Fake (pronounced feyk)
(1) To
prepare or make something specious, deceptive, or fraudulent.
(2) To
conceal the defects of or make appear more attractive, interesting, valuable
etc, usually in an attempt to deceive.
(3) To
pretend; simulate; emulate.
(4) To
accomplish by trial and error or by improvising:
(5) To
trick or deceive.
(6) In jazz
music, to improvise (non pejorative).
(7) To
play music without reading from a score (usually non pejorative).
(8) Anything
made to appear otherwise than it actually is; counterfeit.
(9) A
person who fakes; faker.
(10) To
lay (a rope) in a coil or series of long loops so as to allow to run freely
without fouling or kinking (often followed by down).
(11) Any
complete turn of a rope that has been faked down; any of the various ways in
which a rope may be faked down.
(12) In
German, a male given name.
1350–1400:
From the Middle English faken (to
coil a rope) of unknown origin. The
nautical adoption fake (one of the windings of a cable or hawser in a coil) was
from the Swedish veck (a fold) and
probably entered English from exchanges between English and Scandinavian
sailors. The more familiar modern
meaning is documented from 1775 as an adjective meaning “to counterfeit”. It’s attested from 1812 as vagrants' slang
meaning “to do for, rob or kill someone” but was also, in an echo of the
earlier form, used to mean “shape something”.
It’s thought to have been either (1) a variant of the obsolete feak & feague (to beat), akin to Dutch veeg
(a slap) & vegen (to sweep, wipe)
or (2), a part of the lingua franca via Polari from the Italian facciare (to make or do). Fake is a noun, verb & adjective, faked is a verb, fakement is a noun, faking is a noun & verb and faker is a noun & adjective; the noun plural is fakes.

The rarely convivial Hjalmar Schacht, standing right behind Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945). Dr Schacht was a confessed
Freemason.
It’s
documented from 1851 as a noun (a swindle) and from 1888 was applied to a
person (a swindler), but most etymologists assume it had for some time been in oral use. The most likely source is thought to have been
feague (to spruce up by artificial
means), from the German fegen (polish,
sweep) which, in colloquial use was used to mean "to clear out, to plunder". In English, much of the early slang of thieves
is from German or Dutch sources, dating from that great linguistic melting pot,
the Thirty Years' War (1618-1648) and until the nineteenth century, was largely
un-documented although the fragmentary evidence available does suggest use was
constantly shifting. While
preparations were being made for the first Nuremberg Trial (1945-1946), the
defendants had been interviewed by a number of specialists including a
psychologist who, among a battery of tests, included relatively simple mental
arithmetic and one who might have been expected to display great proficiency
with numbers was confessed Freemason Horace Greeley Hjalmar Schacht (1877–1970; president of the
Reichsbank 1923-1930 & 1933-1939, general plenipotentiary for war economy
1935–1937 and reichsminister without portfolio 1937-1943). However, the tester was “amazed at Schacht’s inability to do mental
arithmetic; he had expected great things from a financial wizard.” This Schacht explained as a virtue rather
than an inadequacy, claiming: “Any financial wizard who is good at arithmetic is probably
a swindler.” Schacht was acquitted by the IMT (International Military Tribunal) though that didn't stop the German courts subsequently sentencing him to eight years in prison (essentially on the basis of "being a Nazi"). On appeal, he was released in 1948.
Fake
news (journalism deliberately misleading), although popularized in
the 2016 US presidential campaign (and following the lead of Donald Trump (b 1946; US president 2017-2021 and since 2025) subsequently applied used by just about anyone to describe any source of which they disapprove), was actually first attested in 1894 although, as a device, fake
news is probably about as old as news itself.
Faker as an agent noun from faker the verb is from 1846 and the noun fakement
(forgery) is from 1811. To “fake
(someone) out” is a description of applied gamesmanship in sport and noted from
1941. To jazz musicians, “to fake” was
merely oral slang for improvising and the “fake book” is attested from 1951. Interestingly, the adjective "jivey" was
sometimes used as a pejorative (phony, fake) unlike "jive" which, in a musical context, was always
purely descriptive. Synonyms include ersatz, fake, false,
imitation, imitative, unreal, counterfeit, fabricated, factitious, spurious,
substitute, affected, contrived, feigned, insincere, plastic, synthetic,
unnatural, bogus, affected, forged, fraudulent, mock, phony, spurious,
deception, forgery, hoax, scam, sham, trick, put on, assumed, fraud, impostor,
quack, charlatan, deceiver, substitute, contrived, feigned, insincere, &
unnatural.
Faux (pronounced foh)
Artificial
or imitation and admitted or understood to be so.
1676:
from the twelfth century French faux (feminine
singular fausse, masculine plural faux, feminine plural fausses), from the Old French fals, from the Latin falsus (false), perfect passive
participle from fallō (deceive,
trick; mistake). The origin of fallō is uncertain. It’s thought either from the Proto-Italic falsō, from the primitive Indo-European
(s)whzel (to stumble) or from the primitive Indo-European
ǵhwel- (to lie, deceive) but etymologists note structural
problems with the latter. A doublet
of false. The
word fake almost always carries negative connotations, the idea of something that
is not real, an imitation designed to trick someone into thinking it is real or
original. A fake might be a forgery or
copy which is (certainly with many digital fakes) indistinguishable from whatever
is the real or original thing it imitates, indeed it might even be an
improvement but it remains fake. Faux is a noun & adjective; the noun plural is fauces.

