- / Impegno civile
Tra neuroplasticità, memoria ed emozione, l’intelligenza umana resta un territorio non replicabile: così il cervello diventa l’ultimo archivio vivente e creativo
ISSUE NO. 31
As the world’s top tennis players gather in Turin for the ATP 2024 Finals, the spotlight isn’t just on their gameplay – it’s also on their style statements. The tennis champions of today are showing up to Turin also as influential figures shaping trends in fashion and beyond. As it seeps more and more into the mainstream through popular culture and social media, “tennis-core” becomes an aspirational lifestyle, even beyond the adoption of technical garments in everyday life. This influence amplifies spectators’ excitement for the season-ending event, which will also host rising star Jannik Sinner. Competing in his home country, fans are eager to witness his powerful gameplay but also his unique style, highlighted through his collaboration with Gucci.
This tennis fashion buzz, however, is more of a resurgence with roots embedded throughout tennis history. Tennis has always influenced, and been influenced by, the fashion world, anywhere from back in the Victorian era all the way to modern professional athletes. As the sport evolved from an aristocratic pastime into a highly anticipated global spectacle, this influence has only become stronger and more visible. Coupled with the constant development of performance fabrics promising athletes a better experience on and off court, the evolution of tennis fashion bridges the concepts of tradition and innovation at every step of the way.
Lawn tennis emerged in the late 19th century, and unlike other popular games at the time like croquet and court tennis, it was also welcoming for women. British army officer Walter Clopton Wingfield laid the groundwork for lawn tennis, and widely popularized it by creating and sending out boxed sets all over the world through his broad web of connections in the aristocracy. Shortly, the game increased in popularity within this upper-class society, and with women playing alongside men, it became a key socializing opportunity. Presentation of the self to this high society – and to potential romantic partners – led to the first iteration of fashion making its way into tennis players’ minds. It was common for women to don tight corsets and long skirts while playing the game, and men to wear tailored blazers and double-pleated trousers.
Tennis fashion at the time was, of course, all white. This was another way to signal the social status of the activity, as white was associated with purity and virtue, and the rich were the only ones with the luxury of not getting their clothes dirty. Conveniently, the color absorbs heat the least and minimizes sweat stains, making it a functional choice that players today still keep in mind. The first Wimbledon championship was held just three years after Wingfield had popularized the game, and the all-white trend of the time naturally made its way into the championship. Alongside standardizing rules for the game, this first championship also led the way to the infamous Wimbledon rule that players must wear predominantly white.
Maintaining the upper-class appearance of tennis in lieu of comfort was first challenged in 1887 thanks to Charlotte Dod, also known as “Lottie”. Only 15 when she won her first Wimbledon title, she was able to pass on the corsets and multi-layered garments and opt for a shorter skirt more resemblant of a school uniform. This raised eyebrows of older opponents, who in turn questioned whether her less restrictive outfit was fair. Mobility around the court emerged as an element of women’s tennis clothing.
This notion was furthered in the 1920s by legendary French player Suzanne Lenglen, who gathered attention not only with her triumphant rise from an amateur to a decorated professional tennis player, but also with her pioneering style on court. Lenglen caused one of Wimbledon’s first fashion “scandals”, arriving at her match with a never before seen low-cut dress and stockings that were rolled down. This look that can now be called revolutionary, was instead deemed by the London press as indecent.
Designer Jean Patou worked closely with Lenglen to create tennis outfits that were both stylish and that did not restrict her signature leaping ballet motion in court, favoring shorter dresses and sleeveless blouses. Particularly with his designs for Lenglen, Patou is widely credited for circulating the influence of sportswear in the daytime fashion of Paris as early as the 1920s. Shortly after, Lenglen introduced another one of her defining styles, the bandeau headscarf. The New York Times reported in 1921 that it was customary for her to match the color of the bandeau to the round she was playing, orange for the first, and crimson for the second. Her style off court was just as notable, wearing fur coats and ermine stoles as her signature.
