What makes Under Armour socks stand out from other brands. How do Under Armour socks enhance athletic performance. Which Under Armour sock styles are best for different activities. Where can you find the best deals on Under Armour socks.
The Evolution of Under Armour Socks: From Basic to High-Tech
Under Armour has come a long way since its inception, particularly in the realm of performance socks. What started as a simple idea to create better athletic wear has blossomed into a brand synonymous with innovation and quality. The evolution of Under Armour socks mirrors the company’s commitment to pushing the boundaries of athletic apparel.
In the early days, Under Armour socks were primarily focused on moisture-wicking and basic comfort. However, as technology advanced and athletes’ needs became more sophisticated, so did the socks. Today, Under Armour offers a wide range of sock options, each designed to meet specific athletic requirements and personal preferences.
Key Milestones in Under Armour Sock Development
- Introduction of HeatGear and ColdGear technology for temperature regulation
- Development of ArmourBlock anti-odor technology
- Integration of compression technology for improved blood flow and reduced fatigue
- Launch of ArmourGrip technology for enhanced traction inside footwear
- Introduction of targeted cushioning for sport-specific performance
How have these advancements impacted athletic performance? Athletes report improved comfort, reduced blisters, and better overall foot health when wearing Under Armour socks. The brand’s commitment to research and development has resulted in socks that not only meet but often exceed the expectations of both professional athletes and everyday fitness enthusiasts.
Understanding the Technology Behind Under Armour Socks
Under Armour’s success in the sock market can be largely attributed to its innovative use of technology. Each pair of Under Armour socks is a culmination of years of research, testing, and refinement. But what exactly makes these socks different from others on the market?
Moisture Management Systems
At the core of Under Armour’s sock technology is its superior moisture management system. How does it work? The socks are engineered with special fibers that quickly wick sweat away from the skin, allowing it to evaporate rapidly. This process helps keep feet dry, reducing the risk of blisters and fungal infections.
Strategic Cushioning
Under Armour socks feature strategically placed cushioning to provide support where it’s needed most. This isn’t just about comfort; it’s about performance. The cushioning helps absorb impact, reduce fatigue, and improve overall foot stability during athletic activities.
Compression Technology
Many Under Armour sock models incorporate compression technology. This isn’t just a buzzword; it’s a scientifically proven method to improve blood circulation. Improved circulation can lead to reduced muscle fatigue and faster recovery times, making it particularly beneficial for athletes.
Choosing the Right Under Armour Socks for Your Needs
With such a wide variety of Under Armour socks available, how do you choose the right pair for your specific needs? The key is to consider your primary activities and personal preferences.
For Running and High-Impact Activities
If you’re a runner or engage in high-impact sports, look for Under Armour socks with extra cushioning in the heel and forefoot. The UA Run Cushion No Show Tab socks, for example, offer excellent impact protection and moisture management, making them ideal for long-distance runners.
For Team Sports
Team sport athletes often benefit from crew-length socks with targeted cushioning and support. The UA Team Crew socks are a popular choice, offering a blend of comfort, durability, and performance features suitable for a variety of team sports.
For Everyday Wear
For those seeking comfortable socks for daily use, the UA Charged Cotton 2.0 Crew socks provide a perfect balance of softness and performance. These socks feature a cotton blend that offers the comfort of natural fibers with the moisture-wicking properties Under Armour is known for.
The Sustainability Factor: Under Armour’s Eco-Friendly Initiatives
As consumers become increasingly environmentally conscious, many wonder about the sustainability practices of major brands. How does Under Armour address environmental concerns in their sock production?
Under Armour has made significant strides in recent years to improve the sustainability of their products, including their sock line. The company has introduced several eco-friendly initiatives aimed at reducing their environmental impact while maintaining the high performance standards they’re known for.
Recycled Materials
One of Under Armour’s key sustainability efforts involves the use of recycled materials in their sock production. Many of their newer sock models incorporate fibers made from recycled plastic bottles, reducing waste and decreasing the demand for virgin materials.
Water Conservation
Under Armour has also implemented water conservation techniques in their manufacturing processes. By using innovative dyeing methods and water recycling systems, they’ve significantly reduced water consumption in sock production.
Durability for Longevity
Another aspect of Under Armour’s sustainability approach is focusing on durability. By creating socks that last longer, they reduce the frequency of replacements, ultimately leading to less waste. This approach not only benefits the environment but also provides better value for consumers.
