Frock

Frock (pronounced frok)

(1) A gown or dress worn by a female, consisting of a skirt and a cover for the upper body.

(2) A loose outer garment worn by peasants and workers; a smock.

(3) A coarse outer garment with large sleeves, worn by monks in some religious orders; a habit.

(4) In naval use, a sailor's jersey.

(5) In military use, an undress regimental coat (now less common).

(6) To clothe (somebody) in a frock.

(7) To make (somebody) a cleric (to invest with priestly or clerical office).

(8) In US military use, to grant to an officer the right to the title and uniform of a rank before the formal appointment is conferred.

1300–1350: From the Middle English frok, frokke and froke and twelfth century Old French froc (a monk’s habit; clothing, dress), from the Frankish hrok and thought probably related to the Old Saxon and Old High German hroc (mantle, coat) which appears to have spawned the Old Norse rokkr, the Old English rocc, and Old Frisian rokk.  Most etymologists seem to think it’s most likely all ultimately derived from the primitive rug or krek (to spin or weave); the alternative view suggests a link with the Medieval Latin hrocus, roccus and rocus (all of which described types of coats) which they speculate was the source of the Old French from, again from the Old Frankish hroc and hrok (skirt, dress, robe), from the Proto-Germanic hrukkaz (robe, jacket, skirt, tunic).  That does seem at least plausible given the existence of the Old High German hroch and roch (skirt, dress, cowl), the German rock (skirt, coat), the Saterland Frisian Rok (skirt), the Dutch rok (skirt, petticoat), the Old English rocc (an over-garment, tunic, rochet), the Old Norse rokkr (skirt, jacket) and Danish rok (garment).  Another alternative (more speculative still) traces it from the Medieval Latin floccus, from the Classical Latin floccus (flock of wool).  The meaning "outer garment for women or children" was from the 1530s while frock-coat (also as frock-cost & frockcoat) dates from the 1820s, the garment itself fading from fashion a century later although revivals have been attempted every few decades, aimed at a rather dandified market ignored by most.  Frock & frocking are nouns & verbs, frocked is a verb and frockless, frocklike & frockish are adjectives; the noun plural is frocks.

Frocks and Brass Hats

The phrase “frocks and brass hats” was coined in the years immediately following World War I (1914—1918) in reaction to the large volume of memoirs, autobiographies and histories published by some of the leading politicians and military leaders involved in the conflict, the phrase derived from (1) the almost universal habit of statesmen of the age wearing frock coats and (2) the hats of senior military personnel being adorned with gold braid, emulating the physical polished brass of earlier times.  Many of the books were polemics, the soldiers and politicians writing critiques of the wartime conduct of each other.  Politicians no longer wear frock coats and although some of the hats of military top brass still feature a bit of braid, it’s now less often seen.  However, the term persists although of late, academics studying institutional conflict in government have extended it to “frock coats, mandarins and brass hats”, reflecting the increase in importance of the part played by public servants, especially the military bureaucracy, in such matters.  So structurally, the internecine squabbles within the creature of the state have changed, the most obvious causes the twin threads of (1) the politicization of the upper reaches of the public service and (2) the creation of so many organs of government as corporate entities which enable the frocks (the politicians) to distance themselves from unpalatable policies and decisions by asserting (when it suits them), the “independence” of such bodies.  Of course, such functionaries will find their “independence” counts for little if the frocks start to feel the heat; then brutally the axe will fall, just as it did on some of the Great War generals.

Men in frock coats: The “Big Four” at the Paris Peace Conference (1919-1920), outside the Foreign Ministry headquarters, Quai d'Orsay, Paris.  Left to right: David Lloyd George (1863–1945; UK prime-minister 1916-1922), Vittorio Orlando (1860–1952; Italian prime minister 1917-1919), Georges Clemenceau (1841–1929; French prime minister 1906-1909 & 1917-1920) and Woodrow Wilson (1856–1924; US president 1913-1921).

At the time, nothing quite like or on the scale of the Paris Peace Conference had ever been staged.  Only Orlando anticipated the future of fashion by preferring a lounge suit to a frock coat but he would be disappointed by the outcome of the conference, leaving early and to his dying day content his signature never appeared on the treaty’s final declaration, a document he regarded as flawed.  Not even John Kennedy (JFK, 1917–1963; US president 1961-1963) or Barack Obama (b 1961; US president 2009-2017) on their tours of European capitals received anything like the adulation Wilson enjoyed when he arrived in Paris in 1919.  His successors however were there more as pop-culture figures whereas Wilson was seen a harbinger of a "lasting peace", a thing of much significance to the French after four years of slaughter.  Ultimately Wilson's hopes would be dashed (in the US Senate as well as at the Quai d'Orsay's conference table) although, historians will likely continue to conclude his Nobel Peace Prize (1919) was more deserved than the one awarded to Obama (apparently on the basis he wasn't George W Bush (George XLIII, b 1946; US president 2001-2009)).  Lloyd George's ambitions in 1919 were more tempered by realism and he too regarded the terms of final document as a mistake, prophesying that because of the punitive terms imposed on the defeated Germany: “We shall have to fight another war again in 25 years' time.”  In that, he was correct, even if the expected wait was a little optimistic.  Only Clemenceau had reasons to be satisfied with what was achieved although, has his instincts been allowed to prevail, the terms of the Treaty of Versailles (1920) would have been more onerous still.  It was the Englishman Eric Geddes (1875–1937; First Lord of the Admiralty (the civilian head of the Royal Navy) 1917-1919) who coined the phrase "...squeeze the German lemon until the pips squeak." but it's doubtful that sentiment was ever far from Clemenceau's thoughts.

Lindsay Lohan in a nice frock.  V Magazine Black & White Ball, New York City, September 2011.

In idiomatic use, “frock” has proved as serviceable as the garment.  A “frock flick” is a film or television production noted for the elaborate costuming and most associated with costume dramas (typically sixteenth-nineteenth centuries) in which the frocks of the rich are depicted as big & extravagant.  To “frock up” is used by young women to describe “dressing-up” for some event or occasion and in the (male) gay community to refer either to much the same thing or cross-dressing.  A “cock in a frock” (“cocks in frocks” the collective) is a type of trans-woman (one without the relevant medical modification) and what used to be called a transvestite (a once technical term from psychiatry now (like “tranny”) thought derogatory except in historic use).  A “smock frock” was a garment of coarse, durable material which was worn over other clothing and most associated with agricultural and process workers (and usually referred to either as “smock” or “frock”.  In fashion there’s the “sun frock” (one of lightweight material which exposes more than the usual surface area of skin, often in a strappy or strapless style.  A “housefrock” was a piece of everyday wear form women which was self-explanatory: a simple, practical frock to be worn “around the house” and well suited to wear while performing “housework”.  “Underfrock” was a now archaic term for a slip or petticoat.  The A coat with long skirts, worn by men, now only on formal occasions.  The “frock coat” (also listed by some as the “Prince Albert coat”) is characterized by a knee-length skirt cut all around the base, ending just above the knee.  Among the middle & upper classes, it was popular during the Victorian and Edwardian eras (1830s–1910s) although they were widely into the 1920s.  Although some fashion houses may have had lines with detail differences, there was really no difference between a “cocktail dress” and a “cocktail frock” except the latter seems now to be used only humorously.