Lindsay
Lohan in faux fur, amfAR gala, New York City, 2013.
Faux has since the 1980s
been used in English (with French pronunciation) to describe anything that is
imitative without attempting to deceive.
Prior to this, the only frequent use in English was the faux pas (breach
of good manners, any act that compromises one's reputation (literally
"false step")), noted since the 1670s. Faux tends not to convey the negative
association of fake because it so blatantly an alternative rather than an attempt
to deceive, indeed, it can be positioned as having positive connotations, such as was was done with faux fur. Faux fur is still at least quasi-respectable and in certain circles, there’s long been a micro-industry devoted to turning into social pariahs
anyone wearing the real thing.
Sometimes, supporters of PETA (People for the Ethical Treatment of
Animals) use direct action, the flinging of red paint onto the offending coat
or stole a favorite tactic. In the
twenty-first century, it’s probably not possible to “announce something”
without some sort of adverse reaction on social media, the objections (often
condemnations) including environment impact, cultural appropriation, microaggressions,
racial or gender stereotyping, cultural insensitivity, the carbon footprint, various
phobias and other transgressions. It’s
just the way what’s deemed “acceptable” and what’s not is now thrashed
out. Historically, because faux fur was
a product of the petro-chemical industry (by any standards a dirty business)
the criticism for faux fur centred on the environmental impacts but there were
also concerns about the ethics of “deceptive” supply chains and the
perpetuation of fur as a desirable fashion item.
While it’s
true no animal usually directly is harmed in
the production of faux fur, critics maintain wildlife has nevertheless suffered
because of the industry’s environmental impact and although the methods used in
the argument do sometimes seem abstract with some remoteness between cause and
effect, the case is not without foundation, the reliance of on plastics obviously
not without cascading costs. Even now, most
faux fur is made from synthetic polymers like acrylic, modacrylic, and
polyester, all from non-renewable fossil fuels and emerging from processes with
a significant carbon footprint. Of
increasing concern too is the heighted awareness that merely by existing (and
especially when being laundered), faux fur garments shed tiny plastic particles
into the environment including waterways, contributing to marine pollution (and
entering the human-food chain) in a way once underestimated. Unlike natural animal pelts, plastics can
take at least hundreds of years to decompose and some include “forever
chemicals”; they do what’s on the tin.
There’s also in commerce some cheating with products labelled “faux fur”
found to contain natural product (including that of domestic cats & dogs),
an approach tempting because the mass-production of even cheap synthetic fur
can be more expensive than that obtained from animals slaughtered in unregulated
“factory farms”. PETA objects to the
sale and use of faux fur because it “normalizes the aesthetic” of wearing
animal pelts, something that can contribute to sustaining demand for real fur
and that critique applies to more recent innovations such as faux fur produced
from a plant-base using material like hemp or wool (harvested without
slaughtering the creature).

