FLECKTARN
TIGER STRIPE
BRUSHSTROKE
DPM
Country of Origin: Germany Year: 1930
Country of Origin: Britain Year: 1942
Country of Origin: Vietnam Year: 1960
Country of Origin: Britain Year: 1960
This spot camouflage pattern was developed by German innovators, influenced by the German WWII “pea pattern”. The term, “flecktarn” comes from the German words, fleck meaning spot, and tarnung meaning camouflage. “Flecktarn is a five-color pattern consisting of black, reddish brown, olive, dark olive, and moss green spots to effectively disrupt the eye.
One of the earliest versions of camouflage created by an early adopter of the print, Major Denison of the British Army. The term “brushstroke” refers to Denison’s idea of using mop brush to paint over khaki-colored smocks. This technique has been adopted by various countries in Africa, the Middle East, and Asia.
This pattern was highly influenced by the French “lizard” pattern from 1950. The term “tiger stripe” refers to the collection of camo patterns made in Southeast Asia. This pattern is more dense than the lizard one, and incorporates darker colors and smaller brush strokes to mimic the forests of Vietnam.
DPM, or Disruptive Pattern Material, was a term coined by the British innovators of camouflage. This print is used in temperate climates and consists of black, brown, and bright green shades.
1920
1950
RAIN
DUCK HUNTER
Country of Origin: US Year: 1960 This variation of camouflage was not used in warfare; rather, it was created by American companies and was marketed as hunting apparel for sportsmen. Today, there has been many variations of hunting camouflage.
1970
1960
1980
2000
WOODLAND
Country of Origin: Germany Year: 1935
LIZARD
Country of Origin: France Year: 1950
CHOCOLATE CHIP
During WWII the German military developed, the “falling rain concept”, where rain drops / straits were isolated on solid background to distract the eye. This concept has been adopted by many other military forces. During the 1960s - 70s, revolutionary movements in Africa organizations used this pattern.
The “lizard” camouflage pattern is essentially the French’s version of the “brushstroke” pattern developed by the British Army. This pattern adopted the name “lizard”, referring to the paratroopers that originally wore this pattern. The French used many versions of this pattern over a course of ten years.
Designed for the Califiornian desert terrain by the US Army, the original design of this pattern consisted of three colors, and has been since duplicated and widely used for desert warfare The most prevalent use of this pattern was during the Persian Gulf War (1981 - 1991) and Operation Desert Storm. The print’s popularity - and association with ‘patriotic’ expression - during the latter was largely due to the fact that it was worn by Barbara Bush during one of her trips to Saudi Arabia.
Country of Origin: US Year: 1971
PURPOSE: concealment
1990
DIGITAL
Country of Origin: US Year: 1981
Country of Origin: Canada Year: 1997
The most widely diffused camouflage pattern, this print has been duplicated and modified more than any other pattern in history. It was developed by the US Army - since then, it’s been used by military forces around the world.
Digital camouflage patterns are designed using computer algorithms to better fool the eye. The Canadian Forces patented the digital pattern (CADPAT) in 1997 - despite this, similar derivatives of this pattern have been diffused and widely adopted by many armed forces. In 2001, for instance, the Marine Corps introduced its pixelated MARPAT uniform; in 2004, the US Army attempted to create a single print that could conceal wearers in all environments, and released the Universal Camouflage Pattern.
PURPOSE: self-expression
PURPOSE: profit/sales
PURPOSE: fashion design
Maharishi designer Hardy Blechman sitting in front of some of his creations, proving that he’s one of the experts of camouflage.
The print on the USS West Mahomet circa 1918 allows the vessel to hide from enemies’ perception.
From her Spring 1940 collection, a camo-printed taffeta by Elsa Schiaparelli, one of the first fashion designers to use “modern” camouflage in her work.
During the Chelsea Arts Club’s “Dazzle Ball”on March 12, 1919, the prints on the costumes of attendees mirrored that of dazzle camouflage.
Vogue’s March 1940 issue reveals how wartime impacts the fashion world.
The innovation’s proves to be irresistable to the masses, and its role in any kind of anti-establishment statement proved its ability to merge subcultures. It was quickly adopted by various social systems, whether it was young, urban rebels, artists, or fashion designers.
