Tuft

Tuft (pronounced tuhft)

(1) A bunch or cluster of small, usually soft and flexible parts, as feathers or hairs, attached or fixed closely together at the base and loose at the upper ends.

(2) A cluster of short, fluffy threads, used to decorate cloth, as for a bedspread, robe, bath mat, or window curtain.

(3) A cluster of cut threads, used as a decorative finish attached to the tying or holding threads of mattresses, quilts, upholstery, etc.

(4) To furnish or decorate with a tuft or tufts; to arrange in a tuft or tufts.

(5) In the upholstery trade, to draw together (a cushion or the like) by passing a thread through at regular intervals, the depressions thus produced being usually ornamented with tufts or buttons.  Tufts are not merely decorative because they secure and strengthen mattresses, quilts, cushions et al; they act to hinder the movement of the stuffing.

(6) In botany, a small clump of trees or bushes.

(7) A gold tassel on the cap once worn by titled undergraduates at English universities, one of the more blatant class identifiers if the UK’s class system; the word tuft was also applied to those entitled to wear such as tassel and from this use evolved the slang "toff".

1350-1400: From the Middle English toft & tofte (bunch of soft and flexible things fixed at the base with the upper ends loose), an alteration of earlier tuffe (which endures in the Modern English tuff), from the Old French touffe, tuffe, toffe & tofe (tuft of hair (and source of the modern French touffe)), from the Late Latin tufa (a crest on a helmet (also found in Late Greek toupha) and probably of Germanic origin (the Old High German was zopf and the Old Norse was toppr (tuft, summit).  The earlier European forms were the Old English þūf (tuft), the Old Norse þúfa (mound), the Swedish tuva (tussock; grassy hillock), from the Proto-Germanic þūbǭ (tube) & þūbaz.  It was akin to the Latin tūber (hump, swelling) and the Ancient Greek τῡ́φη (tū́phē) (cattail (used to stuff beds)).  The excrescent t (as in against) was an English addition and tuft was used as a verb from the 1530s.  In some contexts, bunch, cluster, collection, cowlick, group, knot, plumage, ruff, shock, topknot & tussock can impart a similar meaning but tuft is better for its specific purpose.  Tuft is a noun and verb, tufter is a noun and tufty an adjective.  The noun plural is tufts, the present participle tufting and the past participle tufted.

The 1550s noun tuffet (little tuft) was from the Old French touffel (the diminutive suffix -et replacing the French -el) which was a diminutive of touffe.  In English the word is obsolete except for the use in the nursery rhyme Little Miss Muffet which seems to have first appeared in print in 1805 although it (and variations) may have been circulating much earlier.

Little Miss Muffet
Sat on a tuffet,
Eating her curds and whey;
There came a big spider,
Who sat down beside her
And frightened Miss Muffet away.

Little Miss Muffet in Hell.

Etymologists believe Little Miss Muffet’s tuffet was a grassy hillock or a small knoll in the ground (a variant spelling of an obsolete meaning of tuft).  The latter-day use to refer to a hassock or footstool is an example of how (usually obscure) words can acquire meanings if erroneous definitions are often repeated and come to serve some purpose.  Tuffet for example became a favorite of antique dealers who are apt to call both footstools and low seats “tuffets”, a handy practice perhaps when provenance is doubtful.

Nobleman in full dress at Cambridge (1815) with golden tuft.

The noun toff began as mid nineteenth century lower-class London slang for "a stylish dresser, a man of the smart set.  It was an alteration of tuft, which was a mid-eighteenth century English university (Oxford & Cambridge) term for students who were members of the aristocracy, a reference to the gold ornamental tassel (or tufts) worn on the academic caps (mortarboards) of undergraduates.  Throughout the “long eighteenth century” (a historian’s term which refers for the epoch running from the Glorious Revolution of 1688 to the Congress of Vienna in 1815 (the “long nineteenth” being 1815-1914 and the “long twentieth” 1914-2001 (ie 9/11))), undergraduates at both Oxford and Cambridge were differentiated into four classes: (1) noblemen, (2) gentlemen, (3) commoner-scholars (fellow-commoners at Cambridge) & (4) servitors (sometimes known at Cambridge as sizars and at Oxford as battelers).  Each of these classes of undergraduates was entitled to a different form of dress, noblemen since 1490 (further clarified in 1576) entitled to wear silk and brocaded gowns of bright colors. Such rich materials emphasized noble status, as did the costly dyes. The gowns had flap collars, Tudor bag sleeves with gold lace decorations (akin to the black lace decorations used today on Oxford gimp gowns) and a velvet round cap with a gold tassel (or tuft) was worn.  Noblemen were technically (if misleadingly) nobiles minorum gentium and included the sons of bishops, knights and baronets and, by resolution of Convocation, could include heirs of esquires.

The right to wear the golden tuft was briefly restricted to those with fathers entitled to sit in the House of Lords while those less blue-blooded were allowed only to a plain black tassel but things gradually became less exclusive until the practice was abandoned in the late nineteenth century but the transfer of sense was inevitable: wearers of golden tufts came to be known as tufts.  Those toadies or sycophants (and there were many) who were slavish followers of the tufts were tufthunters and their antics, tufthunting, such individuals and their habits quite identifiable to this day.  By the 1850s, under the influence of the cockney accent, the word had been transformed into toff (some dictionaries of slang noting toft co-existed in the 1850s but this may have been a mishearing) which endures to refer to anyone rich and powerful although the original sense was of someone apparently well-bred.

