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Teenage skinheads dancing the Moonstomp outside a shop in London

Photography Albert Foster, Mirrorpix

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Were the original skinheads violent? A new book attempts to set the record straight - here, its author gives an essential guide to the controversial subculture

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The Handbook of Fashion Studiesedited by Sandy Black, Amy de la Haye, Joanne Entwistle, Regina Root, Agnès Rocamora, Helen Thomas

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The Handbook of Fashion Studiesedited by Sandy Black, Amy de la Haye, Joanne Entwistle, Regina Root, Agnès Rocamora, Helen Thomas

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https://books.google.co.uk/books?id=2M9UAgAAQBAJ&pg=PT115&lpg=PT115&dq=%22differentiate+social+classes+during+periods+of+social+change%22&source=bl&ots=Xf5YMcxosf&sig=ACfU3U29bz2StvCf_JZXaFJ1qzMv_ZBDdA&hl=en&sa=X&ved=2ahUKEwiX_tvf47bsAhXiWhUIHYOHD0sQ6AEwAHoECAEQAg#v=onepage&q=%22differentiate%20social%20classes%20during%20periods%20of%20social%20change%22&f=false

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The Story of Skinhead with Don Letts, 00:45 14/10/2019, BBC4, 60 mins. https://learningonscreen.ac.uk/ondemand/index.php/prog/0D966A11?bcast=130460604 (Accessed 15 Oct 2020)

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https://i.pinimg.com/originals/30/f0/67/30f0676eaa83b8cfe340a7cd392139bd.jpg

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https://www.be-in.ru/review/33100-skinheads/

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Брайтон, 1980 год, фото: Ian Berry

Сегодня скинхеды - субкультура националистов. Ирония в том, что в далекие 1960-е цветное население Англии во многом сформировало вкусы и атрибутику будущих неофашистов, а война велась на совершенно ином фронте. Изначально скинхеды, представители пролетариата, противопоставляли себя модам, лощеной молодежи зажиточного среднего класса. Зато дружили с руд-боями - молодыми эмигрантами с Ямайки, которая в то время страдала от безработицы. Переселенцы с острова естественно ринулись в бывшую метрополию на заработки. И, казалось бы, волна миграции должна была вызвать всплеск агрессивности со стороны коренного населения, но руд-бои и скинхеды сдружились на почве общей социальной изолированности, к тому же работали они зачастую на одних и тех же фабриках. То есть первоначально конфликт существовал не в расовой, а в экономической плоскости. Юные скинхеды переняли у руд-боев основные элементы внешнего вида и музыкальные вкусы. Кумиром стал, например, Дезмонд Декер, популярный в то время исполнитель ска и регги, а позже и небезызвестный Боб Марли. Причем широкое распространение исконно ямайских музыкальных мотивов во многом объясняется именно их популярностью среди скинхедов, сделавших регги и ска частью своей культуры.

Отрывок из книги "You'll Never Be 16 Again" Питера Эверетта: "Вскоре нельзя было прийти на тусовку к черному парню и не застать там группу скинхедов. Но, на удивление, не было ни малейших разногласий на почве расовых и культурных различий. Белая и черная молодежь никогда не была так близка, как во времена зарождения движения скинхедов. Скинхеды копировали нашу походку, манеру одеваться, говорить, танцевать. Они общались с нашими девушками, курили нашу траву, ели нашу еду и покупали наши пластинки".

Типичный представитель руд-боев 1960-х

Как выглядели

Короткие стрижки

Четко разграничить стиль руд-боев и скинхедов 1960-х непросто, в те времена атрибуты обеих субкультур тесно переплетались. Моду на короткие стрижки, например, скинхеды переняли у своих ямайских друзей, но в такой прическе был и сугубо практический смысл. Отсутствие пышной шевелюры предохраняло от пыли, грязи и вшей, неизбежных в работе на фабриках, заводах и шахтах. Бриться наголо скинхеды начали только в 1970-х, а изначально носили короткий "ежик". Девушки иногда оставляли челку и прядки по бокам, затылок стригли коротко, как и парни. Такая стрижка отличала скинхедов и руд-боев от модов, предпочитавших длинные прически.

