Vagrant

Vagrant (pronounced vey-gruhnt)

(1) A person who wanders about idly and has no permanent home or employment; vagabond; tramp.

(2) In law in a number of jurisdictions, an idle person without visible means of support, as a tramp or beggar.

(3) A person who wanders from place to place; wanderer; rover; wandering idly without a permanent home or employment; living in vagabondage:

(4) In botanical science, plants showing uncontrolled or straggling growth (or, in casual use), a leaf blown by the wind.

(5) In zoology (especially ornithology), an animal, typically a bird, found outside its species’ usual range (and used also to describe a migratory animal that is off course)

(6) A widely-distributed Asian butterfly, Vagrans egista, family Nymphalidae.

1400-1450: From the Middle English vagraunt (wandering about) from the Anglo-Norman vageraunt, wakerant, wacrant, waucrant & walcrant (vagrant).  It’s thought probably from the Old French wacrant & waucrant (wandering about), apparently the present participle of wacrer, waucrer & walcrer (to wander, wander about as a vagabond), from the Frankish walkrōn (to wander about), a frequentative form of walkōn (to walk, wander, trample, stomp, full), from the Proto-Germanic walkōną, wancrer & walkaną (to twist, turn, roll about, full), from the primitive Indo-European walg & walk (to twist, turn, move). It was cognate with the Old High German walchan & walkan (to move up and down, to press together, full, walk, wander), the Middle Dutch walken (to knead, full), the Old English wealcan (to roll), the Old English ġewealcan (to go, walk about), the Old Norse valka (to wander) and the Latin valgus (bandy-legged, bow-legged).  Vagrant, vagrantism, vagrantness, vagrantness, vagrance & vagrancy are nouns, vagrantly is an adverb and vagrantize is a verb; the noun plural is vagrants. 

The archaic equivalent was vagrom (ˈveɪɡrəm) and, although contested, the evolution may have been influenced by the Old French vagant (vagabond) which is derived from the Latin vagārī (to wander).  The Old French waucrer is interesting because of the twin suffixes, (the construct being walc- + -r- (frequentative suffix) + -en (infinitive suffix).  Both vagrant and vagabond ultimately derive from the Latin word vagārī, (wander).  Vagabond is derived from Latin vagabundus; in Middle English, vagabond originally denoted a criminal.  The use of vagrancy to describe a "life of idle begging, is attested from 1706 and in the 1640s it was used in the figurative sense of, "mental wandering", an allusion to the earlier literal meaning.  By the late eighteenth century, in English law it had become a catch-all for miscellaneous petty offenses against public order and this was, to varying degrees, effected in most English-speaking jurisdictions, often in a category of “statutory offences” whereby the police could arrest and impose periods of brief incarceration without any judicial review.  In some places, these arrangements lasted well into the twentieth century.

William Shakespeare (1564–1616) was masterful in the way his writing mixed light and dark, his fools deployed for the obvious comic relief but often it was they who proved more wise than sterner characters, revealing truths hidden to others.  Dogberry, the fool in Much Ado About Nothing (1600), is the only one in the cast with the sense to bring Don John and his comrades to justice and is an example of the use of the fool of as literary device in the Shakespearian theme of juxtaposing appearance and reality.

Dogberry's Charge to the Watch (1859), oil on canvas by Henry Stacy Marks (1829–1898).

Vain and proud of his role as Constable, at which he's demonstratively incompetent, earnestly Dogberry encourages his men to "comprehend all vagrom", by which he means “arrest all vagrants”.  Anticipating Mrs Malaprop by a hundred and seventy-five years, unlike some of the bard’s coinings, “vagrom” never entered standard English but did remain part of educated slang until late in the nineteenth century and, in that era, is documented among London police as a jocular collective noun for undesirables, vagrant or not.

Roots of the Queensland Vagrants Gaming and Other Offences Act (1931)

The first vagrancy law in the English speaking world was the English Ordinance of Labourers (1349).  A legislative response to the effects of the Black Death, it sought to increase the available workforce by making idleness (unemployment) an offence.   A vagrant was defined as a person who could work but chose not to, and having no fixed abode or lawful occupation, begged; it was punishable by branding or whipping.  Vagrants were distinguished from aged or sick, later formalised by Henry VIII's (1491–1547; King of England (and Ireland after 1541) 1509-1547) Vagabonds Act (1530) which granted a beggar’s licence those too old or otherwise incapable of working.  Vagrants continued to be dealt with harshly, punishments being more severe for a second offence and those guilty a third time subject to execution.  In an effort to encourage the industrious to dob-in malingerers, Edward VI's (1537–1553; King of England and Ireland 1547-1553) Vagabonds Act (1547) permitted, in addition to even more barbaric punishments, the vagrant could be given as a slave to the person who denounced him.  It's not known if either the governor of Texas or the state legislature looked at the 1547 act when drafting their 2021 anti-abortion legislation.

The wear & tear once associated with vagrants has become designer distress: Lindsay Lohan illustrates the tatterdemalion look.

In England, Elizabeth I (1533–1603; Queen of England & Ireland 1558-1603) revised the Vagabonds Act in 1572, retaining most punishments and adding the possibility of transportation to the American colonies, News South Wales (NSW) & Van Diemen's Land (later Tasmania) not yet available.  Execution was now possible for a second offence and any rogue charged a third time would escape death only if someone hired him to work for two years while changes to the act in 1597 banished "incorrigible and dangerous rogues" to the penal settlements overseas.  It wasn’t until 1795 that any attempt was made by the authorities to address the causes of vagrancy when a form of outdoor relief intended to mitigate rural poverty was instituted and the first recognisably modern vagrancy act was passed in 1824.  In Australia, Queensland’s Vagrants, Gaming and Other Offences Act (1931) contained elements of the 1824 English act and wasn’t repealed until 2004.  The repeal had the useful effect of it becoming lawful to wear felt slippers in hours of darkness while outside one’s place of abode.

Walmart doesn’t operate in Queensland but, had a store opened there after 2004, it would have been lawful to wear slippers when shopping.  While Queensland legislation is silent on the matter and there’s no case law, it may always have been lawful to go shopping wearing pajamas and a dressing gown so the 2004 reform seems sensible.

Errant & Arrant

Errant (pronounced er-uhnt)

(1) Deviating from the regular or proper course; erring; straying outside established limits (often used in sport as “errant shot”, “errant punch” etc).

(2) Prone to error; misbehaved; moving in an aimless or lightly changing manner (often used in a non-human context: breezes, water-flows etc).

(3) Journeying or traveling, as a medieval knight in quest of adventure; roving adventurously (archaic, although it may in this sense still be a literary device).

(4) Utter, complete (obsolete, the meaning now served by “arrant”).

