Head to Toe

It struck me that there seemed to be at least as much focus on clothing and accessories at Interbike this year than on bicycles and components. Not that I am against cycling clothing. I support the idea of looking nice and being comfortable on the bike. That said, I felt that for all of its variety, most of the clothing exhibited was deeply unsatisfactory. Put simply: too much embellishment, not enough substance. While I obviously appreciate aesthetics, I wish there had been a greater focus on construction, fabrics and other meaningful aspects of garment and footwear design. Still I'd like to mention some tidbits from the show that I found noteworthy, interesting, or funny.





There were lots of manufacturers exhibiting cycling caps, but not all caps are created equal.While some consider the cycling cap to be a novelty item, for me it performs the very real function of soaking up sweat and keeping the sun off my forehead (applying sunscreen directly to the forehead makes it leak into my eyes). And a good fit is key, so that the cap does not shift under a road helmet. For me that means 4-panel construction, which not many manufacturers seem to offer. Happily, one of the first booths I happened to walk by was that of Pace Sportswear - the makers of my favourite cycling cap (white cotton, 4 panels, rainbow stripes, perfect!). Lots of bike shops carry Pace caps. They are simple, classic, inexpensive, and happen to fit my large head just right. What I didn't know was that the caps - all Pace clothing in fact - are made inhouse, in California. I also did not know about their background. The Colombian-born founder and cyclist, Jorge Saavedra, began making custom caps for Campagnolo in 1978. Does this make them one of the oldest cycling cap makers still in business, I wonder? In any case, it was great to meet the manufacturers of one of my favourite pieces of cycling clothing.






Swrve had another flattering 4-panel design on display in a variety of muted colours and with the interesting addition of reflective ribbon. These too are California made, at prices that won't break the bank.






I was intrigued by the experimental fabrics at Swrve: tissue-thin summer weight wools, as well as silk and linen blends. In my experience, it is fairly difficult to come up with a truly summer-weight wool blend for a hat, but this feather-light fabric felt promising.





Moving downward, one trend I am noticing as far as cycling clothing for commuting, is a growing mania for capes and cloaks (see Iva Jean, Cleverhood). The waxed cotton cape from Carradice is classic and beautiful, though on the heavy side. While I appreciate the capes aesthetically and envy those who wear them gracefully on and off the bike, frankly I am terrified by their expanse of fabric and never fail to get tangled in the ones I try. I would love to see more normal, lightweight, breathable raincoats adapted for cycling.






The dramatic, paratrooper-esque cloaks in the Brooks booth were certainly show stoppers, and I've just learned that their new Cambridge Cape retails at $160. Other outerwear pieces are pricier. Generally speaking, I must say there has been some behind-the-scenes backlash against expensive outerwear. I appreciate the work that must go into the high-cost products, and I appreciate them being out there as conceptual/ inspirational pieces. But there need to be more options on offer that are a step below the haute couture price range that much of the classic cycling rainwear seems to fetch.






Swerving back to Swrve on the theme of trousers, they were the only manufacturer I saw displaying cycling pants with a proper crotch gusset. I might have to try a pair of these soon, as well as their cordura-blend jeans. As far as clothing for transportational cycling, Swrve definitely impressed me the most overall with their combination of fabric innovation, technical features (tailored, vented jackets) and "this looks like normal clothes" aesthetics.






Examplified by the Riyoko booth was the trend for colourful, "spunky" bike fashion. I notice that ideas of women's urban bike wear tend to involve leggings and arm warmers. And I get it: Leggings are stretchy; arm warmers add versatility to a short-sleeved outfit. But it's a very young look and few grown women can wear this to work unless they are in the creative or fitness industries, or maybe IT. Still, I like their lace leggings and tailored jacket.






And as far as women's roadie clothing, the brand that stood out for me was Capo. The new women's line looks nice enough (black, white, navy, or Giro-pink with subtle colour accents), but what got my attention were the technical features. For starters, Capo is one of the best at preventing "sausaging" effects at the waist and thighs by using wide elastic bands. Further, there is no polyester in the tops or shorts, only nylon/spandex blends - which means those sensitive to polyester but not lycra (more common that the other way around) can wear them against the skin. But my curiosity was really peaked by the description of the abrasion-resistant weaves used in the new line. I have a baffling talent for destroying my cycling clothing, especially shorts, by snagging it against everything in sight. So something like this - if it really works of course - would be pretty useful.






Also - and probably this is just the contrarian in me, as I've never been a fan of pink - I found myself drawn to this pink cycling jersey. The colour has now gone so dramatically out of favour with women's cycling clothes manufacturers, that no one wants to touch it. Yet Capo takes a stab at it - and manages to make the pink look aggressive rather than girly. But colour aside (it is also available in black and white in fact), the jersey is interesting in that it is made of a complex mesh that feels like all holes when you have it on, yet does not look transparent. I am curious how it would feel in comparison to the lightweight wools I now wear.






