art, in their modern form they appeared first in the mid-fifteenth century as attachments to the collars of chemises which, as happens in fashion, grew in shape and complexity into the large and elaborated ruffled constructions associated with Tudor England.  Since, although the flow and flourish has waxed and waned, the ruffle has never really gone away, despite the wishes of those who prefer more austere lines.

Lindsay Lohan in a flounce dress.

The construction of a flounce differs in that the pattern tends always towards the circular, the cut technically the shape of a donut although those both ambitious and skillful can render flounces used both irregular and more complex curves although one often under-appreciated factor in success is the weight and flexibility of the material chosen: the outcome is determined by depth of the curve, the width of the fabric and the weight and type of material used.  For a flounce successfully to work, it needs to “flounce” and the movement can be influenced as much by weight as cut.  It’s the inner edge of the donut which, without any gather, is sewn into the seam while the outside edge of becomes the fullness at the hem, the volume created by virtue of the longer line.  Because the inner edge is so much shorter, there’s not the same need to gather so the results tends to be soft billows of fabric rather than pleats.  The same technique can be used to create a layered effect where the material flares out not at all but instead follow the line of the garment; this is achieved by a cut where the inner edge is much closer in length to the outer so the shape is closer to a crescent. 

There being a geometric limit to the degree of flouncing that can be achieved for the cut alone, it’s possible further to exaggerate the effect with the insertion of a godet (from the Middle French godet, from the Dutch kodde (a piece of cylindrical wood), a wedge-shaped section of fabric which deepens the floating wave at the hem without adding to the bulk gathered at the point of attachment.

The flounced and ruffled neckline: Salma Hayek demonstrates the difference.  Salma Hayek’s fine choice of clutch purses always catches the eye.

Ruffles and flounces are most associated with a wrap which extends around the garment but variations of the shape of the cuts and the techniques of attachment are used whenever something voluminous needs to be attached. Flounced and ruffled necklines and sleeves use the same rectangle versus donut model as the larger interpretations.

Mini

Mini (pronounce min-ee)

(1) A skirt or dress with a hemline well above the knee, popular since the 1960s.

(2) A small car, build by Austin, Morris, associated companies and successor corporations between 1959-2000.  Later reprised by BMW in a retro-interpretation.

(3) As minicomputer, a generalized (historic) descriptor for a multi-node computer system smaller than a mainframe; the colloquial term mini was rendered meaningless by technological change (Briefly, personal computers (PC) were known as micros).

(4) A term for anything of a small, reduced, or miniature size.

Early 1900s: A shorted form of miniature, ultimately from the Latin minium (red lead; vermilion), a development influenced by the similarity to minimum and minus.  In English, miniature was borrowed from the late sixteenth century Italian miniatura (manuscript illumination), from miniare (rubricate; to illuminate), from the Latin miniō (to color red), from minium (red lead).  Although uncertain, the source of minium is thought to be Iberian; the vivid shade of vermilion was used to mark particular words in manuscripts.  Despite the almost universal consensus mini is a creation of twentieth-century, there is a suggested link in the 1890s connected with Yiddish and Hebrew.

As a prefix, mini- is a word-forming element meaning "miniature, minor", again abstracted from miniature, with the sense presumed to have been influenced by minimum.  The vogue for mini- as a prefix in English word creation dates from the early 1960s, the prime influences thought to be (1) the small British car, (2) the dresses & skirts with high-hemlines and (3) developments in the hardware of electronic components which permitted smaller versions of products to be created as low-cost consumer products although there had been earlier use, a minicam (a miniature camera) advertised as early as 1937.  The mini-skirt (skirt with a hem-line well above the knee) dates from 1965 and the first use of mini-series (television series of short duration and on a single theme) was labelled such in 1971 and since then, mini- has been prefixed to just about everything possible.  To Bridget Jones (from Bridget Jones's Diary (1996) a novel by Helen Fielding (b 1958)), a mini-break was a very short holiday; in previous use in lawn tennis it referred to a tiebreak, a point won against the server when ahead.

Jean Shrimpton and the mini-skirt

Jean Shrimpton, Flemington Racecourse, Melbourne, 1965.

