Lavender

Lavender (pronounced lav-uhn-der)

(1) As a color, a pale bluish purple, similar to or variations of lilac & violet.

(2) Of or pertaining to something of the shade.

(3) In botany, any of the various Old World perennial shrubs or herbaceous plants or shrubs belonging to the genus Lavandula (family Lamiaceae (labiates)), of the mint family, especially Lavandula angustifolia, and cultivated for its spikes of fragrant mauve or blue flowers and as the source of a fragrant oil.

(4) The dried flowers or other parts of this plant placed among linen, clothes etc (usually in small, porous bags (called lavender bags)), for the scent or as a preservative.

(5) As lavender water (historically also called toilet water), a solution of oil of lavender, used sometimes as an aftershave.

(6) In informal use, of or relating to a homosexual orientation in men (archaic); an effeminate male (used as both noun & adjective).

(7) As lavender marriage, a type of marriage of convenience undertaken by gay man and lesbian women, often as a form of professional protection.

(8) In film production, a kind of film stock for creating positive prints from negatives as part of the process of duplicating the negatives (obsolete).

(9) A washer; one (especially a woman) who washes clothes (archaic).

(10) As a euphemism, a woman employed in prostitution or having loose morals (archaic).

(11) In sexual politics, an only briefly used and now obsolete descriptor: (1) pertaining to LGBT people and rights (as lavender collar which was replaced by rainbow collar (a reference to the gay pride flag)) and (2) a militant strain of lesbian feminism which opposed heterosexism.

1225–1275: From the Middle English lavendre, from the Anglo-French lavendre, from the Old French lavandiere (the lavender plant), from the tenth century Medieval Latin lavandārius & lavendula, a variant of livendula, a nasalized variant (unrecorded) of lividula (a plant livid in color).  The French forms may be from the Latin lividus (bluish; livid), but was certainly influenced by the French lavande and the Italian lavanda (a washing), from the Latin lavare (to wash), from the primitive Indo-European root leue- (to wash), the link being the flower being used to scent washed fabrics and as a bath perfume.  The Latin lavō (I wash, bathe; I wet, moisten) was from the Proto-Italic lawāō, from the primitive Indo-European lewhs (to wash).  It was cognates with the Ancient Greek λούω (loúō) & λοέω (loéō), the Albanian laj, the Old Armenian լոգանամ (loganam) and the Old English lēaþor (from which English gained lather).  Lavender is a noun & adjective, lavendering is a verb and lavendered is a verb & adjective; the noun plural is lavenders).

The adjective in the sense of “a pale purple color, of the color of lavender flowers” dates from 1840", the noun as a color noted since 1882.  The identical Middle English word meant both "laundress; washerwoman" and "prostitute, whore; camp follower", the origin of that probably being the roles being performed by the same personnel, one presumably before sunset, the other after.  In politics, lavender enjoyed a brief currency as (1) pertaining to LGBT people and rights (as lavender collar which was replaced by rainbow collar (a reference to the gay pride flag) and (2) a descriptor of a militant strain of lesbian feminism which opposed heterosexism.

Lindsay Lohan with lavender colored hair, smoking.

The surname does exist as Lavandar but the more common spelling is Lavender, regarded by genealogists as English but of early French origin.  Introduced by the Normans after the conquest of 1066 it is occupational and derived from lavandier, applied especially to workers in the wool industry employed to wash raw wool or rinse the cloth after fulling. Job-descriptive surnames originally denoted the actual occupation of the name-bearer and only later became hereditary when a son or perhaps a daughter followed the father into the same line of business.  The surname first recorded in 1273 on the “Hundred Rolls” of Cambridgeshire and the earliest known instance in the US record is from New York in 1846 although its likely (possibly with variations of spelling) there were earlier cases of immigration.  The first recorded spelling of the family name was la Lauendere which, dated 1253, was entered in the “Pipe Rolls” of Oxfordshire during the reign of Henry III (1207–1272; King of England 1216-1272) and over the centuries, in the British Isles, Europe, the US and the British Empire, the spelling evolved in several forks until the modern Lavender emerged as the most common.

Wedding day of film star Rock Hudson (1925–1985) & Phyllis Gates (1925–2006), Santa Barbara, California, 9 November 1955.They separated in 1957, the divorce granted the next year.