Подтяжки

Подтяжки - еще один неотъемлемый атрибут скинхедов, позаимствованный у руд-боев. Их ширина, как правило, не превышала двух с половиной сантиметров.

Джинсы

Примечательны не сами джинсы, а то, как скинхеды их носили: на талии (помогали подтяжки) и подвернутыми почти до середины лодыжки, чтобы не испачкать. Среди изготовителей в почете были Levi's, Lee и Wrangler.

Армейские ботинки

Практически на всех фотографиях 1960-х скинхеды запечатлены в тяжелых армейских ботинках. Выбор пал именно на эту обувь не из-за того, что ею больнее бить, а потому что военная форма стоила дешево. По той же причине многие скинхеды предпочитали куртки и штаны камуфляжной расцветки. Ботинки Dr. Martens как наиболее правдоподобная имитация военной обуви стали популярны позже.

Фото: Gavin Watson

Рубашки и поло

Клетка, излюбленный принт всех англичан, использовалась многими брендами того времени. Среди скинхедов спросом пользовалась марка Ben Sherman. Поло, в свою очередь, впервые стали надевать не для игры в теннис. Классикой стал Fred Perry. По одной из версий, причина - в логотипе, лавровом венке, символизирующем победу еще со времен античности.

Лондон, 1979 год, фото: Chris Steele-Perkins

Кардиганы и свитеры с V-образным вырезом

Сейчас не увидишь скинхеда в кардигане или свитере с треугольным вырезом, однако, тридцать пять лет назад это было в порядке вещей.

Пальто crombie

Самой желанной вещью для скинхеда было пальто crombie. Пальто прямого силуэта с подплечниками и лацканами носили и моды, но в отличие от обеспеченной молодежи парни, трудящиеся на заводах, крайне редко могли позволить себе купить неношеную обновку. Манера носить тоже отличалась: скинхеды выглядели в crombie небрежно. Также распространены были джинсовки, бомберы, харрингтоны, спецовки, иногда парки и тренчи.

От бунтарей до неонацистов

Окончательно движение скинхедов оформилось в конце 1960-х. Тогда же о нем впервые начала писать пресса. В основном это были заметки о мелких потасовках: сначала о боях за территорию, в 1970-х - о футбольных драках. Но акцента на расовой принадлежности не было. Скинхеды били модов, тедди, хиппи, студентов, но не черных.

Трансформация в известный нам сегодня образ стартовала с первыми волнами азиатских мигрантов в 1970-х. Если африканское и ямайское население смогло адаптироваться, то выходцы из Индии и Пакистана любви среди уже "второй волны" скинхедов не снискали. Их культура была слишком далека от европейской, поэтому они в гораздо большей степени, нежели афроамериканцы, воспринимались, как чужаки. Движение скинхедов стало массовым, а на волне нелюбви к азиатскому населению еще и политически активным. Изменению образа мысли также способствовала британская националистическая партия "Национальный фронт". Во второй половине 1970-х она активно вербовала агрессивно настроенных скинхедов в свои ряды. В первый раз прозвучал лозунг "Сохраним Британию белой", музыкальная группа Skrewdriver, причислявшая себя к скинхедам, заявила о своих неонацистских взглядах на концерте "Рок против коммунизма", а в популярной британской передаче Donahuue show впервые скинхэда отождествили с расистом.

Бритоголовых парней в высоких ботинках, подвернутых джинсах, тонких подтяжках и застегнутых на все пуговицы поло окончательно стали ассоциировать с фашизмом и ксенофобией с приходом к власти Маргарет Тэтчер. В результате ее внутренней экономической политики массово закрывались шахты и фабрики, упразднялись целые отрасли экономики. Безработица возросла колоссально, что привело к ожесточенной борьбе за рабочие места. С этого момента берет начало движение НС-скинхедов (National Socialist skinheads), считавших, что эмигранты отнимают у них работу. В итоге нацистские настроения среди скинхедов одержали верх, а первоначальные принципы и идеалы были забыты.