The Victorian Racing Club (VRC) had in 1962 added Fashions on the Field to the Melbourne’s Spring Racing Carnival at Flemington and for three years, women showed up with the usual hats and accessories, including gloves and stockings, then de rigueur for ladies of the Melbourne establishment.  Then on the VRC’s Derby Day in 1965, English model Jean Shrimpton (b 1942) wore a white mini, its hem a daring four inches (100 mm) above the knee.  It caused stir.

The moment has since been described as the pivotal moment for the introduction of the mini to an international audience which is probably overstating things but for Melbourne it was certainly quite a moment.  Anthropologists have documented evidence of the mini in a variety of cultures over the last 4000 odd years so, except perhaps in Melbourne, circa 1965, it was nothing new but that didn’t stop the fashion industry having a squabble about who “invented” the mini.  French designer André Courrèges (1923-2016) explicitly claimed the honor, accusing his London rival to the claim, Mary Quant (b 1930) of merely “commercializing it”.  Courrèges had shown minis at shows in both 1964 and 1965 and his sketches date from 1961.  Quant’s designs are even earlier but given the anthropologists’ findings, it seems a sterile argument.

Minimalism: Lindsay Lohan and the possibilities of the mini.

The Mini

1962 Riley Elf.

The British Motor Corporation (BMC) first released their Mini in 1959, the Morris version called the Mini Minor (a link to the larger Minor, a model then in production) while the companion Austin was the Seven, a re-use of the name of a tiny car of the inter-war years.  The Mini name however caught on and the Seven was re-named Mini early in 1962 although the up-market (and, with modifications to the body, slightly more than merely badge-engineered) versions by Riley and Wolseley were never called Mini, instead adopting names either from or hinting at their more independent past: the Elf and Hornet respectively.  The Mini name was in 1969 separated from Austin and Morris, marketed as stand-alone marque until 1980 when the Austin name was again appended, an arrangement which lasted until 1988 when finally it reverted to Mini although some were badged as Rovers for export markets.  The Mini remained in production until 2000, long before then antiquated but still out-lasting the Metro, its intended successor.

1969 Austin Maxi 1500.

The allure of the Mini name obviously impressed BMC.  By 1969, BMC had, along with a few others, been absorbed into the Leyland conglomerate and the first release of the merged entity was in the same linguistic tradition: The Maxi.  A harbinger of what was to come, the Maxi encapsulated all that would go wrong within Leyland during the 1970s; a good idea, full of advanced features, poorly developed, badly built, unattractive and with an inadequate service network.  The design was so clever that to this day the space utilization has rarely been matched and had it been a Renault or a Citroën, the ungainly appearance and underpowered engine might have been forgiven because of the functionality but the poor quality control, lack of refinement and clunky aspects of some of the drivetrain meant success was only ever modest.  Like much of what Leyland did, the Maxi should have been a great success but even car thieves avoided the thing; for much of its life it was reported as the UK's least stolen vehicle.          

1979 Vanden Plas Mini (a possibly "outlaw" project by Leyland's outpost in South Africa).

Curiously, given the fondness of BMC (and subsequently Leyland) for badge-engineering, there was never an MG version of the Mini (although a couple of interpretations were privately built), the competition potential explored by a joint-venture with the Formula One constructors, Cooper, the name still used for some versions of the current BMW Mini.  Nor was there a luxury version finished by coachbuilders Vanden Plas which, with the addition of much timber veneer and leather to vehicles mundane, provided the parent corporations with highly profitable status-symbols with which to delight the middle-class.  There was however a separate development by Leyland's South African operation (Leykor), their Vanden Plas Mini sold briefly between 1978-1979 although the photographic evidence suggests it didn’t match the finish or appointment level of the English-built cars which may account for the short life-span and it's unclear whether the head office approved or even knew of this South African novelty prior to its few months of life.   In the home market, third-party suppliers of veneer and leather such as Radford found a market among those who appreciated the Mini's compact practicality but found its stark functionalism just too austere. 

The Twini

Mini Coopers (1275 S) through the cutting, Mount Panorama, Bathurst, Australia, 1966.

In that year's Gallaher 500, Mini Coopers finished first to ninth.  It was the last occasion on which anything with a naturally-aspirated four-cylinder engine would win the annual endurance classic, an event which has since be won on all but a handful of occasions by V8-powered cars (memorably a V12 Jaguar XJS triumphed in 1985 when Conrod Straight was still at it full length), a statistic distorted somewhat by the rule change in 1995 which stipulated only V8s were allowed to run.    