Variations on the theme of the cocktail dress: Lindsay Lohan in vintage Herve Leger at Arrivals For Cartier’s Declare Your Love Day VIP cocktail reception, Cartier Store, New York, June 2006 (left) and in black Dion Lee cocktail dress with illusion panels and an off-the-shoulder silhouette, January 2013 (right).

A cocktail dress does however differ from a cocktail gown because they straddle the gap between daywear and ball gowns.  Intended to be worn at formal or semi-formal occasions (classically of course, the “cocktail party”) including wedding receptions or dinner parties, they’re typically shorter in length than a gown, the hemline falling somewhere between just above the knee to mid-calf.  There’s no exact template for a cocktail dress but they should be identifiable by their simplicity and elegance, thus the utility of their versatility.  While not exactly post-modern, they appear in many fabrics and just about any style including empire, bandage, A-line or sack, featuring a range of necklines, sleeve lengths, and embellishments.  Historically, befitting the sophistication once associated with the cocktail party, the dresses were characterized by modesty and severity of line, the classic motif the tailored silhouette, relatively uncluttered by details.  Vogue magazine labeled the accessories (shoes, jewelery, a clutch and sometimes a wrap) the “cocktail dress ensemble” but in recent decades there’s been a rise in stylistic promiscuity and some discordant elements have intruded.

Men of the frock: Cardinal George Pell (1941-2023; left) and Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022; right) at an inter-faith meeting in Sydney, Australia, July 2008.

A “man of the frock” is a clergyman of some description (almost always of some Christian denomination) and the apparent anomaly of nuns never being described as “women of the frock” (despite always wearing something at least frock-like) is explained presumably by all women once being assumed to wear frocks.  To “defrock” (literally “to divest of a frock”) is in figurative use used widely to mean “formally to remove the rights and authority of a member of the clergy” and by extension this is casually applied also to “struck-off” physicians, lawyers etc.  “Disfrock” & “unfrock” are used as synonyms of “defrock” but none actually appear in Roman Catholic canon law, the correct term being “laicization” (ie “returned to the laity).  Despite the popular impression, the Vatican has revealed most acts of laicization are pursuant to the request of the priest and performed because they feel, for whatever reason, unable to continue in holy orders (ex priests marrying ex-nuns a thing and there must be some theological debate around whether they’ve been “brought together by God” or “tempted by the Devil”).  Defrock dates from the 1580s in the sense of “deprive of priestly garb” and was from the fifteenth century French défroquer, the construct being from de- (used her as a negative prefix) + froque (frock) and familiar also as the verb “defrocked”.  The modern English verb “frock” (supply with a frock) seems to have come into use only in the 1820s and was either a back-formation from defrock or an evolution from the noun.  The verb was picked up by the military and “to frock” is used also as a jocular form of “to dress”.

Defrock

Defrock (pronounced dee-frok)

(1) To remove a frock.

(2) To deprive a person in holy orders of ecclesiastical status.

(3) As informal slang (by extension), formally to remove the rights and authority of someone, eg a medical practitioner or lawyer.

1575-1585: From the fifteenth century French défroquer (unfrock), the construct being dé (partially inherited from the Old and Middle French des, inherited from the Classical Latin dis (apart), the ultimate root being the primitive Indo-European dwís, and partially borrowed from the Latin dē (from), in some cases + froc (from the Middle French frocq (cloth made of coarse wool), from the Old French froc (compare Late Latin hroccus (frock)) from the Frankish hrokk (robe, tunic), from the Proto-Germanic hrukkaz (robe, garment, cowl), a variant of rukkaz (upper garment, smock, shirt), from the primitive Indo-European rug (upper clothes, shirt) which was cognate with the Old High German hroch & roc (tunic, smock, jersey) (German rock), the Old Saxon rok (mantle, jacket), and the Old English rocc (over-garment, jacket).  Defrock has become so associated with the mechanism used to deal with sinful priests that (unless with irony) it shouldn't be used to mean "removing one's dress", the companion terms disfrock & unfrock both available although neither are exactly elegant.  Defrock & defrocked are verbs and defrocking is a noun & verb; the noun plural is defrockings (a word the Vatican had had to read much in recent years).

For literalists: Lindsay Lohan frocked-up (left) at the Venice Film Festival, September 2006 (left) and defrocked (right) for photo-shoot by photographer & director Indrani Pal-Chaudhuri (b 1983), October 2010. 

Laicization

Defrocking, sometimes called unfrocking (there’s nothing in the etymological record to suggest de-frock or un-frock has ever had currency) is the act of denying an ordained member of the clergy the right to practice ministry.  The procedure differs between Christian denominations (although, for technical reasons, is rare and often impossible in Anglicanism) and is most often applied to the Roman Catholic Church although, as a point of law, it does not overturn ordination.  Although the term defrock is widely used to describe the process whereby members of the Catholic Church clergy are dismissed from the clerical state, the term doesn’t exist in canon law and is never used by the Vatican, clerical expulsion instead known as laicization.  Unlike the more common suspension, which can be reversed upon repentance, laicization is a permanent and final measure although it’s not always imposed as a punishment (Latin: ad poenam) and may granted at the request of a priest (Latin: pro gratia).  Although criticized for not having done enough during his pontificate to ensure sinful priests were defrocked, regulations authorized by Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) in 2009 did simplify the process which, unchanged for centuries, could take more than a decade.

Guilty as sin:  Former Roman Catholic Cardinal Theodore McCarrick (b 1930).  Ordained in 1958, he was first appointed bishop in 1977 and created cardinal in 2001.  Accused of long-term sexual misconduct towards boys and seminarians, after being retired from the ministry in 2018 he was defrocked (laicized) in 2019.

