Воссоединение семьи Hazells Streamline
- tennishistory.com
- 1 день назад
- 5 мин. чтения
All Historical Models from Blue to Agua. Across Tennis, Badminton and Squash
Introduction
In 1935, former professional player Frank W. Donisthorpe filed a design for a frame featuring a distinctive triple-shaft structure, with a slim main shaft supported by two diagonal shafts extending from the handle to the head. This innovative configuration was intended to reduce air resistance while enhancing the racquet's balance and strength. Professional player Henry 'Bunny' Austin was contracted to use this innovative design and remained loyal to it throughout his career. He reached the Wimbledon final with the Streamline in 1938, losing to Don Budge, and continued to play with the racquet in 1939, the final Wimbledon Championships before the outbreak of the Second World War. Austin's last Wimbledon appearance with the Streamline ended in the quarter-finals against Hungary's József Asbóth, while Bobby Riggs went on to become the last Wimbledon gentlemen's singles champion before the tournament was suspended for seven years by the war.
The initial Steamliners: Bue, Red, Green
The introduction of the Streamline design was followed by the creation of a colour-coded model range that remained in production throughout much of the late 1930s. Although sharing the same patented triple-shaft construction, the individual models developed distinct identities within the series. The Blue Star was the very first model and became the best-known variant through its close association with Bunny Austin. Its name have resonated with the long-established sporting tradition of the Oxford and Cambridge “Blues”, a distinction reserved for leading university athletes. The later Red Star featured a noticeably slimmer head profile than the earliest Streamline examples, giving it a more refined appearance while retaining the characteristic triple-shaft architecture. Introduced in 1936, the Green Star represented a later stage in the development of the range. It comes with a somewhat heavier construction than the earlier models, and it became particularly popular among younger and less experienced players.
Bunny Austin and the White Star Model
As initially stated, Henry Wilfred “Bunny” Austin was closely associated with the Streamline series throughout the 1930s and frequently appeared in the company’s advertising. Eventually, a White Star became part of the Streamline range. Austin had already attracted international attention at Wimbledon in 1933 when he became the first male competitor to appear on Centre Court wearing shorts rather than the traditional long trousers. The decision caused considerable comment among spectators and the press, marking one of the most visible breaks with established tennis convention during the interwar period. In subsequent years, Austin became one of the most recognizable figures in British tennis, and the White Star remains closely associated with the image he projected on court during the latter half of the 1930s.
Hazells supporting the Sports of Badminton and Squash
In addition to the tennis models, Hazells actively extended the Streamline concept into other racquet sports. Contemporary advertisements promoted tennis and badminton versions side by side, indicating that the company regarded the patented triple-shaft construction as a broader design platform rather than a tennis-specific innovation. Surviving examples show that the badminton range evolved through at least two distinct versions. The early Mark I retained the full-length side reinforcements characteristic of the original tennis models, while the later Mark II introduced a revised throat construction in which the reinforcing members merged at the centre. The squash model adopted this later configuration, demonstrating that Hazells transferred the Streamline principle across multiple racquet sports during the second half of the 1930s.
Racquets for Juniors and Ladies
In 1938, Hazells gradually came into the spotlight of Grays of Cambridge. Although the final acquisition was not completed until 1941, a collaboration began early on. As a result, the design concepts of Grays began to influence the Streamline. The design of the Blue Star was subtly modified, and in addition, the introduction of a Lady Blue Star and a Junior Blue Star (same construction as the Lady Blue Star, but with a thinner grip) was aimed at tapping into new markets.
The Racquet for Bunny
Then as now, manufacturers did not always have the sole authority over the design of a new product. When a contracted player was involved, their preferences had to be taken into consideration to avoid falling out of favour. Bunny Austin, who wasn´t just the man in white but also one of the world’s top players at the time, played a key role in influencing the design of the new Streamline model that Grays was set to produce. The concept was already in the works, with a blue frame planned for release, accompanied by a matching set of tennis balls. These products were to be marketed as the All Blue Streamline Tennis Racquet and the Light Blue Tennis Ball. However, Austin, particularly taken with the idea of a paint job, insisted on a white finish. As a result, a mix of Austin's influence and the original concept took shape. Instead of the All Blue Streamline, an All White Streamline was produced, though with one inconsistency, the Blue Star sticker from the first design was retained rather than a White Star sticker.
From Blueprint to Reality
With war looming over Europe, the Hazells Streamline made its final Wimbledon appearance in 1939. By the end of that summer, Bunny Austin's long partnership with the innovative triple-shaft racquet had come to a close. Less than two months later, WWII broke out. As the fighting initially remained confined to the European mainland, Britain’s economy continued to function. With Austin’s retirement, the path was finally clear for the realization of Grays’ original plan. And so the racquet’s intended blue paintwork was ultimately brought to life.
By 1941, the war had reached the doors of Grays as well. Hazells’ production facilities were located on Mare Street, London E8, adjacent to Liverpool Street Station, an area that suffered heavy damage during the London Blitz. When Hazells’ owner, Mr Skull, was forced to sell the company outright to Grays, a turning point was reached. Grays was appointed a nucleus firm under the Concentration of Industry Act and, under government pressure, had to shift its focus to manufacturing webbing for the army. After the war, people were left to rebuild their lives and infrastructure from the ground up. In such times, there was little room for innovation in tennis racquets, and the Hazells Streamline quietly disappeared from view. All the more reason why it is a central mission of Tennishistory.com to preserve this remarkable chapter of history.
Further reference: https://www.tennishistory.com/evolution/wood-to-composite
______________________
Source:
Комментарии