Isabel Marks published Fancy Cycling in 1901 to document a strange new obsession sweeping through society. The book served as a manual for bicycle acrobatics, aimed not at circus performers but at the general public. In her photographs, men and women performed dangerous feats while dressed in formal daywear. They maintained serious, unsmiling expressions throughout the stunts. This stoicism became a hallmark of the sport.
The tricks required immense physical control. One difficult maneuver involved riding backward. The cyclist sat on the handlebars, facing the rear wheel, and pedaled in reverse. They had to steer by reaching behind their backs to grip the bars, relying on muscle memory to guide the machine. Another stunt required the rider to stand fully upright on the leather saddle. With arms outstretched like a tightrope walker, the rider coasted forward, balancing their entire weight on the small seat.
Equipment limitations made these feats even more difficult. The bicycles were heavy steel “safety” models with no suspension. Riders performed on hard surfaces where a fall meant serious injury. For the “hands-off” trick, the cyclist sat back and released the handlebars entirely, steering solely by shifting their hips. Marks also demonstrated the “coast,” where the rider swung both legs over the handlebars to rest in the air while the bike rolled freely. This position left the rider with no access to the pedals or brakes.
Clothing added another layer of complexity. Women performed these acrobatics in ankle-length skirts and corsets. The fabric threatened to tangle in the spokes or chain with every revolution. Men rode in three-piece wool suits with stiff collars. Despite the restrictive garments, they executed mounting tricks like the “step mount.” This involved stepping onto a small peg on the rear axle and vaulting into the saddle while the bicycle was already in motion. The riders treated these terrifying balancing acts as a sophisticated, if peculiar, pastime.
