Complicated graphics would have taken a massive amount of embroidery, which would have added additional weight and made the jersey hotter to wear.īut soon after Tom O’Grady joined the NBA, he would get some new tools to work with. All the details-the numbers, the names, the logos-had to be sewed on. Until the early 90s, there had been real limits to what could be done with jerseys. Tom O’Grady had nothing to do with the new Hornets uniform, but he took it as a sign that the league was ready for bolder designs. Because in 1988, the Charlotte Hornets introduced a radical new color to its uniforms: teal. It was, says O’Grady, “not a sophisticated business.”īut that was all about to change. Before O’Grady, the design of team uniforms was often left to equipment managers. There might have been a stripe here or there, maybe a cool font, but that was about it. They had simple two or three color schemes, with the team name across the front. Before O’Grady joined the league, most NBA jerseys looked something like that classic Bulls jersey. Many of these designs can be traced back to one man-Tom O’Grady, who, in 1990, became the league’s first creative director.
Or the Milwaukee Bucks’ green uniform with a giant picture of a purple stag.
Like the Atlanta Hawks’ red and black jersey with a fierce-looking Hawk swooping in across the entire front of it. The 1990s produced some of the wildest, loudest, jerseys ever seen on a basketball court.
The Raptors jersey may have been particularly garish, but it wasn’t the only jersey of its kind. They were, in the words of one critic, “cartoonish and ridiculous.” But the dinosaur on the Raptor’s jerseys ended up being compared to a different, much friendlier 90s dinosaur: Barney.
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