Caring for Your Under Armour Socks: Tips for Longevity
Investing in quality Under Armour socks is just the first step; proper care is essential to ensure they maintain their performance features and longevity. How can you make your Under Armour socks last longer?
Washing Instructions
- Turn socks inside out before washing to protect the outer surface and allow better cleaning of the areas that come into contact with your feet.
- Use cold or warm water, as hot water can break down the elastic fibers more quickly.
- Avoid using fabric softeners, which can clog the moisture-wicking fibers and reduce their effectiveness.
- If possible, air dry your socks or use a low heat setting in the dryer.
Rotation is Key
To extend the life of your Under Armour socks, it’s important to rotate them regularly. Having multiple pairs and alternating their use allows each pair to fully dry and recover between wears, which can significantly increase their lifespan.
Storage Tips
Proper storage can also impact the longevity of your socks. Store them in a cool, dry place away from direct sunlight. Avoid cramming them into overstuffed drawers, as this can stretch out the fibers over time.
Under Armour Socks vs. Competitors: A Comparative Analysis
In the competitive world of athletic apparel, how do Under Armour socks stack up against other leading brands? While personal preference plays a significant role in choosing socks, there are several factors where Under Armour often stands out.
Moisture Management
Under Armour’s moisture-wicking technology is often considered superior to many competitors. Their HeatGear and ColdGear fabrics are particularly effective at regulating temperature and keeping feet dry in various conditions.
Durability
Many users report that Under Armour socks tend to last longer than comparable socks from other brands. The reinforced heel and toe areas, coupled with high-quality materials, contribute to their longevity.
Sport-Specific Design
Under Armour offers a wide range of sport-specific socks, often with more targeted features than some competitors. For example, their golf socks include specific arch support and ventilation designed for the unique demands of the sport.
Price Point
While Under Armour socks are generally priced in the premium range, many users find that the combination of performance features and durability offers good value for money compared to other high-end brands.
The Future of Under Armour Socks: Innovations on the Horizon
As technology continues to advance, what can we expect from Under Armour socks in the future? While specific details of upcoming products are closely guarded, industry trends and Under Armour’s history of innovation give us some clues about potential developments.
Smart Sock Technology
One area of potential development is the integration of smart technology into socks. This could involve sensors that track metrics like step count, gait analysis, and even foot temperature, providing valuable data for athletes and fitness enthusiasts.
Advanced Materials
Under Armour is likely to continue pushing the boundaries of material science. This could lead to the development of new fibers that offer even better moisture management, durability, and comfort.
Customization and 3D Printing
As 3D printing technology becomes more advanced and accessible, we might see Under Armour offering customized socks tailored to individual foot shapes and performance needs.
Sustainability Focus
Given the growing emphasis on sustainability in the apparel industry, Under Armour is likely to continue developing more eco-friendly sock options, possibly including biodegradable materials or closed-loop recycling systems.
The future of Under Armour socks looks promising, with potential innovations that could further enhance performance, comfort, and sustainability. As the brand continues to evolve, athletes and everyday consumers alike can look forward to socks that push the boundaries of what’s possible in foot comfort and performance.
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The Metropolitan Museum of Armor: Views and Collections
The New York Metropolitan Museum of Art’s display of armor from the High Middle Ages and Early Modern Ages is striking in its richness, diversity, and breadth of chronological coverage. One of the richest in the world, in value and cultural significance, it is second only to half a dozen royal treasuries of the Old World. Located between Fifth Avenue and Central Park, the building today attracts millions of visitors every year. The fourth largest in the world – after the Louvre, the Hermitage and the National Museum of China – the Metropolitan firmly occupies a position at the very top of the museum Olympus, however, at the end of the 19th century, American expositions could hardly boast of at least one complete set of armor. The history of the Metropolitan Knights’ Hall is more than a century of struggle for the budget, each exhibit, and for the replenishment of the world treasury of knowledge about armor, which began, for the most part, with one person.
In Europe, interest in medieval armor as a museum exhibit originated in the second half of the 18th century. The chaos of the Napoleonic Wars led to the fact that from family storerooms, vaults and treasuries, medieval artifacts fell into the hands of collectors or buyers, changed owners, and eventually filled the antiques market. The middle-second half of the 19th century was marked in European culture by a rise in interest in “Gothic” – medieval aesthetics – and armor of the 14th-15th centuries as an integral part of the knightly image. The fashion for “Gothic” reached the shores of the North American continent only at the turn of the 19th-20th centuries.