The defrocking by the Holy See followed McCarrick’s trial before the Inquisition (then called The Congregation for the Doctrine of the Faith (CDF)) in which he was found guilty of "solicitation in the Sacrament of Confession, and sins against the Sixth Commandment with minors and with adults, with the aggravating factor of the abuse of power".  The Inquisition rejected an appeal against the judgement and sent the papers to the pope, who, as the Holy See’s chief magistrate, certified the verdict as res iudicata (no further appeal possible).   One curiosity of canon law is that ordination cannot be excised so McCarrick remains a priest but is barred from performing any priestly duties except in one exceptional case: he may administer the last rites to the dying if no other priest is available.  Criminal charges were laid but the defrocked priest began to suffer the "significant" and "rapidly worsening" cognitive decline which seems to afflict so many priests charged with sexual offences and after a state-appointed forensic psychologist reported "deficits of his memory and ability to retain information", in late 2023 a court ruled that McCarrick was mentally incompetent to stand trial.

Surplus

Surplus (pronounced sur-pluhs)

(1) Something that remains above what is used or needed.

(2) In agricultural economics, produce or a quantity of food grown by a nation or area in excess of its needs, especially such a quantity of food purchased and stored by a governmental program of guaranteeing farmers a specific price for certain crops.

(3) In accounting, the excess of assets over liabilities accumulated throughout the existence of a business, excepting assets against which stock certificates have been issued; excess of net worth over capital-stock value.

(4) In public finance, an excess of government revenues over expenditures during a certain financial year.

(5) In international trade, an excess of receipts over payments on the balance of payments.

(6) In economic theory, an unsold quantity of a good resulting from a lack of equilibrium in a market.  For example, if a price is artificially high, sellers will bring more goods to the market than buyers will be willing to buy.  In classical economics, the opposite of shortage.

(7) In Chancery law (and its successor courts), the remainder of a fund appropriated for a particular purpose.

1325–1375: From the Middle English surplus, from the Old French sorplus (remainder, extra), from the Medieval Latin superplūs (excess, surplus), the construct being super (over) + plūs (more).  Surplus in Italian is a borrowing from modern French where surplus has existed since the twelfth century.  In English, surplus has been used as an adjective since the fourteenth century.  Enjoying the same pronunciation, surplice and surplus are often confused.  A surplice is a liturgical vestment of the Christian Church, usually styled as a tunic of white linen or cotton material, with wide sleeves and often some lace embellishment or embroidered edges.  Lengths vary; in medieval times it reached almost to the ground but tends now to be shorter; some still retain the longer garments for the ceremonial.  As surplis, it was a thirteenth century Middle-English borrowing from the Anglo-French surpliz, a syncopated variant of Old French surpeliz, derived from the Medieval Latin superpellīcium (vestīmentum) over-pelt (garment), neuter of superpellīcius.  Construct was super (over) + pellīt(us) (clothed with skins or fur) + -ius (the adjectival suffix).  A clerical surplice is thus a kind of frock; a clerical surplus means too many priests.

Surplus Repression

German-American Herbert Marcuse (1898–1979) was a sociologist and philosopher, highly influential in the mid-late twentieth century.  Even today, Marcuse enjoys a cult following.

A critique of capitalism’s culture and economic arrangements, Marcuse's book Eros and Civilization (1655) drew, inter alia, from Karl Marx (1818-1883) and Sigmund Freud (1856-1939) and described an alternative structure for society.  He didn’t reject Freud’s idea that repression of mans’ instinctive desires was necessary for civilization to endure but Marcuse distinguished between basic (or necessary) repression and surplus repression, detailing the differences between the biological vicissitudes of the instincts and the socially imposed.  His construct was that basic repression is that which man suppresses to permit peaceful societies to form; a repression or modification of the instincts being necessary “…for the perpetuation of the human race in civilization.”  Surplus repression meant those “…restrictions necessitated by [the] social domination” of the particular ruling-class or hegemony.  The purpose of surplus repression was to shape the instincts of individuals to conform to the requirements of modern capitalism, a surrender to what Marcuse called the “performance principle”, a construct building on Marx’s theories of alienation and surplus value.

Lindsay Lohan and her lawyer in court, Los Angeles, 2011.

Marcuse's writing did have the attraction of being more accessible than that of Marx or Freud (and certainly that of many neo-Marxists or Freudians) but that also meant it was easier for critics to cherry pick the points they found most objectionable.  For an explanation of why society need to be organized the way it was, conservatives seemed to prefer the rationalization of the "harsh but deliciously clever" English philosopher Thomas Hobbes (1588–1679) best known for his book Leviathan (1651) in which appeared the memorable passage describing the life of man in a world where there existed no restraining authorities forcing people to repress their worst instincts:

In such condition, there is no place for industry; because the fruit thereof is uncertain: and consequently no culture of the earth; no navigation, nor use of the commodities that may be imported by sea; no commodious building; no instruments of moving, and removing, such things as require much force; no knowledge of the face of the earth; no account of time; no arts; no letters; no society; and which is worst of all, continual fear, and danger of violent death; and the life of man, solitary, poor, nasty, brutish, and short.

Such a culture Hobbes called the "state of nature" by which he meant not an environmentally sustainable hippie commune but a place in which there was bellum omnium contra omnes (war of all against all) and murder went unpunished except by another murder.  Although the distinction is now an unfashionable one to draw, conservatives liked the way Hobbes seemed to know not all cultures were civilizations and that a little surplus repression was a small price to pay for for its benefits.  Hobbes lived through troubled times and his views on the importance of stable, strong governance should be understood as the writings of one who had seen what the alternative looks like but as a list of exculpatory bullet-points, it's something which can be ticked off by by the Ayatollahs in Tehran or the Chinese Communist Party.  Marcuse is not so transportable.

Sometimes, it really was read for the articles.  Michael G Horowitz's profile of Marcuse was published in the September 1970 edition of Playboy.

Marcuse’s work was acknowledged as a landmark in the synthetization of Marxist and psychoanalytic theories but was criticized for being just another of the utopian visions written of since antiquity, work cut adrift from the moorings of the political reality which seemed in the 1960s more urgently to demand attention.  Marcuse acknowledged the distance of his work from reality and conceded his theories could reach actualization only by revolution or gradual infiltration of the structures of the power-elite and, after the disappointments of the moments in 1968 when revolution fleeting was in the air, he preferred the latter.  German student activist Rudi Dutschke (1940–1979) had advocated a "…march through the institutions of power", radically to change society from within government and cultural institutions by becoming part of the machinery and structures under which capitalism operated.  This too owed a debt to the theories of hegemony and Marcuse wrote to Dutschke in 1971 saying he “regarded your notion of the "march through the institutions" as the only effective way.”  It all failed.  It was the highly unusual coincidence of circumstances in the post war (1948-1973) Western world which briefly in 1968 made the system seem internally vulnerable and the hegemony learned the lesson: they would control who manned the institutions that matter and the troublemakers could march through things like theatre trusts, literary festivals and art gallery committees.

