Along with many other designers, Gernreich took advantage of the development in the mid-1950s of upgraded machine-knitting techniques to produce his work.[22] Double knitting (which was developed in Italy) enabled the mass-production of easy-to-wear knitted suits, coats and dresses that retained their shape and became a key American look in the 1960s and '70s.[22][39] Another knitwear development involved varying the lines of the classic T-shirt so that it could be extended into dress-length versions, long or short sleeves, and other variations, including, by 1960, a sequined long evening version by Kasper for Arnold & Fox.[22] In the 1960s, American sportswear depended on very simple shapes, often made in vivid colours and bold, geometric prints (such as those by Gernreich and Donald Brooks).[22]
Despite the acceptance of fashionable sportswear as a form of casual dressing in French fashion in the 1920s, the American garment industry went on to become the most prominent producers of such clothing.[12] The key difference between French and American sportswear was that French sportswear was usually a small part of a high-end designer's output, while the American sportswear designers focused on affordable, versatile, easy-care garments that could be mass-produced and were relevant to the customer's lifestyle, enabling the modern, increasingly emancipated woman to dress herself without a maid's assistance.[10] Although the influence of Europe, particularly Parisian high fashion and English tailoring, was always significant, the Great Depression which started in 1929 acted as a trigger to encourage American fashion to focus on homegrown style and design - particularly sportswear.[8] With 13 million Americans left unemployed by the Depression, it was necessary to create jobs and reduce the competition from imported goods in order to improve the American economy.[6] At the same time, the growth of female athleticism and increased female employment fueled a need for simpler and less expensive clothing.[6][17]

Many of the first sportswear designers were women, including McCardell, Potter, Elizabeth Hawes, Emily Wilkens, Tina Leser, and Vera Maxwell. A common argument was that female designers projected their personal values into this new style.[10] One of the few male designers at this time was Tom Brigance, who by the late 1930s was regularly ranked alongside Potter as a leading name in mid-range priced sportswear.[20] Like Potter, Brigance understood how to design smart and fashionable clothing for mass-production, which made his clothes attractive to manufacturers as well as to customers.[20] Two other notable male designers of sportswear at this time were Sydney Wragge and John Weitz.[21]
Despite the acceptance of fashionable sportswear as a form of casual dressing in French fashion in the 1920s, the American garment industry went on to become the most prominent producers of such clothing.[12] The key difference between French and American sportswear was that French sportswear was usually a small part of a high-end designer's output, while the American sportswear designers focused on affordable, versatile, easy-care garments that could be mass-produced and were relevant to the customer's lifestyle, enabling the modern, increasingly emancipated woman to dress herself without a maid's assistance.[10] Although the influence of Europe, particularly Parisian high fashion and English tailoring, was always significant, the Great Depression which started in 1929 acted as a trigger to encourage American fashion to focus on homegrown style and design - particularly sportswear.[8] With 13 million Americans left unemployed by the Depression, it was necessary to create jobs and reduce the competition from imported goods in order to improve the American economy.[6] At the same time, the growth of female athleticism and increased female employment fueled a need for simpler and less expensive clothing.[6][17]
Among the key designs produced by this new generation of American designers were capsule wardrobes such as McCardell's group of five wool jersey pieces from 1934, comprising two tops, long and short skirts, and a pair of culottes; and Maxwell's "weekend wardrobe" of five tweed and flannel garments. Both were designed to accommodate formal and informal occasions depending on how they were assembled and accessorised.[22] McCardell also became well known for designs such as the Monastic and Popover dresses which were versatile enough to work in multiple contexts from swimsuit cover-ups to party dresses.[22][25] Other McCardell signatures included ballet slippers (made by Ben Sommers of Capezio) as everyday footwear and functional pockets in skirts and trousers.[22][26] Dressy garments made from casual fabrics, such as McCardell and Joset Walker's evening dresses and dress-and-coat ensembles made out of cotton, became a key sportswear look.[22] The American couturier Norman Norell declared that McCardell could make a smart dress to wear anywhere out of "five dollars worth of common cotton calico."[22] Other sportswear designs often incorporated elements of sporty informal or casual wear, as exemplified by Clare Potter's evening sweater worn with a long skirt draped like a sidesaddle riding habit.[27]
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Before co-founding the business that later became Missoni with his bride Rosita in 1953, Ottavio Missoni, himself an athlete, and his teammate Giorgio Oberweger had an activewear business in Trieste making wool tracksuits christened Venjulia suits.[48] The success of the Venjulia suits, which took into account the need of athletes for functional, warm garments enabling freedom of movement, led to their being worn by the 1948 Italian Olympics team (which included Missoni himself).[49] In the 1960s Missoni became renowned for their uniquely colored, mix-and-match knitwear separates based upon activewear,[50] which have remained desirable and fashionable well into the 21st century.[51]
“Outdoor Voices shorts are just the right length—gotta love split shorts to show off those running legs—and have all the pockets you ever need when you're out on a run. I can hold my MetroCard, cash, keys and gels without the shorts falling down. The brief liner is also super comfortable even when things get sweaty. The Merino Longsleeve T-Shirt is great for those colder mornings and later nights to keep you warm, but it’s also still breathable and wicks away moisture.”
