Friday, August 22, 2014

Kinetic Traces by Silvia Fado Moreno

Kinetic Traces collection by Silvia Fado Moreno, graduate of the London College of Fashion, has developed a new line of shoe wear that aims to create extreme comfort and wearability using the magic of technology. To create these new heels, Moreno took a close look at impact absorption. She studied traction, durability and shoe weight, and then added rubber balls and springs to familiar styles of heel. This project brings sports footwear fundamentals to high-end fashion as sports footwear are based on function and wearability, both very important elements for design features that must interact with the body and be usable by the wearer. She crafted the shoes with a combination of metal, leather and wood-work, taking advantage of the latest techniques in 3D printing and milling as well as in laser cutting.

Yasmine Mustafa's Roar

Yasmine Mustafa is the head of the Philadelphia chapter of the Girl Develop It program and has recently designed a new form of wearable technology to be worn by women who want to feel self assured and empowered everywhere they go. Inspired by Katy Perry’s “Roar” and the confidence it gave her, she has called her mobile gadget Roar. Mustafa is one member of a team of five currently working on a version of the small mobile device that works as a flashing light and a high pitched alarm in the event of an attack. The Roar wearable technology is a small and lightweight module that is about the size of a quarter and can be attached to nearly anything, from clothing to shoes, from handbags to jewellery, or even to a Smartphone. Button activated not only will a light and alarm sound but a text message with a link to the location of the wearer is also automatically sent to the people who have been pre-programmed into her contact list. According to Mustafa the device can also activate a call to 911 emergency services.

Thursday, August 21, 2014

Official Event Sponsorship versus Ambush Marketing

Adidas were well represented at the recent FIFA World Cup final when finalists Germany beat Argentina to win the Adidas-sponsored World Cup. However arch rivals Nike yet again stolen much of their branding thunder. More than half the players in the competition were wearing Nike’s brightly-coloured shoes and it was one of Nike’s new lightweight “Flyknit” boots worn by Germany’s Mario Goetze that volleyed in the winning goal. The branding wars have continued over many decades now and experts believe Nike leads because it has more attractive products and marketing experts who can manipulate social media.

Much of Nike success has to do with their expert manipulation of ambush marketing. Nike’s animated film “The Last Game”, featuring soccer stars Cristiano Ronaldo and Neymar on a quest to save football from the hands of a villainous mastermind, became one of Facebook’s most shared posts ever.

After recently issuing its third profit warning in a year, Adidas intend to boost spending on marketing to about 13 percent of sales in 2014 and to between 13 and 14 percent of sales in 2015. The company also want to give marketing experts more responsibility and bring them closer to sales and product development staff. Adidas spent 12.4 percent of its 2013 revenue of 14.5 billion Euros (11.54 billion pounds) on sales and marketing, up from 12.1 percent in 2012 and already well above Nike, which spent 10.8 percent of sales of $27.8 billion in the year to May 31. In 2013 the value of the Nike brand rose 13 percent to $17 billion, making it the world’s 24th most valuable brand, according to consultancy Interbrand, more than double the value of Adidas on $7.5 billion.

Las Vegas Platform shoe show review by Scott Ohsman. Hidenet reporter

Sunday, August 17, 2014

Dannijo Shoe Jewelry Collection

Jewelry designers Danielle Snyder and Jodie Snyder Morel are adding shoes to the Dannijo brand. The collection, due out for spring, also marks the sisters’ first project working with a licensee, Eric Rutberg of Transparent Footwear Inc. The initial offering will cover 24 styles, including sandals and booties, with prices starting at $250.

Saturday, August 16, 2014

En Brogue :Love fashion, love shoes, hate heels

En Brogue :Love fashion, love shoes, hate heels is a new book by Hannah Rochell . The author is the fashion editor of InStyle magazine and has previously worked as fashion writer and stylist at The Times. She loves fashion but hates wearing heels. Her new book, En Brogue M gives a detailed outline of shoes from brogues to boots, pumps to penny loafers, slippers to sandals, En Brogue honours forty styles of shoes with beautiful hand drawn illustrations, quirky photographs and fascinating facts about the history of her favourite flats.