1912 Stutz Bearcat.  One of the fastest and most admired American cars of the early era, the Stutz Bearcat assumed such a place in popular culture it was (apocryphally) claimed that should anyone die at the wheel of a Stutz Bearcat, they were granted an obituary in the New York Times.

Tufted leather upholstery was common in early automobiles, the seating often exactly the same as those used in horse-drawn carriages, houses or commercial buildings.  The practice faded as production volumes increased and as early as the late 1920s was coming to be restricted to only the most expensive models.  This exclusivity tended to prevail until 1972 when Oldsmobile introduced the Regency option for its full-sized Ninety-Eight models, a package, the visual highlight of which was tufted loose-pillow velour upholstery.  Suddenly, solidly middle-class Oldsmobile (right in the middle of General Motors’ (GM) Chevrolet-Pontiac-Oldsmobile-Buick-Cadillac hierarchy) had brought both velour and loose-pillow seating to the masses.  The velour was at the time much admired and as the tufted upholstery options began to proliferate was usually offered as an alternative to leather.  In some climates the velour was probably the better choice and was welcomingly comfortable although in some of the more strident shades of red could recall the popular idea of how a bordello might be furnished.  Those who'd never enjoyed a visit to a bordello were presumably more disconcerted than regular customers.

Oldsmobile's move was as audacious and influential as Ford’s introduction in 1965 of the up-market LTD which, like the Regency package had the effect of cannibalizing sales from other divisions within the same corporation.  Cadillac, although with a range priced considerably above Oldsmobile, offered nothing with such an ostentatious interior though when it did in 1974 respond with its Talisman package, it made sure it did so with more tufted extravagance still, offering leather as well as velour.  The trend the Regency package started would last over twenty years and is remembered especially for the tufted fittings used in Imperials, Chryslers and Dodges, these said to be trimmed in Corinthian leather, an advertising agency creation which meant nothing in particular but sounded vaguely European and therefore expensive.  Not all the corporation's leather in the tufted era was described as "Corinthian" and such was the success of one advertising campaign that eventually the claim was restricted to one model range but it all came from one supplier so the label tends to be attached to all. 

1977 Chrysler New Yorker Brougham four-door hardtop in Corinthian leather.

Lindsay Lohan in bed with tufted bedhead.

1985 Cadillac Eldorado Biarritz in leather.

1989 Cadillac Fleetwood Brougham d'Elegance in velour.

Guggenhat

Guggenhat (pronounced goo-gin-hat)

1960: The construct was Guggen(heim) + hat.  Solomon Guggenheim (1861–1949) was a US businessman and art collector who in 1939 established the Solomon R. Guggenheim Foundation, best known for the Guggenheim Museum in Manhattan, NYC, designed by Frank Lloyd Wright and opened in 1960.  Hat (a shaped covering for the head, usually with a crown and brim, especially for wear outdoors) was pre-900, from the Middle English hat, from the Old English hætt (head-covering, hat) (variously glossing the Latin pileus, galerus, mitra & tiara), from the Proto-Germanic hattuz (hat, hood, cowl), from the primitive Indo-European kad- (to guard, cover, care for, protect).  It was cognate with the North Frisian hat (hat), the Danish hat (hat), the Swedish hatt (hat), the Icelandic hattur (hat), the Latin cassis (helmet), the Lithuanian kudas (bird's crest or tuft), the Avestan xaoda (hat), the Persian خود‎ (xud) (helmet), the Welsh cadw (to provide for, ensure) and the Old Norse hattr &  hǫttr (cap, cowl, hood).  The Proto-Germanic hattuz is of uncertain etymology although etymologists have suggested a link with the Lithuanian kuodas (tuft or crest of a bird) and Latin cassis (helmet), the latter thought perhaps more persuasive although most maintain the source of this was Etruscan.

Sally Victor's Airwave hat created for Mamie Eisenhower (1896–1979; first lady of the United States 1953-1961) to wear at her husband's (Dwight Eisenhower (1890-1969) US president 1953-1961) inauguration.  The shape reflected the influence Ms Victor noted that wartime advances in aerodynamics and the increased understanding of fluid dynamics had had on many aspects of the built environment and industrial design.

Sally Victor (1905–1977) was a US milliner active between 1928-1967 who supplied both celebrities as well as the first ladies of both the Eisenhower (1953-1961) and Kennedy (1961-1963) White Houses and in a tactic that was used by the manufacturers of many products, while maintaining the exclusivity of her signature lines, she also sold mass-market ranges under the name Sally V.  Although her designs borrowed from the history of fashion, Sally Victor was interesting in that she was inspired not only by various traditions from the visual arts of many cultures but also industrial influences such as machinery, military vehicles and, most memorably, modernist architecture.  Unlike many designers serving the upper reaches of the market, even before such things became fashionable in the post-war world, she was never reticent in using synthetic materials in her hats, valuing the novel possibilities in shape and rigidity they afforded compared to the usual felts and silks of the time.

