Both Sean Connery and Roger Moore had more in common than being James Bond – they were also models, but very different kinds of models. Roger Moore donned cardigans and sweater-vests in the late 1940s and early 1950s while Sean Connery often wore just a posing pouch for artists. When Connery did model clothes it was for Vince Man’s Shop – a Carnaby Street shop in London that catered to a gay clientele in the late 1950s and 1960s.
Originally an Australian slang term for a pair of tightly-fitted briefly-cut Speedo-style men’s swimwear that highlight the male bulge – likening it to what a smuggled budgie might look like. The term appeared shortly after the turn of the millennium – the earliest references in print appear c. 2003.
The term became popular when Tony Abbot, Australian PM (2013 – 2015), was photographed wearing a pair. It was around this time that Adam Linforth founded his Sydney-based swimwear company Budgy Smuggler. The term Budgie Smuggler was inducted into the Oxford dictionary in 2016.
I missed this in January: Anne Cole, the California swimwear maker died Jan. 10, 2017 in Beverly Hills at the age of 90.
Her father, Fred Cole, founded Cole of California in 1925 – a swimwear division of the family-owned knitted underwear business West Coast Manchester Knitting Mills. Cole of California swimwear took off in 1950 when Hollywood actress and swimmer Esther Williams became the brand’s spokesmodel.
Anne Cole graduated from college and dabbled in theater before joining the family business. She became the company’s top seller, handling accounts for Saks, Macy’s, and Bloomingdales. In 1960 Cole of California was sold to Kayser-Roth; a number of owners followed until it was acquired by Authentic Fitness Corporation in 1990 when Cole of California was merged with Catalina to form Catalina-Cole.
In 1982 Anne stepped out on her own, creating the first Anne Cole Collection. Anne was a marketer not a designer. She employed young designers to create swimwear she knew would sell well. The line’s best seller was the tankini. The design which debuted in 1998 was based on what many California women were already wearing in the 90s to go swimming – tank tops and bikini bottoms.
In 2008 Anne Cole was sold to the In Mocean Group for $26 million.
I know, the hockey mask isn’t strictly ‘fashion’, but it is worn and the styles change for both technical and aesthetic reasons, so in the broadest sense, they are fashion.
The first recorded use of a hockey player wearing a mask was Elizabeth Graham, goaltender for the 1927 Queen’s University women’s hockey team. Her father insisted she wear a fencing mask to protect her teeth.
Three years later, professional hockey player Clint Benedict of the Montreal Maroons was knocked out from a shot and afterwards wore a padded leather mask, but he eventually gave up on it. Many goalies afterwards would wear a baseball catcher’s mask, especially if they wore glasses, but it wasn’t until 1959 that the goalie mask, as we know it, was born.
In early 1959, Bill Burchmore, who worked for Fiberglas Canada in Montreal, witnessed Montreal Canadiens goalie Jacques Plante take a shot in the face during a playoff game. Burchmore came up with the idea of creating a fiberglass mask, and molded a custom mask for Plante during the summer.
The following season Plante wore the mask for practices but was not allowed to wear it for games. On November 1, 1959, during a game with the Rangers, Plante was cut by a puck to the face that took seven stitches to close. The look of hockey changed that night when Plante only agreed to return to the ice if he was allowed to wear the mask. It took fifteen years before every goalie in the NHL would also wear masks.
Design improvements over the years to give maximum protection, visibility and comfort have since resulted in goalies playing closer to the ice – filling the net to make scoring more difficult –a position that in the past would have guaranteed a puck in the face.
Bulky knit sweaters are unquestionably a Canadian fashion. Their creation has been the result of a fusion of European and Native techniques and designs that developed over the last century. There is some confusion over what to call these bulky yarn sweaters that include: ‘Indian’, ‘Cowichan’, ‘Curling’, ‘Buffalo’, ‘Mary Maxim’, ‘Siwash’, and even ‘Big Lebowski’. However, there is only one name for the original bulky yarn sweater, and that is ‘Cowichan’.