Actor Pamela Anderson (b 1967), mostly real.
People do however
seem unforgiving of fake boobs which, even if admitted (apparently sometimes even "boasted of") as being fake (which really
should make them faux), seem forever doomed to be called fake. The preferred form appears to be "fake tits".
Faux also blends well; there are "fauxhemians" (an individual who affects a Bohemian lifestyle while staying within social conventions), "fauxmances" (bogus romances, conducted for reasons good & bad), "fauxgasms" (simulated orgasms (often in the form "she's faking it")), "fauxlanthropists" (individuals who engage in charitable activities out of self-interest), "fauxpologies" (a non-apology), "fauxminists" (an individual presenting as a feminist but judged insincere), "fauxmosexuals" (heterosexual individuals who adopts fashion and mannerisms traditionally associated with the "L" & "G" factions in the LGBTQQIAAOP aggregation in order to gain social and/or financial advantage) & "fauxtatoes" (low-carb, keto-friendly alternatives to traditional mashed potatoes, typically made by blending steamed or roasted cauliflower). Donald Trump dubbed Elizabeth Warren (b 1949;
US senator (Democrat) for Massachusetts since 2013) Pocahontas because her claim to Native American ancestry proved dubious but allies of her
predecessor (Scott Brown (b 1959; US senator (Republican) for
Massachusetts 2010–2013)), referred to her as Fauxcahontas. That was an incorrect use necessitated
by the need of rhyme and word formation; technically she was a "Fakecahontas" but
as a word it didn't work as well.
People anyway seemed to get the point: as a Native American, she was fake,
bogus, phoney.

Christ with the Woman Taken in Adultery by Han van Meegeren (1889–1947) following Vermeer (1632-1675).
In May 1945, immediately after the liberation from Nazi occupation of the Netherlands, the authorities arrested Dutch national Han van Meegeren (1889–1947) and charged him with collaborating with the enemy, a capital crime. Evidence had emerged that van Meegeren had during World War II (1939-1945) sold Vermeer's Christ with the Woman Taken in Adultery to Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945). His defense strategy was as novel as it was unexpected: He claimed the painting was not a Vermeer but rather a forgery by his own hand, pointing out that because he had traded the fake for over a hundred other Dutch paintings seized earlier by the Reich Marshal, he was thus a national hero rather than a Nazi collaborator. With a practical demonstration (a canvas and paints brought into the courtroom) of his skill, added to his admission of having forged five other fake "Vermeers" during the 1930s, as well as two "Pieter de Hoochs" all of which had shown up on European art markets since 1937, he convinced the judges and was acquitted but was then, as he expected, charged with forgery for which he received a one year sentence, half the maximum available to the court. He died in prison of heart failure, brought on by years of drug and alcohol abuse.
Justice might better have been served by the judges imposing a small, symbolic fine and requesting Mr van Meegeren to undertake not again to forge the work of others because, in the circumstances, swindling Hermann Göring seems more a community service than a crime. His skills with brush and paint aside, Van Meegeren was able successfully to pass off his 1930s fakes as those of the seventeenth century painter of the Dutch baroque, Johannes Vermeer (1632–1675), because of the four years he spent meticulously testing the techniques by which recent painting could be made to appear appropriately aged. The breakthrough was getting paints thoroughly to harden, a process that in an oil-based mix occurs naturally over 50-odd years; his solution was to mix the pigments not with oil but the synthetic resin Bakelite. For his canvas, he used a genuine but worthless seventeenth-century painting and removed as much of the picture as possible, scrubbing carefully with pumice and water, taking the utmost care not to lose the network of cracks, the existence of which would play a role in convincing many expert appraisers they were authentic Vermeers. Once dry, he baked the canvas and rubbed a carefully measured mix of ink and dust into the edges of the cracks, emulating the dirt that over centuries would have accumulated.

