Toggle

Toggle (pronounced tog-uhl)

(1) A pin, bolt or rod placed transversely through a chain, an eye or loop in a rope etc, as to bind it temporarily to another chain or rope similarly treated.

(2) In various types of machinery, a toggle joint, or a device having one.

(3) An ornamental, rod-shaped button for inserting into a large buttonhole, loop or frog, used especially on sports clothes.

(4) In theatre, a wooden batten across the width of a flat, for strengthening the frame (Also called the toggle rail).

(5) In engineering and construction, a metal device for fastening a toggle rail to a frame (also called a toggle iron); a horizontal piece of wood that is placed on a door, flat, or other wooden structure, but is not on one of the edges of the structure; an appliance for transmitting force at right angles to its direction.

(6) To furnish with a toggle or to bind or fasten with a toggle.

(7) In informal use, to turn, twist, or manipulate a toggle switch; dial or turn the switch of a device (often in the form “to toggle between” alternate states).

(8) A type of switch widely used in motor vehicles until outlawed by safety legislation in the 1960s.

(9) In admiralty jargon, a wooden or metal pin, short rod, crosspiece or similar, fixed transversely in the eye of a rope or chain to be secured to any other loop, ring, or bight.

In computer operating systems and applications, an expression indicating a switch of view, contest, feed, option etc.

(11) In sky-diving, a loop of webbing or a dowel affixed to the end of the steering & brake lines of a parachute providing a means of control.

(12) In whaling, as toggling harpoon, a pre-modern (believed to date from circa 5300 BC) harvesting tool used to impale a whale when thrown.

1769: The origin of toggle is murky and the best guess of most etymologists is it was in some way linked with "tug".  In the sense of a "pin passed through the eye of a rope, strap, or bolt to hold it in place" the origin is believed to be nautical (though not necessarily from the Royal Navy) thus the speculation that it’s a frequentative form of “tug” or “to tug” (in the sense of “to pull”), the evolution influenced by regional (or class-defined) pronunciations similar to tog.  The wall fastener was first sold in 1934 although the toggle bolt had been in use since 1994.  The term “toggle switch” was first used in 1938 although such devices had long been in use in the electrical industry and they were widely used in motor vehicles until outlawed by safety legislation in the 1960s.  In computing, toggle was first documented in 1979 when it referred to a keyboard combination which alternates the function between on & off (in the sense of switching between functions or states as opposed to on & off in the conventional sense).  The verb toggle dated from 1836 in the sense of “make secure with a toggle” and was a direct development from the noun.  In computing, the toggle function (“to toggle back and forth between different actions") was first described in 1982 when documenting the embryonic implementations of multi-tasking (then TSRs (terminate & stay resident programs).  Use of the mysterious togglability (the quality of being togglable) seems to be restricted to computer OSs (operating systems) to distinguish between that which can be switched between and that which is a stand-alone function which must separately be loaded & terminated.

The noun toggery (clothing; a clothing shop) is unrelated and was from tog.  It described (in slang), capes, cloaks & coats and (in New Zealand & Australia), swimwear (as a clipping of "swimming togs").  The origin of tog as various garments was as a shortened form of the earlier togemans & togeman (cloak, loose coat), from the Middle English tog, toge & togue, from the Old French togue, from the Latin toga (cloak, mantle).  Togeman(s) was criminal class cant for "cloak or coat" and in the shortened form "tog" it had spread to general use, by the early eighteenth century meaning "coat" and that also underwent mission keep, coming to be used generally of "clothing".  As a verb tog (as both "tog" & "tog up") emerged very quickly.  The special use of tog in fluid dynamics was as a unit of thermal resistance, being ten times the temperature difference (in °C) between the two surfaces of a material when the flow of heat is equal to one watt per m2.  The discipline in the 1940s appropriated the word from its commercial use as a material used in the thermal insulation of clothing.  Tog was also (as a clipping), slang for "a photographer".  Toggle is a noun & verb, toggled & toggling are verbs, toggler, toggery & togglability are nouns and togglable is an adjective; the noun plural is toggles.

The Jaguar E-Type (XKE) and the toggle switch

1964 Jaguar E-Type S1 OTS (Open Two Seater, as the factory at the time described the roadster body-style.

Jaguar’s E-Type (sometimes in North America (NA) informally called XK-E or XKE) deputed in 1961 at the now defunct Geneva Motor Show and it created quite a stir, at once recognized as one of the more seductive shapes ever rendered in metal, a view with which many today agree still.  The impact it made is undisputed but in industry folklore what is contested is whether Enzo Ferrari (1898-1988), attending the show, called it “the most beautiful car in the world”.  The origin of the tale is a recollection by Norman Dewis (1920–2019) who between 1952-1985 was a Jaguar test driver, the website Hemmings reporting him saying of that moment in Geneva: “I always remember Enzo Ferrari coming up to me.  He walked around the car. He said, ‘Norman, it’s the most beautiful car I’ve ever seen.  But there is one mistake on the car.  It hasn’t got a Ferrari badge.’’

1966 Jaguar E-Type OTS.  The cockpit of the "toggle switch E-Types" was one of the classic looks of the analogue era,  Unlike the Jaguar saloons in production at the time, from the start, the E-Type's dashboard had a padded top-rail.    

Il Commendatore seems never to have confirmed or denied expressing the sentiment and there’s no mention of it in Le mie gioie terribili (published in English as “My terrible joys: the Enzo Ferrari memoirs” (“My Terrible Joys” must be one of the finest titles for a memoir)).  So, in the absence of a denial the story stands and the E-Type clearly made an impression because after concluding the sleek shape was likely to confer great aerodynamic advantage, signor Ferrari returned to Modena and ordered the development of the 250 GTO, the three dozen-odd built now among the highest-priced collectables.  It’s not unknown for a statement of perhaps dubious provenance to gain an aura of authenticity if the subject decides it reflects well on them.  In the 1961 Australian general election, as the counting concluded, the government and opposition had won equal numbers with a single seat still to be called; on that one seat rested the fate of the election.  That one seat was held by the conservative Jim Killen (1925–2007) and ultimately he prevailed, ironically because of the “leakage” of a handful of preferences from the Communist Party candidate.  Elated, Killen told the press he’d received a congratulatory phone call from Robert Menzies (1894–1978; prime-minister of Australia 1939-1941 & 1949-1966) who’d said “Killen, you’re magnificent”.  The quip had come from Killen’s imagination and later, ruefully, he would reveal that at the first post-election meeting of Liberal Party members, Menzies “didn’t even offer me a drink.”  Still, Menzies never disowned the comment and one of his press secretaries confirmed he’d been happy for it circulate.

1961 Jaguar E-Type S1 roadster with toggle switches and aluminum trim panels.

Ergonomically, while an aesthetic delight, the layout was not wholly successful though toggle switches are thought more sexy than the later rockers (although, sardonically, in the E-Type community they are sometimes described a "suicide switches") which were adopted to comply with US safety regulations.  There are two different stamping patterns for the aluminum trim pieces and the one used on the very early cars is much prized; it has never been available as a re-production.  In 1963, as a running change (the factory bulletin indicating it was done to reduce glare), the panel's covering was changed to black vinyl.  The use of aluminum facia plates in a Jaguar was untypical and the designers later recalled it was done just to provide that "race car look" rather as some of today's manufacturers and tuning houses will use carbon fibre (real and fake).  The factory certainly was aware of the significance of the ambiance in cockpit design.  The earlier XK120 (1948-1954) had been available as a FCH (fixed head coupé), DHC (drop head coupé (ie a cabriolet)) and OTS but while the first two received the traditional burl walnut veneer, the "sportier" OTS's facia was covered in leather & leathercloth.  The latter was thought a more modern look which increasingly was used on the successor XK140 (1954-1957) & XK150 (1957-1961) with only the saloons using timber exclusively (which remained an option for the XK150).

Custom timber veneer fittings by Madera Concepts for Jaguar E-type in burl walnut (left) and Carpathian elm (right). 

