Skeg

Skeg (pronounced skeg)

(1) In shipbuilding, a fin-like projection sometimes supporting a rudder and protecting the propeller(s) at its lower end, located abaft a sternpost or rudderpost.

(2) In the design of smaller boats, an extension of the keel, designed to improve steering.

(3) In the slang of naval architects (in certain contexts), a stump or branch (the after-part of a ship's keel).

(4) In the slang of the GM (General Motors) stylists, a “lower fin”, matching the, seen in embryonic form on the 1959 Pontiac and used on certain 1961 Oldsmobiles and the 1961-1962 Cadillacs.

(5) The fin which acts as a stabilizer on a surfboard.  To suffer some injury after being hit by one of these fins is to be “skegged”.

(6) In Australian slang, a surfer; a person who leads the lifestyle of a surfer (used also derisively in the form “fake skeg” of those who adopt the style an appearance without actually surfing.

(7) A type of wild plum (obsolete).

(8) A kind of oat (obsolete).

(9) In Northern English dialectal use, a look or glance.

(10) In some cultures, a slang term applied to youth suggesting slovenliness, a predilection to petty crime and other anti-social behavior; also used widely in Scottish slang for a surprising variety of purposes including legs, trousers, dirt, scotch eggs, sex and women of loose virtue.

1590–1600: From a dialectal term for a stump, branch, or wooden peg, from the Dutch scheg (cutwater), of Scandinavian origin and related to the Swedish skog and the Old Norse & Icelandic skegg (projection on the stern of a boat).  In some Nordic languages, skegg means “beard” and was from the Old Norse skegg, from the Proto-Germanic skaggiją, from the primitive Indo-European skek, kek-, skeg & keg- (to jump, skip, move, hurry).  In English slang, skeggy is (1) the coastal Lincolnshire town of Skegness or (2) an inhabitant of Skegness.  The name of the Skegness is though a construct of the Old Norse skegg (beard) + -nes (headland) and was thought a reference to the geography, the original settlement situated farther east at the mouth of The Wash (thus jutting out like a beard from a face).  A link with the Faroese skegg (to jump, skip, move, hurry (and source of the given name "Skeggi")) is thought unlikely.  Skeg is a noun and skegged is an adjective; the noun plural is skegs.

A gang of four Sceggs, Sydney, Australia.

The skegs of nautical architecture should not be confused with the homophone Sceggs, the acronym for students of S.C.E.G.G.S. (Sydney Church of England Girls Grammar School), seen also in the adjectival forms sceggesque & sceggish (one whose style suggests something similar to the stereotypical student of the school); Those adjectives exist because Scegg is also "a look" and there are students from schools other than S.C.E.G.G.S so described, often in the form "she's such a scegg".  

Lindsay Lohan in wet suit, with surfboard, Malibu, 2011.  The stabilizing skeg is the black protrusion at the back of the board.

On nautical vessels, skegs where they exist fulfil a significant function but they are not an essential part of hull design.  A skeg is an external structural feature, a vertical tapering projection permanently fixed at the aft, usually close to the centre-line.  Most are located in front of the rudder and structurally can often be considered a sternward extension of the keel (the internal, longitudinal members which lend much strength of the hull).  Although in military vessels there are additional functions, the most significant contribution of a skeg is in hydrodynamics, a skeg designed to influence the flow patterns and thus affecting the dynamics of both the rudder (which is usually in line with the skeg) and propeller(s).  The design is thus a finely tuned equation because while a skeg inherently induces drag, the way it alters the flow pattern can reduces the drag and resistance suffered by the rudder and propeller(s), essentially by transforming the turbulent characteristics of the flow to laminar at the stern.  Historically, skegs were a vital component in maintaining a course and that’s still an important consideration in smaller vessels but in larger craft, improved rudder and advanced navigational as well as stabilization technologies like thrusters have meant skegs are no longer of the same significance in maintaining directionality.

An USN (US Navy) Iowa class battleship, showing the inner set of propeller shafts wholly enclosed in a pair of skegs.  On the big ships, the skegs were designed also to be load-bearing supports while in dry-dock.

In the modern age, skegs became an unusual feature on warships, a relative few so equipped and the designs varied, some with only par of their shafts inside skegs while others encased all.  Although the traditional design imperatives were shared with other ships, for navies, they offered the advantage of affording some degree of protection for rudders and propellers against torpedo attack.  Historically, another important attribute of skegs was what they added to a hull’s structural strength, making the (inherently weaker) stern resistant to outside forces and all the last of the US Navy’s dreadnoughts (Iowa, New Jersey, Missouri & Wisconsin, launched 1943-1944 and in commission variously until in 1992 the last was struck the Naval Vessel Register) featured skegs.  Their hulls narrowed towards the stern and to save weight lacked the sternpost plates the British, German and Japanese navies always fitted to their battleships; the skegs compensated for this, offering a hull with similar rigidity.

