Crop

Crop (pronounced krop)

(1) In agriculture, the cultivated produce of the ground, both while growing and when harvested.

(2) In aggregate, the yield of such produce for a particular season.

(3) The yield of some other product in a season.

(4) A supply produced in a given (not necessarily annual or seasonal) period.

(5) A collection or group of persons or things appearing or occurring together (often as “current crop”, “this year’s crop etc”).

(6) The stock or handle of a whip.

(7) In equine use, variously (1) a short riding whip consisting of a stock without a lash (also called riding crop) or (2) less commonly, the lashing end of a whip, both styles used in the BDSM community.

(8) In zoology, a pouch in the esophagus of many birds, in which food is held for later digestion or for regurgitation to nestlings (also called the craw);  a chamber or pouch in the foregut of arthropods and annelids for holding and partly crushing food.

(9) In agriculture, the act of cropping (including having animals crop by allowing them to eat what’s growing).

(10) A mark produced by clipping the ears (used with cattle and other livestock).

(11) In hairdressing, a close-cropped hairstyle or a head of hair so cut.

(12) An entire tanned hide of an animal.

(13) In mining, (1) an outcrop of a vein or seam or (2) tin ore prepared for smelting.

(14) To cut off or remove the head or top of plants, grass etc; to cut off the ends or part of something; to cut short.

(15) As crop-top (or crop top & croptop), a shirt or top cut high to expose the midriff.

(16) In photography and image manipulation, to cut off unwanted parts of a print, negative or digital image (historically those parts at the edges but the term has long been used for general editing).

(17) The entire tanned hide of an animal.

(18) In medicine and pathology, a group of vesicles at the same stage of development in a disease.

(19) In geology, the shortened form of outcrop.

(20) In architecture, the foliate part of a finial.

Pre 900: From the Middle English crop & croppe, from the Old English crop & cropp & croppa (sprout, or top of a plant, bunch or cluster of flowers, ear of wheat (or other grain), paunch, crown of a tree, craw of a bird, a kidney), from the Proto-West Germanic kropp, from the Proto-Germanic kruppaz (body, trunk, crop), from the primitive Indo-European grewb- (to warp, bend, crawl).  It was cognate with Dutch krop (crop), the German Low German Kropp (a swelling on the neck, the craw, maw), the German Kropf (the craw, ear of grain, head of lettuce or cabbage), the Swedish kropp (body, trunk), the Norwegian kröypa (to bend), the Old Norse kroppr (rump, body) and the Icelandic kroppur (a hunch on the body).  Crop was related to crap and was a doublet of group and croup.  The verb was from the Middle English croppen (to cut, pluck and eat), from the Old English croppian.  It was cognate with the Scots crap (to crop), the Dutch kroppen (to cram, digest), the Low German kröppen (to cut, crop, stuff the craw), the German kröpfen (to crop), the Icelandic kroppa (to cut, crop, pick); the sense of all was literally, to remove the crop (top, head, ear) of a plant.  Crop is a noun & verb, cropping & cropped (cropt was the archaic spelling); the noun plural is crops.

Lindsay Lohan in crop tops.  All these photographs have been cropped to render them in the same aspect ratio.

Crop started modestly enough for a word which evolved to enjoy such a definitional range and use idiomatic form: In the Old English it meant only (1) craw of a bird & (2) rounded head or top of a herb and while the latter is found also in High German dialects, the subsequent developments in the sense of “head or top” generally and of “produce to be harvested from the fields” appear exclusive to English.  The meaning "grain and other cultivated plants grown and harvested" (especially "the grain yield of one year"), having been in Anglo-Latin in the early 1200s, was adopted in Middle English a century later, the sense development thought something which happened under the influence of the early thirteenth century verbal meaning "cut off the top of a plant".  From the notion in agriculture of “top” cam the use to describe the "upper part of a whip" which evolved by the 1560s be the "handle of a whip" (1560s) and thus by 1857 "a kind of whip used by horsemen in the hunting field" (1857).  Unlike traditional whips (which were really one long lash), it proved useful in having a rigid handle and thus could be hand for things like opening gates or other tasks when a wand or stick helped.

Riding crops are a staple device in the BDSM (Bondage, Discipline (although some say Dominance & submission is more indicative of actual practice) & SadoMasochism) community.  The photograph at the right was a "mid-session" promotional shot and has been cropped. 

