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index editorial 2 BAHAR ORANG bloomers & bicycles 5 JO CHAN gearing up for a green ride 9 CHRISTINE ZHANG hanging out with Bike Hounds 13 BAHAR ORANG #cyclechic 17 KAREN WANG affordable gear 21 BAHAR ORANG & JO CHAN
thank you TYLER HAYWARD DOWNTOWN BIKE HOUNDS
editorial
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Can you handle fashion? T
here’s something effortlessly chic about riding a bicycle. Bikes are casual; they playfully dress down anything with heels. Bikes are economical; they quickly excuse a shamefully overpriced purse. Bikes are nostalgic; they subtly soften the edges around a modern, business-shaped silhouette. They encompass all the charm and grace of an indie-folk song, a Wes Anderson film, floral dresses paired with combat boots, Joseph Gordon-Levitt’s half-smile, the opening line in a Huraki Murakami novel, coffee in an over-sized mug, the silence of sunrise and the sweetness of sunset. Bikes can be poetic and uncomplicated and ergonomical all at once. It’s true that more often than not, my own reality departs quite drastically from this idea. I rarely resemble the girls in bright sundresses and breezy ponytails, with pastel-coloured bikes and long, graceful legs. I usually wear a thick Canadian-winter parka, fogged-up glasses, and a scarf thick enough to suffocate a small child. But despite my own awkwardness, geographic location and student-size wallet, I can’t deny that bikes are the quintessential symbol for the unforced coolness of street style fashion. And now, with the remarkable accessibility of fashion blogging culture, street style directly inspires the high-fashion runways more than ever. In the name of authenticity, we dressed ourselves in heels, boots, dresses, fancy blouses, high-waisted shorts and skirts and took a bus to Downtown Bike Hounds on John Street North. We picked out the prettiest bikes we could find and took them for a ride. Not only were we able to produce original photos and contextualize the cycle chic movement, but we also learned that it was more than possible to ride a bike in stylish gear. In fact, it transformed the entire experience of riding a bicycle (Turn to page 13 to learn more). Bikes have always been inextricably tied to fashion. It began in the 1890’s, when bikes offered the kind of freedom that contemporary socialism and suffragism aspired towards (flip to page 5 for the whole story). The bike movement has been revitalized in recent years, directed in part by newfound interests in fitness, environmental initiatives (page 9) and the need to go “back to basics.” To discover a timeline for the contemporary cycle chic movement, (page 17) is your first stop. But is “fashion” just a hook? Is it part of some greater motive that encourages green living and simplicity? Or is there, and has there always been, an undeniable relationship between biking and fashion? When you’re on a bike, your entire outfit is visible - even your shoes. Wouldn’t it make sense then, to have a beautifully dressed model on a bike? Don’t bikes encourage the same culture of independent expression as street style fashion? Don’t bikes offer the same simplicity that street style also seems to encourage? Aren’t bikes, like fashion, a highly nuanced lens through which we can understand arts, culture, and history? In the pages that follow, we may not be able to adequately answer those questions, but we hope to complicate the conversation and explore its many angles – the past, the present, abroad and in our own neighborhood.
BAHAR ORANG
history
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Bloomers & Bicycles A brief history of fashion on bikes
W JO CHAN
“
Prior to the female cyclist movement, women were expected to wear skin-tight corsets and excessive drapery that covered every inch of their flesh.”