Although it seemed improbable when the Mini was released in 1959 as a small, utilitarian economy car, the performance potential proved extraordinary; in rallies and on race tracks it was a first-rate competitor for over a decade, remaining popular in many forms of competition to this day.  The joint venture with the Formula One constructor Cooper provided the basis for most of the success but by far the most intriguing possibility for more speed was the model which was never developed beyond the prototype stage: the twin-engined Twini.

Prototype twin-engined Moke while undergoing snow testing, 1962.

It wasn’t actually a novel approach.  BMC, inspired apparently by English racing driver Paul Emery (1916–1993) who in 1961 had built a twin-engined Mini, used the Mini’s underpinnings to create an all-purpose cross-country vehicle, the Moke, equipped with a second engine and coupled controls which, officially, was an “an engineering exercise” but had actually been built to interest the Ministry of Defence in the idea of a cheap, all-wheel drive utility vehicle, so light and compact it could be carried by small transport aircraft and serviced anywhere in the world.  The army did test the Moke and were impressed by its capabilities and the flexibility the design offered but ultimately rejected the concept because the lack of ground-clearance limited the terrain to which it could be deployed.  Based on the low-slung Mini, that was one thing which couldn’t easily be rectified.  Instead, using just a single engine in a front-wheel-drive (FWD) configuration, the Moke was re-purposed as a civilian model, staying in production between 1964-1989 and offered in various markets.  Such is the interest in the design that several companies have resumed production, including in electric form and it remains available today.

Cutaway drawing of Cooper’s Twini.

John Cooper (1923-2000), aware of previous twin-engined racing cars,  had tested the prototype military Moke and immediately understood the potential the layout offered for the Mini (ground clearance not a matter of concern on race tracks) and within six weeks the Cooper factory had constructed a prototype.  To provide the desired characteristics, the rear engine was larger and more powerful, the combination, in a car weighing less than 1600 lb (725 kg), delivering a power-to-weight ratio similar to a contemporary Ferrari Berlinetta and to complete the drive-train, two separate gearboxes with matched ratios were fitted.  Typically Cooper, it was a well thought-out design.  The lines for the brake and clutch hydraulics and those of the main electrical feed to the battery were run along the right-hand reinforcing member below the right-hand door while on the left side were the oil and water leads, the fuel supply line to both engines fed from a central tank.  The electrical harness was ducted through the roof section and there was a central throttle link, control of the rear carburetors being taken from the accelerator, via the front engine linkage, back through the centre of the car.  It sounded intricate but the distances were short and everything worked.

Twini replica.

John Cooper immediately began testing the Twini, evaluating its potential for competition and as was done with race cars in those happy days, that testing was on public roads where it proved to be fast, surprisingly easy to handle and well-balanced.  Unfortunately, de-bugging wasn't complete and during one night session, the rear engine seized which resulting in a rollover, Cooper seriously injured and the car destroyed.  Both BMC and Cooper abandoned the project because the standard Mini-Coopers were proving highly successful and to qualify for any sanctioned competition, at least one hundred Twinis would have to have been built and neither organization could devote the necessary resources for development or production, especially because no research had been done to work out whether a market existed for such a thing, were it sold at a price which guaranteed at least it would break even.

Twini built by Downton Engineering.  Driven by Sir John Whitmore (1937– 2017) &  Paul Frère (1917–2008) in the 1963 Targa Florio, it finished 27th and 5th in class.

The concept however did intrigue others interested in entering events which accepted one-offs with no homologation rules stipulating minimum production volumes.  Downton Engineering built one and contested the 1963 Targa Florio where it proved fast but fragile, plagued by an overheating rear-engine and the bugbear of previous twin-engined racing cars: excessive tire wear.  It finished 27^th (and last) but it did finish, unlike some of the more illustrious thoroughbreds which fell by the wayside.  Interestingly, the Downton engineers choose to use a pair of the 998 cm³ (61 cubic inch) versions of the BMC A-Series engine which was a regular production iteration and thus in the under-square (long stroke) configuration typical of almost all the A-Series.  The long stroke tradition in British engines was a hangover from the time when the road-taxation system was based on the cylinder bore, a method which had simplicity and ease of administration to commend it but little else, generations of British engines distinguished by their dreary, slow-revving characteristics.  The long stroke design did however provide good torque over a wide engine-speed range and on road-course like the Targa Florio, run over a mountainous Sicilian circuit, the ample torque spread would have appealed more to drivers than ultimate top-end power.  For that reason, although examples of the oversquare 1071 cm³ (65 cubic inch) versions were available, it was newly developed and a still uncertain quantity and never considered for installation.  The 1071 was used in the Mini Cooper S only during 1963-1964 (with a companion 970 cm³ (61 cubic inch) version created for use in events with a 1000 cm³ capacity limit) and the pair are a footnote in A-Series history as the only over-square versions released for sale

Twin-engined BMW Mini (Binni?).

