The Art of the Shoe. Marie-Josèphe Bossan

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СКАЧАТЬ 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.

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