The general sense of "anything gathered when ready or in season" dates from the 1570s and the idea of the “thick, short head of hair" was from 1795, both developed from the late fourteenth century sense of "top or highest part of anything".  In Middle English, crop and rote (the whole plant, crop and root) was figurative of totality or perfection.  The concept of the crop-circle dates from a surprisingly recent 1974 although they had been noted before.  The verb in the sense of “cut off the top of a plant” evolved from the verb around the turn of the thirteenth century, extended by circa 1350 to animals (originally of sheep) feeding on plants.  The general meaning “to cut off” dates from the mid fifteenth century, used from circa 1600 to refer to the practice of “cutting off a part of the ear of an animal as a mark of identification and ownership”.  In tailoring, as a term to describe the clipping of cloth, it’s been in use since 1711 and surprisingly perhaps, in fashion the staple crop top seems first to have been described as such only after 1984.  Crop and harvest can for many purposes be used interchangeably to refer to a season’s produce.  Yield refers to the return in food obtained from land at the end of a season of growth and can also be used in highly technical ways to measure metrics of specific efficiency and output.  Crop also denotes the amount produced at one cutting or for one particular season while harvest denotes either the time of reaping and gathering, or the gathering, or that which is gathered: the season of harvest; to work in a harvest; a ripe harvest.  Produce once described little more than household vegetables and still has that sense but the use has expanded.

Top before & after: The undesirable part of the photo has been cropped-out.  Lower before & after: The undesirable part of the photo has been edited-out.

In photography and image manipulation, cropping is the cutting off of un-wanted parts of a print, negative or digital image.  Technically, a crop is performed only at the edges and the removal of any other part is an edit by "crop" has long been industry slang for just about any modification.

Crop-up (to sprout, appear apparently without design from below the surface), although now most associated with agriculture was actually a mid-nineteenth century borrowing from mining where it referred to the geological phenomenon of the veins of ore or strata of rock “coming to the surface and becoming visible on the ground", that use noted since the 1660s.  The cropper dates from 1858 (usually as “come-a-cropper”) was a fall, originally from horseback and, as it usually involved the rider being thrown over the horse's head, there was always the connotation of failure but it now refers to a fall of any kind and elicits usually sympathy or myth depending on the severity of injury.  Also based on the idea of “head, sprout or top”, outcrop was first use in geology in 1801 to mean “exposure of rocks at the surface”.  The noun sharecropper (and share-cropper) was coined 1887 to describe the particular form of leasehold used in the southern US whereby a land-holder would lease land to a tenant to plant and harvest, also receiving a defined share of the crop. The noun share-crop came into use in 1867 and was used as a verb by 1871 although the noun sharecropping seems not to have been in use before 1936.  The cash-crop was one produced for sale rather than consumption; a bumper crop was a very good harvest (based on an old meaning of bumper as “big, full to the brim”); and crop rotation was a method of agricultural management designed to preserve the fertility of soil and limit the proliferation of pests; crop dusting was the spraying of crops with fertilizer or insecticide from low-flying aircraft dubbed crop-dusters; the cream of the crop is the best of any particular group.

Sketch

Sketch (pronounced skech)

(1) A simply or hastily executed drawing or painting, especially a preliminary one, giving the essential features without the details, later to be elaborated.

(2) A rough design, plan, or draft, as of a book.

(3) A brief or hasty outline of facts, occurrences etc.

(4) As thumbnail sketch, a piece of text which summaries someone or something.

(5) A short, usually descriptive, essay, history, or story.

(6) A short play or slight dramatic performance, as one forming part of a variety or vaudeville program; a short comedy routine (a skit).

(7) To make a sketch.

(8) To summarize, to set forth in a brief or general account.

(9) In metallurgy, to mark a piece of metal for cutting.

(10) In music, a short evocative instrumental piece, used especially with compositions for the piano.

(11) In the slang of the Irish criminal class, as “to keep (a) sketch), to maintain a lookout; to be vigilant; watch for something.

(12) In journalism, as parliamentary sketch, a newspaper article summarizing political events which attempts to make serious points in a lest than obviously serious manner (mostly UK).

(13) In category theory, a formal specification of a mathematical structure or a data type described in terms of a graph and diagrams (and cones (and cocones)) on it. It can be implemented by means of “models” (functors) which are graph homomorphisms from the formal specification to categories such that the diagrams become commutative, the cones become limiting (ie products) and the cocones become colimiting (ie sums).

1660–1670: From the Dutch schets (noun), from the Italian schizzo, from the Latin schedium (extemporaneous poem), noun use of neuter of schedius (extempore; hastily made), from the Ancient Greek σχέδιος (skhédios) (made suddenly, off-hand, unprepared), from σχεδόν (skhedón) (near, nearby), from ἔχω (ékhō) (I hold).  The German Skizze, the French esquisse & the Spanish esquicio are also from the Italian schizzo.  The related forms are the nouns sketcher & sketchiness, the adverbs sketchily & sketchingly and the adjectives sketchlike and sketchable.

Sketch became a verb in the 1660s in the sense of “present the essential facts of" and was derived from the earlier noun. This idea of a sketch as a “brief account” by 1789 had enlarged to a "short play or performance, usually comic", still maintaining the connection from art as something less than full-scale, the reference to comedy suggesting something slight rather than a serious work.  The sketch-book was first recorded in 1820.  That sense extended beyond text to art and design from 1725 when it came also to mean "draw, portray in outline and partial shading", firstly to describe simple drawings, referring later to preparatory work for more elaborate creations.  The adjective sketchy is noted from 1805, describing art “having the form or character of a sketch".  The colloquial sense of "unsubstantial, imperfect, flimsy" is from 1878, possibly to convey the sense of something "unfinished".  Adumbrate (faint sketch, imperfect representation), actually pre-dates sketch, noted first in the 1550s.  It was from the Latin adumbrationem (nominative adumbratio) (a sketch in shadow, sketch, outline).  The meaning "to overshadow" is from the 1660s at which time emerged the derived forms adumbrated and adumbrating and related forms are adumbration (noun), adumbrative (adjective) and adumbratively (adverb).

