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Friday, May 30, 2025

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 (ā) (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 et al 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.

Monday, April 28, 2025

Demimonde

Demimonde (pronounced dem-ee-mond or duh-mee-mawnd (French))

(1) That class of women existing beyond or on the margins of respectable society because of their indiscreet behavior or sexual promiscuity; typically they were mistresses but not courtesans and certainly not prostitutes (classic meaning from the mid-late nineteenth century).

(2) A group, the activities of which are ethically or legally questionable (later use).

(3) Any social group considered to be not wholly respectable (though vested sometimes with a certain edgy glamour).

(4) By extension, a member of such a class or group of persons.

1850–1855: From the French demi-monde, the construct being demi- (half) + monde (world (in the sense of “people”)), thus literally “half world” and translatable as something like “those really not ‘one of us’”.  It may have been coined by the French author and playwright Alexandre Dumas (1802-1870) but certainly was popularized in his comedic play, Le Demi Monde (1855).  The hyphenated original from French (demi-monde) is sometimes used in English.  Demimonde is a noun; the noun plural is demimondes.

In English, demi dates from the mid-1300 and was from the Middle English demi (half, half-sized, partial), from the twelfth century Anglo-Norman demi (half), from the Vulgar Latin dimedius, from the Classical Latin dīmidius, the construct being dis- (apart; in two) + medius (middle).  The French demi (which English borrowed) was a combining form which existed as noun, adjective, and adverb.  The French monde was from the twelfth century Old French monde, a semi-learned form of the tenth century mont (etymologists trace the alteration to ensure the word was distinct from the unrelated mont (mountain)), from the Latin mundus which could mean (1) clean, pure; neat, nice, fine, elegant, sophisticated, decorated, adorned or (2) universe, world (especially the heavens and heavenly bodies with the sense “universe” being a calque of the Ancient Greek κόσμος (kósmos)).or mankind (as in "inhabitants of the earth").  In Medieval Latin it was used also the mean "century" and "group of people".  The Latin mundus may have been from the Etruscan munθ (order, kit, ornament) or the primitive Indo-European mhnd- (to adorn) which was cognate with the Old High German mandag (joyful, happy; dashing).  As well as the historically pejorative sense in demimonde, “demi” appeared in other loanwords from French meaning “half”  including demilunes (in the shape of a half-moon (semi-circular)) and demitasse (a small coffee cup of the type associated with the short black) and, on that model, is also prefixed to words of English origin (eg demigod).

Treading Water Perfume's Demimonde.  The Trending Water brand is described as “queer-owned” and the products are “hand crafted”.

Similar forms in French included beau monde (literally “beautiful world”, the plural being beaux mondes) which meant “the fashionable part of society (ie the “beautiful people”) and demi-mondaine (plural demimondaines) which was used in a variety of ways ranging from “women of equivocal reputation and standing in society” to “a sexually promiscuous woman” (ie, one of the demimonde).  Of lifestyles in some way disreputable (or at least unconventional), the terms “bohemian” and “demimonde” are often used although if one is to acknowledge the history of use, they should be differentiated despite both being associated with non-conformity.  Bohemianiam is best used of artistic and intellectual milieus where there’s a pursuit of the non-orthodox and often a rejection of societal norms (or they are at least ignored).  Demimonde, reflecting the specific origin as describing a social class of women financially able to sustain a lifestyle deemed morally dubious, retains to this day the hint of something disreputable although with the decline in the observation of such things, this is now more nuanced.  The gradual distancing of the word from its origins in the intricacies of defining the sexual morality of nineteenth century French women meant it became available to all and in her politely received novel The Last Thing He Wanted (1996), Joan Didion (1934-2021) explored the murky world of the back-channel deals in politics as it is practiced, a demimonde in which individuals are “trying to create a context for democracy” but may be “getting [their] hands a little dirty in the process.

The Canyons (2013), Lindsay Lohan's demimonde film.