The US Navy’s South Dakota class battleships (South Dakota, Indiana, Massachusetts & Alabama, launched 1941-1942 and in commission 1942-1947) were fitted with an unusual set of skegs, the design dictated by the relatively short hull, the large outboard skegs helping to reduce the adverse effects of fluid dynamics induced by the stern's abrupt end.

However, advantages in engineering and metallurgy meant much of the functionality afforded by skegs came to be achieved in other ways so skegs became unfashionable in naval architecture.  The modeling and simulations made possible by supercomputers meant hull designs could be rendered which mastered the turbulence caused by fluid dynamics so rudders and propellers were less affected, making skegs in many cases a source of performance-sapping skin-friction drag with little compensating benefit.  Indeed, not only did this hamper performance, in some cases excessive vibration was caused, something which could only to a degree be ameliorated by changes to the propellers’ configurations.

Cadillac’s Skegs, 1961-1962

Cadillac Coupe DeVille: 1959 convertible (left) & 1960 hardtop (right).

The 1959 Cadillac’s tail-fins are the best remembered and most emblematic of the brief, extraordinary era during which the absurdly macropterous flourished.  They’re rightly known as “peak-fin” but it’s a myth they were the tallest because, measured from the ground, those on the 1961 Imperial are about a half-inch (12 mm) more vertiginous.  The attractions of the style however were fading and from 1960, GM began to tone things down, Chrysler following the lead (Ford and AMC (American Motors Corporation) never really got involved in the big fin business).  Another cultural phenomenon is that because of the large number of pink 1959 Cadillacs which now exist, many assume they were a common sight when new, the things perhaps made memorable by the sight of the one owned by the admirable Jayne Mansfield (1933–1967).  However, the factory never made a pink 1959 Cadillac and in the era, it was only in 1956 such a color was on the option list and Ms Mansfield had one of those while her 1959 convertible received a custom re-paint.

An inspiration, a step in the evolution and the result: A captured German V2 rocket (1945, left), a full-size clay mock up of a design proposal for the 1961 Cadillac (1958, centre) and 1961 Cadillac Coupe de Ville convertible (left).  The V2 is on display at the Australian War Museum, Canberra, Australia and the clay mock-up Cadillac was photographed at the General Motors Technical Center, Warren, Michigan.

For the 1961 range, Cadillac further pruned the fins but as compensation, the design staff added a "lower fin" and these, informally, they called “skegs”.  While in a sense just another of the era's many extravagances, the outgrowths could have been part of something even stranger because among the design proposals which emerged from the GMADS (GM Advanced Design Studios) was one which clearly was the ultimate expression of the motif of the 1950s which borrowed so much from the aerospace industry.  The proposed fins essentially were those of ballistic missiles which for decades were an evolution from the German Vergeltungswaffen zwei (V-2), developed first by the German military with the code name Aggregat 4 (A4).  Vergeltungswaffen is translated variously as "retaliatory weapons" or "reprisal weapons" but in English use is often written as “vengeance weapons”.  Aerodynamically, what was proposed by the ADS may have had something to commend it and certainly, such was the placement and size of the fins they'd have in some way interacted with the air-flow.  Whether the design was ever subjected to wind-tunnel testing (this was years before computers could emulate such research) isn't know but the look was sufficiently favored for an expensive, full-sized clay model to be rendered.  Ultimately the longer, though perhaps more restrained, skegs seen on the 1961 & 1962 cars were preferred.

1959 Buick Invicta Concept.

Detroit's stylists in the 1950s not only sketched a car with a big dorsal fin but authorization was granted to build one to test public reaction.  There was a precedent for the "third fin" because the Czech manufacturer Tatra had for years used them (out of necessity) and they'd provided essential stability for many LSR (land speed record) vehicles.  The Invicta concept didn't proceed to production.

Those who think Detroit's cars of the late 1950s & early 1960s were sometimes bizarre should look at the design proposals that were rejected.  Despite the clear exuberance in the the imagination, there's never been anything to suggest the stylists were stimulated by anything stronger than an after work martini.  Compared with some of the clay mock-ups, what emerged from the production lines hinted at rather than emulated missiles but should it be thought what was rendered in clay was wild, the archives of the GMTC (GM Technical Center) contain a wealth of sketches of truly bizarre design studies which didn't make the cut to reach the hands of the modelers.  Presumably, those sketches which survive are those the stylists thought deserved to be remembered and there must of been those which even the designer concluded needed to be shredded.  As the archives also demonstrate, those who criticize the fins and "bullet" taillights on the 1959 Cadillac have reasons to be grateful even stranger things were rejected.

Cadillac’s “skeg years”: 1961 (left) and 1962 (right).  There was a time when this sort of thing was just a fork of Detroit's design orthodoxy. "The past is a foreign country: they do things differently there."

