Lollipop

Lollipop (pronounced lol-ee-pop)

(1) A (usually spherical or disc-shaped) piece of hard candy attached to the end of a small stick, held in the hand while the candy is sucked or licked (It was essentially a toffee-apple without the apple; a stick dipped in toffee and the older spelling used in the UK was lollypop (which exists still in modern commerce)).

(2) Something in a shape resembling the candy on a stick.

(3) In the UK, Ireland and the Commonwealth, as lollipop lady (and lollipop man), a school crossing attendant (based on the shape of the "stop/go" signs traditionally used and in the slang of children they're also "lollipoppers".

(4) In computer networking, a routing protocol using sequence numbering starting at a negative value, increasing until zero, at which point it switches indefinitely to cycle through a finite set of positive numbers.

(5) In the labeling of the Android operating system, v5.0 to 5.1.1.

(6) In motorsport, a circular sign on a long stick, used by a pit crew to covey messages to drivers (system still used despite advances in radio communication because (1) it's retained as a backup in case of system failure and (2) the messages can't electronically be monitored and done, with care, can be secret.

(7) In the slang of fashion and related photography, a term for very thin models whose heads thus appear disproportionately large.

(8) Figuratively, something sweet but unsubstantial (originally of literature).

(9) In the slang of musical criticism, a short, entertaining, but undemanding piece of classical music.

1784: A creation of Modern English of uncertain origin but the construct may be the obvious lolly + pop. Lolly was from the Northern English dialect loll (dangle the tongue) and pop was an alternative name for “slap”.  The alternative theory is it was borrowed from the Angloromani (literally "English Romani" and the language combining aspects of English and Romani), which was spoken by the Romani (gypsy, traveller, Roma etc) people in England, Ireland & Wales.  It was in the twentieth century displaced by English but traces remain in the variant English used by modern Roma.  The suggestion is of links with the Angloromani loli phabai (or lollipobbul (red or candy apple)), which was a blend from the Middle Indic lohita (from Sanskrit) and loha (red), drawn from reudh which had Indo-European roots. Among etymologists, the Angloromani connection has most support.  Originally, lollipop seems to have referred just to the boiled sweet (ie "stickless) with the meaning "hard candy on a stick" not noted until the 1920s while the figurative sense (something sweet but unsubstantial) was in use by at least 1849.  Used in the slang of catwalk photographers, the verb lollipopping (a stick-thin model walking down catwalk) and adjective lollipopish (a model close to thin enough to be a true "lollipop") are both non-standard.  Among the pill-poppers, there seems to be a consensus that post-rave, the best lollipops are lemon-flavored.  In commerce, the spelling varies including lollipop, lollypop, loli-pop, lollypopp and lolly-pop.  Lollipop & lollipopper are nouns and lollipoplike is an adjective; the noun plural is lollipops.

Lindsay Lohan (b 1986) enjoying a giant lollipop.

In classical music criticism, the term “lollipop” refers to short, appealing and often melodically charming pieces which were nevertheless judged as “lightweight in musical substance”.  Deployed often as “palate-cleansers” or encores, despite the opinions of many critics, composers, conductors and musicians, the bulk of the audience tended to enjoy them because in character they were often jaunty and playful, not something which endeared them to the earnest types who decided what deserved to be the canon of the “serious” repertoire in which complexity was valued above accessibility.  A well-known exponent the genre was Johann Strauss II (1825–1899) and his An der schönen blauen Donau, Op. 314 (On the Beautiful Blue Danube (better known in English as The Blue Danube (1866)) and Tritsch-Tratsch-Polka, Op. 214 (Chit-chat (1858)) are exemplars of his technique.  The reason the lollipops were and remain popular with general audiences (typically not trained in any aspect of music) is that they paid their money to be entertained by listening to something they could enjoy, not always the experience delivered by the composers who preferred “the experimental”, valuing originality over beauty; these were the “formalists” (as comrade Stalin (1878-1953; Soviet leader 1924-1953) once labeled comrade Dmitri Shostakovich (1906-1975) and they may be compared with the modern generation of architects churning out ugly buildings because prizes in their profession are awarded on the basis of work being “new” rather than “attractive”.  Neither art deco nor mid-century modern buildings are in any way “lollipops” but the committees which award prizes in architecture probably think of them that way.

Britney Spears (b 1981) with lollipop, emerging from a session in a West Hollywood tanning salon, Los Angeles, October, 2022.