Unlike the XK150, the timber fittings were never a factory option but some owners found the look irresistible and commissioned specialists to create the pieces.  Although the total area is not large, some disassembly and reassembly is required and with a few curves around which the veneer must be made to curl, it's a job which demands expertise.  The fine craftsmen at Madera Concepts in California report having done sets in both burled walnut and Carpathian elm, the results looking exactly as one imagines the factory might have produced had there ever been a Daimler version of the E-Type.  Of course, however much those commissioning the work might be delighted, the originality police are unlikely much to be impressed.  Views change and by 1985 timber had re-appeared in the cockpit of the E-Type’s nominal replacement (the XJ-S (1975-1996 and in 1991 named XJS during Jaguar's time as subsidiary of Ford) so walnut in the one-off “notchback” Daimler XJ-S prototype was not a novelty.

Erected soft-top on 1969 E-Type S2.

Jaguar devoted time and resources to testing the E-Type but one thing which slipped through the pre-production process (as well what must have been indifference to the glare from the dashboard) was a buffeting the OTS's fabric soft-top suffered at certain speeds.  It seems an obvious thing not to notice but, like the HST's (Hubble Space Telescope) mis-shaped mirror, it was just one of those things.  With the E-Type's release date locked-in, it was too late to redesign the components and it was a hint at the machine's intrinsic unsuitability for mass-production.  The factory had not expected demand to exist in anything close to what instantly emerged (they'd expected to sell at most a few thousand but not some 72,000 over 14 years; the world was however seduced and to this day the E-Type remains the definitive Jaguar).  The consensus among the cognoscenti seems to be if Jaguar had anticipated what a huge seller the E-Type would become they might have (1) devoted a few more months to the development and (2) on the production line spent maybe another £40 per car, meaning many of the E-Type's inherent problems might have been solved and adding £40 to the price would likely not much have affected demand.    

The fix.

Jaguar's Q&D (quick and dirty) solution for the buffeting was to weigh-down the affected area with a chain of lead-shot, sewed into the fabric in effectively the same way weighted hems are used in fashion.  Just over a half inch (14 mm) in diameter, the lead-shot bag was wrapped in a sisal cord with two 12 inch (300 mm) draw-cords to permit it easily to be pulled through the pocket in the top.  It was such a rush-job Jaguar never allocated a part-number and it’s only ever been part of hood cloth assembly (#BD20582 for the Series 1; 159.854 for the Series 2).  Both the S1 (1961-1968) and S2 (1968-1971) E-Types had the lead-shot bag, even though the soft-top’s frame was re-designed for the later cars (the S1 with three bows, the S2 two and the clamps securing the mechanism to the windscreen header rail were strengthened) and for the S2, the size of the shot-bag was reduced slightly to accommodate a change in placement, now beneath the centre strap between the bows.  Interestingly, despite presumably having at least slightly different aerodynamic properties, there seems to have been no difference in the buffeting suffered by the early cars with mohair fabric and the later which used Everflex (a tough, high quality synthetic used by Rolls-Royce during it's unfortunate "vinyl roof phase" in the 1970s (Rolls-Royce never used the word "vinyl", always insisting it was "an Evereflex covering").  For the S3 E-Type (1971-1974), the soft-top was again re-designed, this time in a way which rendered the lead-shot chains unnecessary.  

 

On the E-Type, the toggle switches were fitted only to the S1 & S1.25 cars built between 1961-1967 and they're admired both for the "vintage" appearance and their delightful tactility, the centrally-located array controlling functions such as lighting and the windscreen wipers.  Even by the slight standards of 1960s ergonomics the arrangement wasn’t ideal but, sitting beneath the gauges, it was an elegant and impressive layout the factory would retain for more than a decade, the E-type using the arrangement until production ended in 1974 and it endured on the low-volume Daimler DS420 limousine until 1992.  However, while the layout for a while survived, the toggle switches did not, the hard-edged protuberances deemed dangerous by the US NHSB (National Highway Safety Bureau (which in 1970 became the NHTSA (National Highway Traffic Safety Administration) under the newly created DOT (Department of Transportation), established by an act of Congress on 15 October, 1966 and beginning operation on 1 April, 1967) which, since the publication of Ralph Nader’s (b 1934) book Unsafe at any Speed (1965) had begun to write legislation which stipulated standards for automobile safety, this in parallel with the growing body of law designed to reduce toxic exhaust emissions.  The world into which the E-Type had been born was in its twilight.

1973 Jaguar E-Type S3 roadster with rocker switches.

On the later roadsters, the far-right rocker switch was un-labeled because it was functional only on the coupés, activating the rear-window demister; on the XJ sedans (which used the same switch apparatus), it swapped the flow between the dual gas (petrol) tanks.  When the S2 XJ was released in 1973, the whole dashboard was revised, greatly improving the ergonomics but lacking the visual appeal of a look dating from 1959 when the Mark II saloon (1959-1969) was released although the most extravagant implemental was on the Mark X (1961-1966) which used a full width assembly in timber veneer.  While impressive, airbags were decades away from mass use and seatbelts were uncommon so when the model was revised and released as the 420G (1966-1970), the top rail received a padded vinyl covering (with a central clock).  It didn't look as good but may have reduced the severity of a few head injuries.

In 1968, the new wave of legislation came mostly from the DOT so applied almost exclusively to vehicles sold in the US but such was the importance of that market it made little sense for Jaguar to continue to produce a separate line with toggle switches for sale in the rest of the word (RoW) so the decision was taken to standardize on the flatter rocker switches with their safer, rounded edges.  At much the same time, other changes were made to ensure the E-Type on sale in 1968 would conform also to other new rules, the most obvious being the replacement of the lovely covered headlights, replaced by units in a scalloped housing, mounted slightly higher (there was also a minimum headlight-height stipulation).  Given the extent of change, it was decided to designate the updated cars as the S2 (Series 2).  Despite the perceptions of some (fuelled by internet posts and re-posts), by 1967, Jaguar, while not a mass-production operation along the lines of a computerized Detroit assembly line, had long since ceased to be a cottage industry and as a change was made in a model’s specification, except for specified batches, it was applied to all production after a certain date.  Although the factory’s records document this, urban myths continue to circulate, stimulated by so-called “unicorns” such as the handful of 3.8 litre Mark 2 saloons built after 1967 when the line was rationalized (as the 240 & 340) and restricted to the 2.4 & 3.4 litre XK-Six; those 3.8s were official “special orders” and not ad-hoc aberrations.  However, nothing in the era has resulted in as much misinformation as the specification of what came (unofficially) to be called the S1.25 & S1.5 E-Types, the most common myth being that before S2 production began, some cars left the factory with a sometimes unpredictable mix of S1 & S2 parts, this haphazardness accounted for by the expedient of “using up stock”.  In the industry, (even in computerized Detroit) the practice was not unknown but there’s no evidence of the practice among 1967 E-Types.  What seems especially to attract speculation is the phenomenon of “overlap”, a word describing a Jaguar found to include some “later” or “earlier” features than the build date and VIN (vehicle identification number) suggest should be fitted.  It's part of the charm of the breed and was usually the result of the recorded “build date” reflecting when a car passed the final quality control checks; apparent discrepancies did happen if a car with an earlier chassis number had been returned for rectification of some fault, thus picking up what appears to be an “out-of-sequence” date.

1967 Jaguar E-Type S1 OTS (left) and 1976 Jensen Interceptor III (J Series) Convertible (right).

With the end of E-Type production, no Jaguar subsequently used the classic dashboard layout although it did endure on the Daimler DS40 limousine, built on the platform of the old Mark X.  Although over 4,000 DS420s (including two built by Vanden Plas as landaulets) were built (plus an additional 900-odd supplied as “commercial chassis” to coachbuilders who would fabricate custom aft-sections, configured mostly as hearses), the model was never sold in the US, the costs of the engineering required to make it compliant with the NHTSA’s ever-evolving rules to high to make the low-volume model viable.  Jensen however adopted the layout for the Interceptor (1966-1976) when in 1969 the Mark II was released although it too was compelled to replace the toggle switches with rockers and they went above and beyond the regulator’s dictates, installing them in a recessed, padded housing.  Even on the Interceptor Mark III (1971-1976), although there were a number of detail changes to the dashboard over the life of the model (there were “G”, “H” & ”J” series, “I” skipped to avoid confusion with the numeric “1” (one), a convention followed by many including bra manufacturers and Boeing when updating the B-52H Stratofortress), the Jaguaresque layout (an array of gauges in the centre with a line of toggles below) remained to the end.  Again, the ergonomics were not state of the art but, like the Jaguars, the Interceptor had other charms.