It was Alexandre Dumas’ play Le Demi Monde (1855) which popularized the use but in earlier works, notably La Dame aux Camélias (1848), the character of the demi-mondaine is identifiable although in that work the doomed protagonist is more of a courtesan whereas as used during the second half of the century, the term really wasn’t applied to that class and was most associated with women on the margins of “respectable society” who lived lavishly thanks to wealthy patrons; subtly different from a courtesan.  The literal translation “half-world” implied an existence halfway between the “proper" world and that of the disreputable and that was the sense in the late Victorian era of the Belle Époque era: glamorous but morally ambiguous women, living on the margins of high society in a state of the tolerably scandalous.  Social mores and moral codes are of course fluid and in the first half of the twentieth century the meaning shifted to encompass some other marginalized or shadowy subcultures and ones which encompassed not only women and the association was no longer of necessity associated with sexual conduct.  Thus bohemian artists, the underground nightlife, those who live by gambling and later the counter-cultural movements all came to be described as demimonde.  What that meant was these was less of a meaning shift than an expansion, the word now applied to many groups existing in some way not wholly outside the mainstream but neither entirely in conformity.  There were thus many demimondes and that use persists to this day although the air of the glamorous depicted by Dumas is now often absent, some demimondes distinctly squalid and definitely disreputable.

By the late nineteenth century the notion of the demimonde had attracted the avant-garde and non-conformists, their circles of artists, writers and intellectuals in their own way vested with the edgy glamour of the type attached to the salons the well-kept mistresses conducted in parallel with those of the establishment ladies and it’s easy to draw parallels with Andy Warhol’s (1928–1987) Factory in the 1960s which was a magnet for New York’s non-mainstream “creatives” as well as the flotsam and jetsam of the art schools.  Sometimes too, there are echos, the demimonde of Berlin after the fall of the wall (1989) drawing comparisons with that described in the city during the last years the Weimar Republic (1918-1933).  So, the track of demimonde has been (1) mistresses, and women not quite respectable but with funds enough to defy conventions (nineteenth century), (2) the more subversive of the avant-garde added (early twentieth century), (3) bohemian subcultures, various “underground” scenes (mid-late twentieth century) and (4) reflecting the implication of post-modernity, anyone who likes the label.

Sarah Bernhardt (1876), oil on canvas by Georges Clairin (1843-1919).

The Parisian Belle Époque (beautiful era) was the time between the late 1800s and the outbreak of World War I (1914-1918).  For more than a century the period has been celebrated (accurately and not) in art and literature, the great paintings mush sought by collectors.  The Belle Époque is considered still one of Europe’s “golden ages” and although its charms would have escaped most of the working population, for the fortunate few it was a time of vitality and optimism and in some ways modernity’s finest hour until ended by the blast of war.  One trend was the way the cultural hegemony of the private salons of the networks of artists, aristocrats and intellectuals lost some its hold as discourse shifted to the more public (and publicized) realm of the stage, cabriolets and cafés, lending a new theatricality to society life and an essential part was the demimonde, those who operated in the swirling milieu yet were not quite an accepted part of it, their flouting of traditional mores and bourgeois politeness perhaps a little envied but not obviously embraced.  While it could be said to include drug-takers, gamblers and such, the classic exemplar in the spirit of Dumas’ demimonde was the demimondaine, those thrusting women who maintained their elevated (if not respectable) position by parlaying their attractiveness and availability to men willing to pay for the experience.  It usually wasn’t concubinage and certainly not prostitution (as understood) but it was clear les demimondaines belonged with the bohemians and artists of the avant-garde and they were known also as les grandes horizontals or mademoiselles les cocottes (hens) among other euphemisms but for youth and beauty much is tolerated if not forgiven and in all but the inner sanctums of the establishment, mostly there was peaceful co-existence.  Among the demimondaines were many actresses and dancers, a talent to entertain meaning transgressions might be overlooked or at least not much dwelt upon.  Sarah Bernhardt (1844–1923) benefited from that and her nickname monstre sacré (sacred monster) was gained by her enjoying a status which proved protective despite her life of ongoing controversy.  The Irish writer Oscar Wilde (1854–1900) also found a niche as an amusing proto-celebrity with a good stock of one-liners and being part of the demimonde of the not quite respectable was integral to the appeal although being convicted of the abominable crime of buggery proved social suicide. 

Marthe de Florian (1898), oil on canvas by Italian-born society portraitist Giovanni Boldini (1842–1931).  The painter’s style of brushwork saw him dubbed le maître du swish (the master of swish) and he was another of Mademoiselle de Florian’s many lovers.