It was an era of annual styling changes and switching the orientation of taillights from the horizontal to vertical was typical of what stylists each season did to “refresh” the line, a process which came to be known as “facelifting” (ie a figurative use from cosmetic plastic surgery: altering the appearance while retaining the underlying structure).  Although this basic body would have a four-year life (1961-1964), the abandonment of the skegs for its final two seasons was, by facelift standards, a quite major update, one prompted by a change at the top of GM’s design’s studios.  Also of note is the roofline on the 1961 Cadillac four-window Sedan DeVille ((Body Style 6239, top left) which used an implementation of GM’s so-called “flat-top”.

1959 Chevrolet Impala Sport Sedan (Flat Top).  This was the year of the "bat-wings" and "cats eyes" taillights.

Along with the contemporary “bubbletop”, in its pure form, GM’s flat-top lasted only two seasons (1959-1960) but the two are now Detroit’s most admired rooflines of the post-war years.  The “bubbletop” was a direct tribute to fighter aircraft but the flat-top (it was also dubbed “Flying Wing” but GM internally referred to the blade-like structure as the “cantilevered top configuration”) was mid-century modernism.  Available exclusively on the four-door hardtops, each GM division (Chevrolet, Buick, Oldsmobile, Pontiac & Cadillac) offered the dramatic look (production-line rationalization made economically viable by all five sharing a single, core structure) although there were several designations.

1959 Cadillac Four Window Sedan (upper) and 1959 Pontiac Vista (lower).

Up-market Buick (Four-Door Hardtop), and Cadillac (Four Window Sedan) weren’t very imaginative while Chevrolet and Oldsmobile choose Sport Sedan; only Pontiac showed much imagination in picking Vista, an allusion to the unusually good 360^o visibility the style afforded (although the curves in the glass did produce some distortions).  Shamelessly, even after ceasing to offer flat-tops, Pontiac continued to use the Vista name.  Cadillac’s final flat-top fling came in 1961 with a modified version using less rear overhang but the market impact was muted, the more conventional six-window four-door outselling it by more than five-to-one margin as preferences shifted towards for formal lines.  However, the look didn’t at once die because it lingered on the four-door Chevrolet Corvair until 1965 and between 1962–1978 the motif appeared on the Alfa Romeo Giulia.

Cadillac’s take on the “long & slightly less long” of it: 1961 Cadillac Six Window Sedan de Ville (Body Style 6329L, left) and 1961 Cadillac Town Sedan (Body Style 6399C, right).  In the brochures, the terms “Town Sedan” and “Short Deck” both were used.

One quirk of Cadillac’s brief embrace of the skeg was there were two iterations: skeg long and skeg short.  Whether in response to dealer feedback or in anticipation of some owners preferring their Cadillac in a more conveniently sized package, between 1961-1963 a “short-deck” option was made available on certain body styles.  Offered first on the six-window Sedan de Ville (as the “Town Sedan”), an encouraging 3,756 were built so the option was in 1962 offered on the four-window de Ville Sedan (Body Style 6398 and now called “Park Avenue”) but sales dropped to 2600.  The coming of the 1963 models marked the retirement of the short-lived skegs which thus ended their brief moment as something decorative although they continued the functional role in marine architecture.

1963 Cadillac Four-Window Sedan de Ville (Body Style 6239, left) and 1963 Cadillac Sedan de Ville Park Avenue (Body Style 6398, right).

Although smaller cars were selling well in other market sectors, among Cadillac buyers, the decline of interest in anything smaller was confirmed in 1963 when only 1575 of the Park Avenues were sold.  The 129.5 inch (3289 mm) wheelbase was common to the whole Sedan de Ville range but the “short deck” models were shorter by 7 inches (178 mm) for the first two seasons and an even more obvious 8 inches (203 mm) in 1963.  Space utilization was obviously a little better but the market had spoken; fewer than 8,000 of the short-deck models sold while the standard editions shipped in the tens of thousands, the flirtation with (slightly) more efficient packaging abandoned for 1964; in the course of the following decade, the Sedan de Ville would grow another seven inches (178 mm) and gain over 400 lb (181 kg).  It should be noted that by international standards, the truck capacity of even the abbreviated models was still quite generous, able effortlessly to accommodate two sets of golf clubs, something which later became something of a de-facto standard used in assessing the practicality of sports cars.  Jaguar used this feature as a selling point when the XK8 (1996-2006) was introduced because it wasn’t possible with all versions of the old E-Type (1961-1974).

1958 Cadillac Series 62 : Extended Length Sedan (Body Style 6239EDX, left) and the standard Sedan (Body Style 6239, right).

