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Pistol Pete

Australian Open 2001 © Ray Giubilo

When Pete Sampras eked past Pat Rafter in four tough sets to win his 13th slam title at a rain-ravaged Wimbledon in 2000, it was difficult to overstate the enormity of the moment. The wait for Sampras to usurp Roy Emerson and claim the title of all-time slam record holder had been long and fraught. For 12 years, Sampras had dominated men’s tennis in a way that had never been seen before. 

Everything great Sampras achieved began with the delivery. From the way he bowed his head forward, readying his lethal aim, to a second delivery that was nearly as good. Behind the most devastating serve in sport, he constantly moved to the net and ravaged opponents with his running forehand. His success championed the rise of the Wilson Pro Staff, as fans rushed to buy it in the hope that some of his magic would rub off on them. Alone on the court, in some of the most pressure-filled moments an athlete can face, his blood ran cold. Tennis has the ability to drive its subjects mad, but for over a decade he made tennis look easy and his demeanor suggested that it really was. 

For much of the ‘90s, Sampras’ greatest rival was Andre Agassi, an equal in talent and by far his superior in bombast and celebrity. Together, they produced one of the great sporting spectacles, but even their battles were deceptive. 

Their games seemed to present the perfect contrast. Not the typical fire and ice, but two aggressive players tearing the opponent apart in completely different ways. Agassi owned the baseline and his return, Sampras served flawlessly and flitted to forecourt at every opportunity. They were built up as equals, but after their final match, when Sampras surprised the world to capture his 14th slam title at the 2002 US Open, Sampras left with a 20-14 lead in matches, 6-3 in slam events and with 14 slam titles to 8. Pete Sampras had no equals. 

After his victory at the 2002 US Open, as he spoke of the adversity he overcame and his refusal to listen to the press as they wrote his career obituaries, Sampras was asked about the future of his seemingly impregnable record. He shrugged. 

“Time will tell if it will be broken,” he said. “I think in the modern game, it could be difficult. It’s a lot of commitment, a lot of good playing at big times. You know, it’s hard to see one guy or three guys that I see maybe doing it. It’s possible. I mean, the next person might be eight years old hitting at a park somewhere around the world. You never know.” 

© Antoine Couvercelle

Three slams after Sampras’ final US Open triumph, Roger Federer won his first Wimbledon. Nobody could have imagined that as Sampras relaxed and enjoyed his retirement, the rare times he resurfaced in front of big crowds would be to watch in person as Federer, then Rafael Nadal, and then Novak Djokovic eclipsed his records with seeming ease.

The luster of legends always fades a little with time. Human beings forget easily. The current era of men’s tennis has accelerated that process, redefining the record books and completely altering how the sport, and what is possible within it, is seen. 

It sometimes seems like the memory of Sampras’ playing days was most affected by the rise of the big four, because they arrived so soon after his premiership ended. But it is important to never forget the Greek-Jewish American who had the audacity to play how he played and do what he did, a player so great that he was able to engineer the greatest curtain call, defeating his truest rival one last time in the final of the US Open before departing into the night and never looking back.

Stéphane Houdet

« Je suis un joueur de tennis recyclé ! »

© Circle

Curiosité sans borne, goût pour l’innovation et engagement au-delà du sport, le champion de tennis en fauteuil Stéphane Houdet et la marque française de vêtements de sport éco-responsable « circle » se sont bien trouvés. Le porte-drapeau de la délégation française aux Jeux Paralympiques de Tokyo (24 août au 5 septembre), revient pour Courts sur cette collaboration et sur ses objectifs raquette et… pinceau en main. 

© Circle

Qu’est-ce qui vous a séduit chez circle ?

Le plus important c’est d’utiliser des vêtements avec des matériaux recyclés, de s’inscrire dans une économie vertueuse, mais aussi d’avoir des produits de très haute technicité pour la pratique du tennis. Avec Romain Trebuil, le co-fondateur de circle, c’est aussi le goût du détail qui nous a unis. J’ai apprécié le positionnement discret du logo, un peu comme sur une chemise sur mesure. Pour moi, l’élégance c’est de ne pas mettre trop en avant la marque mais plutôt de la deviner, comme dans la haute couture. Et puis le look c’est aussi important sur le court. Quand tu te trouves beau, tu es plus à l’aise pour t’exprimer.

 

Circle propose un nouveau modèle dans une industrie du tennis qui semble un peu en retard au niveau de l’engagement pour l’écologie…

Je pense que c’est en train de changer. Il y a beaucoup de joueurs qui échangent avec circle car ils sont déterminés au changement. Certains agents de joueurs sont prêts à lâcher des gros contrats avec des marques qui ont une mauvaise image, pour véhiculer une proximité avec les valeurs de l’écologie. Cette surconsommation qu’on a créée s’applique aussi au tennis, elle rend nos vêtements très éphémères. On a tous aimé acheter la tenue de Roland-Garros, puis celle de Wimbledon et puis celle de l’US Open. D’une semaine à l’autre, la tenue devient obsolète, et ce n’est pas un bon exemple. C’est un thème qui m’est cher, car je suis moi-même un joueur de tennis recyclé qui jouait auparavant sur ses deux jambes et qui joue maintenant dans un fauteuil.

 

Vous avez été choisi pour être le porte-drapeau de la France lors des Jeux Paralympiques de Tokyo, comment abordez-vous ce rôle ? 

C’est un honneur d’avoir été plébiscité pour ce rôle. Pour moi, c’est important que ça vienne des autres. C’est un témoignage de reconnaissance par rapport à la nation, une responsabilité par rapport à l’équipe de France. Je dois emmener vers la performance. 

J’aime l’idée de pouvoir, par mon expérience, donner du recul sur l’événement tout en restant performant. 

 

Au Tokyo, vous allez défier sur ses terres Shingo Kunieda, le joueur le plus titré de l’histoire de la discipline, c’est un peu le défi ultime qui vous attend ?

Aujourd’hui, je sais que je peux encore battre tout le monde. J’ai battu le vainqueur de l’Open d’Australie Joachim Gérard lors du tournoi du Touquet. Ce qui est dur, c’est de battre trois très bons joueurs de suite, le niveau a augmenté. J’ai déjà battu Kunieda dans le stade olympique lors d’une Coupe du monde par équipe il y a quelques années. J’ai en tête les images de ce match qui était télévisé, avec pas mal de public. Shingo Kunieda est une grande star au Japon. Tous ses matches sont diffusés à la télévision et il y a même un dessin animé qui lui est consacré. Je pense d’ailleurs, qu’en tant que son rival, je suis plus connu au Japon qu’en France. 

 

« Au lieu de parler de sport, on parle de handicap. »

© Circle

Vous êtes assez critique avec le traitement médiatique qui est fait du tennis en fauteuil, comment l’améliorer ?

Au lieu de parler de sport, on parle de handicap, c’est le problème. Le sport est un vecteur de communication, il doit gommer les différences, il a toujours fonctionné vers l’inclusion, vers le tous ensemble. On peut parler des différences, mais il faut avoir une approche sportive, avec les codes du sport. Pour faire connaître une discipline, il faut qu’il y ait des champions et qu’on raconte leur histoire. Donc c’est très simple en fait. C’est ce qu’on a fait avec Oscar Pistorius, c’est ce que font les Japonais avec Shingo Kunieda et c’est ce qu’on pourrait faire en France. Les gens sont friands d’histoire et il y a parmi les athlètes handisport des parcours qui sont incroyables. Il faut prendre ce parti pris. La différence, c’est extraordinaire. La différence c’est la vie. 

 

Vous avez côtoyé de près toutes les grandes stars du tennis, quelles sont les rencontres qui vous ont marqué ? 

Oui j’ai pas mal d’anecdotes sympas. Un jour, à l’US Open, je croise Roger Federer qui me dit : « Tiens Stéphane, j’ai pensé à toi quand j’ai appris que j’allais à nouveau avoir des jumeaux. Tu es la seule personne au monde que je connais qui a deux paires de jumeaux. » Je lui ai répondu : « Il faut qu’on crée l’association des vainqueurs de Grand Chelem père de paires deux jumeaux. » (Rires) Rafa Nadal, quand il revient de blessure à l’Open d’Australie 2017, vient me taper sur l’épaule dans les vestiaires pour me dire qu’il est trop content de me voir. Benoit Paire est venu regarder un match entier de tennis en fauteuil à Roland-Garros. On s’est ensuite retrouvé sur un plateau de radio et Benoît commence à faire un récit d’expert sur le tennis fauteuil. Il connaissait parfaitement le sujet.

 

« J’ai déjà peint plusieurs œuvres pour les prochaines affiches Roland-Garros »

 

Un mot pour finir sur votre passion pour la peinture, est-ce que le tennis fait partie de vos sources d’inspiration ? 

Le début de mon histoire avec l’art, c’est d’abord plutôt en tant que consommateur. Et puis je me suis mis à faire des toiles abstraites, le confinement m’a beaucoup motivé. J’ai déjà peint plusieurs œuvres pour les futures affiches Roland-Garros : 2028, 2035… Je ne les ai pas proposées pour l’instant. Les empruntes qu’on laisse sur un court en terre battue avec notre fauteuil donnent des effets visuels très inspirants. Je m’étonne du beau qu’on peut créer avec ces traces éphémères qui rappelle que nous ne sommes que de passage. Quelle trace est-ce qu’on va laisser ? Mettre ça sur une toile c’est une manière de transmettre. On est loin du tennis là…

Romain Trebuil, co-fondateur de Circle : « Former les joueurs aux enjeux environnementaux »

« Avec Stéphane nous avons mis un premier pas dans le tennis professionnel et on aimerait se développer. On commence à discuter avec certains joueurs. Il faut trouver un bon équilibre, que les joueurs puissent continuer à financer leur carrière avec le sponsoring et qu’on puisse les accompagner, les former aux enjeux environnementaux et à l’économie circulaire. Il y a deux catégories de joueurs particulièrement intéressés : les plus jeunes qui ont se préoccupent beaucoup de la question environnementale au quotidien. Et puis ceux qui sont plutôt vers la fin de leur carrière, qui ont vu l’évolution de leur sport, et qui ont des engagements personnels. Circle existe depuis seulement un an, donc c’est fantastique d’être déjà en contact avec des joueurs de ce niveau. »

Romain CEO & Founder © Circle

Champions au rayon promotion

Depuis tout petit, je suis passionné de tennis et de publicité. Deux disciplines assez éloignées en apparence mais qui ont en commun d’être toutes deux centres d’attention et théâtre de créativité.

Au fil des années, je me suis mis à collectionner toutes sortes de réclames en lien avec mon sport préféré. Je vous en offre une sélection en exclusivité pour Courts, en commençant par les pubs mettant en scène les champions. Si on s’attend à ce qu’ils monnaient leur image pour promouvoir leurs sponsors et leurs équipementiers, nous allons voir dans ces quelques pages qu’ils se sont souvent associés à des produits sans aucun rapport avec leur sport ; les marques jouant à fond sur leur pouvoir de recommandation. On dirait aujourd’hui qu’ils sont des « influenceurs ». Ils vendent du rêve sur le terrain tandis qu’en dehors ce sont plutôt des montres, des boissons, des automobiles, des produits laitiers, des produits de rasage ou, plus étonnant encore, des alcools et des cigarettes !

J’aime particulièrement le parfum de nostalgie qui émane de ces réclames et le reflet des époques qu’elles illustrent. Petit diaporama subjectif d’images saisies à la volée.

30s aux 60s

1930s 

Bill Tilden : « je fume Camel depuis des années », explique sans complexe le champion toujours pas à bout de souffle à 42 ans.