Guilty as sin: A slimmed-down Hermann Göring in the dock, Nuremberg, 1946.
Modern x-ray techniques and chemical analysis mean such tricks can no longer succeed but, at the time, so convincing were his fakes that no doubts were expressed and the dubious Christ with the Woman Taken in Adultery became Göring's most prized acquisition, quite something considering the literally thousands of pieces of art he looted from occupied Europe. One of the Allied officers who interrogated Göring in Nuremberg prison prior to his trial before the IMT (International Military Tribunal, 1945-1946) recorded the expression on his face when told "his Vermeer" was a fake suggested that "...for the first time Göring realized there really was evil in this world". For his crimes, Göring was sentenced to be hanged, a fate doubtless he believed the forger deserved to share.

Where demand exceeds supply, the market will respond: 2013 Mercedes-AMG
G 63 6×6 (left) and 2014 Brabus B63S (right).
Aimed at the Middle East market and manufactured between 2013-2015, a
run of 100 units was planned for the Mercedes-AMG G 63 6×6 and it was
advertised on that basis, exclusivity part of the attraction. However, such was the interest that dealers prevailed on
behalf of a few influential "good customers" so some additional units were built but
not many and within months, used models were selling for well above the US$550,000
(€379,000) list price. That encouraged
imitations and probably
not since the DEMAG Sd.Kfz half-tracks of Field Marshal Erwin Rommel's
(1891–1944) Africa Corps ranged across Cyrenaica in 1941-1942 has there been a
vehicle so suited to the open desert although progress meant the experience was able to be enjoyed at higher speed while listening to hi-fidelity recordings in air-conditioned comfort. Of course the gas (petrol) consumption was, by twenty-first century standards, epic but for the demographic in the Middle East attracted by such things, fuel is a minor cost of their hobbies. The German tuning house Brabus, noted for catering to the small but lucrative
market of those who like the AMG cars but think they need more power, released the
B63S, its 700 horsepower quite a chunk above the 536 offered by AMG. In the narrow technical sense the B63S certainly was imitative but few would call was Brabus does "faux or a fake; being
in some sense a manufacturer lends the brand a certain validity although Greta Thunberg (b 2003) would not have been impressed, thinking distinctions between terms like "real", "faux" & "imitation" tiresome distractions from the issue of "environmental thuggery".

1938 Mercedes-Benz G4 (W31, left) and an after-market conversion (right) of 2017
Mercedes-AMG G63 (W463) to a 6×6 configuration.
The factory's G63 6x6 anyway had its own hint of the imitative.
Although making much of its status as having produced the world's "first car" and maintaining in Stuttgart a museum with exhibits stretching back to the company's roots in 1886, Mercedes-Benz prefers to not much to dwell on the details of
its activities between 1933-1945 but some of the output during those troubled years was remarkable, including the triple-axle G4. The factory had developed similar cross-country vehicles for military use during the 1920s
but, after testing a number of the prototype G1s, the army declined to place an
order, finding them too big, too expensive and too heavy for their intended purpose. Adolf Hitler however, as drawn to
big, impressive machines as he was to monumentalist, representational architecture,
ordered them adopted as parade vehicles and the army soon acquired a fleet of
the updated G4, used eventually not only on ceremonial occasions but also as
staff and command vehicles, two even specially configured, one as a baggage car
and the other a mobile communications centre, packed with radio-telephony.