1300–1350: From the Middle English erraunt (traveling, roving), from the Anglo-Norman erraunt, from the Middle French, from the Old French errant, present participle of errer & edrer (to travel or wander), from the unattested Vulgar Latin iterāre (to journey) (and influenced by the Classical Latin errāre (to err)), from the Late Latin itinerārī, a derivative of iter (stem itiner-) (journey) and source of the modern English itinerary), from the root of ire (to go), from the primitive Indo-European root ei- (to go).  Understandably, in the Medieval era, the word was often confused with the Middle French errant (present participle of errer (to err)) so the use in old translations need to be read with care and the Old French errant in its two senses (1) the present participle of errer (to travel or wander) & (2) past participle of errer were often confused even before entering English.  In any event, much of the latter sense went with arrant (which was once a doublet of errant).  All the muddle is attributable to the link between the Old French errant with the Latin errāns, errāntem & errāre (to err) and the present participle of errer (to wander), which was from the Classical Latin iterō (I travel; I voyage) rather than errō, which is the ancestor of the etymology of error (to err; to make an error).  The comparative is more errant and the superlative most errant and the synonyms (depending on context) include aberrant, erratic, offending, stray, unorthodox, wayward, deviating, devious, drifting, errable, fallible, heretic, meandering, misbehaving, mischievous, miscreant, naughty, rambling, ranging & roaming.  The obsolete alternative spelling was erraunt.  Errant is a noun & adjective (often postpositive) and errantly is an adverb; the noun plural is errants.

Arrant (pronounced ar-uhnt)

(1) Downright; thorough-going; flagrant, utter, unmitigated; notorious (the latter in the non-derogatory sense).

(2) Wandering; errant (obsolete).

1350–1400: From the Middle English, a variant of errant (wandering, vagabond), the sense developed from its frequent use in phrases like “arrant thief” which became synonymous with “notorious thief”.  Etymologists tracking the late fourteenth century shift note that as a variant of errant, it was first merely derogatory in the sense of “a wandering vagrant” and remembered as an intensifier due to its use as an epithet because of poetic phrases such as “arrant thieves and arrant knaves” (ie “wandering bandits”).  In the 1500s the word gradually shed its opprobrious force and acquiring the meaning “thorough-going, downright and notorious (the latter in the non-derogatory sense)”.  In a limited number of specific uses, arrant can still convey a negative sense such as “arrant nonsense!” (utterly untrue) and the meaning is preserved when Shakespeare’s “arrant knaves” (from the nunnery scene in Hamlet, Act 3, Scene 1) is invoked.  Remarkably, there are still dictionaries which list arrant simply as an alternative form of errant, despite in practice use having separated centuries earlier and some style guides suggest arrant should be avoided because (1) some may confuse it with errant and (2) it’s an adjective which seems used mostly in clichés.  The obsolete alternative spelling was arraunt, the obsolete comparative was arranter and the obsolete superlative, arrantest.  Arrant is an adjective and arrantly an adverb.

Errant driving: The aftermath of three Lindsay Lohan car crashes although the Maserati Quattroporte (right; borrowed from her father) suffered little more than a nudge and it's said her assistant was at the wheel at the time.

Gypsy

Gypsy (pronounced jip-see)

(1) A once common term for the Roma or Romani but now largely socially proscribed as disparaging and offensive (sometimes with initial capital letter).  The Roma or Romani are scattered throughout Europe and North America and often maintain a nomadic way of life even in urbanized, industrialized societies, their source apparently a wave of migration from north-west India from around the ninth century onwards.

(2) The Indic language of the Roma or Romani although not in formal academic or technical use (always with initial capital letter).

(3) A person held to resemble a Roma or Romani, especially in physical characteristics (notably the combination of darker skin and dark, curly hair) or in a traditionally ascribed lifestyle and inclination to move from place to place.

(4) Of or relating to the Roma or Romani (can be used neutrally but is often applied as a disparaging and offensive slur).

(5) In informal use, working independently or without a license; a vagrant; an itinerant person or any person, not necessarily Romani; a tinker, a traveller; a circus or carnival performer; any itinerant person, or any person suspected of making a living from dishonest practices or theft.

(6) In informal use, free-spirited (though distinct from “bohemian” which implies something more sophisticated).

(7) In informal use, a sly, roguish woman.

(8) In informal use, a fortune teller (now rare).

(9) A move in contra dancing in which two dancers walk in a circle around each other while maintaining eye contact (but not touching as in a swing), the variations including the whole gyp, the half gyp, and the gypsy meltdown (in which this step precedes a swing); out of context the terms can be disparaging and offensive.

(10) In theater, a member of a Broadway musical chorus line.

1505–1515: A back formation from gipcyan, a Middle English dialectal form of egypcien (Egyptian) which over centuries lost the unstressed initial syllable), adopted in this context because of the mistaken perception Gypsies came originally from Egypt.  It was used as an adjective since the 1620s (with the sense "unconventional; outdoor) and the modern (and now archaic) UK word gippy was in use by at least 1889 as a truncated colloquial form of “Egyptian” although gip & gyp as abbreviations of gipsy & gypsy were known since the 1840s, the related verbs being gipped & gipping.  It was cognate with the Spanish Gitano and close in sense to the Turkish & Arabic Kipti (gypsy) although the literal meaning of that was “Coptic” (the form of Christianity most common in Egypt).  In Middle French the closest term was Bohémien (although that tended to be a geographical reference without the same associations familiar from modern use), the Spanish also using Flamenco (from Flanders) in the same way.  Those adoptions of use do hint at the manner in which the Roma have so often been treated as “outsiders”, “outlanders” or “foreigners” in just about any country where they were found although the nuances of “gypsy” were very different to notions such as “rootless cosmopolitans” which were attached to the Jews.  The alternative spellings were gipsy, gipsey, gypsey, gypsie & gyptian, all of which except gipsy are thought archaic.

In his A Dictionary of Modern English Usage (1926), Henry Fowler (1858–1933) noted the special significance of gypsy (rather than gipsy) being the preferred spelling in English, a development not related to the practice imposed on other words (tyre, syphon etc) where a ‘y’ was substituted for an ‘I’ for no better reason than the effect was thought decorative.  Henry Fowler thought it helpful because it existed as a relic to remind those concerned that the original meaning was “Egyptian” but noted also the Oxford English Dictionary’s (OED) statement that (in the early twentieth century) the preferred spelling appeared to be gipsy by the plural form gypsies was far from uncommon, presumably because users found awkward the “…appearance and repetition of ‘y’”.  Gypsy is a noun, verb & adjective; gypsydom, gypsyhood & gypsyism are nouns, gypsying & gypsied are verbs and gypsyesque, gypsyish, gypsy-like & gypseian are adjectives; the noun plural is gypsies.