There was in the early 1960s much criticism that “full-size” US cars had become too big but the “short deck” venture was a departure for Cadillac which had for some years been making things bigger and in 1958 the company had even included the “Series 62 Extended Length Sedan”.  The Series 62 Sedan was already an impressive 216.8 inches (5.5 m) long but the Extended Length version measured an even more imposing 225.3 (5.7), the additional 8.5 inches (216 mm) all in the rear deck, creating a more capacious trunk (boot).  Whether buyers just liked the look or there really were a lot of them with much luggage, the elongated sedan sold well, some one in five of the sedans having the big trunk and there was of course a healthy industry in jokes about Mafia functionaries and other figures in organized crime grateful finally to have more space to transport the corpses.  Surprisingly perhaps, despite mafia hit men contributing to to sales numbers of 20,952 of the 103,455 (excluding Eldorados and “chassis only” sales) Series 62s produced in 1958 (some 20%), the Extended Length Sedan proved a single-season one-off.

For 1963, the short-deck models might have re-appeared for another dismal season but the skegs were abandoned, never to return.  The fins the design studio found harder to forsake, conscious perhaps it was on the 1948 Cadillac they’d first appeared.  Then, modestly sized, they’d been an allusion to the tail-planes used on the twin-boomed Lockheed P-38 Lightning (1939) but the fashion had passed and the fins had to go so, inch by inch, there was a retreat from the heights and exuberance of 1959 until in 1966 they were vestigial, a hint which for decades would be retained.

1961 Oldsmobile Super 88.  The rear skegs were thought necessary to offset the “pointed-look” of the fenders and the front ones (the closest equivalent in nautical use being hydrofoils) were there just so the front bumper matched the lines of the rear, emulating Pontiac’s approach in 1959.

Within GM, the skegs were not exclusive to Cadillac, appearing also on the 1961 full-sized Oldsmobile 88 & 98 although the motivation of the designers differed.  What Cadillac in 1961-1962 did was nothing more than a styling gimmick, concocted at a time when it was obvious the moment of the big fins was passing but the motif still exerted such a pull that they were re-interpreted on the path to extinction.  In the Oldsmobile design office, the skeg had a different purpose, the protrusions deemed necessary as a device to counterbalance the rearward point of the quarter panel that terminated in a “cigar-shape”.  Mercedes-Benz had used a (more conventional) variation of the idea of a “balancing appendage” when in 1957 the 300d (W189, 1957-1962) appeared with rear fenders enlarged and re-shaped to disguise the pre-war style of the coachwork used on the W186 (300, 300b & 300c; 1951-1957) which came to be referred to as the "Adenauer" because several were used as state cars by Konrad Adenauer (1876–1967; chancellor of the FRG (Bundesrepublik Deutschland (Federal Republic of Germany; the old West Germany, 1949-1990).

1969 Alfa Romeo Spider (Duetto).

Interesting, between 1966-1969, the Alfa Romeo Spider (Type 105/155 and known informally known as the Duetto) featured the memorable Osso di Seppia (round-tail, literally “cuttlefish”) coachwork which resembled what Oldsmobile did in 1961.  After 1970 and until the end of production in 1994, the Spider used variants of the Kamm tail which increased luggage capacity and presumably also conferred some aerodynamic advantage.  A professional designer could write a long, learned essay explaining why the later Kamm tail was a more accomplished achievement which avoided the Osso di Seppia's flaws but in the collector market it's the cigar-shaped original the purists covet.  Had the Italians added skegs as Oldsmobile did, they’d have had more about which to complain.

1959 Pontiac Bonneville Convertible.  In 1959 Pontiac’s big news was the “split grill” which would for decades be a brand signature and the five inch (125 mm) increase in the track, lending the division that year’s most memorable slogan: “Year of the Wide Track”.  Given all that, the modest skegs weren’t much noticed, especially because, at the rear, eyes were drawn to the pair of small blades adorning the upper surface.  The idea was first seen on the 1953 Chevrolet Corvette (where they’d appeared on the taillight nacelles (pods)) and although often referred to as “finettes”, in the documents of the GM Design Studio they were “taillight bezels” or “ornamental finlets”.

1959 Pontiacs: Bonneville (left) and Catalina (right).

The skegs were less noticeably skeggish than the later implementations by Oldsmobile and Cadillac because they were smaller and, at the rear, installed in the horizontal rather than the acute angle which made them so obvious on Cadillacs.  At the front, the angle was less than adopted by Oldsmobile.  Pontiac also used the “long rear deck” as a marker of a model’s place in the hierarchy, the Bonneville at 220.7 in (5,606 mm) in length being seven inches longer than the lower-priced Catalina at 213.7 in (5,428 mm).  While two inches (25 mm) of the difference was absorbed by the Bonneville’s longer wheelbase (124 in (3,150 mm) vs 122 inches (3,099 mm), the remaining bulk was found in eth rear deck.  However, unlike the Cadillacs, there were no “short & long skegs”, the bumpers of both Pontiacs being identical although there were other markers of “pricetaggery”, the Bonneville’s elliptical taillights noticeably elongated.