In the era, it’s thought around six Twinis were built (and there have been a few since) but the concept proved irresistible and twin-engined versions of the "new" Mini (built since 2000 by BMW) have been made.  It was fitting that idea was replicated because what was striking in 2000 when BMW first displayed their Mini was that its lines were actually closer to some of the original conceptual sketches from the 1950s than was the BMC Mini on its debut.  BMW, like others, of course now routinely add electric motors to fossil-fuel powered cars so in that sense twin (indeed, sometimes multi-) engined cars are now common but to use more than one piston engine remains rare.  Except for the very specialized place which is the drag-strip, the only successful examples have been off-road or commercial vehicles and as John Cooper and a host of others came to understand, while the advantages were there to be had, there were easier, more practical ways in which they could be gained.  Unfortunately, so inherent were the drawbacks that the problems proved insoluble.

Orthogonal

Orthogonal (pronounced awr-thog-uh-nl)

(1) Of, pertaining to or involving right angles; perpendicular

(2) In mathematics (sometimes as orthographic), pertaining to or involving right angles or perpendiculars.

(3) In mathematics, of a system of real functions defined so that the integral of the product of any two different functions is zero; of a system of complex functions defined so that the integral of the product of a function times the complex conjugate of any other function equals zero.

(4) In mathematics, of two vectors having an inner product equal to zero.

(5) In mathematics, of a linear transformation defined so that the length of a vector under the transformation equals the length of the original vector.

(6) In mathematics (and applied fields such as engineering or statistics), of a square matrix defined so that its product with its transpose results in the identity matrix.

(7) In crystallography, referable to a rectangular set of axes.

(8) Figuratively, something having no bearing on the matter at hand; independent of or irrelevant to another thing or each other.

(9) In art, (1) the descriptor of the lines of perspective which can be mapped onto an image pointing to the vanishing point & (2) in the literature of art criticism a technical term which refers to work consisting exclusively of horizontal or vertical line and thus angles which, if they exist, are right angles.

1565–1575: From (the now obsolete) orthogonium (right triangle), from the French orthogonal, from either the Late Latin orthogōnium & orthogōnālis, from the Latin orthogōnius (right-angled).or directly from the Greek orthogṓnion (neuter) (right-angled), the construct being ortho- + -gōn(ion) + -al.  Ortho- (straight, correct; proper), was from the Ancient Greek ὀρθός (orthós), from the Proto-Hellenic ortwós, from the primitive Indo-European hr̥dwós, from herd- (upright) and was cognate with the Latin arduus and the Sanskrit ऊर्ध्व (ūrdhvá).  The –gon element was from the Ancient Greek γωνία (gōnía) (corner, angle), from the primitive Indo-European ǵónu (knee).  The -al suffix was from the Middle English -al, from the Latin adjectival suffix -ālis, or the French, Middle French and Old French –el & -al.  It was use to denote the sense "of or pertaining to", an adjectival suffix appended (most often to nouns) originally most frequently to words of Latin origin, but since used variously and also was used to form nouns, especially of verbal action.  The alternative form in English remains -ual (-all being obsolete).  Orthogonal is a noun & adjective, orthogonality & orthogonalization are nouns and orthogonally & orthonormal are adverbs; the noun plural is orthogonals.