Noted traveller Lindsay Lohan, Los Angeles International Airport (LAX), 2009.

The terms "Gypsy", "Roma", "Traveller" and "Romani" are often used interchangeably, but there are differences.  Gypsy is a term that historically referred to the Romani people, who are believed to have originated in the Indian subcontinent and migrated to Europe and other parts of the world over many centuries but it’s usually now thought a derogatory slur because of the history of use in stereotyping and discriminating against Romani people.  Roma is now the preferred term for the Romani people, and it is often used to refer to the ethnic group as a whole.  Romani is an adjective that refers to anything related to the Roma people, such as Romani culture or the Romani language.  It is used also as a noun to refer to an individual member of the Roma people.  Traveller is a term used to describe various groups of people who live a nomadic or semi-nomadic lifestyle, including the Roma people. However, there are other groups of people who are also considered Travellers, such as the Irish Travellers in Ireland and the UK.

Lymantria dispar: The moth formerly known as gypsy (their appearance is subject to wide variations between regions).  

TheAwareness of the sense shift of “gypsy” from something purely descriptive to a racial slur has also had consequences in zoology.  In 2021, the Entomological Society of America (ESA) announced it was removing “gypsy moth” and “gypsy ant” as the sanctioned common names for two insects.  The link between the insects and the slur is not as remote as some may suspect because as Romani scholar Professor Ethel Brooks noted, the common name of the species Lymantria dispar was gained from the behavior of the hairy larvae of the caterpillar stage during which the larvae would swarm and strip the leaves from a tree, leaving behind so much destruction that they were habitually referred to as “a plague”.  Tellingly, nobody ever cursed the Lymantria dispar but all blamed the “gypsy moth caterpillars”.  Dr Brooks made the connection between peoples’ view of the ravenous bugs and her own experience of the way the Roma were often disparaged.  She however confessed to being surprised her advocacy for change succeeded with the entomologists although the ESA was aware the Lymantria dispar’s common name was derogatory and had received a request for change as early as 2020, forming a Better Common Names Project, a task force to review and replace offensive or inappropriate insect common names.

Other branches of science are also acting.  The American Ornithological Society in 2020 announced the formation of an ad hoc committee to look into nomenclatures, some of the more obvious changes being the replacement of bird-names based on the names of people with dubious histories in colonialism or slavery.  In genetics, there’s also a move to rename the “Gypsy jumping genes”, a class noted for their propensity to make copies of themselves and insert them back into the genome.   In genetics, such revisions are not unknown; some years ago a number of genes were renamed because their original names, thought whimsical at the time, were held to be offensive to those with certain physical characteristics or suffering some forms of mental illness.  In ichthyology, attention is also being paid to names.  The Atlantic goliath grouper was historically referred to as the "jewfish" and while the origin of the name is obscure, a review determined it was likely the species' physical characteristics were connected habitually deployed caricatures of anti-Semitic beliefs and as long ago as 1927, the New York Aquarium changed the fish's name to Junefish.  In 2001, the American Fisheries Society (AFS) changed the name to "goliath grouper".

South African de Havilland DH.60G Gipsy Moth c/n 842 ZS-ABA, registered to The Johannesburg Light Plane Club At Baragwanath Airfield and pictured with Junkers A50 Junior ZS-ABV c/n 3511 and Avro 594 Avian II ZS-AAN c/n 124.  The de Havilland Gipsy aero-engine enjoyed a very long life.  First produced in 1927, it was used in an extraordinary number of airframes, most famously de Havilland’s Gipsy Moth and Tiger Moth.  The last variant, the Gipsy Queen 70, left the assembly line almost thirty years after the first.

Stanton Special in its original 1953 hill climb form (left) and as re-configured in 1954 with a Weltex Mistral body for land speed record competition (right).    

One curious footnote in the long career of the Gipsy engine was its use in the 1953 Stanton Special, a New Zealand built race-car.  Although not a classic racing-car power-plant, the Gipsy was light, reliable and produced a lot of torque over a wide power-band, making it ideal for the hill-climbs for which it was intended.  A product typical of the practical improvisation which characterized so much of the early motor-sport scene in New Zealand, the engine was salvaged from a Tiger Moth used for aerial-spraying and the Stanton Special quickly was dubbed “the cropduster”, the aero-engine’s distinctive exhaust note meaning it was never mistaken for anything else.  So effective did it proved in hill climbs it attracted comments suggesting that were something done to improve its dubious aerodynamic properties, it might enjoy some success in events where speeds were higher.  Accordingly, Christchurch-based Weltex Plastics, one of the pioneers in the production of fibreglass structures, in 1954 furnished one of its Mistral bodies (a design produced under license from the UK’s Microplas), complete with a tail fin to enhance straight-line stability (a la that year’s Jaguar D-Type at Le Mans).  Thus configured and with the engine tuned further with the addition of an Abbott supercharger & four Amal carburetors, it was entered in some national land speed contests and won convincingly, managing an elapsed time of 12.96 seconds in the standing quarter-mile (400 m) and a flying quarter at 154 mph (248 km/h).  The tweaking continued and in 1958 it set an Australasian land speed record which would stand for ten years, covering the standing kilometre in 22.95 seconds with a terminal velocity of 175 mph (281 km/h).  The aerodynamics must have been good but remarkably no wind-tunnel time was part of the design process, the stylist apparently sketching something which “looked slippery”.

Peripatetic

Peripatetic (pronounced per-uh-puh-tet-ik)

(1) Walking or travelling about; itinerant, wandering, roving, a vagrant.

(2) Of or of or relating to Aristotle, who taught philosophy while walking in the Lyceum of ancient Athens (with initial capital letter).

(3) A member of the Aristotelian school (with initial capital letter).

(4) Of or relating to the Aristotelian school of philosophy (with initial capital letter) so named because Aristotle, who used to teach philosophy while walking about the Lyceum in ancient Athens

(5) A person who walks or travels about.

(6) In the British educational system, one employed in two or more educational establishments and travelling from one to another; applied also to football coaches, used also as a wry reference to the pattern of them going from club to club, repeatedly sacked and hired.

