The Lost Empire of Leathertogs, Part 3

[Written and researched by Riley Ward, edited by Paul d’Orléans]

Who Wore Leathertogs

 

Henry Shaw’s design approach was comprehensive, meticulous, and rider-focused. At the core of his philosophy was the need for a tight but comfortable fit—one that could shield motorcyclists from chafing, wind, rain, and the varied elements of the open road. His garments balanced form and function, rooted in real-world needs and shaped by a sharp eye for detail. Beyond his own riding requirements, Shaw likely drew inspiration from a variety of contemporary garment industries. Aviation, still a relatively new frontier in the early 20th century, appears to have been a key influence. Many of Shaw’s jackets featured double lapels, outer “map” pockets, and epaulets—stylistic and functional hallmarks of aviator attire. Breeches, too, echoed cavalry and horseback-riding gear, with wide peg-style hips narrowing to snug ankles, ideal for tucking into tall leather boots.

Regional motorcycle police units across the Northeast may also have shaped Shaw’s vision. Their long, double-breasted melton wool coats—often adorned with large circular metal embellishments—are echoed in several Leathertogs designs, such as the Isle of Man and Royal Flying Corps models. Shaw cropped this police style to waist-length, added a set-in belt, and translated the formal visual language into high-performance motorcycle wear.

Military uniforms, both American and European, provided additional sources of inspiration. Many Leathertogs jackets incorporated epaulets, throat-latch closures, cropped silhouettes, patch pockets, and zippered fronts—design elements also found in early U.S. Army Air Forces flight jackets, such as the Type A-1 and the more iconic Type A-2 issued between the 1930s and early 1940s. These jackets were designed for pilots operating in open-cockpit aircraft, blending function, durability, and a sleek, simple military silhouette. In one notable instance, Shaw crafted a custom hybrid jacket that blended one of his motorcycle designs with Type A-2 specifications, made for a U.S. Army Air Forces private heading overseas circa 1942.

Zippers were a signature feature of Leathertogs gear, essential for quick ventilation, secure storage, weather protection, and emergency access. Zippered pockets allowed riders to stow maps, gloves, cigarettes, pocket watches, and other essentials. Shaw reinforced key stress points with tube-style rivets and employed double- and triple-stitching along major seams, ensuring his garments could endure years of rugged use.

Henry was deeply engaged with his customers. Four of his jacket models were reportedly developed in response to specific feedback from motorcyclists nationwide. Riders could request upgrades—jackets featuring two-toned horsehide panels, extra zippered wrist pockets for coins or keepsakes, and even hand-painted emblems. Shaw welcomed these requests, approaching each one with craftsmanship and curiosity.

Material selection was another area where Shaw excelled. The horsehide used by Leathertogs was top-tier—most likely chrome- or vegetable-tanned—available in deep black or rich mahogany brown, and typically around 3 oz. in weight. Surviving examples still show remarkable resilience and flexibility, a testament to Shaw’s commitment to quality. Decorative hardware was used not only for function but as an aesthetic signature. Small metal bars adorned pockets and sleeve zippers, while circular metal spots—often four in a row—were added to cuffs or sleeves. These spots, along with pocket reinforcements and epaulet detailing, are now considered hallmarks of authentic Leathertogs pieces.

Every jacket was finished with a distinctive satin-silk woven label, featuring the Leathertogs emblem—complete with motorcycle and airplane graphics. A typewriter was used to add the customer’s full name and home address to the label, making every piece uniquely personal and traceable. Through Leathertogs, Henry Shaw elevated motorcycle gear into a personalized art form.

Many top motorcyclists, including Ben “Benny” Campanale (Daytona 200 winner, 1938 and 1939), Arthur “Babe” Tancrede (Daytona 200 winner, 1940), Rod Coates, Johnny Spiegelhoff, and Ray Janelle, wore custom Leathertogs gear. The Motor Maids, a prominent women’s motorcycling club, also favored Leathertogs, as seen in period photographs and in the book Iron Horse Cowgirls by Linda Back McKay and Kate St. Vincent Vogl.

Leathertogs’ reputation spread especially throughout the Northeast, and photographic and film documentation from that era reveals that several regional motorcycle clubs were frequent wearers of Leathertogs garments. Clubs such as the Tumbleweeds M.C. of Brockton, Massachusetts, and the Royal River Riders M.C. of Lewiston, Maine, had multiple members wearing Leathertogs jackets and breeches.

Given the relative proximity of these clubs to Everett, Massachusetts, it is likely that some members made the trip to the workshop themselves—possibly for custom fittings and special orders. These real-world riders became rolling advertisements for Henry Shaw’s craftsmanship, helping to cement Leathertogs as a premier outfitter during a golden era of American motorcycling.

 

Read the whole Leathertogs saga in Parts 1-5 of The Lost Empire of Leathertogs.