2006 Spyker C8 Laviolette Widebody: Dashboard layout with four-spoke “propeller” steering wheel (left) and toggle switches with nerf-bars (right).

Pleasingly, although thought extinct on the road, the toggle switches did make a comeback with several small-scale manufacturers unable to resist the look.  The way that look was kept while remaining compliant with the rules was to add rounded nerf-bars on each side of the switch, a trick borrowed from racing cars where the fittings were used to ensure a driver didn’t inadvertently “flick to wrong one”, always a risk because of the thick gloves usually worn in competition.  Spyker, a boutique operation from the Netherlands, began operation in 1999, the name coming from a Dutch coach-builder that between 1880-1926 would branch out from horse-drawn carriages to automobiles and even aircraft.  Since 2000, between various local difficulties (including bouts of bankruptcy), Spyker has produced a number of high-performance models and while the mechanical specification has always been impressive, what has also drawn attention are the exquisitely finished interiors, the intricacies (typified by the nerf-bars around the toggle switches) a delight for those who fetishize such things.  Unfortunately the four-spoke “propeller” steering wheel (a style last seen in volume on the Jaguar XK150 (1957-1961) was eventually judged just too potentially lethal to be granted an exemption from compliance and was replaced with something more accommodating from the Lamborghini parts-bin.

Engineering as art: Gear-shift mechanism, 2006 Spyker C8 Laviolette Widebody (left) and 2007 Spyker C8 Laviolette Targa with, softer, gentler steering wheel (right).

What did however survive was the wonderfully crafted shift mechanism for the rear-mounted ZF transaxle and although the exposed shafts of stainless steel might seem an affectation, it's pure functionalism; being a direct mechanical linkage, they provide precise gear-shifting, always a challenge with such a layout (the Porsche 914 (1969-1976) community coined “broomstick in a jar of mayonnaise” to describe the experience of the earlier "tail-shift" models, the post 1972 "side-shift" build a great improvement from "bad" the "satisfactory").  The shape of the shifter’s knob reflects the modern practice, dating from analysed data derived in the late 1960s from the Swedish government's mandatory post mortems (autopsies) of road-accident fatalities (under Swedish law, such corpses were for 48 hours the property of the state).  What the pathologists' findings revealed was lives could be saved if engineers could devise as a shift lever handle too large to penetrate the eye socket.  One of the first knobs to reflect this design imperative appeared in 1971 on the Mercedes-Benz 350 SL (R107, 1971-1989) although, there being an element of the macabre in the research, the origin of the shape wasn't something the factory choose widely to publicize.  The small innovation was a classic example of what's called “passive safety”.  Spyker’s engineering is thorough and although pure-steel from transaxle to knob, heat-soak along the shaft is said to be minor so there was no need to resort to a timber knob as Porsche did in the late 1960s on some of its race cars; to this day the urban myth persists that Porsche used balsawood to reduce weight by a few grams.  

The pure lines of the S1 E-Type (top) were diluted, front and rear, by the need to comply with US safety legislation, the later S2's head & taillights more clunky.  The collector market slang for the later headlight treatment is "sugar scoop".

The process by which S1 evolved into S2 was in a sense transitional which is why the designations S1.25 & S1.5 became accepted in the jargon.  Not used by the factory, the terms are said to have been “invented” by JCNA (Jaguar Clubs of North America), the S1.25 run beginning on 11 January 1967 after production resumed following the Christmas holiday while the first 1.5s were built mid-year.  Although within the collector community much is made of the defining differences between the “pure” S1 and the “transitional” S1.25 & S1.5, that “purity” is nuanced because like many others, the E-Type was subject to constant product development with changes appearing from time to time and "S1" is a concept rather than a static specification.  Early in the model run, there were some obvious changes such as (1) the modification to the “flat floors” to provide more leg-room, (2) the integration of the hood (bonnet) louvers into the pressing, (3) the external hood (really a “clamshell”) release (there were two types) being replaced by an internal mechanism, (4) internal trim changes including the dashboard materials, console and seats, (5) the replacement of the Moss gearbox with an all-synchromesh unit and (6) the 4.2 litre engine replacing the original 3.8.  Beyond those well-known landmarks, between 1965 and early 1967 there was also a wealth of barely detectable (except to experts of which there are quite a few) cosmetic changes and mechanical updates including: (1) the glass windshield washer bottle being replaced by a plastic container (March 1965), (2) the addition of an alternator shield (October 1965), (3) an enclosed brake and clutch pedal box (October 1965), (4) a hazard warning (4-way) flasher included for US market cars (November 1965), (5) sun-visors added to the OTS (February 1966), (6) instrument lighting changed from blue to green (March 1966), (7) the rubber boot at the base of the gear lever being replaced by a black Ambla gaiter (October 1966), (8) detail changes to the gearbox cover and prop shift tunnel finisher (October 1966), (9) the material used for the under-dash panels switched from Rexine-skinned aluminum to fiberboard (October 1966) and (10) a Girling clutch master cylinder replaced the Dunlop unit (December 1966).  One quirky part of the evolution was that although, from their introduction in 1966, the 2+2 cars included a door for the glove-box, one wasn't fitted to the OTS & FHC until  the S1.5 run.

Jaguar E-Type: S1 with covered headlight (left), S1.25 with early "sugar scoop" (centre) and S2 with later "sugar scoop" (right). 

After the lovely headlight covers were legislated to extinction by the DOT bureaucrats, the replacement (uncovered) apparatus came to be called the “sugar scoop”, a term earlier used for the Volkswagens & Porsches sold in the NA market which had to be fitted with sealed-beam headlights because of protectionist rules designed for the benefit of US manufacturers.  The use of “sugar scoop” for the E-Type was appropriate because the visual link with the utensil was much more obvious than on the Volkswagens & Porsches.  There were three different designs of sugar scoops, one for the 1.25 & 1.5, one for the S2 and one for the S3.

Straight six by Emily Abay (b 1986).

UUA 368 is an Australian-registered 1968 (S2) Jaguar E-Type available for hire at a daily rate of Aus$990.00 (including 200 km (124 miles)); the hire company dubbed her (the car) "Penelope" (unfortunately, the company does not expand on how the names were chosen).  Not all jurisdictions allow the registration plate to be painted on the hood, a practice made famous in 1961 by photographs of 9600 HP, a pre-production E-Type used as one of the factory’s original press-cars.  It was 9600 HP which The Autocar magazine took to Belgium, successfully verifying the then astonishing claim of a top speed of 150 mph (241 km/h) although, years later, it was revealed there had been a few subtle tweaks and an E-Type off the showroom floor wouldn’t quite have hit the magic number, no matter how long and straight the road.  Painting the registration on the hood avoided disfiguring the lovely lines with a plate (no flat surfaces on the front of an E-Type) and many followed the lead, some places allowing it, some not.  A S2 E-Type, UUA 368 has the one of the more elevated of the sugar scoops but, being delivered in Australia, it retains the triple SU carburettors by then denied to customers in NA so response will be lively, especially above 100 mph (160 km/h).

A US market 1977 Porsche 911 (1964-1989), fitted with the front bumper assembly of a later 911 (964 (1989-1994)):  The original “sugar scoops” are seen on the left and the replacement Hella H4 lights are to the right (in RoW cars both H2 & H4 units were fitted).  The (non-figurative) sugar scoop (centre) is Japanese, circa 1970s.  Sugar scoops are used to scoop sugar from a “sugar scuttle” whereas if one’s sugar is in a “sugar bowl”, a “sugar spoon” is used.  The difference between a “sugar spoon” and a “tea spoon” is the former has a deeper and usually more rounded bowl and most are supplied as part of a “tea set” or “tea service”, often with the same decorative elements.

