Houndstooth - Imprint (NYC)


Houndstooth - Imprint (NYC)

Imprint (NYC): The evolution of motifs in fashion


Priscilla Chung

Professor Shannon Bell Price

ARCS-­‐GE 2910 Exhibition Praxis

November 20, 2011


The origins of the houndstooth-­‐check as a simple pattern travelled some

distance to become a symbol of well-­‐tailored aristocracy, luxury in general, a bygone

lifestyle, and ultimately a signifier that only vaguely references itself. In the process,

it’s moved from a small-­‐scale weave to large-­‐scale printed patterns. From stark

black and white to all manner of colors, from fabric to packaging and sculpture, from

comfortable means of keeping warm and carry a lamb, to the cue for a stark and cold

runway satire about luxury.

People of different nations, time periods, and walks of life call the

houndstooth-­‐check by different names: hound’s tooth, hounds-­‐tooth, houndstooth-­‐

check, dog’s tooth, dogstooth, puppy tooth, four-­‐in-­‐four, gun check, and glen plaid.

Presumably, all the variations on spelling are regional and predate the mass

marketing of the houndstooth-­‐check. A smaller scale version of the houndstooth-­‐

check has frequently been referred to as puppy tooth or dog’s tooth. The terms

puppy tooth, dog’s tooth, or dogtooth have all been attributed to the ornamentation

found in architectural moldings during the 12 th century. Both in architecture and in

woven fabrics, the terms puppy tooth, dog’s tooth, or hound’s tooth refers to a

pattern resembling a canine’s tooth. These architectural patterns however, bear

little visual resemblance to the textile pattern known as houndstooth.

Houndstooth is “commonly made with wool with a broken twill weave that

has been woven into an irregular check of a four-­‐pointed star” and “a variation of

the twill weave construction in which a broken check effect is produced by a

variation in the pattern of interlacing yarns, utilizing at least two different coloured

yarns…” 1 a duotone textile pattern, often in black and white, characterized by an



abstract four-­‐pointed shape. 2 The classic houndstooth-­‐check is an example of a

tessellation; the tiling of plane figures that fills a space with no overlaps or gaps. 3 All

woven fabrics consist of warp yarns running along the length of the material and

weft yarns run across the width of the material. The different methods of interlacing

the warp and weft yarns create a particular type of weave, such as a houndstooth-­‐

check. 4 The traditional houndstooth-­‐check is made with alternating bands of four

dark and four light threads in both warp and weft woven in a simple 2:2 twill, two

over and two under the warp, advancing one thread each pass (See fig. 1). Today,

the distinctive houndstooth-­‐check tessellation commonly found in small-­‐scale

formal weave can be silkscreened or woven on a much larger scale. This scale

emphasizes the graphical nature of the pattern.

Textiles dating as far back as the third century AD convey a strong

resemblance to the appearance and textile weave of a houndstooth-­‐check. One of

the earliest textiles found with a dog’s tooth pattern on fine spin-­‐patterned wool

twill was discovered in Scandinavian graves of the later Roman period, third century

AD (See fig. 2). 5 A complete wool twill cloak with a dog’s tooth pattern was found in

a bog at Gerumsberget in central Sweden. The cloak has been Carbon-­‐14 dated to

400-­‐200 BC. 6 Along with a number of slightly later finds, this suggests the skills and

technology used for creating such a pattern would have been common in all

Scandinavia. It’s not clear how much of this early pattern carried thru to the modern

era, where houndstooth emerged as a variation of Scottish twill or tweed.

The origins of the word tweed derive from the old Scots word, tweel meaning

twill. Woven wool twill cloth dates back to the Scottish lowlands, to garments worn



by shepherds to protect them from bad weather. 7 Legend has us believe that a clerk

at a cloth merchant misread what was described as tweel and was recorded as

tweed. 8 An eminent Scottish philologist named W.F.H. Nicolaisen explains a more

plausible explanation that tweel is a parallel form of twill and twilling as twilling is a

parallel by tweeling or tweedling. Thus tweel could stand for tweeling and tweed

short for tweedling. 9 The rough, rugged, and often nubby woolen fabric originated

from Scotland is typically mixed of flecked colors made either plain or twill weave

having a check or herringbone pattern. 10

During the seventeenth century the Scottish industry produced tweeds of

coarse cloth made of local wool by native labor serving the majority of the

population. In the early part of the century, “plaiding and cloth were said to be

among the most important of Scottish exports.” 11 By the late 1680s the course

woolen trade declined due to economic and political reasons. Scottish society

rejected home produced goods and started wearing clothes constructed from cloths

imported from England and France. During the latter part of the eighteenth century

and early part of the nineteenth century the wool manufacturing in Scotland re-­‐

emerged and flourished. A black and white checked plaid garment became popular

with Border shepherds in the Scottish highlands. The small check plaids became

closely associated with the Scottish shepherd when described in literature and

illustrated in paintings. The shepherds’ check, as noted by author Clifford Gulvin,

was a “traditional pattern of the shawls or plaids worn by the Border shepherds and

introduced to the Highlands along with the sheep late in the eighteenth century.” 12

This rectangular piece of woolen material about four yards long by a yard and a half


wide was used from local and un-­‐dyed wool protecting the shepherd from bad

weather or to carry new-­‐born lambs. 13 Variations of the Border check became

popular early 19 th century with Sir Walter Scott, 1st Baronet of Abbotsford, a


Scottish historical novelist, playwright, and poet, who adopted the check for his

trousers and jackets. During the Victorian and Edwardian periods, the houndstooth-­‐

check was used only sparingly. For example, small patterned houndstooth-­‐check

trousers, without cuffs, would have been worn in the morning to a wedding or a

Royal Ascot, but not on formal occasions such as the City luncheons or very formal

morning wear. 14 Later, in the 20 th century the Duke of Windsor, when he was the

Prince of Wales, started appearing in complete suits made of Scottish tweed (Fig. 4).

The Duke’s tailors worked close in cooperation with the woollen fabric

houses constantly turning out new and exclusive patterns of suiting hoping to meet

with his majesty’s approval. As soon as the Duke on Windsor appeared in any

innovative suiting patterns, a detailed description was then cabled and copied for

manufacturers to produce for the public. Photographs and sketches were requested

by those anxious to secure something similar, and the production of these new

patterns resulted in a tremendous domestic and international boost for British

manufacturers. At a time, when keeping up with appearances meant keeping in good

company, the suit patterns not only influenced men’s dress, but also the dress of

women who were devotedly following what the Duke on Windsor was wearing.

Whenever the pattern changed in his tweed or his worsted, women would follow

the new pattern. 15


One particular check popularized by the Duke of Windsor was the Glen


Urquhart check, Glenurquhart check, or in short, Glen check (See fig. 3). Although the

check commonly referred to the Duke on Windsor check, the origins lead not to the

Duke of Windsor, but his grandfather, Edward VII, seen in the later part of the

nineteenth century appropriating the check-­‐on-­‐check pattern while possibly

hunting at Balmoral castle, located in Aberdeenshire, Scotland. 16 The term Glen is a

geographical term for valley as described by author John Wittow, “a Scottish term

for a deep valley in the Highlands.” 17 The check pattern inherited its name from a

valley in Inverness-­‐shire, Scotland and adopted in the 1840s by Lady Caroline

Countess of Seafield. Lady Caroline is sometimes credited with being the designer of

the handloom weave. Although a more plausible explanation was that she merely

popularized a local pattern by using the existing Glen Urquhart check to outfit her

gamekeepers. Scholars have suggested that Elizabeth Macdougall, from a little

village at the foot of the glen named Lewston probably designed the motif. 18 The

Glen Urquhart check, made up of tiny houndstooth, marries the woven-­‐in horizontal

and vertical lines, with light contrasting color, creating an over-­‐plaid (See fig. 4). 19

The name Urquhart is also the name of a Scottish clan. The popularity of the clan

tartan idea was applied to “District Checks” in tweed for use by ghillies,

gamekeepers, and estate employees of sporting estates.

By the early twentieth century, after the Duke on Windsor re-­‐introduced the

houndstooth-­‐check or the Glen Urquhart check ensemble, his association with

prestigious sports and recreations such as hunting, riding, and golf, the motif

became progressively fashionable in informal men’s and women’s apparel.


Throughout the 1920s to the 1950s, houndstooth-­‐checks were predominately

woven into small scale tweeds for somber applications in men’s and women’s



After the Second World War, houndstooth emerged as a bold graphic pattern,

as a symbol of prestige far removed from its origins as a woven pattern. Coinciding

with the introduction of the New Look by Dior, the company launched their first

fragrance, Miss Dior, in 1947. A houndstooth-­‐check pattern enveloped the

background of the fragrance box (See fig. 5). In addition to the distinction gained

from the custom checks by the Duke on Windsor, the launch of Miss Dior cemented

the houndstooth-­‐check association with prestige. By the end of the 1950s, the

applications of houndstooth evolved fully from a weave into a symbol of luxury.

