Читать книгу The Art of the Shoe - Marie-Josèphe Bossan - Страница 23

The shoe’s history and evolution in the 20th century can only be understood in relation to the personalities and the older firms that paved the way to our understanding of traditional and industrial fabrication. True “dynasties,” some of these custom shoemakers and manufacturers are still growing into the 21st century. Many names are cited here taken from among the talented designers and prestigious firms, but many are absent, as this book cannot pretend to be exhaustive. All deserve greater recognition, not only for their contribution to the rise of fashion in France and the world, but also for passing their traditional know-how on to the next generation.

It is also impossible to understand 20th-century footwear in isolation from its closely related historical, economic, and artistic contexts. These underlying factors would lead to a revolution in clothing that would produce the versatile functionality of modern apparel. To fashion designers who deemed shoes a fashion accessory these factors were rich sources of inspiration.

Many historical factors contributed to the evolution of 20th-century shoes. First, the rise of international relations promoted foreign influences, while large world fairs, in which French couture participated, facilitated artistic exchange. Second, Haute Couture fashion shows and the informative role of fashion magazines, spread by photography and film, were among the principal agents of change. To these factors must be added the growth of sports and the introduction of the automobile. Additionally, a wealthy French and foreign clientele that only wore custom-made clothing and shoes continued to exist alongside the booming apparel industry, a phenomena that enabled mass production of Couture-inspired fashions accessible to the largest number of consumers at lower prices, which in turn promoted the growth of the shoe business. In this way names like André and even Bata became the pride of footwear’s mass-market. The impact of the two world wars would also be considerable. Finally, the advent of Designer Fashion and technological innovations in footwear would carry shoes into the 21st century.

A number of events marked the years around 1900: the advent of the lady’s suit revolutionized fashion; the English craze for sports and fresh air established itself in France; and a bathing suit that included cloth ankle boots with rubber soles was transported to Etretat and Trouville. Women who risked bicycle riding dared to wear baggy pants inspired by bloomers (also a rage on the other side of the Channel) and caused a sensation by showing their feet in shoes, as observed in the painting The bicycle House in the Bois de Boulogne (Carnavalet Museum, Paris), painted by Jean Béraud circa 1900. From 1900 to 1914, couturiers proliferated, riding the wave of la Belle époque and the house of Worth. There were Paquin, the Callot Sisters, Doucet, and Lanvin, among others. Ladies of society and courtesans sunk fortunes into their outfits. The nouveaux riches strutted about, arrayed in their most beautiful finery, trying to project an image of their newly acquired affluence. Until 1910, the button or lace-up ankle boot of “gold,” beige, or black was standard for winter, whereas the covered shoe was worn in summer. Deep-cut shoes with Louis XV heels and a pointed toe box were the height of sophistication for evening, worn with matching dress and stockings. Elegance for men amounted to wearing button ankle boots, but low, top-laced shoes accompanied outfits for sports and casual wear. Most of these shoes were made by artisans scattered around Paris working in anonymity, making shoes rapidly, but skillfully, on demand, before the flowering of renown custom shoemakers became commonplace. The revolution in dress triggered by Paul Poiret eliminated corsets and shortened skirts. The wearing of straight skirts with soft, fluid lines inspired by the Orient cast a spotlight on shoes, which previously had enjoyed little visibility. The new style was reminiscent of the light clothes from the Directoire and Empire periods when shoes were worn exposed, revealing most of the foot.

90. Stitching factory, “Sigle & Co” in Kornwestheim (which will later be called “Salamander”) around 1910.

91. Last factory,“Sigle & Co” in Kornwestheim (which will later be called “Salamander”) around 1910.

92. Woman’s pump from shoemaker A. Gillet in the Charles IX style in garish green silk. Applications of gold kidskin. Louis XV costume heel. Paris, around 1928, 1930. International Shoe Museum, Romans.

93. Woman’s town sandal in kidskin coloured cream and red by A. Gillet. Platform sole covered with red kidskin. Paris, Summer 1935. International Shoe Museum, Romans.

94. Woman’s pump in silver kidskin. Design of pink dots and small green rectangles in geometrical spaces largely leaving visible the silver background. Covered Louis XV heel. Leather sole. Paris, around 1925. International Shoe Museum, Romans.

95. Mule, unsuitable for walking, in black kidskin and sky blue satin, small cabochon in porcelain. Height of the heel: 20 cm. Vienna, Austria, around 1900. Guillen Collection, International Shoe Museum, Romans.

96. Man’s bottine with buttons. France, from 1895 to 1910. International Shoe Museum, Romans.

97. Man’s bottine. Around 1912. International Shoe Museum, Romans.

Paul Poiret’s straight dresses also created a look that required a shoe with a more refined profile. World War I (1914–1918) disrupted the whole society’s living conditions. Women, for example, found themselves having to cover for men in the most diverse jobs. In this way they experienced a need to dress more practically in a fashion that allowed their feet unrestricted movement. Now highlighted, the shoe quite naturally acquired a new elegance. The Roaring Twenties succeeded the terrible war years. Women cut their hair and the short skirt claimed a definitive victory. Long boots and black stockings gave way to light-coloured stockings to set off new shoes available in all the colours of the rainbow. The Charles IX style began its long reign. The low-cut shoe with the Louis XV heel came to be worn mainly in the afternoon. For evening, it was either of a matching fabric to go with the gown, or of gold lamé or silver.