1937

Fred Perry, mousse à raser Williams.
La mode n’était pas encore à la barbe épaisse façon Benoit Paire.

1948

Bobby Riggs : on l’avait découvert misogyne et provocateur dans le film Battle of the Sexes, on le découvre également clopeur compulsif et autosatisfait dans la publicité. « Je suis fumeur de Chesterfield. C’est une bonne cigarette et je l’aime. »

1957 

Jack Kramer a besoin de jus d’orange surgelé… pour reprendre des forces et ne pas tomber en carafe.

Pendant ce temps-là, Pancho Gonzales boit une bière Blue Ribbon entre deux parties. Une pub qu’on ne pourrait plus voir aujourd’hui…

1958 

Jack Kramer, quand il a fini son verre de jus d’orange, utilise une voiture de location pour se rendre sur les tournois − et il la gare sur le court : on ne s’embêtait pas à l’époque.

1959 

Donald Budge : sa télé est la seconde chose la plus importante qu’il possède (après son Sullivan Memorial Trophy d’athlète de l’année, qui marque la réalisation de son Grand Chelem).

70s  

1978

Chris Evert : de toutes les coupes remportées dans sa carrière, celle-ci est certainement la plus belle.

1978

Arthur Ashe vante les mérites de son service… militaire !

1970

Nick Bollettieri (sans ses lunettes de soleil !) est déjà à la pointe des techniques de coaching avec son studio mobile Panasonic.

1979

John Newcombe : « Les winners choisissent un appareil photo de winner. »

1970

Rod Laver est l’un des meilleurs dans ce qu’il fait… comme l’entreprise Katz qui est aussi la meilleure en tout, sauf en modestie apparement.

1979

John Newcombe, aka « Big Newk », est dingue des bottes de chez Dingo qui « vont avec tout… sauf quand même avec des shorts de tennis », précise la pub.

1977 

Björn Borg en véritable sex-symbol, pose de profil, rêveur et regard tourné vers l’horizon, puis torse nu pour les jeans Lois. 

1973

Adrianno Panatta se fait mousser lui aussi, mais dans son bain (Brut de Fabergé).

1978

Vitas Gerulaitis, l’autre playboy du circuit, pose devant sa Rolls pour les parfums Brut : « Sous son costume Saint Laurent, sa chemise Cardin et son t-shirt Dior, Vitas met du Brut. »

Et si « Ice Borg » a besoin de se rafraîchir, il s’envoie un Canada Dry… bien glacé !

1980

Björn Borg : « Parce que le soleil peut vous servir une boule de feu… », mieux vaut utiliser la crème solaire PreSun.

80s  

1980

Stella Artois / Queen’s Championships. Illustration de Mike Terry, avec Pat Cash, Ivan Lendl et John McEnroe. Un tournoi longtemps sponsorisé par une bière, les joueurs n’ont pourtant jamais été payés en liquide.

1980

Michelob, la marque de bière, va organiser des matchs d’exhibition en embauchant des stars telles que Roscoe Tanner ou Dennis Ralston.

1980

« Les Supersuédois en action » : Björn Borg, qui carbure à fond en 1980, est comparé à une puissante cylindrée Saab.

1985

Yannick Noah joue en jean (C17) dix ans avant Andre Agassi et ses fameux shorts de la même matière.

1986

Guillermo Vilas : ça gaze pour lui à Roland-Garros puisqu’il y atteint les quarts de finale. 

1983

John McEnroe se « montre » une fois de plus fidèle à sa réputation (Omega Watches).

1984

Swatch : « La montre qui fait sourire Ivan Lendl. » Et ce n’est pas une mince performance.

1985

Yannick Noah court en caleçon sur la banquise pour la ligne de soins corporels Sport Line dans : incroyable mais frais !

Nastase à Roland-Garros : « Ilie va en Vespa », et comme toujours, il roule des mécaniques !

1987

Helen Keles : la numéro un canadienne fait fureur en fourrure. Fou rire garanti.

1984

Martina Navratilova et les machines à écrire Silver Reed. « Essayer de faire tourner un business sans une Silver Reed, ça serait comme essayer de gagner Wimbledon sans raquette. »

1988

Steffi Graf et son Opel avec toit ouvrant : bienvenue dans l’ère « open » !

90s  

1990

Boris Becker : « R’activ est actif » et rien de mieux que le fist-pump rageur qui suit un point victorieux pour en démontrer l’effet euphorisant.

1990

Andre Agassi en Ray-Ban, moumoute au vent dans sa periode « image is everything » !

1992

Jimmy Connors, le joueur de tous les excès… de sucre y compris ? Ce qui ne l’avait pas empêché pas d’aller en demi-finales de l’US Open l’année précédente, à 39 ans !

1993

Stefan Edberg : « Parfois, je rêve d’elle la nuit. Elle a une taille fine. Mais un profil assez distinctif. Oui, et des ailes. Mais elle n’est pas un ange. Elle est… eh bien, laissez-moi le dire ainsi : je l’aime bien. Aux brocolis. Je parle de Farfalle de Barilla. »

1995

En mode pirate avec Pepsi Max, Andre Agassi nous incite à « vivre la vie au maximum » (mais avec un minimum de cheveux depuis qu’il s’est rasé).

1996

Gabriela Sabatini et Pete Sampras, puis Serena et Venus Williams en 2000. Saga publicitaire pour les produits laitiers qui a mis en scène tous les principaux joueurs de l’époque…

1998

Avec Boris Becker, Tag Heuer tente un parallèle entre la force mentale du champion allemand et la solidité de ses montres. Tant que les aiguilles font tic-tac et pas boom boom…

90s

Andre Agassi dans les années 90 : y’a pas photo, c’est lui qui a le look le plus « Canon » !

2000s à nos jours 

2002

Du beau linge dans cette pub de lessive avec Tim Henman : « Ariel vous sert du blanc de haute volée. »

2000

Anna Kournikova : « Seule la balle doit rebondir », dit-elle dans cette publicité pour les soutiens-gorge de maintien Shock Absorber de Berlei. Hélas, sa carrière n’a pas connu de rebond non plus.

2005

Yannick Noah en Sloggi : « Trop bien la vie ! »

2007

Steffi Graf et Andre Agassi pour Louis Vuitton : « Y a-t-il plus beau voyage que l’amour ? » En tout cas, ils ont fini leur carrière de globe-trotteurs la valise remplie de trophées.

2006

Boris Becker compare le central de Wimbledon à son salon, pour la bière König Pilsener. Tant qu’il ne fume pas la moquette…

2008

Fred Perry en sueur pour evian : « L’autre eau officielle de Wimbledon. »

2008

Roger Federer pour Rolex : « sans aucun rival », sur le court comme au niveau du brushing.

2010

Agassi se livre… dans une pub Indienne pour la chaîne de librairies Ideas Books.

2010

Maria Sharapova en mode bébé pour evian… Elle a pris de la bouteille depuis ?

2013

Stan Wawrinka pour la sécurité routière suisse : « 200 km/h uniquement au service ! » Sur la route, il se tient à carreau, comme son fameux short.

2017

Lucas Pouille et evian : « Live Young. » Rien à voir avec Donald Young qui lui n’est plus si jeune.

Article publié dans COURTS n° 7printemps 2020.

Winner Takes All

© Wartski & Company
© Wartski & Company

It had never even occurred to me that a tennis trophy might have any of the beauty of the sport itself. 

After all, good tennis depends on efficiency, lightness, grace. The gold-plated vessels—are they funeral urns, punch bowls, receptacles for your odiferous socks?—you will be handed as a tournament winner are the exact opposite of the strokes you have executed and the footwork with which you have glided as swiftly and effortlessly as Fred Astaire. These trophies are heavy, visually and physically, and they exult in the gratuitous. This, it seems, is the way it is supposed to be, no questions asked. “Celebrate athleticism with pomp; use drumrolls to congratulate the lyrical lightness of the flute.” The contradiction has become the norm.

You may say quite rightly that I am writing with the perspective of a groomsman, the guy on the sidelines looking on with a certain envy. I grew up in a house where there were shelves and shelves of trophies—large ones, mostly—almost all for golf. My parents placed my measly prizes for tennis with respect, but the little cups for victories along the lines of “runner-up for member-guest mixed doubles” were modest offerings next to the hideous hole-in-one trophies with the very same golf ball that had landed in the cup straight from the tee now held in place for all of time in an open circle within a large and flowery “1”. Maybe if I were living my fantasy as a young buck being given the gold for winning yet another grand slam title, or even as a winner of a Senior’s prize at Monte Carlo, I would only look at those overstated trophies awarded to the champions as things of total beauty. 

Not so. The trophies given just about everywhere—from Roland Garros and Wimbledon to small tennis clubs in America’s loveliest summer watering holes (those resorts on the coast of Maine with a half dozen red clay courts and a small clubhouse covered in white clapboards from which the paint is slightly peeling at the end of August before the winter refurbishment that will counteract the effect of the salty sea spray brought in by ocean winds) and rustic camps deep in pine forests where a single court in old macadam is the scene of the annual competitions—are always, as if the gloppiness is requisite, over the top. 

Why must this be? A well-executed serve is, after all, the essence of form refined for maximum function. The toss is launched to rise elegantly to a pinpointed target, at which point it should hover like a hummingbird for a micro-moment while the sweet spot of the racket strings makes contact to send it on the perfect trajectory to the spot in the opponent’s service box where, ideally, it can escape or at least render inutile the response. This is perfect engineering, imbued with total leanness and grace. In art, it would be Brancusi’s Bird in Space, not a Rococo altarpiece with filigree and cherubs making it impossible to rest the eye. So why are the trophies awarded for the meticulousness and Zen-like resolve requisite to winning a tennis match those hodgepodges of gold-plated handles and garlands and wreaths that these objects almost always are? Why are they not understated and gracefully proportioned to echo the purity and weightlessness that are the imperatives of good tennis?

 

Until a recent chance event, I never even questioned the idea that the players who fight their way through match after match and win the tournament would be given anything other than one of these garish extravaganzas. 

Of course, the incongruity of their being awarded is notable to all. The players stand there, soaked in sweat, their well-trained bodies pushed to a point beyond human exhaustion, while the Duke and Duchess of Fancy-on-Costly stand there in impeccable, old-fashioned clothes. They wear the garb of the rich who would not dream of being fashionable; those blazers and flowered dresses that have not changed in half a century suggest the same effortless stature invoked in their ancestral mansions. These “nobles” embody pageantry that seems beyond challenge: the exact opposite of what it took for the winners to be victorious at match after match and finally take the finals.

Yet the presentation of those aesthetically hideous trophies, many resembling everything from Renaissance banqueting objects to ancient sarcophagi, by people who look as if they would use them to serve their turtle soup the rest of the year, seems to be an essential part of the pageantry of tennis—even if all the fluff and unnecessary expenditure of energy is the antithesis of what makes a great tennis player great.

Why is something so dependent on inner strength rewarded with something that coasts solely on the appeal of its surface? It is hard to know, but the incongruity is universal. The bigger the piece of hardware, the better. The more hideous, the more glorious. So it has always seemed.

This was until this past January. I was walking up London’s St. James’s Street, in the heart of Mayfair. The windy winter rain was perpetually changing its mind about whether to push me from behind or try to halt me by pushing full force into my face. Turning to the side for shelter, I was caught by a window of objects by Peter Carl Fabergé. 

The Russian court designer has always been one of my favorite craftspeople of all time. The capacity to be luxuriant and supremely tasteful at the time, and to execute small bejeweled objects, not just with phenomenal technical skill but also with unprecedented imagination, is rare. Fabergé’s skills and fantasies were such that he not only served the goals of the Romanovs and their court, but he made it its irresistible style. The last czars and czarinas lived in a world of material plenitude that was above all tasteful, exquisite, and never vulgar. The serving trays and Easter eggs and sword handles that Fabergé and his workshop provided for their daily existence embody genuine skill and visual flare. They are not ostentatious. Rather, they are often breathtakingly beautiful.