A lavender marriage is one between a man and woman undertaken as a marriage of convenience to conceal the socially stigmatized sexual orientation of one partner or both.  The color lavender had an association with gay men going back centuries and it’s thought the origin was based on the idea of a shade somewhere between pink (girl) & blue (boy).  Although there’s much evidence to suggest there’s a long tradition of the practice in many cultures, the term “lavender marriage” seems to date only from 1895 and came into wide use only in the mid twentieth century where it was used almost exclusively, knowingly to describe marriages in the Hollywood film industry between couples known not to be straight.  In some cases the marriages were a professional necessity because of contracts of employment which essentially proscribed all aspects of homosexuality.  Although in the west the structural reasons for lavender marriages have substantially been dismantled, they are known still to occur, especially in communities where social mores reflect the less progressive views of their countries of ethnic origin.

Ultracrepidarian

Ultracrepidarian (pronounced uhl-truh-krep-i-dair-ee-uhn)

Of or pertaining to a person who criticizes, judges, or gives advice outside their area of expertise

1819: An English adaptation of the historic words sūtor, ne ultra crepidam, uttered by the Greek artist Apelles and reported by the Pliny the Elder.  Translating literally as “let the shoemaker venture no further” and sometimes cited as ne supra crepidam sūtor judicare, the translation is something like “a cobbler should stick to shoes”.  From the Latin, ultra is beyond, sūtor is cobbler and crepidam is accusative singular of crepida (from the Ancient Greek κρηπίς (krēpís)) and means sandal or sole of a shoe.

Ultracrepidarianism describes the tendency among some to offer opinions and advice on matters beyond their competence.  The word entered English in 1819 when used by English literary critic and self-described “good hater”, William Hazlitt (1778–1830), in an open letter to William Gifford (1756–1826), editor of the Quarterly Review, a letter described by one critic as “one of the finest works of invective in the language” although another suggested it was "one of his more moderate castigations" a hint that though now neglected, for students of especially waspish invective, he can be entertaining.  The odd quote from him would certainly lend a varnish of erudition to trolling. 

Ultracrepidarian comes from a classical allusion, Pliny the Elder (circa 24-79) recording the habit of the famous Greek painter Apelles (a fourth century BC contemporary of Alexander the Great (Alexander III of Macedon, 356-323 BC), to display his work in public view, then conceal himself close by to listen to the comments of those passing.  One day, a cobbler paused and picked fault with Apelles’ rendering of shoes and the artist immediately took his brushes and pallet and touched-up the errant sandal’s straps.  Encouraged, the amateur critic then let his eye wander above the ankle and suggested how the leg might be improved but this Apelles rejected, telling him to speak only of shoes and otherwise maintain a deferential silence.  Pliny hinted the artist's words of dismissal may not have been polite.

So critics should comment only on that about which they know.  The phrase in English is usually “cobbler, stick to your last” (a last a shoemaker’s pattern, ultimately from a Germanic root meaning “to follow a track'' hence footstep) and exists in many European languages: zapatero a tus zapatos is the Spanish, schoenmaker, blijf bij je leest the Dutch, skomager, bliv ved din læst the Danish and schuster, bleib bei deinen leisten, the German.  Pliny’s actual words were ne supra crepidam judicaret, (crepidam a sandal or the sole of a shoe), but the idea is conveyed is in several ways in Latin tags, such as Ne sutor ultra crepidam (sutor means “cobbler”, a word which survives in Scotland in the spelling souter).  The best-known version is the abbreviated tag ultra crepidam (beyond the sole), and it’s that which Hazlitt used to construct ultracrepidarian.  Crepidam is from the Ancient Greek κρηπίς (krēpís) and has no link with words like decrepit or crepitation (which are from the Classical Latin crepare (to creak, rattle, or make a noise)) or crepuscular (from the Latin word for twilight); crepidarian is an adjective rare perhaps to the point of extinction meaning “pertaining to a shoemaker”.