1400-1450: From the French péripatétique, from the Latin peripatēticus, from the Ancient Greek περιπατητικός (peripatētikós) (given to walking around (especially while teaching)), from περιπατέω (peripatéō) (I walk around), the construct being περί (peri) (around) + πατέω (patéō) (I walk); in Greek texts from antiquity, peripatein (to pace to and fro) was commonly used.  Basis of the whole thing was Aristotle's custom of teaching while strolling through the Lyceum in Athens.  In fourteenth century Old French, the word was perypatetique, imported directly from the Medieval Latin peripateticus (pertaining to the disciples or philosophy of Aristotle)  In English, the meaning in the philosophical sense began to be used in the 1560s and in the literal sense from the 1610s (person who wanders about).  The adjective form (walking about from place to place; itinerant) emerged in the 1640, often humorously tinged.  Related forms are the adverb peripatetically and the noun peripateticism.  The old alternative spelling peripatetick is obsolete.  Charles Dickens (1812–1870) extended the meaning in Our Mutual Friend (1865), using it in a figurative sense to mean “rambling” or “long-winded”, describing someone who tended to long to meander around the topics sometimes never quite reaching the point.  Peripatetic is a noun is a noun & adjective, peripateticism is a noun and peripatetically is an adverb; the noun plural is peripatetics.

Saint Thomas Aquinas (circa 1710) by José Risueño (1665–1721).

The Peripatetic axiom is Nihil est in intellectu quod non sit prius in sensu (Nothing is in the intellect that was not first in the senses).  It appears in Questiones disputatae de veritate (Disputed Questions on Truth) (1256-1259), a collection of twenty-nine disputed questions on aspects of faith and the human condition by the Italian Dominican theologian Saint Thomas Aquinas (1225–1274).

Aquinas derived the principle from Aristotle’s Peripatetic school of philosophy.  Aquinas insists the existence of God could be proved by reasoning from “sense data”, an argument he developed using a variation of the Aristotelian notion of the intellectus agens (active intellect) which he defined as the ability of the mind to abstract universal meanings from specific empirical data.  The essential idea that human experience can be based only on sensory input does sound reasonable, after all, what choice do people have?  Such however was the reverence in the West for Aquinas that his writings on the matter for centuries influenced not only the theological question but also the interpretation of Aristotle.

Peripatetic Painting (2015) by Charles Yates (b 1941).

What Aquinas calls the Peripatetic axiom is his distillation of Aristotelian thought, not a quote or even a paraphrasing from antiquity but it is anyway certainly a “disputed question”.  Regarding the proposition “nothing is in the intellect that was not previously in sense” he notes:  "That axiom is to be understood as applying only to our intellect, which receives its knowledge from things. For a thing is led by gradual steps from its own material conditions to the immateriality of the intellect through the mediation of the immateriality of sense. Consequently, whatever is in our intellect must have previously been in the senses. This, however, does not take place in the divine intellect.”

So ensued centuries of argument between those who maintained empiricism was no part of the way Aquinas reconciled revealed religion with Aristotelian thought and those who found Saint Thomas perhaps the proto-empiricist in the sense (1) he held all our ideas are derived from experience so (2) by definition there can be nothing in the intellect not previously in the senses and (3) that this was implicit in Aristotle.  Despite the implications of that, most however seemed to conclude he did not think all knowledge either consists of sense experience or is inferred inductively from experience.  From all this, although some remained still unconvinced by his position the existence of God could be proved by reasoning alone, few were unimpressed by the intellectual gymnastics it took to get there.

A peripatetic existence; Lindsay Lohan wandering the palnet: Istanbul, Nice, Los Angeles & Mykonos (top row), Dubai, Athens, London & Tokyo (middle row) and Washington DC, Melbourne, New York & Venice (bottom row).

Tatterdemalion

Tatterdemalion (pronounced tat-er-di-meyl-yuhn or tat-er-di-mal-yuhn)

(1) A person in tattered clothing; a shabby person.

(2) Ragged; unkempt or dilapidated.

(3) In fashion, (typically as “a tatterdemalion dress” etc), garments styled deliberately frayed or with constructed tears etc (also described as “distressed” or “destroyed”).

(4) A beggar (archaic).

1600–1610: The original spelling was tatter-de-mallian (the “demalion” rhymed with “Italian” in English pronunciation), the construct thus tatter + -demalion, of uncertain origin although the nineteenth century English lexicographer Ebenezer Cobham Brewer (1810-1897) (remembered still for his marvelous Dictionary of Phrase and Fable (1894) suggested it might be from de maillot (shirt) which does seem compelling.  Rather than the source, tatter is thought to have been a back-formation from tattered, from the Middle English tatered & tatird, from the Old Norse tǫturr.  Originally, it was derived from the noun, but it was later re-analysed as a past participle (the construct being tatter +‎ -ed) and from this came the verb.  As a noun a tatter was "a shred of torn cloth or an individual item of torn and ragged clothing" while the verb implied both (as a transitive) "to destroy an article of clothing by shredding" & (as an intransitive) "to fall into tatters".  Tatterdemalion is a noun & adjective and tatterdemalionism is a noun; the noun plural is tatterdemalions.

In parallel, there was also the parallel "tat", borrowed under the Raj from the Hindi टाट (ṭāṭ) (thick canvas) and in English it assumed a variety of meanings including as a clipping of tattoo, as an onomatopoeia referencing the sound made by dice when rolled on a table (and came to be used especially of a loaded die) and as an expression of disapprobation meaning “cheap and vulgar”, either in the context of low-quality goods or sleazy conduct.  The link with "tatty" in the sense of “shabby or ragged clothing” however apparently comes from tat as a clipping of the tatty, a woven mat or screen of gunny cloth made from the fibre of the Corchorus olitorius (jute plant) and noted for it loose, scruffy-looking weave.  Tatterdemalion is a noun & adjective; the noun plural is tatterdemalions.  The historic synonyms were shoddy, battered, broken, dilapidated, frayed, frazzled, moth-eaten, ragged, raggedy, ripped, ramshackle, rugged, scraggy, seedy, shabby, shaggy, threadbare, torn & unkempt and in the context of the modern fashion industry, distressed & destroyed.  An individual could also be described as a tramp, a ragamuffin, a vagabond, a vagrant, a gypsy or even a slum, some of those term reflecting class and ethnic prejudice or stereotypes.  Historically, tatterdemalion was also a name for a beggar.

A similar word in Yiddish was שמאַטע‎ (shmate or shmatte and spelled variously as schmatte, schmata, schmatta, schmate, schmutter & shmatta), from the Polish szmata, of uncertain origin but possibly from szmat (a fair amount).  In the Yiddish (and as adopted in Yinglish) it meant (1) a rag, (2) a piece of old clothing & (3) in the slang of the clothing trade, any item of clothing.  That was much more specific than the Polish szmata which meant literally "rag or old, ripped piece of cloth" but was used also figuratively to mean "publication of low journalistic standard" (ie analogous the English slang use of "rag") and in slang to refer to a woman of loose virtue (used as skank, slut etc might be used in English), a sense which transferred to colloquial use in sport to mean "simple shot", "easy goal" etc.

Designer distress: Lindsay Lohan illustrates the look.