I studied the enameled picture frames with their tiny bows composed of emeralds and diamonds and the delicate small boxes with their glistening lustrous surfaces that Fabergé’s shop made with unique aplomb. Then I suddenly stopped short. Was it possible? A Fabergé tennis trophy?

 

The fantasy object was more than one could dare hope for. It is, essentially, a cut-glass vase, rhomboid in form: lithe, visually light, impeccable in execution, and exceedingly graceful. Its simple silver mount bears the inscription that explains its purpose: ‘A Prize,’ ‘Mixed Doubles,’ ‘St Petersburg, 1912.’

What more can we know? Its excellent purveyors make no claim of additional information: the precise match for which this was the trophy, who the woman and man were who took it home, whether it was for a day-long event at a small private club or family court, or for an international tournament. But they provide some vital facts:

An All Russian Lawn Tennis Championship as well as the first Russian Open Championship, hosting players from Europe and the USA took place in St Petersburg in 1912. The same year also saw Russia’s first participation in tennis at the Olympics, which were held in Stockholm. 

And then they invite a wonderful fantasy: It may also be possible that the trophy was awarded as part of a private tournament, played among visitors at a palace or house.

And so my mind took off. What was the occasion of this extraordinary tennis trophy being awarded?

 

It was a glorious idea. A private tournament, nice friends only, on that grass court with a garden alongside it. What would people drink while watching? Tea from delicate porcelain cups? Champagne in Fabergé silver goblets? More importantly, how would they play? What would they wear? What would their banter be?

Photographs taken from those halcyon days in St. Petersburg before anyone even had a slight whiff of the revolution that would end it all show that, for mixed doubles, the women tended to wear frilly, white, long-sleeved blouses. Their black skirts were so long that you could not see their footwear. The men were all in white long-sleeved shirts buttoned high, and baggy white trousers, with cummerbund-like sashes across their middles. 

Dressed as such, they took their sport seriously. In her diaries from June of 1913, Grand Duchess Olga, the oldest daughter of Czar Nicholas II and his wife Alexandra, writes, “In the afternoon [we] rode in motors to play tennis. I played four sets with Zelenetzky against Anya and Kira N., also played one set with him against Kira and Arseniev, [we] won all five sets.” Olga was plenty competitive for a member of a family not known for its drive to accomplish a lot. On another summer afternoon, she and Aunt Olga played “against A and Baron von Noalde and lost miserably.” 

But the good old Baron was nothing but fun, it seems. After the match, he taught Olga to walk on stilts and had her doing giant steps in no time. Meanwhile, the tennis court was not empty: “Papa played with Anya, Khvoskinsky, and Rodionov.” Papa, of course, was the Czar. But he had none of the autocratic grandeur the name implies. Peter in his photos is lean, smiling with his white moustache, always affable-looking: John Newcombe as the doyen of The Winter Palace. Olga seems to have had nothing but good times with her devoted dad. “Played tennis with Papa against Pavl. Al. and Poups (Potovsky). We won one set, they won two. Everyone went swimming, but we returned to the yacht.”

Life was not easy for the royal family, however. In 1904, Czarina Alexandra had given birth to Alexei Nikolaevitch, who, as the first son following the births of his four older sisters, was to inherit the throne. Almost from the start, he was discovered to suffer from haemophilia. The genetic disease inherited from the side of the czarina not only made him always at risk, but also often put him in poor health. Maybe the czar and Poups Potovsky—have you ever heard a better name?—had fun rallying across the net and going for a dip in the Baltic before relaxing on the yacht, but even before they knew that the Bolsheviks would end their idyll, they led lives of horrendous personal struggle.

Still, tennis provided the czar and his family some of what it gives to many of us: a reprieve from life’s difficulties. Perhaps the Fabergé was the icing on the cake after a nice day of playful competition among the ever fascinating Romanovs.

 

Yet I have another idea of where the Fabergé could have been given to a couple of happy tennis victors.

In 1907, when he was eight years old, Vladimir Nabokov had started to take tennis lessons in St. Petersburg. His coach was also the coach of the French national champion. 

Maybe this was the court where a Fabergé crystal vase was the trophy: the place where the future writer of Lolita worked on his groundstrokes and acquired the skill to get back in the right position swiftly. 

Better yet, maybe it was the imaginary court at which Nabokov sets his breath-taking La Veneziana:

“In front of the red-hued castle, and luxuriant elms, there was a vividly green grass court. Early that morning the gardener had smoothed it with a stone roller, extirpated a couple of daisies, redrawn the lines on the lawn with liquid chalk, and tightly strung a resilient new net between the posts. From a nearby village the butler had brought a carton within which reposed a dozen balls, each wrapped like a precious fruit in its own sheet of transparent paper.”

Yes! This is where the Fabergé trophy is to be presented. Its luminous crystal will receive and enhance the red of the castle and the green of the trees and the grass. Fabergé made a sort of prism; the yellow of the flowers will also appear in it, like tiny stars. 

Who will receive the trophy? Let it be young Nabokov himself, please. Or else let it be Frank, the hero of the 1920 story that Nabokov set in the grounds of the red castle with its superb tennis lawn.

Consider his style as a player: “Frank, who was serving, tossed the ball high with his left hand, leaned far back as if he were about to fall over, then immediately lunged forward with a broad arching motion, his glossy racket giving a glancing blow to the ball, which shot across the net and bounced like white lightning at Simpson, who gave it a helpless sidewise look.”

Perfect! The Fabergé trophy belongs in the hands of the master of that perfect ace. It has the tautness and stretch with which this fine player leans back. It has the gloss of the racket that strikes across the ball with such zip. Light within the vase also bounces “like white lightning.”

At last. The trophy, and the game for which it is a reward, are the same. Let Fabergé and Nabokov call the shots, and, yet again, tennis shows itself to be the essence of art, and a source of pleasures, with the game and its reward in sync, never before imagined. 

 

Article publié dans COURTS n° 7, printemps 2020.

The State of Play

© Desert Champions

In April last year – on the day when it was announced human vaccine trials were set to begin in Oxford – Roger Federer posed an unprompted question on social media. 

“Just wondering…” Federer, the 20-time Grand Slam champion from Switzerland, wrote to his Twitter following of more than 12 million. “Am I the only one thinking that now is the time for men’s and women’s tennis to be united and come together as one?”

This, clearly, was not Federer thinking aloud over a bowl of cornflakes. Rafael Nadal, his great rival from Spain and fellow elder statesman of the men’s tennis tour, quickly chimed in: “As you know per our discussions, I completely agree that it would be great to get out of this world crisis with the union of men’s and women’s tennis in one single organisation.” 

Unity has long been desired in tennis. But one year on, the sport is as fractured as ever – despite the noble intentions of its two biggest male stars.

Sure, there have been more joint statements from the Association of Tennis Professionals (ATP) and the Women’s Tennis Association (WTA), the governing bodies of the men’s and women’s games, and there has been some progress in strategic moves – the most rational of which being the WTA tour rebranding its tournament categories to duplicate the structure of the ATP’s 1000, 500 and 250 events.

But a handful of tweets and statements have done little to paper over the cracks of the deep-rooted disharmony within tennis, and broken relationships have boiled to the surface like never before. 

Few sports are fractured quite as significantly as tennis. Rather than one overarching body governing the game, there are seven predominant powers: the ATP, the WTA, the four Grand Slam tournaments and the International Tennis Federation. All seven bodies have their own interests and, traditionally, communication between the groups has been – to put it mildly – far from streamlined. 

To take the most obvious recent example, during the coronavirus pandemic – a time, one would hope, where organisers would see the bigger picture and work together – the French Tennis Federation (FFT) changed the dates of the French Open, plonking its event later in the calendar without consultation, forcing other governing bodies to release statements saying they were none the wiser. Hardly the ‘united’ feel Federer was hoping for.

There has, at least, been some attempt to improve communication channels: the formation of the T-7 group, which has been established for the seven stakeholders to explore options for a unified calendar and shared commercial offerings, sponsorships, and TV deals. There have also been times during the pandemic where they proved they can work together. Last May, for example, the governing bodies collectively raised and distributed $6million in relief funds to support lower-level players.

In-fighting between players and tournaments, however, continues to simmer beneath the surface. Last August, Federer and Nadal’s great rival Novak Djokovic stepped down as president of the ATP player council, after co-founding a tearaway player faction: the Professional Tennis Players Association (PTPA). Unhappy with prize money and the structure of ATP governance – which sees tournaments and players hold a 50% share of voting powers – the world No. 1 decided the time had come for a new body to represent the players, although only male players were on the initial invite list.

The group has failed to lure Federer, Nadal, and Andy Murray – all of whom now sit on the ATP player council, pushing for change from within rather than in an external group – and has yet to convince the wider player body to formally threaten strike action. 

Full-blown civil war never feels far away in the men’s game, but there remain serious financial concerns for both tours, triggered largely by the lack of crowds. With ticket sales accounting for around 45-50% of the ATP Tour’s income stream, ATP president Andrea Gaudenzi has openly admitted the organisation has lost around half its revenues. While WTA Tour chiefs have been less transparent about their finances, they are believed to have suffered even greater hits – particularly having been unable to gain access to China, where a large and cash-heavy portion of their calendar is based. 

© Desert Champions

Long before the pandemic, the sport’s future had been of concern for many within the game, with the end of a golden generation boasting Federer, Nadal, Djokovic, Murray, and Serena Williams on the horizon.

With an ageing fan base and more competition in the entertainment industry than ever before, is tennis doing enough to draw young supporters to the game?

“The majors will always be fine,” says Mark Petchey, the well-known commentator who has previously coached Murray and Greece’s Maria Sakkari. “They will always be attractive propositions, they will always be valuable commodities. 

“But the rest of the tour, definitely. Especially when you’re going to see the exodus of some major stars of our game that have globally transcended tennis… we need to get ahead of the curve of what this looks like for the decade coming up. 

“If you have traditionalists always in positions of power in those seven organisations, they’re going to be loath to make a change. I love the sport and I will watch it regardless of the rules, but that person is becoming another decade older and what does that leave behind? That’s our challenge.”

New scoring formats have been suggested as one potential avenue, with best-of-five sets tennis coming under attack in some quarters.

Two-time Wimbledon champion Murray is among those who suspects that tennis’s longest format has had its day.

“When I sat and watched the match – that Nadal-del Potro [Wimbledon 2018 semi-final] match in the commentary booth – it was an amazing match, but it was really long to sit there as a spectator for the first time,” he told the New York Times in 2019. “That evening I had a meeting planned and I missed my dinner. People that are sitting there during the week watching all that, I don’t think you can plan to do that. A lot of people are going to be getting up and leaving the matches and not actually watching the whole thing.” Djokovic is also not convinced best-of-five sets tennis has a place in the modern age, telling Tennis Channel: “This new generation of tennis fans and Millennials, they don’t have a great attention span and they want things to happen very quickly… to attract more people and viewers of a younger audience we have to keep tennis matches dynamic and shorter.”

Innovators have trialled new formats in a bid to speed up matches. The ATP Next Gen Finals has been using a version of the Fast4 scoring system – where sets are first to four games rather than six – while exhibition events such as the Laver Cup, the Ryder-Cup style brainchild of Federer, have swapped out third sets in best-of-three contests for match tiebreaks.