The Gugenhat and the Guggenheim, 1960.

Her most famous hat, known informally as the “gugenhat” was based on one of the landmarks of modernism, the Solomon R Guggenheim Museum (usually styled "the Guggenheim") on Manhattan's Fifth Avenue, designed by US architect Frank Lloyd Wright (1867–1959).  Solomon Robert Guggenheim (1861–1949) was an American businessman and art collector who in 1939 established the Solomon R Guggenheim Foundation.  Although his early interest in art had been in the works of the old masters, in the 1920s his attention switched to modern art, then a fashionable if not entirely respectable cult and it was in this field that he decided to specialize.  Initially, his collection was private with the occasional public exhibition but in 1939, he took the lease on a space in New York City and opened a public gallery, the Museum of Non-Objective Painting.  The size of the collection grew rapidly, in part because of the large numbers of modern works becoming suddenly available because of Adolf Hitler's (1889-1945, Führer (leader) of Nazi Germany 1933-1945) distaste for "modern art", an attitude the Nazi's imposed not only on the German state but also the territories in occupied Europe.  While the Nazis didn't want the works seen in any place under their control, they were pragmatic about them being sold for hard currency.  So large did Guggenheim's collection of the avant-garde become that in 1943, Frank Lloyd Wright was commissioned to design a dedicated structure which would become a permanent exhibition space, his remit including the stipulation that in addition to being a practical, function building, it should reflect also the nature of the contents.  Guggenheim died in 1949 and in 1952 the museum was renamed the Solomon R Guggenheim Museum, the new building opening in 1959.

Lindsay Lohan at Lady Gaga's (b 1986) Fame Eau de Parfum launch party, Guggenheim Museum, New York, 13 September 2012.

The Guggenheim Museum, Manhattan, NYC.

The building was not without its critics and it’s true that the architect did seem to be uncompromising in maintain the integrity of the interior design, even if that meant imposing inherent limitations of the size and shape of what could be displayed.  Despite that, as a building it has aged well and has for decades exerted an influence which is still not spent although few who have since done art galleries have seemed anxious to be seen to be following in the footsteps.  In the 1990s, the building was extended, most impressed with how sympathetically the new was interpolated into the existing structure although the usual suspects objected, maintaining that given its historical significance, it should have been maintained in its original form.

Hat (left), designed in silk by Cristóbal Balenciaga (1895-1872) and made for Eisa (Spain) in 1962.  It evokes the spirals used by French architect Emilio Terry (1890-1969) in his Spiral house (1930) (centre) and later picked up by Philip Johnson (1906-2005) for his Church of Thanks-Giving, Dallas, Texas (1977) (right), inspired by the Great Mosque in Samarra, Iraq which itself borrowed from the square, spiral Pillar of Gor in Persia.

Nor, in 1960, was the Guggenhat a novel concept, artists and others long having been playing with the idea of the motifs of architecture being applied to hats, clothing and shoes, among the milliners the Eifel Tower, once a popular model.  Among curators, the trend had been noted and in 1954, New York’s Museum of Modern Art commissioned Sidney Peterson to direct Architectural Millinery, a short film (seven minutes duration) comparing the tops of New York skyscrapers with the styles of hats and there was a reason it wasn’t a feature-length production: To design a hat which displays the recognizable influence of an architectural style or a particular building while being both wearable and aesthetically successful is difficult.  In that sense Ms Victor choose well because the New York Guggenheim was an example of a building which might well have been inspired by a hat and such structures are rare.  Other buildings, however admired for their other qualities don’t offer milliners quite so obvious a blueprint.

Guggenheim Museum Bilbao.

The Guggenheim Museum in Abando, Bilbao, in Spain’s Basque Country, was designed by Canadian-American architect Frank Gehry (b 1929) and opened in 1997 to almost universal acclaim from architects and it’s certainly eye-catching, even if one suspects comrade Stalin might have thought Gehry’s pencil drifted a little towards “formalism”.  Still, despite the odd back-handed compliment from a curmudgeon who found the lines “a fine example of modern art”, few in the last quarter-century seem to have revised their opinions although there have been criticisms of the internal dimensions which, unlike the Guggenheim in Manhattan will certainly accommodate large installations, some suggesting such art is prevalent enough without encouraging more.  Those who thought smaller pieces somehow suffered diminishment by being dwarfed by the enveloping space just don’t get the implications of art.

It could be done although there would be many who would say it shouldn't be done: The Guggenhat (Bilbao), a three-piece installation (digitally altered image).  Stranger stuff has been seen on catwalks but the Bilbao Guggenheim, as a whole, doesn’t lend itself to being rendered as a hat though in fairness to the architect, that’s not something likely to have piqued his interest.  The various interesting bits of the building might make several different hats but to get the effect, one would presumably need models walking carefully and closely in formation.

Even the Sydney Opera House (built between 1959-1973), perhaps more obviously geometrically promising (in millinery terms) has yet to inspire anything truly memorable although some kitsch (intended and not) shows up from time to time.

Zaha Hadid Architects' H-Line Hat for the Friends of the High Line, New York.

