Flounce (pronounced flouns)
(1) To
go with impatient or impetuous, exaggerated movements.
(2) To
throw the body about spasmodically; flounder.
(3) An
act or instance of flouncing; a flouncing movement.
(4) A
strip of material gathered or pleated and attached at one edge, with the other
edge left loose or hanging: used for trimming, as on the edge of a skirt or
sleeve or on a curtain, slipcover etc.
1535–1545:
Of obscure and contested origin. Some
sources suggest something akin to words from old dialectal Scandinavian forms
such as the Norwegian flunsa (to
hurry) or the Swedish flunsa (to
plunge; to splash) but the first record of these is two centuries after the
English is first documented. Thus more
preferred is a derivation of the obsolete Old French frounce (wrinkle), from the Germanic froncir (to wrinkle) and the eventual spelling in English was
probably influenced by bounce. Notions
of "anger, impatience" began to adhere to the word during the
eighteenth century although, as a noun of motion, use dates from the 1580s. The use to describe “an ornamental gathered
ruffle sewn to a garment by its top edge” (a kind of ruffle) was first noted in
1713, from the fourteenth century Middle English frounce (pleat, wrinkle, fold) from the Old French fronce & frounce (line, wrinkle; pucker, crease, fold) from the Frankish hrunkjan (to wrinkle), ultimately
derived from the Proto-Germanic hrunk. Flounce, flounciness & flouncing are nouns & verbs, flounced is a verb, flouncier, flounciest & flouncey are adjectives and flouncily is an adverb; the noun plural is flounces. In the industry, "flouncy" is sometimes used as noun, applied to garments flouncier than most.
Ruffle (pronounced ruhf-uhl)
(1) To
destroy the smoothness or evenness of; to produce waves or undulations.
(2) In avian
behaviour, for a bird to erect the feathers, usually to convey threat, defiance
etc.
(3) To
disturb, vex, or irritate; disturbance or vexation; annoyance; irritation; a
disturbed state of mind; perturbation.
(4)
Rapidly to turn the pages of a book.
(5) In
the handling of playing cards, rapidly to pass cards through the fingers while
shuffling.
(6) In
tailoring, to draw up cloth, lace etc, into a ruffle by gathering along one
edge.
(7) In
military music, in the field of percussion, the low, continuous vibrating
beating of a drum, quieter than a roll (also called a ruff).
(8) To
behave riotously; an arrogantly display; a swagger (obsolete).
(9) In
zoology, the connected series of large egg capsules, or oothecae, of several
species of American marine gastropods of the genus Fulgur.
(10) In LGBTQQIAAOP slang, the passive partner in a lesbian
relationship, known also as a “fluff”.
1250-1300:
From Middle English ruffelen, possibly
from the Old Norse hruffa & hrufla (to graze, scratch) or the Middle
Low German ruffelen (to wrinkle,
curl) but beyond that the origin is unknown. It was related to the Middle Dutch ruyffelen and the German & Low
German ruffeln. The meaning "disarrange" (hair or
feathers) dates from the late fifteenth century; the sense of "annoy,
distract" is from the 1650s. As one
could become ruffled, so too one be unruffled, that adjectival form dating from
the 1650s. The literal meaning, in
reference to feathers, leaves and such was first recorded in 1816. Synonyms (though sometimes overlapping or inaccurately applied) as applied to fabrics include strip (of fabric), frill, pleat & furbelow. As applied to the state of mind there’s disarrange, disorder, wrinkle, rumple, disturbance, agitation, commotion, flurry & perturbation. One popular use of "unruffled" is to describe the characteristics of an engine which does its stuff smoothly, unobtrusively and seemingly effortlessly (the latter a matter of perception rather than mechanical understanding). Ruffle is a noun & verb, ruffler & rufflement are nouns, ruffled & ruffling are verbs, ruffly & ruffleable are adjectives and rufflingly is an adverb; the noun plural is ruffles.
Ruffled silk thong in rose pink by
Daisysilk.
The use
in dressmaking to describe “an ornamental frill" is attested from 1707, derived
from the verb ruffle. Related
stylistically to the ruffle is the ruff in the sense of the large, stiffly
starched collar especially common in the seventeenth century, a style which
dated from the 1520s; used originally in reference to sleeves, it came to be
applied to collars after the 1550s, almost certainly a a shortened form of
ruffle which described something physically much bigger. As applied to playing cards, it’s actually a separate
word, dating from the 1580s, from a former game of that name. In this context, word is from the French roffle, from the early fifteenth century
romfle, from the Italian ronfa, possibly a corruption of trionfo (triumph). The game was popular between 1590-1630. The now obsolete sense of an arrogant display
or swagger is from the fifteenth century and the origin is obscure but may
related to some perception of those who wore ruffs or ruffles. The meaning as used in the percussion section
of military bands is from 1715–1725 and may have been imitative of the drum
sound.
Consciously or not, designers can find themselves adding to whatever post-modernism now is. Whether overlap or irony, when it hard to work out where the ruffle ends and the flounce begins; pragmatists sometimes admit defeat and describe it all as "frills".
Describing
various flavors of embellishment, flounce and ruffle have long been used
interchangeably but in the narrow technical sense they’ve never been synonymous. A ruffle is a piece of material gathered,
usually at the top, the fullness extending the entire length of the fabric,
while a flounce tends to flare, almost always smooth at the top and wider and
fuller towards the bottom. In
dressmaking, as in any engineering discipline, terminological exactitude should
be encouraged because one would be disappointed to receive ruffles if one
really wanted a bit of flounce. For
those for who the distinction seems abstract, all such creations can be regarded
as just “frilly” although, even within the industry, there are those who call flounces
“circular ruffles”.
Lindsay
Lohan in ruffles.
As a general principle, a ruffle is created by the
manipulation of a piece of fabric cut in the shape of a rectangle. Actual geometric precision is not required because
depending on the garment and the effect desired, the shape may vary but it will
at least tend towards the rectangular.
The technique is to gather the fabric at the top into a smaller area;
when this is sewn into a seam line, typically at the waist or neck-line, the pleats
created by the gather will fall naturally, the swishing movement inherent in
the fullness of the fabric being the ruffle.
The outcome is determined by the fabric’s relationship of width and
length and the weight and type of material used.
The
first ruffles were probably nothing to do with fashion but merely a layered
appendage to protective clothing, usually as a form of water-proofing. In the decorative sense, although antecedents
can be identified in ancient Egyptian art, in their modern form they appeared
first in the mid-fifteenth century as attachments to the collars of chemises
which, as happens in fashion, grew in shape and complexity into the large and elaborated
ruffled constructions associated with Tudor England. Since, although the flow and flourish has waxed
and waned, the ruffle has never really gone away, despite the wishes of those
who prefer more austere lines. The ruffle can also be a device, the design adaptable to either (1) add visual bulk to a small bustline or (2) disguise a large bustline.
Lindsay
Lohan, flouncing about in flounces.The construction of a flounce differs in that the
pattern tends always towards the circular, the cut technically the shape of a donut
although those both ambitious and skillful can render flounces used both
irregular and more complex curves although one often under-appreciated factor
in success is the weight and flexibility of the material chosen: the outcome is
determined by depth of the curve, the width of the fabric and the weight and
type of material used. For a flounce successfully
to work, it needs to “flounce” and the movement can be influenced as much by
weight as cut. It’s the inner edge of
the donut which, without any gather, is sewn into the seam while the outside edge of becomes the fullness
at the hem, the volume created by virtue of the longer line. Because the inner edge is so much shorter,
there’s not the same need to gather so the results tends to be soft billows of
fabric rather than pleats. The same
technique can be used to create a layered effect where the material flares out not
at all but instead follow the line of the garment; this is achieved by a cut
where the inner edge is much closer in length to the outer so the shape is
closer to a crescent.
The flounced
and ruffled neckline: Salma Hayek demonstrates the difference.
Salma Hayek’s fine choice of
clutch purses
always catches the eye.
Ruffles and flounces are most associated with a wrap which extends around the garment but variations of the shape of the cuts and the
techniques of attachment are used whenever something voluminous needs to be
attached. Flounced and ruffled necklines and sleeves use the same rectangle
versus donut model as the larger interpretations, both often used in scalloped cuts. There being a geometric limit to the degree of flouncing that can be achieved for the cut alone, it’s possible further to exaggerate the effect with the insertion of a godet (from the Middle French godet, from the Dutch kodde (a piece of cylindrical wood)), a wedge-shaped section of fabric which deepens the floating wave at the hem without adding to the bulk gathered at the point of attachment.
Sometimes ruffled: The last King of Italy
Umberto II while Prince of Piedmont, a 1928 portrait by Anglo-Hungarian painter Philip Philip Alexius László de Lombos (1869–1937 and known professionally as Philip de László). Note the ruffled collar and bubble pantaloons.
Umberto Nicola Tommaso Giovanni Maria di Savoia (1904–1983) was the last king of Italy, his reign as Umberto II lasting but thirty-four days during May-June 1946; Italians nicknamed him the Re di Maggio (May king) although some better-informed Romans preferred regina di maggio (May queen). At the instigation of the US and British political representatives of the allied military authorities, in April 1944 he was appointed regent because it was clear popular support for Victor Emmanuel III (1869-1947; King of Italy 1900-1946) had collapsed. Despite Victor Emmanuel’s reputation suffering by association, his relationship with the fascists had often been uneasy and, seeking means to blackmail the royal house, Mussolini’s spies compiled a dossier (reputably several inches thick), detailing the ways of his son’s private life. Then styled Prince of Piedmont, the secret police discovered Umberto was a sincere and committed Roman Catholic but one unable to resist his "satanic homosexual urges” and his biographer agreed, noting the prince was "forever rushing between chapel and brothel, confessional and steam bath" often spending hours “praying for divine forgiveness.” After a referendum abolished the monarchy, Umberto II lived his remaining 37 years in exile, never again setting foot on Italian soil. His turbulent marriage to Princess Marie-José of Belgium (1906-2001) produced four children but historians consider it quite possible none of them were his.