As adjectives, orthogonal & orthographic are synonymously and the choice is dictated by preference, habit or the rhythm of the text although, to avoid confusion, they probably shouldn’t both be used in the same document.  The Ancient Greek ὀρθογώνιον (orthogṓnion) and the Classical Latin orthogonium originally denoted a rectangle and it was in this sense the words were used by the early mathematicians although the use was later extended to mean a right triangle.  By the twelfth century (especially among engineers and architects) the post-Classical Latin orthogonalis came to mean a right angle or something related to a right angle.  In the modern era, in science and mathematics, derived forms have been coined as required (biorthogonal, psuedo-orthogonal et al) and there’s also the mysterious semiorthogonal which would seem oxymoronic given orthogonal is a description of a mathematically defined absolute.  In figurative use, orthogonal is used to suggest something is unrelated or irrelevant to whatever is being discussed but because it’s so rarely used outside of mathematics, engineering, architecture or art criticism, it’s probably a term to avoid though it may be worth a point or two in Philosophy 101.

Lindsay Lohan in an unusual cage cutout top, the lines assuming or relaxing from the orthogonal as the body moves (maybe an instance of "a shifting semiorthogonal"), The World's First Fabulous Fund Fair in aid of the Naked Heart Foundation, The Roundhouse, London, February 2015.  An opportunity was missed by not adding a sympathetic clutch purse.

Richard Nixon, the Franklins & the Orthogonians

When Richard Nixon (1913-1994; US president 1969-1974) attended Whittier College in California (1930-1934), it was still formally affiliated with the Religious Society of Friends (the Quakers), a link it would maintain until the post-war years.  However, in many ways it was little different to wholly secular institutions in the US (except that one hour a day in chapel was mandatory), including the fraternities and sororities, the still almost exclusively single-sex, student-run societies which were established on many a basis and have evolved variously although a number of the male-only ones often attract attention related to their epic levels of alcohol consumption.  As was the case with many colleges until recent decades, many of those which Richard Nixon found when he arrived had been formed as literary societies and while there were four sororities (for women), there was but one fraternity.

That was the Franklin Society which in 1921 had been the first fraternity founded at Whittier College, beginning as a literary society that based itself on the "virtues" espoused by US founding father and polymath (and confessed Freemason) Benjamin Franklin (1706-1790).  Nixon, then unpolished and obviously a shop-keeper’s son, thought them snobby and elitist, an opinion either form or reinforced when the Franklins rebuffed attempts to join and readily he accepted the suggestion be assume the presidency of the fraternity formed by other students resentful at being rejected by the Franklins.  This was the Orthogonians, the name (based on the now standard translation “right angles”) meaning “the straight shooters”, their motto an earthy “beans, brains, brawn and bowels”.  The Orthogonians did not enjoy the black tie lifestyle of the Franklins and weren’t invited to the best parties but several of Nixon’s biographers have traced from his fraternity experience many of the characteristics which would remain identifiable throughout this political career.  He learned that in life there are few stars but many supporting players and the man who can align himself with their interests you can gain their loyalty, something of real practical value in systems where everyone has one vote; it was the origin of his idea that elections and contests of ideas can be won by being appealing to the “silent majority”, something which would emerge as a political strategy during his presidency.  It taught him also that being hated was no obstacle to political success as long as one was hated by the right people, something he proved by beating the Franklin’s nominee for the position of student body president.  To this day, the Frankin’s website still boasts: “Among those who have been denied membership to this exclusive society is former president Richard Nixon.”  The Orthogoian Society still exists.

The master and the apprentice: Donald Trump and Richard Nixon, Houston, Texas, 1989.  It’s said the subject of Iran was raised in their discussions.

Some biographers have made much of the Franklin-Orthogonian contrast in the making of Nixon the younger.  In Nixonland (2008), Rick Perlstein’s (b 1969) thesis was that between 1965-1972, Nixon crafted a national conflict by exploiting the the mutual fear and hatred between the country’s elite Franklins and the “ordinary people, the Orthogonians.  Some criticized the approach but Nixonland was a vivid approach to the era in which the divisions in the US became more exposed than they had been for a century and which was a prelude to the cross-cutting cleavages which have for decades characterized the country’s politics.  Nixon didn’t invent the politics of resentment but he expressed them in a language more easily understood by even the unsophisticated and more offensive than ever to those he labeled “the elites”.  In their own ways, to their radically different constituencies, Bernie Sanders (b 1941; senior US senator (Independent, Vermont) since 2007) and Donald Trump (b 1946; US president 2017-2021) are both inheritors of the Nixon legacy, two Franklins telling the Orthogonians they’re here to help.

Dagger

Dagger (pronounced dag-er)

(1) A short, double-edged weapon with a pointed blade and a handle, used historically for personal protection in close combat (although some were weighted for throwing), but since the development of side-arms, increasing only for ceremonial purposes (many produced without sharpened edges).