hen I close my eyes, I can effortlessly recall a scene of a girl in a floral dress riding her bicycle down the road. Like a picture-perfect scene from 500 Days of Summer, images of a growing bike culture can be found splattered across our popular media and on our streets. If I had been living in the 19th century, however, I would’ve found this romanticized vision of a bicycle ludicrous. During the 19th century, rambunctious male riders dominated cycling; the bicycle was nothing more than a frame on two wheels created for athletic pursuits and indelicate transportation. It was not until the late 19th century that females in corsets and voluminous dresses started to appear on bicycles. This revolution in the 1880s was a result of modifications that were made to the first male-only “highwheelers”. The modifications that made the bicycle accessible to the physical anatomy of women included pneumatic tires, lower seating, a drop frame and smaller wheels. With the advent of this safer, more accessible and comfortable technology came the cycling movement that liberated women from needing to hitch rides alongside male escorts in tricycles and horse carriages. But, as with all revolutions, forcing dramatic change required redesigning preexisting social and cultural limitations; in the case of getting females safely onto bicycles, this meant transforming the standard dress code for women in the late 19th century. Prior to the female cyclist movement, women were expected to wear skin-tight corsets and excessive drapery that covered every inch of their flesh. A woman’s daily dressing ritual included wearing a pair of drawers, a chemise, a corset, a camisole, one or two petticoats, and finally, a long, bell-shaped dress. This customary fashion didn’t change until it was obvious that these outfits were impractical and dangerous for riding bicycles.
Full-length voluminous skirts, corsets, full sleeves and tight neck-band jackets were replaced with looser, lighter garments, shorter or divided skirts, knickerbockers and bloomers (Carse 1994; Simpson 2001). These garments became various versions of the “bicycle suit”, which was loosely defined as any outfit that accommodated straddling a bicycle. These were the first instances where trousers were an accepted form of attire for women but were often, nonetheless, hidden by a skirt. Many bloomers were in fact so voluminous that they still passed as skirts. The bicycle’s influence over the small changes in fashion during the 1890’s is particularly relevant because the “bicycle suit” started to gain traction around the same time as the women’s suffrage movement. In many ways the act of riding the bicycle became the physical embodiment of progress in the feminist movement. Women from all socioeconomic
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“The New Woman”
The appearance of women on the streets in shorter dresses and simpler garments riding bicycles transformed the male-dominated public spaces. The female role was being redefined in society and it was during this time that the vision of a “New Woman” was introduced. The “New Woman” was politically engaged, physically active beyond her domestic realm, wore her skirts above her knees, loosened her corsets and embodied an independent spirit that embraced the possibilities of a good education and even a career (Simpson 2001: 54). Cycling fashion was central to this revolutionary era for feminism: the cyclists brought attention to the need for social transformation and fashion on bicycles subsequently became a mode for advocacy.
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backgrounds could wear some form of a “bicycle suit” and –whether intentionally or not – campaign for political, social and economic equality for women. The fundamental shift in women’s fashion to more practical dress reform was not brought on by violent revolutions or protests but instead succeeded simply because it revealed the truth that wearing bloomers or shorter skirts on bicycles was safer and more practical. The evolution of fashion was drastically influenced when women began to realize that the “bicycle suits” suitable for cycling could also be sensibly worn for all other outdoor activities. Few could have foreseen that such a simple technology would revolutionize fashion and that a bicycle could redefine social attitudes. Yet, it is no doubt that the bicycle victoriously acted as the necessary driving force in liberating women to have the choice to prefer pants over extravagant dresses.