1955 Ford La Tosca.

A half-decade before Cadillac decided their customers needed skegs, Detroit had pondered the idea.  Shown in 1955, Ford’s La Tosca (named apparently after Giacomo Puccini’s (1858–1924) three act opera Tosca (1900) although the intended connection seems to have been a general sense of the “emotional and dramatic” rather than the fate of the doomed protagonist) was unusual in that it appeared not as a full-scale “concept car” but in the form of a ⅜ scale model, used to demonstrate the possibilities offered by a remote-controlled chassis, directed through the medium of radio waves.  To achieve this, rather than build custom components (as the Pentagon would have done), Ford’s engineers dipped into the corporate parts bin and wired together the regulator and relay from a power window apparatus, the electric motor used to lower a convertible’s soft-top, a power seat mechanism and a standard, 12 volt car battery.  The system worked flawlessly and, depending on the topography, La Tosca could remotely be controlled at distances greater than a mile (1.6 km).  According to Ford records, the project began simply as an “…internal exercise to show students in the Advanced Studio how hard it was, even for professional designers, to design a car” but so long did the model take to complete (the complex curves and canted structures challenging to render in what was then the still novel fibreglass) that “mission creep” intruded, thus the radio-controlled chassis.

1954 Lincoln Futura (1954) and Ford Mystere (1955).  In Detroit, these were at the time typical of what was authorized to be built as "concept cars", machines destined for the show circuit to gauge public reaction.  If they now seem rather wild, much of what never left the stylists' (they weren't yet "designers") sketch pads and drawing boards truly was bizarre.  

Stylistically, La Tosca was in the vein of the corporation’s other concept vehicles of the era such as the Lincoln Futura (1954) and Ford Mystere (1955), the trio reflecting the way the industry was applying motifs from missiles and jet-propelled aircraft such as Perspex bubble-tops, tubes, fins and exhaust nacelles.  Most of these proved to be brief, though memorable, fads of jet-age aesthetics although elements were easily recognizable in the 1958 Lincoln and GM of course would later take up the skegs.  The remote-control concept was ahead of its time though it did find a niche in model cars and aircraft.  In the twenty-first century, new versions of the technology are now mainstream with cranes, trucks and trains routinely operated from sometimes thousands of miles away although usually on mine-sites and other remote locations (experiments with vehicles on public roads are being undertaken).  Despite these advances, the industry regards the technology as transitional and intends as soon as practicable to remove the human (and thus costly and unreliable) element completely, re-allocating control to an entirely autonomous AI (artificial intelligence) model which, without complaint or toilet breaks, can be worked 24/7/365.

Bubble

Bubble (pronounced buhb-uhl)

(1) A spherical globule of gas (or vacuum) contained in a liquid or solid.

(2) Anything that lacks firmness, substance, or permanence; an illusion or delusion.

(3) An inflated speculation, especially if fraudulent.

(4) The act or sound of bubbling.

(5) A spherical or nearly spherical canopy or shelter; dome.

(6) To form, produce, or release bubbles; effervesce.

(7) To flow or spout with a gurgling noise; gurgle.

(8) To speak, move, issue forth, or exist in a lively, sparkling manner; exude cheer.

(9) To seethe or stir, as with excitement; to boil.

(10) To cheat; deceive; swindle (archaic).

(11) To cry (archaic Scots).

(12) A type of skirt.

(13) In infection control management, a system of physical isolation in which un-infected sub-sets population are protected by restricting their exposure to others.

1350-1400: From the Middle English noun bobel which may have been from the Middle Dutch bubbel & bobbel and/or the Low German bubbel (bubble) and Middle Low German verb bubbele, all thought to be of echoic origin.  The related forms include the Swedish bubbla (bubble), the Danish boble (bubble) and the Dutch bobble.  The use to describe markets, inflated in value by speculation widely beyond any relationship to their intrinsic value, dates from the South Sea Bubble (a classic example of stock-price speculation) which began circa 1711 and collapsed in 1720.  In response to the collapse, the UK parliament passed The Bubble Act (1720), which required anyone seeking to float a joint-stock company to first secure a royal charter; interestingly, the act was supported by the South Sea Company before its failure.  Ever since cryptocurrencies emerged, analysts have been describing them as a bubble which will burst and while that has happened with hundreds of coins (the exchange collapses are something different), the industry thus far has continued with only with occasional periods of inflation and deflation; this makes cryptocurrencies highly volatile meaning there is much scope for profit and much risk of loss, the extent to which they're subject to insider trading an manipulation has been debated but only as a matter of degree.  Bubble & bubbling are nouns & verbs, bubbler is a noun, bubbled is a verb, bubbly is a noun & adjective, bubbleless & bubblelike are adjectives and bubblingly is an adverb; the noun plural is bubbles.

Tulips.  The collective noun police in the seventeenth century missed an opportunity in not declaring that henceforth the standard use would be: "a bubble of tulips".