The motifs can however be separated from the whole.  Zaha Hadid Architects' H-Line Hat for the Friends of the High Line, New York was created in 2018 as part of a project to encourage architectural millinery based on the H-Line, an abandoned freight rail line which community action turned into a into a vibrant public park when the historic structure was under the threat of demolition.  Named (in a perhaps unimaginative but certainly simple piece of product association) the H-Line hat, the design was rendered in dégradé colors, the white melting into an electric blue around a brim the color of the sky and was inspired by an eleven storey residential building, the first project by Zaha Hadid Architects in New York and located near the High Line.  The hand-fixed steel façade of the building features a series of interlocking chevrons, steel bands and rounded corners, all evocative of Chelsea's industrial past and the decorative curves of the H-Line hat echoes these chevrons, weaving in open and closed forms around the wearer.

Hardtop, Hard Top & Hard-top

Hardtop & Hard Top or Hard-Top ( pronounced hahrd-top)

(1) In automotive design, as hardtop, a design in which no centre post (B-pillar) is used between the front and rear windows.

(2) As "hard top" or "hard top", a rigid, removable or retractable roof used on convertible cars (as distinct from the historically more common folding, soft-top).

(3) Mid twentieth-century US slang for an indoor cinema with a roof (as opposed to a drive-in).

1947-1949: A compound of US origin, hard + top.  Hard was from the Middle English hard, from the Old English heard, from the Proto-West Germanic hard(ī), from the Proto-Germanic harduz, from the primitive Indo-European kort-ús, from kret- (strong, powerful).  It was cognate with the German hart, the Swedish hård, the Ancient Greek κρατύς (kratús), the Sanskrit क्रतु (krátu) and the Avestan xratu.  Top was from the Middle English top & toppe, from the Old English top (top, highest part; summit; crest; tassel, tuft; (spinning) top, ball; a tuft or ball at the highest point of anything), from the Proto-Germanic tuppaz (braid, pigtail, end), from the primitive Indo-European dumb- (tail, rod, staff, penis).  It was cognate with the Scots tap (top), the North Frisian top, tap & tup (top), the Saterland Frisian Top (top), the West Frisian top (top), the Dutch top (top, summit, peak), the Low German Topp (top), the German Zopf (braid, pigtail, plait, top), the Swedish topp (top, peak, summit, tip) and the Icelandic toppur (top).

1970 Imperial LeBaron four-door hardtop.

Although the origins of the body-style can be traced to the early twentieth century, the hardtop, a two or four-door car without a central (B-pillar) post, became a recognizable model type in the late 1940s and, although never the biggest seller, was popular in the United States until the mid 1970s when down-sizing and safety legislation led to their extinction, the last being the full sized Chrysler lines of 1978.  European manufacturers too were drawn to the style and produced many coupes but only Mercedes-Benz and Facel Vega made four-door hardtops in any number, the former long maintaining several lines of hardtop coupés.

1965 Lincoln Continental four-door sedan (with centre (B) pillar).

The convention of use is that the fixed roofed vehicles without the centre (B)-pillars are called a hardtop whereas a removable or retractable roof for a convertible is either a hard top or, somewhat less commonly a hard-top.  The folding fabric roof is either a soft top or soft-top, both common forms; the word softtop probably doesn't exist although it has been used by manufacturers of this and that to describe various "tops" made of stuff not wholly solid.  In the mid-1990s, the decades-old idea of the folding metal roof was revived as an alternative to fabric.  The engineering was sound but some manufacturers have reverted to fabric, the advantages of solid materials outweighed by the drawbacks of weight, cost and complexity.  A solid, folding top is usually called a retractable roof or folding hardtop.

1957 Ford Fairlane Skyliner.

Designers had toyed with the idea of the solid retractable roof early in the twentieth century, and patents were applied for in the 1920s but the applications were allowed to lapse and it wouldn't be until 1932 one was granted in France, the first commercial release by Peugeot in 1934.  Other limited-production cars followed but it wasn't until 1957 one was sold in any volume, Ford's Fairlane Skyliner, using a system Ford developed for the Continental Mark II (but never used) was an expensive top-of-the range model for two years.  It was expensive for a reason: the complexity of the electric system which raised and lowered the roof.  A marvel of what was still substantially the pre-electronic age, it used an array of motors, relays and switches, all connected with literally hundreds of feet of electrical cables in nine different colors.  Despite that, the system was reliable and could, if need be, be fixed by any competent auto-electrician who had the wiring schematic.  In its two-year run, nearly fifty-thousand were built.  The possibilities of nomenclature are interesting too.  With the hard top in place, the Skyliner becomes also a hardtop because there's no B pillar so it's a "hardtop" with a "hard top", something only word-nerds note. 

2005 Mercedes-Benz AMG SLK55.

After 1960, the concept was neglected, re-visited only by a handful of low-volume specialists or small production runs for the Japanese domestic market.  The car which more than any other turned the retractable roof into a mainstream product was the 1996 Mercedes-Benz SLK which began as a show car, the favorable response encouraging production.  Successful, over three generations, it was in the lineup for almost twenty-five years.

Roof-mounted hardtop hoist: Mercedes-Benz 560 SL (R107).