Following the lead of Twenty20 cricket in providing a shorter format to traditional test matches, Tie Break Tens was established in 2015. Largely tagging itself onto the biggest tour events, it has scrapped tennis’s standard 15, 30, 40 scoring system to help new fans follow the sport easier, with the hope of providing a gateway to more traditional formats. 

But are shorter formats solving a problem that doesn’t exist?

“It’s a complete fallacy to say people don’t have time span and focus,” says Petchey. “They absolutely do but they now have the luxury of choice. When they are bored, they can go and watch something else”.

“These are the old chestnuts that tennis loves to throw out. When people say let’s get rid of best-of-five matches, what’s your second consequence? Well, you’ve got very short days at majors, finishing up at 5 o’clock when people are coming home from work and want to pop out and watch these matches or watch from home and you’re basically finished for the day if you go for best-of-three. You’ve got to be careful what you wish for. 

“You can cram a major into fewer days, but you’ll lose a lot of revenue and a lot of support for grassroots tennis and the sport visually. It’s very easy to toss out “these matches are too long” and, to be honest, we’ve got rid of best-of-five on the tour. They are only at majors and majors are completely separate entities. They are social events. They are having exponential growth because people love going to them regardless because of their history and everything else. 

© Desert Champions

“I don’t even see that as an issue. It is the most insignificant conversation that tennis has and a complete waste of hot air. It’s a non-entity in terms of the growth of the sport.”

Petchey is instead convinced that the pace of play is the true criminal inside the sport’s walls.

“For me personally the one thing that Covid has brought into focus without crowds is how much dead time there is,” he says. “Why can’t we get rid of sit-downs and keep the ball in play a lot longer? If you are talking about speeding the game up, that is the number one way to go.”

Petchey thinks warm-ups and changeovers should be scrapped and wants a set time between matches to be implemented. He is frustrated that an innovation designed to speed up the game, the shot clock, is actually slowing it down.

“Get rid of changeovers, get rid of warm-ups and go to a staggered time before points,” he continues. “Why in men’s tennis when 70% of the points are 0-4 shots do you get 25 seconds’ rest? It does not make sense. 

“One thing we know the shot clock has done is slow the game down because people are looking at the clock, thinking I’ve got another 10 seconds, I’ll take it.”

Petchey proposes a system where points 0-4 shots in length would allow players only 10 seconds after, with that increasing to 15 or 20 seconds for 5-8 shots and 25 or 30 for the 9+ shot category.

“You do not want to get rid of longer points in tennis,” he stresses. “Like longer matches, they’re the things people remember. No one remembers the fast food, 0-4. What they remember is this incredible rally where Rafa is hitting an incredible running forehand after having been outmanoeuvred. 

“If you ruin that you’re basically ruining our sport forever. I would never advocate speeding it up for the extent that players cannot play 30-shot rallies. But you have to try and figure out a way to make the ball be in play more often.

“You’re asking me how we get younger people more involved, they’re the people who don’t watch tennis. If you give them something quicker and more punchy, you’ve got more chance of grabbing their attention. Those are the things tennis needs to look at.”

In this regard, there are perhaps lessons that can be learnt from shorter formats. For example, the televised Tie Break Tens tournaments – which boast two-and-a-half hours of continuous play – has clearly appealed to a younger audience with DJs on court, playful fan engagement and non-stop action. Tennis Australia and Indian Wells have not only staged Tie Break Tens events to sold out stadiums as curtain raisers for their tournaments but have then seen an uplift in ticket sales beyond it. 

In partnership with Tennis SA, the first TB10 on the African continent will be staged in Cape Town on 19th December 2021, bringing short format tennis to South African tennis fans. 

Having already attracted some of the sport’s biggest stars – including Murray, Djokovic, Nadal, the Williams sisters, and Maria Sharapova – could it even perhaps have the additional benefit of persuading some of them to play on beyond a time when their bodies can handle the rigours of regular tour tennis?

Whether that’s wishful thinking or not, the coming years beyond the ‘Big Four’ and Serena Williams – where the sport transitions into life after its greatest stars of the modern age – are set to be a serious challenge. One that may well require everyone involved pulling together.

Tennis – with its lack of unity and penchant for in-fighting – is perhaps distracted from the task at hand. Despite Roger and Rafa’s efforts, it will take more than a few tweets to resolve. 

 

Story published in Courts no. 1, summer 2021.

The Rules of Tennis: How We Count on Them!

The variables of everyday life make almost every human action subject to interpretation or reconsideration. Was he being friendly in the way he said hello? Was there an edge to his voice? Should I have put in a dash more salt? Will she? Did he? Should we? 

How marvelous when facts are facts. So it is with tennis. If the ball hits the line, even grazes an edge of it, the shot is in. The scoring is the same in every language—“fifteen/thirty,” “quinze/trente,” “fünfzehn/dreißig”—and even if most of us have no idea where on earth the number system came from (oh, of course there are theories, but they, too, fluctuate,) we depend on them utterly as inviolable givens. The measurements of the court are the same everywhere in the world, and so is the regulation height of the net. Total dependability is so rare in life; thank goodness for the regulating system of the game that for many of us is a source of constancy and balance in life.

But the nuances of tennis are something else. The time taken between when Nadal is expected to serve and when he actually does so can drive not only his opponents, but the umpires, nuts. (Yes, now there is a regulation.) How loud does a grunt have to be before it rates as a downright interference to the play of the person on the other side of the net? When is a bird landing on the court reason for calling a “let?” And then there are the subtleties of tennis etiquette and mannerisms. Here we enter another world.

As a teenager, I occasionally played with a lovely debutante who interested me in ways that made the idea of suggesting tennis to her simply a device to get to know her better off the court. But, first, the term “debutante” requires explanation in a publication that is largely francophone, and this young woman’s classification as such has to do with her tennis manners. In the sense I have used it here, “debutante” by no means “beginner,” as it does in French. It refers very specifically to young ladies of significant financial means who are “presented to society” at formal events where they dance first with their fathers—or stand-ins for their fathers if, for example, Declan, Bobo’s first husband and therefore Poohpooh’s real father, fled to the Bahamas when Poohpooh was little, and now Bobo is married to nice responsible Roger, a stalwart stepfather much better suited to “presenting” Poohpooh—and then get whirled around the dance floor by a sequence of suitable young men. These events at which debutantes become part of grown-up society are called “coming out parties,” a term that precedes by about a century the use of “coming out” as a reference to people revealing their previously hidden sexuality. Debutantes were expected to behave both correctly and incorrectly—one hoped there was a tendency toward misbehavior just waiting to be ignited underneath their impeccable social customs—and were the stuff of F. Scott Fitzgerald’s short stories.

The debutante with whom I played tennis is hard to imagine in anything other than a perfect little black dress and string of pearls, but on the tennis court she was in flawless white. And she had a habit that made a powerful impression on me. If, on my first serve, I served a “let”—which is to say that the ball ended up in the correct service box but had audibly grazed the top of the net en route—she would say “Take two, please.” She said it sweetly, graciously, as if she were offering me a canape on a silver platter. And if the “let” occurred on my second serve, she would say “Take one, please.” It was invariable. I have never known of anyone else to say “please” with the routine “Take another,” but this young woman invariably did so, and it was clearly so ingrained in her that it would have been impossible for her not to use this extraordinary form of politeness.

Forty years later, I was seated next to the debutante’s mother—Alexander Calder did a wire sculpture to which he gave that name, and it is sheer perfection of a particular American social type—at dinner at one of those American country clubs where the red clay tennis courts are rolled to perfection and the food as tasteless and bland and predictable as the clay before players’ footprints have put a bit of variety into it. By the time of this dinner alongside her mother, the debutante had led a life that was less than her mother had hoped for, the influence of gin a major factor. Her mother, a force, was truly a “doer” in the world, and openly disapproving of her daughter as the young heiress who had not realized her potential. 

I decided, in defense of my tennis-inamorata of forty years previously, to tell “Mummy”—this is what debutantes called their mothers, no matter what their ages are—how I still play a lot of tennis and, every single time someone hits a let, I remember that “please” with which her daughter always followed “Take two” or “Take one.” To this day, I take pleasure in the memory of this particular niceness.

The mother loved the story. It was as if she, as a parent, had done something right—to have brought up a child with such a lovely and unusual habit.

But what one says and does on the tennis court does not always land as intended. I have no idea when in my life I got into tennis games that began where the first time that each player served, whether or not he or she had done some practice serves, one began with “first one in.” This means that one could hit any number of faults, but, starting with the first attempted serve after you have agreed to begin, the game only actually begins with the first serve that is good. Each player—whether it is singles or doubles—has this chance to play with “first one in.” 

I recently started to play tennis regularly with my son-in-law, one of my favorite people on the earth. This was one of the fortuitous by-products of the lockdown caused by the Covid-19 pandemic and reflects circumstances so rare and lucky that I am embarrassed to admit them. I live in Ireland and have a tennis court that is located between my wife’s and my house and a second house where our children and grandchildren stay. So in a time period when few people had access to tennis, Robbie—married to my daughter Charlotte—and I could play. We wore surgical gloves because of concerns about germs being passed on the surfaces of tennis balls, and were never closer to one another than two meters, except possibly when, at the end of our matches, with our arms fully extended, we clapped our rackets in lieu of shaking hands.

Robbie is affable and energetic, and has a brilliant sense of humor, and tennis became our chance to be together in a wonderful way. We don’t chat when playing—we put all family concerns to the side—and our only conversation is one of us complimenting the other on a shot; each of us is genuinely happy for the other on the occasion of an ace or a well-placed powerful groundstroke.

For whatever reason, we developed, from the start, the habit of his being the first to serve. The third or fourth time that we were playing, he asked me, in no uncertain terms, not to offer “first one in.” He is someone who is rarely annoyed, but when he is, you know it, and I could see that the offering bothered him.

Afterwards, I asked him about it, he said that he considered “first one in” patronizing. I explained to him that it was an old habit of mine—that it had nothing to do with my wanting to give him a chance I would not also have—and was normally reciprocal. I realize in retrospect that in fact he never did say “first one in” to me when I followed him for the first time as server, but I had not noticed that. I assured him that it was not an insult to his serving capability, or an attempt to give him some advantage I did not have, and that it was a very old habit for me. 

I wrote a number of friends who play tennis to ask their views on “first one in.” I prefaced the letter by saying I realized that it was a time period when few of us could be on the court, given the lockdowns of the pandemic, but lots of us had more time than usual to read and answer email. The answers were all over the map. A woman in her eighties who has played for most of her life said that “first one in” was de rigueur in her regular Tuesday morning women’s doubles game, but of course absolutely out of question in tournaments. It became clear to me that no one outside of America had even heard of the habit. Not only do my son-in-law and I play in Ireland, but he is Irish, proficient at rugby and soccer and countless other sports, and “first one in” has no equivalent, or history, in any of the sports he plays, and must have seemed like the disgraceful notion of a “Mulligan” in golf. 

The replies to my inquiries about “first one in” were rich. One was from Willem van Roij, a great friend who lives in the Netherlands. He wrote, 

It is interesting that you start your email with the assumption that few people are spending a lot of time on the tennis court. You should know that I have been thinking about it last week, because in the Netherlands all sports clubs, gyms, health centers etc. are closed because of Covid-19. And it makes perfect sense that you shouldn’t go to the gym with other people, or play team sports where you have to be close to one another or even have physical contact. But why are all public tennis courts closed? I would say that you can easily play tennis and keep your 1.5m distance from each other.

Anyway, “first one in.” The first time I heard of this etiquette was when I played tennis on the most wonderful and amazing tennis court I have ever played on. It was a summer one shall not easily forget, temperature records were broken, and I actually noticed my boss—who usually dresses neat and formal—driving around bare chested in his red Fiat 500. It was June 2018, West-Cork.