Shemozzle

Shemozzle (pronounced sch-moz-il)

(1) In slang, a state of chaos or confusion (especially if noisy); an uproar.

(2) In slang, a quarrel (especially if noisy).

(3) In slang, to run away; to flee; to scarper (rare).

Late 1800s (in English and some sources cite 1889 as the first known instance of use): From the Yiddish שלימזל (shlimazl) (bad luck; difficulty; misfortune), the construct being shlim (bad, ill), from the Middle High German slimp (awry, not right) + the Hebrew מַזָּל (mazzāl), from the Late Hebrew mazāl (luck, fate, (one’s) star) and cognate with the US English schlimazel (an unlucky person).  There are many variations of the German joke (such things really exist, even in Prussia) to explain the related nouns shlemiel & shimazl but all are in the flavor of: “A shlemiel is the fellow who climbs to the top of a ladder with a bucket of paint and then drops it and a shimazl is the fellow on whose head the bucket falls.”  The colloquial German noun Schlamassel (plural Schlamassel) (trouble, difficult situation, misfortune) was from the same Yiddish source.  The gender of Schlamassel is usually masculine in Germany except in the southern state of Bavaria where, like the neighboring Austria it can also be neuter, this prevalent in the latter.  Because from the ninth century Yiddish evolved from its West-Germanic origins as a vernacular tongue which a number of forks & parallel streams in Europe, the Middle East and North America before being (sort of) standardized in the mid-twentieth century in “Western” and “Eastern” variants, many words spread by oral use and the a variety of spellings was not unusual and other spellings of shemozzle included: chemozzle, chermozzle, chimozzle, schemozzle, schimozzle, schlemozzle, schmozzle, shamozzle, shimozzel, shimozzle, shlemozel & shlemozzle.  The modern alternative spelling is schmozzle.  Schmozzle is a noun & verb and shemozzled & shemozzling are verbs; the noun plural is schmozzles (which is sometimes used also as a singular).  In humorous use, shemozzle is used also as a collective noun.

Because there’s rarely been reluctance by English-speakers to adopt words from other languages if they’re useful, better than what’s in use or just an attractive alternative, there no compelling reason to use shemozzle because there are so many other words and phrases to describe states of noisy chaos or confusion.  Obvious candidates include frenzy, mess, fiasco, snafu, chaos, clusterfuck (often sanitized as the clipped “cluster”), commotion, hubbub, kerfuffle, débacle, disarray, confusion, turmoil, ado, affray, altercation, argument, battle, bickering, brawl, brouhaha, bust-up, bustle, clash, combat, commotion, competition, conflict, contention, controversy, debate, discord, dispute, muddle, dissension, disturbance, dustup, fracas, quarrel, row, ruction, scandal, strife, struggle, tiff, tumult, uproar, wrangle, disorganized, disorder, mayhem, pandemonium, uproar, havoc & bedlam.  That the list is long suggests shemozzles are a significant and not infrequent feature of human interaction and the choice of which to use is one of nuance, the connotation one wishes, some of the words emphasizing the chaos, some the conflict.  Shemozzle is an attractive choice because (1) most know what it means, (2) it’s not commonly heard so has some novelty value and (3) it's a "fun" word to say.

A media shemozzle snapping Lindsay Lohan walking into LA Superior Court, Los Angeles, February 2011.

A shemozzle can be used to illustrate chaos theory, a conceptual model of the phenomenon of an event’s ultimate trigger being something distant and apparently unconnected with its consequences.  Physicists illustrate the idea by speculating that waving one’s hands in the air might, some billions of years hence, alter the Earth’s speed of rotation and the most commonly quoted thought experiment is the metaphor for the behavior: “Can a butterfly flapping its wings in Brazil cause a tornado in Texas?”  It’s an intriguing topic for those building big-machine models which can both explore and reveal patterns in what was once thought randomness.

The shemozzle of reporters and photographers clustered when Lindsay Lohan in February 2011 walked to one of the well-publicized (and not infrequent) court appearances of her “troubled Hollywood starlet” phase wasn’t unexpected and nor would she have found it an unfamiliar environment, the yellow & black plastic “Police Line: DO NOT CROSS” tape strung between the bollards vaguely reminiscent of the velvet rope & stanchions which define the limits for photographers at red-carpet events.  What was unpredicted was the almost immediate effect in commerce, the white Kimberly Ovitz (b 1983) Glavis Albino bandage dress from the houses pre-fall collection reported as “sold out worldwide” within hours of the images appearing on-line, a reasonable achievement for a piece listed at US$575 made in a run of a few hundred.

The matter before the court raised no novel legal points and thus attracted little analysis but the re-purposing of the walk to the arraignment as an impromptu catwalk strut triggered a shemozzle of its own as women around the world clamoured to buy their own Glavis Albino and media companies sought comment from Kimberly Ovitz, anxious to learn if the appearance was some sort of “sponsored promotion”.  A representative from the company was soon quoted as saying “Kimberly had no role in Lindsay Lohan wearing the dress” which Ms Lohan had purchased.  Apparently disappointed, the journalists resorted to dutifully noting her “signature Chanel 5182 sunglasses.”

Ms Lohan that evening tweeted: “What I wear to court shouldn’t be front page news. It’s just absurd” although her choice of wardrobe for subsequent court appearances hinted she may have concluded absurdity has its place and at Kimberley Ovitz’s corporate headquarters the reaction was equally pragmatic, the company offering retailers a “re-cut” (the industry term for a second production run, a la a “second printing” in the publishing world) of the Glavis Albino in response to the phones “ringing off the hook”.  “It’s been a frenzy!” CBS News quoted an Ovitz sales associate as saying.  So that’s a case study in how the choice should be made: A rabble of photographers milling behind the bollards while shouting questions is “a shemozzle” while desperate fashionistas and boutiques besieging a designer for a frock is “a frenzy”.  Now we know.

Accouterment

Accouterment (pronounced uh-koo-ter-muhnt or uh-koo-truh-muhnt)

(1) A clothing accessory or a piece of equipment regarded as an accessory (sometimes essential, sometimes not, depending on context).

(2) In military jargon, a piece of equipment carried by a soldier, excluding weapons and items of uniform.

(3) By extension, an identifying yet superficial characteristic; a characteristic feature, object, or sign associated with a particular niche, role, situation etc.

(4) The act of accoutering; furnishing (archaic since Middle English).

