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In the early years, there was no coaching and no training, people simply watched, experimented, learned, watched some more and kept trying new techniques. Because of this, there was no "one" style but many styles. All the jumping skis had grooves in the bottom as that helped them to track better, but that is where the similarities ended. As for clothing and jumping styles, these differed with each individual.

In general, clothing was comfortable and hopefully somewhat "damp-proof." Most of the men jumped in wool sweaters and wool britches, wool, knee-high socks and sturdy lace boots. Isabel Coursier jumped in the same though she would wear a wool jacket up top.

The early years saw jumpers with their arms out to the sides, sometimes straight out, sometimes overhead, sometimes slightly forward. Each jumper had their own technique for what worked for them. The better jumpers leaned into the hill, hips forward in an unbroken line from the ski. This took a lot of courage. Less experienced jumpers might have a bend at the hip, which was a little less terrifying.

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Ski jumper on Mt. Revelstoke
1925
Revelstoke, British Columbia

Credits:
Revelstoke Museum and Archives

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Ernie Field, Class "B" World Champion
1925
Revelstoke, British Columbia

Credits:
Revelstoke Museum and Archives

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There were small jumps built all over town where boys practiced. Often it was simply a matter of piling up snow and having a slight incline on which to gather some speed for the jump. Girls jumped with the boys at competitions off the "C", "D", and "E" jumps.

Ivind Nilsen was known for his perfect form. He was compared to a "bird in flight" and one could tell from a long distance if Ivind was jumping.

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Ivind Nilsen jumping on Mt. Revelstoke
c. 1920
Revelstoke, British Columbia

Credits:
Revelstoke Museum and Archives

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As jumpers progressed, they became more aerodynamic and experimented with different arm positions. Petter Hugsted was the Olympic champion from Norway in 1948.

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Petter Hugsted jumping on the Nels Nelsen Hill
1949
Revelstoke, British Columbia

Credits:
Revelstoke Museum and Archives

8

John McInnes jumping
1960's
unknown

Credits:
John McInnes

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John McInnes had fine form, leaning into the hill. At this point, many jumpers were keeping their arms close to their body to improve aerodynamics. But even as some jumpers took on this style, others were keeping their arms out overhead. It wasn't until much later after work done in wind tunnels that it was discovered that jumpers should place their skis in a 'V' shape to improve their flotation.

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Paul Salva on jumping styles
1920's to present
Revelstoke, British Columbia

Credits:
Paul Salva

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As for style points in jumping competitions as set out by FIS (International Ski Federation) rules, each skier started with 20 points before they even left the jump. Points would be deducted for flaws in style during different stages of the jump. Judges scored the in-run, the take off, form while in the air, the landing and touching a hand to the ground or falling. As written in the1959 Tournament of Champions program: "The ideal jump shall be executed with power, boldness and precision. It shall at the same time give the impression of calmness, steadiness and control.....The personality of the jumper counts for much in jumping. The jumper must therefore be allowed an individual style, as long as he conforms with the most important standards of style. Jumps may therefore be executed in different ways and yet be valued and marked the same."