Лондон, 1980 год, фото: Ian Berry

Несмотря на столь печальный конец, истинной толерантности по отношению к представителям других культур стоит учиться именно у "первой волны" скинхедов. Тем, кто в современном мире считается воплощением расовой нетерпимости, агрессии и экстремизма, в 1960-х не могла прийти в голову мысль ненавидеть кого-то за внешние отличия. Чего не скажешь об их последователях, да и о большинстве людей сегодня.

Лондон, 1987 год, фото: Derek Ridgers

Скинхеда обыскивает полицейский перед матчем Crystal Palace против Chelsea, Лондон, 1980 год, фото: Ian Berry

Матч Crystal Palace против Chelsea, Лондон, 1980 год, фото: Ian Berry

Молодая банда скинхедов у магазина одежды в восточном Лондоне, 1980 год, фото: Ian Berry

Фото: Gavin Watson

Фото: Gavin Watson

1960-е годы

"Lagos Calling" - проект Клейтона Кьюбитта (Clayton Cubitt), в котором американский fashion-фотограф демонстрирует моду африканских скинхедов начала 1970-х годов

Мексиканские скинхеды, фото: Alvarez Montero

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субкультуры тенденции

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Субкультура: Скинхеды

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Брайтон, 1980 год, фото: Ian Berry Сегодня скинхеды - субкультура националистов. Ирония в том, что в далекие 1960-е цветное население Англии во многом сформировало вкусы и атрибутику будущих неофашистов, а война велась на совершенно ином фронте. Изначально скинхеды, представители пролетариата, противопоставляли себя модам, лощеной молодежи зажиточного среднего класса.

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Laurence King Publishing, 2017 Content type: text Media type: unmediated Carrier type: volume ISBN: 9781786270948 (hbk.) :. DDC classification: 306.1 BURVintage clothing -- History -- 20th century | Subculture -- History -- 20th century

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Greta Garba, 1932 Grand Hotel

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Adidas_LDN store visit

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Adidas shoes with paper laces

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Nike Town customisation services

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Nike Town

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Sneaker services at Adidas LDN

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crep protects sneaker services - Bing images

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Crep Cure Crep Logo Crep Shoe Cleaner Crep Wipes Crep Pill Crep Crate Crep Kit Crep Protect Kit Crep Boxes Crep Sray Crep Protect Meme Crep Shop Crep Bags Crep Protect Spray Crep Protect Fila Girl Creps Shoes Crep Post Room Crep Crep Cases Crep Hat Yeezy Boost 350 Crep

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The Radical History & Psychology Of Turtlenecks

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Turtlenecks symbolize strength, rebellion, style, and modesty throughout history. Here’s a closer look at this wardrobe staple.

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Historically, there has been little economic incentive for brands to invest in more responsible production models. But the COVID-19 pandemic has hit fashion hard.

Store closures and a drop in discretionary consumer spending have seen global sales plummet 60-70% from April to May 2020*. With 56% of companies not earning their cost of capital in 2018, the likelihood of many fashion brands going bankrupt over 2020-2021 appears high.

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Sustainable Fashion | Barclays Investment Bank

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Historically, there has been little economic incentive for brands to invest in more responsible production models. But the COVID-19 pandemic has hit fashion hard. Store closures and a drop in discretionary consumer spending have seen global sales plummet 60-70% from April to May 2020*.

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gucci blackface

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50s bombshells - female sexual empowerment/fetishisation
"Skintight or cropped sweaters were getting popular and came in a variety of cuts, including turtleneck. Celebrities such as Jayne Mansfield helped to popularize this feminine, sexy version of the style. The look became so iconic that it is one of the many ways turtlenecks are often reimagined by today’s designers." https://startupfashion.com/fashion-archives-a-look-at-the-history-of-the-turtleneck/

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Diane Keaton Something's gotta give
Jack Nicholson “I can’t get past your damn turtleneck!” he screams, to which Keaton’s character says, breathlessly: “Cut it off.”

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Dorothy Pitman Hughes and Gloria Steinem - feminist
https://www.mic.com/articles/185893/the-undeniably-cool-and-surprisingly-feminist-history-of-the-turtleneck

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The rise of athleisurewear and the blurred line between activewear and fashion has seen an increased use of stretch fabrics across all brands from high street to luxury.

Elastane (also known as spandex or LYCRA®) remains the most commonly used stretch fibre - its stretchiness coming from long-chain synthetic fibres - often blended with polyester to create fabrics for activewear and swimwear.