Sketches of Spain

Although not yet regarded as the landmark in jazz it would come to be in the decades which followed its release in 1959, even in 1960 Miles Davis’ (1926-1991) Kind of Blue had already created among some aficionados an expectation; realising it was something special, this was what they hoped would be the definitive Davis style and they were anxious for more.  The next release however, wasn’t indicative of what was to come, Workin' with the Miles Davis Quintet (1960 Cat# Prestige P-7166) was the third of four albums assembled from sessions recorded long before the Kind of Blue sessions and released to fulfil contractual obligations to the independent label Prestige.  Although some purists were pleased, after Kind of Blue, the music seemed old-fashioned.

Miles Davis, Kind of Blue, (1959, Columbia, Cat# CS 8163).

Davis had enjoyed considerable success in the 1950s but, needing the distribution and promotional network of a major label to reach a wider audience, he’d signed with Colombia (CBS internationally).  The early Colombia releases had been well received but it was the sixth, Kind of Blue, which made him a star beyond the world of jazz, the album selling in volumes unprecedented in the genre; to date, over four million copies are said to have been shipped.  Davis had been innovative before, his performance at the 1954 Newport Jazz Festival defining what had come to be called “hard bop” (a flavor of jazz influenced by other forms, especially rhythm and blues) but the appeal extended little beyond already established audiences.  What made Kind of Blue so significant was that Davis essentially created modal jazz which shifted the technique from one where the players worked within a set chord progression to soloists creating melodies using modes which could be deployed alone or in multiples.  Musicians explain the significance of this as a movement to the horizontal (the scale) rather than the traditional vertical (the chord).  In the somewhat insular world of jazz, that would anyway have been interesting but the sound captivated those beyond and was a landmark in what would come to be known as musical fusion, the cross-fertilisation of sound and technique.  Among composers, fusion was nothing new but Kind of Blue realised its implications in a tight, seductive package.

Miles Davis, Sketches of Spain, (1959, Columbia, Cat# CS 8271).

Sketches of Spain too was a fusion but it was different to what had come before and no attempt to be Kind of Blue II.  For one thing, the sound was big, recorded in the famously cavernous converted church in Manhattan which for decades was Colombia’s recording studio.  Lined with old timber and with a ceiling which stretched 100 feet (30 m) high, technicians called it the “temple of sound” because of the extraordinary acoustic properties.  The ensemble too was big, a necessity because this time the fusion was with the orchestral, the long opening track an arrangement by Davis and Gil Evans (1912-1988) of the adagio movement of Joaquín Rodrigo’s (1901-1999) guitar concerto, Concierto de Aranjuez.  Such was the extent of the fusion there were traditionalists who doubted Sketches of Spain could still be called jazz; they saluted the virtuosity but seemed to miss the sometimes arcane complexities in construction inaccessible except to the knowing few.

Miles Davis, Bitches Brew (1970, CBS, Cat# S 66236).

A wider world however was entranced and technical progress needs also to be noted.  Colombia had recorded Davis before in the then still novel stereo but even fans acknowledged the mono pressings remained superior and it wasn’t until 1960, after extensive testing and the refinement of equipment that the technique had been perfected.  Sketches of Spain was lush or austere as the moment demanded, listeners new to stereo especially enchanted at being able to hear the sounds hanging in a three-dimensional space, each instrument a distinct object in time and place.  Nobody asked for mono after that.  Influential as it was, to Davis, Sketches of Spain was just another phase.  Ten years later, noting the increasing sparse audiences in jazz clubs and aware a new generation had different sensibilities, Davis would fuse with other, more recent traditions and Bitches Brew would cast his shadow over a new decade.

Six photographs of Lindsay Lohan, rendered in software as pencil sketches.

Brace

Brace (pronounced breys)

(1) Something that holds parts together or in place, as a clasp or clamp.

(2) Anything that imparts rigidity or steadiness (sometimes called a bitbrace or bitstock).

(3) In drilling, a hand tool for drilling holes, with a socket to hold the drill at one end and a cranked handle by which the tool can be turned in full (also called a bitstock).

(4) In building trades, a piece of timber, metal, etc., for supporting or positioning another piece or portion of a framework.

(5) In Admiralty use, on a square-rigged ship, A rope reeved through a block at the end of a yard, by which the yard is moved horizontally (also as the rudder gudgeon).

(6) In nautical use, to swing round the yards of a square rigged ship (using braces), to present a more efficient sail surface to the direction of the wind.