What tends now to be forgotten is that among the demimonde it was only figures like Bernhardt and Wilde who were well known outside of society gossip.  The once obscure Marthe de Florian (1864–1939) joined the “half worlders” by being, inter-alia, the one-time lover of four subsequent prime ministers of France (a reasonable achievement even given the churn rate in the office) although she took the name she adopted from a banker; nothing really matters except money.  When the details of her life emerged, they inspired the novel A Paris Apartment (2014) by US author Michelle Gable (b 1974), a theme of which was une demimondaine could be distinguished from a common prostitute because the former included (at least as a prelude) romance with the le grande acte (acts of intimacy) and ultimately some financial consideration.  That seems not a small difference and unlike the transactional prostitute, the implication was that to succeed in their specialized profession (debatably a calling), a demimondaine needed the skills associated with the Quai d'Orsay: tact, diplomacy, finesse, daring, low cunning and high charm.  It needed also devotion to the task because for Mlle de Florian to get where she did, she inspired “some three duels, an attempted suicide and at least one déniaisé (sexual initiation) of one lover’s eldest son”.

Sunday, April 6, 2025

Monospecchio

Monospecchio (pronounced mon-oh-spec-kjo)

The Italian for “one mirror”, a descriptor applied to the early production (1984-1987) Ferrari Testarossas (1984-1991).   

1984: The construct was mono- + specchio.  Mono was from the Ancient Greek, a combining form of μόνος (monos) (alone, only, sole, single), from the Proto-Hellenic mónwos, from the primitive Indo-European mey- (small).  It was related to the Armenian մանր (manr) (slender, small), the Ancient Greek μανός (manós) (sparse, rare), the Middle Low German mone & möne, the West Frisian meun, the Dutch meun, the Old High German muniwa, munuwa & munewa (from which German gained Münne (minnow).  As a prefix, mono- is often found in chemical names to indicate a substance containing just one of a specified atom or group (eg a monohydrate such as carbon monoxide; carbon attached to a single atom of oxygen).  The Italian specchio (mirror, table, chart) was from the Vulgar Latin speclum, a syncopated form of the Classical Latin speculum, the construct being speciō + -culum.  Speciō (observe, watch, look at) was from the From Proto-Italic spekjō, from the primitive Indo-European spéyeti which was cognate with the Ancient Greek σκέπτομαι (sképtomai), the Avestan (spasyeiti), and the Sanskrit पश्यति (páśyati).  The suffix –culum was (with anaptyxis) from the Proto-Italic -klom, from the primitive Indo-European -tlom, from -trom.  Despite the resemblance, ōsculum and other diminutive nouns do not contain this suffix which was used to form some nouns derived from verbs, particularly nouns representing tools and instruments.

1957 Ferrari 250 Testa Rossa in Rosso Corsa.

The 250 Testa Rossa was created because rule changes for the 1958 season imposed a 3.0 litre displacement limit, rendering the 3.8 Litre 315 S obsolete.  A 250 Testa Rossa sold in a private sale in 2014 for a reported US$39.8 million, exceeding somewhat the US$16.39 million one achieved at auction in 2011.  The (testra rossa literally “red head” in Italian) was a revival of one the factory had last used on the 1954 500 TR, the visual link to the name the red paint applied to the engines' camshaft covers.  The 250 Testa Rossa was part of the team which contributed to Scudaria Ferrari winning the the 1957 World Sportscar Championship. 

BB & BB:  Ferrari 365 GT4 BB (left) on display at the 1971 Turin Motor Show and Brigitte Bardot, supine, 1968 (right).

Appearing also in Formula One and sports car racing, between 1973-1996 Ferrari to used a flat-12 win a number of road cars.  Pedants insist the engines were really 180o V12s ("flattened V12" in the engineer's slang) because of a definitional distinction related to the attachment and movement of internal components; the external shape is essentially identical but the factory was in general a bit loose with the nomenclature on which purists like to insist.  The first of the road-going flat-12 Ferraris was the 365 GT4 BB (1973-1984), the “BB” long thought to stand for Berlinetta Boxer but Road & Track in 2018 noted RoadRat's publication of an interview with the BB’s designer, Leonardo Fioravanti (b 1938) who admitted it was named after the actress Brigitte Bardot (b 1934), simply because the staff in Ferrari's design office were as besotted with Mademoiselle Bardot as engineers everywhere; "Berlinetta Boxer" was just a cover story.  There’s an undeniable similarity in the pleasing lines of the two and on the factory website, Ferrari later confirmed the story.  Until then "Berlinetta Boxer" was the orthodoxy although there must have been enough suspicion about for someone to speculate the origin might be bialbero, (literally "twin shaft"), a clipping of bialbero a camme in testa (double overhead camshaft (DOHC)) which was from the slang of Italian mechanics.