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Fabric Switch: Sourcing Sustainable Stretch

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The rise of athleisurewear and the blurred line between activewear and fashion has seen an increased use of stretch fabrics across all brands from high street to luxury. Elastane (also known as spandex or LYCRA®) remains the most commonly used stretch fibre - its stretchiness coming from long-chain synthetic fibres - often blended with polyester to create fabrics for activewear and swimwear.

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https://connect.lycra.com/en/Textile-Processes/Circular-Knitting/Specialty-Fiber/BIO-BASED

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https://upload.wikimedia.org/wikipedia/commons/5/53/Bernhard_Pankok_-_Selbstportr%C3%A4t_1898.jpg

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marlene dietrich

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https://imgix.bustle.com/lovelace/uploads/367/431bb7d0-ebd3-0132-649c-0ecefe7c2201.png?w=760&h=571.5397082658022&auto=format%2Ccompress&cs=srgb&q=70&fit=crop&crop=faces

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https://startupfashion.com/fashion-archives-a-look-at-the-history-of-the-turtleneck/

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History of the turtleneck

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Both winter and the normcore trend are currently in full force, which can only mean one thing sartorially: lots and lots of turtlenecks. You thought they died out with other 90's-era Gap staples, but like most things that were in fashion during that decade, they are making a full resurgence. In fact I am wearing one right now, feeling chic as anything. With much of the fashion world fully obsessed with basics a la normcore style, turtlenecks are the key to achieving this fashion-forward, devil-may-care look.

But the turtleneck is so much more than it's marriage to mom jeans. This garment has been around for hundreds of years, and has retained its element of practicality through the ages. (Be honest, the best part about the turtleneck being "in" again is how cozy your neck gets to be!)

Unsurprisingly, the top originated as a form of "protective" wear.

During medieval times knights wore chainmail frequently, and subsequently, experienced severe chafing frequently. Chafed necks were the worst part- not only was it extremely uncomfortable, it prevented knights from turning their heads quickly in battle. This restriction of movement was obviously a huge problem when attempting to defend oneself during a fight. A garment that could protect the neck and torso from the rough, heavy chainmail remedied the issue.

Turtlenecks became much more fashionable during the mid-sixteenth century, though this version was much more elaborate than the minimalist style we are familiar with today. This top included a high neckline decked out in voluminous starched ruffles, creatively dubbed a "ruff." Queen Elizabeth I of England and other members of high society favored this style at the time. The size and volume of the ruffles were indicative of status, and also incredibly handy for hiding any pesky skin conditions creeping up one's neck.

During the late 1800's the turtleneck took on many forms, and had many uses. It continued to be a highly functional favorite among the working class. In the 1860's, English polo players incorporated the top into their sport dress, hence the British term "polo neck" when referring to the turtle.

By the 1900's, the turtleneck was once again trending as a fashionable garment. High, ruffled necks were key to the Gibson Girl look at the start of the century. Of course, during the 1920's, high fashion was veering towards the far less modest which included lowers necklines. However, Noel Coward frequently wore turtlenecks during this time, and he could almost single-handedly be credited for keeping the look alive among the middle class during the roaring 20's. Yet, the following decade saw the turtleneck fall out of fashion, worn mainly in work wear and as part of the uniform for the US navy.

The 1940's and 50's is when the turtleneck really began to take off as the iconic basic we know and love today. Skintight or cropped sweaters were getting popular and came in a variety of cuts, including turtleneck. Celebrities such as Jayne Mansfield helped to popularize this feminine, sexy version of the style. The look became so iconic that it is one of the many ways turtlenecks are often reimagined by today's designers.

Another infamous example of turtleneck styling is the late 50's and early 60's "beatnik" or "bohemian" look. Outfits consisted mainly of head to toe sleek black garments, and the turtleneck fit into this look perfectly. One of the most iconic examples of this is Audrey Hepburn's wardrobe in the film Funny Face. In one famous scene, she takes on Paris nightlife in nothing but a chic black turtleneck and skinny jeans, a look which has been referenced in fashion magazines as well as street style.