1966 Jaguar E-Type FHC: undeniably, the headlight covers were a sexy shape.

Despite that myriad of modifications, all E-Types prior to the S2 are S1s but the running changes can be of significance to restorers if the object is exactly to emulate the state in which a vehicle rolled off the production line; in events such as a concours d'élegancé, judges can deduct points for even minor infractions.  Things became more distinct when on 11 January 1967 the first E-Type destined for the US market was built without the covered headlights and this marked the beginning of the run of what would come to be known as the 1.25 although it wouldn’t be until mid-year the open headlights became a universal fitting.  Unlike some cars where changes can be determined from the sequential VINs, the only way accurately to determine whether a 1967 E-Type built between January and July was fitted with covered or uncovered headlights work out the market for which it was built, those for NA using the uncovered fittings.  That's because an analysis of successive VINs will reveal on a given day there might have been a mix of cars going down the production line with different headlight assemblies.  Curiously, there were some 1968 E-Types built for Canada which included the triple SUs and while these included the interior changes mandated by US federal law, the door mirror on the driver’s side wasn't fitted and the tail and side lights were a different specification.  From 1969, Canada aligned its regulations with those of the US so from that point on, the NA specification was standardized but the history of S1 production does illustrate why things be so challenging for restorers wishing exactly to replicate what the factory did.

Between August-October 1967, the 1.5 run was built with twin Zenith-Stromberg carburetors (in a specification designed to reduce emissions) replacing the triple SUs (on NA cars), the substitution of ribbed camshaft covers, a higher mounting of the headlights (to meet minimum height requirements) and the adoption of rocker switches; at this point, the teardrop tail lights remained, the other most obvious external marker of the S2 being the chunky lights below the rear bumper bar.  In the usual manner, updates continued, such as twin cooling fans (a good idea) and 1000-odd run of the so-called "R2" cars, almost all of which were registered as 1971 models although many left the factory in 1970.  The R2 S2 E-Types gained a pair of "leaper" badges on the flanks, just behind the front wheel arches.  Unlike the steel leapers centrally mounted on the hoods of other models, the badges required two part numbers, one each for the left & right.  It seemed a pointless addition and just an addition of more clutter, as they were on the S1 (1968-1973) & S2 (1973-1979) XJs.

1971 S2 Jaguar E-Type (centre) from the "R2" run of 1000-odd with the leaper badges on the flanks.

So much did the clutter created by bigger bumpers, protuberant headlight assemblies, badges and side-marker lights detract from the lovely, sleek lines of the Series 1 cars, bolting a luggage rack to the trunk (boot) probably seemed no longer the disfigurement it would once have been.  The left-hand (left) and right-hand (right) badges, being directional, were different part numbers (BD35865 & BD35866 respectively) and those used on E-Types were silver on black.  There were also variants used on the XJs which were gold on black and some had the leaping feline at a slight slope, both matters of note for those wishing to restore to the exacting "factory original" standard.  

So, without a flow chart, it can be hard to follow and, because of some overlaps in the production process, the S1-to-S1.25-to-S1.5 transition wasn’t entirely lineal but none of this is mysterious because the JFSBs have documented and explained these “inconsistencies”.  Still, there are enough quirks to enrage some and delight others.  For example, there were a certain 32 specific NA market vehicles fitted with the headlight covers which were built with serial numbers later than the first of the open headlight cars.  Not all E-Types built for NA in 1967 thus had the open headlights and a not insignificant number of those 1.25 spec vehicles have been retro-fitted with the covers.  Such is the appeal of the covered headlights that although the E-Type market is monitored by the originality police (the “matching numbers” crowd with their extraordinary knowledge of things like “correct” hose clamps or screw heads), there is some untypical forgiveness for “back-dating” headlights to the sleeker look and they're not unknown even on the later, and much different, S3 cars.  Also, although US market S2 cars were from very early in the build fitted with the side-marker light assemblies, it wasn't until late in 1969 bulbs and wiring were fitted (the relevant law taking effect on 1 January 1970); prior to that they'd functioned merely as “side-reflectors”, meaning latter day purchasers need to inspect non-illuminating examples to work out if they're defective or just reflectors.  Opinion seems divided on the matter of fitting the triple SU carburetor assembly to cars delivered with the twin Zenith-Strombergs and many have been converted.  It's not difficult to make a 1.25 visually indistinguishable from a S1 and to do the same to a 1.5 is a matter just of more parts, time and money, the ethics of both ventures being transparency; once modifications are disclosed to a potential purchaser, it's up to them to decide if originality is critical.  Armed with lists of VINs, JFSBs and encyclopaedic knowledge, the JCNA's originality police will not be fooled. 

The lure of the headlight covers: 1973 E-Type S3 with headlight covers subsequently added (left) and with the standard "sugar scoops" (left).

These are US market cars with the additional "dagmars" appended to the bumperettes.  Even by 1973, thin whitewall tyres were still a popular option on US Jaguars and they remained available until the last were sold in 1975 but the wide whitewalls often supplied in the early 1960s had long fallen from favor.  Although the judges in the JCNA confederation are usually uncompromising, they make a rare exception in not deducting points from late-build E-Types (the so-called 1.25 & 1.5) which have been fitted with the headlight covers.  The covers never appeared on the S3 E-Types but their unexpected presence clearly doesn't dissuade buyers because the S3 pictured above (left) in February, 2021 sold at auction for US$230,000.  It was an exceptionally low-mileage example (8000-odd miles (13,000 km)) but even given that it represented an impressive premium for what was a "modified" vehicle.  The S3 cars also had a number of year-to-year variations but compared with the constantly evolving S1 the specification tended to the static.  One quirk was that as well as offering the new 5.3 litre (326 cubic inch) V12, it had been intended also to make available a version with the 4.2 litre XK-Six with brochures and promotional materials printed before the decision was taken only to fit the V12.  However, four six cylinder pre-production prototypes were built and one is known to survive; curiously, despite the rarity (indeed, it may genuinely be a unique, historic E-Type footnote), at auction it achieved a price little different from a 1971 V12 model in equivalent condition.

Jaguar E-Type production breakdown, 1961-1974.  

While the loss of the toggle switches, teardrop taillights and headlight covers caused many to lament that the world was shifting from elegance ungainliness, some other changes also induced pangs of regret.  The switch from triple to dual carburetors was necessitated by the emission control regulations; the claimed HP (horsepower) dropped from 265 to 246 and while not many took the original rating too seriously, there was a drop in performance, especially in the upper speed ranges.  One often less noticed change mandated by the DOT was the replacement of the “eared” knock-off hubs for the wire wheels (the E-Types only ever using a two-eared version although third-party items with three ears are available) with a more “pedestrian friendly” type which, bewilderingly, are now referred to as the “non-eared”, “curly”, “octagonal”, “smooth”, “federal” “safety” and “continental” knock offs.  Take your pick.  Buyers could also take their pick of whether their “improved” wire wheels (now incorporating a forged centre hub) were painted in matte silver or chromed although the JFSB did caution that because of the altered configuration of the spokes, the wheels were not interchangeable with the earlier type except as a complete set (ie five per car).  Available from 1 January, 1968 (the effective date for many of DOT’s new rules), this was Jaguar’s last update of the wire wheels which, in a variety of forms, the company had been using since being founded in 1922 as the Swallow Sidecar Company.  Never offered on the biggest and heaviest of the post-war cars (the Mark VII, VIII, IX and X/420G) or the new XJ range, they were last used on the “overlap” Daimler saloons (250 & Sovereign) in 1969 although they remained an option for the E-Type until the last was built in 1974.  

Wire wheels and associated components for the E-Type by Martin Robey; note the two designs of spinner saver (eared & non-eared).

Although a handful of small-scale producers (the last hold-outs from the days of cottage industries) continued to offer wire wheels, their final appearance on the option lists of the UK industry’s volume models came in 1980 when the last of MG's Midgets and MGBs were sold.  The term "knock-off" sometimes confuses because in slang it can mean a "fake or reproduction item" but in the context of wheels the original meaning described the centre-locking hubs (known also as "spinners") which were tightened or loosened by being "knocked" on the ears with the (often lead-faced) mallet (sometimes described as a hammer) included in the tool kit.  In racing, pit crews would strike the ears directly but tool-kits usually included a (typically timber) "spinner saver" to minimise damage to both hub and mallet; when non-eared hubs appeared, the shape of the spinner saver was also changed.  So the term can confuse: The famous Italian manufacturer Borrani produced many wheels with centre-lock hubs so the phrase "Borrani knock-offs" is standard industry jargon and by convention "knock off Borranis" is used of replica locking nuts (also called "spinners"), the presence of which can be a concern because they might be of lower quality, not manufactured to the safety and performance standards of the genuine product.  