1937 Mercedes-Benz G4.
Hitler’s entry in Vienna following the Anschluss (the absorption of Austria into the Reich), 14 March, 1938 was "warmly welcomed" by the assembled crowds. It was in the post-war years the project to recast Austria's image as "the Nazi's first victim" rather than "willing companion" was undertaken by the government; elsewhere in Western Europe, eyes anxiously looking east, governments were anxious to lend their support. The statue in the background is of the Archduke Charles Louis John Joseph Laurentius of Austria, Duke of Teschen (1771–1847) and often referred to as “Archduke Karl”, mounted on the Heldenplatz.
Eventually, between 1934-1939, 57 G4s were built, originally exclusively for the OKW (Oberkommando der Wehrmacht (Armed Forces High Command)) and OKH (Oberkommando des Heeres (Army High
Command)) but one was gift from Hitler to Generalissimo Franco
(1892-1975; Caudillo of Spain 1939-1975). The Spanish G4, one of
few which still exists, was restored and remains in the royal garage in
Madrid. According to factory records, all were
built with 5.0, 5.3 & 5.4 litre straight-eight engines but there is an
unverified report of interview with Hitler’s long-time chauffeur, Erich Kempka
(1910-1975), suggesting one for the Führer’s exclusive use was built with the
7.7 litre straight-eight used in the 770K Grosser (W07 (1930–1938) & W150 (1938–1943)). Some of the 770s were supercharged so, if true, it's a tantalizing prospect but the story is widely thought apocryphal, no evidence
of such a one-off ever having been sighted.
The white G63 6x6 (above) was a “conversion” of a 2017 G63 by G Wagon Car Technology GmbH (Austria), a operation with a high-reputation, derived at least in part from their work being undertaken wherever possible with the use of factory part-numbers. Given their high standards, "fake" or "faux would seem harsh and all but the most obsessive of the originality police likely would settle on "clone", "replica" or "recreation". One thing
that tends to set the factory’s original G63 6x6’s apart from most of the
after-market conversions is the latter tend to use the standard G63’s axles
while the former were built with more expensive portal axels. Portal axles include at each wheel hub an off-set
gearbox, raising the axle tube above the wheel centre-line, increasing the ground
clearance under the differentials (vulnerable to damage in extreme conditions)
without incurring the disadvantages (higher centre of gravity, additional structural
stress) induced by conventional suspension-lift techniques. Portal axles provide also built-in gear
reduction, reducing stress on drive-trains and off-setting power losses if
larger tyres are fitted. Because of what
they do internally, there are also weight-saving benefits because with the “twisting
effect” on axle shafts and CV (constant-velocity) joints reduced, components
need not be so heavy. While not a simple
installation, portal axles also allow the suspension’s original geometry to be
maintained, even if larger wheels and tyres are used. However, for everything one does there’s a
price to be paid and in engineering that’s expressed as “trade-offs”, the
advantages gained by the use of portal axles accompanied by the drawbacks of
increased complexity and higher maintenance, each unit requiring regular
oil-changes.

Walmart chic for a half-million-odd US$.
In
places like Turin or Cannes, there wouldn’t have been many who thought Chrysler’s
RAM TRX was “too small” but Texas-based operation Hennessey knew there was in
the US sufficient demand to schedule an annual production of 12 Mammoth 1000
6×6 TRX trucks, the base price listed at US$449,950 (before options). Rated at 1,012 HP and measuring some 23½ feet
(7.2 metres) end-to-end, in addition to the usual specifications sheet, the company
provided a succinct explanatory paragraph: “Everything we do at Hennessey Performance is turned up to
11, but the Mammoth 1000 6×6 is definitely turned up to 12! Everything on the Mammoth 6×6 is bigger,
badder, and more imposing – plus, it’s still super-fast, while being a total
powerhouse off-road. It’s the undisputed king of the road.”
Amusingly whether or not fitted with the portal axles making them more suited to use off-road, most of the G63 6x6s were bought not for their rough terrain capabilities but as status symbols, few drivers ever venturing far from the smooth surfaces of urban life that, paradoxically, proved their native environment. Additionally, the fate of many seems to be as "collectables" carefully to be stored in a climate-controlled garage, awaiting the next venture onto the auction circuit, owners hoping to "flip" their investment for a profit. Because all that can be guaranteed about the market is that "it will fluctuate", as might have been predicted for such a niche item, results have been mixed. The concept is though a niche with obvious appeal because in the US a number of suppliers have entered the market to offer similar three-axle conversions on the platforms of the big Chevrolet, Ford and RAM pick-up trucks; impressionistically, most of these also seem to have been purchased for urban use and although their sheer size would seem to mitigate against use in cities, in the US the size differential between them and much else of what's on the roads is not so stark as in other places and for those who really do value functionality, their load-carrying and towing capabilities would be appreciated. Additionally, among the MAGA (Make America Great Again) crew, such machines have become political statements; that's an abstract kind of functionally.

