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How the First Sports Bra Got Its Stabilizing Start

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How the First Sports Bra Got Its Stabilizing Start

SMITHSONIANMAG.COM | March 18, 2020, 12:48 p.m.

It was 1977, and Hinda Miller, Lisa Lindahl and Polly Smith were doubled over with raucous laughter. They say their very clothing was in jeopardy.

“We were literally peeing in our pants we were laughing so hard,” chuckles Lindahl. The object of their amusement? Lindahl’s then-husband and his shenanigans with his jock strap.

“He put his jock strap on upside down across his chest, and put it on like a one cup bra,” Smith remembers as the others giggle in the background, “and all of a sudden we looked at him and thought, ‘Hmmm.’”

Frustrated by the bras on the market, the three co-inventors of the sports bra (from left: Polly Smith, Hinda Miller and Lisa Lindahl) made a prototype using a pair of men’s jock straps.

(National Inventors Hall of Fame)

The three told CBS News Radio that they had spent the summer going to a plethora of stores trying on bras. They were looking for comfort in the midst of the jogging craze that struck the nation after the release of incredibly popular book, The Complete Book of Running. If one looks at ads for bras in 1977, one can see there isn’t a lot of construction that would keep a woman’s breasts from bouncing painfully while running. But the jock strap looked like it could work, especially after Lindahl took it from her husband, pulled it over her own head, and pulled the pouch down over her own breast so that it worked like the cup of a brassiere.

“It made sense to me because I said, ‘Oh, that’s something you climb into,’” Smith remembers, seeing through the eyes of the costume designer she was. “It will stretch, it eliminates all the hooks, and it is nice, soft elastic. So, after that, I was on board.”

Miller, who was also a costume designer, says the whole situation was really funny because they knew nothing about bras. “We had no limitations. We didn’t know you couldn’t sew jock straps together because in costume design, creativity is the highest value and you do things out of the box. And as everyone said, that was out of the box,” says Miller.

“It was a joke during a phone call with my sister, who said, ‘What do you wear when you’re running to make you comfortable and make your breasts not bounce uncomfortably?’” Lisa Lindahl recalls

(Jogbra Inc. Collections, Archives Center, NMAH)

The whole project got started because Lindahl and her sister, Victoria Woodrow, were among the many women who took up running (they called it jogging then) in the 1970s, and their brassieres were falling down on the job.

“It was a joke during a phone call with my sister, who said, ‘What do you wear when you’re running to make you comfortable and make your breasts not bounce uncomfortably?’” Lindahl recalls. “She said,’ Why isn’t there a jock strap for women? Ha Ha Ha!’ We both laughed . . . and it’s the same idea for a different part of the anatomy.”

Lindahl says she wasn’t a jock herself, nor was she athletic. But she started running to loose weight in an era where Charlie’s Angels was on television, and women wanted to look like the stars of the show.

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“And I kept running because it became really my first spiritual practice. It made me feel good. It made me feel empowered, and I came up with the idea for the bra to solve my own personal problem,” Lindahl says. “And then I thought, If I want this, I bet other women do too.”

But first, they needed to come up with a prototype, and the fabric used to make jock straps was not quite right. The garment needed a firmer fabric and a much firmer elastic. So, Smith went to New York City, bought sample yardage, and made a prototype for Lindahl to try out. Lindahl went running, and Miller ran backwards in front of her, to see if the bra worked.

Prototypes are now in the Smithsonian collections and will go on view in an upcoming exhibition “Picturing Women Inventors.”

(Jogbra Inc. Collections, Archives Center, NMAH)

“I’m going, ‘Oh no that’s really going to inhibit my run,’” Lindahl says, laughing. But she says not only did it work, it felt great. “I thought, ‘This really makes a difference.’ . . . And Hinda said, “It looks like your breasts aren’t moving so much.’ And we knew we had a winner!”

Miller adds that the run taught them a lot. For one thing, she says, you can’t stop the breasts from moving. You can only minimize that. “What we figured out that everyone does now, is we pulled the breasts closer to the central line of gravity,” she says, referring to the plethora of products that followed their lead. “When the breasts go up and down without any support, the Cooper’s ligaments stretch, and that’s not good if you want to breastfeed your baby, or all of us are quite vain and we don’t want things to hang. So, we supported the breast by pulling the breast close to the chest wall.”