1975 Ferrari 365 GT4 BB in Verde Germoglio with satin black lower panels over Nero leather.

The Italian berlinetta translates as “little saloon” and is the diminutive of berlina (sedan) and the 365 GT4 BB in no way resembled a saloon, small or large, Ferrari using the word to describe a two-seat car with a closed cockpit (convertibles are Spiders or Spyders), referred to by most as a coupé.  Nor was the Ferrari’s flat-12 technically a boxer, the boxer configuration one where each pair of opposed pistons move inwards and outwards in unison, the imagery being that of a pugilist, ritualistically thumping together their gloves prior to a bout.  The Ferrari unit instead used the same arrangement as a conventional V12, each pair of pistons sharing a crankpin whereas as true boxer has a separate crankpin for each piston.  This is one practical reason why boxer engines tend not to have many cylinders, the need for additional crankpins adding to weight & length.  Thus the earlier flat-16s, the Coventry Climax FWMW (1963-1965) intended for Formula One and the unit Porsche developed in 1971 for the Can-Am and tested in chassis 917-027 weren't boxers although bulk was anyway a factor in both proving abortive, Porsche instead turbo-charging their flat-12 and Coventry Climax giving up entirely, the FWMW having never left the test-bench.  Despite it all, just about everybody calls the 365 GT4 BB “the Boxer” and its engine a “flat-12”, the factory clearly unconcerned and while cheerfully acknowledging the technical differences, their documents refer to it variously as a “boxer”, 180o v12, a “flat-12” & a “boxer-type” engine.

1985 Ferrari Testarossa monospecchio-monodado in Rosso Corsa over Beige leather.  The early cars were fitted with centre-lock magnesium-alloy wheels, chosen for their lightness but, responding to feedback from the dealer network, as a running-change during 1988, these were substituted for units with a conventional five-bolt design.  The centre-lock wheels were called monodado (one nut) while the five lug-types were the cinquedado (five nut) and because of the time-line, while all the monospecchio cars are also monodado, only some of the monodaddi are monospecchi.

When first shown at the Paris Motor Show in 1984, two features of the Testarossa which attracted much comment were the distinctive strakes which ran almost from the front of the door to the radiator air-intakes ahead of the rear wheel arch and the single, high-mounted external mirror (on the left or right depending on the market into which it was sold).  The preferred term is the native “monospecchio” (one mirror) although in the English speaking-world it has also been called the “flying mirror", rendered sometimes in Italian as “specchio volante” (a ordinary wing mirror being a “specchietto laterale esterno” (external side mirror), proving most things sound better in Italian.  The unusual placement and blatant asymmetry of the monospecchi cars annoyed some and delighted others, the unhappy more disgruntled still if they noticed the vent on right of the front spoiler not being matched by one to the left.  It was there to feed the air-conditioning’s radiator and while such offset singularities are not unusual in cars, many manufacturers create a matching fake as an aesthetic device: the functionalists at Ferrari did not.

Monospecchio: Lindsay Lohan selfies, one mirror at a time.

The regulatory environment in various jurisdictions was a matter of great significance in the Testarossa’s development.  None of the versions of the Berlinetta Boxer had ever been certified for sale in the US which had been Ferrari’s most lucrative market and a core objective was for the Testarossa to be able easily to meet the current & projected regulations in places like the US and EU (European Union) where rules were most strict.  The number of Boxers which privately had been imported into the US to be subjected to the so-called “federalization” process was an indication demand there existed for a mid-engined, 12 cylinder Ferrari.

1985 Ferrari Testarossa monospecchio-monodado in Rosso Corsa over Beige leather.  On left-hand-drive (LHD) cars the asymmetric mirror and intake for the air-conditioner's radiator were both on the left; on right-hand-drive (RHD) models the mirror shifted to the other side.

One piece of legislation which soon attracted attention was the EU’s stipulations about “full rearward visibility” in the side-view mirrors.  With conventionally shaped automobiles this is usually unchallenging for designers but the Testarossa had a very wide, ascending waist-line and the sheer size of the rear bodywork was necessitated by the twin radiators which sat behind the side-strakes.  As the team interpreted the rule, the elevation of the mirror was the only way to conform but the bureaucrats proved untypically helpful, not changing the rule but providing an interpretation which would make possible the installation of the mirror at the traditional level.  That alone may have been enough to convince the factory to change but there had also been complaints, many from the US, that the monospecchio restricted the vision of oncoming traffic and many missed having a passenger-side mirror, remarking too on the difficulties found when trying rapidly to adapt to the placement, few owners using a Testarossa as their only car.  Thus was taken the decision to phase in the fitting of dual mirrors, mounted in a conventional position at the base of the A pillars.  Shown at the 1986 Geneva Motor Show, the first examples of the new arrangement were those built for European sale, a handful bound for the US revised initially in 1987 with a single, low-mounted mirror before later gaining the same dual arrangement as those sold in Europe.

1959 MGA Twin Cam Roadster with central, dash mounted mirror.  In the era, side-mirrors tended to be factory options, dealer-fitter or from the after-market.

Historically, there was nothing unusual about a car having only a driver's side mirror and while that fitting wasn't common until the 1950s, it would not be for some two decades after that before, in the West, two became (more or less) standard.  Prior to that, on passenger vehicles, it wasn't uncommon for a passenger's side mirror to be seen only on vehicles used for towing.  The usefulness of mirrors had been understood in the early days of motoring and, three-quarters of a century before the debut of the Testarossa, had been controversial, US racing driver Ray Harroun (1879–1968) fitting one to the Marmon Wasp with he would win the inaugural Indianapolis 500 (1911).  The fitting of a rear-view mirror was not against the rules but what Harroun did was use it as a substitute for the observer (styled the “riding mechanic”) who race regulations required to be seated alongside the driver.  His argument prevailed and the observers, victims of technological change, began to vanish from the closed circuits although to this day (variously as mechanics, co-drivers, navigators etc) they remain a part of long-distance events on public roads.

An earlier monospecchio: 1964 Maserati 5000 GT (103-062) by Allemano with dash-mounted rear-view mirror and driver's side “bullet” door mirror.  Between 1959-1966, 34 Maserati 5000 GTs were built, 22 by Allemano, 4 by Touring, 3 by Fura, 2 by Monterosa, 1 by Bertone, 1 by Ghia and 1 by Scaglietti (Pininfarina).  As far as is known, the Allemano 103-062 was the only one factory-fitted with a side-mirror and because these are now museum pieces rarely driven on the road, restorers tend to remove from 5000 GTs any after-market mirrors.

The Cartoon Network's Powderpuff Girls (2016-2019, left) and their inspiration, Stratton Art Deco style Poppy Flower Powder compact (1970s, centre & right (on doily)).

Women are of course better acquainted with mirrors than (most) men and even though phones now include a “mirror app” (ie the front facing camera), many still carry in the apparently compulsory handbag a “compact” (a slim folding case (the internal side of the lid featuring a mirror) containing a powder-puff and pressed face-powder (finely milled powder compressed into what appears a solid cake form but is not chemically a solid in the rigid sense but rather a mechanically bound aggregate of particles)).  Compact carrier (and holder of the world's first WSR (water speed record) & the women's world LSR (land speed record)) Dorothy Levitt (1882–1922) well understood the value of a mirror and in her book The Woman and the Car: A Chatty Little Handbook for All Women who Motor or who Want to Motor (1906) she recommended her fellow “motorinas” always to keep in some convenient spot a small hand-mirror which should be “held aloft from time to time” to afford a view of what lay behind.  In the UK, fixed mirrors began to appear on automobiles in 1914 and manufacturers used various placements including the now familiar mounting at the top-centre of the windscreen as well as on the dashboard, in the middle of the bonnet (hood), on the fenders and on the door.  While a mirror of some type was in some cases required by law (usually on the dash or above), not until well into the post-war years would regulators get interested in door mirrors.  Beginning in the 1970s, many door mirrors visually became “A-pillar mirrors” after the Mercedes-Benz R107 (1971-1989) popularized the new location.

1968 Toyota 2000GT (1967-1970) with fendā mirā.

Some jurisdictions however not only mandated twin mirrors but also their placement, cars produced for the JDM (Japanese domestic market) were between 1952 and 1983 required to have a matching set of フェンダーミラー (fendā mirā (an adaptation of the US -English “fender mirror”, known in the UK as “wing mirrors”.)) and these sat about mid-way between the base of the A-pillar and front bumper bar.  They provided a good rearward view but did have the disadvantage of not being easily adjustable by a driver although some very expensive models were fitted with small electric motors for remote control.  The law was in 1983 liberalized only because Western manufacturers had argued the refusal to allow the door-mounted mirrors (which had by then long been elsewhere the standard) was a “non-tariff trade barrier”.  This was one foreign intrusion into Japanese life which attracted no complaint, JDM consumers overwhelmingly choosing the door mirrors when offered the option and soon the fendā mirā were phased-out, pleasing the manufacturers who no longer had to have different fittings for their RoW (rest of the world) production.

Fendā mirā old and new in Tokyo taxi livery: Toyota Crown Comfort (left) and Toyota JPN (right).  As well as the white gloves, one tradition which has been inherited by the new taxis is the use of "car doilies" (more correctly antimacassars).

The one exception was the taxi fleet and even now, fendā mirā continue to be fitted to most JDM vehicles built for the taxi market because not only do they provide a wider vista, they also protrude less from the body, something of some significance in the crowded traffic plying the often narrow roads in Japanese cities; for taxi drivers, every saved millimetre can be precious.  Sociologists explain the there is also a cultural imperative, the fender mirrors allowing customers to feel a greater sense of privacy because drivers can use the mirrors without turning their head toward the passenger seat; such a glance could be misconstrued and face could be lost.  Traditionalists, some Japanese taxi drivers still wear the white gloves the companies once required but technological change may threaten the fendā mirā because Nissan no longer produces its traditional sedan for the taxi market and while since 2017 the hybrid Toyota JPN (with fendā mirā) has become the taxi of choice, some operators are using the company's Prius and its shape really permits only door mirrors.  Despite Nissan withdrawing from the market, in the US the slang "Datsun mirrors" still is used to describe the type and there is a small but dedicated cult which retro-fits fendā mirā for that "authentic" Japanese look.   

1989 Ferrari Testarossa "doppiospecchio-cinquedado" in Giallo over Nero leather.

The distinctive side strakes were added because of a unique FRG (Federal Republic of Germany, the old West Germany) regulation which specified the maximum dimensions of apertures, the purpose said to be to prevent a child's head from entering such an opening during an accident.  Thus the fins but as well as meeting the rules, they were designed to take advantage of the properties of fluid dynamics, the air-flow being made less "wavy" and thus reducing turbulence, two vertical fins added to direct lateral air-flow directly into the radiators.  The engineering of the strakes was sound and most thought them aesthetically well-executed but they created such a stir that unfortunately, on both side of the Atlantic, a number of imitators quickly rendered usually fake versions in fibreglass, gluing them to Jaguars, BMWs, Mercedes-Benz and such.  Almost all were applied to cars with front-mounted radiators but this was the 1980s and a subset of the market was receptive.

Caveat emptor: 1986 Ferrari Testarossa in Rosso Corsa over Nero leather in "volante doppiospecchio-monodado" trim.

Being Ferraris with a certain cachet, the monospecchio cars attract additional interest and inevitably there is fakery and folklore.  There exists the odd early Testarossa with either double-high or double-low (doppiospecchio) mirrors but these are assumed to be modifications installed either by dealers or owners and there was at a time, a lot of it about.  It wasn’t a simple job, requiring one or two mirrors, window frames and support assemblies and thus always cost somewhere in four figures but, like those who once converted their now precious 1963 split-window Chevrolet Corvettes to 1964’s single piece of glass lest they be thought driving last year’s model, there were those who didn’t wish to look outdated (ironically, the 1963 coupés are now among the more coveted of the breed and there are later C2 coupés which were at some point "backdated").  Also, with over 7,000 sold, the Testarossa was, by Ferrari’s standards at the time, almost mass-produced and in the aftermath of the severe recession of the early 1990s a glut emerged which for years depressed prices; originality not then the fetish it would later become, sometimes ill-advised modifications became uncommon.  Still, the factory was known to accommodate special requests from good customers so if a doppiospecchio with high mounts does show up, accompanied with the vital proof of authenticity, it would add a notch of desirability.  Market support for Ferrari’s flat-12 ecosystem (Boxer, Testarossa & 512 TR) is now healthy and, while not matching the buoyancy of the pre-1973 cars (and certainly not the 206 & 246 Dinos which all but the most pedantic now accept as "Ferraris"), operates well into US$ six figures, the quirk of the monospecchio cars making them much fancied.