Friday, August 15, 2014

Shoes of Prey

Shoes of Prey was launched in 2009, offering footwear fanatics the opportunity to design their own perfect pair of shoes. The company has specialised in flats, heels, wedges, sandals, boots and more. The process is easy and fun. Using the Shoes of Prey 3D DESIGNER customers choose the shape, colour and height of their shoes. Designs are handmade within five weeks and delivered worldwide. The complete order is available within four week .

Shoe Heaven Harrods

Harrods has unveiled a brand new footwear department, named Shoe Heaven. Located suitably high-up, on the fifth floor of the Harrods store in London is 42,000 sq ft, and contains 17 footwear boutiques with collections from over 50 of the biggest luxury brands including Christian Dior, Chanel, Christian Louboutin, Valentino, Manolo Blahnik and Louis Vuitton. The luxe marble-floored space was designed by the late David Collins. Alongside the shoes and the displays, the space also contains velvet banquet seating and private shopping suites.

Wednesday, August 13, 2014

Swinging Sixties Shoes

After the deeply sexual couplings of rock & roll, the '60's brought a very strange phenomenon i.e. a dance with absolutely no body contact whatsoever. Permissive society had arrived so there was no need to simulate sex within dance. Young adults adapted the rhythms of R&B and moved the 'in crowd' from dance halls to small clubs called discos. The Peppermint crowd twisted. The dance was unique and described movement from the shoes in a left and right fashion as if stubbing out a cigarette. This was co-ordinated with swinging the arms and hips as if an imaginary towel was drying the back. Clothes became more tailored and suits were the order of the day for both genders. Wrinkle pickers or needle point shoes replaced the cumbersome crepe soled shoes as hemlines rose and tights became vogue. Men sported lightweight streamlined shoes with dandy looks yet menacingly dangerous. The winklepickers were the second generation rock shoes with girls in the stilettos (high heeled pump with a sharp edge, top and tail).

Pointed toes were a reworking of the notorious poulaines of the Middle Ages. These were outrageously phallic and distinctly male. Courtship took place on the dance floor and ability 'swing right' was caught in many of the contemporary lyrics e.g. Let's dance by Chris Montez and Twisting the Night Away by Sam Cooke.

In 1961 the champion of the Twist was Chubby Checker who wore two tone basket weave boots on stage. Between the years 1960-63 Tin Pan Alley kept cash registers filled by adhering to the tried and tested music of previous decades. Greater emphasis was placed on the electric guitar but the music stifled originality. Conventional artists wore tailored suits and patent leather shoes on stage but the beat generation in the UK was metamorphosing in the clubs and cellars of Hamburg, Germany. Women's hemlines became even shorter matching the length of men's jackets. Tight fitting bolero suits (or bum freezers) were worn by men and two piece outfits for women were accompanied with trendy pointed slip on's. Better off kids wore loafers which were the fashion of the Ivy Leaguers. Court style shoes took on in the sixties when Jacky Kennedy and Audrie Hepburn made them “the shoe.” Bought from Rene Mancini in Paris, everyone had to have a pair. Jackie K’s ordered four pairs per month but this dropped to 2 pairs after her marriage to Onassis.

By 1963 the world had gone mad for boots with Cuban heels. Lads in tight pants had buns to die for and when the Beatles adapted the tailored jacked in the German collar less style a new age teenage phenomenon followed. At first the Beatle boot were pointed but as the fashion became ubiquitous then the toes began to widen and the Chelsea boot or chisel toe became vogue. This reflected the general popularity of the Mersey Sound as it geographically moved from its parochial centre of Liverpool to the more sophisticated, metropolitan London and beyond. The Beatle Boot was less macho than its predecessors. Whilst not effeminate it was distinctly a softer less aggressive style that brothel creepers and winkle pickers. The boots often incorporated a French seem or central stitch running from ankle to toe on the upper. In the convention of symbols this referred to female genitalia rather the phallic long toes of winklepicker shoes. Beatle attire was the brainwave of manger Brian Epstein who was keen to custom the traditional stage clothing with a youthful look. Epstein had the original Beatle Boots custom made by stage clothiers and the Fab Four wore them in leather and suede.