However, although the South Sea affair was the first use of “bubble” to describe such a market condition, it wasn’t the first instance of a bubble, the most infamous of which was the Dutch tulpenmanie (tulip mania) which bounced during the 1630s, contract prices for some bulbs of the recently introduced and wildly fashionable flower reaching extraordinarily high levels, the values accelerating from 1634 until a sudden collapse in 1637.  Apparently just a thing explained by a classic supply and demand curve, the tulip bubble burst with the first big harvest which demonstrated the bulbs and flowers were really quite common and easy to grow.  In history, there would previously have been many bubbles but it wasn’t until the economies and financial systems of early-modern Europe were operating that the technical conditions existed for them to manifest in the form and to the extent we now understand.  Interestingly, for something often regarded as the proto-speculative asset bubble and a landmark in economic history, twentieth-century revisionist historians have suggested it was more a behavioral phenomenon than anything with any great influence on the operation of financial markets or the real economy, the “economic golden age” of the Dutch Republic apparently continuing (mostly) unaffected for almost a century after the bottom fell out of the tulip market.  The figurative uses have been created or emerged as required, the first reference pre-dating the tulip affair, the usual motion being andything lacking a desired firmness, substance, or permanence; the first recorded used was in the 1590s but it was likely long established in oral use.  The soap-bubble dates from 1800, bubble-shell is from 1847, bubble-gum was introduced in 1935 and bubble-bath appears first to have be sold in 1937.  The slang noun variation “bubbly” was first noted in 1920, an invention of US English to describe a happy, talkative young lady.

Replica of Supermarine Spitfire Mark XVI TE288, Harewood Airport, Christchurch, New Zealand.

The term "bubble top" (also briefly as "bubble-top") came into use in the 1940s after advances in materials and manufacturing techniques allowed the cockpit canopies of aircraft to be made using large Perspex moldings.  The concept had been around for decades but it was the combination of modern plastics and the demands of wartime which made possible the mass-production of large moldings.  The designers called them "bubble canopies" but pilots preferred the snappier "bubbletop".  Spitfire TE288 was built in May 1945 at Vickers Armstrong's Castle Bromwich factory but, with the end of hostilities in Europe it was only briefly in service, mostly in a training role.  Gifted in 1964 to the Canterbury branch of the Brevet Club, it was mounted on a plinth as a memorial outside the club's building but by 1984 had become so valuable it was moved to the RNZAF (Royal New Zealand Air Force) museum at Wigram.  During restoration, molds were taken and a fibreglass replica was constructed to be placed on the plinth.  Optimized for the low-altitude performance needed to counter the threat of the German V1 “Doodlebugs” (an early cruise missile), the Spitfire Mk XVI was a variant of the Mark IX and powered by the Packard-built Rolls-Royce Merlin 266 engine rated 1,720 HP (horsepower).  Entering production in October 1944, 1,054 were built and as well as serving as interceptors, they were used in the ground attack role, notably against the sites from which the V2 missiles (an early ballistic missile and the first major step on the path to ICBMs (inter-continental ballistic missile) and the big rockets used by the US in the Apollo programme) were launched.  The bubble canopy afforded outstanding visibility while the clipped wingtips improved responsiveness (notably the superior roll-rate) while sacrificing some performance above 15,000 feet (4,500 metres) but by then the demands of aerial combat had shifted lower in the sky.

1961 Pontiac Ventura Sports Coupe (Bubble Top).

The term (as bubble top) later was applied to cars with rooflines in a shape which recalled the use in aviation although the structures were of conventional metal & glass.  The classic examples were the full-sized two-door hardtops produced by GM's (General Motors) Chevrolet and Pontiac divisions in 1960-1962, the 1961 models the most collectable.  The 1961 Pontiac Ventura Sports Coupe (a sub-model of the Catalina) pictured is fitted with Pontiac's much admired 8-Lug wheels, their exposed centres actually the brake drum to which the rim (in the true sense of the word) directly was bolted.  Introduced for 1960, the design was a fortuitous conjunction of fashion & function because as well as looking good, the heat dissipation qualities were outstanding, addressing one of the problems which plagued drum brakes.  Unfortunately, the design was not compatible with (outboard) disc brakes and as their fitment increased, sales of the option (circa US$125) fell and in 1968 production of the 8-Lug ceased.  

