Shoe Lasts Australia

After much deliberation I finally made the trip out to Thomastown to visit Bruce Miller of Shoe Lasts Australia. I found out about the company though Leflers and called Bruce way back in April. He said that one-off lasts were available either new or second hand in a range of different sizes, toe shapes and heel heights, all I needed to do was bring my upper pattern and get to Thomastown. So on thursday, a train, a bus, a walk and quite a time later I arrived to see Bruce. After panicking that I'd mistaken my directions I found the factory and upon entering could hardly contain my excitement- there were shoe lasts everywhere! Including heels for Emma The Shoemaker (a young shoemaker I discovered via Craft Victoria's Shoe Show in 2009).

Bruce was so friendly and helpful, and he had a great deal to tell me about shoe lasts, and shoemaking in Australia and in modern times.

Firstly, Shoe Lasts Australia is the only last manufacturer in Australia, so I felt very lucky to live in Melbourne. Bruce is the only last designer that he knows of. This is particularly sad because there is no one to succeed him, there is little interest in Australia and the only way to prevent the business from collapsing is to bring in someone from overseas. His factory is well equipped to produce commercial numbers, up to 200 lasts a day with twin last-turning machinery and a CAD last pattern making system being set up, but there isn't the demand. Most of Bruce's orders are for smaller quantities such as Emma the Shoe Maker's, but because numbers are limited Bruce is unable to charge the valued amount. Recently orders have been up because as Bruce asserted, the Asian manufacturing companies have been unable to keep up and brands such as RM Williams have been turning to him for help. The trend for clogs has also generated work for the factory with many designs for different shoemakers being made up in wood. This has meant business has been stable since last year.

I also learnt a lot about the lasts themselves. I knew most modern lasts were plastic, not wood. But Bruce explained that he still made wood lasts as the master pattern for the plastic ones to be copied and graded from. Bruce and two others make the lasts entirely themselves at the factory, starting with extruding the plastic for turning. There were so many different shapes and sizes that I really did realise the importance of a good last. I was after a very specific toe shape, similar to a peak toe as I discovered and it took a long time to find. While I'm very happy with my last, even after all that searching though boxes for the best one, there are minor details of my last that I would change.

Now I just need to work out how to use them- I think a practice shoe is in store. I'm a bit stressed because although I know that one of my uppers fits well, I'm not so sure about the other and I don't have enough leather to cut another set, nor enough time for that matter...

The first of the finals

One of my favorite shoe designs: a leather brogue combining fringing and weaving. A full trial of the the laser cut shoe with all pieces cut out with the laser cutter.

The calico toile (excuse the lack of pressing...)

More fringing was added to the final patterns

The transfer of the paper patterns to illustrator was a boring and painful process but the excitement of seeing my pieces cut out on the laser cutter made up for it. There were a few problems along the way such as the laser not fully cutting through sections of the leather meaning I had to go over it by hand with scissors where possible or recut pieces again separately, defeating the purpose of my laser cut pattern. Some of the pieces are a little charred but overall the result is neat and precise.

The pattern pieces:

The weaving was perhaps the most successful part of the laser cut process, also probably the most time consuming. The fringing I had a bit of difficulty getting to look neat when joined to the rest of the shoe. I just need to bind the edges of the quarter and attach the sole.

laser beams

The laser cutter is a wonderful product of modern technology, combining computer programing with precision cutting, it offers a world of possibilities. It also provides a savvy way to emulate the appearance of traditional leather crafts in an efficient way. For example, fringing, weaving with strips and slats, perforations, etc. I wonder whether the use of a laser cutter in artisan shoe making could be a way to modernise an age-old craft- a reverse of the brief: how can craft inform contemporary design? to how can design and modernity inform craft?

I like the idea of designing and making alongside the laser cutter. Design ideas are drafted in paper patterns, toiled, then converted into illustrator vector files which are used for the laser cutter to cut and decorate the leather. The concept is reminiscent of Issey Miyake's APOC the way the design is contained entirely in one image, and from that image all components of the shoe can be created, from 2-dimensional to 3-dimensional.

In my first trial on the laser cutter I tested a range of techniques I was interested in using in my shoes. These included crescent shapes, 'cheat's weaving', fringing and perforations. Most were successful and the results were good. What disappointed me was the markings left on the leather from the laser beam and the way the burning left the leather quite brittle in parts.