Norway’s Motorhistorisk Klubb Drammen (Historic Car Club of Drammen) from Buskerud county reported on an exhibition hosted on 2 July, 2014 by the Norsk motorhistorisk museu (Norwegian Motor Historic Museum) in the village of Brund, the event honoring Lindsay Lohan’s (b 1986) 28^th birthday.  The red S2 Jaguar E-Type had received a recent restoration but a detailed examination would have to be undertaken to determine the degree to which it remains in its original specification.  Given the visible clues and its presence in Norway, this may have been a RoW (which the triple SU carburetors would suggest though they are a popular swap on twin-carb models) car but there’s a lively two-way trans-Atlantic trade in E-Types (many now expertly restored in Poland) so it may originally have been sold in the US or Canada.

The “Shaguar” used in the three Austin Powers movies (1997, 1999 & 2002).

The Shaguar was a 1967 S1.5 E-Type which featured the combination of teardrop taillights, twin carburetors, sugar scoop headlights, a glove-box door, rocker switches and, being right-hand drive (RHD), it wasn't built for NA.  When the auction house published the photographs, the vibrant on-line originality police did their analysis and concluded it was built in December 1967 as a 1968 model but was in far from original condition (beyond the obvious paint and Shaguar badge).  The dashboard included the earlier manual choke and the heater and vent controls appeared to be missing and while the side & turn lights were NA specification, the taillights were those used on RoW cars.  The tachometer was the one one fitted to S2 models and it was suspected this may have been swapped when the later, non-original engine with the twin Zenith-Stromberg carburetors was installed.  Over the decades, many E-Types have for one reason and another drifted far from their original build and usually this limits their appeal to collectors but at Mecum Auctions in January 2025, the Shaguar realized US$880,000 (including 10% buyers premium), several times the typical sale price of a non-original S1.5 RoW E-Type in the same condition, its history as a cinema prop clearly an attraction.

Veavage

Veavage (pronounced vee-vig)

(1) The expanse of bare skin a woman displays when wearing a dress (or top) with a neckline cut in a deep (often called plunging) “V”, the vertex (the bottom junction where the two diagonal strokes meet) typically reaching the midriff but the lines can intersect as low as the waist or even the hipline.  As a design, it’s the familiar “V-neckline” taken to its logical conclusion although much the same can be achieved with what technically are “scalloped necklines” or “U-plunges”.

(2) As “veavage dress”, “veavage top” etc, a garment so designed.

2026 (2010 for an earlier, now extinct purpose): A portmanteau word, the construct being ve(e) + (cle)avage.  In English, vee had a long history as an illustration of the pronunciation for the letter “V” but it was in US English in the mid-1860s it began widely to be used in building, architecture and engineering to describe various structures, components or configurations.  Because of the attractive properties of triangles, the “V-shape” would for millennia have been part of the man-made environment (indeed, it exists in botany, animals and geology) but the form “vee” appears in this context to have been well documented only from the mid-nineteenth century and use as a direct substitute for the Latin script letter “V/v” is documented from 1869.  In internal combustion engines, “vee” seems first used of piston engines in this configuration by 1915 although the first known V-twin was built in 1889 and the first V8 in 1903.  Although common as a descriptor of shapes or physical objects, the more abstract re-purposings included (1) a polyamorous relationship between three people, in which one person has two partners who are not themselves romantically or sexually involved and (2) in the (male) gay community, “a Vee” is a verbal shorthand for “a versatile” (one who is not exclusively “a top” (or “pitcher”) or “a “bottom” (or “catcher”) but indulges in both practices.  The coining is too recent for derived forms to have emerged but the possibilities include veavaged, veavaging and veavesque.  Veavage is a noun (and potentially a verb & adjective); the noun plural is veavages.

Of Vee

Cricket's “vee”, recommended for “high-percentage” shots.

Teevee was a respelling of the abbreviation TV (for television) so the two are synonymous but the former (with its four superfluous vowels) survived only as a “niche word”.  In the era between the early post-war years and services like YouTube and its many imitators becoming mainstream, a “teeveen” was a young person who “watched too much TV”.  In SF (sci-fi, science fiction) a three-vee was a screen able to display in three-dimensions; authors used also “3v”, “tri-v” “tri-vid”, “tri-d”, “trideo” & “tridim” and although they didn’t show quite the disdain for capitalization as later would emerge in the business of computer hardware & software, the literary preference seems to have tended to the lower case.  The humorists of the 1980s used a mix of upper and lower when creating shorthand critiques of the US cable television channel (1981) MTV (pronounced emm-tee-vee and an initialism of “Music Television”).  Claiming the channel’s programming was banal, they conjured up “eMpTyV”, “empty-vee”, “Empty-V”, “Emptyv”, “emptyV” & “eMpTy V”, all to be pronounced emp-tee-vee.  That was a variant of the technique used to produce rebus abbreviations (in structural linguistics technically a “gramogram”) such as “NRG” for “energy” or “XLR8” for “accelerate”.  All worked best when written because although non none possessed classic phonetic assimilation, sloppiness in real world use, sloppiness in pronunciation probably often rendered the sound of emm-tee-vee vs emp-tee-vee indistinguishable.  In cricket, the “vee” describes the arc of the field, forward of the batter, from cover to midwicket, in which drives classically are played (a shape better visualized as an “L” because, like many “vee” engines, the vertex is a 90^o angle) and coaches still instruct batters to “play in the vee” because that’s most productive for “high percentage” (ie more runs, fewer dismissals) shots but in the newer, shorter forms of the game, that’s now less relevant.  Whether “veagage” catches as jargon for coaches advocating “playing in the vee” remains to be seen.

Playing in the vee.  Australian cricketer Ellyse Perry (b 1990) with the trophies of the two Cricket Australia (the new name for the old Board of Control) Cricketer of the Year awards she won in 2023 (in the T20 and ODI (One Day International) categories). Note the splendid shoulder & upper-arm muscle definition.

In typography & computing, typography, a “vee” was a unit of vertical spacing, typically corresponding to the height of an ordinary line of text.  In machinery, a vee-belt (often as v-belt) was a drive-belt of reinforced rubber or other compounds which was mounted on drive wheels or pullies, the name gained from the V-shaped cross-section (some with notches which were called “toothed belts”).   “Vee Dub” was a slang term for a vehicle produced by Volkswagen (VW) and a “Vee Dubber” was a VW fan boy (some of whom were girls).  A “veejay” was the host of a television programme who presented videos, based on the earlier “DJ” (disc jockey, a radio presenter who introduced music broadcast by playing tracks from discs, a use which has survived many DJs now operating without discs).  A VJ was also a “vertical joist” which was a length of timber used as a vertical upright for structural support.  In vulgar slang, “VJ” also was a term for the vulva or vagina and the user-generated Urban Dictionary has an entry from 2010 listing “veavage” with the construct v(aginal) + (cl)eavage (ie the infamous “camel toe”) but that attracted negligible support.  A veep is “a vice-president”, a form popular use has made associated mostly with the VPOTUS (vice-president of the US).  

Of Veagage

Actor Keira Knightley (b 1985) in a classic black veavage dress, illustrating how the emphasis has shifted to skin rather than cleavage, the latter the traditional focus of the deeper “V-necklines”, things now done with “a hint”: less is more.

With due acknowledgment of the use in 2010 (documented by Urban Dictionary) which never gained traction, “veavage” is a new word but what it describes is not new though the emphasis genuinely is a variation of an old theme.  Veagage is a deeply plunging V-shaped cut in a garment which displays some of the chest & midriff down sometimes as far as the hipline although most stop at the waist.  Obviously something best worn on red carpets or for photo-shoots in controlled environments (light, surface irregularities, wind-speed & direction, crowds etc), it differs from the traditional approach to the female chest in that emphasis is on the skin rather than the breasts, the veagage look de-emphasising those glands so the cut is ideal for those able to summon much of a cleavage only with structural engineering such as a bra or Hollywood Tape (better known by the more evocative “tit-tape”).  So it can be a good, eye-catching choice for those without the anatomical advantage demanded by outfits optimized for “peak cleavage” but it has been criticized as a form of “privilege-dressing”, said to carry the whiff of “white feminism”.