(7) In music, the leather loops sliding upon the tightening cords of a drum to change their tension and the drum's pitch.

(8) In dentistry, a system of wires, brackets, and elastic bands used to correct crooked or irregularly arranged teeth or to reduce overbite, placed directly against the surfaces of the teeth.

(9) In orthopaedic surgery, a device or appliance that supports or holds a movable part of the body in correct position while allowing motion of the part.

(10) In fashion, an alternative name for suspender (almost always in the plural as braces).

(11) A pair; a couple, used originally of dogs, and later of animals generally (eg a brace of grouse) and then other things, but rarely people.  Now usually used in the context of hunting or (in sport) scoring a pair of goals, tries etc (though not related to the “pair” in cricket, the unhappy record of being dismissed twice without scoring in each innings of a first class or test match.

(12) In typography, one of two characters { or } used to enclose words or lines to be considered together.  Also called a bracket, though not recommended because technically, they’re [ and ]. 

(13) In mathematics, as { or } used for connecting lines of printing or writing or as a third sign of aggregation in complex mathematical or logical expressions that already contain parentheses and brackets.

(14) In musical composition, as { or } also called accolade, a line or bracket connecting two or more staves of music

(15) A protective band covering the wrist or lower part of the arm, especially a bracer.

(16) In military parade drill, a position of attention with exaggeratedly stiff posture.

(17) Literally and figuratively, to prepare for an impact or an event.

(18) In informal slang, to become resolute; to stimulate or freshen.

(19) A form of armor for the arm, also called vambrace (obsolete).

(20) In mining, the mouth of a shaft (apparently a localism restricted to Cornwall).

(21) A medical device, a kind of compression fitting used on joints (ankles, knees etc) to provide support during the healing process.

(22) A measurement of length, originally representing a person's outstretched arms (obsolete).

(23) In engineering, a piece of material used to transmit, or change the direction of, weight or pressure; any one of the pieces, in a frame or truss, which divide the structure into triangular parts.  It may act as a tie, or as a strut, and serves to prevent distortion of the structure, and transverse strains in its members.

(24) A kind of riding equipment or horse tack (in historic reference only).

(25) A peninsula; a cape or slice of land jutting into the sea (in historic reference only).

(26) A perch (unit of measure) (in historic reference only).

(27) A point of a cross or rood (in historic reference only).

1300–1350: From the Middle English brace & bracen and the Anglo-French bracier borrowed from the from the Old French brace (arm), derived from the Latin brāchia & brācchia (the nominative and accusative plural (taken as feminine singular)) of brāchium & brācchium (arm) drawn from the Ancient Greek βραχίων (brakhíōn), most influenced by the plural Latin form bracchia (two arms).  The variety of spellings from the medieval period are extinct, the usual forms now bracchium or bracchia in the plural.  The prior etymology is wholly speculative, may have come from Gothic brasa (glowing coal), Proto-Germanic brasō (crackling coal) or the primitive bhres (to crack, break, burst).  It was cognate was the French braise (embers), Swedish brasa (to roast) and Icelandic brasa (to harden by fire), all thought related to the Sanskrit भ्रज bhraja (fire).  Brace & bracing are nouns & verbs and braced is a verb & adjective; the noun plural is braces.

Highly qualified porn star Busty Buffy wearing leather braces.

The original, early fourteenth century meaning was “an item of armor for the arms (and also “a thong or strap for fastening”), reflect the link to the Old French brace (arms) and it was from here that emerged brace as “a length measured by the span of a man’s two arms”.  The meaning "that which holds two or more things firmly together" (derived originally on the notion of clasping arms) emerged in the mid-fifteenth century and came to be applied to an array of fastening and tightening devices in a wide range of endeavours including art, engineering, carpentry, agriculture et al.  The specific meaning as a “prop, supporting strut” began in architecture in the 1520s and came to be applied to just about anything involving physical objects, the figurative use noted from the late sixteenth century.  The idea of things in pairs (first dogs, later game such as ducks, grouse etc) dates from circa 1400 and was later applied to various pairs (pistols, carriages et al); the use in sport to describe scoring twice in the one game (goals, tries etc) was a twentieth century coining, apparently by print journalists wanting something different from “pair” or “two”.  Braces in the sense of “straps passing over the shoulders to hold up the trousers” was from 1798, used after 1945 to describe the hardware used for wires for straightening the teeth.

The verb brace emerged in the mid-fourteenth century meaning both “to seize, grasp, hold firmly” & “wrap, enshroud; tie up, fetter”, something gained from the Old French bracier (to embrace), again the idea of grasping by the arms.  The meaning "make tense, render firm or steady by tensing" was noted from the mid-fifteenth century although decades earlier it had been used in the figurative sense of "strengthen or comfort someone”.  From this, by the 1740s, developed the later extension to tonics which "brace" the nerves (the bracer a "stiff drink"), a throwback to the original bracer (the early fourteenth century piece of armor protecting the arm) and by 1826 a bracer had assumed the specific use as “an alcoholic drink taken early in the morning”.  From the 1580s, a bracer was also “any sort of stay or clamp which braces or makes firm”, used typically in engineering or construction.  To brace oneself (place oneself in the position of a brace in anticipation of some shock or impact) is documented by 1805 but there is peripheral evidence the phrase may have been in use as early as circa 1500, probably in relation to horse-drawn transport and now familiar to many from the safety demonstration dutifully conducted by flight attendants before every take-off.  Because braces are designed and used for many purposes, there are a large number of derived terms including angle brace, curly brace, neck brace, ankle brace, tower brace, tower brace etc.