Some things to consider with laser cutting are:

• When does a hand craft stop being a hand craft? is it simply as soon as machines are involved or is is only when there is little to no relationship between the human maker and the product.

• Does laser cutting destroy this handmade quality, both in the final outcomes and the joy and satisfaction experienced by the craftsperson?

• By laser cutting, is due respect paid to the materials (leather), and if the integral tactile experience of working with the materials is lessened does this lessen the value of the craft?

• Can laser cutting increase the potential to have a sustainable and viable shoe-making business by economising on time and possibly money (through less mistakes, fabric wastage, etc)?

Jamie Nelson

Last week I attended a lecture at RMIT Brunswick where shoe maker, Jamie Nelson was the guest lecturer. An ex-RMIT student, she studied the footwear course at Brunswick while doing an internship at Preston Zly. She has since worked at Birkenstock where she designed a limited edition Melbourne range. Her latest venture has been an eighteenth-month Masters degree which she undertook at the London College of Art.

Aside from having incredible technical knowledge (she was at Preston Zly for five years), Nelson's work is really beautiful. Her Master's collection in particularly amazing. The heels of her shoes are based on a technique common in shoe making that, if I understood correctly, involves using wood and leather to give the illusion of a leather-stacked heel. She chisels out part of her wooden heel and then inserts leather which takes up dye at a different rate to the wood creating this wonderful variation of colour. Her shoes are also decorated with weaving and knotting details.

The concept of her work is very interesting too 'Pretty Boy, Handsome Girl' presents two pairs of shoes that continue into pants, a male version and a female version. Devoid of conventional gender stereotypes the work 'explores the aesthetics of androgyny while referencing narrative of future hybrid asexuality'.

What I took away from the lecture, other than a state of awe and inspiration was also Jamie's comments on artisan shoe making. During question time I asked her where she thought the future of artisan shoes where heading and response was well considered. She said that in Melbourne in particular, she thought there is a strong niche market that will always want something different and special, and is dedicated to supporting artisans. But she also mentioned that after doing her masters where she handmade everything, she would outsource in her own business. Her reason for this was that she felt when she was making everything she was limited creatively because she was constantly designing within the parameters of her skills, the ability to outsource would mean that she could be more experimental.

the improved pattern and the sole, part 2

Thinking that the leather might stretch more to accommodate the sole, I toiled it in leather. I found a new leather machine that is much friendlier than the first one, and the result was a lot neater (it helps when I can operate the machine...).

The sole was still too big. I think I need to shrink it a bit, and perhaps make it less pointed because its looking a bit silly as it is. This is also where my moulded leather comes in. With the toe section of the vamp moulded, the overall appearance of the shoe would be much better. I like the double-layered sole.

the improved pattern and the sole, part 1

I converted the pattern of the shoes I traced on the calico into paper patterns and toiled them again in calico to see that all the pieces fit together, which they did. However, when I attached the sole I found that the sole pattern had grown when it was made in wood and so the shoe upper got a bit stretched...

Fixing the pattern

All of my previous shoe uppers have been a bit wonky, and just not perfect. So its high time I fixed the pattern. I worked out a new, more accurate way of tracing pattern pieces off existing shoes thanks to our good friend Jan Jansen. Using calico to cover the entire shoe, this is how it works:

Once stretched over the shoe the calico can then be drawn on, either tracing the existing design lines of the shoe underneath, as I've done here, or, with a new design.

The calico can then be removed and there are the pieces, just needing a little adjusting and tracing off.

this has been very hard without a sole...

Into the shed to make some soles out of wood.

Using a jigsaw, which I almost got the hand of by the end, I cut out the shape of my sole in a solid piece of pine.

Test 1:

When given the 'walking test' this sole didn't really hold up, literally. Not surprisingly, it didn't move with the foot and that includes lifting off the ground simultaneously with the heel- a big problem because it causes strain on the shoe upper...

I then cut a line just after the arch and before the ball of the foot to create flexibility. Incidently, I snapped the sole just after the heel but decided to trial it anyway and discovered that this extra break in the sole is actually necessary. I used strips of leather to tack the pieces of wood together, in a prototype I would use one single piece, covering the entirety of the sole.