Controversial and not accepted by all as something “real”, “white feminism” is said to be a fork of feminism concerned almost exclusively with concerns of white, middle-class, cisgender, heterosexual women, the problems of women not ticking those boxes ignored.  It’s thus an individualistic strain of feminism which aims to maximize one’s advantage within existing systems rather than seeking systemic reform for the collective benefit.  From there it may seem a bit of a leap to veagage as marker of political exclusion but it’s true a link can be constructed if one wishes to find such a connection (the notion of v=(c+p) (cleavage + privilege = veavage)) in that while it accommodates at least some on the spectrum of breast size, slenderness is essential and for those not genetically lucky or disciplined, there are the GLP-1 (Glucagon-like peptide-1) drugs and overwhelmingly, they remain a tool for those who are (in global terms) “rich”.  Like everything else, the frock is political.

Lindsay Lohan, Olympus Fashion Week, Bryant Park, Manhattan, February 2006.  Although Ms Lohan is more associated with the traditional use of the V-neckline, this is archetypical veavage.

Unlike some “straight-line letters” such as “W” or “X”, the letter “V” is almost always rendered with straight lines but fashion editors are more forgiving than geometers (since the time of the third century BC mathematician of Ancient Greece Euclid, the historic term for those whose primary research field was geometry) who would insist the plunging neckline of Ms Lohan’s red dress is not a “V” but a “curvilinear angle” (an angle with sides of curves rather than straight line segments).  In elementary geometry, the classic angle consists of two straight rays meeting at a vertex, whereas in a curvilinear angle the sides are arcs or other curves intersecting at a point.  In fashion, up to a certain stage, a “curvilinear angle” is still a “V-neckline” because the visual effect is so close but, as the curves become more curved, at some point the cut becomes closed to a “scallop” or “scoop” and is so described.

Model & writer Hari Nef (b 1992) in Schiaparelli.  Like the trade-off in warship design between armor & speed, less gland means more veavage so those not best suited to cleavage in a V-neckline have an alternative.

So with V-shaped necklines descending to the navel (or a little beyond) hardly a novelty given their not infrequent appearances over the last two-decades-odd, why did the word “veavage” suddenly make an appearance in 2026?  The obvious answer is of course “click-bait” but that’s not of necessity a bad thing because, in a sense, that trick is supply anticipating demand and there are aspects of the internet (which at least for now seem to have become structural) that should arouse more concern.  It’s a good word and a welcome addition to the fashion business; presumably an industry commentator noted a spike in the “deep vee” showing up on the catwalks or red carpets and, things “on trend” needing a tag, conjured up (or re-purposed) “veagage”.  The speculative link to the look becoming more prevalent because GLP-1s have rendered more women with physiques suitable for such things is intriguing but wholly impressionistic and trends anyway tend to wax and wane although, in its niche, veagage seems here to stay.

Of Cleavage

Actor Sydney Sweeney (b 1997) with a more traditional implementation of the V-neckline.  Empirically, this look is likely to remain the dominant approach although, as it has for years, the veavege will run in parallel. 

The noun cleavage seems first to have appeared in the 1805, the construct being cleave + -age.  It was used first in geology and mineralogy to describe “the tendency (of rocks or gems) to break cleanly along natural fissures” with the generalized meaning “action or state of cleaving or being cleft” emerging in the mid 1860s.  Although the artistic record confirms the popularity of the look had over the centuries come and gone in the cyclical way fashion behaves, use of “cleavage” in the sense of the “the hollow between a woman's breasts (usually when artificially supported), especially as exposed by a low-cut garment” appears not to have been seen in print prior to the use in an article in Time magazine discussing the (nominally) self-censorship codes of practice adopted (not entirely willingly) by the Hollywood film studios.  In finding a single word, Time’s editors proved good practitioners of journalistic succinctness because what they were reducing to a word had been described in the industry’s bureaucratese as “the shadowed depression dividing an actress' bosom into two distinct sections.”  Cleavage caught on although to this day the more up-market fashion glossies still hanker after the French décolletage.

Variations on a theme of Vee: Lindsay Lohan (during blonde phase) in V-neckline, V Magazine's Black and White Ball, Standard Hotel, New York City, September 2011.

Cleave was in use prior to 950 and was from the Middle English cleven, from the Old English strong verb clēofan (to split, to separate), from the Proto-West Germanic kleuban, from the Proto-Germanic kleubaną, from the primitive Indo-European glewb- (to cut, to slice).  It was a doublet of clive and cognate with the Dutch klieven, the dialectal German klieben, the Swedish klyva, the Norwegian Nynorsk kløyva; it was akin to the Ancient Greek γλύφω (glúphō) (carve) and the Classical Latin glūbere (to peel).  Given the time and place of cleave’s emergence, etymologists suspect the original sense was likely related to the handling of timber (ie to split or divide by or as if by a cutting blow, especially along a natural line of division, as the grain of wood).  The suffix -age was from the Middle English -age, from the Old French -age, from the Latin -āticum.  Cognates include the French -age, the Italian -aggio, the Portuguese -agem, the Spanish -aje & Romanian -aj.  It was used to form nouns (1) with the sense of collection or appurtenance, (2) indicating a process, action, or a result, (3) of a state or relationship, (4) indicating a place, (5) indicating a charge, toll, or fee, (6) indicating a rate & (7) of a unit of measure.  The French suffix -age was from the Middle & Old French -age, from the Latin -āticum, (greatly) extended from words like rivage and voyage.  It was used usually to form nouns with the sense of (1) "action or result of Xing" or (more rarely), "action related to X" or (2) "state of being (a or an) X".  A less common use was the formation of collective nouns.  Historically, there were many applications (family relationships, locations et al) but use has long tended to be restricted to the sense of "action of Xing".  Many older terms now have little to no connection with their most common modern uses, something particularly notable of those descended from actual Latin words (fromage, voyage et al).

Bella Hadid (b 1996, right), Cannes Film Festival, 2021.

A veavage can of course be an eye-catching billboard and the obvious stuff to advertise is jewellery (left).  Model Bella Hadid showed how it could be done with scalloped neckline, wearing a black Schiaparelli gown (cut for the purpose with an untypically wide aperture) used to frame a sculptural piece, fashioned in gilded brass to resemble an anatomical cast of the lungs’ bronchi (the paired series of cartilaginous, tube-like airways branching from the trachea into each lung, acting as the primary passage for air distribution).  However, in while in commerce a handy advertising space, those adopting a veavage seem most inclined to restrict adornments to earrings or other accessories which don't interrupt the line of skin between neck and waist, the trick being to achieve a “lengthening effect”  

Golfer and multi-media personality Paige Spiranac (b 1993).

Despite the etymological implication, a veagage is about the display of skin and is not dependent on being framed in a “V” but the point about it is the de-emphasis of the breasts (and thus the cleavage).  What Paige Spiranac wore to Sports Illustrated 60^th anniversary event could (with some strategically placed double-sided tape) be used for the purpose but technically the ensemble was a variant of the “curtain reveal” motif (in “open” mode).  Whether it would produce a veagage or a cleavage would depend on the wearer.

In the 1980s, US political scientists used the term “cross-cutting cleavages” to describe what had been revealed as a phenomenon both increasing frequency and spreading demographically and geographically.  The term referred to a social structure in which different lines of division in society intersect rather than coincide (ie groups created by one social division are mixed across the groups created by another division, instead of aligning with them).  In the West, as an identifiable trend, this likely was something that had ebbed and flowed since the decline of feudalism but in the post-war years it became of interest to political scientists because it was clearly something influencing social conflict and voting behaviour, the issue-by-issue alignment within and between sectional classifications no longer as predictable.  What had become obvious was the membership of groups in one dimension was overlapping with multiple groups in another.

Influencer Sophadophaa (she stresses : “It’s Sophia not Sophie”) in red gown with plunging vee.

Because the veagage effect is most effective when at its most 2D (two dimentional), when that’s what’s wanted, the usual approach is to have the fabric cling to the skin (with double-sided tape as required) but V-necklines can be executed differently for other outcomes; the double-sided tape is still applied but in different places.