Lindsay Lohan’s injured right ankle in foot-brace, Mykonos, Greece, 2018.  It’s believed she made a good recovery but may never play rugby again.

Knocking back a bracer: Crooked Hillary Clinton enjoys a quick belt of Crown Royal Bourbon Whiskey, Bronko's restaurant, Crown Point, Indiana, Saturday 12 April, 2008.

Brace of single-shot duelling pistols in hardwood case, featured by Hallowell, the design from England and in vogue circa 1770-1850.  Many items were produced in pairs for many reasons but with duelling pistols it was obviously culturally deterministic.  Most used either flintlock or percussion ignition, and were supplied with the cleaning and loading accessories (the cleaning kit still something to ensure is supplied when one buys (or otherwise obtains) one’s AK47).  Duelling pistols tended to be lighter than contemporary service pistols and were often made with a finer finish, reflecting the upper-class market for which they were produced.  The ballistics techniques varied and although most appear to have been smooth-bored, some were scratch-rifled and there were octagon (or octagon-to-round) barrels, all around 9-10 inches (228-254 mm) long.  Almost all were forged from some form of Damascus steel, with bores slightly larger than a half-inch (50 mm) and supplied with ramrods, rudimentary sights front and rear, single-set triggers, roller-bearing frizzens and curved grips integral with full or half-stocks.  Although usually of high quality construction (sometimes with silver furniture), unlike the boxed braces produced for display or ceremonial purposes, duelling pistols tended to be relatively plain and unembellished.

Noted pheasant plucker Boris Johnson (b 1964, UK prime-minister 2019-2022) after bagging a brace of pheasants.

1970 Dodge Hemi Challenger with strut brace (also called strut bar), triangulated against the firewall.  Strut braces are stiff metal bars which connect the strut towers (front or rear), the purpose being enhanced structural rigidity.  Depending on the vehicle, the difference can be anything from transformative to non-existent and manufacturers of high-end machinery are aware of their appeal.  There have in recent decades been enormous advances in structural engineering and engineers admit that on some exotic machinery, the torsional rigidity is so high that strut braces add nothing except a little additional weight but they’re installed anyway, simply for the visual effect and to meet buyer expectation.  They’re a popular retro-fit to many of the machines from the 1960s and 1970s which frankly were over-powered when new and more so when modified.

DPRK’s military parades.  The 2010 event (left) during the era of the Dear Leader and the 2015 event (right) after the accession of the Supreme Leader.

Although in production for almost two decades, Mercedes-Benz built only 2677 600s and of those, 428 were the long-wheelbase Pullmans.  Of those, 59 were the Landaulets with a convertible roof extending either over the rearmost seats or the whole passenger compartment.  Just 12 of the latter were built and the only one known to have bought a brace was Kim Il-sung (Kim I, 1912–1994; Great Leader of the Democratic People’s Republic of Korea (the DPRD, North Korea)) who ordered two in 1968.  Just as the DPRK and its grateful population passed to his descendents, Kim Jong-il (1941–2011; Kim II, Dear Leader of the DPRK 1994-2011) and Kim Jong-un (Kim III, b 1983; Supreme Leader of the DPRK since 2011), they also inherited the Landaulets which for decades were a fixture at state occasions like military parades.  Buying a brace ensured an unusual distinction of rarity; the parades are said to be the only occasions when two 600 long-roof Landaulets were seen in the same place at the same time.  The Supreme Leader updated in 2015 to the new S600 Pullman Landaulets but they’re mass-produced compared with the original, lack gravitas and look something like a very big Hyundai.  For this reason, the old 600s are retained for occasions when there’s a need really to impress folks and maintain the dynasty’s image of continuity which stretches back to the Great Leader.

Illusion

Illusion (pronounced ih-loo-zhuhn)

(1) Something that deceives by producing a false or misleading impression of reality.

(2) The state or condition of being deceived; misapprehension.

(3) An instance of being deceived.

(4) In clinical psychology, a perception, as of visual stimuli (optical illusion), that represents what is perceived in a way different from reality.

(5) A very thin, delicate tulle of silk or nylon having a cobwebbed appearance, for trimmings, veils and similar designs.

(6) The act of deceiving; deception; delusion (mostly obsolete).

