Abstract
The appeal of lipsticks named Triple Chocolate Parfait or Hot Mama and what they communicate to women and, by extension, others are the subjects of this article. Based on Goffman’s concept of presentation of self and impression management as theory and Barthes’ semiotic model as method, I studied the names of 1,722 lipsticks of 52 national brands. The findings show, beyond simple color names, that most of the lipsticks are named after food, beverages, sex, and romance. The American cultural imperative of beauty prompts many women to doubt their self-worth and keeps attainment of the beauty ideal just out of reach. Understanding how meaning is constructed through lipstick naming is an important step toward apprehending the role of cosmetics in conflating femininity, self-esteem, and body image with the goals of patriarchal hegemony.
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Notes
Apparently, this type of naming is nothing new. During the Renaissance, lip colors came in Turkey, Horseflesh, and Beggar’s Grey. Mary Tudor wore Old Medley, and in England under the rule of King Edward VI, some colors were made official, such as Merrey (a mulberry) and his personal favorite Raw Flesh (Pallingston 1999, pp. 109–110).
The Web site http://www.thelipstickpage.com, retrieved February 2004 changed in late 2004 to a forum. When I visited in early 2004 it was a comprehensive, non-commercial site. In 2006, it was relaunched with advertising.
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Merskin, D. Truly Toffee and Raisin Hell: A Textual Analysis of Lipstick Names. Sex Roles 56, 591–600 (2007). https://doi.org/10.1007/s11199-007-9201-9
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DOI: https://doi.org/10.1007/s11199-007-9201-9