How a Vintage Goalie Mask is Made

Hockey goaltenders were once frowned upon for taking any precautions to protect their faces from the puck. Wearing a mask was considered unmanly, at least until the 1950s, when Montreal's star goalie Jacques Plante donned a homemade mask after taking a shot in the face and confidently led the Canadiens on a lengthy winning streak. Although the fiberglass masks of the 1960s and 70s have since been replaced by today's cage masks, many enthusiasts still like to create the vintage looking masks from scratch.

  1. Measurements

    • Both the mask makers of today as well as those of yesteryear begin the mask-making process by carefully measuring the faces of their clients to ensure a proper fit. Mask makers take measurements, usually via a cloth-based seamstress's tape, from the top of the forehead to the bottom of the chin as well as from ear to ear. These measurements give the maker a clear indication of where to build the cheekbone indentations on the mask's interior. They may add another few inches to the chin drop--the downward extension of the mask's chin area--to add additional throat protection.

    Molds

    • In some instances the maker begins the process using a basic template of the client's head and face to make the "female" mold as a starting point. The mask can then be added to or subtracted per the client's wishes. In female molds, plaster of Paris is used to cover the template (the face). Once the plaster dries, the new bust of a human face and head, called a "plug" or male mold, is created. The maker then begins to sculpt the mask per the client's wishes.

    Clay

    • Sculptor's clay is the choice for many mask makers due to the clay's stiffness and resiliency when dry. Makers use their hands to apply the clay to cover the entirety of the plug, building up high-impact areas of the chin, cheeks and forehead for extra protection. Design elements are incorporated at this stage, such as elongated chins or furrowed brows, common in many of the vintage NHL masks of the 1970s. The clay is then allowed a lengthy dry time to ensure the mask will retain its shape and rigidity, then pulled free of the plug.

    Fiberglass

    • The mask maker then applies layers of fiberglass to the clay as the mask begins to take on a more familiar appearance. The fiberglass is cut to fit the mask and generously coated with resin (the type used varies from maker to maker), although it's generally not recommended to coat the mask with too much resin, as this makes the mask heavier but not stiffer. The mask maker must allow ample time for the mask to dry. He then pencils on the eyehole positions and ventilation points, using either round or triangular holes.

    Finishing Touches

    • The mask maker then cuts vent holes carefully with a jigsaw and smoothed with a Dremmel tool. The mask's surface is sanded to preference; depending on the client's tastes, the mask is left "matted," or rough, to show the fiberglass weave--or the mask can be sanded extra smooth for a glossy, almost wet appearance. If preferred, the mask is then primed and painted in the client's color of choice, or left glossy and additional painted designs can then be applied per the client's specifications. After drying, the mask is then fitted with a backplate and harness, then shipped to the customer with self-adhesive padding that the client applies in the areas they deem fit.