The first armor exhibition opened in New York only in 1890. Oliver Hazard Perry Belmont built a huge hall in Belcourt, Rhode Island to house his personal collection purchased from Tiffany & Co. Opened in 1870, the Metropolitan at that time could not boast of a single exhibit. However, his board members included two keen armor collectors, William Riggs and Rutherford Stuyvisant.
Riggs lived in Paris from 1850, devoting all his free time to his passion – collecting knightly armor. In 1870, his collection, still in its infancy, had already attracted the attention of the first president of the Met, so much so that Riggs was appointed vice president in the hope that his exhibits would sooner or later pass into the museum’s storerooms.
Styvisant, a descendant of the famous governor of New York named Peter, a Dutchman with a wooden leg, at the time of his death in 1909 possessed a collection of more than 600 pieces of armor, which at that time was the largest in America. In 1896, his passion made the museum turn its eyes to the world of the European Middle Ages. Firmly convinced that the medieval arms and armor of knights should be on permanent display, Styvisant forced the board to accept the donation of the John Stonecree Ellis Collection, the Met’s first armor collection.
Exhibits precious to Ellis, however, were of little interest to specialists – and the first truly valuable purchase for the museum was (according to the same Styvisant) an exposition of five hundred exhibits by Maurice de Talleyrand-Périgord, Duke de Dino.
The most significant private collection in the world, consisting mainly of European exhibits, was also the most expensive of its time. In 1901, it was put up for sale, and in 1904 it became the property of the New York exposition for a “modest” sum of $250,000. Surprisingly, the deal was concluded “in absentia” – the buyers did not see the exhibits and did not have an expert opinion that would confirm the authenticity of the artifacts. Subsequently, many of the sets that were considered a single set turned out to be either a fake of European antique dealers, or underwent extensive restoration of dubious quality, and as the competence of museum experts grew, they left the exhibition hall. Of course, there was no malicious intent of the Duke de Dino himself.
Museum exposition, 1904
In addition to exhibits from the collection of the royal families of Europe, including the famous tournament grand bascinet for foot fights or the French bourguignot, presumably made for Henry II, the collection boasted several helmets from Ottoman Empire.
An unexpected side effect of the acquisition of the collection was the interest in the museum of man, which in the future will determine not only the fate of the knight’s hall, but also the appearance of the entire study of armor as an academic discipline.
Bashford Dean (1867-1928), later the first curator of a separate armor department, was Professor of Vertebrate Zoology at Columbia University. One of the world’s leading experts on armored fish (placoderms) in his spare time was a passionate lover and collector of knight’s shells. His first museum appearance was in 1903, when his Japanese armor collection, collected in 1900, was displayed in the Private Acquisitions Room.
Dean, B. Japanese Armor Exposition Guide, 1903. Metropolitan Museum of Art.
In 1904, Bashford volunteered to organize a permanent exhibition of the newly acquired collection – and successfully completed the task in record time. The exhibits were in showcases by the autumn of that year, and the next spring saw the light of a richly illustrated guide to the exhibition, preceded by an extensive introductory word that shed light on the history of the armor.
In the same year, Bashford’s personal collection became the property of the museum. In 1905, Bashford Dean went to Japan to continue his scientific research in the field of zoology. He returned to America not empty-handed, but having replenished his personal collection with several hundred more elements of Japanese armor.
In the same year, 1905, Bashford organized an exchange between the Met and the Imperial Museum in Tokyo. In exchange for a collection of ancient Egyptian exhibits, the New York collection was replenished with Japanese artifacts from the Kofun era (3rd century BC – 3rd century AD). The collection has no analogues outside of Japan.
Dean, B. (1905) Catalog of the exhibition of armor, Metropolitan Museum of Art
The museum management, impressed by the efforts of the amateur collector, offered him the position of honorary curator of the exhibition, which at that time was part of the Department of Decorative and Applied Arts, and Bashford agreed.
