HAUTE COUTURE SHOES
What does it mean for something to be considered "fake" or "real"?
Is there a difference between fake and real?
Is authenticity a subjective or objective quality?
Who gets to decide what is authentic and what is not?
Is fake real for someone else and vice versa?
Do we define authenticity based on the material makeup of an object or the intentions behind its creation?
Tutors Kärt Põldmann and Kaspar Paas
2017
I was really inspired by the work of artists like David Bielander and Daniel Arsham, as well as personal experiences with insecurity and the passage of time.
Bielander's innovative use of materials, such as his fake cardboard bracelets, challenges conventional ideas about what makes something "real" or "authentic". At the same time, insecurity due to (visible) aging has been a huge question to the societal norms and expectations that shape our understanding of what is authentic. Is authenticity tied to youth and perfection, or can imperfection and vulnerability also be authentic qualities?
In the beginning of the project my aim was to create a shoe with unconventional tooling, so I started playing around with different materials I had on hand by placing them randomly under a shoelast to see which interesting shapes this exercise would create. As I continued to refine my ideas, I turned to clay as a medium for further exploration and experimentation. This allowed me to focus on specific details and control the outcome a bit more, while having fun and pushing the boundaries of what was possible with this project.
During a visit to my tutor in his studio, I was struck by a handmade shoe where the upper was made completely from one piece of leather with no stitches. Inspired by this innovative technique, I immediately wanted to try it, but take it even further: not only is the upper from one piece, but the sole as well. Through a process of trial and error, I eventually succeeded in bringing this vision to life, resulting in a shoe that seamlessly blends the upper and sole into a single, unified piece.
Part of the project was to create a simplified version of the haute couture shoe that could be produced on a larger scale. While haute couture shoes are unique, with each pair featuring distinct folds and variations in leather, I wanted to create a design that could be replicated with more uniformity.
To achieve this, I developed a commercial shoe featuring a symmetrical sole made from EVA with a rubber outsole. The throat and eyestay were also made symmetrical, and the upper was designed with a stitch on the back to minimize material waste. While this design may lack the one-of-a-kind nuances of a haute couture shoe, it offers a more streamlined and efficient production process without sacrificing style or comfort.