The precursors of true sportswear emerged in New York before the Second World War.[2] Clare Potter and Claire McCardell were among the first American designers in the 1930s to gain name recognition through their innovative clothing designs, which Martin described as demonstrating "problem-solving ingenuity and realistic lifestyle applications".[10] Garments were designed to be easy-to-wear and comfortable, using practical fabrics such as denim, cotton, and jersey.[18] McCardell in particular has been described as America's greatest sportswear designer.[18] Her simple, practical clothes suited the relaxed American dress code, neither formal nor informal, that became established during the 1930s and 1940s.[2] McCardell once proclaimed: "I belong to a mass production country where any of us, all of us, deserve the right to good fashion."[19] Martin credits the 1930s and 40s sportswear designers with freeing American fashion from the need to copy Paris couture. Where Paris fashion was traditionally imposed onto the customer regardless of her wishes, American sportswear was democratic, widely available, and encouraged self-expression.[10] The early sportswear designers proved that the creation of original ready-to-wear fashion could be a legitimate design art which responded stylishly to utilitarian requirements.[10]
Despite the acceptance of fashionable sportswear as a form of casual dressing in French fashion in the 1920s, the American garment industry went on to become the most prominent producers of such clothing.[12] The key difference between French and American sportswear was that French sportswear was usually a small part of a high-end designer's output, while the American sportswear designers focused on affordable, versatile, easy-care garments that could be mass-produced and were relevant to the customer's lifestyle, enabling the modern, increasingly emancipated woman to dress herself without a maid's assistance.[10] Although the influence of Europe, particularly Parisian high fashion and English tailoring, was always significant, the Great Depression which started in 1929 acted as a trigger to encourage American fashion to focus on homegrown style and design - particularly sportswear.[8] With 13 million Americans left unemployed by the Depression, it was necessary to create jobs and reduce the competition from imported goods in order to improve the American economy.[6] At the same time, the growth of female athleticism and increased female employment fueled a need for simpler and less expensive clothing.[6][17]
In the late 1940s and 1950s non-American designers began to pay attention to sportswear, and attempted to produce collections following its principle. French couturiers including Dior and Fath simplified their designs for ready-to-wear production, but at first only the Italian designers understood the sportswear principle.[47] Italy already had a reputation for fine fabrics and excellent workmanship, and the emergence of high quality Italian ready-to-wear that combined this luxury with the casual quality of American sportswear ensured the worldwide success of Italian fashion by the mid-1970s.[39] Italian designers, including Emilio Pucci and Simonetta Visconti, grasped that there was a market for clothing that combined sophistication and comfort.[47] This was a challenge to the American industry. John Fairchild, the outspoken publisher of Women's Wear Daily opined that Krizia, Missoni, and other Italian designers were "the first to make refined sportswear."[39]
Among the key designs produced by this new generation of American designers were capsule wardrobes such as McCardell's group of five wool jersey pieces from 1934, comprising two tops, long and short skirts, and a pair of culottes; and Maxwell's "weekend wardrobe" of five tweed and flannel garments. Both were designed to accommodate formal and informal occasions depending on how they were assembled and accessorised.[22] McCardell also became well known for designs such as the Monastic and Popover dresses which were versatile enough to work in multiple contexts from swimsuit cover-ups to party dresses.[22][25] Other McCardell signatures included ballet slippers (made by Ben Sommers of Capezio) as everyday footwear and functional pockets in skirts and trousers.[22][26] Dressy garments made from casual fabrics, such as McCardell and Joset Walker's evening dresses and dress-and-coat ensembles made out of cotton, became a key sportswear look.[22] The American couturier Norman Norell declared that McCardell could make a smart dress to wear anywhere out of "five dollars worth of common cotton calico."[22] Other sportswear designs often incorporated elements of sporty informal or casual wear, as exemplified by Clare Potter's evening sweater worn with a long skirt draped like a sidesaddle riding habit.[27]