Bashford Dean in Japanese gusoku style armor, 19th century. 1900. Retrieved from: metmuseum.org
Realizing, perhaps quite rightly, that the romantic aura around the image of the knight attracts the public to the halls of armor, Bashford organized an exhibition, if possible, around this romantic ideal. Particular preference was given to full sets and horse armor (bard). Many exhibits ended up in storerooms in a deplorable state – and at 19In 09, at the suggestion of the curator of the medieval exhibition, the Metropolitan Museum hired a professional armor maker, Daniel Tachot from Paris.
Armory Museum. 1918. Source: U.S. National Archive
With a permanent metal artist on staff, Bashford Dean did not limit his imagination to armor restoration. In a series of lectures organized by him on the history of European weapons, for example, Plattner, right in front of the audience, formed the dome of a helmet from a single metal plate.
During another lecture, an assistant, dressed in full armor, performed gymnastic exercises, demonstrating to the public the possibilities of this, according to popular belief, restricting the movement of a protective suit.
In 1912, the Knights’ Hall became the second most visited after the Ancient Egyptian Hall, and it was decided to separate it into a separate department. Bashford Dean has already become an official curator in a paid position.
Responsibilities included not only research, collection, rotation of exhibits and acquisition of new ones. Bashford kept a close eye on local auctions and the collections of local medieval lovers. The private collection of Riggs was a subject of special desire for him. Bashford had been in correspondence with the elderly gentleman since 1904 to 1912, visited him in Paris, and finally achieved his goal – in 1913, the complete collection of armor went as a priceless gift to the museum. The curator spent half a year at the Riggs estate, sorting through the artifacts.
In amazement, he wrote to museum director Edward Robinson: “I found a pair of spurs with a chic engraving in a pile of socks.”
Among other artifacts, the Riggs collection contained, for example, a magnificent example of Milanese high coinage – a cuirass by Giovan Paolo Negroli (XVI century)
Breastplate ca. 1540-45 Giovan Paolo Negroli. Source: metmuseum.org
In 1913, the president of the museum, banker and collector John Morgan, died. His death was a big blow to the museum and to his family. The heir, Jack Morgan, began to sell his father’s collection at auction in order to be able to pay tax on entry into inheritance rights. A private collection could boast of a masterpiece by Filippo Negroli – a magnificent ceremonial bourguignot of 1543 with a figure of a mermaid on a crest. This helmet was purchased at 1907 for a staggering amount of 60,000 US dollars for those times. The museum could not afford to buy the collection. Bashford could only rely on the generosity of the heirs, the patronage of the librarian and curator of the Morgan collection, and hope for the best.
In 1917, the helmet was transferred to the museum as a gift, among seven thousand other exhibits.
Burgonet, dated 1543, Filippo Negroli. Source: metmuseum.org
Other acquisition 1917 years became a complete set of armor, which was probably owned by Henry VIII. The earliest surviving work of art by the Greenwich workshop dates from 1527. In 1889, the armor attracted the attention of collectors during the Retrospective Military Exhibition in Paris. Its owner, the Countess d’Uzet, had no intention of selling the family treasure, which probably ended up in the family collection in the 16th century as a diplomatic gift. But the First World War changed the balance of power in Europe, and many artifacts from the collections of the European heirs of noble houses ended up at auctions. The foot combat tournament kit ended up in the possession of the Metropolitan Museum of Art for $66,000, the most expensive single purchase by the curator.
Armor Garniture, Probably of King Henry VIII of England (reigned 1509–47), dated 1527.
Design of the decoration attributed to Hans Holbein the Younger. Source: metmuseum.org
The First World War significantly affected the antiques market, and, in particular, knightly armor. Museums in Germany and Austria, not even having the means to maintain their existence, sold their funds or got rid of less valuable exhibits. Aristocrats sold masterpieces of painting and arts and crafts. Wealthy American collectors were able to acquire masterpieces of a quality and value the likes of which had never been seen in the New World.
In 1919, Bashford Dean traveled to Europe in search of new acquisitions for the museum’s collection. According to his diaries, he visited 649 antique dealers and 60 private collections in 48 European cities. Of the purchases of that trip, the most significant can be called a knight’s helmet by Kölmann Helmschmidt from Augsburg, found in the storerooms of a museum in Istanbul, a helmet in the form of a lion’s head sold by the German National Museum in Nuremberg, and a complete set of a French cuirassier of the 17th century.
The acquisition of three sets of equestrian armor belongs to the same period.