Test 2:

This sole was far more successful in the walking test, quite comfortable too. But I did learn the importance of the break positioning. This must have been not quite right because it pushed my foot off the back of the sole. Also I wonder what would happen to these shoe if you walked over gravel, would stones get stuck?

The next experiment was to join multiple soles together, creating a thick base. Starting with just two, I used wood glue and a clamp to join them. My jig sawing was a little inaccurate so the two soles didn't quite match. But this just meant I had to sand off a bit more in some areas, hopefully I didn't change the shape of the shoe too much...

walking in this shoe was tricky, just like the first experiment but worse. So I cut off the under side of the toe and heel to create more of a boat, rocking-horse like shape. Now they're very reminiscent of Vivienne Westwood's shoes. But quite functional to walk in.

I tried emulating the same technique on a single layer of wood but not only was this really dangerous (on the rotary saw), it did have the same effect because the angle was too small. I even tried chiseling out a section for the ball of the foot, and while this increased comfort it didn't make walking any easier.

Leather Moulding- learning from looking and listening

This is a rather challenging prospect without a shoe last but I've tried it on my trusty shoe keeper and now I know it works - stretching, moulding and 'setting' leather.

At uni:

I experimented with this red leather first just by playing with it, stretching it and moulding it by hand. I had watched a short film on the Hermes website showing a man making gloves, so I copied the way he stretched the leather, anchoring the piece with one hand and pulling it with the other, dragging the leather over the table edge, etc. It worked well and I was surprised at how stretched the leather could become (this realisation worries me a little because I think of what would happen to my shoes if I didn't stretch the leather enough while making them... sloppy brogues...). I put these little wrinkles in at uni just to see, I like the effect but I'm not sure whether there is room for it in my collection...

At home:

I tested the technique Aly had told me about in class, which is wetting the leather before stretching it and then sewing it to secure it while the leather dries out. Aside from making a bit of a red mess where the dye leaked, this was a success. I might have over stretched the leather because it became a bit rough in parts; and leather does become quite stiff too but I think this would be a good little technique.

I'm going to go back to the library to find out more.

Weaving

I went on a bit of a tangent last week. I just got so excited about my little shoe keeper and my excursion to Leflers and NWS Leather that I couldn't help myself. I wanted to play with leather moulding and weaving and it all came out in this shoe last week.

I started off by stretching strips of leather across the shoe keeper and securing them with masking tape to keep it tight.

As I went along I learnt a lot about the kind of shapes needed to cover the shoe. Strips going up the foot needed to increase in width from the toe, and strips going across the foot had to be wide at the sides of the foot and narrower over the top.

Once I'd finished the weaving I was faced with the dilema of removing my work in one piece. So paranoid, I covered the whole thing in tape and sewed a stitch around the base of the shoe using the leather machine (a thoroughly scary thing that takes off...)

My patterns were a little off for the rest of this shoe- i think my quarters are too short... and still I have no sole. But otherwise a good little tangent to follow. More designs to come.

Latest Shoe

I made this one this afternoon. I had the idea to have multiple layers over the tongue, so i cut a whole lot of new quarter pattern pieces in varying heights and lengths (5 in total). I then sewed them with one side of layers full attached and the other only partially. The partially attached experiment was more successful I felt, but still not quite what I had envisioned. Getting there though. I was very impressed that the machine was able to sew six layers of denim. Time to get some leather and wood going.

Shoes to Boots

These are my second and third toiles. I extended them to reach the ankle bone, more like a boot. The first bootie was too big around the ankle and gaped a bit, so I added darts and took out some fabric for the next pattern which worked quite well. Still not perfect, I'd like to change the toe shape and maybe create a bit more room in the front of the shoe. But it's time to experiment next.

The second toile (first bootie):

The third toile (second bootie):

'Master of Shoe Design'

Jan Jansen.

He has been doubed 'Master of Shoe Design' and not without reason. Coming from Holland, trained in Italy and equipped with all the skills of a traditional shoe craftsman it's little wonder he has been successfully making shoes since the 1960s. This wisdom combined with an fantastic imagination have produced some of the most forward-thinking designs over the past decades.

His shoes are often described as whimsical with their bright colours, and shapes that extend from the shoe. There is a humour to his work whether it is influenced by Dali's surrealism ('Kiss me on the couch', 1979) or pop-culture such as The Beatles ('Norwegian Wood', 1993, 'I'm Looking Through You', 1973).