I have played tennis since I was young, probably age five or six. It all started on the second most wonderful court, the one in the garden of my family’s summer house in rural Belgian Ardennes. This one didn’t have the same view as the one in Glandore, but still, it was amazing, surrounded by woods and, depending on the season and whether trees had just been cut down, we did have a view on the adjacent village and its church tower on the other side of the valley. When Clim and I got married, I didn’t want a present from my grandmother (who was luckily still alive by then,) but I begged her for a painting that was in the summer house and that represented the church of the adjacent village. The painting is not great, it is by a minor local artist, but every time I look at it, I am back in the summer house garden, playing tennis with my father.

So playing tennis started with my father, first on our own court, later also on the public courts of the village we lived in. Sunday morning, 9:00 am sharp, I can picture my father in a white Adidas polo shirt, with a Miro-like sign of Stefan Edberg on it (it was the late 1980s,) my God, I envied him for that shirt. Of course, we started warming up, followed by some baseline rallies and then practicing serves. Then the game began, and I just cannot remember something like “first one in.” Neither when I later started playing tennis with kids of my own age. It was always after practicing serves that we simply started with the usual two serves.

And so when in 2018 you proposed “first one in,” I thought it was a gentleman’s proposal by an experienced player to a man who clearly—and visibly—had not played tennis for years, and from whom you obviously could win. And thinking about it, there is nothing wrong with a nice gesture in a friendly game, if both agree on this beforehand. To take the usual two serves, miss them both and then request for a “first one in” is poor form. In that case, the pardoning power lies with the playing partner, who might offer a re-do. But there is also something to say for not offering “first one in,” since it is some kind of practice, and when you start the game and the first serve, you are playing, not practicing: every serve counts.

Since I am the person he refers to as his “boss,” and the tennis court is the one on which I play with Robbie, the letter had particular charm. It took the circumstances of the lockdown to evoke these superb memories from Willem; a minor question had resulted in glorious writing.

It may have been a symptom of the lockdown that so many people answered me in depth. Another great reply came from Ray Nolan, a local friend in Ireland who made his reputation as a rugby player and is now a tech entrepreneur. He trounces me when we play tennis, but we have great games—at least from my point of view. He answered,

Hey Nick,

It’s great to hear from you—and I trust, given you’re at least thinking about tennis, that all is well in your world.

I’d never heard of the concept of “first one in” until you graciously invited me to play in Glandore. I liked it a lot. 

It saves time. Many of us do not have the luxury of boundless time on our own courts, but instead need to return to the drudgery of our normal lives—also known as “time not on the court.” And so, the need for multiple practice serves taken away, we get more time competing and less time faffing around. In doubles it’s of course much worse. I’ve played numerous league matches lately where players routinely take perhaps eight serves from each side in the warm up. We are none of us playing in Roland Garros, or at a standard anywhere near that, so this is surely overkill.

It’s also a signal of friendly rivalry. Calling “first one in” acknowledges, that whilst we will definitely compete, this match will be about smiles not grimaces. It’s “welcome to our game” versus “ready set go!”.

For league matches, or trophy games, I believe a modest two practice serves to each of ad and deuce courts, followed by formal start is appropriate. But “first one in”… that’s perfect for a summer’s day overlooking the bay, hitting more losers than winners, but enjoying it for all of that.

There is a far worse crime in tennis however—one that requires a greater penalty than just modest disdain, and I will ask this of you soon. I’ll let this crime settle first.

Naturally I egged Ray on. What was he referring to? Ray is a sportsman par excellence, a big thinker, a robust character with a keen sense of fun and a kindness that he exudes from every pore. 

His essay on “the crime,” the sign-off of this narrative, is another of the many questions that leaves us tennis aficionados something to ponder:

“Foot Fault”—I yell it from the far end of the court. I double-check—did I say it out loud? I know what’s coming.

“Whad’ya mean?” My opponent beckons, clearly irritated. 

And so its begins, another tennis match where one protagonist will be righteous, and one will be irritated by what he sees as pedantry by his opponent.

It’s a class 4 club game—nothing important. There are no umpires, that’s for sure. And if there were one, an umpire at this level would never call a foot fault, even if it were the final of the club champs.

Foot-faulting, the process whereby the servers’ foot touches or crosses the baseline before he or she connects with the ball, is against the rules of tennis. To me, it is no less important as calling a ball in or out. And as with line-calls, there is no grey area. 

Bad line callers—we all know folks in our own clubs—are muttered about—“There’s Pete”, as he passes out of earshot, “an horrendous line caller—let me tell you about the near-fisticuffs we got into in an away match at Fitzwilliam.” There is no ambiguity here—a bad line caller is a cheat, end of! And a cheat in sport is someone not to be trusted.

And yet some sixty percent of club players I observe routinely foot fault. Those same whisperers who call out Pete then foot fault every single time they serve the ball. They are not unaware of the issue—they do it knowingly. They cheat!

Foot faulting is no less serious than making a deliberately erroneous line-call, grounding your golf club in the bunker, or delivering a sly rabbit punch at the bottom of a ruck. 

Like all cheats in sport, they do so to gain an advantage. If I can get to the net quicker by starting six inches nearer that means I make a volley that I might not have made. If I serve forward of the line, I’m creating the same vertical angle of attack that someone 6’ 4” would achieve. If I serve wide from here, I’m achieving a lateral angle that would not be possible if I’d been behind the line. If I can cause my opponent to be irritated and concentrate on the position of my feet rather than the ball I’m about to hit…

In getting to fifty-something, I’ve played a few sports over the years. Rugby, where I’d eat a sly rabbit punch at the bottom of a ruck; golf, where self-regulation is the order of the day, yet we all know about “Donald who often forgets the third shot out of the bunker.” But tennis, largely played in my neck of the woods by middle aged folks in pure white—Nobody cheats at tennis?!

Yet, in no other sport is a rule so flagrantly ignored than foot-faulting in tennis.

It goes right to the top too. Serena Williams, a multiple grand slam winner, and possibly the greatest female player of all time, routinely foot faults. I know. I’ve had the good fortune to get a seat at Wimbledon right on the baseline. Only a brave line judge would call her on it. One did a few years ago and was hit with a level of threatening verbal abuse that no individual should ever have to endure.

Once, in trying to rebalance a game where my opponent routinely found himself two or three feet nearer the net, I challenged. “I can’t call you for foot faults—right?” “No” “Okay then.” When next it came time for me to serve, I set up behind the baseline, then took a meter-long step inside the court before tossing the ball to serve. “You can’t do that!” came the indignant roar. You can guess the rest I’m sure.

Alternatively, I’ve considered making a deliberately bad line call, then admitting to it, but stating that “if the line does not apply to your feet, then it surely cannot apply to the ball.” 

Don’t get me wrong. People occasionally foot fault in error. That’s sport. Contenders striving to get the max advantage within the rules is the very essence of sport. As with the offside line in rugby or soccer—getting close to the margins is to be praised. But those who’ve built a foot-fault into their service action are no less culpable than the All Blacks, who routinely sneak a yard or two behind the ref’s back, or the soccer striker who plainly dives for a penalty.

The golf world was apoplectic recently when Patrick Reed was seen on TV to have grounded his club in the bunker during an important competition. Some said he was “building sandcastles.”

So fellow tennis players—a question—“Are you building sand castles?” 

 

Article publié dans COURTS n° 8, été 2020.

15 LOL


Pub, humour et tennis

En général, ce sont plutôt les performances techniques et athlétiques, les exploits historiques ou stylistiques qui sont mis en avant dans la publicité. Mais puisque, en ce moment, nous avons bien besoin de nous détendre, nous vous avons sélectionné une trentaine de publicités et d’opérations marketing du monde entier qui jouent sur la corde du rire, de l’humour et de la dérision.

Biscuits Mikado 

« By John McEnroe »

Rasoirs Wilkinson

La marque a offert des billets à un volontaire lors de Roland-Garros pour arborer la coupe « balle de tennis ». 

Sveriges Tennisveteraner Association

« Tennis vétéran ? »

Pneus Bridgestone

« Un mauvais équipement peut affecter vos performances »

Appareil photo Kodak zoom x12

« Zoomez au plus près de l’action »

Stella Artois Championships 

Quand un Jimmy Connors provocateur pique le titre de Big Mac… et sa phrase signature par la même occasion.

Stella Artois Championships 

« Un volontaire pour voler la couronne de John McEnroe au Queens ? »

Stella Artois Championships 

« Boris (Boom Boom Becker) est de retour » pour flinguer ses adversaires.

Stella Artois Championships 

« Becker vs Cash. Quelques sièges encore disponibles. » (Ceux qui n’ont pas été fracassés par les balles perdues…)

Lessive Omo Micro

Langage peu académique pour joueur de tennis totalement atypique.

Fauteuils Cinna 

« Le beau aura toujours raison » Autant être bien installé, car les matchs sur terre battue peuvent parfois être longs.

Chaîne de télévision argentine TYC Sports 

« Sport et mental »

Engrais fertilisant Compo 

« Extrêmement efficace »

Antwerp Open 2016

Un placement de publicité un peu particulier qui a permis à l’annonce de mieux se faire remarquer.

Dunlop 

Affiche culottée placardée au dos des bus qui mènent au tournoi de Roland-Garros durant la quinzaine du French 1987.

Kids Tennis Summer Camp 

Des vacances qui marquent les enfants.

Eurostar 

Aller-retour Paris-Londres en une journée pendant Wimbledon.

Kappa 

« Des polos professionnels, adaptés aux débutants »

Dentifrice Aquafresh 

Pour lutter contre la mauvaise haleine !

Kit-Kat 

« 70-68 Faites une pause, prenez un Kit-Kat » Une annonce publiée à la suite du célèbre match Mahut-Isner.

Tennis School Chili

Des cours pour débutants (qui ne sont toutefois pas dispensés dans le célèbre club parisien du « Tir aux pigeons »).

Sahribinden 

(Site de revente en ligne) « Revendez ce dont vous n’avez plus besoin pour vous racheter quelque chose de plus utile ! »

Eurosport 

« Les tournois du circuit WTA en direct » Légèrement sexiste ?

Festival international des écoles de théâtre 

« Soyez prêts pour les spotlights »

PMU Quinté+

« Pariez courses, gagnez tennis »

Monoprix 

(Paru pendant Roland-Garros) « Tout est dans le coup de roquette »

Eurosport 

« Tout le sport, sans interruptions »

Derby 

« Habituez-vous à l’inhabituel »

Crème solaire Coppertone Sport 

« Protégez-vous »

Somnifères Fito Sonn 

« Vous ne pouvez pas éliminer vos problèmes, mais vous pourrez dormir avec eux »

Multivision 

« Wimbledon en exclusivité sur le cable »

Philiboul 

« L’agence (de pub) extravagante qui ne perd pas la boule »

Wilson Hammer

« Clouez votre adversaire »

Dietorelle-Ice

« Une fraîcheur inattendue »

Nike 

« Rebel with a cause » Détournement du titre Rebel Without a Cause, le fameux film mettant en scène un autre rebelle célèbre : James Dean.

Article publié dans COURTS n° 11, printemps 2021.

Tennis and Beyond, 

as Seen by Brighton Artist Anna Carlson

© Anna Carlson

Anna Carlson is a multidisciplinary Brighton artist whose exploration in work and life is boundless, as she dabbles with the traditional and breathes new life into it. Art grounds her, and provides her with a release, with an oasis of calm amidst the chaos of modern life. She travels, she absorbs, and she then generates her own ideas. Light and inspiration can be found in the most unlikely of places. The pandemic has provided us all with challenging times and how it has shaped our current lives is no small thing. Anna is plotting her return to a more active sense of individual creation, post-pandemic restrictions, despite having been busy throughout the past year or so as she took the time to look at her surroundings and explore things in a more communal sense. 