The word "bubble" spiked shortly after the start of the Covid-19 pandemic.  Over time, use has expanded to encompass large-scale operations like touring sporting teams and even the geographical spaces used for the 2022 Beijing Winter Olympics but the original meaning was more modest: small groups based on close friends, an extended family or co-workers.  These small bubbles weren't supposed to be too elastic and operated in conjunction with other limits imposed in various jurisdictions; a bubble might consist of a dozen people but a local authority might limit gatherings to ten in the one physical space so two could miss out, depending on the details in the local rules.  The way most governments handled the pandemic was a bit muddled but in such events, as in most wars, much is a muddle.  Bubble thus began as an an unofficial term used to describe the cluster of people beyond one's household with whom one felt comfortable in an age of what was believed a highly infectious virus.  Bubbles were however a means of risk-reduction, not a form of quarantine.  In a bubble, risk still exist, most obviously because some may belong to more than one bubble, contact thus having a multiplier effect, the greater the number of interactions, the greater the odds of infection so staying home and limiting physical contact with others remained preferable, the next best thing to an imposed quarantine.  The more rigorously administered bubbles used for events like the Olympics are essentially exercises in perimeter control, a defined "clean" area, entry into which is restricted to those tested and found uninfected.  At the scale of something like an Olympic games, it's a massive undertaking to secure the edges but, given sufficient resource allocation can be done although it's probably misleading to speak of such an operation as as a "bubble".  Done with the static-spaces of Olympic venues, they're really quarantine-zones.  Bubble more correctly describes touring sporting teams which move as isolated bubbles often through unregulated space.

The Bubble Skirt

A type of short skirt with a balloon style silhouette, the bubble dress (more accurately described as a bubble skirt because that’s the bit to which the description applies) is characterized by a voluminous skirt with the hem folded back on itself to create a “bubble” effect at the hemline.  Within the industry, it was initially called a tulip skirt, apparently because of an at least vague resemblance to the flower but the public preferred bubble.  It shouldn’t be confused with the modern tulip skirt and the tulip-bubble thing is just a linguistic coincidence; there’s no link with the Dutch tulipmania of the 1630s.  Stylistically, the bubble design is a borrowing from the nineteenth century bouffant gown which featured a silhouette made of a wide, full skirt resembling a hoop skirt, sometimes with a hoop or petticoat beneath to provide structural support.  While bouffant gowns could be tea (mid-calf) or floor length, bubble skirts tend to truncate the look well above the knee; while calf-length creations are seen in collects, they're rare on the high street.  Perhaps with a little more geometric accuracy, the design is known also as the “puffball” and, in an allusion to oriental imagery, the “harem” skirt.  Fashion designer Christian Lacroix (b 1951) became fond of the look and a variation included in his debut collection was dubbed le pouf but, in English, the idea of the “poof skirt” never caught on although it was used by furniture makers.

Lindsay Lohan in Catherine Malandrino silk pintuck dress with bubble skirt, LG Scarlet HDTV Launch Party, Pacific Design Center, Los Angeles, April 2008.

It must have been a memorable sight in the still austere post-war world, a sheath dress made voluminous with layers of organza or tulle, the result a cocoon-like dress with which Pierre Cardin (1922-2022) and Hubert de Givenchy (1927-2018) experimented in 1954 and 1958, respectively. A year later, Yves Saint Laurent (1936-2008) for Dior added the combination of a dropped waist dress and bubble skirt; post-modernism had arrived.  For dressmakers, bubble fashion presented a structural challenge and mass-production became economically feasible only because of advances in material engineering, newly available plastics able to be molded in a way that made possible the unique inner construction and iconic drape of the fabric.  For that effect to work, bubble skirts must be made with a soft, pliable fabric and the catwalk originals were constructed from silk, as are many of the high end articles available today but mass-market copies are usually rendered from cotton, polyester knits, satin or taffeta.

The bubble in the 1950s by Pierre Cardin (left), Givenchy (centre) & Dior (right).  Strikingly, while fashions can change, the preferred models remain much the same.

The bubble skirt was never a staple of the shows in the sense that it would be missing from annual or seasonal collections, sometimes for a decade or more and sales were never high, hardly surprising given it was not often a flattering look for women above a certain age (perhaps anyone aged over eight or nine).  Deconstructing the style hints at why: a hemline which loops around and comes back up (created sometimes by including a tighter bottom half with the bulk of additional material above), it formed a shape not dissimilar to a pillow midway through losing its stuffing.  For that reason, models caution the look works best when combined with a sleek, fitted top to emphasize the slimness of the waistline, cinched if necessary with a tie or belt of some sort to delineate when one thing starts and the other finishes.  The bubble needs to be the feature too, avoiding details or accessories which might otherwise distract; if one appears to be wearing a partially un-stuffed pillow, the point needs to be made it’s being done on purpose and the obvious way that's achieved is to ensure it's the focus piece.  Really, tempting though it may seem in the catalogue, it's a style for experts in a narrow BMI (body mass index) range.

US model Karlie Kloss (b 1992), Met Gala 2026, Metropolitan Museum of Art, New York City, May 2026 (left) and a single, long-stemmed white tulip (right).  The event's “dress code” for 2026 was “fashion is art” though at the Met Gala it's more “suggested theme” than enforced code and designers long have interpreted things liberally.  That liberality sometimes has assumed such a level of abstraction that Met Gala outfits have defied attempts to see a link with the code but in a white, tulipesque bubble dress, Ms Kloss looked artistic enough to be thought commendably on-theme.