Also represented was the trend for what I would call hybrid road/urban wear - roadcycling clothing that is made to kind of, sort of pass for European street clothes. Some of the merino and striped jerseys from Cafe du Cycliste looked rather nice, but my concern is that the urban touches will diminish the garments' preliminary function as roadcycling clothing while still not truly passing for "normal clothes" off the bike. While I haven't tried anything from Cafe du Cycliste specifically, I have some samples from VeloBici and Vulpine that I will review in that context soon.






As far as cycling gloves, the trend I saw - at least for women - was for a greater selection of lightweight full-finger gloves, such as these from Giro's new women's line. I like the idea, because the tips of my fingers always manage to get burned or scraped somehow when I am on the bike for long, but in the past my hands have always gotten too hot in full-finger gloves. I'll try some and see if they do any better than the ones I tried 3 years ago.






And if you are wondering about the polka dots, this was actually a huge aesthetic theme at Interbike. Also, stripes. And the colour purple. It's as if manufacturers all brainstormed and came up with the exact same answer to the question of "How to replace pinks and florals in women's clothing?" But I tease. To be honest I actually like the stripes and polka dots. As far as the purple, it depends on the shade.





One clothing trend that was impossible to miss was the colourful explosion of cycling socks. It seems like every sock manufacturer suddenly decided to introduce a cycling-specific design, and at the same time every cycling-related company decided to add socks to their line of accessories. Everywhere I looked, I was greeted by socks and more socks, stunning in their variety of fabrics, textures, thicknesses and colours. Cycling sock lovers rejoice, for these days we are truly spoiled for choice.





As far as wool cycling socks, the manufacturer that truly wowed was Darn Tough - made in Vermont, USA. That was just a small swatch of their sock display in the previous picture; their new line of lightweight cycling socks is impressive.






More aggressive in its styling, Save Our Soles presented a floor-to-ceiling display of cycling socks in every wild pattern imaginable. This company is like the Hallmark card of athletic socks.






They also displayed these wine bottle guards. You know, for those times when you're carrying a wine bottle home from a club ride in your bottle cage.






Promotional socks were popular as well, including these new wool-blend ones from Velo Orange.






One trend that I hope someone could explain to me, is the compression socks. People were wearing them, in all sorts of crazy colours.






With otherwise normal outfits. While walking around the floor of Interbike. Thoughts? Seriously, I am not making fun - I just want to understand!






As far as cycling shoes, everyone was talking about the new Fizik line, with its streamlined looks and feather-weight construction. With my romance with clipless pedals in full swing, I am open to being swept up by some fantastic new shoe. But the thing is, my Mavic Cyclo Tours weigh 360 grams, cost $100, feel great, and are in great shape after nearly 6 months of wear - including getting soaked in the rain and caked in mud several times. That pretty much keeps my eye from wandering.





While I've probably confused and frustrated some of you by mixing up commuter and roadie attire, I was impressed to see that Interbike kept them separate. While last year there was one fashion show (here is my coverage of it), two separate shows were held at this year's event: one for "city fashions" (commuting) and the other for "technical fashions" (road and mountain biking). I stopped by the latter, and it wasn't bad: The announcer named the manufacturers, and the models' backgrounds were nicely tied into the narratives (I think all were racers or endurance riders). I think that having separate shows for these categories was a very logical solution.





It was also neat to see the designer Sheila Moon modeling her own clothes.






Of course a discussion of clothing at Interbike would not be complete without acknowledging the Vegas Glamour Girls hired to promote some of the products. They were very friendly, very nice to me, posing for pictures and doing their job. Reactions to these ladies (from both genders) were mixed - some were drawn to them, others embarrassed to go near them. The outfits ran the gamut from string bikinis to shiny rubbery rompers. Oh and compression socks with heels! Well, that's Interbike and Las Vegas for you.

ANT Headbadge in the Making

Visiting ANTyesterday, I got to see something very cool: The making of a headbadge from start to finish. The ANTheadbadgelooks like a piece of antique jewelry - resembling an oxidised copper brooch. I've been wondering how Mike Flanigan makes them, and now I know:





Turns out the headbadges are brass, not copper. While initially Mike made them by hand, for years now he has been getting them laser-cut in batches. But on this occasion he needed a headbadge for a bike with a short headtube, so he made a smaller one from scratch, starting with a blank plaque.





The headtube was not only small, but had decorative lugwork around the edges, limiting the space for the badge quite a bit.To start with, Mike measured the available space and cut down one of the blanks to size with a saw.





Using one of the laser-cut badges as a model, he then drew the design on the smaller blank freehand in black marker. Because of the difference in scale, the ant on the smaller badge came out slightly differently - chubbier and shorter, with a rounded head. We decided it was a juvenile ant.





Not sure whether this is obvious, but the rendering of the insect actually spells "ANT" - the head being the "A," the torso the "N" and the bottom the "T." It's a clever logo.