The Fairlane Skyliner's top was notable for another reason: size and weight.  On small roadsters, even when made from steel, taking off and putting on a hard top could usually be done by someone of reasonable strength, the task made easier still if the thing instead was made from aluminum or fibreglass.  If large and heavy, it became impossible for one and difficult even for two; some of even the smaller hard tops (such as the Triumph Stag and the R107 Mercedes SL roadster) were famous heavyweights.  Many owners used trolley or ceiling-mounted hoists, some even electric but not all had the space, either for the hardware or the detached roof.

1962 Pontiac Catalina with Riveria Series 300 hard top.

No manufacturer attempted a removable hard top on the scale of the big Skyliner but at least one aftermarket supplier thought there might be demand for something large and detachable.  Riveria Inc, based in Cedar Rapids, Iowa, offered them between 1963-1964 for the big (then called full or standard-size) General Motors (GM) convertibles.  Such was GM’s production-line standardization, the entire range of models, spread over five divisions and three years could be covered by just three variations of hard top.  Made from fibreglass with an external texture which emulated leather, weight was a reasonable 80 lb (30 kg) but the sheer size rendered them unmanageable for many and not all had storage for such a bulky item, the growth of the American automobile meaning garages accommodative only a few years early were now cramped.    

1962 Chevrolet Impala Super Sport with Riveria Series 100 hard top.

Riveria offered their basic (100 series) hardtop in black or white, a more elaborately textured model (200 series) finished in gold or silver while the top of the range (300 series) used the same finishes but with simulated “landau” irons.  No modification was required to the car, the roof attaching to the standard convertible clamps, the soft top remaining retracted.  Prices started at US$295 and the company seems to have attempted to interest GM dealers in offering the hard tops as a dealer-fitter accessory but corporate interest must have been as muted as buyer response, Riveria ceasing operations in 1964.

1961 Lincoln Continental four-door hardtop (pre-production or prototype).

One of the anomalies in the history of the four-door hardtops was that Lincoln, in its classic 1960s Continental, offered a two-door hardtop, a four-door pillared sedan and, by then uniquely, a four-door convertible but, no four-door hardtop.  That seemed curious because the structural engineering required to produce a four door hardtop already existed in the convertible coachwork and both Ford & Mercury had several in their ranges, as did all other comparable manufacturers.  A four-door hard top was planned, the factory’s records indicate a handful were built (which were either prototypes or pre-productions vehicles) and photographs survive, as does the odd reference to the model in some later service bulletins but there’s no evidence any ever reached public hands.  Collectors chase rarities like this but they’ve not been seen in sixty years so it’s presumed they were scrapped once the decision was taken not to enter production.

1966 Lincoln Continental two-door hardtop.

The consensus among Lincoln gurus is the rationale for decision being wholly because of cost.  While the Edsel failure of the late 1950s is well storied, it’s often forgotten that nor were the Lincolns of that era a success and, with the Ford Motor Company suddenly being run by the MBA-type “wizz kids”, the Lincoln brand too was considered for the axe.  It did come close to that, Lincoln given one last chance at redemption, using what was actually a prototype Ford Thunderbird; that was the car which emerged as the memorable 1961 Lincoln.  But there was no certainty of success so it seems the decision was taken to restrict the range to the pillared sedan and the four-door convertible, a breakdown on the production costs of the prototype four-door hardtops proving they would be much more expensive to produce, the added inputs both of labour and materials dooming the project.  To attract attention, Lincoln anyway had something beyond the merely exclusive, they had the unique four-door convertible.

1967 Lincoln Continental four-door convertible.

It did work, sales volumes after a slow start in 1961 growing to a level Lincoln had not enjoyed in years, comfortably out-selling Imperial even if never a challenge to Cadillac.  Never a big seller, achieving not even four-thousand units in its best year, the four-door convertible was discontinued after 1967, the two-door hardtop introduced the year before out-selling it by five to one.  The market had spoken; it would be the last convertible Lincoln ever produced.

Deconstructing the oxymoronic  "pillared hardtop"

1970 Ford LTD four-door hardtop (left) and Ford's press release announcing the 1974 "pillared hardtop", September 1973. 

So it would seem settled a hard-top is a convertible’s removable roof made with rigid materials like metal or fibreglass while a hardtop is a car with no central pillar between the forward and rear side glass.  That would be fine except that in the 1970s, Ford decided there were also “pillared hardtops”, introducing the description on a four-door range built on their full-sized (a breed now extinct) corporate platform shared between 1968-1978 by Ford and Mercury.  The rationale for the name was that to differentiate between the conventional sedan which used frames around the side windows and the pillared hardtops which used the frameless assemblies familiar from their use in the traditional hardtops.  When the pillared hardtops were released, as part of the effort to comply with pending rollover standards, the two door hardtop switched to being a coupé with thick B-pillars, behind which sat a tall “opera window”, another of those motifs the US manufacturers for years found irresistible.

1976 Cadillac Eldorado convertible, at the time, “the last American convertible”.  The aluminium wheels were a rarely ordered factory option.  On paper, combining a 500 cubic inch (8.2 litre) V8 with front wheel drive (FWD) sounds daft but even in the early, more powerful, versions GM managed remarkably well to tame the characteristics inherent in such a configuration.  The styling of the original FWD Eldorado (1967) was one of the US industry's finest (as long as buyers resisted ordering the disfiguring vinyl roof) which no subsequent version matched, descending first to the baroque before in the 1980s becoming an absurd caricature.