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politics
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Gear up for a green ride W
CHRISTINE ZHANG
ith the rise of contemporary environmentalism in the late 20th century, bikes have become a symbol for environmental activism. Because cycling is such a visible practice, it’s played an important role in promoting green living. With the advent of supporters of the eco-movement opting to trade in their cars for bicycles, the fashion industry has capitalized on this opportunity to show cyclists that they can wear fashionable outfits on their bicycles. It’s arduous, if not impossible, to pinpoint exact moments in the environmental movement to discuss the development between fashion and cycling. And so while I have chosen to outline defining moments in the environment movement below, it by no means exhausts its impact on fashionable
cycling. In 1992, governments and non-governmental organizations addressed environmental issues in the Earth Summit held in Rio de Janeiro. In support of the proposed solutions for wasteful transportation systems, environmental activists protested on bikes. Critical Mass brought together huge numbers of cyclists who rode urban streets during peak hours as a way of claiming space and safety for the bicycle. This arguably began the contemporary greenbike movement (you heard that term here first!), but it was not until the early 2000’s that fashion, biking, and environmentalism came together. Climate change awareness brought environmentalism back into focus in the early 21st century. In 2007, George Bush declared
vélo | 10 that he would support the movement, which propelled the conversation over anthropogenic climate change forward. Automobiles were deemed particularly harmful and bikes thus became the trendy alternative. When fashion magazines and television shows began showing celebrities riding environmentally-friendly bikes, it was clear that bikes had become a fashionable item. Examples of famous cyclists include the British supermodel Agyness Deyn, fashion designer Vivienne Westwood, and actress Jessica Alba. This new trend meant that high fashion could be accessible to the general public. In 2007, New York based designer Cynthia Rowley created her own brand of bikes, and brought them into her runway show. By sending her models down the runway on bikes for the show’s finale, Rowley effectively promoted her beautiful floral-printed bicycles while simultaneously endorsing a voguish bike culture. What’s more is that some of the world’s most renowned brands have also caught on. Chanel, Gucci, and Hermès have joined in on the cycling craze and have each produced bikes of their own design. Originally priced at $17 000, Chanel’s bikes were
an instant hit for buyers, and were later resold for $28 000. In 2011, more affordable brands such as Ralph Lauren, Missoni, and Kate Spade also initiated their own lines of designer bicycles. Missoni’s bikes, for example, have its trademark zig-zag and striped patterns with a classic leather seat and a basket. Although they were sold as limited-edition products (less than 2000 were manufactured), Missoni’s bikes were priced at $400 at Target and were sold out within the first few days. Regardless of whether it has been made part of the haute couture or everyday fashion, the practical and eco-friendly traits of the bicycle have been successfully introduced into and promoted by the fashion industry. The bike hype has departed from being a tool that advocates for environmentalism and has become a fashion must-have accessory. Most importantly, the fundamental traits of the bicycle remain its strongest selling points. Even within the fickle fashion industry, the bicycle’s environmental benefits like its affordability and lack of carbon footprint production have ensured that it remains a fashionable technology.
Hanging out with Bike Hou O
ur research took us all over the wo rld – from Denmark to Paris to New York City to Tokyo. But we were pleasantly surprised to find that we could exp erience the Cycle Chic movement first-hand just around the corner. One straight bus from McMaster University took us to the super-trendy Downtown Bik e Hounds, where we rode pretty bik es in pretty clothing and took pretty pictures. All the photos were shot in Down town Hamilton, with charming old buildings as a backdrop or in deserted alleys with graffiti scrawled nearby. I’ll admit that I was skeptical about being on a bicycle wearing a dress and high heels. But I quickly discovered tha t it’s actually easier to bike than wa lk with heels! Granted, I won’t be able to bike up a mountain or win any speed competitions, but it wa s virtually painless and infinitely fas ter. And with pantyhose, my dre ss presented no problems and I cou ld ride without the fear of innoce ntly flashing passerby’s. But the experience was more tha n just functional. I felt suddenly confident, whizzing by everybody around me. The wind was in my hair and my skirt fluttering behind me, I didn’t need a camera to fee l like I was in a photoshoot. My leg s felt longer, my carefully chosen shoes were effortlessly on display and I felt compelled to hold my posture up for longer than usual. I was athletic, I was elegant, I wa s graceful, I was cool. But most im portantly, I didn’t want to get off the bike. I’ve been riding mine since.
unds
Hamilton Specialty Bik e
Downtown Shop Bike Hounds
19 John Stree
t N.
We spoke to Sean Burak, owner of Downtown Bike Hounds...
“
The trends in cycling depend heavily upon the intended use of the bike... The trend now is a return to the idea that bikes should be ridden every day without requiring spandex uniforms or energy gel packs.
Bikes are important to every community, but I have a strong belief that with a little bit of effort, Hamilton could seriously position itself as the cycling capital of Canada. When I started Bikehounds, it was purely on a whim - and mostly because I was tired of overpaying for tubes and other parts in Hamilton.
the vast majority of [Bike Hounds customers] choose to ride because it is more efficient, more fun, and often faster than driving.