Many composers at least dabbled in lollipop production and some were memorable, French composer Claude Debussy’s (1862–1918) Clair de Lune (1890) hauntingly beautiful and demanding nothing more from a listener than to sit and let it wash over them; even comrade Stalin (who liked tunes he could hum) would have enjoyed it despite Debussy being French.  Others were specialists in the genre including: (1) the Austrian-American Friedrich "Fritz" Kreisler (1875–1962) who published a few of his compositions under wholly fictitious “old” names to lend them some “classic” respectability, (2) the English conductor Sir Thomas Beecham (1879–1961) who had a reputation among his peers for treating his music with about the same seriousness as he handled his many relationships with women and it was his encores and brief “concert fillers” which more than anything popularized use of “lollipop” in this context; he was also a practical impresario who noted what pleased the crowd and sometime constructed entire concerts with them, (3) Leopold Stokowski (1882–1977), a British conductor of Polish extraction noted for his arrangements of the works of Johann Sebastian Bach (1685–1750), pieces for which the appellation “lush” would have had to been coined had it not existed and (4) the Australian Percy Grainger (1882–1961) a man of not always conventional tastes & predilections who enjoyed and unusually close relationship with his mother although whether any of that in any way influenced his folk-inspired miniatures (quintessential lollipops) is a matter for debate.  What can’t be denied is that for the untrained, a hour or two of lollipop music will probably be enjoyed more than listening to the strains of stuff by Béla Bartók (1881-1945) or Arnold Schoenberg (1874–1951), the composers the critics think would be good for us.

A pandemic-era Paris Hilton (b 1981) in face mask with Whirly Pop lollipop.  Always remove facemask before attempting to lick or suck lollipop.

How to make lemon lollipops

Among the pill-poppers (and there are a lot of them about), there seems, at least impressionistically, to be a consensus that post-rave, the best lollipops are lemon-flavored.  It’s thought lemon lollipops work best in this niche because the acidic content interacts with taste receptors enjoying a heightened sensitivity induced by the pills’ chemistry.  Ideally, pill-poppers should pre-purchase lemon lollypops and at all times carry a few (on the basis of the (Boy) Scout motto: “Be prepared”) but that’s not always possible because, there being so many pill-poppers, shops often are out of stock of the lemon flavor.

Lemon Lollipops.

This recipe is therefore provided as a courtesy to pill poppers and, having shelf-life of weeks, lollipops can be prepared in advance; except for those popping at a heroic level, a batch should last a week so users should add the task to their routine, scheduling it perhaps after church every Sunday.  Lollipop sticks and one or more (depending on production target) lollypop molds will be required and the volume of ingredients quoted here should yield 24 small or 10-12 large lollipops.  Sticks and molds are available at supermarkets and speciality stores as are the small cellophane bags (needed only if some or all are being stored).  The taste can be varied by (slightly) adjusting the volumes of sugar, citric acid & lemon oil and preferences will vary between pill-poppers who are encouraged to experiment.

Ingredients (lollipops)

1 cup (200 g) sugar
½ cup (120 ml) water
¼ cup (60 ml) light corn syrup
1¼ teaspoons citric acid
¾ teaspoon lemon oil
2-4 (according to preference) drops liquid yellow food coloring

Ingredients (sour powder)

½ cup (50 g) confectioners' sugar
2 teaspoons citric acid

Directions (lollipops)

(1) Coat lollipop molds with non-stick cooking spray.

(2) Place lollipop sticks in the molds.

(3) Combine the sugar, water, and corn syrup in a large, heavy saucepan and then bring mix to a boil over medium-high heat.

(4) Continue cooking until mixture reaches 300°F (150°C) which is the “hard-crack” stage.  Immediately remove saucepan from the heat.  The timing is critical so watch pot during cooking.

(5) Add citric acid, lemon oil and food coloring and stir to combine.  (Because of the acidic nature of the mix, don’t allow face to come too close to pot because fumes can irritate the eyes).

(6) Pour the mixture into a heatproof measuring container with spout (or a candy funnel (which every pill-popper should own)).

(7) Divide the mixture among prepared molds and leave lollipops to cool and harden.  After about 15 minutes, they should be ready to remove from mold (may take longer if temperature or humidity are high).

Directions (sour powder)

(1) Mix confectioners’ sugar and citric acid in bowl.