Anna is cheerful and animated, just like the spring day on which our paths meet in the middle. Her artworks possess the essence of this, wonderfully capturing her lively character. The energy of her ideas, how she discusses them, and where she intends on taking them fill the screen, permeating the entire conversation. She is influenced by several key figures, though she tells me that David Hockney has played an ongoing role as “a thread through her artistic years”. She mentions Laurent Perbos and in particular his tennis court that went down the stairs, revealing a whole world of possibility for Carlson. Hockney had caught her eye as an eighteen-year-old at art college with his works set in LA and as she says, the “clean lines, architecture, glamour and people, capturing both the sexy and the mundane” had a huge impact on her and what was to come. Another artist, Richard Graville, makes clean, precise art with representations of the natural world. She also mentions Rachel Whiteread, Bridget Riley, and Bertrand Fournier. These inventive figures all possess keys that unlock Anna’s own blend of familiar and yet distinctive art. As she herself states, she “likes finding a language out in the world”. With her college background in art and design, Anna has had a profound experience of self-discovery, and educating herself in the creative realms of sculpture, architecture, and painting, she is something of a shapeshifting chameleon. 

Pre-art college, she says that “Like any human, I spent my childhood drawing. Thinking back on it I was definitely drawn to the soothing nature of constraints, form, clean lines, and a limited colour palette when I was little; I drew and coloured in a lot on graph paper. Making patterns out of rules, exploring colours that worked together. My favourite colour combo when I was little was red, bright blue and yellow with black and white – primary colours essentially – and I can see these colours coming out in the work I do now”. 

Over the years, as Anna says, she has “gravitated towards order, lines, shapes and colours and the interactions between them, the real precision in art”. She goes on to refer to her chaotic childhood in which she was over-stimulated and how the response to that has been to find something to soothe, an opposite to the travelling, the city, and the outside life. It has taught her to be precise and ordered when she makes art. It is for both herself and those attracted by her work that reintroduces, reinvents, and even repurposes familiar shapes and objects. 

© Anna Carlson

That is where tennis comes in and the irresistibly precise and easily recognisable structure of a court and how it transports us to times and places in our own lives, to relive all manner of past moments. Anna sees a lot of parallels between art and sport. She says there are “misconceptions about art and artists much like sport”, then breaking down her understanding of what makes them both, stating percentages of “5% talent, 95% work and practice”. Since exploring her own concept COURT, she has seen the parallel between art and sports in relation to taking them up, the practice, psychology and how to get better, as well as how art can amplify the reach of sport. It can bring attention to sport, to any activity, it can be the “nice smell coming from the kitchen” that draws people in, further adding that we live in a “very visual world” and art can add “fairy dust” or “colour” to proceedings. 

The precision of the dimensions of the tennis court and other sporting courts and pitches appeals greatly to her. Carlson installs her own courts in settings that are anything but ordered, finding all kinds of different backdrops inviting, viewing the juxtaposition to be a spectacular source of inspiration for her creativity. When I ask what inspired the COURT project, Anna tells me that three years ago she saw a photo from somebody’s holiday with all these colours on the floor of a gym. She then did some research around sports courts and the language and discovered a universal configuration of tennis (and basketball) courts. She realised it was a collective language. This tiny flame inspired by a mere photo grew into a raging inferno of a project, thus demonstrating how art often came from almost nowhere. 

“When I first started exploring courts, I was travelling a lot with work, and I was struck with how ubiquitous they are as a form in city and countryside landscapes wherever you were in the world” Carlson states, before continuing, “I also loved the different contexts you might find them in; there’s a basketball court on the coast by me in Sussex that is at the base of the white cliffs, that is always covered in chalk; there’s a football field of my local non-league club Whitehawk FC which is in the middle of a sheep field in the Sussex downs; then in Sicily I loved the tennis courts in the centre of Palermo surrounded by cypress trees and buildings that are centuries old. I also love the space that’s given to them – that’s given to play – how indulgent a concept when public spaces and cities are filling every square mile up with housing and developments”.

She then considers the enormity of the past and how faithful we have been over the years to the early forms of our sporting shapes, courts we all know, saying “I love the history they hold – the origin stories of the courts and their markings and the rules of the games. How they were iterated in their first few years or decades but have remained largely the same since. And the idea of play within constraints, within rules; that’s a concept that’s helpful in an artistic practice too”.

Anna herself played tennis at school and received private lessons as well and then went fifteen years without playing again, until more recent times, in which she has returned to the sport as what she considers a total beginner. She says that she cannot play, but she loves hitting the ball and watching the sport. She even loves the sound of tennis, the one sport she states being able to have on in the background listening to as she works, and she finds it a soothing and even fascinating and unique algorithm – a special sound almost akin to music production with its multiple layers of sound. She goes on to say that the feeling she gets when watching tennis is “weird nostalgia for something I am not involved in”. Looking back her memories of tennis centre around viewing Roland-Garros and Wimbledon on the television. Anna says that Wimbledon itself is “quintessentially British” and reminds her of “strawberries, the middle of the summer, and British culture along with the Glastonbury festival” adding that it has a sweet and sentimental tinge to it. 

© Anna Carlson

When asked which names of the sport stood out, she immediately says, “Serena and Venus” and “the Nadal-Federer rivalry – the tidy Swiss and the sweaty Spaniard – the difference between them, the yin and yang” of the pair. She also says it will be interesting to watch the future career of Coco Gauff unfold. 

In addition to her COURT project, she has birthed a second tennis-related concept called ‘Second Serve’, tennis clearly having left a mark on her consciousness that is now seeing the fruits of her creative sparring. She explains this more recent idea in further detail – “Second Serve was an idea I had when I started to notice all the tennis rackets in charity shops and boot fairs that I couldn’t imagine there is much of a market for, given that people can buy cheap new ones online. I also realised they were aluminium and wondered if they could be repurposed in any way. So, I approached a local metal forge and explored casting one of my bent court sculptures out of some melted down old tennis rackets. The first prototype was ‘Second Serve’ – which I sacrificed one of my acrylic courts to make the mould for – it had broken in places which meant I had about 100 hours of metal filing to do to fix some spills, but largely it worked! My mission now is to explore better forms for making casting moulds that can give all these old aluminium tennis rackets a new lease of life!” She continues, “I really want to explore sustainability of materials – reusing old nets and rackets and even sportswear. There are some amazing materials that become obsolete in their first life that could have an amazing second iteration. My Second Serve project is a start of this – exploring new forms for melted down old aluminium tennis rackets”. 

Engineering new concepts and flamboyant art out of existing shapes and known sporting courts would seem a lofty challenge, and yet Carlson adds a dimension to our existing perspective of a tennis court and where one might traditionally see them. “I love playing with shapes, colours and rules in my work, in my drawings. I also love with courts in particular that they can evoke so many emotions, memories, and associations when people see the markings; particularly when they are highlighted or out of context. At my solo show ‘COURT’, so many people at the opening told me their stories, their childhood memories that were evoked by being in the space. As well as my paintings and works on paper being hung, I had painted the space with a basketball court and had sounds of tennis matches and basketball games playing low level in the room”. She then returns to the sonic aspect of tennis by saying “The sound of sport is especially evocative for me; the sound of tennis matches particularly. Memories of summers at home and Wimbledon on the TV in the background. The layers of the sound of a match so artfully weaved together by sound engineers; the ball hitting the racket, the swoosh of the racket through the air, the gentle ebbs and flows of the crowd’s reactions, the distant grunts from the players.”

Situating her courts in remote and even grotty urban settings is a dazzling feat for a young woman constantly evolving, challenging herself as well as others, and her surroundings. Regarding limitations, she says “I love to think big – let my mind dream of huge installations I would do in a major city if I could – but I find in the making of work it helps me to have a limited palette of colours, rules and materials to work with. I can be creative then; finding all of the combinations I can create within those limitations.” By slipping the familiar into unexpected territory and challenging pre-existing notions and ideals of what our sports should be, Carlson even opens the door to new fans of both art and sports.

© Anna Carlson

When we discuss the unavoidable pandemic, she states that “It definitely shifted my mode of working. I went from my solo practice and mission of exploring one thing to looking more around me, to how I could share artistic practice and play that I get so much comfort from with my friends and loved ones. I started an art club with friends and their kids, sharing weekly challenges and posting everyone’s art on an Instagram ‘gallery’ in a weekly art show”. She continues “I also started working with a local artist network, as part of a desire to connect with the community in my own town and to help other artists produce and realise work. Now that things are opening up again and the weather is getting warmer, I’m starting to feel sparks of inspiration again for my own work which is an exciting feeling”. 

The Cambridge native – who grew up in Kent before relocating to Brighton in her mid-twenties – hopes to leave something tangible behind, something that might well leave an indelible mark on the imagination of children and adults alike, all perceptive to art in recognisable forms and susceptible to the desire to play (as well as to explore formidably new terrain via the familiarity of courts and pitches). She wants people to be able to play with, experience, and enjoy her artworks. Carlson says “I’ll never stop (referring to making art in her lifetime). I have a deep desire to create an intervention in a public space. To have the autonomy to inspire joy, curiosity and wonder”. She wants to make something for the sole purpose of people using it to play with, to actively enjoy, explaining, “I’d also love to create an installation in a public space that people can play and interact with. Exploring the necessity of play for our ongoing development as humans and carving out public space for it”. In the future, for example, she hopes to construct a giant tennis court climbing frame, and not necessarily in a gallery as the key idea is that people can use it, play with it, experience its magic. 

The life of an artist is a puzzle, a patchwork of endless different sources of inspiration all contributing towards something new, and Anna Carlson is proof of this. She is an artist with a grandiose vision to say the least. Her creative forays stretch far beyond the realm of tennis, and this quest for escapism for the creator, the art lover, and those connected to the sports in question drives her. She signs off by saying “I’m just making work for the fun of following my curiosity. It is something I need as much as exercise and I genuinely believe an artistic practice of some form can bring joy to anyone’s life. It’s a fundamental part of being a human.” It is this vital sense of invention that is a release, as well as a fun way of expression and sharing an experience that defines Anna’s journey. While her shapes may be familiar, the experience Anna wishes to deliver to people is anything but. If you have not encountered her work before now, the chances are that her works are going to crop up in future spaces and catch you surprisingly, and pleasantly, off guard. If you know of a local setting perfect for one of her courts, it might indeed do to just watch that space…  

 

Story published in Courts no. 1, summer 2021.

Tennis Charisma

© Hall of Fame

Who are the players who knock your socks off? The ones who, the moment they walk onto the court, have you in another world? The tennis stars whose presence makes the game everything to you, transfixing you totally? It is not just skill—not a question of perfectly executed groundstrokes or the fastest serve ever or perfect footwork that always has them where they should be. It is a very particular phenomenon:

© 500 ans de tennis, Gianni Clerici, Hatier, 1976

Their talent seems to have been conferred on them by some divine force. Their charm compels us. Those of us who were never groupies for rock stars and who rarely succumb, are happily transformed.

What makes these players magical has no metrics, no qualifying characteristics. It is what happens inside you when those athletes have their rackets in their hands. “Knock your socks off” is a very particular expression. I recently explained it to one of my wonderful French squash-playing friends. I was quoting a florist in rural Ohio. I had phoned to order a bouquet that would surely bring delight, even amazement, at a party being given for my wife, a professor of writing at a college in the middle of farm country. I could not attend because a lecture commitment on the wrong side of the Atlantic made it impossible, but I wanted her to feel my love at that very moment, to compensate for my absence. And, yes, I wanted to make a public display that would make people say “Wow!”—that would startle them to happy awareness. 