Lenglen’s feats both in tennis and style made her one of the first athletes to rise to celebrity status outside of her sport, with people not otherwise interested in tennis closely following her games. This stardom reached such heights that Wimbledon relocated to its larger modern-day venue to keep up with demand. Receiving the nickname “La Divine” from the French press, Lenglen’s approach to tennis fashion redefined women’s tennis as a whole, granting women the opportunity and flexibility to adopt the more aggressive style of men’s tennis. Her influence is honored by the second largest court at the French Open’s Stade Roland Garros carrying her name, and her induction to the International Tennis Hall of Fame.
Although not as constrained as women by their tennis clothing, men at the time also had ways to go to enhance agility on court. Enter a star tennis player cutting off the sleeves of his shirt before a game, stating that “Above all, elegance requires clothes that are adapted to the situation or circumstances”. This was none other than René Lacoste, a name which has since become synonymous with polo shirts embroidered with a small crocodile. The invention of the polo shirt came as a response to multiple problems that tennis players at the time had with their garments. Short sleeves combatted the discomfort caused by long sleeves that rolled down during games. The shirt could be easily buttoned at the top, and the piqué collar was left unstarched so that it could be popped up to protect athletes’ necks from the sun. Introducing jersey knit cotton fabrication added breathability and durability, centering comfort once again.
The polo shirt was an instant success, which led Lacoste to found La Société Chemise Lacoste alongside André Gillier in 1933. A crocodile was embroidered on the chest, borrowing from the nickname Lacoste had gained from his demeanor on court. This crocodile marked another first for the world of fashion, as it was the front-runner of logos being placed on the outside of clothes, making them instantly recognisable. Lacoste’s entrepreneurial spirit went on to revolutionize tennis rackets too, introducing tubular steel as a raw material. Much stiffer than wood, steel tennis rackets allowed players to impart much greater force on the ball. Lacoste marketed this invention under his brand in Europe, while in the US it was marketed under Wilson Sporting Goods.
Fast-forwarding a few decades, Fred Perry emerged as another tennis pioneer-turned-businessman. His success in tennis, crowned by being the only British player to have ever achieved a Career Grand Slam, was furthered with his innovation in tennis clothing. After being approached by Austrian footballer Tibby Wegner, who had laid the groundwork for an antiperspirant band worn around the wrist, Perry took the design a step further and created the first sweatband. The duo then went on to produce logo embroidered tennis shirts like Lacoste had done, and launched the Fred Perry brand in Wimbledon in 1952. The connection to Wimbledon was reiterated in the logo, a laurel wreath, based on the original symbol of the tournament. Fred Perry tennis shirts later became a staple of London subcultures like the mods, a symbol for late 50s modernism.
Tennis style continued to grow in the 20th century, with Bunny Austin becoming the first to wear shorts as part of his sportswear in 1932. Similar strides were made in the women’s side of tennis fashion, with shorts becoming more and more popular by the 1940s. This era was characterized by the likes of Pauline Betz, who would often pair her belted high-waisted shorts with a short sleeved blouse. Cinched waists and decorative cable-knit cardigans in tennis fashion were at the height of their popularity by the 1950s, a style endorsed by Maureen Connolly, the first woman to win a calendar-year Grand Slam.
Later into the 20th century, the zeitgeist became increasingly about liberation and individual expression. This birthed two pillars of tennis style that are now taken for granted: brand partnerships and the rise of color. All Grand Slam tournaments except Wimbledon moved away from the all-white rule. Notably with the advent of color television, it was believed that coloured clothing would bring freshness and more viewers to the sport.
The 1970s saw the rise of Swedish Bjorn Borg, now considered one of the all time greats of tennis, with 11 Grand Slam singles titles under his belt and multiple records that still stand. His stardom and success helped propel the popularity of tennis as a whole at the time. Establishing his trademark style, he paved the way for future tennis stars to see their personal style as an extension of their on-court personas. Sweatbands, Fila branded striped shirts, and white shorts became his signature, and he popularized a relaxed yet performance-focused attire. Fila profited from his success too, aiding the brand to grow into the American and Japanese markets through increased awareness.