“We had no limitations. We didn’t know you couldn’t sew jock straps together because in costume design, creativity is the highest value and you do things out of the box. And as everyone said, that was out of the box,” says Hinda Miller.

(Jogbra Inc. Collections, Archives Center, NMAH)

Smith gave the prototype to Lindahl and went to New York City to mount an off-Broadway play. Miller went to South Carolina to teach costume design. Lindahl formed a corporation and issued shares to the three of them, then sent the garment to Miller. At that time, they were calling it the Jock Bra. Miller showed it to the owner of a small franchise called Phidippides, where the owner’s daughter ran a 5K and offered some suggestions for alterations. Miller hired an unemployed sewing supervisor named Carolyn Morris, who worked out the sizing for what all of the women felt was an athletic garment. But in South Carolina, women didn’t like being called jocks.

“So, I called Lisa, and she said, ‘Well what about Jogbra?’ and that’s how the name came about,” Miller says, adding that her father loaned then $5,000 to get everything started. “Carolyn made 60 dozen bras. I sent half to Lisa, half to myself, and we sold them in these small running stores . . . and that’s how we started our first sales history!”

But there was a lot to learn about the marketing process, even though the Jogbra was so popular they made a profit in their very first year. They say they don’t remember how much. By 1979, they went to their first sporting goods show in Chicago. They had a small booth, and a blow-up photo of a Playboy Bunny wearing the bra. It cost $4 to make, $8 wholesale and $16 retail. Lindahl remembers that there was a line of customers ready to buy it, and a line of sales representatives who wanted to work with them. At the time, she says, they didn’t even know what a ‘rep’ was.

Marketing was at first a challenge with sporting goods stores uncomfortable with selling women’s bras.

(Jogbra Inc. Collections, Archives Center, NMAH)

“I came in from a run one day and my phone was ringing. I answered it and a man said, ‘Y’all looking for reps?’ I went, ‘What’s a rep?’” Lindahl laughs. “There’s this long pause and this lovely gentleman said, ‘Y’all new to the sporting goods industry?’ And I said, ‘Yeah.’”

Lindahl says he spent an hour and a half on the phone with her, explaining how the industry worked, what a trade show was, and what they should and should not do. She hired him on the spot, and the company did so well they sold it 12 years later to Playtex Apparel. They won’t say for how much. Other sales followed, the brand got subsumed by Champion Sportswear and the rest is history.

The “Jogbra Inc. Collection,” including the prototypes, some sketches and early advertising and marketing materials, is held in the Archives Center of the Smithsonian’s National Museum of American History, though it is not currently on display. The three women just did a panel discussion sponsored by the museum’s Lemelson Center for the Study of Invention and Innovation, and they have been inducted this year into the National Inventors Hall of Fame. They will also be featured in the museum’s upcoming exhibition “Picturing Women Inventors.”

But all these years later, with women everywhere sporting Jogbras, Polly Smith has to smile at the fact that she created the very first prototype.

“When I’m in the gym,” Smith says, “and these women are strutting around in it and I’m like, laughing to myself.”

The exhibition “Picturing Women Inventors,” sponsored by the Lemelson Center, is scheduled to go on view May 22, 2020 at the Smithsonian’s National Museum of American History in Washington, D.C. Currently, to support the effort to contain the spread of COVID-19, all Smithsonian museums in Washington, D.C. and in New York City, as well as the National Zoo, are temporarily closed. Check listings for updates.

#History

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Sports Wear: Between Fashion, Innovation and Sustainability

Sport is an important part of many people’s lives—as both recreation and entertainment. It is also a sizeable industry with political and economic ramifications in today’s world. Within the last half-century or so, sports wear has become a driving force for new trends in fashion and for textile innovation. This special issue of Fashion Practice was inspired by the “Spandex to Sportstech—Fashion and Innovation in Sportswear” conference, organized in 2011 by guest editor Mette Bielefeldt Bruun at the Danish National Research Foundation’s Centre for Textile Research at the University of Copenhagen.