1540-1550: From the Middle French accoutrement & accoustrement, from accoustrer, from the Old French acostrer (arrange, sew up).  As in English, in French, the noun accoutrement was used usually in the plural (accoutrements) in the sense of “personal clothing and equipment”, from accoustrement, from accoustrer, from the Old French acostrer (arrange, dispose, put on (clothing); sew up).  In French, the word was used in a derogatory way to refer to “over-elaborate clothing” but was used neutrally in the kitchen, chefs using the word of additions to food which enhanced the flavor.  The verb accouter (also accoutre) (to dress or equip" (especially in military uniforms and other gear), was from the French acoutrer, from the thirteenth century acostrer (arrange, dispose, put on (clothing)), from the Vulgar Latin accosturare (to sew together, sew up), the construct being ad- (to) + consutura (a sewing together), from consutus, past participle of consuere (to sew together), the construct being con- + suere (to sew), from the primitive Indo-European root syu- (to bind, sew).  The Latin prefix con- was from the preposition cum (with), from the Old Latin com, from the Proto-Italic kom, from the primitive Indo- European ḱóm (next to, at, with, along).  It was cognate with the Proto-Germanic ga- (co-), the Proto-Slavic sъ(n) (with) and the Proto-Germanic hansō.  It was used with certain words to add a notion similar to those conveyed by with, together, or joint or with certain words to intensify their meaning.  The synonyms include equipment, gear, trappings & accessory.  The spelling accoutrement (accoutrements the plural) remains common in the UK and much of the English-speaking world which emerged from the old British Empire; the spelling in North America universally is accouterement.  The English spelling reflects the French pronunciation used in the sixteenth century.  Accouterment is a noun; the noun plural (by far the most commonly used form) is accouterments.

In the military, the equipment supplied to (and at different times variously worn or carried by) personnel tends to be divided into "materiel" and "accouterments".  Between countries, at the margins, there are differences in classification but as a general principle:  Materiel: The core equipment, supplies, vehicles, platforms etc used by a military force to conduct its operations.  This definition casts a wide vista and covers everything from a bayonet to an inter-continental ballistic missile (ICBM), from motorcycles to tanks and from radio equipment to medical supplies.  Essentially, in the military, “materiel” is used broadly to describe tangible assets and resources used in the core business of war.  Accouterments: These are the items or accessories associated with a specific activity or role.  Is some cases, an item classified as an accouterment could with some justification be called materiel and there is often a tradition associated with the classification.  In the context of clothing for example, the basic uniform is materiel whereas things like belts, holsters, webbing and pouches are accouterments, even though the existence of these pieces is essential to the efficient operation of weapons which are certainly materiel.

The My Scene Goes Hollywood Lindsay Lohan Doll was supplied with a range of accessories and accouterments.  Items like sunglasses, handbags, shoes & boots, earrings, necklaces, bracelets and the faux fur "mullet" frock-coat were probably accessories.  The director's chair, laptop, popcorn, magazines, DVD, makeup case, stanchions (with faux velvet rope) and such were probably accouterments.

In the fashion business, one perhaps might be able to create the criteria by which it could be decided whether a certain item should be classified as “an accessory” or “an “accouterment” but it seems a significantly pointless exercise and were one to reverse the index, a list of accessories would likely be as convincing as a list of accouterments.  Perhaps the most plausible distinction would be to suggest accessories are items added to an outfit to enhance or complete the look (jewelry, handbags, scarves, hats, sunglasses, belts etc) while accouterments are something thematically related but in some way separate; while one might choose the same accessories for an outfit regardless of the event to be attended, the choice of accouterments might be event-specific.  So, the same scarf might be worn because it works so well with the dress but the binoculars would be added only if going to the races, the former an accessory to the outfit, the latter an accouterment for a day at the track.  That seems as close as possible to a working definition but many will continue to use the terms interchangeably.

Tiger

Tiger (pronounced tahy-ger)

(1) A large, carnivorous, tawny-colored and black-striped feline, Panthera tigris, of Asia, ranging in several subspecies from India and the Malay Peninsula to Siberia.

(2) In non-technical use, the cougar, jaguar, thylacine, or other animal resembling the tiger (in wide use in southern Africa of leopards).

(3) A person of some fierceness, noted for courage or a ferocious, bloodthirsty and audacious person.

(4) In heraldry, a representation of a large mythological cat, used on a coat of arms, often with the spelling tyger or tygre (to distinguish the mythological beast from the natural tiger (also blazoned Bengal tiger), also used in heraldry).

(5) A pneumatic box or pan used in refining sugar.

(6) Any of several strong, voracious fishes, as a sand shark.

(7) Any of numerous animals with stripes similar to a tiger's.

(8) A servant in livery who rides with his master or mistress, especially a page or groom (archaic).

(9) In entomology & historic aviation, a clipping of tiger moth (in the family Arctiidae), tiger beetle or tiger butterfly (in tribe Danaini, especially subtribe Danaina).

(10) Any of the three Australian species of black-and-yellow striped dragonflies of the genus Ictinogomphus.

(11) In US, slang, someone noted for their athleticism or endurance during sexual intercourse.

(12) In southern African slang, a ten-rand note.

(13) As TIGR (pronounced as for “tiger”), the abbreviation for Treasury Investment Growth Receipts: a bond denominated in dollars and linked to US treasury bonds, the yield on which is taxed in the UK as income when it is cashed or redeemed.

Pre 1000: From the Middle English tygre & tigre, from the Old English tīgras (plural) and the Anglo-Norman tigre (plural), from the Latin tīgris, from the Ancient Greek τίγρις (tígris), from an Iranian source akin to the Old Persian tigra- (sharp, pointed) and related to the Avestan tighri & tigri (arrow) and tiγra (pointed), the reference being to the big cats “springing” on to their prey but the Oxford English Dictionary (OED) notes no application of either word (or any derivative) to the tiger is known in Zend.  It was used of “tiger-like” people since the early sixteenth century and that could be complementary or pejorative although the female form (tigress) seems only to have been used in zoology since the 1610s and was never applied to women.  The tiger's-eye (yellowish-brown quartz) was first documented in 1886.  The word “liger”, like the creature it described, was a forced mating of lion and tiger.  As a modifier, tiger is widely used including the forms: American tiger, Amur tiger, Asian Tiger, Mexican tiger, Siberian tiger, tiger barb, tiger beetle, tiger bench, tiger-lily, tiger lily, tiger's eye, tiger shark & tiger's milk.  A female tiger is a tigeress.  The alternative spellings tigre & tyger are both obsolete.  Tiger & tigerishness are nouns, tigerly, tigerish & tigerlike are adjectives and tigerishly is an adverb; the noun plural is tigers.

Lindsay Lohan (b 1986) atop tiger in Kult Magazine (Italy), January 2012, photograph by Vijat Mohindra (b 1985), makeup by Joyce Bonelli (b 1981).