Tatterdemalion is certainly a spectrum condition (the comparative “more tatterdemalion”; the superlative “most tatterdemalion”) and this is well illustrated by the adoption of the concept by fashionistas, modern capitalism soon there to supply demand.  In the fashion business, tatterdemalion needs to walk a fine line because tattiness was historically associated with poverty while designers need to provide garments which convey a message wealth.  The general terms for such garments is “distressed” although “destroyed” is (rather misleadingly) also used.

Highly qualified content provider Busty Buffy (b 1996) in “cut-off” denim shorts with leather braces while beltless.

The ancestor of designer tatterdemalion was a pair of “cut off” denim shorts, improvised not as a fashion statement but as a form of economy, gaining a little more life from a pair of jeans which had deteriorated beyond the point where mending was viable.  Until the counter-culture movements of the 1960s (which really began the previous decade but didn’t until the 1960s assume an expression in mass-market fashion trends), wearing cut-off jeans or clothing obviously patched and repaired generally was a marker of poverty although common in rural areas and among the industrial working class where it was just part of life.  It was only in the 1960s when an anti-consumerist, anti materialist vibe attracted the large cohort of youth created by the post-war “baby boom” that obviously frayed or torn clothing came to be an expression of disregard or even disdain for the prevailing standards of neatness (although paradoxically they were the richest “young generation” ever).  It was the punk movement in the 1970s which took this to whatever extremes seemed possible, the distinctive look of garments with rips and tears secured with safety pins so emblematic of (often confected) rebellion that in certain circles it remains to this day part of the “uniform”.  The fashion industry of course noted the trend and what would later be called “distressed” denim appeared in the lines of many mainstream manufacturers as early as the 1980s, often paired with the acid-washing and stone-washing which previously had been used to make a pair of jeans appear “older”, sometimes a desired look.

Dolce & Gabbana Distressed Jeans (part number FTCGGDG8ET8S9001), US$1150.

That it started with denim makes sense because it's the ultimate "classless" fabric in that it's worn by both rich and poor and while that has advantages for manufacturers, it does mean some are compelled to find ways to ensure buyers are able (blatantly or with some subtlety) to advertise what they are wearing is expensive; while no fashion house seems yet to have put the RRP (recommended retail price) on a leather patch, it may be only a matter of time.  The marketing of jeans which even when new gave the appearance of having been “broken in” by the wearer was by the 1970s a define niche, the quasi-vintage look of “fade & age” achieved with processes such as stone washing, enzyme washing, acid washing, sandblasting, emerizing and micro-sanding but this was just to create an effect, the fabrics not ripped or torn.  Distressed jeans represented the next step in the normal process of wear, fraying hems and seams, irregular fading and rips & tears now part of the aesthetic.  As an industrial process that’s not difficult to do but if done in the wrong way it won’t resemble exactly a pair of jeans subject to gradual degradation because different legs would have worn the denim at different places.  In the 2010s, the look spread to T-shirts and (predictably) hoodies, some manufacturers going beyond mere verisimilitude to (sort of) genuine authenticity, achieving the desired decorative by shooting shirts with bullets, managing a look which presumably the usual tricks of “nibbling & slashing” couldn’t quite emulate.  Warming to the idea, the Japanese label Zoo released jeans made from material torn by lions and tigers, the company anxious to mention the big cats in Tokyo Zoo seemed to "enjoy the fun" and to anyone who has seen a kitten with a skein of wool, that will sound plausible.  Others emulated the working-class look, the “caked-on muddy coating” and “oil and grease smears” another variant although one apparently short-lived; appearing dirty apparently never a fashionable choice.  All these looks had of course been seen for centuries, worn mostly by the poor with little choice but to eke a little more wear from their shabby clothes but in the late twentieth century, as wealth overtook Western society, the look was adopted by many with disposable income; firstly the bohemians, hippies and other anti-materialists before the punk movement which needed motifs with some capacity to shock, something harder to achieve than had once been the case.

Distressed top and bottom.  Gigi Hadid (b 1995) in distressed T-shirt and "boyfriend" jeans.

For poets and punks, improvising the look from the stocks of thrift shops, that was fine but for designer labels selling scruffy-looking jeans for four-figure sums, it was more of a challenge, especially as the social media generation had discovered that above all they liked authenticity and faux authenticity would not do, nobody wanting to look it to look they were trying too hard.  The might have seemed a problem, given the look was inherently fake but the aesthetic didn’t matter for its own sake, all that had to be denoted was “conspicuous consumption” (the excessive spending on wasteful goods as proof of wealth) and the juxtaposition of thousand dollar distressed jeans with the odd expensive accessory, achieved that and more, the discontinuities offering irony as a look.  The labels, the prominence of which remained a focus was enough for the message to work although one does wonder if any of the majors have been tempted to print a QR code on the back pocket, linked to the RRP because, what people are really trying to say is “My jeans cost US$1200”.

1962 AC Shelby American Cobra (CSX 2000), interior detail, 2016.

The value of selective scruffiness is well known in other fields.  When selling a car, usually a tatty interior greatly will depress the price (sometimes by more even than the cost of rectification).  However, if the tattiness is of some historic significance, it can add to car’s value, the best example being if the deterioration is part of a vehicle's provenance and proof of originality, a prized attribute to the segment of the collector market known as the “originally police”.  In 2016, what is recognized as the very first Shelby American AC Cobra (CSX 2000) sold for US$13.75 million, becoming the highest price realized at auction for what is classified as "American car".  Built in 1962, it was an AC Ace shipped to California without an engine (and apparently not AC's original "proof-of-concept" test bed which was fitted with one of the short-lived 221 cubic inch (3.6 litre) versions of Ford's new "thin-wall" Windsor V8) where the Shelby operation installed a 260 cubic inch (4.2 litre) Windsor and the rest is history.  The tatterdemalion state of the interior was advertised as one of the features of the car, confirming its status as “an untouched survivor”.  Among Cobra collectors, patina caused by Carroll Shelby's (1923–2012) butt is a most valuable tatterdemalion.

Patina plus and beyond buffing out: Juan Manuel Fangio, Mercedes-Benz W196R Stromlinienwagen (Streamliner), British Grand Prix, Silverstone, 17 July 1954.