I named a figure that I wanted to spend on “an incredible bouquet.” It would, I was told, comprise of fresh-cut stems from a local farmer who would harvest the most glorious blossoms of that spring morning from the fields where they would just have been blooming. The amount of money I said I would spend was not exceptional by Paris standards for a centerpiece on a banquet table. It was, however, clearly more than this florist had ever been offered except for an entire wedding. 

I could hear the florist’s smile on the other end of the phone. “That’ll knock their socks off!” she exclaimed excitedly. But the term needed a lot of explanation to my Paris pal sitting outside the squash court with me while we took a break between a couple of happily intense sets. He repeated it with French diction “ka-noque your soques awff.” It was worth trying to translate, because it takes us into the realm of impossible delight. It is worth summoning because it applies to tennis players who have an effect on us that is so totally, and pleasantly, irrational that it equates to someone managing to remove your socks without actually pulling them down off of your feet.

The older you get, the nicer it is to remember some of those unequivocal states of rapturous admiration, and the sense that you might grow up to ascend to the heights you are witnessing, that you knew as a kid growing up. Cases of worship for your hero as someone you might grow up to emulate. Later in life, you have players who blow you away, but most of us, when we were discovering the game of tennis, had heroes who were also role models: our fantasies of whom we could make ourselves. They are part of the glory of sports executed not just with skill, but with style.

You will know my age when I say that my friends’ heroes were Mickey Mantle or Ty Cobb. The first is easy to understand. Mantle was not just a superlative first-baseman and center fielder, but was also a brilliant switch hitter (meaning an ambidextrous batter, as it did back then, not a bisexual as it does now.) The New York Yankee triumphed in spite of living with the after-effects of osteomyelitis and then an accident during a game, but he stayed humble and welcomed rookies warmly even as he was considered the top of the top players. But the adulation of Ty Cobb seems perverse. I mean, sure, Cobb’s number of runs batted in and winning plays as an outfielder—and lots of other Major League records that he holds to this day—make him a ballplayer without equal, but to love a player known for cursing, for slugging other players on and off the field, and for temper tantrums is particular. Cobb claimed that the source of ferocity was that he needed to win to impress his father, who was killed by Cobb’s mother with a pistol he gave her. Cobb claimed, “I knew he was watching me.” Yes, Cobb had machismo, and skill, but how my childhood friend could swagger around our elementary school playground imitating that famous “poor sport” and exalting him as a hero makes the adulation of Ty Cobb a clear case of deliberate mischievousness. 

My worship, meanwhile, was the tennis player who was, quite simply, like a Greek god: swift of foot, light in spirit, classically handsome, and personally possessed of perfect standards of behavior. John Newcombe was the player I loved to watch and wanted to be.

© USTA

How many of you know his name today? Well, you know the name James Bond. Bond was the other hero figure who made me a total wannabee, and the two had similar degrees of charisma and magical capability. A “wannabee” is someone who desperately wants to be something or someone, who aspires to the heights embodied by others, and he or she feels the pull intensely.

With James Bond, however, you see it all—not just the ability to vanquish every rival and escape every danger, however close to the edge he is, but also the romantic conquests, the suavity with which he downed those stirred not shaken martinis. With Newcombe, I only saw him playing tennis, but that was all it took: this guy epitomized life lived to the highest degree, unfathomable skill, and charm radiating out of every pore.

I had seen him from afar at Forest Hills, and on the big old television set that was one of those early behemoths with a curved screen and a plumpness and weight that made it the foil to Newcombe’s Greek warrior litheness. But the clincher for me was when I was able to stand courtside when he practiced for an indoor tournament in Hartford, Connecticut. I was older by then, and I knew that there was not a chance of my becoming a serious competitive tennis player, just an ardent enthusiast of the sport I still love. Still, seeing Newcombe put me in the state of little-boy adulation again. Every forehand was a masterpiece, executed as if by an expert stone carver taking his chisel in and out with millimeter-perfect measurements. Every backhand rendered complexity seemingly simple the way that a leap by Rudolph Nureyev did. The serve! Most tall people seem slightly bowed by their height. Not Newcombe. He rose onto his toes and extended his arm to the fullest height, the racquet meeting the skyscraper of a toss at the perfect moment to send the ball soaring to its precise target on the other side of the net, at whiplash speed. His volleys, lobs, and overheads were textbook-perfect. He moved like a gazelle. But that wasn’t the thing. It was the charm, the something extra, the injection of aliveness: the constituents of charisma.

I will never forget Newcombe’s response when his opponent laced a driving forehand to the far back corner of the court so that Newcombe could not even dream of getting to it. First he smiled with sheer admiration. Then he put down his racket so as to have both hands free to applaud. It was more than class. Yes, I make comparisons to John Kennedy; these are people who inject life with grace.

The thing is: no one calls Newcombe the best player ever. Yes, he won Wimbledon, and garnered his share of major trophies, but he’s never Number One on anybody’s list. Maybe that is part of what makes him, still, so real, and so likeable. What he doesn’t have in hardware (my favorite term for sports trophies,) he has always had in charm. Look at that smile! See those crow’s feet alongside his eyes; they have the look of life really lived. The guy sparkles. And it isn’t just that his glistening teeth accented by the dapper mustache belong to a gladiator; it’s that added something, the sheer panache. 

Facts are often surprising about our heroes. Newcombe stands to six feet, and was born in 1944. So now I learn that the guy who is only three years older than I am, and two inches taller, seemed like a nimble giant, the epitome of maturity and savoir-faire to the teenage me worshipping him at courtside. A tennis aficionado who follows the statistics might comment that the only detail where Newcombe was “best in show” was his second serve that was an ace more than the usual number of times, but maybe that detail sums it all up: just when you thought he could not do it, he pulled out the miracle. How James Bond! To be down after missing the first serve, which is like having the villainess standing with her dagger at your throat, and then not just to escape, but to vanquish the force that had you at knifepoint with a clear, clean, can’t-even-touch-it victory! The guy wasn’t just your usual good tennis player; he was a sorcerer. 

Yes, Cyrano de Bergerac! 

And who else has had that something extra, that charisma that is not just excellent, but that is charm and humor on top of pure excellence. Our tastes are personal. For me, the one today is Rafa. Nadal is both a tennis player par excellence and a boxer so nimble and concentrated and strong that he leaves me wowed. Is this because at age four I was taken to watch Rocky Marciano practice in the ring and then he signed my boxing glove? (Oh, where is it? But the things that disappear from our childhood must never get in the way of the memories of sheer thrill, of the feelings that live forever even if the objects don’t.) The way that Rafa is a new person for every single point. That concentration that is like a blazing sun, and the bit of mystery that makes him the El Greco of tennis players—a personal style all his own, an artistic polish with sheer out-of-the-ballpark originality. 

© USTA

I know of a surgeon at the Mayo Clinic who says that Nadal’s court performance is his guiding light in his work in the operating room with the patient before him. What gets to this skillful doctor is not simply the way Nadal gives a hundred percent once the ball is in play. It is also the relaxation between points. To be so totally on, one has to have the capacity to turn it off too. The surgeon learned long ago that if he allows the hectoring administrators or the subalterns with irritating questions to get to him when he needs to unwind rather than get wound up even tighter, he could not master his craft. Nadal is the exemplar: breathe deeply and calmly, with no intrusions, when you do not absolutely have to be present to the nth degree, and you have what you need to summon at the right moment. That, too, is one of the reasons JFK caused the word charisma to enter everyday parlance; he had the light touch, the insouciance, the sheer no-pressure charm that enabled him, when the situation was urgent, to have all the steel and vigor he needed.

And who got to me among the great women players? Sure, when I was first taken to Forest Hills, my father looked as if he would melt into the bleachers when Maria Bueno walked onto the court. Her subtle pink cashmere cardigan over her whites when she sat sweetly after a victory was the coup-de-grace of female beauty. As a kid, Bueno’s allure caused my first alertness to the fire that burned inside my puritanical father, a quietly lusty and sensuous man presenting himself as a sort of upright Yankee businessman. It took a tennis player to make him drop the mask; he managed to keep the façade even when Gina Lollobrigida was on the screen. Maria’s mix of skill and sheer grace was his undoing. 

But for me, and you may find this odd, but passion, and the pull of charisma, know no logic, the first to get to me was Virginia Wade. This may strike many of you as an odd personal taste. Sure, she, like Newcombe—they are almost exactly the same age—has won an impressive number of Grand Slam titles, including Wimbledon during the year of the Queen’s Silver Jubilee, which was also the hundredth anniversary of the tournament. But those are facts, and facts are not the point. Wade always projects a daunting intelligence. Maybe this is because, at the height of her tennis power, she resembled Virginia Woolf—not just because they were both Virginia W’s, but because of the sheer intensity and patent thoughtfulness. The dark hair, black before it was salt and pepper, and those strong blue eyes convey stature. But, beyond that, the daughter of an archdeacon and mathematics teacher, brought up in vicarages, was high strung and volatile and could not conceal it. She spoke like the educated person she was, and was deemed haughty by other players, but that mix of genuine class and the fire within was, at least to me, irresistible. She was visibly high-strung, volatile, and charged by nervous energy, but the results of what others deemed uncouth and aggressive paid off beautifully—in damaging forehands and backhands that were, if merciless, triumphant. 

But the moment I became irrationally enchanted by Wade was when I read that, to relax between matches, she tended to read Henry James novels. That in itself is not charisma, but in my eyes Wade became one with some of James’s most intrepid and independent female characters. Yes, she is, and always has been, a woman on her own—private, publicly solitary—while showing a skill and a staggering talent that surely could have minions surrounding her if she wanted. She has a bit of the silence that gave Oriental emperors and empresses a power that no amount of rhetoric could ever have conferred on them. She is not “a type.” She never groaned; she never showed off. She just exemplified quality, and correct comportment without a hint of snobbiness. It gives a mysterious allure.

We all have our own superstars. What graces them all, though, is that extra something: the consuming drive that elevates our tennis heroes to the pantheon of greatness. One can sharpen and refine and master those strokes, but, with charisma, a handful of legendary players have been the people Robert Browning had in mind when he wrote that our “reach must exceed his grasp, or what’s a heaven for?” That drive to perfect oneself is part of charisma; add charm and wit, and the pleasures abound. 

 

Article publié dans COURTS n° 5, été 2019.

ellesse

L’étoffe des héros

Pour les fans de tennis, et même bien plus que ça, Wimbledon est le centre du monde le premier weekend de juillet. On y dispute alors les finales du plus prestigieux tournoi du monde. Une tradition qui s’est déplacée d’une semaine en 2015, afin d’élargir la parenthèse entre Roland-Garros et le rendez-vous londonien. Mais en cette année 1981, Chris Evert et Hana Mandlikova ont rendez-vous, ce samedi 4 juillet, pour une finale dames qui promet. Entre l’Américaine, 26 ans, no 1 mondiale et la Tchécoslovaque de 19 ans, c’est le septième épisode d’une rivalité qui en comptera 26. 

Depuis quelques mois déjà, Mandlikova, attaquante racée, s’est invitée à la table des grandes, celle d’Evert et Martina Navratilova. Ces deux-là règnent sans partage ou presque sur les titres en Grand Chelem depuis le milieu des années 1970. Mais en 1980, Mandlikova se hisse en demi-finales à Roland-Garros, atteint la finale à l’US Open, les deux fois battue par Evert, puis remporte les Internationaux d’Australie, organisés à l’époque en fin de saison. Plus fort : elle s’impose à Roland-Garros en 1981, après avoir battu Evert en demi-finale. Cette finale de Wimbledon 1981 est donc bel et bien une revanche et un sommet entre la no 1 mondiale et une jeune ambitieuse qui rêve de tout bousculer.