(2) In typography a mark (†) used to indicate a cross reference, especially a footnote (also called obelisk).  The double dagger (‡) is also used.

(3) In sport and military strategy, a offence which thrusts deep into opposition territory on a short front.

(4) In glaciology, the long, conical ice-formations formed from drops of water (al la the stalactites in caves).

(5) In the slang of clinical medicine, anything that causes pain like a stabbing injury (typically, some sort of barb)

(6) In basketball & American football, a point scored near the end of the game (clutch time) to take or increase the scorer's team lead.

(7) In nautical architecture, as daggerboard, a retractable centre-board that slides out to act as a keel; a timber placed diagonally in a ship's frame.

(8) To stab with a dagger or similar bladed weapon (archaic).

(9) In typography, to mark with a dagger (obelisk).

1380s: From the Middle English daggere, daggare & dagard, probably an adaptation from the thirteenth century Old French dague (dagger), from the Old Provençal or Italian daga of obscure origin but related to the Occitan, Italian & Spanish daga, the Dutch dagge, the German Degen, the Middle Low German dagge (knife's point), the Old Norse daggarðr, the Danish daggert, the Faroese daggari, the Welsh dager & dagr, the Breton dac and the Albanian thikë (a knife, dagger) & thek (to stab, to pierce with a sharp object).  Etymologists have speculated on the source of dagger, some suggesting a Celtic origin.  Others prefer the unattested Vulgar Latin daca & dacian (knife) (the name from the Roman province), from the Classical Latin adjective dācus while an entry in an eighteenth century French dictionary held the French dague was from the German dagge & dagen (although not attested until much later).  More speculatively still is the notion of some link with the Old Armenian դակու (daku) (adze, axe), an alternative to which is some connection with the primitive Indo-European dāg-u-, suggesting something cognate with the Ancient Greek θήγω (thḗgō) (to sharpen, whet).  Dagger is a noun & verb, daggering is a noun & verb, daggerman & daggerpoint are nouns, daggerlike is an adjective and daggered is a verb; the noun plural is daggers.

Daggers drawn: Lindsay Lohan and Vanessa Lachey (née Minnillo, b 1980), staged shot, June, 2007.

The association of the dagger with knightly weaponry can be traced back to French writings in the twelfth century while the other Middle Latin forms included daga, dagga, dagha, dagger, daggerius, daggerium, dagarium, dagarius & diga (the words with the -r- being late fourteenth century adoptions of the English word.  The Oxford English Dictionary (OED) lists an English verb dag (to stab) from which dagger as a verb could be derived but the verb is attested only from the turn of the fifteenth century.  Long used as a weapon of personal protection, skilled sixteenth & seventeenth century swordsmen would use one in their other (usually left) hand to parry thrusts from the opponent's rapier.  It was a high-risk technique.  The use in texts as a reference mark (also called the obelisk) dates from 1706.  The wonderfully named “bollock dagger” was a dagger with a distinctively shaped shaft having two oval swellings at the guard resembling the male testes.  The polite term was “kidney dagger”.  An “ear dagger” was used in the late medieval period and gained the name from its distinctive, ear-shaped pommel.  In slang, to be “stabbed with a Bridport dagger” was to be executed by hanging, the origin of that being the district of Bridport in Dorset being a major producer of the hemp fibre used in the production of the ropes used by hangmen.  In idiomatic use, to “look daggers at” is to stare at someone angrily or threateningly, something one would do if “at daggers drawn” (in a state of open hostility) with them.

Lindsay Lohan in stiletto heels, February 2009.  Whether much would have changed in the fashion business if the style of heel had come to be known as "dagger" instead of "stiletto" is unlikely.