If the turtleneck wasn't representative of a chic, fabulous, and independent woman in the 60's, it certainly would be by the 1970's. The women's equality movement was in full swing, and the turtleneck became the uniform of the enlightened and intelligent feminist. Gloria Steinem is one iconic example of an avid turtleneck-wearer, and undoubtedly inspired both the imaginations and wardrobes of many women.

Turtlenecks were certainly lurking in people's closets during the 1980's, but it was the 90's style that really shaped how we view the garment today. It was a key basic piece widely sold at stores such as the Gap, often paired with mom jeans, under sweaters, etc. Steve Jobs is widely remembered not only for his contributions to technology, but also his rotation of infamous black turtlenecks.

Though it dropped largely out of fashion in the early 2000's, the turtleneck is back and being re-imagined in ways that run the gamut of its history.

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Fashion Archives: A Look at the History of the Turtleneck

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Both winter and the normcore trend are currently in full force, which can only mean one thing sartorially: lots and lots of turtlenecks. You thought they died out with other 90's-era Gap staples, but like most things that were in fashion during that decade, they are making a full resurgence.

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Steve Jobs photo - 90s-00s

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https://therake.com/stories/style/week-channelling-richard-roundtree-shaft/
circa 1972

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https://stephenshames.com/projects/black-panther-party/

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Andy Warhol - 60s
http://www.theblogazine.com/2015/02/timeless-histories-turtlenecks/

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http://www.theblogazine.com/2015/02/timeless-histories-turtlenecks/

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audrey hepburn funny face 1957

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In the 1950s the garment took on yet another
meaning. At the Sorbonne the turtleneck became
the symbol of the left-leaning andfashion intellectual
who liked to think he was communing with
the proletariat by wearing a garment still favored
by working fishermen, American beats like Alan
Ginsburg and Jack Kerouac imitated those cool
French students.
"The Third Wardrobe" article

photo from 'rebel threads' book

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https://www.gentlemansgazette.com/the-sweater-guide/

Noel Coward circa 1920
"the young playwright Noel Coward popularized the turtleneck, which was also known as the polo neck sweater."
"Noel Coward frequently wore turtlenecks during this time, and he could almost single-handedly be credited for keeping the look alive among the middle class during the roaring 20’s. Yet, the following decade saw the turtleneck fall out of fashion, worn mainly in work wear and as part of the uniform for the US navy."
https://startupfashion.com/fashion-archives-a-look-at-the-history-of-the-turtleneck/

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In the 1950’s, a Vogue magazine article profiled the Aran sweater, and the resulting demand led Ireland began commercial Aran production and exportation worldwide. Between the 1920s and 1970s, film and rock stars like Errol Flynn, Steve McQueen, Cary Grant, Mick Jagger and Michael Caine wore every variety of sweater and cemented their role as a masculine, casual-cool wardrobe staple for style conscious men.

https://www.gentlemansgazette.com/the-sweater-guide/

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Written by Digby Warde-Aldam

This article was published in partnership with Artsy, the global platform for discovering and collecting art. The original article can be seen here. The opinions expressed in this commentary are solely those of the author.

When the disgraced health entrepreneur Elizabeth Holmes was indicted on fraud charges for her lab-testing company Theranos last year, much of the media discussion rested not on her alleged corporate recklessness and staggering abuses of trust, but on her sartorial choices: black jackets, black slacks, and -- most importantly -- black turtlenecks.

"I probably have 150 of these," she said of them back in Glamour magazine in 2015. "(It's) my uniform. It makes it easy, because every day you put on the same thing and don't have to think about it -- one less thing in your life." Holmes's statements would ultimately come back to bite her, summing up her checkered business career in microcosm: style over substance, image projection over integrity.

Trivial as it seems, that detail seemed to shed light on her character. According to one former employee, Holmes's taste in sweaters was a conscious channeling of the late Apple supremo Steve Jobs, who was rarely pictured without one of the many black Issey Miyake turtlenecks he owned. His maverick reputation was associated with his trusty wardrobe staple, his black turtlenecks projecting a cool intellect and general unfussiness. They suggested that he was a different kind of businessman -- a "visionary" who did not play by the boardroom rules. Had he dressed like Bill Gates or Jeff Bezos, would we really remember him as anything other than an uncommonly shrewd CEO?