Bold prints of the motif began appearing beyond the usual sports, recreation, and

tailored jackets from earlier times.

In 1966, New York designer Geoffrey Beene once again rejuvenated the

houndstooth-­‐check by printing the motif on dresses inset with undulating bands of

lace. 20 Beene described the line titled, Country Squire, for the woman who, “walks,

drives, stays at home, or flies off to Rome.” 21 The classic houndstooth-­‐checks were

no longer settled in plain black and white. Beene introduced the motifs in colors of

subtle lavender paired with charcoal blonde and bottle green or caramel and black,

softly gathered on skirts balanced with a short jacket (See fig. 6-­‐8). Houndstooth still

carried the same prestige as used by the royal family and in luxury items such as the

fragrance by Dior, but now in its contemporary usage, designers continue to take the

symbolic meaning and reinterpreted it for everyday usage.



The late Alexander McQueen opened his Fall 2009 collection with 1940s

silhouette dress suits, nipped at the waist and composed with a flared skirt in

houndstooth wool (See fig. 9). McQueen created a stage for symbolizing the sudden

crash of luxury exuberance in 2009. The clothes he sent out parodied the couture

designs of the last century, spoofing Dior’s New Look and Givenchy’s little black

dress. This referencing of houndstooth as a fabric pattern, a symbol of English

propriety, an icon of luxury, and finally of itself calls to mind a key thought by

Caroline Evans, “We are not fixed in the present but constantly thinking forwards

and projecting backwards, demonstrating a kind of consciousness and self-­‐scrutiny

that has been identified as intrinsic to modernity…” 22

Postmodernism shared and played with the scale and shape of the

houndstooth symbol. No longer restricted to only a woven textile in wool, the

houndstooth-­‐check is now applied as a print on a range of fabrics and in various

colors. The appeal has gone beyond fashion and textiles and into the world of three

dimensional product designs. 23 While the pattern is still used in small scale for more

somber applications such as men’s tailoring, the blown up, large-­‐scale, black and

white houndstooth-­‐check recently become a fashion statement. Fashion designers

such as Yohji Yamamoto created an entire collection of houndstooth-­‐check

Edwardian suits for his Fall 2003 collection, paying homage to Christian Dior (See

fig.10). 24 Marc by Marc Jacobs Fall 2008, ready-­‐to-­‐wear collection reminisced about

the 1980s, with large houndstooth-­‐check prints on colorfully bright skirts, a banana-­‐

yellow sweatshirt dress, bright pink bags, and strappy ankle boots (See fig. 11). The

pink houndstooth-­‐check dress with a stand-­‐up collar achieved a new playfulness


with the size and scale of the houndstooth-­‐check. The Marc Jacobs collection


reinterpreted the iconic nature of the pattern, in conjunction with popping bright

colors and a rubbing or water effect that softened the hard edges of the traditional

houndstooth motif.

The houndstooth-­‐check is one of the most recognizable fabric patterns and

can trace its origins back nearly 2000 years to early twill fabrics woven in Northern

Europe. The term houndstooth, however, dates back to the 1930s as part of a larger

effort to market styles of plaids and tartans popularized by the Duke of Windsor.

Today, the pattern runs a spectrum of taste and is ubiquitous. From clothing,

accessories, and home décor to greeting cards and nail polish, the houndstooth-­‐

check can literally be found everywhere.


Fig. 1. Weaving a small-­‐scale houndstooth check in a 2:2 twill. 13 June 2007.

Source: http://en.wikipedia.org/wiki/File:Houndstooth_check_weave.png

Chung 10

Fig. 2. Spin-­‐patterned wool twill from Donbaek, north Jutland, Denmark (third century AD).

Source: The Cambridge History of Western Textiles, Volume 1, edited by David Jenkins


Fig. 3. “H.R.H. Started It,” Vogue, January 15, 1934.

Fig. 4. Glenurquhart Estate Check, Elizabeth Macdougall, 1840.

Source: http://www.tartanregister.gov.uk/tartanDetails.aspx?ref=1440

Chung 11

Fig. 5. Miss Dior, by Dior 1947.

Fig. 6. Geoffrey Beene, Fall 1966 Harper’s Bazaar.

Fig. 7. Geoffrey Beene, Fall 1966 Harper’s Bazaar.

Chung 12

Fig. 8. Geoffrey Beene, Fall 1966 Harper's Bazaar.