In idiomatic use, a country said to have a “tiger economy” (rapid and sustained economic growth), especially if disproportionate to population or other conventional measures.  “Tiger parent” (and especially “tiger mother”) refers to a strict parenting style demanding academic excellence and obedience from children; it’s associated especially with East Asian societies.  The “tiger cheer” dates from 1845 and originated in Princeton University, based on the institution’s mascot and involved the cheerleaders calling out "Tiger" at the end of a cheer accompanied by a jump or outstretched arms.  Beyond Princeton, a “tiger cheer” is any “shriek or howl at the end of a cheer”.  The phrase "paper tiger" was apparently first used by comrade Chairman Mao Zedong (1893–1976; chairman of the Chinese Communist Party (CCP) 1949-1976) when discussing his thoughts about the imperialist powers.  A calque of the Chinese 紙老虎／纸老虎 (zhǐlǎohǔ), it referred to an ostensibly fierce or powerful person, country or organisation without the ability to back up their words; imposing but ineffectual.  Phrases in the same vein include "sheep in wolf's clothing" and "a bark worse than their bite".  To be said to “have a tiger by the tail” suggests one has found one’s self in a situation (1) that has turned out to be much more difficult to control than one had expected and (2) difficult to extricate one’s self from, the idea being that while holding the tiger’s tail, things are not good but if one lets go, things will likely become much worse.

Men in frock coats: The “Big Four” at the Paris Peace Conference (1919-1920), outside the Foreign Ministry headquarters, Quai d'Orsay, Paris.  Left to right: David Lloyd George (1863–1945; UK prime-minister 1916-1922), Vittorio Orlando (1860–1952; Italian prime minister 1917-1919), Georges Clemenceau (1841–1929; French prime minister 1906-1909 & 1917-1920) and Woodrow Wilson (1856–1924; US president 1913-1921).

Georges Clemenceau (1841–1929; Prime Minister of France 1906-1909 & 1917-1920) was a physician who turned to politics via journalism, a not unfamiliar trajectory for many; at a time of national crisis, he undertook his second term as premier, providing the country’s politics with the stiffness needed to endure what was by then World War I (1914-1918); he was nick-named le tigre (the tiger) in honor of his ferociously combative political demeanour.  In February 1919, while travelling from his apartment a meeting associated with the Paris Peace Conference (1919-1920), he was shot several times, his assailant an anarchist carpenter & joiner, Émile Cottin (1896-1937) and two decades on, another leader would learn carpenters can be assassins.  Le tigre was lucky, the bullets missing his vital organs although one which passed through the ribcage ending up lodged close to his heart; too close to that vital organ to risk surgery, there it remained until his death (from unrelated causes) ten years later.  Cottin’s death sentence was later commuted to a ten year sentence and he would die in battle, serving with the anarchist Durruti Column during the early days of the Spanish Civil War.  The Tiger’s response to his survival was to observe: “We have just won the most terrible war in history, yet here is a Frenchman who misses his target six out of seven times at point-blank range.  Of course this fellow must be punished for the careless use of a dangerous weapon and for poor marksmanship. I suggest that he be locked up for eight years, with intensive training in a shooting gallery.”  In the circumstances, deploring the state of French marksmanship displayed a certain sangfroid.

The Sunbeam Tigers

Sunbeam Tiger, LSR run, Southport Beach, March 1926.

There have been three Sunbeam Tigers, the first illustrious, the second fondly remembered and the last so anti-climatic it’s all but forgotten.  The first was a dedicated racing car, built between 1923-1925 and, those being times when there was less specialization, it was used both in circuit racing and, most famously, in setting the world Land Speed Record (LSR).  Although aerodynamic by the standards of the time (the techniques of streamlining learned in World War I (1914-1918) military aviation applied), there was little innovation in the platform except for the engine, the nature of which ensured the Tiger’s place in history.  For Grand Prix events conducted for cars with a maximum displacement of 2.0 litres (122 cubic inches), Sunbeam had earlier built a two litre straight-six, the limitations imposed by the relatively small size being offset by the use of the then still novel double overhead camshafts (DOHC) which allowed both more efficient combustion chambers and much higher engine speeds, thereby increasing power.  It was a robust, reliable power-plant and when contemplating an attempt on the LSR, instead of developing anything new or using the then popular expedient of installing a big & powerful but heavy and low-revving aero engine, the engineers paired two of the blocks and heads on a single crankcase, creating a 75° 3,976 cm³ (243 cubic inch) V12.  When supercharged, power outputs as high as 312 hp (233 kW) were registered.

Sunbeam Tiger in 1990.

Deteriorating weather conditions meant there wasn’t time even to paint the bodywork before the Tiger was rushed to the banked circuit at Brooklands for testing in September 1925 where performance exceeded expectations.  Over the winter, further refinements were made including a coat of most un-British bright red paint and it was in this color (and thus nick-named “Ladybird”) it was in March 1926 taken to the flat, hard sands of Southport Beach where duly it raised the LSR mark to 152.33 mph (245.15 km/h).  That was broken within a year but the Tiger still holds the record as the smallest displacement internal combustion-engine ever to hold the LSR and a hundred-odd years on, it’s a distinction likely to be retained forever.  After the run on the beach, it returned to the circuits.  A sister car was built and named Tigress; fitted with one of the big Napier Lion W12 aero engines, it still competes in historic competition but the Tiger is now a museum piece although, 65 years on, it did have a final fling when in 1990 it made one last run and this time set a mark of 159 mph (256 km/h).

Sunbeam Alpine (1959-1668) with the original tail fins: 1961 (left) and 1963 (right).  When in late 1958 the design was approved by the Rootes board, tail fins were fashionable but the moment passed and with the release of the Series IV in 1964, they were pruned.

Although successful in competition and the manufacturer of some much admired road cars, financial stability for Sunbeam was marginal for most of the 1920s and the Great Depression of the early 1930s proved its nemesis, the bankrupt company in 1934 purchased by the Rootes Group which was attracted by Sunbeam’s production facilities and their well-regarded line of commercial chassis for bus & truck operators.  Rootes over the years used the Sunbeam name in a desultory way, the vehicles little more than “badge engineered” versions of their Hillman, Singer, Humber & Talbot lines but one aberration was the Sunbeam Alpine, a small sports car (1959-1968).  Rootes had used the Alpine name before, adopted to take advantage of the success enjoyed in the 1953 Alpine Rally but the new roadster was very different.  Although the platform was taken (unpromisingly) from a small van (noted for its robustness and reliability but little else) with the rest of the structure a mash up of components from the Rootes parts bin, as a package it worked very well and the body was modern and attractive, owing more to small Italian sports cars than the often rather agricultural British competition from MG and Triumph.  The rakish fins drew the eye (not always uncritically) but they were very much of their time, taller even than those on the Daimler SP250 released the same year.  The Alpine was also pleasingly civilized with a heater which actually worked, a soft-top which didn’t leak (at least not a much or as often as some others), external door handles and wind-up windows, none of those attributes guaranteed to exist on most of the local competition.  It was also commendably quiet, conversations possible and the radio able to be listened to even at cruising speed, then something then novel in little British roadsters.