Also recommended to be repaired before sale are dents, anything battered unlikely to attract a premium.  However, if a dent was put there by a Formula One (F1) world champion, it becomes a historic artefact.  In 1954, Mercedes-Benz astounded all when their new grand prix car (the W196R) appeared with all-enveloping bodywork, allowed because of a since closed loophole in the rule-book.  The sensuous shape made the rest of the field look antiquated although underneath it was a curious mix of old and new, the fuel-injection and desmodromic valve train representing cutting edge technology while the swing axles and drum brakes spoke to the past and present, the engineers’ beloved straight-eight configuration (its last appearance in F1) definitely the end of an era.  On fast tracks like Monza, the aerodynamic bodywork delivered great speed and stability but the limitations were exposed when the team ran the Stromlinienwagen at tighter circuits and in the 1954 British Grand Prix at Silverstone, Juan Manuel Fangio (1911–1995; winner of five F1 world-championship driver's titles) managed to clout a couple of oil-drums (those and bails of hay how track safety was then done) because it was so much harder to determine the extremities without being able to see the front wheels.  Quickly, the factory concocted a functional (though visually unremarkable) open-wheel version and the sleek original was thereafter used only on the circuits where the highest speeds were achieved.  In 1954, the factory was unconcerned with the historic potential of the dents and repaired the tatterdemalion W196R so an artefact of the era was lost.  That apart, as used cars the W196Rs have held their value well, an open-wheel version selling at auction in 2013 for US$29.7 million while in 2025 a Stromlinienwagen realized US$53.9 million.  

1966 Ferrari 330 GTC (1966-1968) restored by Bell Sport & Classic.  Many restored Ferraris of the pre-1974 era are finished to a much higher standard than when they left the showroom.  Despite this, genuine, original "survivors" (warts and all) are much-sought in some circles.

In the collector car industry, tatterdemalion definitely is a spectrum condition and for decades the matter of patina versus perfection has been debated.  There was once the idea that in Europe the preference was for a vehicle to appear naturally aged (well-maintained but showing the wear of decades of use) while the US market leaned towards cars restored to the point of being as good (or better) than they were on the showroom floor.  Social anthropologists might have some fun exploring that perception of difference and it was certainly never a universal rule but the debate continues, as does the argument about “improving” on the original.  Some of the most fancied machinery of the 1950s and 1960s (notably Jaguars, Ferraris and Maseratis) is now a staple of the restoration business but, although when new the machines looked gorgeous, it wasn’t necessary to dig too deep to find often shoddy standards of finish, the practice at the time something like sweeping the dirt “under the rug”.  When "restored", many of these cars are re-built to a higher standard, what was often left rough because it sat unseen somewhere now smoothed to perfection.  That’s what some customers want and the best restoration shops can do either though there are questions about whether what might be described as “fake patina” is quite the done thing.  Mechanics and engineers who were part of building Ferraris in the 1960s, upon looking at some immaculately “restored” cars have been known wryly to remark: “that wasn't how we built them then.”

1939 Ford Deluxe coupe restored in “distressed-look green”.

The industry describes restorations which emulate the “worn survivor” appearance variously as “distressed look” or “patina look”.  There’s clearly a market for both machines restored to (or beyond) the state they’d have been in on the showroom floor and those finished in a way which resembles how they’d likely look if merely for decades well-used yet maintained.  The convention in the later is for mechanical components to be restored to original condition while interiors tend to be allowed to show some age if of leather but refurbished or renewed to an immaculate state if of a fabric.  Interior timbers are almost always restored.  Usually the exterior finish is rendered conventionally with paint but some use wraps which can make something like minor surface rust appear more realistic.  The sub-genres of restomods (older cars which maintain a substantially original appearance but fitted with modern mechanical components) and rat-rods (which create intentionally dilapidated appearance but with modern components beneath) both in their own way take a mix-n-match approach to things but while the classic restromod is a “Q-ship” in that while externally indistinguishable from an original, the performance is much higher, the rat-rod ethos is from the Dolly Parton (b 1946) school of “it takes a lot of money to look this cheap”.

Gucci offered Distressed Tights at US$190 (for a pair so quite good value).  Rapidly, they sold-out.

The fake patina business goes back quite a way.  Among antique dealers, it’s now a definite niche but from the point at which the industrial revolution began to create a new moneyed class of mine and factory owners, there was a sub-set of the new money (and there are cynics who suggest it was mostly at the prodding of their wives) who wished to seem more like old money and a trend began to seek out “aged” furniture with which a man might deck out his (newly acquired) house to look as if things had been in the family for generations.  The notoriously snobbish (and amusing) diarist Alan Clark (1928–1999) once referred to someone as looking like “they had to buy their own chairs”, prompting one aristocrat to respond: “That’s a bit much from someone whose father (the art historian and life peer Kenneth Clark (1903–1983)) had to buy his own castle.”  The old money were of course snooty about the such folk and David Lloyd George (1863–1945; UK prime-minister 1916-1922) would lament many of the “jumped-up grocers” in his Liberal Party were more troublesome and less sympathetic to the troubles of the downtrodden than the "backwoodsmen" gentry in their inherited country houses.

Catwalk

Catwalk (pronounced kat-wawk)

(1) A narrow walkway, especially one high above the surrounding area, used to provide access or allow workers to stand or move, as over the stage in a theater, outside the roadway of a bridge, along the top of a railroad car etc; any similar elevated walkway.

(2) By extension, a narrow ramp extending from the stage into the audience in a theatre, nightclub etc, associated especially with those used by models during fashion shows (although the gender-neutral “runway” is now sometimes used in preference to “catwalk”).

(3) In nautical architecture, an elevated enclosed passage providing access fore and aft from the bridge of a merchant vessel.

(4) By extension, as "the catwalk", industry slang for the business of making clothes for fashion shows.

1874: The construct was cat + walk.  The use of catwalk to describe a long, narrow footway was a reference initially to those especially of such narrowness of passage that one had to cross as a cat walks.  It applied originally to ships and then theatrical back-stages, the first known use with a fashion show runway dating from 1942.  In architecture on land and at sea, the catwalk soon lost its exclusive association only with the narrow and came instead to be defined by function, used to describe any walkway between two points.  The noun plural is catwalks.  For both nautical and architectural purposes, the English catwalk was borrowed by many languages including Norwegian (Bokmål & Nynorsk) and Dutch and it’s used almost universally in fashion shows.  Some languages such as the Ottoman Turkish قات‎ use the spelling kat and some formed the plural as catz.

Cat (any member of the suborder (sometimes superfamily) Feliformia or Feloidea): feliform (cat-like) carnivoran & feloid or any member of the subfamily Felinae, genera Puma, Acinonyx, Lynx, Leopardus, and Felis or any member of the subfamily Pantherinae, genera Panthera, Uncia and Neofelise and (in historic use, any member of the extinct subfamily Machairodontinae, genera Smilodon, Homotherium, Miomachairodus etc, most famously the Smilodontini, Machairodontini (Homotherini), Metailurini, "sabre-toothed cat" (often incorrectly referred to as the sabre-toothed tiger) but now most associated with the domesticated species (Felis catus) of felines, commonly and apparently since the eight century kept as a house pet)) was from the Middle English cat & catte, from the Old English catt (male cat) & catte (female cat), from the Proto-West Germanic kattu, from the Proto-Germanic kattuz, from the Latin cattus.