When ceasing production of the true four-door hardtops, Ford also dropped the convertible from the full-sized line, the industry orthodoxy at the time that a regulation outlawing the style was imminent, and such was the importance of the US market that expectation that accounted also for Mercedes-Benz not including a cabriolet when the S-Class (W116) was released in 1972, leaving the SL (R107; 1971-1989) roadster as the company’s only open car and it wasn’t until 1990 a four-seat cabriolet returned with the debut of the A124.  Any suggestion of outlawing convertibles ended with the election in 1980 of Ronald Reagan (1911-2004, US president 1981-1989).  A former governor of California with fond memories of drop-top motoring and a world-view that government should intervene in markets as little as possible, under his administration, convertibles returned (including Cadillacs) to US showrooms.  In the even then litigious US, that prompted a class action from disgruntled collectors who had stored 1976 Cadillac Eldorados with the expectation of them increasing sharply in value, the suit filed alleging a “breach of promise” on the basis of Cadillac advertising the things as “the last American convertible”.  Historically, breach of promise actions were most associated with women seeking redress against cads who promised marriage and then refused to fulfil the pledge (an action still technically available in some US states) but the courts quickly dismissed the claims of the Cadillac hoarders as “groundless”.  Legal opinion at the time was that the suit might have had a chance had the words been "the last Cadillac convertible" and even then it would have had to withstand (1) the precedents which underpinned the notion of what in contract law was called "mere puffery" and (2) the then still prevalent sentiment that "what was good for General Motors was good for America", something which critics noted was still a detectable feeling among US judges.

1966 Lincoln Continental Sedan (left) and 1974 Buick Century Luxus Colonnade Hardtop Sedan (right).  Luxus was from the Latin luxus (extravagance) and appeared in several Germanic languages where it conveyed the idea of "luxury".   

It was actually only the ostensibly oxymoronic nomenclature which was novel, Ford’s Lincoln Continentals combining side windows with frames which lowered into the doors and a B pillar; Lincoln called these a sedan, then the familiar appellation in the US for all four-door models with a centre pillar.  Curiously, in the 1960s another descriptive layer appeared (though usually not used by the manufacturers): “post”.  Thus where a range included two-door hardtops with no pillar a coupés with one, there was among some to adopt “coupé” and “post coupé” as a means of differentiation and this spread, the term “post sedan” also still seen today in the collector markets.  Other manufacturers in the 1970s also used the combination of frameless side glass and a B-pillar but Ford’s adoption of “pillar hardtop was unique; All such models in General Motors’ (GM) “Colonnade” lines were originally described variously as “colonnade hardtop sedans” (Buick) or “colonnade hardtops” (Chevrolet, Oldsmobile & Pontiac) and the nickname was borrowed from architecture where colonnade refers to “a series of regularly spaced columns supporting an entablature and often one side of a roof”.  For whatever reasons, the advertising copy changed over the years, Buick shifting to “hardtop sedan”, Chevrolet & Oldsmobile to “sedan” and Pontiac “colonnade hardtop sedan”.  Pontiac was the last to cling to the use of “colonnade”; by the late 1970s the novelty has passed and the consumer is usually attracted by something “new”.  Because the GM range of sedans had for uprights (A, B & C-pillars plus a divided rear glass), the allusion was to these as “columns”.  Ford though, was a little tricky.  Their B-pillars were designed in such as way that the thick portion was recessed and dark, the silver centrepiece thin and more obvious, so with the windows raised, the cars could be mistaken for a classic hardtop.  It was a cheap trick but it was also clever, in etymological terms a “fake hardtop” but before long, there was a bit of a vogue for “fake soft-tops” which seems indisputably worse.

1975 Imperial LeBaron (left) and 1978 Chrysler New Yorker.  The big Chryslers were the last of the four-door hardtops to be produced in the US.

The Americans didn’t actually invent the pillarless hardtop style but in the post-war years they adopted it with gusto.  The other geo-centre of hardtops was the JDM (Japanese Domestic Market) which refers to vehicles produced (almost) exclusively for sale within Japan and rarely seen beyond except in diplomatic use, as private imports, or as part of the odd batch exported to special markets.  As an ecosystem, it exerts a special fascination for those who study the Japanese industry.  The range of high performance versions and variations in coachwork available in the JDM was wide and for those with a fondness for Japanese cars, the subject of much envy.  By the late 1970s, the handful of US four-door hardtops still on sale were hangovers from designs which dated from the late 1960s, behemoths anyway doomed by rising gas prices and tightening emission controls; with the coming of 1979 (coincidently the year of the “second oil shock”) all were gone.  In the JDM however, the interest remained and endured into the 1990s.