(2) Holding by stick, dip lollipops in mixture, coating entire surface.

(3) Lollipops may immediately be consumed but if being stored, wrap in cellophane bags and twist-tie.  Store lollipops in cool, dark, dry place (they'll remain in a “best by” state for about a month). 

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 porn star 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 W196s 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-1973 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.” 

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

The fake patina business however 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 subset 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.

Houndstooth

Houndstooth (pronounced houns-tuth)

(1) A two-colour fabric pattern of broken checks (multi-color versions using the pattern do now exist and are also so-described).

(2) Fabric with a houndstooth pattern; an item of clothing made with such fabric.

(3) In botany, as Cynoglossum officinale (houndstongue, houndstooth, dog's tongue, gypsy flower (and “rats and mice” due to its smell), a herbaceous plant of the family Boraginaceae.

1936: A word, based on the appearance of the design, the pattern (in architecture, decorative art, fabric etc) is ancient but the descriptive term “houndstooth” has been in use only since 1936.  The shape is sometimes referred to as dogstooth (or dog's tooth) and in French it’s the more pleasing pied-de-poule (chicken feet), preferred also by the Italians.  In 1936 there must have been pedants who insisted it should have been “hound's tooth” because that does appear in some advertisements but in commercial use, houndstooth quickly was standardized.  The name was chosen a reference directly to a dog’s tooth, not the pattern of teeth marks left by its bite.  The construct was hounds + tooth.  Hound was from the Middle English hound, from the Old English hund, from the Proto-West Germanic hund, from the Proto-Germanic hundaz and was congnate with the West Frisian hûn, the Dutch hond, the Luxembourgish Hond, the German Hund, the German Low German Hund, the Danish hund, the Faroese hundur, the Icelandic hundur, the Norwegian Bokmål hund, the Norwegian Nynorsk hund and the Swedish hund, from the pre-Germanic ḱuntós (which may be compared with the Latvian sùnt-ene (big dog), an enlargement of the primitive Indo-European ḱwṓ (dog).  Elsewhere, the forms included the Old Irish cú (dog), the Tocharian B ku, the Lithuanian šuõ, the Armenian շուն (šun), and the Russian сука (suka)).  

In England, as late as the fourteenth century, “hound” remained the word in general use to describe most domestic canines while “dog” was used of a sub-type resembling the modern mastiff and bulldog.  By the sixteenth century, dog had displaced hound as the general word descriptor. The latter coming to be restricted to breeds used for hunting and in the same era, the word dog was adopted by several continental European languages as their word for mastiff.  Dog was from the Middle English dogge (source also of the Scots dug (dog)), from the Old English dogga & docga of uncertain origin.  Interestingly, the original sense appears to have been of a “common dog” (as opposed one well-bred), much as “cur” was later used and there’s evidence it was applied especially to stocky dogs of an unpleasing appearance.  Etymologists have pondered the origin:  It may have been a pet-form diminutive with the suffix -ga (the similar models being compare frocga (frog) & picga (pig), appended to a base dog-, or doc-(the origin and meaning of these unclear). Another possibility is Old English dox (dark, swarthy) (a la frocga from frog) while some have suggested a link to the Proto-West Germanic dugan (to be suitable), the origin of Old English dugan (to be good, worthy, useful), the English dow and the German taugen; the theory is based on the idea that it could have been a child’s epithet for dogs, used in the sense of “a good or helpful animal”.  Few support that and more are persuaded there may be some relationship with docce (stock, muscle), from the Proto-West Germanic dokkā (round mass, ball, muscle, doll), from which English gained dock (stumpy tail).  In fourteenth century England, hound (from the Old English hund) was the general word applied to all domestic canines while dog referred to some sub-types (typically those close in appearance to the modern mastiff and bulldog.  In German, the form endures as der Hund (the dog) & die Hunde (the dogs) and the houndstooth pattern is Hahnentritt.  Houndstooth is a noun; the noun plural is houndsteeth.  Strictly speaking, it may be that certain use of the plural (such as several houndstooth jackets) should be called “houndstooths” but this is an ugly word which should be avoided and no sources seem to list it as standard.  The same practice seems to have been adopted for handing the plural of cars called “Statesman”, “statesmen” seeming just an absurdity.

Although the classic black & white remains the industry staple, designer colors are now not uncommon.