Overlap was not new in that “coalitions of interest or concern” had long been known to be subject to these “crossovers” (especially at the margins) but in the days before big machine databases transformed this into something political parties could not merely manage but exploit, it was a genuine problem.  The more optimistic academics suggested cross-cutting cleavages operated to stabilize democracy because, with individuals simultaneously belonging to many groups (class, religion, occupation, region), the overlap prevented politics from collapsing into a series of polarized conflicts, what some called “the Balkanization of society”.  The argument was the behaviour compelled political parties to build broad coalitions across multiple groups, moderating the inherent tendency to conflict and reducing the likelihood of groups becoming the captives of extremist positions.  There may have been something in this because in the US, between the 1930s & 1980s it was those broad (notably geographical) coalitions which characterized US politics; political conflict didn’t go away but it was diffuse rather than binary.  In operation, that mid-century model was very different from Europe.  There, “cleavage theory” was a descriptive model of the way several centuries of major (and often bloody) social conflicts (cleavages) worked finally as the catalyst for state formation and industrialization.

Wonderbra New Deep Plunge Bra.

The manufacturers have for decades noted the appeal of the V-neckline and have created a vibrant market in accessories and devices.  Up to a point, the conventional cantilever method works but there are practical limits.  However, while physics can’t be fooled, optics can and what Wonderbra did for the New Deep Plunge Bra was replace the conventional fabric-covered gore with one of translucent plastic, thus creating a “one skin tone fits all” fitting.  Except on close inspection, it was close to invisible.

The West (and especially the US) is of course now in the age of “mega identity politics” and the parameters of those identities are in the effective control of a relative handful of extremists (“absolutists” or “purists” the more polite forms) who have the historically unique (in reach, immediacy and scope) platform of social media set agendas and cancel transgressors; even in groups originally created because of oppression, now routinely oppress heretics who depart from the orthodoxy.  This does not imply political parties have become “single issue” operations but substantially they are tending towards the ideologically monolithic as aggregations of what scholars have labelled “stacked identities” and the process of “purification” is not organic: within the party machines, those seeking absolute control undertaking purges, witness the gradual preponderance within the Republican Party of the MAGA (Make America Great Again) over those condemned as “pseudo conservatives”, the RINOs (Republicans in Name Only).  In the Democratic Party, identities have come to trump (the verb) all else and few now dare to raise the matter of trans-females competing in sporting competitions for women because the “trans rights” have become a litmus-paper test of adherence to orthodoxy.  So, the machinery which decades ago assembled coalitions of interest now creates tribes with much of what that word implies, political scientists sanitizing things a bit with the tag “affective polarization”.  While the cause-and-effect processes in all this were not wholly binary, it has rendered conflict now identity-based in that conflicts are between world views and way of life rather than the minutiae of policies.

Ultradeep U-Plunge.  Where the vee didn't plunge so deep, a more conventional construction could be used although many did include "clear" shoulder straps, made of the same kind of material as sometimes used for the gore.

So, whereas the national and state legislatures once thrashed things out and often managed to achieve compromises, that’s now less common because a “compromise” is seen as a “surrender” or “betrayal” and the consequences for that included being “cancelled” or “primaried”, two weaponized devices able successfully to be deployed by a remarkably small number of committed extremists.  None of this is any secret but there’s no obvious solution because the simple fix (mass active participation of the electorate (the so-called “sensible centre”) in party politics) has little appeal for either the voters or those running the party machines, both groups for their own reasons appalled by the notion.  The days are gone when the Republicans had their “moderate” faction (the so-called Rockefeller Republicans (named after Nelson Rockefeller (1908–1979; US vice president 1974-1977 and who earned immortality by having “died on the job”) and the Democrats their “Southern Conservatives” (the so-called “Dixiecrats” in the not always attractive tradition of figures like old Strom Thurmond (1902-2003; senator for South Carolina 1954-2003)).  By the 2020s, that overlap has almost completely disappeared with politics now more polarized than at any time in living memory and political scientists lament the shift but they should recall a remark in the paper Toward a More Responsible Two‑Party System (1950), published by the APSA (American Political Science Association): “The two parties do not differ enough.”  Expanding on that, the authors added: “Alternatives between the parties are defined so badly that it is often difficult to determine what the election has decided even in broadest terms.”  As a critique this came to be called the “Tweedledum & Tweedledee problem” (two characters in Through the Looking-Glass, and What Alice Found There (1871) by Lewis Carroll (pen name of Charles Lutwidge Dodgson (1832–1898)) who had different names but look the same and behave in identical ways.

Das U-boob Theorie.

Orla U-Plunge Backless Adhesive Bra in Black (left) and Salma Hayek (b 1966, right) demonstrates the uvage, Evening Standard Theatre Awards, London, November 2015.  Orla's “adhesive” is a reference to the side panels which adhere directly to the skin (using the same technology as surgical tape), allowing the bra to a achieve a “backless” effect.  Because the cut of some gowns obviously is a “U” rather than a “V”, the fashionistas might feel compelled to add “uvage” (pronounced yoo-vig, the construct being u + (clea)vage)) to the lexicon because, if the two styles appear together on the catwalk, single-word differentiation might be helpful.

Heart & wedge: Luciana Heart Cut Out Long Sleeve Mini Dress in black (left) and French content creator & author Léna Situations (Léna Mahfouf, b 1997), in Georges Hobeika (b 1962) black gown with inverted V-neckline (technically a wedge), Academy Awards ceremony, Los Angeles, March 2026.  Ms Mahfouf uses “Léna Situations” as an online pseudonym because that was the name of the fashion & lifestyle-focused blog she, as a teen-ager, created in 2012; it gained her a “brand identity” and was thus for some purposes retained in adulthood.  The blog would have seemed familiar to the members of the long defunct Situationist International because her concept was sharing fragments of her life in different “situations” which might be defined by the place, the outfit worn or what was being experienced so was thus a series of spectacles, able to be understood as individual relics of time & place or a series of narratives.  Using that model, platforms like Instagram have allowed just about everybody to become a situationist and while the original situationists would have recognized “social lives mediated by images, media & commodities”, they'd not have approved.

However, although tempting, being too specific about geometry might lead to a proliferation of terms because designers have proved inventive when shaping “cut-outs” in gowns.  A heart shape could perhaps attract “cardivage” (pronounced kar-dee-vig, the construct being cardi(ac) + (clea)vage) and an inverted vee could be called a “wedgeage” (pronounced wed-jige, the construct being wedge + (cleav)age).  In formal logic, the wedge symbol (∧) represents “AND” (the logical conjunction); in its opposite orientation (V) the symbol is called a “vee” and represents logical “OR”.  So, imposing precision may be a needless solution to a non-existent problem and the industry seems likely to continue to tolerate what Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) in 1906 called “terminological inexactitude” (used as a euphemism for the un-parliamentary “lie” and coined because in the House of Commons, Mr Speaker had long since proscribed use of  “mendacious”).  Beyond the "V", "U", "heart" and "wedge", there are more shapes so veavage seems likely to serve as a generic for all.

Charli XCX (stage-name of English singer-songwriter Charlotte Emma Aitchison (b 1992)) in a Christopher John Rogers (b 1993) white fit & flare dress with ruffled peplum, featuring a more conventional implementation of the V-neckline.

Ms Mahfouf's retention of a youthful online pseudonym is not unique, Charli XCX another example.  The star herself revealed the stage name is pronounced chahr-lee ex-cee-ex; it has no connection with Roman numerals and XCX is anyway not a standard Roman number.  XC is “90” (C minus X (100-10)) and CX is “110” (C plus X (100 +10)) but, should the need arise, XCX could be used as a code for “100”, on the model of something like the “May 35th” reference Chinese internet users, when speaking of the “Tiananmen Square Incident” of 4 June 1989, adopted in an attempt to circumvent the CCP's (Chinese Communist Party) “Great Firewall of China” censorship apparatus.  In 2015, Ms XCX revealed the text string was an element in her MSN screen name (CharliXCX92) when young (it stood for “kiss Charli kiss”) and, after appearing in the early publicity for her music, it gained critical mass so Charli XCX we still have.

In 1950, the political scientists had concluded there was “too great a degree of internal heterogeneity” in that, housing both liberal and conservative wings, the forces tended to “cancel each other out” with the consequence being party programmes which were vague and often similar, meaning voters found it hard to identify clear policy alternatives.  In a sense, that took the “science” out of “political science” and the academics didn’t like it, preferring clear battle-lines (Roundheads vs Cavaliers; democracy vs fascism and such) for without clear differences, there really was no politics; all that remained was the dreary business of management.  In retrospect, the APSA likely agrees people should be careful what they wish for and and many contemporary political scientists now argue the system has moved too far in the opposite direction, producing intense polarization and reinforcing cleavages.  Still, we may as well get used to the system because, with cleavages widening and edges hardening, most conclude it’ll likely get worse before it gets better.