Un sweat est fait pour rendre vos temps libres aussi confortables que possible, mais ça ne veut pas dire que vous ne pouvez pas à la fois être élégant et suivre les dernières tendances. Les pulls à capuchon et les capuchons à zip sont intemporels et fonctionnels, alors que les tee-shirts ultralégers à capuche vous permettent d’exprimer votre côté créatif à travers des imprimés graphiques. Restez au chaud lors des soirées plus fraîches avec des sweats qui se coordonnent avec tout, des jeans skinny jusqu’aux leggings douillets. Vous n’avez pas non plus besoin de porter le même toutes les fins de semaine ; l’assortiment de Simons est en évolution constante pour rester en phase avec la mode. 
Martin has observed that in America, prior to increasing worker freedoms from the mid-late 19th century onwards, leisure had been a luxury available only to the leisured classes during the Industrial Revolution (c.1760-1860), and before that, Puritan America had condemned leisure for all. He cites the 1884 Georges Seurat painting A Sunday Afternoon on the Island of La Grande Jatte as an immobile, "static and stratified" depiction of leisure in "direct antithesis" of the relaxed, casual American equivalent.[4] T.J. Clarke notes how La Grande Jatte illustrates people from the breadth of Paris society taking advantage of their free time by going to the riverside to show off new clothes, but that the act of removing one's jacket or otherwise loosening garments as a signifier of actually being at leisure was almost never done.[9]
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During the 1970s, Lauren, Calvin Klein and Perry Ellis became particularly known for their sportswear designs, made in all-natural fibres such as wool, combed cotton, and linen, which placed them at the top tier of American fashion design alongside the Anne Klein label (designed by Donna Karan and Louis Dell'Olio).[22] Newsweek in 1975 described Calvin Klein as having styled his clean, casual separates with the authority of a couture designer, and by 1985, Martin described him as "one of the great American stylists" with a solid international reputation and worldwide influence entirely based on his skills as a sportswear designer.[4] The industry empires of Lauren and Calvin Klein would be joined in the mid-1980s by Donna Karan's own-name label and Tommy Hilfiger, each of whom created distinctive wardrobes for the American woman based upon stylish but wearable, comfortable and interchangeable multi-purpose clothes that combined practicability with luxury.[2] These clothes were also designed to have a long, stylish and undated life, rather than to only be fashionable for one season.[4] In 1976, the designer Zoran brought out the first of a number of collections of extremely simple garments made of the finest quality fabrics; garments that barely changed over the years and which became cult objects to his wealthy clientele.[41] In 1993, the fashion journalist Suzy Menkes declared Zoran's less-is-more sportswear prophetic of the early 1990s modernist trend, whilst Zoran stated that the work of Calvin Klein, Karan, and the Anne Klein label epitomised the "comfort, simplicity, and practicality" associated with sportswear.[41] Most early 21st century sportswear design follows in the footsteps of these designers.[2] Other notable sportswear designers of the late 20th century include Norma Kamali, whose 1980s fashionable garments made from sweatshirt fabric were highly influential;[4][22] Marc Jacobs, whose eponymous label renowned for layered informality in both day and evening wear was founded in 1986, and Isaac Mizrahi, who presented his first collection in 1987.[2]
Before co-founding the business that later became Missoni with his bride Rosita in 1953, Ottavio Missoni, himself an athlete, and his teammate Giorgio Oberweger had an activewear business in Trieste making wool tracksuits christened Venjulia suits.[48] The success of the Venjulia suits, which took into account the need of athletes for functional, warm garments enabling freedom of movement, led to their being worn by the 1948 Italian Olympics team (which included Missoni himself).[49] In the 1960s Missoni became renowned for their uniquely colored, mix-and-match knitwear separates based upon activewear,[50] which have remained desirable and fashionable well into the 21st century.[51]