1966 Sunbeam Tiger Mark IA.

With an engine capacity initially of 1.5 litres (91 cubic inch), the Alpine was never fast although that was hardly the point and Rootes advertising aimed at what was then known as the “ladies market”.  Slightly larger engines would improve things but the performance deficit was better addressed when in 1964, a version of the Alpine called the Tiger was released, this time with Ford’s then new 260 cubic inch (4.2 litre) “thinwall” Windsor V8, about to become well known from its use in both the Ford Mustang and Shelby’s Cobra, the latter based on a much-modified AC Ace.  The Windsor V8 was called a “thinwall” because genuinely it was small and light (by V8 standards) but even so it only just fitted in the Alpine’s engine bay and so tight was the fit that a small hatch was installed in the firewall (under the dashboard) so a mechanic could reach in to change one otherwise inaccessible spark plug.  Nevertheless, the package worked and all those who wrote test reports seemed to enjoy the Tiger, noting the effortless performance, fine brakes and (within limits) predictable handling, all in something conveniently sized.  However, even in those more tolerant times, more than one journalist observed that although the Ford V8 used was in the mildest state of tune Ford offered (the ones Carroll Shelby (1923–2012) put in the Cobra producing over 100-odd HP (75 kW) more), it was clear the classis was close to the limit of what could be deemed sensible for road use.

Despite that, in the mid 1960s there was in the US quite an appetite for cars not wholly sensible for street use and late in 1966, a revised version was released, this time with a 289 cubic inch (4.7 litre) Windsor V8 and although there had been some attention to the underpinnings, it was now obvious that while still in the low-power state Ford used in station wagons and such, the 289's increased output exceeded the capability of the chassis.  For the journalists of course, that was highly entertaining and some were prepared to forgive, one cautioning only that the Tiger:

“…doesn’t take kindly to being flung around.  It’s a car with dignity as asks to be driven that way.  That doesn’t mean slowly, necessarily, but that there’s sufficient power on tap to embarrass the incautious.  But if you treat it right, respecting it for what it is, the Tiger can offer driving pleasure of a very high order.”

In the era, there were other over-powered machines which could behave worse and those able to read between the lines would know what they were getting but there may have been some who were surprised and tellingly, the Tigers were never advertised to the “ladies market” although one pink Tiger was in 1965 given as the traditional pink prize to Playboy’s PotY (Playmate of the Year).  Presumably she enjoyed it and, now painted "resale" red, the car still exists.

Jo Collins (b 1945), 1965 PotY with her 1965 Sunbeam Tiger Mark I.  All Tigers received the pruned fins, the once raked elliptical taillights assuming a vertical aspect.

The US was a receptive market for the little hot rod and one featured in the Get Smart TV series, although it’s said for technical reasons (the V8 version not having space in the engine compartment for some of the props), a re-badged Alpine was used for some scenes, the same swap effected for the 2008 film adaptation, a V8 exhaust burble dubbed where appropriate, a trick not uncommon in film-making.  Seeking a greater presence in Europe, Chrysler had first taken a stake in the Rootes Group in 1964 and assumed full control in 1967.  Although the Tiger was a low-volume line, it was profitable and Chrysler's original intention had been to to continue production of the Tiger (by 1967 powered by the 289) but with Chrysler’s 273 cubic inch (4.4 litre) LA V8 substituted.  Unfortunately, while 4.7 Ford litres filled it to the brim, 4.4 Chrysler litres overflowed; the Windsor truly was compact.  Allowing it to remain in production until the stock of already purchased Ford engines had been exhausted, Chrysler instead changed the advertising from emphasizing the “…mighty Ford V8 power plant” to the vaguely ambiguous “…an American V-8 power train”.  Still a popular car in the collector community, so easily modified are the V8s that few survive in their original form and many have been fitted with larger Windsors, the 302 (4.9 litre) the most popular and some have persuaded even the tall-deck 351 (5.8) to fit though not without modifications.

Sunbeam Tigers: 1965 model with “Powered by Ford 260” badge (left), 1967 model with “Sunbeam V8” badge (centre) and 1965 French market model with “Alpine 260” badge (right).

It wasn’t unknown for the major US manufacturers to use components from competitors, something which happened usually either because of a technology deficit or something to do with licencing.  However, they much preferred it if what was used was hidden from view (like a transmission) so Chrysler’s reticence about advertising what had (through M&A (mergers & acquisitions) activity become one of their cars being fitted with Ford V8 was understandable.  Not only was the advertising material swiftly changed but so were the badges: “Powered by Ford 260” giving way to “Sunbeam V8” for the rest of the Tiger’s life.  Unrelated to that however was the curious case of Tigers sold in South Africa or some European markets where they were designated variously as “Alpine 260”, “Alpine 289” or “Alpine V8”.

On the silver screen.

Sunbeam Alpine 260 opposite Simca Aronde and behind Renault 16 in the Italian film Come rubare la corona d'Inghilterra (1967) by Sergio Grieco (1917–1982).  The title translates literally as “How to Steal the Crown of England” but in the English-speaking world it’s better known as Argoman the Fantastic Superman.  The film garnered mixed reviews.

The reason the “Tiger” name never made it to the largest European markets was because Panhard in France was then selling a Tigre and Messerschmitt in the FRG (Bundesrepublik Deutschland (Federal Republic of Germany; the old West Germany) 1949-1990), offered a Tiger.  Apparently on advice from Rootes’ French distributers (Société des Automobiles Simca), it was decided just to use the Alpine name and the car thus was advertised in France, Germany Austria & Switzerland variously as the “Alpine 260” or “Alpine V8”, the latter making marketing sense in countries not used to cubic inches as a measure although the imperial measure may have been used to emphasize the US connection, Detroit's V8s deservedly enjoying a reputation for smoothness, power and reliability.  However, in places such as Sweden and Monaco where there was no concern with violating trademark law, the “Tiger” name was used, as it was for vehicles ordered by US citizens for delivery in Europe.  Typically these were armed forces personnel able to buy through the military’s PX (Post Exchange) stores and they enjoyed the benefit at the end of their deployment of the car being shipped to the US at no cost.  Volumes into Europe were always low and the sketchy records (assembled by Tiger owners clubs) suggest as few as seven Mark II models were exported to Europe, three of which went to France and by then the operation known as "Rootes Motors Overseas Ltd" had for all purposes switched their advertising to “Sunbeam Alpine V8”.