Of Vee Engines

Ford FE V8 (left) and Y-Block (right). The frontal view of the FE engine illustrates both why the configuration is called a “vee” and why it would have been understandable had the 90^o engines been dubbed “L8s”.  Ford’s first OHV (overhead valve) V8 (for pick-up trucks & passenger vehicles) picked up the nickname “Y-Block” because the skirt extended to an unusually low point, the additional cast iron thus recalling the tail of the letter “Y”.

The “V” in certain engines (V4, V8, V16 etc) is a reference to the angle of the banks of the block’s cylinder banks when viewed along the line of the crankshaft and the configuration in ICE (internal combustion engines) was used within half-a-decade of the “first” automobile appearing on the roads in 1886, Wilhelm Maybach (1846-1929) and Gottlieb Daimler (1834-1900) in 1889 installing a 565 cm³ (34 cubic inch) V-twin (ie two cylinder) unit in the Daimler Stahlradwagen (steel-wheeled car).  The Stahlradwagen’s V-twin used what was, by the standards of which would follow, a very narrow angle for the vee (quoted usually a 17^o but listed also “in the 20^o class”) and over the years, “vee” engines have appeared with angles ranging between 12.5 and 180^o (while the latter may seem a contradiction in terms, the 180^o vee (e a straight line) is accepted engineering jargon).  The first V8 (1903) & V12 (1904) appeared in what was for each the “ideal vee angle” (90 & 60^o respectively), the number dictated by desire for the even firing intervals to ensure the smoothest power delivery and those pioneers set the template which has tended since to be followed although there have been many exceptions.  Of course, a V8 in a 90^o configuration really should be a “L8” but because the Maybach & Daimler V-twin had established the terminological model, regardless of the angle, such things have always been “V-something”.  

Ferrparts schematic of crankcase parts for the 365 GT4 BB's 4.4 litre (270 cubic inch) flat-12.  According to engineers, this is a "flattened vee".

That’s fine because, conceptually, there’s always a vertex but according to Ferrari, the “Flat 12” engine fitted the various iterations of the Berlinetta Boxer (1973-1974) was also a type of “vee”, despite the two banks of six being horizontally opposed (ie at 180^o); they called it a “flattened vee” which, as Euclid would have told them, there being no vertex, that means they’re describing a “straight-line segment”.  The engineers would have acknowledged the wisdom of the geometers but argued the use was an established convention in engineering to distinguish the two types of “flat” engines (those with pistons which move in and out simultaneously (on the model of a boxer’s gloves) being “boxers” and those in which the pistons move in unison being “flattened vees” or “180^o vees”.  The Ferrari website explains all this while variously and cheerfully calling the engine a “flat 12”, “boxer-type” or “180^o V12”; so, take your pick.  It’s on that site the factory acknowledged the true story about how the original 365 GT4 BB (1973) picked up the “BB” designation and why “Berlinetta Boxer” was concocted as a cover story.

1930 Cadillac V16 452.

At one end of the spectrum, Lancia produced a range of what they described as “narrow-angle” small-displacement V4s and that was apt because the vee was set at 12.5^o, the compactness of the jewel-like power-plant permitting outstanding packaging efficiency.  Less obviously efficient was Cadillac which, for a brief, shining moment, made a 452 cubic inch (7.4 litre) V16 with the two banks eight arrayed in a 45^o vee; that made it a photogenic piece of machinery but it had the misfortune of being introduced in 1930, right at the onset of the Great Depression and although an encouraging 2,500 left the line in the first year of production, demand collapsed and it was only for reasons of prestige GM (General Motors) kept it in the catalogue.  By the time it was withdrawn from sale in 1938, not even a further 1400 had been ordered.  It was in that year replaced by a technically less intriguing 431 cubic inch (7.1 litre) V16 which, built with a 135^o vee, was even less successful, a reported 516 engines leaving the plant although it’s believed only 499 were installed in rolling chassis.  Also with a  vee was the most charismatic V16 of all, the BRM V16 (1947-1955) which was one of those “glorious failures” at which the British are so adept but no grand prix car since has sounded so good.

Factory cutaway diagram of Daimler-Benz DB 605 Inverted V12 as fitted to Messerschmitt Bf-109.

The DB 60X series was literally “an upside-down V12” but it was regarded thus only because the convention had been to mount them in the still familiar aspect.  Equipped with a dry-sump and direct fuel-injection, the angle assumed in flight made little difference to the engine, unlike the early Allied aero-engines which were carburetor-fed.  In combat, that was a great advantage for the German pilots who were fortunate the British didn't accept a spy's offer to supply them with a stolen example of the vital DB fuel pump.  As it was, the RAF (Royal Air Force) had to wait until Bendex developed a "pressurized carburetor" (a type of throttle-body fuel-injection) although the stop-gap "fix" which proved a remarkably effective partial amelioration was "Miss Shilling's orifice".   

In the first half of the twentieth century, the V12 engine held great appeal for the designers of military aircraft because the layout solved several critical aerodynamic and mechanical problems which would have remained insurmountable (and probably exacerbated) had the traditional in-line engines been further extended or enlargedused.  More cylinders meant more power and this the V12s achieved without the excessive length (and thus the dreaded “crankshaft flex”) which would have been suffered by an in-line 12.  The virtues the designers sought were (1) robustness, (2) lightness, (3) power and (4) compactness, the quest always for a better power-to-weight ratio and for this the V12 proved the “sweet-spot”.  The British industry in the inter-war years developed many V12 aero-engines (notably the Rolls-Royce Merlin which became famous by powering all the early Supermarine Spitfires) but because the Germans didn’t return to military aviation until the mid-1930s, they had the advantage of working on a “clean sheet of paper”, one of their many innovations being the “inverted V12”, the most numerous the Daimler-Benz DB 600 series.  In these, the crankshaft was above the cylinders so the cylinder banks pointed downward and this offered several advantages including (1) improved pilot visibility, (2) greater propeller ground clearance (meaning also the larger propellers became possible without needing longer landing gear), (3) easier access to accessories (fuel pumps, magnetos and such at atop, meaning mechanics could fix or replace components more quickly), (4) the fitting of a Motorkanone (a cannon firing through the propeller hub) became viable (5) shorter exhaust stacks and (5) the plumbing for the advanced MFI (mechanical fuel injection) system was both simplified and made more accessible.

Exhaust stubs of left-hand bank of a BRM V16.

Like the DB inverted V12s, some of the BRM V16 had low-mounted exhaust stubs but whether the flow of the gasses had any effect on aerodynamics was never studied although, the breathing must have been efficient because the 1.5 litre (91 cubic inch) V16 could at 12,000 rpm generate up to 600 HP.  At full cry it produced the most glorious sound ever heard in Formula One but unfortunately it was at the threshold of pain for those standing close so the system was revised to use a pair of long "dump pipes".

Almost as a footnote, the German designers noted they were able also to exploit the location of the stubs to gain unanticipated benefits from the path of the inverted V12’s exhaust thrust and cowling flow.  It’s overstating things to call it a “jet thrust” effect but that’s how it can be visualized, high-velocity exhaust gases exiting the stacks producing a small rearward thrust component and the engineers experimented to find the optimum length and angle, calculating the “effective thrust” at between 50–150 lb (220–670 N) depending on the power setting and throttle used.  In real-world conditions, this translated into perhaps an additional 25-odd horsepower which may not sound significant in engines generating over a thousand but in combat, it could be the difference between life and death.  Additionally, the aeronautical engineers used an aspect of fluid dynamics to improve the “boundary-layer management” along the cowling (ie using the hot, high-energy exhaust stream flowing along the sides of the cowling to “energize” the boundary layer of air "attached" to the fuselage surface).  What this did was slightly delay any flow separation, reducing “draw” and providing a better flow over the wing’s critical root area.  The differences were slight and subtle but again, in combat happening at altitude, at hundred of mph, inches and seconds matter so it could be the difference between life and death.