1340–1350: From the Middle English, from the Latin illūsiōn(em), stem of illūsiō, (irony, mocking), the construct being illūs(us), past participle of illūdere (to mock, ridicule) + lūd (play) + tus (past participle suffix) + iōn.  The suffic -ion was From the Middle English -ioun, from the Old French -ion, from the Latin -iō (genitive -iōnis).  It was appended to a perfect passive participle to form a noun of action or process, or the result of an action or process.  It was from the Latin lūd that English ultimately gained ludicrous, illudere meaning "to mock at" (literally "to play with").  The borrowing from Latin displaced the Old English dwimmer, from the Old English ġedwimor or dwimor (illusion, delusion, sleight, magic) and, as absorbed by both Medieval English & French, meaning tended towards “act of deception” rather than “mocking or irony” which was the Classical Latin form.  The English sense is reflected in the word’s use in Church Latin which is thought the source of the meaning-shift.  In modern English use, particularly since the rise of mass-market visual entertainment, to some extent the preponderant meaning has shifted back.  Illusion & illusionist are noun, illusionary, illusional and illusioned are adjectives; the noun plural is illusions.

English offers many variations on the theme; words like fantasy, hallucination and delusion all refer to false perceptions or ideas.  An illusion is either (1) a false mental image produced by misinterpretation of stuff that actually exists or (2) a deliberate creation in some form to create an impression of stuff in a way not real.  A mirage is a distortion of reality produced by reflection of light against the sky but in general use is widely deployed as a synonym for anything illusory. A hallucination is a perception of a thing or quality that is either wholly or partially unreal.  A delusion is a persistent false belief that need not have any basis.  A chimera is something which, while unreal, has many elements of the real and thus seems more plausible.  A fantasy is either (1) a fictional creation where one is aware of its untruth or (2) a fictional creation one believes.

The Illusion Panel

The illusion panel is a visual trick used by fashion designers which to some extent mimics the appearance of bare skin.  It’s done by using a flesh-colored fabric, cut to conform to the shape of wearer and the best known products are called illusion dresses although the concept can appear on other styles of garment.  Done well, the trick works, sometimes even close-up but it’s really intended for photo opportunities.  Lindsay Lohan illustrates the idea in a few examples:

At left is a gown from the Fendi Spring/Summer 2016 collection, worn at the Asian Awards, London, April 2016.  The gown was technically a different take on the illusion panel because the skin was real: Fashion faking itself.  It’s a playful take on the idea because above the modest cut at the midriff were translucent panels which created a nice effect, especially when in motion although opinion was divided on whether the geometric pattern was too busy for the concept, some suggesting a solid color or even some bold stripes might have lent better emphasis.

The centre image is of a Julien Macdonald green and blue sequin embellished mini dress with open neckline, accented with illusion panel & black hemline, from her Fall 2013 collection, worn at Gabrielle's Gala, Old Billingsgate Market, London, May 2014.  Some comment was provoked by the choice not to retain the black belt with which it was shown on its catwalk debut and it true that did work well with the hemline trim, width and shade of both matching.  However, a panel with quite that much illusion doesn’t demand accessories and probably is more effective with neither belt nor necklace to distract.

At right, dating from January 2013 is a black Dion Lee cocktail dress with illusion panels and an off-the-shoulder silhouette, the shoes Christian Louboutin peep-toe booties.  It’s a classic example of why it’s thought illusion dresses work best if tailored in solid colors with a marked contrast between material and skin tone.

Kylie Jenner (b 1997, left) in 2017 used the idea in what was (by the standards of her clan) quite subtle but trolls quickly realized the possibilities offered by digital editing (centre).  Swedish musician Tove Lo (Ebba Tove Elsa Nilsson, b 1987, right) actually enhanced the illusion with a T-shirt which included shadow effects so the look would be consistent even in settings where ambient light was unhelpful.  Pairing the T-shirt with an oversized, double-breasted blazer was a nice touch.

As a garment, an illusion dress is not technically difficult to cut or assemble but for its effect it relies on a close congruence between the colors of panel and the skin.  Assuming such fabrics are either available or can be dyed to suit, that’s fine for bespoke creations but in the vastly bigger prêt-à-porter (ready-to-wear) market, buyers are compelled to pick whatever is the closest match, the technique of choice being to alter the skin tone for the occasion, fake tanning product the usual choice which is fine if a darker hue is needed but when lightening that’s needed, the creams used temporarily to cover tattoos are said to work well, better even than the (now often controversial and in some cases dangerous) skin-lightening preparations popular in some markets.

The illusion industry also borrows motifs.  A cage bra is built with a harness-like structure which (vaguely) resembles a cage, encapsulating the breasts using one or more straps.  Few actually use the straps predominately to enhance support and the effect tends to be purely aesthetic, some cage bras with minimal (or even absent) cup coverage and a thin band or multi-strap back.  Some things about cage bras can be illusory but the skin on show is usually real whereas when used over a skin-toned panel, the straps exist to enhance the illusion although, there’s no reason why they can’t also be structural, functioning effectively as an external bra.  Ashley Graham (left) in cage bra with the focus on flesh and Ricki-Lee Coulter (right) in a dress with illusion panel under straps illustrate the difference.