Using a variety of files and an awl, Mike carved out the ant and "distressed" the plaque.






The remaining traces of marker were then removed and the surface smoothed down.





Once the headbadge was ready, the patina was applied. This is the stuff that gives the headbadge the look of oxidised copper.





This is a liquid patina goes on blue, but turns rusty-green as it air-dries. The process can be speeded up by putting the patina-covered headbadge in a plastic bag for a few minutes.






As the "oxidation" completed, Mike attached the badge to the headtube and it was done. The process took about 30 minutes total and was pretty exciting to watch. I don't think that many headbadges are carved out freehand anymore, and doing it this way gives them a distinctly hand-made look. A big thank you to Mike for letting me observe and share the process!

The Stallions

First 2 photos are of Darkan's Mystic Art, who is 3/4 Arabian and 1/4 Saddlebred. He is a black and white pinto.







These 3 photos are of Goldie who is a Quarter Horse. Goldie was the first horse Dustin had so was the first horse in our family.

Rutland Round 3 - Seaton - Morcott - Barrowden

4 miles almost. With Marta - a late start because of uncertain weather. Lunch in Barrowden - Exeter Arms.


One of those showery days with possible thunder forecast. Seemed like a good idea for a much shorter leg than usual - cue for a cartoon?

Seaton church


We left Seaton along the high road to Barrowden, where you get great views of the viaduct.

The footpath leaves the road on the left, via a stile and you quickly turn right, ignoring the stile straight ahead. Once over the stile you follow the edge of the field and the waymarks down to the disused railway at the bottom of the field.

Culvert/bridge under the disused railway

From here the path was clearly marked across fields and up the hill to the A47. It emerges opposite a minor road into Morcott. We had to cross the A47. The path goes to the right from the road opposite, soon after the junction. We veered too far to the left as we approached the village, misled by a fance that looked like a gate. If we'd consulted John Williams's Rutland Round book (pub CPRE), we would have done this:

Take the path aiming for the electricity pole to the left of the house in front. Continue across this field and, at the stile, go down Mount Pleasant Road turning right along High Street to reach the White Horse Inn.

Once we were back on track, we went past the White Horse Inn, and crossed the road to steps to a footpath into the field opposite. The path took us diagonally tot he left, then through a small wood back to the A47. We had to cross this again, and take the road into Barrowden. The windmill is on the right hand side of the road. The view is obscured from this angle at this time of year.









We reached Barrowden and had lunch at the Exeter Arms - our plan to sit outside was scuppered by the rain.

Lupine

The flowers of bush lupine, Lupinus longifolius.

Manufacturers with 'History': Does Continuity Matter?

What does it mean, when we say that a bicycle manufacturer has a long history? There are manufacturers out there, whose names are legendary and whose origins date back more than a century. Bianchi was founded in 1885, Raleigh in 1887 and Gazelle in 1892. All three brands still exist today, and the company literature stresses their historical roots. After all, history means legacy, tradition, substance and trust - setting these brands apart from newcomers. But is it really accurate to connect the bikes currently produced under these brand names to their vintage predecessors? After all, Bianchi is now owned by Cycleurope, Gazelle by the Glide Buy Out Fund, and Raleigh by Derby International - venture capital conglomerates that own or manage a variety of brands. Not only has the ownership changed dramatically, but so have the basic designs, the methods production, the facilities, the country of production, and oftentimes the quality of the product. What is it then, that gives the manufacturer continuity?



When a small manufacturer with a history is acquired by a conglomerate, there are usually designers and marketing people assigned to manage the brand's "image." They research what it was that made the brand iconic, what associations the customer base has come to have with the brand name, and they incorporate these elements into the company's literature, advertising campaigns and mission statements. But is this sufficient?



[image via J. Ferguson]

On the other hand, there are brand names that, years after having ceased production, have been resurrected by a new owner who ardently tries to continue making the bicycles in the original tradition.René Herse was a Frenchconstructeur - alegendary framebuilderwho created exquisite randonneuring bicycles in the 1930s-1970s. More than 30 years after Herse's death, theRené Herse name was purchased by a man in Colorado, USA, and Herse bicycles are now once again being built - this time by an American framebuilder. Though I have seen only pictures, it is said that the new bicycles look and handle similarly to the originals. Nevertheless, is it the same manufacturer?



When thoroughly examined, there are in fact very few, if any, bicycle manufacturers that have maintained continuity throughout the years. There are brands, once synonymous with quality, that have been sold to lower-tier mail order companies. There are brands that have been acquired by international venture capital firms. There are brands that have been resurrected under new ownership. And there are brands that have switched owners a number of times since they first started out.What must a bicycle brand retain of itself in order for you to recognise it as a manufacturer with a long history, rather than think of it as a different company under the same name?

Blue Dragon Balloon

One of my favorites of the special shapes.