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NEW FEMININITIES IN
DIGITAL, PHYSICAL AND SPORTING CULTURES
Sportswomen’s
Apparel in the
United States
Uniformly
Discussed
Edited by
Linda K. Fuller
New Femininities in Digital, Physical and
Sporting Cultures
Series Editors
Kim Toffoletti
School of Humanities and Social Sciences
Deakin University
Melbourne, VIC, Australia
Jessica Francombe-Webb
Department for Health
University of Bath
Bath, UK
Holly Thorpe
School of Health
University of Waikato
Hamilton, New Zealand
Palgrave’s New Femininities in Digital, Physical and Sporting Cultures
series is dedicated to exploring emerging forms and expressions of femi-
ninity, feminist activism and politics in an increasingly global, consumer
and digital world. Books in this series focus on the latest conceptual,
methodological and theoretical developments in feminist thinking about
bodies, movement, physicality, leisure and technology to understand and
problematize new framings of feminine embodiment. Globally inclusive,
and featuring established and emerging scholars from multi-disciplinary
fields, the series is characterized by an interest in advancing research and
scholarship concerning women’s experiences of physical culture in a vari-
ety of cultural contexts.
Sportswomen’s
Apparel in the
United States
Uniformly Discussed
Editor
Linda K. Fuller
Communications Department
Worcester State University
Worcester, MA, USA
© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature
Switzerland AG 2021
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether
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This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
This volume is dedicated to the following female American sportswear
owners: runner Sally Bergesen (Oiselle), surfer Alana Blanchard (My
Bikinis), yoga practitioners Jodi Gruber Brufsky and Michelle Wahler
(Beyond Yoga), swimmer Sarah Buxton (TUTUblue), runner Leigh
Cockram (RaesWear), triathlete/Ironman Nicole de Boom (SkirtSports),
sustainability activist Ellie Dinh (Girlfriend Collective), swimmer Alecia
Elasser (RipSkirtHawaii), basketball player Rachelle Fitz (FitzUDesign),
surfer and shark attack survivor Bethany Hamilton-Dirks (Crush
Sunglasses), recreationalist Taylor Haney (OutdoorVoices), Julie Foudy
leadership assistant Briana Holland (bre33), Muslim activist Fatimah
Hussein (Asiya), roller derby player Micki Krimmel (Superfit Hero), fitness
buff Denise Lee (Alala), cyclist Lea Leopold (Zuma Blu), marathon runner
Lara Mead (Varley), gymnast Shannon Miller (SMLifestyle), fencer Ibtihaj
Muhammad (Louella), Olympic cyclist Beth Hernandez Newell (Keirin
Cut Jeans), racer Danica Patrick (Warrior), captain of the National
Women’s Soccer league Megan Rapinoe (Re, Inc.), basketball player
Tywanna Smith (The Athlete’s NeXuss), rock climber Pam Theodosakis
(prAna), gymnast Katie Valleau (Valleau Apparel), and tennis players
Serena Williams (Signature Statement) and Venus Williams (EleVen).
Preface
Uniformly
Uniform (noun): a special set of clothes worn by people belonging to an
organization to show others that they are members of it. Cambridge
Dictionary
vii
viii Preface
monthly fees of $39 for streaming classes) or training apps (e.g., Jefit,
Booya Fitness, Beachbody, SWEAT) or going to expensive health clubs,
like SoulCycle, and using personal trainers. The fitness company Peloton
recently reported reaching the four-billion-dollar mark and has added
new categories of classes that include live music. The Mirror fitness
device, which retails for $1495, along with a $39/month subscription
fee, has become the darling of celebrities ranging from Alicia Keys to
Ellen DeGeneres. Rent the Runway, a New York City-based “rotating
closet” that allows customers continually new outfits, is based on the
notion that “The average American buys sixty-eight items of clothing,
eighty percent of which are seldom worn” (Schwartz 2018, p. 44).
Anecdotally, my friends report that family get-togethers like
Thanksgiving or Easter see guests dressed in casual outfits by companies,
like Juicy Couture sweat suits or various velour combinations. Lululemon
predominates. The ZOZOSUIT, a stretchy bodysuit, enables a 3D body
scan, and Reebok’s PureMove sports bra uses motion-sensing technology
to adapt to users’ movements in real time. Bralettes, with or without
blouses, are dominating another niche.
American novelist/academic Alison Lurie (1981, p. 3) knew about
this; drawing on French structuralist Roland Barthes (2006), she wrote
about the semiotics of dress, arguing that “Clothing is a language, if part
of a nonverbal system of communication, with its own vocabulary and its
own grammar.” Seeing what we wear as a “sign system,” she labeled the
uniform “The extreme form of conventional dress, the costume totally
determined by others” (p. 17), something “determined by external
authorities” (p. 18). At its extreme, “Constant wearing of official costume
can so transform someone that it becomes difficult or impossible for him
or her to react normally” (ibid.) We question that here.