Nike and Adidas also benefited off the rising popularity of brands flaunted on the tennis court. Their logos rose from being symbols just of quality, and became embedded with correlations of lifestyle and aspiration. Borg, along with his rival McEnroe, sported these brands during their matches, boosting the significance of sportswear in popular culture. American tennis player Stan Smith won two Grand Slam titles, but his name has become more widely recognized thanks to the sneakers Adidas renamed after him in 1978.
The 70s were also characterized by women fighting for the right to compete with men in terms of prize money. This disparity was deeply rooted in the societal views of the time on women’s role in sports.
A group of female tennis players, led by Billie Jean King, threatened to boycott the U.S. Open unless equal pay was offered, leading the U.S. Open to become the first Grand Slam to do so in 1973. The same year, Billie Jean King’s famous victory over Bobby Riggs in the Battle of the Sexes marked a groundbreaking moment in not only tennis, but also in the sphere of the feminist movement. With these momentous changes in place, tennis fashion also increasingly became about self-expression and empowerment.
This movement was supported by designer Ted Tinling, who had previously been banned from Wimbledon for dressing Gussie Moran in a short dress, under which a pair of ruffled shorts could be seen. His idea was that apart from playing well, women also had to dress the part in order to compete with men in terms of pay. Tinling dressed Billie Jean King for the Battle of the Sexes, and other top women’s professionals in numerous matches around the time. He used his designs to further his notion that making female players appear classier would in turn draw more attention and viewers to the circuit.
Flashy and non-traditional men’s tennis outfits reached new heights with Andre Agassi. His mullet, coupled with his affinity to neon colors, denim shorts, and bandanas, skyrocketed him to tennis style icon status. His rebellious style led him to self-impose a Wimbledon ban, which he went on to lift again after three years. The 80s also marked another key Wimbledon fashion moment, when Anne White caught spectators off guard by showing up to her game in a full-length white bodysuit, styled with a must of the time: leg warmers. On the following day, she was reportedly told to dress more in line with tradition. Few years later, Chris Evert’s diamond bracelet mishap on court during the U.S. Open led to the popularization of the iconic tennis bracelet.
With the new millennium, tennis fashion entered a new dynamic era shaped by technological innovation and the blurring of lines between sportswear and high fashion. With the digital era broadening the sport’s reach, tennis increasingly became positioned as a driving force in the broader context of the fashion industry, and personal expression reached new heights.
The early 2000s tennis scene was shaken by none other than Maria Sharapova, one of the ten women to achieve a career Grand Slam. Her biggest hit on tennis fashion was her tuxedo-inspired look by Nike at the 2008 Wimbledon, which she completed with a white blazer too. Later in her career, her black lace tennis dress designed by Riccardo Tisci for Nike dazzled crowds, quite literally, with the embroidered Swarovski crystals.
Pushing boundaries and combining athleticism with empowerment became synonymous with Serena Williams in this era. Her outfits on court have sparked many controversies, which have also led to important conversations about the role of women in sports. Williams’ record-breaking career, including her 23 Grand Slam singles titles, was amplified through her status as a fashion icon. This standing was honored at the 2023 CFDA awards, making her the first athlete to receive the Fashion Icon award. An active participant of the fashion industry, Williams also attended fashion school at the Art Institute of Fort Lauderdale, preparing her to launch her own brands Aneres and S by Serena.
In the early 2000s, Serena Williams started to establish her style on court, most notably with her first all-black mini jumpsuit designed by Puma, rounding off the look with a Harry Winston bracelet. The 2004 U.S. Open saw her sporting a sign of the times denim skirt, followed by her gladiator-inspired studded black Nike dress and knee-high sneaker boots. The 2005 Australian Open, when she won her first title at the event, also marked her first collaboration with Nike, the Serena Williams Collection. She increasingly incorporated bold colors and patterns into her on-court style, swaying far from the predictability of tennis attire.
