Fop became a pejorative term for a man excessively concerned with his appearance and clothes in 17th-century England. Some of the many similar alternative terms are: coxcomb,[1]fribble, popinjay (meaning 'parrot'), dandy, fashion-monger, and ninny. Macaroni was another term of the 18th century more specifically concerned with fashion.
The pejorative term today carries the connotation of a person, usually male, who is overly concerned with trivial matters (especially matters of fashion) and who affects elite social standing. The term also appears in reference to deliberately camp styles based on eighteenth-century looks.
Origins
The word "fop" is first recorded in 1440 and for several centuries just meant a fool of any kind; the Oxford English Dictionary notes first use with the meaning of "one who is foolishly attentive to and vain of his appearance, dress, or manners; a dandy, an exquisite" in 1672.[2] An early example of the usage is in the Restoration dramaThe Soldier's Fortune, in which a woman dismisses a potential suitor by saying "Go, you are a fop."[3]
Shakespeare'sKing Lear contains the word, in the general sense of a fool, and before him Thomas Nashe, in Summer's Last Will and Testament (1592, printed 1600): "the Idiot, our Playmaker. He, like a Fop & an Ass must be making himself a public laughing-stock." Osric, in Hamlet has a great deal of the fop's affected manner, and much of the plot of Twelfth Night revolves around tricking the puritanMalvolio into dressing as a fop. "Fop" was widely used as a derogatory epithet for a broad range of people by the early years of the 18th century; many of these might not have been considered showy lightweights at the time, and it is possible that its meaning had been blunted by this time.[5]
Media of the twentieth century
Pulp fiction in the first decade of the twentieth century introduced the secretive action hero who poses as a fop to conceal his identity. In 1903 The Scarlet Pimpernel, protagonist of the novels by Emma Orczy, set the prototype. Sir Percy poses as an overdressed and empty-headed socialite who is the last person anyone would imagine rescuing people from the feared guillotine of the French Revolution. A similar image is cultivated by Don Diego de la Vega, who rights wrongs as Zorro (1919) in stories by Johnston McCulley. The trend continued with the pulp fiction and radio heroes of the 1920s and 1930s and expanded with the arrival of comic books. The original characterisation of Bruce Wayne in the Batman series carried the trend forward.
In Thomas Mann's 1912 novella Death in Venice (as well as the opera by Benjamin Britten and the film by Luchino Visconti) a fop is derided by the main character, Gustave von Aschenbach; ironically so, as Aschenbach ultimately dresses in this manner himself. Some of the "bright young things" of the 1920s were decidedly "foppish" in manner and appearance, while, towards the late 1960s, male fashion became notably foppish in style, evocative loosely of the Georgian and Victorian eras. Pop stars often dressed in what might be termed foppish clothing, with the Kinks' song "Dedicated Follower of Fashion" (1966) capturing well the spirit of the time. While many characters from popular culture had a tendency to foppish appearance, e.g., Adam Adamant Lives!, the third incarnation of Doctor Who and Jason King, they tended not to exhibit mannerisms associated with fops. In Mel Brooks' History of the World, Part I, in the French Revolution sequence, one of the king's court is referred to as "Popinjay". In popular series Blackadder the Third, Hugh Laurie portrayed George, Prince Regent as a distinctly childish fop in contrast to his shrewd and sarcastic butler E. Blackadder (played by Rowan Atkinson).
The British Fops, or Lucien Callow (Mark McKinney) and Fagan (David Koechner), appeared in several episodes during the Saturday Night Live 1995–1996 seasons. The characters first appeared on Weekend Update as the presidents of the Norm Macdonald fan-club, but later appeared in several other sketches, namely monologues. The Fops would appear in late Restoration period clothing and used a silly take on the period's language, mannerisms, culture, and sexual attitudes.
In Channel 4's Vic Reeves Big Night Out, character Graham Lister regularly refers to Reeves as "the Fop". In Quentin Tarantino's 2012 slavery epic Django Unchained, Jamie Foxx's title character, when allowed to choose his own clothing for the first time in his life, chose a decidedly foppish outfit which immediately earned him the nickname "Fancypants".
In the 2007 video game Apollo Justice: Ace Attorney, Detective Ema Skye constantly refers to the prosecutor Klavier Gavin as a "glimmerous fop" due to the bling that he would typically wear and his obsession with his appearance. The term fop is also used occasionally to refer to other characters, particularly being picked up by Apollo Justice due to the detective's habit of saying it.
A more recent and minor trend is "fop rock", a form of camp in which the performers don 18th-century wigs, lacecravats, and similar costume elements to perform. The style appears to owe something to glam rock, visual kei, and the New Romantic movement. The look was pioneered in the 1960s by Paul Revere & the Raiders. Adam Ant of Adam and the Ants picked up the trend, occasionally performing in elaborate highwayman outfits. Other notable examples would be Falco's performance as Wolfgang Amadeus Mozart in the song "Rock Me Amadeus" (a No. 1 hit in the US, the UK and Canada in 1986), Japanese rock group Malice Mizer, and Boston-based band The Upper Crust.[6][7] Mid-2000s glam rock revivalists White Hot Odyssey also affected 18th century-style wigs and clothing for their live performances. Prince was known for his foppish clothing in the mid-1980s, with ruffled shirts, tight pants and high-heeled boots.[8]
^The Regency era dandy, Lord William Pitt Lennox, even described someone's public manner as "too coxcombical": Venetia Murray (1998) A Social History of the Regency 1788–1830.
^OED, "Fop, 3." The original sense could also be used of women.