Cat has most productively been applied in English to describe a wide variety of objects and states of the human condition including (1) a spiteful or angry woman (from the early thirteenth century but now almost wholly supplanted by “bitch” (often with some clichéd or imaginative modifier)), (2) An aficionado or player of jazz, (3) certain male persons (a use associated mostly with hippies or sub-set of African-American culture), (4) historic (early fifteenth century) slang for a prostitute, (5) in admiralty use, strong tackle used to hoist an anchor to the cathead of a ship, (6) in admiralty use, a truncated form of cat-o'-nine-tails (a multi-lash (not all were actually nine-tailed)) whip used by the Royal Navy to enforce on-board discipline), (7) in admiralty use, a sturdy merchant sailing vessel (long archaic although the use endures to describe the rather smaller "catboat", (8) as “cat & dog (cat being the trap), a archaic alternative name for the game "trap and ball", (9) the pointed piece of wood that is struck in the game of tipcat, (1) In the African-American vernacular, vulgar slang or the vagina, a vulva; the female external genitalia, (11) a double tripod (for holding a plate etc) with six feet, of which three rest on the ground, in whatever position it is placed, (12) a wheeled shelter, used in the Middle Ages as a siege weapon to allow assailants to approach enemy defenses, (13) in admiralty slang, to vomit, (14) in admiralty slang to o hoist (the anchor) by its ring so that it hangs at the cathead, (15) in computing, a program and command in the Unix operating system that reads one or more files and directs their content to the standard output (16) in the slang of computing, to dump large amounts of data on an unprepared target usually with no intention of browsing it carefully (which may have been a sardonic allusion of “to catalogue or a shortened form of catastrophic although both origins are unverified, a street name of the drug methcathinone, (17) in ballistics and for related accelerative uses, a shortened form of catapult, (18) for purposes of digital and other exercises in classification, a shortening of category, (19) an abbreviation of many words starting with “cat”) (catalytic converter, caterpillar (including as “CAT” by the manufacturer Caterpillar, maker of a variety of earth-moving and related machines)) catfish, etc, (20) any (non military-combat) caterpillar drive vehicle (a ground vehicle which uses caterpillar tracks), especially tractors, trucks, minibuses, and snow groomers.

Walk was from the Middle English walken (to move, roll, turn, revolve, toss), from the Old English wealcan (to move round, revolve, roll, turn, toss) & ġewealcan (to go, traverse) and the Middle English walkien (to roll, stamp, walk, wallow), from the Old English wealcian (to curl, roll up), all from the Proto-Germanic walkaną & walkōną (to twist, turn, roll about, full), from the primitive Indo-European walg- (to twist, turn, move).  It was cognate with the Scots walk (to walk), the Saterland Frisian walkje (to full; drum; flex; mill), the West Frisian swalkje (to wander, roam), the Dutch walken (to full, work hair or felt), the Dutch zwalken (to wander about), the German walken (to lex, full, mill, drum), the Danish valke & waulk), the Latin valgus (bandy-legged, bow-legged) and the Sanskrit वल्गति (valgati) (amble, bound, leap, dance).  It was related to vagrant and whelk and a doublet of waulk.

Walk has contributed to many idiomatic forms including (1) in colloquial legal jargon, “to walk” (to win (or avoid) a criminal court case, particularly when actually guilty, (2) as a colloquial, euphemistic, “for an object to go missing or be stolen, (3) in cricket (of the batsman), to walk off the field, as if given out, after the fielding side appeals and before the umpire has ruled; done as a matter of sportsmanship when the batsman believes he is out or when the dismissal is so blatantly obvious that the umpire’s decision is inevitable, (4) in baseball, to allow a batter to reach first base by pitching four balls (ie non-strikes), (5) to move something by shifting between two positions, as if it were walking, (6) (also as “to full”, to beat cloth to give it the consistency of felt, (6) in the slang of computer programming, to debug a routine by “walking the heap”, (7) in aviation, to operate the left and right throttles of an aircraft in alternation, (8) in employment, to leave, to resign, (9) in the now outlawed “sports” of dog & cock-fighting, to put, keep, or train (a puppy or bird) in a walk, or training area, (10) in the hospitality trade, to move a guest to another hotel if their confirmed reservation is not available at the time they arrive to check-in (also as to bump), (11) in the hospitality trade, as “walk-in”, a customer who “walks-in from the street” to book a room or table without a prior reservation, (12) in graph theory, a sequence of alternating vertices and edges, where each edge's endpoints are the preceding and following vertices in the sequence, (13) In coffee, coconut, and other plantations, the space between the rows of plants (from the Caribbean and most associated with  Belize, Guyana & Jamaica, (14) in orchids, an area planted with fruit-bearing trees, (15) in colloquial use, as “a walk in the park” or “a cakewalk”, something very easily accomplished (same as “a milk-run”) and (16) in the (now rare) slang of the UK finance industry, a cheque drawn on a bank that was not a member of the LCCS (London Cheque (check in the US) Clearance System), the sort-code of which was allocated on a one-off basis; they had to be "walked" (ie hand-delivered by messengers).

A crop top appended to Duran Lantink's (b 1998) fall 2025 Duranimal collection, Paris Fashion Week, March.  Although technical details weren't provided, based on the realistic "jiggle" achieved, the "garment" may have included "ballistics gel" in the critical elements.

Especially since the ratio of fabric to flesh on red carpets shrunk during the last two decades, critics and the public alike have become jaded, shock and surprise harder to achieve on the catwalk.  However, at Paris Fashion Week 2025, what had become elusive with fabric and flesh and was achieved with latex, a male model appearing in a gender-bending top during the presentation of Dutch designer Duran Lantink's (b 1998) fall 2025 Duranimal collection.  What turned out to be the most publicized item in the Palais de Tokyo Room wasn’t the collection of pieces featuring bold animal prints with striking silhouettes, but one never to be in any high street catalogue, a flesh-colored torso with a pair of realistic, jiggling, prosthetic breasts worn by male model Chandler Frye.

Tit for tat: Mica Argañaraz strutting in T-shirt.