Introducing the topic of sportswomen’s apparel here will include a
brief history, the economics of the industry, and some sociocultural
implications. Although I have written elsewhere that “The standard man-
tra about female athletes claims that they have been trivialized, marginal-
ized, hypersexualized, hierarchically devalued, made invisible, inferior,
and infantilized” (Fuller 2016, p. 2), in fact, that notion has been chal-
lenged by recent studies and realities. Nevertheless, we know of far too
many cases of gender inequity in the sporting world generally (see Hanson
Preface ix
Fashion has had a long love affair with sports of all kinds, and it is easy
enough to trace an arc from the genteel sports of the leisured classes of the
Preface xi
19th century to the more crazily individualistic ones of today. Since the
1990s, at least, extreme and adventure sports have excited designers, who
imported to their runways superficial elements of gear created for street
lugers, off-piste snowboarders, artic surfers and, lately, those who push the
outer limits of athletic pursuit.
Discussed
No matter the sport, when it’s a team event we’re talking about, uniforms
and equipment are a key part of the conversation. For starters, we want to
look good … So we all have to think about what it takes to protect our
bodies from whatever hazards are unique to our sports–all while looking
good … When you dress well, you play well. Uncategorized,
WomenTalkSports.com (May 4, 2018)
Literature Review
Still, to date, only the above-cited 2006 Warner book When the Girls
Came Out to Play offers a historical perspective—discussing such topics
as public/private spheres, how women’s clothing was for “courting” pur-
poses, and the amazing adoption of trousers as a turning point for female
athletes. This volume aims to fill that gap.
For most of the history of women’s tennis, the “dress”—once upon a time
a long skirt, now more of a wisp of an idea—has symbolized the feminine
side of the game in its most retrograde sense, and it has been used as a
means of gender stereotype, self-expression, and eyeball-attracting market-
ing. It has flirted with the tropes of fashion-as-decoration, and fashion as
an extension of a personal brand, but only within well-behaved bounds.
Finally, however, in the hands of Serena Williams, it has become a politi-
cal tool: an unabashed statement of female empowerment and indepen-
dence not just for herself, but for all.
Imagine being a four-time Olympic Gold medalist and then, at age 37,
being a star at New York’s “Fashion Week” (Goodman-Hughey 2019).
Although Serena lost the US Open final, that same week her “S” line (for
“shine,” “strong,” “saucy,” and “spectacular”) debuted, Williams declaring
that, “It’s important to be yourself in fashion. In designing or on the
court, I want to be expressive. You have to be true to yourself.” The media
had to comment on 2-year-old daughter Olympia, if adding that “this
collection is her baby.”
Whether by directly quoting athletes or analyzing media commentary,
it is encouraging that discourse analysis is being used in sports research.
The work of the late philosopher/social theorist Michael Foucault, which
focuses on societal power relationships expressed through language, has
stimulated case studies on many different topics relevant here: feminist
sexuality (McNay 1992; Thorpe 2008), women’s body images (Duncan
1994), sociology of sport (Harvey and Rail 1995), the fitness publishing
industry (Maguire 2002), hegemonic masculinity (Pringle 2005; Pringle
and Markula 2005), exercise (Markula and Pringle 2006), snowboarding
(Thorpe 2008).
xvi Preface
Introduction to American
Sportswomen’s Apparel
Analyzing gender norms and gender binaries in terms of uniforms, it turns
out, provides a valuable means for understanding societal attitudes toward
sporting females. Linda K. Fuller, Female Olympians (2016, p. 71)
Historical Perspectives
Nancy G. Rosoff traces athletic clothing for American women from 1880
to 1920, while Deirdre Clemente and Evan M. Casey introduce us to the
tennis dresses, golf sweaters, and bicycling shorts that college women
wore from 1890 to 1960 (clue: they are a far cry from Kim Kardashian
West’s thigh-length Lycra numbers).
Sociopolitical Perspectives
Sociocultural Perspectives
Sport-Specific Perspectives
Reflections
Uniformly, any of my friends can confirm that I am clearly not a fashioni-
sta, even if I have always been intrigued by fabric and textures. My grand-
mother’s Singer Sewing Machine has helped me produce everything from
my bridal gown to bedspreads and curtains and, more recently, quilts and
simple repairs. Mainly, though, I adore costumes, constructed lately for
Armenia, Cuban, Tanzanian, and other dinner parties we have hosted. It
probably wasn’t until meeting Mary Peacock, coeditor of the 1970s’
counterculture magazine Rags that I became sensitized to the notion that
clothing could make such bold statements.
A word about the Dedication. My first thought was to honor the
Williams sisters for their contributions to my tennis wardrobe, but the
more I determined how many female athletes have their own sportswear
lines, it seemed appropriate to cite them. All that, of course, doesn’t even
take into consideration celebrity lines such as Beyonce’s Ivy Park or Jessica
Biel’s Gaiam, or Kate Hudson’s Fabletics, and names of other such entre-
preneurs are welcome. With the encouragement of Lough and Geurin’s
(2019) proclamation that women’s sport is breaking ground both eco-
nomically and socially, never mind Mattel’s gender-neutral Barbie doll,
the time should be right for this study.
xviii Preface
References
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Barthes, R. (2006). The language of fashion. Bloomsbury Academic.
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Preface xix