The Leotard was named after its creator, Jules Léotard (August 1, 1838 – August 16, 1870).

Leotard was a French acrobat who specialised in aerials and was also the one who developed the art of trapeze. Due to his involvement in acrobatics, he created and popularised the one-piece gymnastics leotard that today bears his name (Leotard).

It is a one-piece garment that hugs the body tightly and covers the torso from the crotch to the shoulder, but due to the elasticity of the fabric, it does not cause discomfort.

There are various forms with different sleeve lengths. From the "camisole" leotard which has a very thin strap, to long-sleeved three- or four-quarter-length leotards.

A variation is the one-piece leotard (unitard), which also covers the legs. It provides style and modesty to the performer, while allowing freedom of movement with its elasticity, depending of course on the material from which it is made.

Leotards are worn by acrobats, gymnasts, dancers, figure skaters, athletes, actors, wrestlers and circus performers both as training clothes and as performance costumes. They are often worn with ballet tutus over them and tights or sometimes with cycling shorts as underwear. At the same time, it can be worn as everyday clothing.

MINI TIMETABLE

--Decades 1910-1920

During the 1920s, ballet dancers wore improvised clothes for their rehearsals as there was no specific wardrobe. From everyday clothes, they would modify and adapt the design to anything they thought would not hinder movement and would properly cover their bodies.

The most widespread garment was the tunic, inspired by ancient Greece with the pioneer of modern dance, Isadora Duncan (May 26, 1877 - September 14, 1927), being the first to launch this garment. Usually the tunic was made of silk or knitted jersey and had an elastic band or rope under the chest and on the hips, to keep it stable, while the differentiation in each ballerina was the colour. However, due to the war, raw materials were in great shortage without variety and quality of fabrics. Thus, most dancers wore black, shorter than normal tunics.

In contrast, men's costumes were close to today's with loose, white long-sleeved shirts and black pants up to the knee. The costume continued with white high socks and leather, black shoes. Just like today, that is, with the change of pants with long elastic leggings. Otherwise, in addition to the shirt on the torso, men choose a men's-type bodysuit with support straps or suspenders.

--Decades 1930-1940

In the following decade, as in all events throughout the years, the change and upgrading of dance clothes began slowly but surely. Chitons became shorter and changed form to short dresses and skirts that were combined with simple blouses.

At the same time, the more affluent dancers bought prêt à porter clothes, especially for ballet, which they could later wear in their everyday lives. These clothes were made of cotton and were not particularly elastic. They were usually one-piece like today's ballet leotard with an integrated skirt. Ballet dancers followed fashion trends by wearing floral patterns.

Ballerinas who could not afford to buy dance clothes continued to use conventional clothing, adapting it to new trends, while men replaced long, loose trousers with shorts and knitted, tight leggings.

--Decades 1950-1960

In this decade we observe that women's dancewear begin to resemble today's ballet leotards and the overall fitted yet stretchy dance look. The main change being the high-waisted, tight-fitting briefs worn over tights and around the torso, fitted short blouses. Tunics continued to make an appearance, but through the briefs, as the goal was now to achieve the look of a single garment.

In 1960, Jules Léotard's original leotard was finally adopted by ballet. The first leotards were made of knitted cotton fabric, which allowed for more elasticity but quickly bagged. The same was true of the second fabric available for similar uses at the time, Bri-Nylon, with the main difference being that it offered greater stretch.

But in 1962, the biggest and perhaps best change in the world of dance and sportswear fabrics came. The then recently patented "Lycra" fabric became available to the general public, revolutionising its durability and tolerance, elasticity and unhindered movement.

--Decades 1970-1980

Since the 1970s, when technology began to develop at a relatively rapid pace, elastic clothing such as leotards, jumpsuits, leggings and tights experienced an extraordinary rise. They were mainly popular in the field of gymnastics and then in the dance circle. Their main characteristics were easy application, maintaining their shape, easy washing, and a multitude of designs and colours.

Soon companies began to produce lines of ready-made dancewear, leading us to today.

--Today

Nowadays we are "spoiled" by all the different solutions that production has given us, with many professional dancers releasing their own designs.

Cotton, Lycra, Meryl, Velvet, Tulle, Metallic and so many other fabric solutions for all skin tones, dance styles and body types. If we add the infinite designs and colors that have been created and are available for adults and children, perhaps we will understand to some extent the overseas journey of dance clothing from the 1920s with tunics, until today!

The Brand Name Sheddo® is relatively new in the face of this entire journey, but with the quality and elasticity of our European fabrics, the clientele from Greece but mainly abroad, has elevated us to the top positions in manufacturers of dance and activity clothing.