Williams’ style evolution was marked by the 2018 French Open, where she wore a full-length black Nike catsuit. Not just an aesthetic feat, the suit was designed with a practical purpose too, that of preventing blood clots, a health issue Williams faced after having recently given birth to her daughter. Her black suit, a symbol of her resilience as a new mother, was banned shortly after the tournament. The FTT President Bernard Giudicelli announced that the outfit would no longer be accepted, yet failed to specify the rules which it had breached. Sparking controversy, the move was deemed to be directly targeting women’s self expression, and represented a double standard in dress codes.
As a playful response to the ban, Williams opted for a purple and brown tutu dress at the U.S. Open later that year. Designed by Virgil Abloh of Off-White in collaboration with Nike, the one-shoulder piece made a statement of femininity and unwavering confidence. This was also the beginning of her long-time partnership with Virgil Abloh, who went on to design more of her tournament – and Met Gala – looks.
Conventionality does not speak to either of the Williams sisters, with Venus Williams also starring in her fair share of iconic court fashion moments. Her 2010 black lace dress with red outlining at the Roland Garros was a reflection of her risk taking nature in fashion just like her on-court game. The sisters have championed for diversity and inclusivity in the sport, and encouraged many others to celebrate their identity. Inspiring fans even outside of tennis, they showed the importance of representation for powerful Black women.
Men’s tennis and subsequently tennis fashion underwent major changes in this era too, led notably by Swiss Roger Federer. The record-breaking tennis star’s calm and collected demeanor on court was matched by his choice in outfits, opting for simple and solid colors. His style leaned into tradition, highlighted by his white blazer with gold accents at Wimbledon 2006, combining formalwear with athleticism. The all-black look at the U.S. Open 2007 was another simple classic, yet it stood out at a time when it was uncommon to wear all black.
Federer’s longtime partnership with Nike was a prime example of the increasing role of brands on court. In 2018, he moved onto signing a $300 million deal with the Japanese casualwear manufacturer Uniqlo, pivoting his style from his well-recognised Nike looks. Unlike Nike, Uniqlo isn’t established as a major sportswear name, meaning the collaboration also allowed the brand to break into the world of sportswear and tennis. The deal extends beyond Federer’s playing career, reflecting Uniqlo’s commitment to keeping him as an ambassador for the long run. Federer’s fashion influence extended to a collaboration with Swiss shoe brand On, launching the Roger Collection centered around high performance and timeless style.
Most recently, Italian player Jannik Sinner has emerged as one of tennis’s brightest talents. The youngest ATP 500 champion, and the first Italian to reach world No. 1 ranking in singles, Sinner also formed important connections in the fashion industry. Since early in his career, Sinner has been a Nike ambassador, combining the brand’s innovative nature with his own youthful style. His sponsorship contract with the brand was renewed in 2022 for $150 million, expanding the partnership for another ten years. Rolex was also early to the game, signing an ambassador contract with the tennis player as early as 2020, back when he had not yet made the top 50 of the ATP rankings.
Sinner’s off-court style and partnership with Gucci set a new precedent for men’s luxury fashion and how it connects to a younger, more dynamic audience. First appearing in the luxury brand’s campaigns in 2021, Sinner sported both tailored looks and casualwear, breaking the mold for traditional tennis endorsements. The highlight of the partnership came in 2023, with Sinner’s entrance to the Centre Court at Wimbledon carrying the GG monogrammed duffle bag with red and green straps. Creating a stark contrast with the all-white dress code, the bag required Gucci to obtain special approval from the Club to ensure the move wasn’t out of line. Anticipation is also high for Sinner’s appearance at the 2024 ATP Finals in Turin. As one of the event’s most captivating players to watch, fans look forward to his on-court style too.
The evolution of tennis style and the major fashion moments it birthed would not have been possible without the parallel evolution of technical fabrics. Today’s tennis apparel provides athletes with the highest levels of comfort and flexibility for enhanced performance, with leading brands investing heavily into research and development to ensure top results for high-intensity games.