On the silver screen, with back projection.

Cary Grant (1904–1986, left) with (pre-princess) Grace Kelly (1929–1982; Princess Consort of Monaco 1956-1982, right) behind the wheel of 1953 Mark I Sunbeam Alpine in To Catch a Thief (in 1955 there was an Alpine Mark III but no Mark II was released, “skipping numbers” something not uncommon in aircraft and software but rare in automobiles).  For cinematographers, among the advantages of “rear projection photography” was in driving scenes the driver wasn’t compelled to “keep their eyes on the road” however bad an example this may set for impressionable audiences.

When first pondering the name to be used in Europe, within Rootes there may anyway have been awareness of the French manufacturer Peugeot in 1964 forcing Porsche to rename its new 901 to 911 (something which worked out OK) on the basis of the argument they had an “exclusive right in France” to sell cars with three numeral designation in France when the middle digit was a “0” (zero).  That seems dubious given Mercedes-Benz had for years been selling 200s & 300s and was about to release the 600 but the EEC (European Economic Community) wasn’t at the time governed by the “give way to the Germans” rule which would come to characterize the EU (European Union) so defer Porsche did.  Rootes was thus wise to avoid the inevitable C&D (cease and desist letter) which may have been anticipated.

1965 PotY Jo Collins with her pink Tiger.

Stranger however is that still is that Tigers sold in France were called “Alpine 260” despite (1) the French manufacturer Alpine having first sold cars there in 1954 and (2) the “260” being a reference to the V8 displacement in cubic inches (cid), imperial measurements not used in wholly metric France (where a 4.2 (litre) badge might have been expected).  That Sunbeam were able to use the Alpine name may be accounted for by the previous version of the Alpine having been first sold in France in 1953, thus pre-dating the French venture Automobiles Alpine, the corporate identity of which wasn’t established until 1955.  The original Sunbeam Alpine did enjoy some success in competition but is now remembered mostly for the association with the actress (and later princess) Grace Kelly who appeared in a sapphire blue one in Sir Alfred Hitchcock’s (1899–1980) film To Catch a Thief (1955).  For students of technology, the long scene of her driving (appearing to be filmed through the windscreen) is an example of the “rear projection technique” used before CGI (computer-generated imagery) became possible.  While much of the film was shot on-location in Europe, the Alpine was shipped to the US for some of her driving scenes because only in Hollywood were there the big studios outfitted with the back-projection equipment able to emulate 360^o settings.

1965 French market Sunbeam Alpine 260 with after-market 14" Minilite wheels.

So the Alpine name apparently could be used, despite the existence since 1954 of the sports cars produced by Dieppe-based Automobiles Alpine, presumably on the basis of the corporation’s prior use.  Whether the decision to append an imperial “260” rather than a more localized 4.2 was the British adding insult to injury isn’t known.  While that may sound improbably petty, that’s a quality not absent either in international relations or commerce and not only were London and Paris then squabbling over whether the Anglo-French SST (supersonic transport) airliner should be called “Concorde” or the anglicized “Concord”, in 1963 Charles de Gaulle (1890-1970; President of France 1959-1969) had vetoed the UK’s application for membership of the EEC.  For that last diplomatic setback, the British may have had themselves to blame because when in 1940 they offered de Gaulle sanctuary in London after the fall of France, the Foreign Office allocated him offices on Waterloo Place and overlooking Trafalgar Square.  A sensitive soul, Le Président never forgot a slight.

Carroll Shelby, Sunbeam publicity shot, 1964.

Between April 1964 and August 3763 Mark I Tigers were built.  The 2706 Mark IA models which followed between August 1965 and February 1966 were based on the Alpine Series V which had a number of detail changes (most obviously the doors, hood (bonnet) and truck (boot) lid having sharper corners and a vinyl rather than metal top boot for the folding roof); while these now universally are listed as “Mark IAs”, that was never an official factory designation.  The first Mark IIs weren’t built until December 1966 with production lasting only until June the next year when Sunbeam’s stocks of Ford V8s was exhausted and just 536 (although 633 is oft-quoted) were made.  Although there are details differences between the Mark IA and Mark II, the fundamental change was the use of the 289 cubic inch (4.7 litre) engine and all but a few dozen were exported to the US.  

Carrol Shelby invoiced Rootes US$10,000 to develop the original Tiger prototype and had expected to gain the contract for production on the same basis as his arrangement with AC to produce the Cobra (ie he'd receive engineless cars into which he'd insert the V8s) but the process instead went the other way and Sunbeam imported the engines, contracting final assembly to Jensen.  Shelby instead received a small commission for each Tiger sold and appeared in some of the early marketing material.  He understood that despite (on paper) being superficially similar, the Tiger was a very different machine to the Cobra and, aimed at different markets, the two were really not competitors.  Amusingly, Shelby's US10,000 fee was paid in a "back-channel deal", the funds coming from Rootes' US advertising budget rather than the engineering department's allocation.  That slight of hand was necessary because it was known to all the company's conservative chairman, Lord Rootes (1894–1964), would never have approved such a project.  He changed his mind after test-driving the prototype and ordered immediate production, living long enough to see it enjoy success.      

1972 Hillman Avenger Tiger.  The Avenger is now remembered mostly for the distinctive  "boomerang (or hockey stick)" tail-lamps.

While not quite the sublime to the ridiculous, the third and final Tiger certainly lacked the luster of its predecessors and was actually marketed under the Hillman and not the Sunbeam badge, the old Rootes group now owned by Chrysler.  Based on the Hillman Avenger (1970-1981), a competent if unexciting family car, the Avenger Tiger was initially a one-off built for motor shows (they used to be a thing) but such was the reaction a production run was arranged and, based on the Avenger GT, it was a genuine improvement, fitted with twin Weber carburettors on a high-compression cylinder head with larger valves and improved porting.  The power increase was welcome but wasn’t so dramatic as to demand any modification of the GT’s suspension beyond a slight stiffening of the springs.  On the road, the well-sorted rear wheel drive (RWD) dynamics meant it was good to drive and the performance was a notch above the competition although Chrysler never devoted the resources to develop it into a machine which could have been competitive with Ford’s Escort in racing and rallying.  The first run of 200-odd early in 1972 were all in “sundance yellow” with a black stripe (and in case that was too subtle, a “Tiger” graphic adorned the rear panels) but red was added as an option when another 400 were made to meet demand.

Tigerish: Lindsay Lohan imagined in cara gata (cat face) by Shijing Peng.