Cardigan (pronounced kahr-di-ghun)
(1) A usually collarless knitted sweater or jacket that opens down the front, usually with buttons (sometimes a zip); in some places also called a cardigan sweater or cardigan jacket.
(2) The larger variety of corgi, having a long tail.
1868: Adopted as the name for a close-fitting knitted woolen jacket or waistcoat, named after James Thomas Brudenell (1797-1868), seventh Earl of Cardigan, the English general who led the charge of the Light Brigade (1854) at Balaklava (Balaclava) during the Crimean War (1853-1856) although the fanciful account of him wearing such a garment during the charge is certainly apocryphal. The place name Cardigan is an English variation of the Welsh Ceredigion, (literally “Ceredig's land”, named after an inhabitant of the fifth century). Cardigans usually have buttons but zips are not unknown and there are modern (post-war) variations which have no buttons, hanging open by design and reaching sometimes to the knees. These sometimes have a tie at the waist and the fashion industry usually lists them as robes but customers seem to continue to call them cardigans. From its military origins, the term originally referred only to a knitted sleeveless vest, the use extending to more familiar garments only in the twentieth century. Coco Chanel (1883-1971) popularized them for women, noting they could be worn, unlike a pullover, without messing the hair. Cardigans were one of the first items to which Chanel added the influential weighted hems. The most usual contraction is now cardi displacing the earlier cardie (cardy the rarely seen alternative). Cardigan is a noun and cardiganlike, cardiganless & cardiganed are adjectives; the noun plural is cardigans.
The cardigan claimed to have been modelled after the knitted wool waistcoat worn by British officers during the Crimean war but the origin of the design is contested, one story being it was an invention of Lord Cardigan, inspired by him noticing the tails of his coat had been accidentally burnt off in a fireplace although the more common version is it was simply a practical adaptation to keep soldiers warm in the depths of a Crimean winter. So, although the fireplace story is romantic, it may be a military myth but may not be unique. In the appendix of names to the Dairies of Evelyn Waugh (1903-1966) (edited by Michael Davie (1924-2005) and published in 1976), it was noted the solicitor Edmund Sidney Pollock “E.S.P.” Haynes (1877–1949) “died after his shirt-tails caught alight while he stood in front of his bedroom gas fire.” Whether that was the immediate cause of death or simply a contributing factor isn’t clear because other sources record his cause of death as “pneumonia”, in those days known to doctors as the “old man’s friend” because “it carried them off so quickly”. Haynes had acted for Waugh in the 1930 divorce from his first wife (Evelyn Gardner (1903–1994), one of the original “Bright Young Things” of fashionable London in the 1920s); the troubled, unsatisfactory marriage endured barely two years and its sundering saddened those in society who had enjoyed being able to refer to the couple as “He-Evelyn & She-Evelyn”. As was his habit with those he knew, Waugh used She-Evelyn as the model for the adulteress Brenda Last in his novel A Handful of Dust (1934); after the divorce, they would never meet again.
Although he made his living as a solicitor, Haynes interests were wide and he was a prolific author (of law, women's suffrage philosophy, politics and more) and one of the eccentric figures who once made English literature an interesting place. At the professional level, his greatest contribution to the law was the effect his work in reforming the country’s then onerous divorce laws ultimately would yield but his career ended badly, in 1948 struck off the Solicitors' Rolls for a failure “properly to maintain books of accounts”. Acknowledged as possessing a brilliant mind, his lifestyle in middle age became careless and it’s said his lunch “rarely would finish before four” and he had the unusual habit of maintaining “…at the end of his table a store of bottles jars and tins containing garlic, biscuits, sauces etc.” Again, Waugh’s journalistic eye took all this in and Haynes inspired the vivid descriptions of the eating practices of boot family at Boot Magna Hall in the novel Scoop (1938). The long lunches took their toll and he was later compelled to wear a sort of corset to lift and hold in suspension his sagging belly, the weight supported by stout shoulder straps, the construction imagined conceptually as a “large, single cup bra”. Whether the consequent lack of mobility had anything to do with his shirt tails catching fire seems not anywhere mentioned but such a physique would not have assisted a recovery from consumption (pneumonia).
Twinset is the term used when a cardigan is worn with a matching sleeveless or short-sleeved pullover sweater. Historians note that although the twinset, attributed to both Coco Chanel and Elsa Schiaparelli (1890–1973), was a fashion innovation first seen during the 1920s, it didn’t achieve widespread popularity until the early post-war years. The mildly disparaging term twinset and pearls references both the perceived social class and conservatism of those characterised as especially fond of the combination though it has been reclaimed and is now often worn without any sense of irony. Fashion advisors note also that the classic mix of twinset and skirt can be leveraged with a simple multiplier effect: One set of the garments provides one outfit but if one buys two of each in suitability sympathetic colors, then six distinct combinations are produced while if another skirt and twinset is added, suddenly one's wardrobe contains eighteen outfits. It's the joy of math.
Few motifs draw the fashionista's eye like asymmetry and in March 2023, model Kendall Jenner (b 1995) wore an all-gray ensemble which combined the functionality of a cardigan, dress, skirt & sweater. Designed by Ann Demeulemeester (b 1959) and fashioned in a wool knit with a draped neckline and asymmetrical leg slit, it was worn with a pair of the Row’s Italian-made Lady Stretch Napa leather tall boots with relatively modest 2½” (65 mm) stiletto heels. Despite the extent of the exposed skin, the cut means it possible still to wrap for warmth and, being a wool knit, it’s a remarkably practical garment. Because of the relatively light construction, most would regard this still as a type of cardigan but, if made with heavier fabrics, something using the same concept would be classed a coatigan (a portmanteau word, the construct being coat + (card)igan) which is a hybrid of a coat and a cardigan. Predictably, there are definitional gray areas and, as a general principle, whatever term the manufacturer uses is accepted.




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