Jousting Sallet Made for Louis II (1506–1526), King of Hungary and Bohemia, ca. 1525. Attributed to Kolman Helmschmid
Sallet in the Shape of a Lion’s Head, ca. 1475–80
Armor for Heavy Cavalry with Matching Shaffron (Horse’s Head Defense), ca. 1600
These expenses almost exhausted even the generous budget of the Metropolitan Museum of Art, and Bashford had to look for other sources of funding for his hobby. For example, he and one of the trustees of the Pratt Museum organized the sale of the Henry Kisby collection on the condition that if the transaction did not reach the agreed amount, they would cover the difference from their personal funds, and if it exceeded, then the money received would go to replenish the budget of the knight’s hall. As a result of their efforts, the museum received $75,000, which was later spent on several tournament sets from Saxony, including the Maximilian armor, decorated with the characteristic fluting of this style, and another helmet of Giovan Paolo Negroli.
Some copies of valuable exhibits, according to the curator, the purchase of which was beyond the financial capabilities of the museum, Bashford acquired for his personal collection, restored at his own expense, and then resold to the museum at the price of the original transaction. So the storerooms were replenished with several tournament paveses with paintings from Germany.
The newly minted curator saw part of his task in educating the public, and in 1915 Bashford commissioned the artist Stanley Rowland to create a series of illustrations that would visually demonstrate the development of weapons and armor in medieval Europe. These tables are still used as a visual visual material by lovers of chivalric romance of the Middle Ages, and they also bear the imprint of the main area of interest of their customer – paleozoology. Armor “evolution” tables were published as a stand-alone publication at 1928 year.
Educational charts of arms and armor / prepared by Bashford Dean, ill.
by S.J. Rowland and Hashime M. Metropolitan Museum of Art (New York, N.Y.). Department of Arms and Armor [New York, 1928]
Educational films about the collection were made in 1924, telling about the armor and its history, uses, and debunking the main myths.
Bashford Dean’s vast knowledge has made him a prominent figure in the study of armor worldwide. As an expert, he participated in the excavations of the Montfort fortress in Acre, Israel, at 1926 year. During the First World War, the Department of Defense involved him in the development of protective weapons for the American army (subsequently, his ideas did not materialize except for the publication of the book Helmets and Corps Protection in Modern Military Equipment, 1920). In 1927, barely sixty years old, the curator announced his retirement, and in 1928 he died.
The death of Bashford Dean was a great loss for the museum. According to the will, almost a quarter of Bashford’s entire legacy went to the knights’ hall, including the building of Wave Hill, built in the Gothic style specifically for his private collection, and the collection itself of more than 800 pieces of armor.
Several dozen artifacts from Chalkis – a collection found in 1840 and transferred to the Ethnographic Museum of Athens – are among them. Bashford bought her at 1920 year. Bashford later used elements of the armor to create a composite set for display purposes.
Armor, 1400-1450 and later. Source: metmuseum.org
Today Bashford Dean’s private collection is on memorial display. A separate gallery in the museum building bears his name.
Bashford Dean’s efforts have not only resulted in one of the most significant armor collections in the world. The Knights’ Hall of the Metropolitan Museum today is one of the central expositions in the promotion of medieval military culture. The sumptuous exhibition, with full plate sets on full-length mannequins and equestrian figures, not only inspires filmmakers, costume designers, writers and illustrators from all over the world, but is also the heart of the study of medieval European material culture. The most famous researchers began their scientific career within the walls of the gallery named after the first curator of the knight’s collection.
References:
Bashford Dean and the creation of the Arms and Armor Department. https://www.metmuseum.org/exhibitions/listings/2012/arms-and-armor
Boorman, D. K. A Personal Reminiscence of Bashford Dean, and His Unpublished Talk, Circa 1920,” The Hobby of Collecting Ancient Armor.
Educational charts of arms and armor / prepared by Bashford Dean, ill. by S. J. Rowland and Hashime Murayama (1928) Metropolitan Museum of Arts, New York
Pyhrr, S. W. (2012). Of arms and men: Arms and Armor at the Metropolitan, 1912-2012. (Metropolitan Museum of Art Bulletin, 70, 1. New York: Metropolitan Museum of Art.
Rocca, la. D. (2014) Bashford Dean and Japanese Arms and Armor https://www.metmuseum.org/blogs/now -at-the-met/2014/bashford-dean-and-japanese-arms-and-armor
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