1965 Chevrolet Corvair Corsa (two-door hardtop, left) and 1969 Mazda Luce Coupé (right).

The first Japanese cars to use the hardtop configuration were two-door coupés, the Toyota Corona the first in 1965 and Nissan and Mitsubishi soon followed.  One interesting thing during the era was the elegant Izuzu 117 Coupé (1968-1980), styled by the Italian Giorgetto Giugiaro (b 1938) which, with its slender B-pillar, anticipated Ford’s stylistic trick although there’s nothing to suggest this was ever part of the design brief.  Another of Giugiaro’s creations was the rare Mazda Luce Coupé (1968), a true hardtop which has the quirk of being Mazda’s only rotary-powered car to be configured with FWD.  Giugiaro’s lines were hardly original because essentially they duplicated (though few suggest "improved") those of the lovely second generation Chevrolet Corvair (1965-1969) and does illustrate what an outstanding compact the Corvair could have been if fitted with a conventional (front-engine / rear wheel drive (RWD)) drive-train.

1973 Nissan Cedric four-door Hardtop 2000 Custom Deluxe (KF230, left) and 1974 Toyota Crown Royal Saloon four-door Pillared Hardtop (2600 Series, right).

By 1972, Nissan released a version of the Laurel which was their first four-door although it was only the volume manufacturers for which the economics of scale of such things were attractive, the smaller players such as Honda and Subaru dabbling only with two-door models.  Toyota was the most smitten and by the late 1970s, there were hardtops in all the passenger car lines except the smallest and the exclusive Century, the company finding that for a relatively small investment, an increase in profit margins of over 10% was possible.  Toyota in 1974 also followed Ford’s example in using a “pillared hardtop” style for the up-market Crown, the exclusivity enhanced by a roofline lowered by 25 mm (1 inch); these days it’s be called a “four door coupé” (and etymologically that is correct despite the objections of many) and Rover had actually planned their 3.5 (P5B; 1967-1973) to include a four-door coupé featuring both pillarless construction and the lowered roof; as it was the former proved too difficult within the budget so only the chop-top survived.  In the JDM, the last true four-door hardtops were built in the early 1990s but Subaru continued to offer the “pillared hardtop” style until 2010 and the extinction of the breed was most attributable to the shifting market preference for sports utility vehicles (SUV) and such.  In Australia, Mitsubishi between between 1996-2005 used frameless side-windows and a slim B-pillar on their Magna so it fitted the definition of a “pillar hardtop” although the term was never used in marketing, the term “hardtop” something Australians associated only with two-door coupés (Ford and Chrysler had actually the term as a model name in the 1960s & 1970s).  When the Magna was replaced by the doomed and dreary 380 (2005-2008), Mitsubishi reverted to window frames and chunky pillars.

Standard and Spezial coachwork on the Mercedes-Benz 300d (W189, 1957-1962).  The "standard" four-door hardtop was available throughout the run while the four-door Cabriolet D was offered (off and on) between 1958-1962 and the Spezials (landaulets, high-roofs et al), most of which were for state or diplomatic use, were made on a separate assembly line in 1960-1961.  The standard "greenhouse" (or glasshouse) cars are to the left, those with the high roof-line to the right.

Few European manufacturers attempted four-door hardtops and one of the handful was the 300d (W189, 1957-1962), a revised version of the W186 (300, 300b & 300c; 1951-1957) which came to be referred to as the "Adenauer" because several were used as state cars by Konrad Adenauer (1876–1967; chancellor of the FRG (West Germany) 1949-1963).  Although the coachwork never exactly embraced the lines of mid-century modernism, the integration of the lines of the 1950s with the pre-war motifs appealed to the target market (commerce, diplomacy and the old & rich) and on the platform the factory built various Spezials including long wheelbase "pullmans", landaulets, high-roof limousines and four-door cabriolets (Cabriolet D in the Daimler-Benz system).  The high roofline appeared sometimes on both the closed & open cars and even then, years before the assassination of John Kennedy (JFK, 1917–1963; US president 1961-1963), the greenhouse sometimes featured “bullet-proof” glass.  As well as Chancellor Adenauer, the 300d is remembered also as the Popemobile (although not then labelled as such) of John XXIII (1881-1963; pope 1958-1963).

Few European manufacturers attempted four-door hardtops.  One of the few was the Mercedes-Benz 300d (W189, 1957-1962), a revised version of the W186 (1951-1957) which came to be referred to as the "Adenauer" because several were used as state cars by Konrad Adenauer (1876–1967; chancellor of the FRG (Federal Republic of Germany (the old West Germany) 1949-1963).  Although the coachwork never embraced 1950s modernism, the W186 & W189 obviously an evolution of pre-war practices, much of the engineering was advanced and the factory used the chassis to produce spezials including long wheelbase "pullmans", landaulets, high-roof limousines and four-door cabriolets (Cabriolet D in the Daimler-Benz system).  The W189 is remembered too as the state car of the Holy See, used by popes in the days before fears of assassination.  Most however were the "standard", four-door hardtop.

Pillars, stunted pillars & "pillarless"

1959 Lancia Appia Series III

Actually, although an accepted part of engineering jargon, to speak of the classic four-door hardtops as “pillarless” is, in the narrow technical sense, misleading because almost all used a truncated B-pillar, ending at the belt-line where the greenhouse begins.  The stunted device was required to provide a secure anchor point for the rear door's hinges (or latches for both if suicide doors were used) and in the case of the latter, being of frameless construction, without the upright, the doors would be able to be locked in place only at the sill, the physics of which presents a challenge because even in vehicles with high torsional rigidity, there will be movement.  The true pillarless design was successfully executed by some but those manufacturers used doors with sturdy window frames, permitting latch points at both sill and roof, Lancia offering the configuration on a number of sedans including the Ardea (1939-1953), Aurelia (1950-1958) & Appia (1953-1963).  The approach demanded a more intricate locking mechanism but the engineering was simple and on the Lancias it worked and was reliable, buyers enjoying the ease of ingress & egress.  It's sad the company's later attachment to front wheel drive (FWD) ultimately doomed Lancia because in every other aspect of engineering, few others were as adept at producing such fine small-displacement vehicles.