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#cyclechic W
KAREN WANG
t he ph o c re d ite to dw t h e b i rt it h h C y c l e C of hic
lifestyle
Where does it come from and what does it mean?
hen I was growing up, there was an unspoken rule that you can’t wear a skirt while biking. I’ve come to accept long pants and flat shoes as the only logically uncontested articles of bike wear, much like wearing “skorts” instead of skirts while playing sports. However, almost overnight, images across various forms of social media are proving that the opposite is true. If fashion blogs and Tumblr’s are any indication, it is no longer uncommon to see women biking in heels and fancy dresses; myriads of photos are evidence that you don’t need to compromise style for practicality. In fact, it’s turned into a movement - the “Cyle Chic” movement. It encourages “urban cycling for the 99%” by popularizing the idea that “you don’t need special clothes to bicycle in, you just need to look in your own closet”. In fact, the movement is more than just riding with style (albeit the humorous Cycle Chic Manifesto WHICH IS?). It’s about breaking away from the restrictive idea that “cycle wear” must be different from regular, everyday clothing because it needs to be protective, functional or be made by a specialized brand. Cycle Chic is giving us the freedom of dress. It all started in 2006 when Mikael Colville-Andersen, Danish-Canadian filmmaker and photographer, posted a photo of a group of cyclists waiting for the lights to change on one Copenhagen street. Most notable among the cyclists is an elegantly dressed woman wearing a skirt. This photo inspired worldwide conversations on bike policy, bike infrastructure, and, of course, bike fashion. One photo from one city has grown to become a global phenomenon. While the world obsesses over the Copenhagen bike culture by trying to “Copenhagenize” its streets, cyclists in Copenhagen find it difficult to understand what all the fuss is about. For as long as most of them can remember, both bikes and fashion have been effortlessly integrated Danish culture. The impact of one photo demonstrates how the worldwide influence of the Cycle Chic movement has only been made pos-
sible through the social media. A recent study by IBM analyzed large volumes of social media data, including Twitter, blogs and message boards. It showed how the Cycle Chic© trend has been growing exponentially, one city-blog at a time, into a global phenomena. The online discussion of Cycle Chic jumped from Copenhagen to Berlin in 2007, to hundreds of blogs worldwide by 2012. Dozens of Cycle Chic blogs have been created for metropolises, from Cycle Chic Toronto to Cycle Chic Melbourne, where every blog photodocuments bike culture in their respective city, each unique from the others. This ‘online chatter’ on bikes is also influencing the fashion industry, from NYC Fashion Weeks that feature chic cycling wear in 2009, to Gucci’s “Bianchi” bicycles introduced in 2012. This movement has not only succeeded in putting more people on bikes, but also in creating an environment that encourages the integration of bikes into our cultural lifestyle. Cycle Chic celebrates the bicycle through fashion, consequently revitalizing our bike cultures and the city landscapes along with them.
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“
Cycle Chic aims to bring back the bike culture by showing how the bicycle once again can be an integral, respectable and feasible transport form, free of sports clothes and gear, and how it can play a vital role in increasing the life quality in cities.” - Mikael Colville-Andersen, Cycle Chic Founder
ta , s i h Fa s N Y h e r i n e fo r C at a , o ut Bab de a ri
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how to guide
Denim shirt, Topshop, $53 Floral shorts, Forever 21, $30 Backpack, Forever 21, $20 Flats, Forever 21, $20
Blouse, Wallis UK, $36 Shorts, Uniqlo Clothing, $20 Sunglasses, Forever 21, $5 Heels, heels.com, $51
T-shirt, befamouslondon.com, $37 Skirt, H&M, $30 Clutch, H&M, $12 Sunglasses, zerouv.shopify.com, $10 Sneakers, matalan.co.uk, $15
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n on e e s As ar on Bah e 16 pag Dress, H&M, $40 Heels, Aldo, $60 Sweater, H&M, $20 Sunglasses, Kensington Market, $5
Denim shirt, Topshop, $53 Floral shorts, Forever 21, $30 Backpack, Forever 21, $20 Flats, Forever 21, $20
Affordable Gear