What excited me most about Jansen's designs was his soles. I'm a little obsessed with soles at the moment. But Jansen's soles are so inventive and so varied too. From traditional pump heels, to wooden clogs, rubber, plastic and a particular favourite, bamboo. It is his use of wood and bamboo that has inspired me most because these are materials I'm interested in using myself.

Aside from the soles, his shoes are mostly made of calf leather with pigskin linings, he uses goat and sheepskin too. When designing a shoe, Jansen notes the importance of colour, material, etc, but emphasises the last with particular significance. For Jansen the last 'represents the beginning and the end of a shoe', so it is vital that the last is accurate before anything else. Here are some of his designs, it's no suprise my favourites are mostly from the 60s and 70s...

'Build me Up' on the cover of Panorama, December 1972.

This shoe was designed so that the soles could be added or removed and interchanged. However, unlike this photo only two soles could be worn at once because otherwise the wearer couldn't walk.

'Woody' on the cover of the Holland Herald number 11, 1969. Jansen's best-selling design.

'Rattan', 1973. The bamboo shoe!

The other interesting thing about Jansen is the business side of his creations. He is as he says 'a one-man company', everything is done himself. He has never had a design assistant or business partner and he attributes this to not being able to deligate, 'my way or not at all' were his words. From a business point of view this would limit production enormously. Something Jansen acknowledges in his view 'creation is more important than running a company'.

Picture of Jansen, Panorama magazine cover and Holland Herald cover taken from 'Jan Jasen: I live, sleep and breath shoes'. T.Dop, L. Bonekamp. 2007. Terra Lannoo. Netherlands.

'Woody' and 'Rattan' images from www.janjansen.com

My First Shoe

Below are images of my first ever hand made shoe, made by me. It's a single shoe that is very simple. I cut the pattern from a pair of brogues I was wearing at the time and sewed it just using the straight sewer.

There were two main aims in this experiment. The first was to test this technique called Veldstschoen Construction. I read about it in my shoe-making manual from the library, it is also known as the stitched-down method because the lasting (seam) allowance is turned out and stitched to the sole, much like a desert boot style. I saw it as a really useful technique that could easily apply to the less conventional shoe making methods I will probably employ, such as hammering my shoes to their soles... The second aim was very straight-forward, simply to see whether I actually had any hope in making shoes. If this little exercise was a miserable failure, I was ready to abandon my persuit of shoemaking. But, while this shoe is not perfect it's a start that I'm not too unhappy about.

Preston Zly

The Lolice shoes were so exciting that I started to think about shoe making as a craft. The old name, Cobbling. I looked for handmade shoes in my city and the people who make them and I came across Preston Zly.

The cobbler duo are a couple, designer and shoemaker, Joanna Preston and sculptor, Petr Zly. Preston began making shoes out of her great love for them, and the difficulty she found in finding well-fitting shoes for her extremely narrow foot. She learnt her skills from the late Bulgarian master craftsman, George Koleff who was tutoring in Adelaide at the time. In 1993 Preston launched her bespoke shoe company and in 2000 Zly became an official business partner and Preston Zly was born. The pair produce shoes out of their Smith Street studio and stock in their store The Signet Bureau, which is on Gertrude Street.

Taking inspiration from historical footwear, ranging from 1930s silver screen glamour to the swinging 1960s, their works are realised in leather, wood and synthetic materials, often in bright colours. Preston's skill combines with Zly's sculptural perspective to create shoes that are not trend-focused, presenting new and unconventional shapes and forms.

Here are some designs from the 09/10 summer collection, Sea Breeze:

'Aeon'

'Avignon'

'Angelica'

And from the current winter collection, Out of The Box:

'Ruched Clara'

'Marlene Wrap'

Preston and Zly have also collaborated with other designers including Akira Isogawa (particular favorites of mine), and Material By Product, for who amazing tatooed Avignon shoes were developed. Here they are:

These images were sourced from the Preston Zly website, www.prestonzly.com.

Material By product image from www.ngv.vic.gov.au.

Much of the information came from an article I read on handmade shoes in Melbourne, 'When The Shoe Fits'. Gina Morris. The Age. May 27, 2007.