The Great Illusion (1910) by Norman Angell (1972-1967) was first published in the United Kingdom in 1909 as Europe's Optical Illusion.  Angell’s theme was that the economies, financial systems, markets and supply chains of the world’s big industrial and military powers had become so inter-twined and inter-dependent that war had become impossible.  Angell proved that not only would war be unprofitable, in any big conflict, the victor would suffer at least as much as the vanquished so no nation would be so foolish as to start one.  Quickly, The Great Illusion was translated in eleven languages and in the optimistic world of early twentieth century Europe, it became a cult, its thesis a dogma.  The aristocrat commissioned to review the British Army after its disastrous performance in the Boer War (1899-1902) were understood instantly became an adherent to the idea that “new economic factors clearly prove the insanity of aggressive wars”, delivering lectures in which he pointed out that “a twentieth century war would be on such a scale… that its inevitable consequences of commercial disaster, financial ruin and individual suffering [would be] so pregnant with restraining influences” as to render the thought of war unthinkable.

Read even now, the wealth of examples he offered and the incontrovertibility of his argument seem convincing.  Unfortunately, Wilhelm II (1859–1941; Kaiser (Emperor) of the German Empire 1888-1918), although it’s known he received a copy of the book, was more influenced by one published in 1911 by the Prussian General Friedrich von Bernhardi (1849–1930) with the unambiguous title Deutschland und der Nächste Krieg (Germany and the Next War).  Bernhardi’s text is of great interest to students of military, diplomatic and political history but the casual reader can gain the necessary understanding merely by glancing at the table of contents, the uncompromising chapter headings including The Right to Make War, The Duty to Make War and World Power or Downfall.  In case anyone might have thought he had written a work of abstract theory, another chapter was titled Germany’s Historical Mission.   Describing war as a "divine business", his central two-pronged strategy was the one which would doom both the Second Reich and the Third: Wage wars of aggression and ignore treaties.

World War I (1914-1918) was something probably worse than even Angell had prophesized and in its aftermath the phrase “the war to end all wars” was popular although some of the delegates leaving Paris after the Treaty of Versailles (1919) weren’t so sanguine, reckoning all that had been gained was a truce.  Despite the cynicism however, the 1920s were the years in which the (now mostly forgotten) successes of the League of Nations included the notion that war had been made not only unthinkable (both because of Angell’s analysis and the shock of the World War) but actually unlawful.  It was a brief, shining moment and by 1933 Angell felt compelled to add to a revised edition of The Great Illusion the new theme of the need for collective defense.  Other things happened in 1933, the implications of which would mean that too would prove an illusion itself but that year, Angell was awarded the Nobel Peace Prize.

Illusions however seem to be something to which men can’t help but be drawn and by the late twentieth century, as globalization 2.0 accelerated, another part of Angell’s conceptual framework gained a new audience.  Angell had noted the obvious: That the imperative of modern capitalism was profit, not romantic nationalism and that there was more to be gained from peaceful trade than attempts at conquest with its unpredictable outcomes.  By the 1990s, political commentator Thomas Friedman (b 1953) had reduced this to what came to be called the “Golden Arches Theory of Conflict Prevention (the idea that countries with McDonalds restaurants didn’t go to war with each other) and while that’s since been proved untrue, the point he was making was the same as Angell: That democracies run according to the rules of market capitalism don’t go to war with each other because the it’s too threatening to the hegemonic class which owns the means of production and distribution.

By the time Mr Putin (Vladimir Putin, b 1952, president or prime-minister of Russia since 1999) began his special military operation (the invasion which started the Russia-Ukraine war in 2022), it’s doubtful there were many left in Europe with illusion about the nature of man.  Unfortunately, it may be that in the Kremlin the reading of Bernhardi may not have gone beyond those first few bellicose chapters because deeper into his book, the author moved beyond the justification of “necessity” to the nuts and bolts of “method” for once one convinces one’s self one has a duty to make war, one must ensure it is waged with success.  To be successful he explained, the state must begin a war at “the most favourable moment” of its own choosing, striking “the first blow” in a manner which guarantees victory.  Mr Putin had illusions of his own, about the people of Ukraine, about the West and about the state of his own military.

In 2014, an illusion outfit attracted much comment when the Colombian women’s cycling team uniform was first seen at an event in Italy, held in honour of former Italian champion Michela Fanini (1973–1994).  Despite the appearance, it wasn’t a two-piece, the otherwise standard strip augmented by a flesh-coloured section across the lower torso and upper hips.  The photographs caused a stir and the unusual degree of international attention must have pleased the team’s sponsor, the city government of Colombia's capital, Bogota.  Innovations like this might be one way to redress the imbalance in the media coverage afforded to women's sport.

Sterling

Sterling (pronounced stur-ling)

(1) Of, relating to, or noting British currency.

(2) Someone or something thoroughly excellent in quality; genuine and reliable.