There's an obvious question here: How did a basic item of clothing come to accumulate such lofty signifiers? The answer lies in its very simplicity. The turtleneck's appeal rests largely on what it is not: It makes the classic shirt-and-tie combination look priggish and the T-shirt appear formless and slobbish, hitting that otherwise inaccessible sweet spot between formality and insouciance. It is sufficiently smart to be worn under a suit jacket, yet casual and comfortable enough for repeated everyday wear.

Developed in the late 19th century as a practical garment for polo players (hence the British name for it: the "polo neck"), it was originally a utilitarian design largely worn by sportsmen, laborers, sailors and soldiers. But by the dawn of the 20th century, European proto-bohemians were already seeing possibilities in the garment's elegant functionality, which chimed harmoniously with embryonic modernist design ideals.

Much of the credit for the turtleneck's subsequent popularity can be attributed to British playwright Noël Coward, who regularly sported one for a period in his 1920s heyday. Though he said his adoption of the garment was primarily for reasons of comfort, it became a trademark that immediately suggested a disdain for convention. In any case, it caught on, in no small part due to its risqué possibilities. The tirelessly androgynous actress Marlene Dietrich relished the turtleneck, pairing one with a baggy, masculine suit and a knowing grin in an early 1930s publicity photograph. Writer Evelyn Waugh, meanwhile, believed it to be "most convenient for lechery because it dispenses with all unromantic gadgets like studs and ties."

But the turtleneck's moment of true glory did not arrive until the end of World War II, when the post-occupation cultural renaissance of Paris made it a must-have for aspirant existentialists the world over. The garment became associated with the glamorous writers, artists, musicians, and film stars associated with the city: Juliette Greco, Yves Montand, Jacques Brel and Miles Davis, to name a few. Audrey Hepburn notably co-opted the look in the Paris-set 1957 Fred Astaire vehicle "Funny Face," and where Hepburn went, other Hollywood stars followed.

More importantly still, the French associations -- moody, chic, deeply serious -- earned the turtleneck an underground credibility in the US in the 1950s. Over the next two decades, everyone from Lou Reed and Joan Didion to Eldridge Cleaver and Gloria Steinem was pictured wearing one. Bob Dylan was rarely seen without one in his so-called "Electric Period" of 1965-1966. That same decade, Andy Warhol adopted the black turtleneck as his signature look, pairing it with shades and a floppy wig. It was arguably the most effective makeover in art history; his pre-fame attire consisted of preppy suits and ties.

Fashions, however, will always lend themselves to parody, and with that, an undignified slide into the gutter. The 1970s saw the turtleneck worn in a range of garishly bright colors that killed any illusion of cool that it might have previously bestowed on its wearer -- take Leonardo DiCaprio's wardrobe in this year's "Once Upon a Time in Hollywood," for instance -- and, what's more, the standard black variant came to be seen as a laughable emblem of pretension in the years that followed. In the 1997 movie "Tomorrow Never Dies," Jonathan Pryce's character, a Murdoch-like media mogul, sports a black turtleneck in almost every scene; the look stands in for his hubris, megalomania and fatal overestimation of his intellectual abilities. Presumably, Elizabeth Holmes was not paying attention.

Yet the turtleneck was always too useful, too practical, too cool, to ever be consigned to the dustbin of history. If in doubt, look at those classic monochrome photographs of the Velvet Underground, or Steve McQueen in "Bullitt" (1968), or Angela Davis in full-on radical garb circa 1969. The list could go on.

But as a devotee of the turtleneck, my favorite image of the garment will always be the earliest depiction of it I'm aware of. Painted in 1898, when he was just 26, the German artist Bernhard Pankok's best self-portrait captures himself from just above waist-level, framed against the window of a simply decorated room. His wild hair, wispy mustache and expression of supreme confidence look backwards to the young Rembrandt, but the art-historical homage is skewed by the tight-fitting black turtleneck he sports.

