Materials

Early rackets were made of wood, which was not as good as modern materials, since wood has inconsistencies, resulting in different feels when striking the ball. Wood rackets needed a brace to stop warping when not in use. Later designs used metals, with experimenting with metals such as steel, aluminum, magnesium and titanium.

Billie Jean King won the first Grand Slam title ever in 1967 using a racket made out of steel. It was the first time in history that a racket other than wood had been used to win a Grand Slam. Steel racket prototypes had been around since 1922 but were first patented in 1957.^[1]

In 1968, Spalding launched an aluminium racquet, called "The Smasher". Aluminium is lighter and more flexible than steel, but stiffer – and therefore less accurate – than wood. Because of this, most of the top players still preferred to use wooden frames – and a decade later they were still in use.^[2]

1980s graphite introduction

In the early 1980s, "graphite" (carbon fibre) composites were introduced, and other materials were added to the composite, including ceramics, glass-fibre, boron, and titanium. The Dunlop Max200G used by John McEnroe from 1983 was an early graphite racket, along with the Prince original graphite. Composite rackets are the contemporary standard, the last wooden racquet appeared at Wimbledon in 1987.^[2] Later, people experimented with materials such as boron, ceramics, graphite, and composites. Each material had its own desirable qualities but ceramics and graphite were the best picks for being stiff as well as being good with vibration reduction.^[3][4]

Strings

The earliest strings were made from cow intestines ("natural gut"), a reliable string but expensive. With time and improved technology manufacturers have been trying to duplicate the natural gut feel with synthetic materials. Also, manufacturers are creating strings that are designed to produce more spin, power, and durability. It remains unclear whether the technological innovations in materials, product architecture, and size affected the performance of players, even if such innovations are controversial and even contested by sport-regulatory bodies. The prevailing standards are as much due to advancements in musical string technology as to the social construction of the racket by the tennis playing public and the manufacturers who furnish the sporting goods. Social construction refers to the framing or interpretation of the physical implement by the community of tennis players some of whom often challenged the putative benefits of certain strings or other aspects of the tennis rackets.^[5]