In the 1950s and 1960s, designers continued to develop the theme of affordable, practical and innovative sportswear, producing clothing that focused on wearability rather than fashion fads, including Anne Fogarty's coat-and-dress sets and dresses made with removable waistcoats to alter their look.[34][35][36] The film costume designer Bonnie Cashin, who started producing ready-to-wear clothing in 1949, is considered one of the most influential American sportswear designers.[22] She was known for her extremely practical layered ensembles inspired by ethnographic garments and textiles such as the Japanese kimono and happi, ikats, and the South American poncho.[22][37][38] Her designs incorporated leather bindings, pockets with purse clasps, hooded jersey dresses and tops, and industrial zippers and fastenings.[22][38] She put a brass clip resembling those used on dog leashes, on a long formal skirt so that it could be securely hitched up to enable the wearer to run up and down stairs,[38] and her ponchoes and hoods (which could be rolled down to form elegant cowl-collars) were originally designed for driving on cool mornings.[22] Cashin became one of the first American designers to have an international reputation.[22] Alongside Cashin, Rudi Gernreich emerged in the 1950s as a key name in sportswear design, first becoming known for his swimsuits, but then expanding into geometrically cut, graphic clothes and knitwear that Kirkland described as the epitome of the "new California."[22]
Social media cookies offer the possibility to connect you to your social networks and share content from our website through social media. Advertising cookies (of third parties) collect information to help better tailor advertising to your interests, both within and beyond Nike websites. In some cases, these cookies involve the processing of your personal data. For more information about this processing of personal data, check our Privacy & Cookie Policy. De-selecting these cookies may result in seeing advertising that is not as relevant to you or you not being able to link effectively with Facebook, Twitter, or other social networks and/or not allowing you to share content on social media.
In the late 1940s and 1950s non-American designers began to pay attention to sportswear, and attempted to produce collections following its principle. French couturiers including Dior and Fath simplified their designs for ready-to-wear production, but at first only the Italian designers understood the sportswear principle.[47] Italy already had a reputation for fine fabrics and excellent workmanship, and the emergence of high quality Italian ready-to-wear that combined this luxury with the casual quality of American sportswear ensured the worldwide success of Italian fashion by the mid-1970s.[39] Italian designers, including Emilio Pucci and Simonetta Visconti, grasped that there was a market for clothing that combined sophistication and comfort.[47] This was a challenge to the American industry. John Fairchild, the outspoken publisher of Women's Wear Daily opined that Krizia, Missoni, and other Italian designers were "the first to make refined sportswear."[39]
Last year was again a time of many changes for both ourselves and the industry that we work in. We have further consolidated our product lines at an unrelenting pace. In the fall of 2018 we published a dedicated 32 clearance book, it met with huge success and now we basically have left only a range of leather jackets and a range of sport bags to offer at greatly reduced prices. These can be found in our Clearance Section on the new website. As we go forward now with our core lines, Fruit of the Loom, Jerzee, Russell Athletic and King Athletics, we will be able to offer even more comprehensive and deep inventory to our customers. Russell Athletic has also made some major changes to their product offering, they no longer offer uniforms, and have condensed some of their other styles, the new sections for both stock and special order on this site will give you an up to date view on what is available. 2019 will be a year in which we will be able to offer not only a greater depth of inventory but also a renewed commitment to our industry. Many thanks for your continued support during 2018 and we wish you all the very best for the year ahead.

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