(3) The standard of fineness for gold and silver coin in the United Kingdom, 0.91666 for gold and 0.500 for silver (also called sterling silver: silver having a fineness of 0.925, now used especially in the manufacture of table utensils, jewelry etc).

(4) A former English silver penny (about 240 of which weighed 1lb (0.453kg), thus setting the value of the British pound sterling, a measure which lasted until decimal conversion in 1971).

1250–1300: From the Middle English, possibly under the influence of the Old English steorra (star), from the Proto-West Germanic sterrō, variant of sternō, from the Proto-Germanic sternǭ, from primitive Indo-European hzstḗr.  The Middle English sterling, sterlinge, sterlynge & starling remain however of uncertain origin.  It may well be from sterling (starling (the bird)) which at one time was engraved on one quarter of the coin or perhaps from the Middle English sterre ((star) + -ling) (as in shilling), as some early Norman silver pennies featured stars.  Sterling is a noun & adjective, sterlingly is an adverb and sterlingness is a noun; the noun plural is sterlings. 

Disputes

Lindsay Lohan wearing sterling silver Evil Eye necklace, Los Angeles, April 2011.

Not all etymologists accept the orthodox view, noting the starred coins were not especially common among Anglo-Saxon currency and the stars on them tended to be small.  The alternative theory is that sterling was from the Old French estedre (stater) and the meaning broadened by the 1560s to "money having the quality of the sterling," and by circa 1600 to "English money in general", operating as an adjective from the early fifteenth century.  From the 1640s came the general sense of "capable of standing a test" (as a sound currency would).  The small silver coin (the sterling) was instrumental also in the origin of “pound” as a measure of money, a pound sterling being originally "a pound weight of sterlings" equal to about 240 coins.  Still more imaginative is the theory that the Hanseatic League was the origin for both the definition and manufacture for in its name is the German name for the Baltic (Ostsee (East Sea)) and from this the Baltic merchants were called Osterlings, or Easterlings.  In 1260, Henry III (1207–1272; King of England 1216-1272) granted them a charter of protection and land for their Kontor, the Steelyard of London, which by the 1340s was also called Easterlings Hall, or Esterlingeshalle and because the value of League's money tended to be more stable than that of England, English traders often stipulated their debts should be in pounds of the Easterlings which commercial practice contracted to "'sterling".  Support for this etymology is limited.

Teenage & Teen-age

Teenage (pronounced teen-ige)

In boundary-line construction, a technique of weaving which interleaves brushwood to produce a type of fencing called wattle.  The weave is usually effected horizontally around vertical uprights planted in the ground.

Circa 1700.  The construct was teen + age.  Teen was from the dialectical Kentish variation of tine (enclose within a wattle fence; brushwood for fences and hedges)), from the Middle Dutch tene & teene (plural tenen, diminutive teentje) from the Old Dutch tein & tēn from the Proto-Germanic tainaz, also ultimately the source of twig, which existed in Dutch as twigg.  The –age suffix was from the Middle English -age, from the Old French –age, from the Latin –āticum.  It was used, inter alia, to form nouns with the sense of collection or appurtenance. It was cognate with the French -age, the Italian -aggio, the Portuguese -agem, the Spanish –aje & the Romanian -aj.

Wattle fences built with the teenage method.

Teen-age (pronounced teen-age).

(1) A person aged between thirteen and nineteen.

(2) Of or relating to the characteristics of a teenager.

1911: Used originally in reference to Sunday school classes, the adjectival form teen-aged first noted 1922.  The construct was teen + age.  Teen is from the Middle English -tene, from the Anglian Old English -tēne (a variant was –tīene in West Saxon), from an inflected form of Proto-Germanic tehun (ten).  As a suffix, -teen was used to form the cardinal numbers from thirteen to nineteen, the model being n + ten so, for example, fourteen (4+10) was from the Middle English fourtene, from the Old English fēowertīene, from the Proto-Germanic fedurtehun. It was cognate with the West Frisian fjirtjin, the Dutch veertien, the German vierzehn & the Danish fjorten.  Used in this context as a functional suffix, age (sometimes –age), was from the Middle English age (lifetime, measure of the years), borrowed from the Anglo-Norman age, from the Old French aage & eage (which exists in Modern French as âge), from the (assumed but unattested) Vulgar Latin aetāticum, from the Latin aetātem, accusative form of aetās, from aevum (lifetime), ultimately from the primitive Indo-European hueyu- (vital force).  It displaced the native Middle English elde (age) and the Old English ieldu, eldo & ieldo (age).

Montage of teen-aged Lindsay Lohan photos.

There’s a paucity of material about the specialized form of fence-building called teenage.  Most will go through their lives never reading of the field and thus be never troubled by the distinction between the technique and those of teen-age years.  Usually then it matters not if the word is hyphenated to refer to the latter and even when some possibility of confusion might exist, readers can probably be relied upon to pick up the meaning from context.  Purists still, when writing of the young, the New Yorker magazine continues to insist on a hyphen though whether that's to entice subscriptions from fencing contractors or suggests some concern for baffled readers, isn’t known.