The stated purpose of Fashion Practice is to provide a site for multidisciplinary treatments of the practices of fashion. “Spandex to Sportstech” was designed as a cross-disciplinary forum for renewed consideration of functional, social, aesthetic and environmental issues connected with sportswear, and some of the papers presented here are rooted in original conference contributions. This journal issue is truly cross-disciplinary, beginning with fashion history, represented by Michael A. Langkj?r with “Urban Fitness, Gendered Practices, and Fine Art: The Significance of Antonio Lopez’s Sporty Styling of Fashion” and moving on to the sportswear industry itself with its brands and markets, represented by Kristine Holm-Jensen with “Specialized in Sportswear: Transformations of the Generic Knitwear Industry in Post-War Denmark.” Several articles then consider fiber and textile technologies and their design applications. Jane McCann leads this group with her “Sportswear Design for the Active Ageing.” McCann is followed by Deborah A. Christel and Nicole H. O’Donnell with “Assessment of Women’s Plus-Size Swimwear for Industry Applications.” Alicia Potuck, Sarah Meyers, Ariana Levitt, Erik Beaudette, Hong Xiao, C. C. Chu, and Huiju Park complete the group with their “Development of Thermochromic Pigment Based Sportswear for Detection of Physical Exhaustion.” In “What’s the Problem? Odor-control and the Smell of Sweat in Sportswear,” Ingun Grimstad Klepp, Madeline Buck, Kirsi Laitala and Marit Kjeldsberg look at how fiber technologies connect with our social values associated with body odor and its suppression; in doing so, Klepp et al. also mention the issue of sustainability. A forthright appraisal of the problem of sustainability within the sportswear industry is given by an industry representative to Lena Erdnü? in “A Perspective on Sustainability Initiatives of a Swedish Outdoor Brand: An Interview with Lennart Ekberg from Hagl?fs.” Finally, Lauren Downing Peters has contributed a review of the Museum of the City of New York’s 2013 exhibition: “Stephen Burrows: When Fashion Danced.”

A 'tool to empower': The evolution of women's sportswear

Before the advent of designer activewear, women's sports wear ranked low on the list of fashion priorities. But a new exhibition demonstrates that sporting attire has long been a valuable tool for self-expression and an important path towards greater liberation."Sporting Fashion: Outdoor Girls 1800 to 1960" includes about 65 ensembles from mainland Europe, the UK, and the US, ranging from Victorian hunting dresses and couture-level leisure wear to tailor-made team uniforms. Organized by the FIDM Museum at the Fashion Institute of Design & Merchandising in Los Angeles and the American Federation of Arts, the show opens at the Frick Art Museum in Pittsburgh on July 3, before touring nationwide through 2024.

Design innovationGarments from the early 1800s are tailored to strolling in parks, gardening, and ice skating -- easy, acceptable activities for women propelled outside by an interest in horticulture, health and fresh air.

The idea of a woman exerting herself was still taboo: In 1806, an article in the popular British magazine La Belle Assemblée, excerpted in the show's comprehensive catalog, warned that, "the constitution of women is adapted only to moderate exercise; their feeble arms cannot perform work too laborious and too long continued, and the graces cannot be reconciled with fatigue and sun-burning."

That's the outlook for men's sports wear as the fall wholesale buying season gets under way this week. And while merchants and manufacturers have been expressing their traditional optimism as the new lines open, the unknown factors resulting from President Nixon's economic stabilization program have brought a modicum of caution to the trade.

Consumer spending for men's and boys’ apparel amounted to approximately $16‐billion last year, with sportswear a major but undefinable percentage of the total. What is even more significant, however, is that while production of a number of other categories of men's wear, such as suits and dress shirts, declined during the year, sportswear manufacturing was greater in 1971 than ever before.

And while statistics on the sportswear category are not collected by any government agency or trade association, conversations with retailers last week indicated that 1971's volume advances would he continued at the same rapid pace in 1972.

WHY ARE SPORTS BRAS IMPORTANT

Physical activity makes breasts bounce up, down and even in a figure-eight. Continuous and repetitive movements can result in soreness, pain and sagging.

Women's sports bra is made to reduce this movement. Breasts have no muscle, yet without proper support, the skin and Cooper's ligaments (ligaments near the breast which give them their size and shape) can break down and cause sagging. Once your Cooper's ligaments stretch out, they do not bounce back.