1939
1914 a change in canvas
INFLUENCE: art
1995 a change in meaning
from concealment to self-expression
adoption by other groups
1939 - 1945: WWII Advancements in weapons and technology - that is, innovations which made hiding from one’s enemy more difficult - made invisibility a priority to soldiers. Armies thus recruited artists to utilize their knowledge of color theory, abstraction, etc. to design more effective disruptive camo prints. The result was a more mass spread adoption of the innovation on military apparel, but the diffusion of the print within one homophilous social system importantly triggered another group - that is, the fashion industry - to recognize its value as creative inspiration and in self-expression.
1914 - 1918: WWI Origins Interestingly, the idea of concealment for the sake of warfare was first seen not on people, but on ships - Mediterranean pirates, for instance, painted their vessels blue-gray to blend in with the high seas. However, during WWI, the French Army realized that the concept could just as well be utilized to hide their soldiers. Adopting the disruptive pattern to another form - that is, the human body - was in itself an innovation, and created the playspace for future designers of both military and consumer apparel to generate future ones.
Model Lily Cole wears a silk-tulle, camo-printed gown from Jean Paul Gaultier’s 2000 collection.
a change in purpose
a change in social system
first signs of the fashion world’s interest
A mens’ suit from Stephen Sprouse’s 1988 collection, in which Warhol’s colorful take on the camo print has obvious influence.
1980
1956
a change in social system
from ships to the human body
T-shirt design from politically-charged American hip-hop group Public Enemy.
from left: young, anti-war protestors during the Vietnam War; visitors at the Honor Fraser Gallery enjoying Andy Warhol’s “Camouflage Series”; dresses by Finnish designer Marimekko; design by “King of Cartoon” Jean-Charles de Castelbajac.
a reflection of high fashion
1980s: Camo as a True Fashion Print As the print garners mass acceptance and sheds its masculine symbolism and utilitarian-only appeal, an increasing number of fashion designers use it as a source of inspiration. The period of the 80s also saw the importance of the print in music-driven subcultures, whether it was hip-hop, punk, or techno. We thus see . one of the most vital perceived attributes of the print that allowed it to enjoy such a rapid rate of adoption: its high degree of compatibility with the specific values diverse potential adopters.
1956 - 1975: The Vietnam War Previously confined to special military units, the print breached other social systems and became more of a cultural phenomenon during the Vietnam War. Anti-war protestors, for instance, sported the pattern during their demonstrations, adopting the innovation to fulfill their own needs - ironically, ones which were counterintuitive to the print’s initial patriotic symbolism.
SUBCULTURE: hip-hop/music INFLUENCE: military
mid-1990s: Haute Couture Appeal By the mid-1990s, the camo print is not only seen in urban apparel, but in the creations of haute couture designers. From Jean Paul Gaultier, to Christian Dior, to Yves Saint Laurent, renowned names in the global fashion industry recognized the aesthetic power inherent in the pattern, and thus showcased the innovation in their collections. The highly observable format of runway shows, combined with the masses’ general desire to emulate the elite, thus furthered the print’s diffusion on a more widespread scale.
from left: a shot from Patrik Ervell’s Fall 13 mens’ wear show; Glee star Naya Rivera wearing the print back in 2013 during a casual coffee run; Michael Kors’ blue-gray variation of the pring during Fall 13’s NY Fashion Week is a prime example of designer experimentation with camo-chic.
from left: a shopping / wardobe guide from Vogue Paris’ S/S 13 issue demonstrates how the print’s purpose has undergone a full 180-degree turn - that is, from concealing its wearer to making him (or her) stand out; a fun camouflage design from Alternative Prom Dress illustrates how the print’s now ideal for teen formals as well as battlefileds; a pair of ‘RealTree’ pink camo shades from Southern Sisters Designs is a prime example of how women have made the innovation their own; a boy’s jacket by John Galliano shows how kids can rock the print as well.