Other names for the short bladed weapon included stiletto & poniard.  Stiletto was from the Italian stiletto; doublet of stylet, the construct being stil(o) (dagger or needle (from the Latin stilus (stake, pens))) + -etto (-ette).  From the Latin stilus came also stelo, an inherited doublet.  Stilus was from the primitive Indo-European (s)teyg- (related to instīgō & instigare) and was cognate with the Ancient Greek στίζω (stízō) (to mark with a pointed instrument) and the Proto-Germanic stikaną (to stick, to stab).  Despite the similarity, there’s no relationship with the Ancient Greek στῦλος (stûlos) (a pillar).  The -etto suffix was from the Late Latin -ittum, accusative singular of –ittus and was an alternative suffix used to form melioratives, diminutives and hypocoristics.  The noun plural is either stilettos or stilettoes and stilettolike (appearing also as stiletto-like) is an adjective.  A technical adoption in law-enforcement and judicial reports were the verb-forms stilettoed & stilettoing, referring to a stabbing or killing with a stiletto-like blade.  It was a popular description used by police when documenting the stabbing by wives of husbands or boyfriends with scissors or kitchen knives; use faded in the early twentieth century.  The use of “stiletto heel” to describe the elegant, narrow high heel in women's shoes dates from as recently as 1953.  Poniard (a dagger or other short, stabbing weapon) dates from the 1580s and was from the early sixteenth century French poinard, from the Old French poignal (dagger (literally “anything grasped with the fist”)), from poing (fist), from the Latin pungus (a fist (a pugio being “a dagger”)), from a suffixed form of the primitive Indo-European root peuk- (to prick).  It’s thought it was probably altered in French by association with poindre (to stab).  It was used a verb from the turn of the seventeenth century in the sense of “to stab with or as if with a poniard”.

Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) in Luftwaffe Field Marshal’s uniform with baton and sword (1938, left) and in Luftwaffe General’s uniform with ceremonial dagger (right).  The baton would be replaced with an even more extravagant, jewel-encrusted creation when in 1940 he was appointed Reichsmarschall and it's now on display in the US Army's West Point Museum at Highland Falls, New York.  Convicted of war crimes and crimes against humanity, Göring was hanged in 1946. 

The dagger shown (right) is a standard 1935 issue for Luftwaffe officers.  Updated in 1937 and fashioned always with a 260 mm (10¼ inch) blade, the pommel and crossguard were aluminum, bearing the swastika (occasionally finished in anodized gold) on the pommel face with a Luftwaffe flighted eagle and swastika on the crossguard.  The grips were celluloid over a word base and in various production runs they were finished in colors ranging from pure white to a deep orange.  The scabbards were all in anodized grayish blue steel with a striped decoration on the body face with an oak leaf pattern on the face of the drag.  Worn suspended from straps bearing twin silver stripes on a dark grayish blue background with square buckles, it featured a short aluminum cord knot.  In an example of the expanding list of recipients entitled to wear a dagger, after 1940, authorization was extended to non-commissioned officers though without the portepee (the sword-knot which denoted an officer’s right to bear a sword).  The sword word by Göring (left) was a bespoke one-off manufactured by the Eickhorm company to mark his wedding on 10 April 1935.  The pommel was engraved with a facsimile of the Pour Le Merite (the “Blue Max”) Göring was awarded during his service as a pilot with the Jagdgeschwader 1 (better remembered as Manfred von Richthofen’s Flying Circus).

Germans have long adored uniforms and especially prized are the accessories, among the most distinctive of which are ceremonial daggers.  During the Third Reich, a period in which many institutions of state were increasingly re-ordered along military lines, the issuing of ceremonial daggers was at its most widespread and in addition to the expected recipients in the army, navy & air force, the SS, the SA, the Hitler Youth, the diplomatic service and the police, they were also part of the uniforms of organizations such as the fire department, the postal & telegraph service, the forest service, the labor service, the customs service the railway & waterways protective service and the miners association.  While it’s true that in Germany daggers had in the past been issued even to civilians, under the Nazis the scale and scope proliferated.

Masonic daggers.

Among their many mysterious rituals, the Freemasons also have their own lines of daggers which they claim are purely “ceremonial” but because all that they do is so shrouded in secrecy, the true nature of their purpose isn’t known.  It is however believed that the styles of daggers conferred reflect the grades and offices which evolved from the medieval craft guilds and presumably, the more exalted one’s place in the Masonic hierarchy, the more elaborate the dagger to which one is entitled.  Top of the pile in a Masonic Lodge is the Worshipful Master, other intriguing titles including Senior Warden, Junior Warden, Chaplain, Senior Deacon, Junior Deacon, Steward, Tyler, Mentor and Almoner.  Whether all get their own daggers or some share with others are among the many mysteries of Freemasonry.  Of the even more opaque Secret Society of the Les Clefs d’Or, nothing is known about whether their rituals include the use of daggers, ceremonial or otherwise.