TikTok and Instagram influencer Ella Cervetto (b 2000) in Oh Polly Jessamy (an off-shoulder layered bubble hem corset mini dress) in True Red (available also in Ivory), Sydney, Australia, November 2024.

On the catwalks however, again seemingly every decade or so, the bubble returns, the industry relying on the short attention span of consumers of pop culture inducing a collective amnesia which allows many resuscitations in tailoring to seem vaguely original or at least a novel variation on the theme.  Still, if ever a good case could be made for a take on a whimsical 1950s creation to re-appear, it was the staging of the first shows of the 2020-2021 post-pandemic world and the houses responded, Louis Vuitton, Erdem, Simone Rocha and JW Anderson all with billowy offerings; even seen was an improbably exuberant flourish of volume from Burberry.  What appeared on the post-Covid catwalk seemed less disciplined than the post-war originals, the precise constraints of intricately stitched tulle forsaken to encourage rather more swish and flow, the look romantic rather than decadent.  Generally the reception was polite but for those who hoped for a more adventurous interpretation, history suggests the bubble will be back in a dozen-odd years.

Strapless, pale-pink bubble gown (Look 53) from Balenciaga's Spring/Summer 2026 collection, Paris Fashion Week, October 2025.

By using a structural bubble hem, the gown illustrates how a light-weight fabric can be made to emulate a selective rigidity.  The fashion critics said the oversized glasses were there as an evocation of futurism but the skinnytokers (said to be “the acceptable pro ana”) call it the “bug-eye look” and recommend them because the exaggerated size of the frames and lens creates the visual illusion of making the face appear thinner.  Most catwalk models are of course anyway splendidly slender but skinnytok's skinnysplainers would suggest they’d look good even on them; in such matters, the skinnytokers are the world's foremost experts.  The double-faced fabric was neo gazar (the original gazar a silk organza with a plain weave created by the house in 1957-1958), co-developed by Balenciaga and the textile company Lorma, incorporating a soft silk & wool lamiset weft.  The advantages neo gazar offers are said to be a capacity to maintain a shape without the same extent of internal framework, while being easier to work with than original, more rigid, silk gazar.

Although Look 53 may be a classic case study of the disconnect between what appears on catwalks in headline collections and stuff actually sold, that’s not a criticism because such pieces must be assessed on the basis of fulfilling their intended purpose and that this creation admirably did.  Pierpaolo Piccioli’s (b 1967) first collection for the house (after a long stint at Valentino) was much anticipated by critics, most of whom appear to have been impressed, noting the designer’s mastery handling of the distinctive “house codes” Balenciaga has over the decades made signatures.  So everybody liked the clothes but whether the show notes were of much help is uncertain, notably the text: “The meaning of Balenciaga is a methodology.  The process of creation as ideology, as identity, an expression of humanity and human invention.”  The collection deserved to be judged on its merits but what to make of the show notes?  It was grammatically coherent English and so laden with words and phrases with recognizable semantic associations that, in a strictly linguistic sense, the passage couldn’t be devoid of meaning but what would be concluded by those not students of textual deconstruction?  It was of course a delight for those students because it was an exemplar of what in literary theory is called “semantic inflation” (or “floating signifiers”), abstract nouns arranged in a way that might be used by sentences saying something profound while yielding no precise meaning.  Structurally, what each phrase did was substitute a metaphorical association for a concrete predication; nothing could be proved or falsified.

Walmart Mission and Vision Statement: No background in literary deconstruction required.

Just about every process of course has a “method” with “methodology” used just as a “fancy” way of making what seems an obvious point and while the process of creation certainly can be an expression of an ideology, something more specific in the text may have helped.  After all, what people create is by definition “an expression of humanity and human invention”, that applying equally to bubble dresses, hamburgers and nuclear weapons.  Still, while not as succinct a statement as something like E=mc², the show notes were not useless because earnest students of marketing effortlessly would identify the ritualistic, atmospheric prose as part of the discourse of luxury branding which needs to convey characteristics such as “edginess”, “avant-garde sensibility”, “intellectual seriousness” and a certain distance from the vulgar business of selling cheap clothes to the working class shopping at places like Walmart.  Between themselves, in expressions, gestures, clothing and more, the rich often communicate in intricate or elaborate codes not obvious to others.  Positioning the company in the cultural & economic milieu of those used to abstractions, Balenciaga would be assured the folk who buy their garments could (unlike the literalists at price-tag-focused Walmart), interpret connotative meaning despite the absence of denotative precision, the trick being to read not what is said but what is meant.  Indeed, so impressed might some of them have been by the show notes they may even have “sampled” chunks of the text for their next mission statement because it’s hard to improve on: “Recollection rather than tribute, shadows of Balenciaga’s architectonic shapes are embedded in the actuality of today—bold and disruptive volumes applied to clothes that define our modern wardrobe.  A vocabulary of contemporaneity, entirely transformed through approach.”