In modern use in English, a “hound” seems to be thought of as a certain sort of dog, usually large, with a finely honed sense of smell and used (often in packs) for hunting and the sense development may also have been influenced by the novel The Hound of the Baskervilles (1901-1902) by the physician Sir Arthur Conan Doyle (1859–1930).  The best regarded of Conan Doyle’s four novels, it’s set in the gloomy fog of Dartmoor in England’s West Country and is the tale of the search for a “fearsome, diabolical hound of supernatural origin”.  The author's name is an example of how conventions of use influence things.  He's long been referred to as “Sir Arthur Conan Doyle” or “Conan Doyle” which would imply the surname “Conan Doyle” but his surname was “Doyle” and he was baptized with the Christian names “Arthur Ignatius Conan”, the “Conan” from his godfather.  Some academic and literary libraries do list him as “Doyle” but he's now referred to almost universally as “Conan Doyle” and the name “Arthur Doyle” would be as un-associated with him as “George Shaw” would with George Bernard Shaw (GBS; 1856-1950).  Conan Doyle's most famous creation was of course the detective Sherlock Holmes and he wore a houndstooth deerstalker cap.   Tooth (a hard, calcareous structure present in the mouth of many vertebrate animals, generally used for biting and chewing food) was from the Middle English tothe, toth & tooth, from the Old English tōþ (tooth), from the Proto-West Germanic tanþ, from the Proto-Germanic tanþs (tooth), from the primitive Indo-European h₃dónts (tooth) and related to tusk.

Lindsay Lohan in monochrome check jacket, Dorchester Hotel, London, June 2017 (left), Lindsay Lohan in L.A.M.B. Lambstooth Sweater, Los Angeles, April 2005 (centre) and racing driver Sir Lewis Hamilton (b 1985) in a Burberry Houndstooth ensemble, Annual FIA Prize Giving Ceremony, Baku, Azerbaijan, December 2023 (right).  The Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation) is world sport's dopiest regulatory body.  Although, at a distance, a wide range of fabrics look like houndstooth, some are really simple symmetrical, monochrome checks without the distinctive pattern and where designers have varied the shape, other descriptors (and L.A.M.B. couldn’t resist “lambstooth”) are used, something which helps also with product differentiation.  Sir Lewis though, sticks to the classics.  Regarded as the most fashion conscious of the Formula One drivers of his generation, it’s clear that assiduously he studies Lohanic fashion directions.

Designers consider houndstooth part of the plaid “family”, the jagged contours of the shape the point of differentiation from most which tend towards uniform, straight lines.  Although for the archaeological record its clear the concept of the design has an ancient lineage, what’s now thought of as the “classic” black & white houndstooth was defined in the mid-nineteenth century when it began to be produced at scale in the Scottish lowlands, in parallel with the plaid most associated with the culture, the tartan (although in some aspects the “history & cultural traditions” of tartan were a bit of a commercial construct).  Technically, a houndstooth is a two tone (the term monochrome often used in the industry to convey the idea of “black & white” (a la photography) rather than being etymologically accurate) plaid in four bands, two of each color (in both the weft & warp weave), woven with the simple 2:2 twill.  One of the charms of the design is that with slight variations in size and scale, different effects can be achieved and color mixes are now not uncommon although the classic black & white remains 

The history in the Lowlands is murky but it seems certain the early fabrics were woven from wool which makes sense given the importance of sheep to the economy and the early garments were utilitarian, often cloak-like outer garments for those tending the flocks.  The early term was “shepherd’s check” which became first “dogstooth” and then “houndstooth”, canine teeth something with which shepherds would have been familiar because of the threat to their animals from the predations of wild dogs.  Fabric with smaller checks could be called “puppycheck”.  Interestingly, despite its striking appearance, the houndstooth pattern remained a generic and was never adopted as a family or clan symbol, a la the tartans.  It gained a new popularity in the 1930s when photographs began to appear of members of the British royal family and various gentry wearing houndstooth jackets while hunting or riding, thus the association with wealth and privilege which so appealed to the middle class who started wearing them too.  By the time designers began to put them on the catwalks, houndstooth’s future was assured.

Houndstooth has received the imprimatur of more than one Princess of Wales: Catherine, Princess of Wales (b 1982, left) and Diana, Princess of Wales (1961-1997, right) in a typically daring color mix.