The introduction of synthetics in the 1970s marked a pivotal moment for the fashion industry as a whole, and had key applications when it came to sportswear. Polyester made an ideal fabric for athletic wear thanks to its durability, lightweight structure, and reduced issues that players would commonly have with sweat-absorbing fabrics like cotton. As the importance of function in sportswear became increasingly clear, manufacturers had to keep up with the changing demand.
Combining synthetics fibers posed new opportunities to create blends that offered both stretch and breathability, boosting the popularity of Lycra fabrics. The 90s saw the rise of moisture-wicking technologies, which not only avoided sweat being absorbed into the fabric, but had the added benefit of pulling sweat away from skin to keep wearers cool. Marking the advance into thermal regulation, these new fabrics allowed players to remain dry and comfortable.
Later in the early 2000s, microfiber structures and mesh panels became increasingly common, adding an extra layer of breathability to sportswear. Adidas’s Climacool technology was a key example, and incorporated added ventilation adapted to the different high-heat zones of the body. Nike’s pursuit of improved airflow, in turn, led to their introduction of Sphere Dry, a fabric with a three-dimensional structure that slightly lifts the material off the skin, helping athletes stay cool.
More recent developments in tennis apparel incorporated smart fabrics that adapt to environmental changes. Nike’s AeroReact uses fibers that expand when wet and contract when dry, providing comfort for the athlete’s movements without needing to layer or change clothing. Beyond breathability and temperature control, brands started to also lean into enhancing performance in new ways. This brought about compression fabrics, which were designed to improve blood flow and reduce muscle fatigue, particularly beneficial in a sport as demanding as tennis.
The increased use of synthetic materials brings out concerns of sustainability, as most clothes containing these fabrics are difficult to recycle. Even 5% of Spandex in a garment will cause most mechanical recycling machines to be incompatible with the fabric. Brands have responded to environmental considerations by incorporating recycled polyester into their manufacturing. Longevity and durability also become key factors, and has influenced the creation of high-quality pieces to cut down on consumerism.
From tennis bracelets to athleisure, to the rebirth of the preppy tennis aesthetic on social media, the sport has influenced popular culture and trends across many sectors. Beyond the clothing itself, the impact is apparent in the way that people perceive and engage with the sport, drawing inspiration from tennis stars who have become fashion icons.
Over the years, tennis has cemented its position as a unique sport that stands at the intersection between tradition and innovation. A consistent focus on formality and dress codes, established in the early days of the sport and maintained by the likes of Wimbledon, keeps heritage at the core of tennis fashion. This focus also inspires novelty, from Suzanne Lenglen to Serena Williams, and creates a space for conventionality to be questioned, and further change to be demanded. The history of tennis fashion also tells the story of this balance between tradition and innovation, which resonates well beyond the courts.
ISSUE NO. 31
Lampoon is a cultural magazine.
Culture today means sustainability – in its honest meaning.
Culture has always been about human respect, tolerance. It’s not only about accepting human diversity but it’s about searching for the beauty of every human peculiarity.
Inclusion is the first value that defines art. Culture today means one thing only: to be part of a community, to think as a community.
Reading Lampoon, you see that these themes are smoothly aligned. A good part of the articles’ content discusses practices to restore our environment and stories about understanding the others.
Reading Lampoon, you find a dialogue between science and creativity. From sharp and edgy photo sessions to fashion, architecture, technology – the commitment is dedicated to a future that is all about us – together.
LAMPOONMAGAZINE.COM is an independent online magazine, properly listed at the Milan Court Register of Press, number 407 / 19 December 2014
The magazine is released by LAMPOON PUBLISHING HOUSE S.r.L.
Italian VAT number 08934300966 – Milan R.E.A. (Economic and Administrative Index) number 2057081 – Italian R.O.C. (Register of Operators in the Communication Field) number 26800 / 8 November 2016 – Copyright 2019 © Lampoon Publishing House. All rights reserved.