2000
NOW
a change in degree of saturation
a change in... everything
from niche markets to a global phenomenon
used on and by a full spectrum of objects and people
NOW: A Wardrobe Necessity for Everyone The print has conquered the mass consumer fashion marketplace; seen on products ranging from prom dresses, childrenswear, sunglasses, etc., it is also a regular feature in trend reports from various fashion publications, who offer their readers camo print styling tips. Though its meaning has regularly transformed - and will certainly continue to do so - as different social systems exploit its flexibility via reinvention and personal customization, the camo print enjoys is sustainable success as an innovation thanks to its ability to be both shape and be shaped by cultural and technological changes. Previously confined to only localite social channels - such as the armed forces, scientists, artists, and the more fashion-conscious elite - the print has since profited from close system-system interplays, as well as advancements in mass media, which markedly created the effective information-spreading platforms through which our innovation could reach a larger audience more rapidly.
early 20th Century: Mass Consumer Appeal “Normally reserved for battlefields, hiding in duck blinds, or hipster irony, camo is now being spotted everywhere.” wrote NY Daily News journalist Shiela McClear back in December of 2013. And as celebrities - who importantly enjoy the role of opinion leaders in today’s fame-obsessed world - took up the trend and mass media spread the information to the consumer masses, a torpedo effect on the innovation’s rate of diffusion was triggered.
SUBCULTURE: anti-military
MARKET SHARE: 100% penetration
Mass Media Cranks Diffusion Rate to Turbo Speeds
1986
1973
1870
1880
1890
1908 - 1917
1917
The Cubist Art Movement is populaized and significantly influences the future of the camouflage print.
Early camouflage print emerges during WWI in response to aerial and trench warfare,
1900
1910
1920
1931
The Print Reaches the Student Demographic
Kidney-shaped splotches of contemporary camouflage print emerges.
1930
Students protesting the Vietnam War are especially important reinventors of the innovation, changing the meaning of the print to suit their anti-war position and advocation for peace.
1940
1950
Ian Hamilton creates a screenprint of a tank, named after a rural paradise, Arcadia. Ironically, he uses the print on a military tool. Anti-military art thus establishes its role as a ‘Cue to Action’.
1971 Mark Hartford of Vietnam Veterans Against the War uses the print as a press tool to promote peace.
1960
1970
Andy Warhol’s Camouflage Series takes advantage of the print’s symbolism, though the artist injects vibrant color experimentation into his designs. This would especially influence future fashion designers who also were inspired by the print.
1980
2012 The print reaches reaches the mass consumer market thanks to the reality TV show Duck Dynasty, which turned the gun-toting, God-fearing, camo-print into overnight celebrities.
1990
2000
2010
WWI as a “Cue-to-Action” Artists and millitary researchers work together to create the industry of “Visual Subterfuge”. In the beginning, it is used and experimented with on ships, vehicles, and buildings in order to hide from aerial perception.
1909
1874 Escaping Criticism, by Pere Borell del Caso, is an oil painting which uses the ‘trompe l’oeil’ technique, introducing the principles of camouflage to the public for the first time.
Concealing-Coloration in the Animal Kingdom, by artist Abbott Handerson Thayer, is published. Thayer, who conducted multiple counter-shading studies, developed the ‘how-to knowledge’ of camouflage in his Thayer’s Law.
1890 Zoologist Sir Edward Poulton writes the first book about animal camouflage.
Artists & Scholars Research the Camo Concept Before this point, there’s a complete lack of information concerning how the principle of camouflage actually works. Keen to address this, biologists begin studying camouflage in nature, as well as the science behind how the human eye discerns objects and shapes. Psychologists also develop theories, such as Gestaltism, on how visual forms and patterns determine the information that our eyes send to our brain.
1944
2004
On June 6, 1944, the print has a huge role during D-Day.
1970 The US Army introduces ‘Dual Texture’, a camouflage print developed by Dr. Tim O’Neill. The innovation is highly unpopular, but serves as the precedent to contemporary camouflage.
The US Army introduces the Universal Camouflage Pattern, which was designed to be suitable for all environments. Instead, it worked in none, and was a massive failure.
1970s Hip-hop culture, which originiated in the Bronx, makes the print its own, as artists and listeners alike began rocking the pattern. Musicians are important change agents in the diffusion of the camo print across different social classes.
Hip-Hop Brings the Print to Low-Income Classes The rise of rap and hip-hop music parallels further playful and aesthically-driven reinventions of the print, but camo’s natural ability to be used in statement-making continues as “conscious hip-hop” groups such as Public Enemy realize its invaluable role in achieving change and reaching once untouched social groups.
Mass media communication channels, such as reality TV, Twitter, and Instagram, expose individuals in all social systems to the innovation. Now armed with awareness, mass consumers are more likely than ever to inject some camo into their wardrobes. Further, the print’s presence can be seen in not just fashion, but other industries - from authomobiles and electronics, to artistic works and architectural installations, camo can be found on nearly anyone, anything, and anywhere.