Du côté de Pérouse, en Italie, ce duel est vécu comme une forme de consécration. Cette ville d’Ombrie, région trait d’union entre le sud et le nord du pays, est le siège d’ellesse. Le fabricant de vêtements de sport, créé en 1959, équipe les deux championnes qui se retrouvent donc en finale d’un tournoi du Grand Chelem : cela fait forcément date pour un équipementier. Leonardo Servadio, son fondateur, avait vu juste quand, en 1980, il jette son dévolu sur cette jeune Tchèque, première no 1 mondiale juniors de l’histoire en 1978, année de son titre à Roland-Garros. Et depuis quelques mois, ellesse habille aussi Chris Evert. Un événement pour l’Américaine qui, aussi étonnant que cela puisse paraitre, avait jusque-là toujours « joué en blanc ». Le style de la Tchèque face à l’élégance de l’Américaine dans le cadre feutré du Centre Court de Wimbledon, ellesse ne peut rêver meilleure publicité. Le match ne sera pas à la hauteur des attentes suscitées – Evert s’impose 6/2 6/2 – mais c’est le vrai point de départ d’une belle histoire entre l’Américaine et la griffe italienne. Une success-story de huit ans, jusqu’à ce que la championne ne raccroche ses raquettes. Evert et ellesse, comme une évidence. Le mariage est tellement réussi, imprègne si fortement les rétines, qu’on en oublierait presque que l’Américaine n’a pas écrit toute sa carrière ainsi vêtue. Il contraste aussi avec l’allure de Martina Navratilova. L’autre grande rivale d’Evert cherche son style, passe d’un partenaire à un autre, et malgré son immense carrière, ne sera jamais l’icône d’une même maison.

© Ray Giubilo

Née de l’imagination de Leonardo Servadio, ellesse a vu le jour 22 ans avant cette finale de Wimbledon 1981. Ce passionné de montagne a suivi les traces de ses parents, tailleurs et propriétaires d’un magasin à Pérouse. Le jeune Leonardo s’est mis en tête de créer des tenues de ski, des pantalons plus particulièrement, qui mêlent à la fois confort et style. Dans cette Italie qui se relève des traumas de la Deuxième Guerre mondiale et des années Mussolini, plane de nouveau une liberté et un besoin de créativité. Servadio, comme d’autres, s’inscrit dans ce mouvement. Aidé par des entrepreneurs locaux, il réussit en 1959 à lancer sa propre maison : LS, ses initiales donc, qui devient ellesse, avec le premier L et le premier S en gras. Les créations de Servadio, qui s’inspirent des pantalons de travail portés par les artisans, vont progressivement rencontrer le succès. Dix ans plus tard, le modèle Jet apparait pour la première fois sur les pentes du Val d’Aoste ou des Dolomites. Il allonge la jambe et flatte la silhouette. C’est un coup de maitre. La version rouge – couleur qui deviendra l’une des signatures de la marque – est le must have des skieurs en ce début des années 1970. La démarche de Servadio repose sur une réflexion de bon sens : « On est bien meilleur si on se sent bien dans ses vêtements », explique-t-il. En 1969, ellesse parraine l’équipe italienne de ski alpin dont l’un des membres, Gustav Thöni, remporte la Coupe du monde de slalom géant. CQFD. Cette notoriété internationale grandissante n’empêche pas Servadio de continuer à innover : son pantalon à lacets, avec genouillères et taille élastique, proposé en 1971, installe encore un peu plus ellesse sur le marché. 

Pourquoi, dès lors, ne pas s’ouvrir à d’autres disciplines ? Dans ce pays à la forte tradition textile, où l’industrie de la mode deviendra un acteur de poids dans l’économie, le secteur du sport, loin des sommets enneigés, est notamment porté par Fila (fondée en 1911), Lotto (1939), Diadora (1948) ou même le tout jeune Tacchini (1966). Servadio vient se mêler à la bataille et se lance dans le tennis en 1974. Le premier joueur équipé par l’enseigne de Pérouse est le jeune Corrado Barazzutti. Bonne pioche ! Vainqueur de Roland-Garros juniors et de l’Orange Bowl trois ans plus tôt, Barazzutti est un savoureux cocktail de talent et de caractère. Un vrai joueur à l’italienne, si l’on doit faire quelques généralités, dont la science du jeu s’exprime merveilleusement sur terre battue. Son premier coup d’éclat sur le grand circuit est une victoire contre Ilie Nastase, alors no 1 mondial, en quarts de finale du tournoi de Monte-Carlo. Barazzutti est lancé et ellesse avec lui. L’Italien montera jusqu’à la septième place mondiale, fort d’une demi-finale à l’US Open (1977), à Roland-Garros (1978) et de cinq titres remportés. Barazzutti porte également son pays à sa seule victoire en Coupe Davis, en 1976, avec Adriano Panatta et Paolo Bertolucci.

Pour Servadio, il est également important, d’un point de vue marketing, de souligner cette diversification. Il n’est de grande marque sans une identification visuelle forte. Ainsi nait, en 1975, le logo d’ellesse que l’on connait. Une création qui fera date, mariant les deux sports emblématiques de la firme : deux spatules de ski, rouges – évidemment –, entourant une demi-balle de tennis jaune. Côté court, les choses s’accélèrent en 1980. À Roland-Garros, Virginia Ruzici, gagnante du tournoi deux ans plus tôt, arbore cette fois son emblématique jupette rouge et ses tops rayés jusqu’en finale.

© Ray Giubilo

Derrière l’arrivée de la championne roumaine chez ellesse, « piquée » à la concurrence (Fila), on trouve Ion Tiriac. L’ancien joueur, en pleine reconversion dans le coaching et le business, a également pris en main la destinée de Guillermo Vilas au terme de la saison 1975. Approché par la toute jeune firme américaine Nike, qui souhaite se lier avec le charismatique argentin, Tiriac préfère se marier avec ellesse. La marque italienne veut poursuivre son développement et s’attacher les services d’une des plus grandes figures du moment. Björn Borg est chez Fila. John McEnroe s’habille en Tacchini. Jimmy Connors va bientôt représenter Cerruti 1881. Vilas sera donc l’égérie masculine d’ellesse. Les quatre joueurs les plus iconiques des années 1970-80 sont tous équipés par des entreprises de la Botte. Quelle empreinte, soit dit en passant, sur le tennis mondial. Une hégémonie qui ne s’est d’ailleurs jamais démentie. Aujourd’hui, l’Italie demeure le pays le plus représenté parmi le top 100 masculin (au classement ATP du 8 mars 2021) si l’on prend en compte les équipementiers : 25%. Devant les États-Unis, 17 % ; le Japon, 13 % ; la France et l’Allemagne, 10 %.

Jusqu’à la fin de sa carrière, Guillermo Vilas incarnera pleinement ellesse, allant jusqu’à permettre à la marque de se retrouver en couverture des magazines people du monde entier. Il file alors le parfait amour avec la princesse Caroline de Monaco, l’une des cibles de prédilection de la presse à scandale. Le gaucher argentin, marathonien des courts, est aussi pudique et secret qu’il est combattif et avide de victoires. Vilas est de ces icônes qui vont alors donner au tennis une nouvelle dimension et ellesse lui colle à la peau. La marque brille par son style souvent plus libre et coloré que les créations de ses concurrents. Autre démarche forte : casser les stéréotypes, en donnant par exemple carte blanche à des créateurs extérieurs de renom comme Jean-Charles de Castelbajac. Au milieu des années 80, c’est du jamais-vu. Ainsi, ellesse innove et construit sa légende mais conservera toujours une même philosophie. Simon Breckon, qui dirige l’entreprise depuis septembre 2018, en rappelle les grandes lignes : « Le sport, c’est du flair et de l’allure. Chez ellesse, nos athlètes portent des vêtements qui “fonctionnent” bien mais qui ont également du caractère et un look. » 

Avec les produits de la firme de Pérouse, Vilas remporte seize titres et dispute vingt finales, dont celle de Roland-Garros 1982. À bientôt 30 ans, il doit céder en quatre sets mais 4 h 42 face à un jeune suédois de 17 ans, Mats Wilander. Vilas soulève son 62e et dernier trophée sur la terre battue de Kitzbühel en juillet 1983, lors d’une finale 100 % ellesse face à Henri Leconte. Un joli symbole ! Le jeune Français a rejoint l’équipementier l’année précédente et défendra ses couleurs trois saisons durant. C’est en ellesse qu’il a d’ailleurs ouvert son palmarès professionnel, à Stockholm, en 1982.

© Ray Giubilo

Mais la fabrique italienne n’a pas fini de faire des étincelles. Son nouveau poulain se nomme Boris Becker. Un jeune Allemand très pressé qui bouscule tout sur son passage et va faire basculer le tennis dans une nouvelle ère, tout en puissance, notamment au service. En 1985, à 17 ans, le protégé de Günther Bosch s’adjuge son premier titre à Wimbledon et stupéfie la planète tennis. La veille, Chris Evert a disputé la finale face Navratilova. Autant dire qu’ellesse est au sommet. Becker, dans la même tunique, remettra ça l’année suivante.

Parallèlement à l’émergence de « Boum Boum » Becker, le chic et la détermination d’Evert continuent de faire des ravages et d’inscrire la marque dans l’inconscient collectif. Sous la bannière de la firme italienne, l’Américaine ajoute sept trophées en Grand Chelem à son palmarès, portant son total à 18. Son nombre de titres sur le circuit WTA dépasse l’entendement : 154. Elle remporte le dernier en octobre 1988, à la Nouvelle-Orléans, à quelques mois de sa retraite. Une marque pouvait-elle rêver meilleure porte-drapeau ? C’est lors des années Vilas et Evert qu’ellesse aura connu sa période la plus florissante. En 1983, le chiffre d’affaires atteint un record, 139 milliards de lires (environ 71 millions d’euros), porté aussi par le succès de la Squadra Azzura à la Coupe du monde de football 1982, dans des shorts et des maillots ellesse. 

En 1987, ellesse vend à Reebok ses activités aux États-Unis puis fait de même en 1990, au Japon, avec Goldwin et Toyo & Tire. La holding britannique Pentland Group reprend ensuite la main en 1993 et, côté tennis, le logo ellesse retrouve des couleurs. Anna Kournikova, Arantxa Sanchez, Elina Svitolina, Tommy Haas ou Feliciano Lopez entrent dans la famille. Pat Cash, vainqueur en 1982 des titres juniors à l’US Open et à Wimbledon, en ellesse, effectue son retour en 2014. La Portoricaine Monica Puig écrit l’histoire, elle aussi, en remportant l’or aux JO de Rio en 2016 et devient ainsi la première championne olympique de son pays, tous sports et tous sexes confondus. Ces dernières années, les Britanniques Johanna Konta, trois fois demi-finaliste en Grand Chelem, 4e mondiale en 2017, et Alfie Hewett, no 1 mondial du tennis en fauteuil, ont repris le flambeau. Et puis comme Leonardo Servadio l’avait fait avec Mandlikova dans les années 80, ellesse accompagne de jeunes pépites, tel Paul Jubb, premier Britannique sacré l’an passé lors du championnat universitaire américain, la fameuse NCAA. La marque s’est également engagée dans un partenariat avec Londres afin d’entretenir et de moderniser ses installations de tennis urbain. Ouvrir ce sport à un public plus large et plus diversifié, c’est aussi ça la philosophie ellesse. 

Article publié dans COURTS n° 11, printemps 2021.