Coast Salish First Nations traditionally live on the west coast straddling the present-day border between Canada and the United States, with the Cowichan Valley, southern tip of Vancouver Island, and the gulf islands at the centre of this cultural region.
Coast Salish blankets made from goat wool and dog hair were central to the pre-contact Native economy and potlach ceremony. The source of wool for Coast Salish blankets quickly changed when Europeans brought sheep into the Cowichan valley beginning in the 1840s. A Department of Indian Affairs (DIA) account from 1886 records 292 sheep were owned by the Coast Salish.
The first documented instance of Coast Salish knitting took place at the Sisters of St. Anne Roman Catholic mission which opened in 1864 in the settlement of Duncan – in the Cowichan Valley in the Crown Colony of Vancouver Island (which become a part of the province of British Columbia in 1870). Until 1904, the Sisters taught local girls and women how to knit using multiple needles (seamless or circular knitting) instead of two needles (flat knitting). Examples of socks knitted by Native women from the Cowichan band of the Coast Salish were reportedly exhibited at the 1893 Chicago World’s Fair.
By the end of the 19th century, commercially produced blankets and the outlawing of the potlach ceremony effectively ended the Coast Salish production of woven blankets and shawls. Knitting supplanted weaving as the last examples of traditionally woven blankets date from before 1915, around the same time the first sweaters appeared.
The earliest ‘Indian’ sweaters (called that because they were knit by Indians, not because they had anything identifiably Indian about them) had very little in common with today’s Cowichan sweater style. The earliest known photograph of a Cowichan sweater dates from 1913 and appears to have a cable pattern (a technique no longer used in Cowichan sweaters) but is made from a bulky hand-spun wool – a feature that remains today.
During World War 1, officers from Vancouver Island wore Cowichan made sweaters under their uniforms while stationed in Europe during winter. The earliest known surviving Cowichan sweater dates from this period and is a plain knit pullover in undyed sheep’s wool with a faint linear pattern.
Mrs. Jeremina Colvin, a Shetland Islander who settled in Cowichan Station in 1885, is sometimes attributed with introducing Fair Isle pattern knitting to the Coast Salish. A Fair Isle patterned sweater made in bulky wool by Colvin dating from 1929 is in the collection of the Cowichan Historical Museum. However, Fair Isle pattern sweaters were popular sportswear fashions in the 1920s, especially with golfers. The only difference is that the commercially made and Scottish hand-knit versions used finer wools and brighter colours, whereas Cowichan sweaters typically were made up in natural coloured bulky yarns.
The number of Cowichan knitters had grown by 1942 when the DIA reported that knitting in the Cowichan valley had become a viable means of bringing the Coast Salish into the mainstream economy. Most often sold through West Coast sporting goods stores for hunting and fishing wear, ‘Indian sweaters’ were recognized for their warmth, durability, and weatherproof quality for outdoor pursuits. By the late 1940s, the sweaters were becoming known outside of Vancouver Island and although everyday knitting was falling in popularity in the postwar world, because of its association with the Depression and War when hand-knit goods were an economic necessity, there remained an appreciation for hand crafted fashion items.
In 1951 Alma Warren, from Woodward’s department store in Edmonton Alberta, suggested to Willard McPhedrain that his Mary Maxim Company make bulky wool sweaters and suggested he look at examples made by the Cowichan band of the Coast Salish. McPhedrain hired a designer to create Mary Maxim 4-ply wool sweaters to imitate the bulky Cowichan sweaters. However, Mary Maxim (commonly called curling sweaters at the time) did not copy Cowichan sweater construction. Mary Maxims were made from flat knitted panels sewn together with set in sleeves. Fair Isle motifs were used by Mary Maxim as well as animal and other pictorial designs that had been popular on commercially produced cardigans and pullovers since the late 1930s. A 1949 photograph of a Cowichan woman with her sweater depicting opposing reindeer, a popular motif that appeared in commercially made American sweaters from the early 1940s, is the earliest evidence of animal designs used in Cowichan sweaters. Whales, thunderbirds, and other totemic motifs began to be infused into Cowichan sweater designs during the 1950s.