Jackson Pollock (1912-1956): Blue Poles

In 1973, when a million dollars was a still lot of money, the National Gallery of Australia, a little controversially, paid Aus$1.3 million for Jackson Pollock’s Number 11, 1952, popularly known as Blue Poles since it was first exhibited in 1954, the new name reputedly chosen by the artist.  It was some years ago said to be valued at up to US$100 million but, given the last decade's increase in the money supply (among the rich who trade this stuff), that estimate may now be conservative.

Number 11 (Blue poles, 1952), Oil, enamel and aluminum paint with glass on canvas

Blue Poles emerged during Pollock’s "drip period" (1947-1950), a method which involved techniques such throwing paint at a canvas placed on the floor.  The art industry liked these (often preferring the more evocative term "action painting") and they remain his most popular works, although at this point, he abandoned the dripping and moved to his “black porings phase” a darker, simpler style which didn’t attract the same commercial interest.  He later returned to more colorful ways but his madness and alcoholism worsened.  Pollock (1912-1956) died in a drink-driving accident.

Alchemy (1947), Oil, aluminum, alkyd enamel paint with sand, pebbles, fibers, and broken wooden sticks on canvas

Although the general public remained uninterested or sceptical, there were critics, always drawn to a “troubled genius”, who praised Pollock’s work and the industry approves of any artist who (1) had the decency to die young and (2) produced stuff which can sell for millions.  New York art historian and curator Helen A Harrison (now director of the Pollock-Krasner House and Study Centre) is an admirer, noting the “pioneering drip technique…” which “…introduced the notion of action painting", where the canvas became the space with which the artist actively would engage”.  As a thumbnail sketch she offered:

Number 14: Gray (1948), Enamel over gesso on paper

“Reminiscent of the Surrealist notions of the subconscious and automatic painting, Pollock's abstract works cemented his reputation as the most critically championed proponent of Abstract Expressionism. His visceral engagement with emotions, thoughts and other intangibles gives his abstract imagery extraordinary immediacy, while his skillful use of fluid pigment, applied with dance-like movements and sweeping gestures that seldom actually touched the surface, broke decisively with tradition. At first sight, Pollock's vigorous method appears to create chaotic labyrinths, but upon close inspection his strong rhythmic structures become evident, revealing a fascinating complexity and deeper significance.  Far from being calculated to shock, Pollock's liquid medium was crucial to his pictorial aims.  It proved the ideal vehicle for the mercurial content that he sought to communicate 'energy and motion made visible - memories arrested in space.”

Number 13A: Arabesque (1948), Oil and enamel on canvas

Critics either less visionary or more fastidious seemed often as appalled by Pollock’s violence of technique as they were by the finished work (or “products” as some labelled the drip paintings), questioning whether any artistic skill or vision even existed, one finding them “…mere unorganized explosions of random energy, and therefore meaningless.”  The detractors used the language of academic criticism but meant the same thing as the frequent phrase of an unimpressed public: “That’s not art, anyone could do that.”

Number 1, 1949 (1949), Enamel and metallic paint on canvas 

There have been famous responses to that but Ms Harrison's was practical, offering people the opportunity to try.  To the view that “…people thought it was arbitrary, that anyone can fling paint around”, Ms Harrison conceded it was true anybody could “fling paint around” but that was her point, anybody could, but having flung, they wouldn’t “…necessarily come up with anything.”  In 2010, she released The Jackson Pollock Box, a kit which, in addition to an introductory text, included paint brushes, drip bottles and canvases so people could do their own flinging and compare the result against a Pollock.  After that, they may agree with collector Peggy Guggenheim (1898-1979) that Pollock was “...the greatest painter since Picasso” or remain unrepentant ultracrepidarians.

Helen A Harrison, The Jackson Pollock Box (Cider Mill Press, 96pp, ISBN-10:1604331860, ISBN-13:978-1604331868).

Three photographs by Cecil Beaton (1904-1980), shot for a three-page feature in Vogue (March 1951) titled American Fashion: The New Soft Look which juxtaposed Pollock’s paintings hung in New York’s Betty Parsons Gallery with the season’s haute couture by Irene and Henri Bendel.  Beaton choose the combinations of fashion and painting and probably pairing Lavender Mist (1950, left) with a short black ball gown of silk paper taffeta with large pink bow at one shoulder and an asymmetrical hooped skirt by Bendel best illustrates the value of his trained eye.

Critics and social commentators have always liked these three pages, relishing the opportunity to comment on the interplay of so many of the clashing forces of modernity: the avant-garde and fashion, production and consumption, abstraction and representation, painting and photography, autonomy and decoration, masculinity and femininity, art and commerce.  Historians of art note it too because it was the abstract expressionism of the 1940s which was both uniquely an American movement and the one which in the post-war years saw the New York supplant Paris as the centre of Western art.

Collar

Collar (pronounced kol-er)

(1) The part of a shirt, coat, dress, blouse, etc that encompasses the neckline of the garment and is sewn permanently to it, often so as to fold or roll over.

(2) A similar but separate, detachable article of clothing worn around the neck or at the neckline of a garment.

(3) Anything worn or placed around the neck.

(4) In law enforcement, a slang term for securing an arrest.

(5) In metalworking, a piece rolled to wrap itself around a roller.

(6) In biology, a marking or structure resembling a collar, such as that found around the necks of some birds.

(7) In engineering, a section of a shaft or rod having a locally increased diameter to provide a bearing seat or a locating ring

(8) In butchery, a cut of meat, especially bacon, from the neck of an animal.

(9) In ancient chivalric orders, a symbol of membership.

(10) In jewelry, an ornament for the neck, a variant of which is the choker.

(11) In rehabilitative medicine, a device worn around the neck to support the head.

(12) In architecture, a variety of beams and ties which are structural elements in roof framing between rafters.

(13) In baseball, a slang term for a player getting no hits in a game.

(14) In plumbing, a type of sleeve used to join two tubes.

(15) In industrial power generation, a piece of hardware used on power transmission devices as a mechanical stop, locating device, or bearing face.

(16) In the profession of the hangman, the knot of the noose (archaic).

(17) In extractive underground mining, a curb or a horizontal timbering around the mouth of a shaft.

(18) In botany, the neck or line of junction between the root of a plant and its stem.

(19) A ring-like part of a mollusk in connection with the esophagus.

(20) In nautical architecture, an eye formed in the bight or bend of a shroud or stay to go over the masthead; also, a rope to which certain parts of rigging, as dead-eyes, are secured.

(21) In financial market jargon, a trading strategy using options in a ways that there exists both an upper limit on profit and a lower limit on loss, constructed through taking equal but opposite positions in put and call options with different strike prices.

1250–1300: From the Middle English coler from the Anglo-French colier & Old French coler, derived from the Latin collāre (neckband, collar), the construct being coll (truncation of collum (neck)) + āre (neuter (as noun) suffix of āris).  Ultimate source was the primitive Indo-European kwol(o) (neck) which entered both the Old Norse and the Middle Dutch as hals (neck), literally "that on which the head turns" from the root kwel (move round, turn about).

The meaning "border at the neck of a garment” emerged in the fourteenth century and all meanings since are in some way analogous.  Collier exists in Modern French, again from the Latin; cognate with the Gothic hals, the Old English heals and the Spanish cuello.

Collars

Noted for slogans rather than imaginative linguistic flourishes, Australian Prime Minister Scott Morrison (b 1968; Australian prime-minister since 2018), a confessed meat-eater, was so shocked at the tactics some rabid vegans had used to disrupt the slaughter industry's supply chains, he was moved to describe the protesters, inter alia, as “green-collar criminals”.  He’d likely have preferred to label them eco-terrorists and have them locked-up somewhere but may have been advised that might be unlawful or at least hyperbolic.  Interestingly the phrase “green-collar crime” is used both to describe some of the actions of activists and the environmental damage against which they’re protesting; it’s not clear which meaning will prevail and it's an amusing if confusing co-existence.

It’s among the most recent of the “collar” words, all variations of the old white-blue collar delineation (except the ecclesiastical dog collar which is from the nineteenth century).  Blue collar worker was used first in 1924 to describe the working class, an allusion to the hard-wearing blue denim they stereotypically wore.  White-collar worker was coined in the 1930s by US writer Upton Sinclair (1878–1968) in connection with those absorbed in clerical, administrative and managerial functions.  Used mostly in economics and sociology, the collars have been handy (if imprecise) definitional shorthand in both academic and other writing.

Blue collar:  Originally, a member of the working class who performs manual work and earns either an hourly wage or is paid a piece rate.  The labor market in recent decades has changed so much that for economists it may now be a useless or al least misleading term although culturally, it is still of real utility.   

White collar:  Historically, salaried professionals, office workers and management; ie clean, safe jobs in pleasant physical environments although for many, salaries were low.

Pink collar: Now probably obsolete, it described a member of the working class in the service industry in occupations such as waiters and retail or other roles involving relations with people.  Origin of the term was the need to describe the rapidly expanding employment in service industries during the 1990s and its overwhelmingly female demographic.  Now treated as sexist, there were suggestions it could morph into something gender-neutral but it didn’t work as well and is now close to extinct although the companion pink collar crime endures and remains a descriptor of white collar crimes committed by women where the loot stolen is of relatively low-value.

Gold collar:  A highly skilled multi-disciplinarian who combines the intellectual and practical skills of both white & blue collar employees.

Red collar:  Government workers of all types.  In China, it refers also to Communist Party officials working in private companies, the implication being they’re placed there for some party purpose; similar in both function and ultimate purpose but different in ideology to the old party commissars.  

Grey collar: Skilled technicians, typically someone whose role is a mix of white and blue collar (although some say the distinction between grey and gold is a bit vague; notion is that gold are higher paid than grey).  Like gold, grey collar is a recent invention which seems not to have caught on; both may die out.

New collar:  Jobs said to require the technical and soft skills needed to work with contemporary technology industry; often associated with a non-traditional education path.  Cynics suggest it’s there to describe university drop-outs whose start-ups work out ok.

Happy times in dog collars.  Cardinal George Pell (1941-2023, left) with his predecessor as Archbishop of Melbourne, Sir Frank Little (1925–2008, right).

Dog collar:  Christian clergy (although, technically, only a sub-set of the whole); now rarely seen outside of churches and courtrooms.  In the public consciousness, such is the association of the male clergy with pedophilia that the clergy, when out and about, usually do so in disguise (mufti).  That's actually not new.  One of the (many) reasons Jesuit priests were once so mistrusted was that they tended not to wear clerical garb, claiming the wearing of everyday clothes permitted them to be closer to the people.  Actually, it was just a trick so they could spy on them.

No collar:  Artists, the precariously employed and others who tend to privilege passion and personal growth over financial gain.

Orange collar:  Prison laborers, named for the orange jumpsuits most associated with inmates in the US prison system.

Green collar:  Workers in a wide range of professions relating to the environment and renewable energy.  Confusingly, green collar crime is used by both sides to describe the actions of their opponents in that activists refer to those accused of causing environmental damage as green collar criminals whereas the slaughter industry uses the same label for the radical vegans who disrupt their production or distribution.

Scarlet collar:  Prostitutes and ancillary staff (brothel receptionists et al included in an example of the way the "collar" labels are sometimes applied to industry sectors as well as specific occupations).

Black collar:  Originally used to describe manual laborers in jobs when workers habitually become very dirty although it has been extended to those working in the illicit black economy.  Of late it’s been applied also to (1) the pro-gun movement in the US, (2) artists who have adopted black clothing by choice and (3) those in insecure, low-paid employment.  The meaning may now be too diluted to be of much use.

Virtual collar:  Robots performing manual repetitive tasks, both physical and virtual but has been used also to describe the cheap, mobile technology capital uses as a tool of control.

Rainbow collar:  Workers in industries which serve or are most identified with the LGBTQQIAAOP community.  This was once a largely volunteer movement but increasing has a paid-labor component.  The adjectival rainbow, in polite society, has now wholly supplanted pink (eg the earlier pink dollar), partly because of the historical use of pink labels or descriptors by repressive régimes.  Pink collar was never linked with the LGBTQQIAAOP community and the earlier lavender collar enjoyed only a brief linguistic career.

Lindsay Lohan in army green, fur-collared jacket over blouse with metal studded collar, New York, March 2014.

Protuberant

Protuberant (pronounced proh-too-ber-uhnt, proh-tyoo-ber-uhnt, or pruh-too-ber-uhnt)

Bulging out beyond the surrounding surface; protruding; projecting; swelling from the surrounding surface; bulging.