Ferrari GTO production numbers 1961-1964. The most fastidious insist only what happened in 1962-1963 counts and there are thus 36 Ferrari 250 GTOs.
There
are however fake cars and they're considered bogus if represented as a factory original but are really a modified version of something else. Even
if a functionally exact copy indistinguishable from what the factory did, without disclosure that’s fake because it's not "authentic" yet exactly the same
machine modified in the same way is instead a “clone”, “tribute”, “recreation” or “replica”
if represented as such; it's all in the transparency of the disclosure. Clone,
recreation & replica do imply a exact copy but some leeway does seem to be
granted given mechanical exactitude is sometimes simply not possible. A vehicle substantially a replica of
something but includes modifications to improve safety, performance or some
other aspect of the dynamics is usually styled a “tribute” or “restomod” (a portmanteau word, the construct being resto(red) + mod(ified)). The improvements can be transformative and,
in certain cases, increase value but in others, the changes might detract. Whether clone, replica or tribute, if
what’s being referenced is something rare and desirable, the difference in
value can be a factor of more than fifty-fold.
Originality can trump improvement. The
differential exists even if what’s created is for all practical purposes an exact
a copy of something such as the various replications (the best word) of 1930s
Bugattis, Mercedes-Benz and such by Pur Sang of Argentina. While a common approach by those making “replicas”
of things like the Ferrari 250 GTO is to take the chassis and drive-train of a
mechanically similar but less valuable Ferrari of the era and “modify as required”,
what Pur Sang does is, with exquisite attention detail, craft just about every
part from scratch. Nuts & bolts they
buy “off the shelf” but not much else.
The result is extraordinary and, for what one gets, their prices seem
reasonable.

As an extreme example there is the fabled Ferrari 250
GTO, of which usually it's accepted 36 were built although those prepared to cast the definitional net a little further claim there were 41: (2 x (1961) prototypes; 32 x (1962–63) Series I 250 GTO; 3 x (1962–1963)
“330 GTO”; 1 x (1963) 250 GTO with LM Berlinetta-style body & 3 x (1964)
Series II 250 GTO). The GTOs in the hands of collectors command
extraordinary prices, chassis 4153GT in June 2018 realizing US$70 million in a
private sale whereas an
immaculately crafted replica of a 1962 version by Tempero (New Zealand) was listed for sale at US$1.3 million (no NFT required). The Tempero cars are acknowledged to be better built than any original GTO although that is damning with faint praise, those who restore pre-modern Ferraris wryly noting that while the tough drive-trains were built with exquisite care, the assembly of the coachwork could verge on "shoddy". Indeed, when the head of one restoration company was asked if a vintage Ferrari exactly could be replicated the answer was it was doubtful "...because none of our staff can weld that badly.", Even less exalted machinery, though
actually more rare still, like the 1971 Plymouth Hemi Cuda convertible (only 12 of which were built) also illustrate the
difference for there are now considerably
more clones / replicas / recreations etc than ever there were originals with the price difference typically a factor of ten or more.