That same decade, the Canadian Indian Art and Handicraft Association, The Canadian Handicrafts Guild, as well as other organizations, brought First Nations arts and crafts to mainstream Canadian art and souvenir shops for the purpose of advancing the economic conditions of Native Canadians. This was the same period Inuit lithograph prints came onto the market.
Although Mary Maxim sweaters were more popular in the 1950s, the demand for Cowichan sweaters was on the rise. By the mid 1960s the demand was growing quickly and wholesale prices climbed from $15.00 per sweater to $50.00 per sweater by 1970 when an estimated 10,000 sweaters were produced by about 600 Cowichan knitters that year. Despite the higher demand, wholesale prices did not increase during the 1970s or 1980s because Cowichan sweaters were now facing competition.
By 1970, Mary Maxim curling sweaters were considered kitschy, and Cowichan styles became more popular, especially with Japanese buyers. Honing in on the trend were several companies that created patterns for home knitters and used a Salish-style thick single-ply wool yarn sold under various brand names including ‘Icelandic’ and ‘White Buffalo’ brands. More competition came from hand-knit sweaters modelled after Cowichan styles that were produced with labels like “Hand Knit in Western Canada”, implying authenticity, but that were less expensive because they used a cheaper wool spun in New Zealand to imitate Salish yarn.
Terminology became blurred as ‘Cowichan’ began to be used as a generic term to describe all bulky yarn knit sweaters. The Cowichan band began legal proceedings in July 1979 to protect the Cowichan name from being used by other wool manufacturers or knitters, which they won in January 1980. Since that date, every Cowichan sweater has been given a registration number and is labelled as a genuine Cowichan product.
As commercially produced imitation sweaters continued to threaten genuine sweaters, the Cowichan Band Council produced a resolution on June 23, 1981 that listed the necessary requirements for an authentic Cowichan sweater:
- A durable hand knit finished product made from unprocessed water repellent wool
- Of long stranded wool spun to produce a strong yarn
- Having geometric or animal designs on the clothing
- Sweaters which are knit in the round producing a tubular seamless body
- Sleeves are knitted or attached by yarn
- Having no artificial or natural dyes
In 2011, the Government of Canada designated Coast Salish Knitters and the Cowichan Sweater as an event of national historic significance.
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Founded in 1881 by Adam Warnock, the Galt Knitting Co. manufactured knitted cotton undergarments as well as knitted shoe and boot linings. The company was renamed Tiger Brand Knitting Company in 1954 after a line of men’s underwear they had been producing with a tiger trademark as early as c. 1914. The company manufactured a variety of knitted cotton garments (mostly fashion sportswear – T-shirts etc.) under the Tiger brand. In the late 1980s they also manufactured a line under the label ‘Non-Fiction’. The company sought bankruptcy protection in late 2004. The business was sold to an offshore numbered company in 2005 and production was moved to China. The old factory seen in the 1914 advertisement above lay empty for a few years before being retrofitted into lofts in 2008.
British patent GB486475 (Publiation Date: 1938-06-03) for elastic fabric. SYMINGTON & CO., Ltd., R. & W. H., and BILLING, G. W. March 30, 1937, No. 9090. The invention relates to garments, particularly but not exclusively intended for bathers or swimmers, made of puckered material rendered elastic by stitching strands of rubber (Fig. 1), following the warp and weft in a zigzag manner. The material is folded and seamed (Fig. 6). The material so folded is provided with a continuous spirally run length of rubber strand e, (Fig. 2), intersecting the other strand a. The garment has a top hem f, Fig. 7, as a runner for draw-strings g.
I have since come across some images of an extant suit:
Found these interesting plates that had been removed from a book that shows how much had changed for women in the 19th century from the early years to the 1880s.
These past few months the Esse Purse Museum in Little Rock, Arkansas has been showcasing 10 bathing suits from the Fashion History Museum collection with the 1930s and up augmented with hats, sunglasses, and other fun beach paraphernalia. The show is about to end in a few weeks:
And while we are on the topic of swimwear, I thought this recently colourized picture from c. 1910 was interesting. History seems more real when it’s in colour: