Houndstooth - Imprint (NYC)
Houndstooth - Imprint (NYC)
Houndstooth - Imprint (NYC)
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<strong>Imprint</strong> (<strong>NYC</strong>): The evolution of motifs in fashion<br />
<strong>Houndstooth</strong><br />
Priscilla Chung<br />
Professor Shannon Bell Price<br />
ARCS-‐GE 2910 Exhibition Praxis<br />
November 20, 2011
Chung<br />
The origins of the houndstooth-‐check as a simple pattern travelled some<br />
distance to become a symbol of well-‐tailored aristocracy, luxury in general, a bygone<br />
lifestyle, and ultimately a signifier that only vaguely references itself. In the process,<br />
it’s moved from a small-‐scale weave to large-‐scale printed patterns. From stark<br />
black and white to all manner of colors, from fabric to packaging and sculpture, from<br />
comfortable means of keeping warm and carry a lamb, to the cue for a stark and cold<br />
runway satire about luxury.<br />
People of different nations, time periods, and walks of life call the<br />
houndstooth-‐check by different names: hound’s tooth, hounds-‐tooth, houndstooth-‐<br />
check, dog’s tooth, dogstooth, puppy tooth, four-‐in-‐four, gun check, and glen plaid.<br />
Presumably, all the variations on spelling are regional and predate the mass<br />
marketing of the houndstooth-‐check. A smaller scale version of the houndstooth-‐<br />
check has frequently been referred to as puppy tooth or dog’s tooth. The terms<br />
puppy tooth, dog’s tooth, or dogtooth have all been attributed to the ornamentation<br />
found in architectural moldings during the 12 th century. Both in architecture and in<br />
woven fabrics, the terms puppy tooth, dog’s tooth, or hound’s tooth refers to a<br />
pattern resembling a canine’s tooth. These architectural patterns however, bear<br />
little visual resemblance to the textile pattern known as houndstooth.<br />
<strong>Houndstooth</strong> is “commonly made with wool with a broken twill weave that<br />
has been woven into an irregular check of a four-‐pointed star” and “a variation of<br />
the twill weave construction in which a broken check effect is produced by a<br />
variation in the pattern of interlacing yarns, utilizing at least two different coloured<br />
yarns…” 1 a duotone textile pattern, often in black and white, characterized by an<br />
2
Chung<br />
abstract four-‐pointed shape. 2 The classic houndstooth-‐check is an example of a<br />
tessellation; the tiling of plane figures that fills a space with no overlaps or gaps. 3 All<br />
woven fabrics consist of warp yarns running along the length of the material and<br />
weft yarns run across the width of the material. The different methods of interlacing<br />
the warp and weft yarns create a particular type of weave, such as a houndstooth-‐<br />
check. 4 The traditional houndstooth-‐check is made with alternating bands of four<br />
dark and four light threads in both warp and weft woven in a simple 2:2 twill, two<br />
over and two under the warp, advancing one thread each pass (See fig. 1). Today,<br />
the distinctive houndstooth-‐check tessellation commonly found in small-‐scale<br />
formal weave can be silkscreened or woven on a much larger scale. This scale<br />
emphasizes the graphical nature of the pattern.<br />
Textiles dating as far back as the third century AD convey a strong<br />
resemblance to the appearance and textile weave of a houndstooth-‐check. One of<br />
the earliest textiles found with a dog’s tooth pattern on fine spin-‐patterned wool<br />
twill was discovered in Scandinavian graves of the later Roman period, third century<br />
AD (See fig. 2). 5 A complete wool twill cloak with a dog’s tooth pattern was found in<br />
a bog at Gerumsberget in central Sweden. The cloak has been Carbon-‐14 dated to<br />
400-‐200 BC. 6 Along with a number of slightly later finds, this suggests the skills and<br />
technology used for creating such a pattern would have been common in all<br />
Scandinavia. It’s not clear how much of this early pattern carried thru to the modern<br />
era, where houndstooth emerged as a variation of Scottish twill or tweed.<br />
The origins of the word tweed derive from the old Scots word, tweel meaning<br />
twill. Woven wool twill cloth dates back to the Scottish lowlands, to garments worn<br />
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by shepherds to protect them from bad weather. 7 Legend has us believe that a clerk<br />
at a cloth merchant misread what was described as tweel and was recorded as<br />
tweed. 8 An eminent Scottish philologist named W.F.H. Nicolaisen explains a more<br />
plausible explanation that tweel is a parallel form of twill and twilling as twilling is a<br />
parallel by tweeling or tweedling. Thus tweel could stand for tweeling and tweed<br />
short for tweedling. 9 The rough, rugged, and often nubby woolen fabric originated<br />
from Scotland is typically mixed of flecked colors made either plain or twill weave<br />
having a check or herringbone pattern. 10<br />
During the seventeenth century the Scottish industry produced tweeds of<br />
coarse cloth made of local wool by native labor serving the majority of the<br />
population. In the early part of the century, “plaiding and cloth were said to be<br />
among the most important of Scottish exports.” 11 By the late 1680s the course<br />
woolen trade declined due to economic and political reasons. Scottish society<br />
rejected home produced goods and started wearing clothes constructed from cloths<br />
imported from England and France. During the latter part of the eighteenth century<br />
and early part of the nineteenth century the wool manufacturing in Scotland re-‐<br />
emerged and flourished. A black and white checked plaid garment became popular<br />
with Border shepherds in the Scottish highlands. The small check plaids became<br />
closely associated with the Scottish shepherd when described in literature and<br />
illustrated in paintings. The shepherds’ check, as noted by author Clifford Gulvin,<br />
was a “traditional pattern of the shawls or plaids worn by the Border shepherds and<br />
introduced to the Highlands along with the sheep late in the eighteenth century.” 12<br />
This rectangular piece of woolen material about four yards long by a yard and a half<br />
4
wide was used from local and un-‐dyed wool protecting the shepherd from bad<br />
weather or to carry new-‐born lambs. 13 Variations of the Border check became<br />
popular early 19 th century with Sir Walter Scott, 1st Baronet of Abbotsford, a<br />
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Scottish historical novelist, playwright, and poet, who adopted the check for his<br />
trousers and jackets. During the Victorian and Edwardian periods, the houndstooth-‐<br />
check was used only sparingly. For example, small patterned houndstooth-‐check<br />
trousers, without cuffs, would have been worn in the morning to a wedding or a<br />
Royal Ascot, but not on formal occasions such as the City luncheons or very formal<br />
morning wear. 14 Later, in the 20 th century the Duke of Windsor, when he was the<br />
Prince of Wales, started appearing in complete suits made of Scottish tweed (Fig. 4).<br />
The Duke’s tailors worked close in cooperation with the woollen fabric<br />
houses constantly turning out new and exclusive patterns of suiting hoping to meet<br />
with his majesty’s approval. As soon as the Duke on Windsor appeared in any<br />
innovative suiting patterns, a detailed description was then cabled and copied for<br />
manufacturers to produce for the public. Photographs and sketches were requested<br />
by those anxious to secure something similar, and the production of these new<br />
patterns resulted in a tremendous domestic and international boost for British<br />
manufacturers. At a time, when keeping up with appearances meant keeping in good<br />
company, the suit patterns not only influenced men’s dress, but also the dress of<br />
women who were devotedly following what the Duke on Windsor was wearing.<br />
Whenever the pattern changed in his tweed or his worsted, women would follow<br />
the new pattern. 15<br />
5
One particular check popularized by the Duke of Windsor was the Glen<br />
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Urquhart check, Glenurquhart check, or in short, Glen check (See fig. 3). Although the<br />
check commonly referred to the Duke on Windsor check, the origins lead not to the<br />
Duke of Windsor, but his grandfather, Edward VII, seen in the later part of the<br />
nineteenth century appropriating the check-‐on-‐check pattern while possibly<br />
hunting at Balmoral castle, located in Aberdeenshire, Scotland. 16 The term Glen is a<br />
geographical term for valley as described by author John Wittow, “a Scottish term<br />
for a deep valley in the Highlands.” 17 The check pattern inherited its name from a<br />
valley in Inverness-‐shire, Scotland and adopted in the 1840s by Lady Caroline<br />
Countess of Seafield. Lady Caroline is sometimes credited with being the designer of<br />
the handloom weave. Although a more plausible explanation was that she merely<br />
popularized a local pattern by using the existing Glen Urquhart check to outfit her<br />
gamekeepers. Scholars have suggested that Elizabeth Macdougall, from a little<br />
village at the foot of the glen named Lewston probably designed the motif. 18 The<br />
Glen Urquhart check, made up of tiny houndstooth, marries the woven-‐in horizontal<br />
and vertical lines, with light contrasting color, creating an over-‐plaid (See fig. 4). 19<br />
The name Urquhart is also the name of a Scottish clan. The popularity of the clan<br />
tartan idea was applied to “District Checks” in tweed for use by ghillies,<br />
gamekeepers, and estate employees of sporting estates.<br />
By the early twentieth century, after the Duke on Windsor re-‐introduced the<br />
houndstooth-‐check or the Glen Urquhart check ensemble, his association with<br />
prestigious sports and recreations such as hunting, riding, and golf, the motif<br />
became progressively fashionable in informal men’s and women’s apparel.<br />
6
Throughout the 1920s to the 1950s, houndstooth-‐checks were predominately<br />
woven into small scale tweeds for somber applications in men’s and women’s<br />
tailoring.<br />
Chung<br />
After the Second World War, houndstooth emerged as a bold graphic pattern,<br />
as a symbol of prestige far removed from its origins as a woven pattern. Coinciding<br />
with the introduction of the New Look by Dior, the company launched their first<br />
fragrance, Miss Dior, in 1947. A houndstooth-‐check pattern enveloped the<br />
background of the fragrance box (See fig. 5). In addition to the distinction gained<br />
from the custom checks by the Duke on Windsor, the launch of Miss Dior cemented<br />
the houndstooth-‐check association with prestige. By the end of the 1950s, the<br />
applications of houndstooth evolved fully from a weave into a symbol of luxury.<br />
Bold prints of the motif began appearing beyond the usual sports, recreation, and<br />
tailored jackets from earlier times.<br />
In 1966, New York designer Geoffrey Beene once again rejuvenated the<br />
houndstooth-‐check by printing the motif on dresses inset with undulating bands of<br />
lace. 20 Beene described the line titled, Country Squire, for the woman who, “walks,<br />
drives, stays at home, or flies off to Rome.” 21 The classic houndstooth-‐checks were<br />
no longer settled in plain black and white. Beene introduced the motifs in colors of<br />
subtle lavender paired with charcoal blonde and bottle green or caramel and black,<br />
softly gathered on skirts balanced with a short jacket (See fig. 6-‐8). <strong>Houndstooth</strong> still<br />
carried the same prestige as used by the royal family and in luxury items such as the<br />
fragrance by Dior, but now in its contemporary usage, designers continue to take the<br />
symbolic meaning and reinterpreted it for everyday usage.<br />
7
Chung<br />
The late Alexander McQueen opened his Fall 2009 collection with 1940s<br />
silhouette dress suits, nipped at the waist and composed with a flared skirt in<br />
houndstooth wool (See fig. 9). McQueen created a stage for symbolizing the sudden<br />
crash of luxury exuberance in 2009. The clothes he sent out parodied the couture<br />
designs of the last century, spoofing Dior’s New Look and Givenchy’s little black<br />
dress. This referencing of houndstooth as a fabric pattern, a symbol of English<br />
propriety, an icon of luxury, and finally of itself calls to mind a key thought by<br />
Caroline Evans, “We are not fixed in the present but constantly thinking forwards<br />
and projecting backwards, demonstrating a kind of consciousness and self-‐scrutiny<br />
that has been identified as intrinsic to modernity…” 22<br />
Postmodernism shared and played with the scale and shape of the<br />
houndstooth symbol. No longer restricted to only a woven textile in wool, the<br />
houndstooth-‐check is now applied as a print on a range of fabrics and in various<br />
colors. The appeal has gone beyond fashion and textiles and into the world of three<br />
dimensional product designs. 23 While the pattern is still used in small scale for more<br />
somber applications such as men’s tailoring, the blown up, large-‐scale, black and<br />
white houndstooth-‐check recently become a fashion statement. Fashion designers<br />
such as Yohji Yamamoto created an entire collection of houndstooth-‐check<br />
Edwardian suits for his Fall 2003 collection, paying homage to Christian Dior (See<br />
fig.10). 24 Marc by Marc Jacobs Fall 2008, ready-‐to-‐wear collection reminisced about<br />
the 1980s, with large houndstooth-‐check prints on colorfully bright skirts, a banana-‐<br />
yellow sweatshirt dress, bright pink bags, and strappy ankle boots (See fig. 11). The<br />
pink houndstooth-‐check dress with a stand-‐up collar achieved a new playfulness<br />
8
with the size and scale of the houndstooth-‐check. The Marc Jacobs collection<br />
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reinterpreted the iconic nature of the pattern, in conjunction with popping bright<br />
colors and a rubbing or water effect that softened the hard edges of the traditional<br />
houndstooth motif.<br />
The houndstooth-‐check is one of the most recognizable fabric patterns and<br />
can trace its origins back nearly 2000 years to early twill fabrics woven in Northern<br />
Europe. The term houndstooth, however, dates back to the 1930s as part of a larger<br />
effort to market styles of plaids and tartans popularized by the Duke of Windsor.<br />
Today, the pattern runs a spectrum of taste and is ubiquitous. From clothing,<br />
accessories, and home décor to greeting cards and nail polish, the houndstooth-‐<br />
check can literally be found everywhere.<br />
9
Fig. 1. Weaving a small-‐scale houndstooth check in a 2:2 twill. 13 June 2007.<br />
Source: http://en.wikipedia.org/wiki/File:<strong>Houndstooth</strong>_check_weave.png<br />
Chung 10<br />
Fig. 2. Spin-‐patterned wool twill from Donbaek, north Jutland, Denmark (third century AD).<br />
Source: The Cambridge History of Western Textiles, Volume 1, edited by David Jenkins<br />
http://bit.ly/vSDlrt
Fig. 3. “H.R.H. Started It,” Vogue, January 15, 1934.<br />
Fig. 4. Glenurquhart Estate Check, Elizabeth Macdougall, 1840.<br />
Source: http://www.tartanregister.gov.uk/tartanDetails.aspx?ref=1440<br />
Chung 11
Fig. 5. Miss Dior, by Dior 1947.<br />
Fig. 6. Geoffrey Beene, Fall 1966 Harper’s Bazaar.<br />
Fig. 7. Geoffrey Beene, Fall 1966 Harper’s Bazaar.<br />
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Fig. 8. Geoffrey Beene, Fall 1966 Harper's Bazaar.<br />
Fig. 9. Alexander McQueen, Fall 2009 ready-‐to-‐wear.<br />
http://bit.ly/omt3bG.<br />
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Fig. 10. Yohji Yamamoto, Fall 2003. http://bit.ly/uQvGRS.<br />
Fig. 11. Marc by Marc Jacobs, Pink houndstooth-‐check dress,<br />
Fall 2008, Ready-‐to-‐wear. http://bit.ly/p66XQo.<br />
Chung 14
Notes:<br />
1. Maitra, Encyclopedic Dictionary of Clothing and Textiles, 214.<br />
2. “Geoffrey Beene: Design History-Timeline of Innovation,” 214.<br />
3. “Definition of ‘tessellate’ from Oxford Dictionaries Online.”<br />
4. “Turnbull & Asser.”<br />
5. D. T. Jenkins, The Cambridge History of Western Textiles, 96–97.<br />
6. Ibid., 65.<br />
7. Dunbar, The Costume of Scotland, 152.<br />
8. Storey, History of Men’s Fashion, 45.<br />
9. Dunbar, The Costume of Scotland, 150.<br />
10. “Dictionary search results : Oxford Dictionaries Online.”<br />
11. Dunbar, The Costume of Scotland, 150.<br />
12. Ibid., 151.<br />
13. Ibid., 152.<br />
14. Storey, History of Men’s Fashion, 78.<br />
15. “H.R.H. Started it.,” 36.<br />
Chung 15<br />
16. O’Grady, “Minor British Institutions: Prince of Wales check - This Britain -<br />
UK - The Independent.”<br />
17. Whittow, “The Penguin Dictionary of Physical Geography.”<br />
18. “Scottish Textiles Heritage Online.”<br />
19. Maitra, Encyclopedic Dictionary of Clothing and Textiles, 190.<br />
20. “Geoffrey Beene: Design History-Timeline of Innovation.”<br />
21. Pauley, “Fashion Decrees Togetherness,” 15.<br />
22. Evans, Fashion at the Edge, 296.
23. Hampshire and Stephenson, Squares, Checks and Grids, 19.<br />
24. Menkes, “Feeling the Flow of Yamamoto.”<br />
Chung 16
Bibliography<br />
Chung 17<br />
“Dictionary search results: Oxford Dictionaries Online,” Accessed: November 22,<br />
2011.<br />
http://oxforddictionaries.com/definition/tessellate?region=us&q=tessellate.<br />
Dunbar, John Telfer. The Costume of Scotland. London: Batsford, 1981.<br />
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Haven: Yale University Press, 2003.<br />
“Geoffrey Beene: Design History-‐Timeline of Innovation.” Geoffrey Beene, 2011.<br />
http://www.geoffreybeene.com/timeline.html#2.<br />
Gulvin, Clifford. The Tweedmakers: A History of the Scottish Fancy Woollen Industry<br />
1600-‐1914. David & Charles, 1973.<br />
“H.R.H. Started it.” Vogue, January 15, 1934.<br />
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Scottish District Checks. National Association of Scottish Woollen<br />
Manufacturers, 1968.<br />
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Chung 18<br />
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2007.<br />
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The Independent,” October 2, 2010.<br />
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institutions-‐prince-‐of-‐wales-‐check-‐2093238.html.<br />
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http://www.tartanregister.gov.uk/tartanDetails.aspx?ref=1440.<br />
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Chung 19<br />
Wilson, Eric. “McQueen Leaves Fashion in Ruins.” The New York Times, March 12,<br />
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http://www.nytimes.com/2009/03/12/fashion/12MCQUEEN.html.