In both compositional and sartorial senses, Pankok's choice of clothing foregoes the extraneous frippery of the era's fashions -- shirt collar, jacket, necktie -- and leaves us to contemplate the essentials of the painting and its subject's features. Long before the rest of the world had caught on, oblivious to the pop-cultural connotations this singularly practical item of clothing would acquire, Pankok distilled the essence of modernity into a single image. He presents himself as a man of the 20th century before the fact and, without knowing it, one for the 21st, too.

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how the black turtleneck came to represent creative genius - cnn

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How the black turtleneck came to represent creative genius

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Written by Digby Warde-Aldam This article was published in partnership with Artsy, the global platform for discovering and collecting art. The original article can be seen here. The opinions expressed in this commentary are solely those of the author.

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The undeniably cool and surprisingly feminist history of the turtleneck

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With its simple design that snuggles your neck and frames your face, and its incredible ability to make anyone look effortlessly chic, there is assurance and comfort in the turtleneck. If you’re having a blue day, and the world feels dark, you can…

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https://www.demarchi.com/en/dawn-of-the-pros-history-of-cycling-apparel-1940-1955

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https://karen-meredith.tumblr.com/image/48784298698
Camille Clifford, Gibson Girl model.

Edwardian

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Photographer: Reuben R. Sallows (1855 - 1937)

Description: Studio portrait of Florence Sallows standing holding basketball tucked under right arm; faces the photographer; wears a ribbed turtleneck sweater, dark pleated skirt, bow in upswept hair; watch on right wrist; the monogram S appears on bottom centre of second matte; 'Sallows' written in pencil on lower right corner of paper matte, signed on the back 'Sincerely yours, Florence Sallows'.
https://commons.wikimedia.org/wiki/File:Portrait_of_Florence_Sallows_holding_basketball,_date_unknown.jpg

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https://commons.wikimedia.org/wiki/File:Princeton_Football_-_Sheridan_1901.jpg
Princeton football player, half-length, standing, facing left, holding football, with Nassau Hall in the background.
| Date  |  circa 1901
| Source  |  |

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Poster showing a football player and young woman walking on campus.
| Date  | 1902

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The first Aran sweaters appeared in the late 1800s and early 1900s

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The first Aran sweaters appeared in the late 1800s and early 1900s

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"The turtleneck started out as a purely utilitarian garment

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https://www.theirishstore.com/blog/a-short-history-of-the-aran-sweater/

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https://www.johnsmedley.com/blog/the-history-of-the-roll-neck/

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https://www.independent.ie/style/fashion/strong-whiff-of-nostalgia-as-fashion-brands-go-back-to-their-heritage-39540552.html

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https://www.stockandland.com.au/story/6903883/is-there-any-glimmer-of-light-for-market-in-the-covid-19-darkness/#!

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Women's Knit & Jersey Forecast S/S 22: Resourceful

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Women's Knit & Jersey Forecast S/S 22: Resourceful

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Women's Knit & Jersey Forecast S/S 22: Resourceful

Author:

Charlotte Casey

Date:

07.08.20

https://www.wgsn.com/content/board_viewer/#/87689/page/1

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Men's Knit & Jersey Forecast S/S 22: Resourceful

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Men's Knit & Jersey Forecast S/S 22: Resourceful

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Men's Knit & Jersey Forecast S/S 22: Resourceful

Author:

Olivia Barnes

Date:

07.10.20
https://www.wgsn.com/content/board_viewer/#/87684/page/1

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Wellness Textiles

Author:

Helen Palmer, the WGSN Materials, Textiles & Knitwear Team

Date:

09.04.18

https://www.wgsn.com/content/board_viewer/#/80539/page/7

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Men's Knit & Jersey Forecast S/S 22: Connected

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Men's Knit & Jersey Forecast S/S 22: Connected

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Men's Knit & Jersey Forecast S/S 22: Connected

Author:

Olivia Barnes

Date:

07.10.20

https://www.wgsn.com/content/board_viewer/#/87686/page/1

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Womenswear Forecast S/S 22: Resourceful

Author:

Anna Ross

Date:

08.12.20

https://www.wgsn.com/content/board_viewer/#/87941/page/1

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Title:

Menswear Forecast S/S 22: Resourceful

Author:

Volker Ketteniss

Date:

08.18.20
https://www.wgsn.com/content/board_viewer/#/88066/page/1