What the male mode wore was, in design terms, a crop top, albeit one with untypical choices in material and construction, and the companion piece was worn by model Mica Argañaraz: a T-shirt also in skin-tone latex, molded in the form of an idealized male torso, something like those the sculptors of Antiquity once carved in marble.  Both were on display on a catwalk which snaked around a maze of cubicles filled with headset-wearing workers shuffling and stapling papers, something which may have had some thematic connection which what was on show although no explanation was provided.  While the T-shirt seems to have provoked few comments, there were criticisms of the latex boobs, usually in some way an objection to the objectification of the female body (something generally thought a battle long lost) while others denied this could possibly thought “fashion” which was about as pointless an observation as any of those by the many who over the years have dismissed porcelain urinals, drip paintings and such as “not art”.  When asked about the use of a woman’s body as a “costume” (nobody asked about the make torso), Mr Lantink replied it was “…about cosplay, it’s playing with bad taste, it’s about form. Every season, we’re trying to sort of surprise ourselves with how can we change an original piece into something that we find interesting”, adding: “And we’re gonna do whatever the fuck we want because we’re free.”

On the catwalk: Lindsay Lohan in a Heart Truth Red Dress during Olympus Fashion Week, Fall, 2006, The Tent, New York City.

How to walk like catwalk model

Traci Halvorson of Halvorson Model Management (HMM) in San Jose, California, has written a useful guide for those wishing to learn the technique of walking like a catwalk (increasingly now called the gender-neutral “runway”) model.  Although walking on a wide, stable flat surface, in a straight line with few other instructions except “don’t fall over”, doesn’t sound difficult, the art is actually a tightly defined set of parameters which not all can master.  Some models who excel at static shots and are well-known from their photographic work can’t be used on a catwalk because their gait, while within the normal human range, simply isn’t a “catwalk walk”.  It’s thus a construct, of clothes, shoes, style and even expression and catwalk models need to be adaptable, able to achieve essentially the same thing whether in 6-inch (150 mm) high stilettos or slippery-soled ballet flats; it’s harder than it sounds and as all models admit, nothing improves one’s technique like practice.

(1) The facial expression.  It sounds a strange place to start but it’s not because if the facial expression is unchanging it means it’s easier to focus on everything else, the rational being that humans use their range of facial expression to convey emotion and attitude but this all has to be neutralized to permit the photographers (paradoxically the audience is less relevant) to capture what are defined “catwalk” shots.  Set the chin to point slightly down though don’t hang the head; the angle should be almost imperceptible and it recommended to imagine an invisible string attached to the top of the head holding the chin in its set position.

(2) Do not smile.  Catwalk models do not smile because it draws attention away from the product although this does not mean looking miserable or unhappy; instead look “serious” and this usually is done by perfecting what is described as a “neutral” expression, one which would defy an observer being able to tell whether the wearer is happy or sad.  To achieve this, the single most important aspect is to keep the mouth closed in a natural position, something like what is recommended for a passport photograph and ask others to judge the look but as a note of caution, there will be failures because some girls just look sort of happy no matter what.  In most of life, this will be of advantage so a career other than the catwalk will beckon.

(3) On the catwalk, keep the eyes focused straight ahead.  This not only makes walking easier but also self-imposes a discipline which will help maintain the static facial expression.  Because the eyes are focused straight-ahead, it will stop the head moving and the look will be the desired one of alertness and purposefulness.  Some models recommend imagining a object moving in front of them and focus on that and in the situations where there’s a procession on the catwalk, it’s possible usually to fixate on some unmoving point on the model ahead.

(5) Don’t fall over.  It’s an obvious point but it does happen and usually, shoes are responsible, either because the nature of the construction has so altered the model’s centre of gravity or there's  contact between footwear and some flowing piece of fabric, either one’s own or one in the wake of the model ahead.  There is no better training to avoid “catwalk stacks” than to practice in a wide variety of shoe types.

(5) If possible, arrange a replica catwalk on which to practice, it need only to be a few paces long and arranged so the walk is towards a full-length mirror.  For side views, film using a carefully positioned camera and compare the result with footage of actual catwalk models at work.  If possible, work in pairs or a group because you’ll hone each other’s techniques but remember this is serious business and criticism will need to be frank; feelings may need to be hurt on the walk to the catwalk.

(6) Stand up straight, imagining the invisible string holding the head in place being also attached to the spine.  Keep the shoulders back but not unnaturally so, posture needs to be good but not stiff or exaggerated and a good posture can to some extent compensate for a lack of height.  Again, this needs to be practiced in front of a mirror and practice will improve the technique, the object being to stand straight while looking relaxed and comfortable.

(7) Perfecting the actual catwalk walk will take some time because, although it looks entirely natural when done by models, it’s not actually the “natural” way most people walk.  To train, begin purely mechanistically, placing one foot in front of the other and walking with (comfortably) long strides, the best trick being to mark a line on the floor with chalk and imagine walking on a rope, keeping one foot in front of the other, allowing the hips slightly to move from side to side; the classic model look.  With sufficient practice, what designers call the model’s “strut” will evolve and in conjunction with the other techniques, there’ll be a projection of assuredness and confidence.

(8) However, the hips need symmetrically and slightly to move, not swing.  Catwalk models are hired as platforms for clothes within a narrow dimensional range and this includes not only the cut of the fabric but also the extent it is required to move as the body moves and motion must not be exaggerated.  When practicing this, again it’s preferable to work in pairs or groups.

How it's done.  Catwalk models need to look good coming or going.

(9) Limit the movement of the arms when walking.  Let the arms hang at the sides with the hands relaxed, the swing of the limbs sufficient only to ensure the look is not unnaturally stylized and certainly nothing like that of most people on the street.  Many report when first practicing that there’s a tendency for the hands to clench into fists and that’s because of the discipline being imposed on other body parts but from the start, ensure the hands are relaxed, loosely cupped and with a small (natural) gap (something like ¼ inch (5-6 mm) between the fingers.  Allow the arms slightly to bend and they’ll sway (just a little) with the body.

(10) Practice specifically for the occasion.  Just as even the best tennis players have to practice on grass if they’ve just come off playing on clay or hard-courts, at least an hour before an actual catwalk session should be spent practicing in the same style of shoes as will be worn for the session(s).  This applies even if wearing something less challenging like flats because the change in weight distribution and the resultant centre of gravity is profound if the last few days have been spent in 6 inch (150 mm) heels.     

(11) Practice with different types of music because the catwalk walk really is an exercise in rhythm and if one can find a piece which really suits and makes the walk easier to perfect, if it’s possible to imagine that while on the catwalk, that’s good although sometimes there’s music at the shows and not all can focus on what’s in the head while excluding what’s coming through the speakers.

Traci Halvorson's instructions were of course aimed at neophytes wishing to learn the basic technique but among established models there are variations and the odd stake of the individualistic, the most eye-catching of which is the "fierce strut", a usually fast-paced and aggressive march down the catwalk while still using the classic one-foot-in-front-of-the-other motif which so defines the industry.  It's thus not quite Nazi-style goose-stepping or even the hybrid step used most enthusiastically by the female soldiers in the DPRK (North Korean) military but it's clearly strutting with intent.

Recent fierce struts on the catwalk (runway).