1961 Facel Vega II (a two door hardtop with the unusual "feature" of the rear side-glass being hinged from the C-pillar).

Less successful with doors was the Facel Vega Excellence, built in two series between 1958-1964.  Facel Vega was a French company which was a pioneer in what proved for almost two decades the interesting and lucrative business of the trans-Atlantic hybrid, the combination of stylish European coachwork with cheap, refined, powerful and reliable American engine-transmission combinations.  Like most in the genre, the bulk of Facel Vega’s production was big (by European standards) coupés (and the odd cabriolet) and they enjoyed much success, the company doomed only when it augmented the range with the Facellia, a smaller car.  Conceptually, adding the smaller coupés & cabriolets was a good idea because it was obvious the gap in the market existed but the mistake was to pander to the feelings of politicians and use a French designed & built engine which proved not only fragile but so fundamentally flawed rectification was impossible.  By the time the car had been re-engineered to use the famously durable Volvo B18 engine, the combination of the cost of the warranty claims and reputational damage meant bankruptcy was impending and in 1964 the company ceased operation.  The surviving “big” Facel Vegas, powered by a variety of big-block Chrysler V8s, are now highly collectable and priced accordingly.

1960 Facel Vega Excellence EX1

Compared with that debacle, the problem besetting the Excellence was less serious but was embarrassing and, like the Facellia's unreliable engine, couldn’t be fixed.  The Excellence was a four-door sedan, a configuration also offered by a handful of other trans-Atlantic players (including Iso, DeTomaso & Monterverdi) and although volumes were low, because the platforms were elongations of those used on their coupés, production & development costs were modest so with high prices, profits were good.  Facel Vega however attempted what no others dared: combine eye-catching suicide doors, frameless side glass and coachwork which was truly pillarless, necessitating latching & locking mechanisms in the sills.  With the doors open, it was a dramatic scene of lush leather and highly polished burl walnut (which was actually painted metal) and the intricate lock mechanism was precisely machined and worked well… on a test bench.  Unfortunately, on the road, the pillarless centre section was inclined slightly to flex when subject to lateral forces (such as those imposed when turning corners) and this could release the locks, springing the doors open.  Owners reported this happening while turning corners and it should be remembered (1) lateral force increases as speed rises and (2) this was the pre-seatbelt era.  There appear to be no confirmed reports of unfortunate souls being ejected by centrifugal force through an suddenly open door (the author Albert Camus (1913–1960) was killed when the Facel Vega HK500 two-door coupé in which he was a passenger hit a tree, an accident unrelated to doors) but clearly the risk was there.  Revisions to the mechanism improved the security but the problem was never completely solved; despite that the factory did offer a revised second series Excellence in 1961, abandoning the dog-leg style windscreen and toning down the fins, both of which had become passé but in three years only a handful were sold.  By the time the factory was shuttered in 1964, total Excellence production stood at 148 EX1s (Series One; 1958-1961) & 8 EX2s (Series Two; 1961-1964).

The Mercedes-Benz R230 SL: Lindsay Lohan going topless (in an automotive sense) in 2005 SL 65 AMG with top lowered (left), 2006 SL 65 AMG with top erected (centre) & 2009 SL 65 AMG Black Series with fixed-roof.

At the time uniquely in the SL line, the R230 (2001-2011) was available with both a retractable hard top and with a fixed roof but no soft top was ever offered (the configuration continued in the R231 (2012-2020) while the R232 (since 2021) reverted to fabric).  Having no B pillar, most of the R230s were thus a hardtop with a hard top but the SL 65 AMG Black Series (2008–2011) used a fixed roof fabricated using a carbon fibre composite, something which contributed to the Black Series is weighing some 250 kilograms (550 lb) less than the standard SL 65 AMG.  Of the road-going SLs built since 1954, the Black Series R230 was one of only three models sold without a retractable roof of some kind, the others being the original 300 SL Gullwing (W198, 1954-1957) and the “California coupé” option offered between 1967-1971 for the W113 (1963-1971) roadster (and thus available only for the 250 SL (1966-1968) & 280 SL (1967-1971)).  The California coupé was simply an SL supplied with only the removable hard top and no soft top, a folding bench seat included which was really suitable only for small children.  The name California was chosen presumably because of the association of the place with sunshine and hence a place where one could be confident it was safe to go for a drive without the fear of unexpected rain.  Despite the name, the California coupé was available outside the US (a few even built in right-hand drive form) although the North American market absorbed most of the production.

1969 Chevrolet Corvette L88 convertible with soft top (or soft-top) erected.

1969 Chevrolet Corvette L88 convertible with hard top (or hard-top) attached.

1969 Chevrolet Corvette L88 convertible, with soft-top lowered (ie topless).