Fig. 9. Alexander McQueen, Fall 2009 ready-­‐to-­‐wear.


Chung 13

Fig. 10. Yohji Yamamoto, Fall 2003. http://bit.ly/uQvGRS.

Fig. 11. Marc by Marc Jacobs, Pink houndstooth-­‐check dress,

Fall 2008, Ready-­‐to-­‐wear. http://bit.ly/p66XQo.

Chung 14


1. Maitra, Encyclopedic Dictionary of Clothing and Textiles, 214.

2. “Geoffrey Beene: Design History-Timeline of Innovation,” 214.

3. “Definition of ‘tessellate’ from Oxford Dictionaries Online.”

4. “Turnbull & Asser.”

5. D. T. Jenkins, The Cambridge History of Western Textiles, 96–97.

6. Ibid., 65.

7. Dunbar, The Costume of Scotland, 152.

8. Storey, History of Men’s Fashion, 45.

9. Dunbar, The Costume of Scotland, 150.

10. “Dictionary search results : Oxford Dictionaries Online.”

11. Dunbar, The Costume of Scotland, 150.

12. Ibid., 151.

13. Ibid., 152.

14. Storey, History of Men’s Fashion, 78.

15. “H.R.H. Started it.,” 36.

Chung 15

16. O’Grady, “Minor British Institutions: Prince of Wales check - This Britain -

UK - The Independent.”

17. Whittow, “The Penguin Dictionary of Physical Geography.”

18. “Scottish Textiles Heritage Online.”

19. Maitra, Encyclopedic Dictionary of Clothing and Textiles, 190.

20. “Geoffrey Beene: Design History-Timeline of Innovation.”

21. Pauley, “Fashion Decrees Togetherness,” 15.

22. Evans, Fashion at the Edge, 296.

23. Hampshire and Stephenson, Squares, Checks and Grids, 19.

24. Menkes, “Feeling the Flow of Yamamoto.”

Chung 16


Chung 17

“Dictionary search results: Oxford Dictionaries Online,” Accessed: November 22,



Dunbar, John Telfer. The Costume of Scotland. London: Batsford, 1981.

Evans, Caroline. Fashion at the Edge: Spectacle, Modernity and Deathliness. New

Haven: Yale University Press, 2003.

“Geoffrey Beene: Design History-­‐Timeline of Innovation.” Geoffrey Beene, 2011.


Gulvin, Clifford. The Tweedmakers: A History of the Scottish Fancy Woollen Industry

1600-­‐1914. David & Charles, 1973.

“H.R.H. Started it.” Vogue, January 15, 1934.

Hampshire, Mark, and Keith Stephenson. Squares, Checks and Grids. RotoVision,


Harrison, E. S., and National Association of Scottish Woollen Manufacturers. Our

Scottish District Checks. National Association of Scottish Woollen

Manufacturers, 1968.

Horyn, Cathy. “The Allure of Precision Just Around the Curve.” The New York Times,

February 7, 2008, sec. Fashion & Style / Fashion Shows.


———. “The Allure of Precision Just Around the Curve.” The New York Times,

February 7, 2008, sec. Fashion & Style / Fashion Shows.


Chung 18

Maitra, K. K. Encyclopedic Dictionary of Clothing and Textiles. Mittal Publications,


Menkes, Suzy. “Feeling the Flow of Yamamoto.” The New York Times, March 14,

2011, sec. Fashion & Style.


O’Grady, Sean. “Minor British Institutions: Prince of Wales check -­‐ This Britain -­‐ UK -­‐

The Independent,” October 2, 2010.



Pauley, Gay. “Fashion Decrees Togetherness.” Lebanon Daily News: Lady News, July


“Scottish Textiles Heritage Online,” Accessed: November 22, 2011.



Storey, Nicholas. History of Men’s Fashion: What the Well-­‐Dressed Man is Wearing.

Barnsley: Remember When, 2008.

D. T. Jenkins. The Cambridge History of Western Textiles. Volume 1. Cambridge, U.K.;

New York: Cambridge University Press, 2003.

“Tartan Details -­‐ The Scottish Register of Tartans,”Accessed: November 22, 2011.


“Turnbull & Asser.” Commerce. Turnbull & Asser, 2006.



Whittow, John. “The Penguin Dictionary of Physical Geography.” Penguin, 2000.

Chung 19

Wilson, Eric. “McQueen Leaves Fashion in Ruins.” The New York Times, March 12,

2009, sec. Fashion & Style.


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