1969 Holden Monaro GTS 350 (left), 1972 Holden Monaro GTS 308 (centre) and 1977 Chrysler Cordoba (right).  Despite the popular perception, not all the “personal luxury” Chryslers of the era and not even all the Cordobas (1975-1983) were finished in “Fine Corinthian Leather”; except for a one-off appearance in the 1975 Imperial Brochures, the Corinthian hides were exclusive to the Cordoba. 

For passenger car interiors, houndstooth (rendered usually with a synthetic material) enjoyed a late mid-century spate of popularity, used for what were called generically “cloth inserts” and the use of houndstooth trended towards vehicles marketed as “sporty” whereas for luxury cars plusher fabrics like velour were preferred.  The cloth inserts seem only ever to have been paired with vinyl and not used with leather.

Houndstooth (left), Pepita (Shepherd's Check) (centre) and Vichy Check (right).

For decades, it’s been common to refer to the optional upholstery offered by Porsche in the 1960s as “houndstooth” but according to Recaro Automotive Seating, the German concern which supplied the fabric, the correct name is “Pepita” (known also as “Shepherd’s Check”), a design built with interconnected squares.  What has happened is that “houndstooth” has for most purposes in colloquial English become a generic term, used to describe anything “houndstoothesque” and it’s an understandable trend given that not only would a close examination be required to determine which pattern appears on a fabric, unless one is well-acquainted with the differences in shape, most would be none the wiser.  Nor did Recaro use “Vichy Check” for the seats they trimmed for Porsche although that erroneous claim too is sometimes made.  Further confusing the history, when Stuttgarter Karosseriewerk Reutter (Porsche’s original supplier) started production of seats used in the Porsche 356 (1948-1965) a number of fabrics were offered including one in nylon in a similar black-and-white pattern which was neither Houndstooth nor Pepita.

1967 Porsche 911S, trimmed in Recaro Pepita.

The Reutter family founded Recaro in 1963 and in December that year the first Pepita pattern fabrics were made commercially available, used on the later Porsche 356Cs, the 911 (which briefly was called the 901) & the 912.  Porsche’s best known use of the pepita fabric was on the Recaro Sportsitz (Sport seat), first displayed at the 1965 Frankfurt Motor Show and they’re a prized part of the early 911S models, the first of which were delivered in the northern summer of 1966.  At that point, the Pepita fabric became a factory option for the 911 and the last use was in the Recaro Idealsitz (Ideal seat), offered only in 1970–71 in black & white, red & beige, brown & beige and blue & green.  In a nostalgic nod, Porsche returned Pepita seats to the option list for the 911 legacy model, released in 2013 to mark the car’s 50^th anniversary although Recaro was not involved in the production.

Matching numbers, matching houndstooth: 1970 Holden HG GTS 350 Monaro in Indy Orange with black detailing (paint combo code 567-122040) and houndstooth cloth seat inserts in Indy Orange & black (trim code 1199-10Z).  This car (VIN: 81837GJ255169; Model: HG81837; Chassis: HG16214M) is one of the most prized Monaros because the specification includes a 350 cubic inch (5.7 litre) small block Chevrolet V8 (L48) with the “McKinnon block”, paired with the four-speed manual Saginaw gearbox.  Holden built 405 HG GTS 350s, 264 as manuals and 141 with the two-speed Powerglide automatic transmission.  The “McKinnon block” is a reference to the General Motors (GM) McKinnon Industries plant in St. Catharine's, Ontario where the engines were built; the “American” cars exported to the UK, Australia, New Zealand and elsewhere in the Commonwealth often came from Canada because of the preferential tariff arrangements.

Very 1960s: GM's Indy Orange houndstooth fabric; in the US it was also offered in the Chevrolet Camaro.

Introduced in 1968, the Holden Monaro was the car which triggered Australia’s brief flirtation with big (in local terms, the cars were “compact” size in US nomenclature) coupés, a fad which would fade away by the mid 1970s.  It had been Ford which had first tested the market with a Falcon two-door hardtop (XM, 1964-1965 & XP, 1965-1966) but when the restyled model was released, it was again based on the US Falcon and the range no longer included a two-door hardtop, the wildly successful Mustang having rendered it unnecessary.  There was still a two-door Falcon sedan but it was thought to have limited appeal in Australia and was never offered so Ford didn’t have a model comparable with the Monaro until the XA Falcon Hardtop made its debut late in 1972.

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”.