If the Beatles were the conventional side of pop then the Stones were definitely their nemesis. Anarchy ruled, or at least so it was portrayed, and the scruffy London quintet expressed their individualism on stage by wearing clothes that suited them. Perhaps the only physical link that united the five piece band was the sneakers they wore.

Once the Mersey Sound peaked in 1964, most male singers were resigned and groomed for cabaret which left an opening for girl groups. Tights and miniskirts meant legs became the focus of attention and the longer the better. Although definitely not the first girl group the Shangri-las captured the sultry look by wearing slacks and high heeled ankle boots. Only solo female artists had the confidence to appear in miniskirts with long high heeled boots.

Jim Proby (stage name P J Proby) will probably be best remembered for his trouser splitting performances on the ill fated, English tour (1965). However his sartorial style was more a reflection of Henry Fielding's 'Tom Jones'. The bawdy adventures of the eighteenth century Jack the Lad was captured on film and Proby management was quick to cash in. Soon young men were wearing high heeled, low cut buckle shoes similar to those worn by the Sun King (Louis IVX). Just like the original style buckles fell from favour when the fashion for boots took over. Earlier P.J Proby wrote the hit 'Clown Shoes' for Johnny Brunette and might have been referring to the short lived shoe fashion he was later to be connected with. Jim Proby’s other claim to fame was before becoming solo he reputedly sang demos for the Memphis King, Old Blue Suede Shoes himself.

But the mid-sixties exuberant youths could be divided into two rival factions: the nouveaux moderns or Mods who were followers of black music and designer clothes; and the macho rockers, or neo Ton Up boys, formerly Teddy boys. Both styles started in the fifties but now there was a critical mass of teenagers to support a dual culture. Needless to say they did not enjoy each other's company or their favourite music and took every opportunity to rumble. In England they terrorised the coastal towns with enormous running fights. As mods and rockers fought over the beaches of south coast England they wore the trademarks of their generation, i.e. boots verses shoes. Mods wore designer shoes or light dessert boots to protect their ankles from the hot exhausts of their Italian scooters; Greasers continued the sport swashbuckling styles of the earlier Ton Up boys with knee length leather boots, tight jeans, white T shirts and leather jackets.

Few in the fashion industry could predict Mod fashions and for a short time anyway, chaos ruled in the rag trade. Youth offered a healthy group of consumers and as the sixties progressed style reflected individualism and the capital of fashion became Carnaby Street, London. The '60's Look was marketed with dedication and flair; soon the world spun into high trendy fashion.

Sandy Shaw was pop diva with a difference; she never appeared on the stage wearing in shoes. Instead she preferred to sing barefooted. Sandy had perfect feet unlike, Eve Graham from the New Seekers. Poor Eve had troublesome bunions and insisted on wearing long dresses to cover her feet. Naturally the fashion for classic long line fashion followed in the 70s.

Most young idealists followed the road to enlightenment and self discovery and many rejected materialism displaying this symbolically by going barefoot. The thong became part of the accepted outfit along with kaftans, bells, loons and Afghan coats. Woodstock, was the highest achievement of rock culture in the 60s. The cream of the pop culture were there and doing their own thing. Hippies and rockers mixed in what was three days of love, peace and music. With unpredictable weather the thong or barefoot was definitely the foot dress of choice. My own favourite Joe Cocker was there and the Sheffield tour de force sang his heart out with arguably one of the best Beatle covers, ever. He did it wearing boots decorated with a stars. Ironically Joe carried on the Beatle tradition for boots to the next decade.

The popularity of 'Easy rider` assured the urban cowboy image was legitimised and the Hollywood cowboy boot became a macho icon for ever.

Anaheim Shoe Story