Bossan The Art of the Shoe

1. Auflage 2015
ISBN: 978-1-78310-733-9
Verlag: Parkstone International
Format: EPUB
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 546 Seiten

Abandoning a French look on the subject, Mrs. Bossan, the author, develops her study with a dichotomous vision: that of time that touches the history of mankind and that of geography and sociology, which lead to an almost ethnographic analysis. The author dissects the shoe and all that surrounds it: from its history to painting and literature. After this book, it will be difficult to publish a book with a more complete treatment of the subject. Illustrated with an iconography that is exceptional both for its aestheticism and the pieces chosen, this book is a reference for historians, sociologists and for the fashion victims and designers...

Autoren/Hrsg.

Bossan, Marie-Josèphe

Leseproben

2. Aviator Boots, c. 1914, France.     Introduction
The Shoe: Object of Civilization and Object of Art
    Aside from noticing a shoe for its comfort or elegance, contemporaries rarely take interest in this necessary object of daily life. However, the shoe is considerable in the history of civilization and art. In losing contact with nature, we have lost sight of the shoe’s profound significance. In recapturing this contact, in particular through sports, we begin its rediscovery. Shoes for skiing, hiking, hunting, football, tennis or horseriding are carefully chosen, indispensable tools as well as revealing signs of occupation or taste. In previous centuries, when people depended more on the climate, vegetation and condition of the soil, while most jobs involved physical labour, the shoe held an importance for everyone which today it holds for very few. We do not wear the same shoes in snow as in the tropics, in the forest as in the steppe, in the swamps as in the mountains or when working, hunting or fishing. For this reason, shoes give precious indications of habitats and modes of life. In strongly hierarchical societies, organized by castes or orders, clothing was determinant. Princes, bourgeoisie, soldiers, clergy and servers were differentiated by what they wore. The shoe revealed, less spectacularly than the hat, but in a more demanding way, the respective brilliance of civilizations, unveiling the social classes and the subtlety of the race; a sign of recognition, just as the ring slips only onto the slenderest finger, the “glass slipper” will not fit but the most delicate of beauties. The shoe transmits its message to us by the customs which impose and condition it. It teaches us of the deformations that were forced on the feet of Chinese women and shows us how in India, by conserving the unusual boots, the nomadic horsemen of the North attained their sovereignty over the Indian continent; we learn that ice-skates evoke the Hammans while babouches suggest the Islamic interdiction to enter holy places with covered feet. Sometimes the shoe is symbolic, evoked in ritual or tied to a crucial moment of existence. One tells of the purpose high-heels served: to make the woman taller on her wedding night in order to remind her that it is the only moment when she will dominate her husband. The boots of the Shaman were decorated with animal skins and bones in order to emulate the stag; as the stag, he could run in the world of spirits. We are what we wear, so if to ascend to a higher life it is necessary to ornate the head, if it becomes an issue of ease of movement, it is the feet that are suited for adornment. Athena had shoes of gold, for Hermes, it was heels. Perseus, in search of flight, went to the nymphs to find winged sandals. Tales respond to mythology. The seven-league boots, which enlarged or shrunk to fit the ogre or Little Thumb, allowed them both to run across the universe. “You have only to make me a pair of boots,” said Puss in Boots to his master, “and you will see that...