1640–1650: From the sixteenth century French protubérant (prominent beyond the surrounding surface), from the Late Latin protuberantem (nominative protuberans), present participle of prōtūberāre (to swell, bulge, grow forth), the construct being pro- (forward) + tuber (lump, swelling) from the primitive Indo-European root teue- (to swell).  The most common form in the Late Latin was prōtūberāre (to swell).  The verb protuberate (bulge out, swell beyond the adjacent surface) dates from the 1570s, from Late Latin protuberatus, past participle of prōtūberāre.  Protuberant is an adjective, protuberate is a verb, protuberance & protuberancy are nouns and protuberantly is an adverb.

Artwork not by PM&C.

In Australia, the Department of Prime-Minister & Cabinet (PM&C) recently released a new logo for the “Women’s Network”.  To the left of the construct was a cursive "W", the right stroke (the vertical diagonal line in a letter) adorned with a swash (a fancy or decorative replacement for a terminal or serif in an upper-case capital letter (although if the w is lower case (it’s hard to tell) this would be a flourish).  To the right was a capsular (technically a geometric stadium) protuberance which had been bitten into by the stylized W.  The logo’s graphical elements were rendered in a darkish purple which lightened to the right, the text below in two different sans serif fonts, one line in black, the other grey.  The design and placement of the text, though not obviously thoughtful, did at least add meaning to the graphic which might otherwise have been thought something to do with aubergines (eggplant).

Innocent interpretation: The aubergine (eggplant).

The logo proved to have a short life, withdrawn from circulation in response to complaints it resembled male genitalia; on Twitter, #logonono quickly trended.  Almost immediately the furor erupted, PM&C issued a statement saying the logo had been “removed” from its website “pending consultation with staff”.  Noting the phallic creation was part of a rebrand of staff diversity networks “to establish a consistent look and feel” between the logos used for various groups, PM&C added “the Women’s Network logo retained a ‘W’ icon which staff had been using for a number of years” which seemed an unnecessary clarification given nobody had objected to the W.  Anxious to assure the country that whatever controversy might have been induced by the purple protuberance, PM&C announced the “…rebrand was completed internally, using existing resources, and designs were consulted on widely.  No external providers were engaged for this work… (and that) the prime minister and the prime minister’s office were not part of this logo design.”

Graphic designers do seem sometimes unaware of the levels of anatomical comparison their work offers.

The errors cut across cultures.  Here technical advice from an architect would have helped, a historically correct second minaret should have been added and only a single dome depicted.

The attitude of critics was exemplified by the National Older Women’s Network, which issued a statement describing the logo as “either thoughtless or an insult” although as a re-branding exercise, the project had to be labeled a success, most of the country now aware of the existence of the Women’s Network, a mysterious body previously familiar probably only to a few dozen.  A discussion of what it does or whether it fulfils any useful purpose wasn’t stimulated by the outcry over the offending logo so whatever the Women’s Network was doing before, it presumably continues to do.  One thing it achieved was to flush out the competition; it seems there are in the country a number of organizations with "Women's Network" in their title.

Developed in 1973 for the Archdiocesan Commission of Catholic Youth, this logo won an award.  It was a more innocent time.

Perhaps the men involved in the “Women’s Network” design didn’t notice the shape of the protuberance because they were focused on the color, anxious to avoid what might once have been the obvious choice: pink.  That would of course have been condescending and gender-stereotyping so PM&C deserve some praise for this mater in which they weren’t involved.  Pink stuff for products aimed at the female market may be less of a thing than once it was but pink stuff aimed at men wanting a gift with a difference for women seems more of a thing than ever, pink tool kits popular gifts with sales spiking reliably in the run up to Valentine’s Day.  It works for novelties like hammers and screwdrivers but doesn’t have a good record as a marketing device writ large, failure exemplified by the Dodge La Femme.

Chrysler show cars, 1954.  Chrysler Le Comte (his, top) & Chrysler La Comtesse (hers, bottom).