It doesn't matter what size breasts you have, everyone experiences bouncing during physical activity. Therefore, every woman, no matter what size she is, should wear a sports bra while running or exercising.

TYPES OF SPORTS BRAS

Compression bras work the way they sound, by compressing breasts against the chest to restrict movement.

Encapsulation bras have individual cups. Each cup surrounds and supports each breast. Most regular bras are encapsulation bras and have no compression.

Combination compression/encapsulation bras combine compression with individual cups and offer the most support.

Bra tanks, also known as shimmels, are tank tops with a built-in shelf bra. These are okay for low impact activities, but not for running.

Finally, there are differences in straps. Spaghetti straps provide less support than wider straps. Racer-back straps are more supportive than both spaghetti and scoop back.

FITTING A SPORTS BRA

You want a sports bra that fits well, both in the band and cups. Overall, your sports bra should feel a bit tighter than a regular bra, however, you should be able to breathe deeply and comfortably. Hook it in the middle and take some deep breaths. Is this comfortable? Good. It should be.

The band shouldn't move. It should fit snugly and comfortably. Raise your hands above your head. Did the elastic band move? If it crept up your rib cage, try a smaller band. If the bra has straps, try adjusting them.

Your breasts shouldn't bulge, pay close attention to any bulging at the top or by the underarm. Furthermore, the cups shouldn't have any wrinkles or gaps. If the cup fabric is wrinkled, try a smaller size.

Make sure there is nothing rubbing or chafing around the armholes, straps, seams, hooks, clasps or anything else. Many sports bras offer adjustable straps. Adjust them to feel supportive, yet not uncomfortable. Furthermore, make sure the straps aren't digging into your shoulders.

Underwires are supposed to sit flat on your ribs, not on your breasts. The front (between the wire) should be against your chest bone.

Luckily, most newer sports bras use high-tech fabrics, including moisture wicking. This can improve breathability and help remove excess moisture from sweat which can cause chafing. Cotton bras will stay wet, this can lead to uncomfortable skin irritations.

For the last step, jump up and down, jog in place, do jumping jacks. If it feels supportive, you're set! If not, keep looking.

How Sportswear Took Over Your Wardrobe

“Sportswear as casualwear is essentially a preppy invention – the carryover from hearty WASP athletic pursuits which gave us the likes of the sweatshirt, sweatpants and letterman jacket,” says Josh Sims, author of books such as Men of Style. “Sportswear was appreciated for being tough and practical.” Like military uniform, that other stalwart of menswear, mens sportswear set has long been valued for the rugged characteristics it both possesses in itself and indicates in its wearer. And in sport, like war, competition results in game-changing technological breakthroughs. What we wear on the fields of battle and play has advanced more dramatically than what we wear elsewhere. If sportswear is at the cutting edge of fashion right now, that’s because – in technical terms – it always has been. The current, unprecedented sportswear boom though can also be seen as a pendulum swing away from the hashtag-menswear sartorialism that followed the economic downturn and increased competition for jobs – coinciding with the 2007 airing of Mad Men. As employment rose again, so did jobs that didn’t impose traditional dress codes and a social media-fuelled emphasis on individual creativity.Then there’s the swelling fashionability of fitness, which has given us a legitimate excuse to wear sportswear outside the gym beyond comfort and sheer laziness. Instead of spending valuable time fastidiously parting our hair and folding our pocket squares, we’re throwing on hoodies and baseball caps. And if you’re running around town all day, it makes sense to wear shoes designed specifically for marathons. It’s arguably the luxury sector that’s setting the pace. Streetwear designers like Demna Gvasalia at Balenciaga and Virgil Abloh at Louis Vuitton are running the show(s), elevating previously utilitarian sportswear to the very height of fashion. T-shirts, down jackets and sneakers, which grew by 25%, 15% and 10% respectively, were “standout categories” in the 2017 Bain Luxury Study. With its links to skateboarding, surfing and other sports, you could argue that streetwear – whatever that loaded term means – essentially is sportswear. “I’m not sure streetwear is the dominant mode, if you’re talking urban, hip-hop-driven streetwear,” contends Sims. “It’s sportswear with graphics, in effect. “There’s not much original design in streetwear – unlike sportswear, then and now – and what there is tends to be driven by – ta-da – sport.”

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