Chrysler offered the La Femme package in 1955 and 1956 on certain Dodge models, a creation that was not a stylistic whim but a response to sociological changes in an unexpectedly affluent post-war US society in which women were found to be exerting a greater influence on the allocation of their family’s rising disposable income and of most interest to Chrysler was that those increasingly suburban families were buying second cars, women getting their own.  Adventurous color schemes were nothing new to Detroit, the cars of the art deco era noted for their combinations but things had been more subdued in the years immediately after the Second World War.  That changed with the exuberance of 1950s experimentation, reflected in the colors of the La Femme concept which had been previewed in two of the cars Chrysler displayed during the 1954 show season.  The Le Comte & La Comtesse attracted most attention for their clear Perspex roofs (a craze at the time which didn’t last long as buyers found themselves slowly being cooked) but, following the grammatical conventions of their French definite articles, they were very much a “his & hers” brace, the darker (black & bronze) Le Comte with a “masculine” image and the La Comtesse, painted in  "Dusty Rose" & "Pigeon Grey", a softer and more “feminine” look.

Dodge La Femme (1955-1956).

The public and critical response was sufficiently positive to encourage production and for the 1955 model year, the La Femme option was offered on the Dodge Custom Royal Lancer two-door hardtop, finished in a two-tone combination of "Heather Rose".(a shade of pink) & "Sapphire White", highlighted with gold-colored "La Femme" badges in a display script.  If the exterior was (almost) subdued, the interior, a sea of pink, was femininity laid on with a trowel.  Trimmed in a tapestry fabric unique to the La Femme which wove pink rosebuds on a silver-pink background with pastel-pink vinyl, confronting those who sat there was a dashboard painted in a bright-pink lacquer.

Dodge La Femme (1955-1956).

In a marketing ploy which turned out to be years ahead of its time, the La Femme also came with coordinated accessories, the centrepiece a pink calfskin handbag that fitted neatly into a storage compartment built into the back of the passenger’s seat, the shape of which included a scallop which meant the handbag’s escutcheon plate was visible, Dodge’s press-kits noting the brushed-metal was designed to permit the owner’s name to be engraved.  The handbag contained a compact, lipstick case, cigarette case, comb, cigarette lighter, and change purse, all made variously with faux-tortoiseshell or pink calfskin, both combined with anodized gold-tone metal.  In a matching compartment on the back of the driver’s seat was a matching compartment holding rain coat, rain-cap and an umbrella, all made with a vinyl patterned to match the rosebud interior fabric.  The design and production was by Evans of Chicago, a furrier and maker of fine accessories, famous for the display of "Black Diamond" mink coats in their flagship store at 36 South State Street.  Evans would later fall victim to the anti-fur movement which would lay waste to the industry.

Accessories by Evans of Chicago.

In toned-down form, the La Femme option re-appeared in 1956.  The external color combination was changed to a "Misty Orchid" & "Regal Orchid" scheme and the interior finish was simplified, the previous year’s tapestry fabric proving difficult to produce in volume.  The upholstery used a heavy white cloth with random patterns of short lavender and purple loops, matching the loop-pile carpeting and the accessories were fewer, restricted in 1956 to just the rain coat, rain cap and umbrella.  Over the two season, fewer than 2500 buyers chose the US$143 option and it didn’t re-appear in 1957.  Interestingly, (unverified) sources suggest at least three La Femme buyers chose the most powerful engine on the option list, Dodge’s D-500 (a 315 cubic inch (5.2 litre) V8 with hemi heads and a four-barrel carburetor); perhaps not all clung to 1950s gender stereotyping.

A simple solution.

Other manufacturers did offer feminine-themed cars in a similar vein including the pink Pontiac Parisienne, Chevrolet Impala Martinique, and Cadillac Eldorado Seville Baroness but none enjoyed much more success than the La Femme.  What in the US did prove a success with the female demographic was the new generation of more compact cars introduced in the early 1960s, women sensibly drawn to something smaller than the standard-size US automobile which after 1957 grew to an absurdly inefficient size.  Much later, there would be innovations in car design which women found genuinely helpful such as a hook on which a handbag could hang while remaining conveniently accessible and headrests which comfortably accommodate ponytails.

Detecting the protuberance of pregnancy: Ali Lohan (b 1993, left) photographed with her pregnant sister (right) wearing Sandal-Malvina Fringe Tank Dress in (unattributed) Dodge Yorange (left).  The shoes are Alexandre Birmen Clarita Platforms.