{REST Your FEET }
November 3 – December 12, 2008Opening ReceptionWednesday November 5 {5:00-7:30 PM}
Leonard Pearlstein Gallery Antoinette Westphal College of Media Arts & Design Drexel University, 33rd & Market Streets, Philadelphia, PA
Exh
ibitio
n &
Sp
eake
r Se
ries
ACKNOWLEDGEMENTS
We would like to thank Abbie Dean, Director of the Pearlstein Gallery
advisory board, and Clare Sauro, curator of the Drexel Historic Costume
Collection (DHCC), for their discerning eyes and intellect that played
an important part in the outcome of the exhibition. To Jody Graff,
whose patience and expertise in designing and organizing the catalog
is without compare, we could not have done it without you.
Special thanks to Dean Allen Sabinson, AWCoMAD; Jacqueline
DeGroff, Curator, The Drexel Collection; Kristina Haugland at the
Philadelphia Museum of Art; Barbara Williams at Temple University
School of Podiatry; Kristen Mattioni at Design Within Reach, Phila-
delphia Studio; Mary Cuirllino at Herman Miller, Inc.; David E. Bright,
Heidi Azar and Mike Ippoliti at Knoll, Inc.; Robert Aibel; Sibby Brasler;
Gary and Janet Calderwood; Nick Cassway; Anne Cecil; Rena Cumby;
Genevieve Dion; David Gehosky; Joe Gregory; Paul Hirshorn; Walt
Kuenstler; John Levitties; Dino Pellicia; and Ephraim Russell.
In my house, where the woman is a Fashion designer and the man an Interior designer, the separation of collections is obvious — she collects the shoes and he collects the chairs. The sight of a spectacular heel can take her breath away, a brilliant chaise his.
The decisions of what to select are not always easy but the considerations of why and where/wear are the same. Are they beautiful, unusual, do they fit, do they match, are they comfortable, does that matter, is the color right, do we like the form, what is the purpose and finally — what do they cost ?
It is worthy of note that both Galen Cranz in The Chair and Bernard Rudofsky in The Unfashionable Human Body recognize similar concerns in the design of shoes and chairs. Whether standing or sitting for long periods of time, both affect our well-being. It is therefore logical to care about the form of a chair and the shape of a shoe for ergonomic and/or aesthetic reasons, despite the fact that beauty and comfort are often at odds.
Rest Your Feet has been a collaborative effort since its inception in the spring of 2007 in a conversation between Ephraim Russell, then gallery director, and me. It was initially conceived as an interdisciplinary effort involving the Fashion and Design & Merchandising Department, the Drexel Historic Costume Collection and the Architecture and Interiors Department but has since expanded to include the Media Arts Department as well. Through a grant from the College we were able to invite writers with varied areas of expertise to address the seating and/or footwear selected for this exhibition. Working with so many talented and motivated individuals has been an exhilarating experience. The accompanying essays consider everything from comfort to color to specific time periods, design and ergonomics as well as the narratives of shoes and chairs. It is our hope they will provoke discussion.
Take walk around the exhibition, view the catalog and please — Rest Your Feet!
ROBERTA H. GRUBER, Head, Fashion and Design
& Merchandising Department, Drexel University
Introduction
3
“Venetian” pump Delman, Black silk satin with glass and metal, Circa 1950s, USA, Lent by The Philadelphia Museum of Art, Gift of Francis J. Carey, III, 2002
Without a protagonist, a chair is merely a piece of architecture;
a shoe is just an inanimate object in search of a narrative. When
Goldilocks entered the picture, the three bears’ ordinary chairs
grew mysterious. Without Cinderella, the glass slipper would have
zero cachet. En masse, chairs and shoes become subjective and so
a news camera panning a kindergarten classroom slowly capturing
disorderly rows of abandoned, upturned chairs needs no voiceover
to confirm that something is terribly amiss. A mound of worn, dis-
carded shoes — laces untied, straps unbuckled — speaks of human
devastation and loss more gut wrenchingly than a torrent of words.
No other piece of furniture, no table, no armoire has a chair’s meta-
phorical receptivity. “Where is the chair you sit in?” demands writer
Henry Miller, in a passionate rant. “Where is your favorite comb, your
toothbrush, your nail file? Trot them out that I may devour them at
one gulp.” A single nightstand or bar stool can’t match the poignancy
of a lone chair when it’s used to objectify mortality. “And then one
day you too disappear,” writes spiritual teacher Eckhart Tolle. “Your
armchair is still there but instead of you sitting there, there is just an
empty space”. Because of their three dimensionality and anthropo-
morphic appeal, a collector may covet a high heeled pump for its
tapering throat or its curvaceous heel breast. A curvy leg, a broad
back and generous arms may account for the lure of a bentwood
rocker. Then there’s the implied heroism inherent in an object that
sheathes and shelters the body as shoes and chairs do.
An inherited chair is reluctantly given away because its weathered
upholstery and patina-ed armrests retain ghostly traces of a loved
one’s body. For the same reason, some of us comfortably buy thrift
shop clothing but feel inappropriate purchasing a pair of second-
hand shoes as if the aura of the person who died still abides in the
worn contours of its lining. We challenge an unsympathetic person
to walk a mile in our shoes so they can experience life from our
perspective but if, uninvited, they hang out in our everyday chair,
the one we exclusively use, we feel usurped and even threatened.
A woman rarely discards her shoes even when they no longer fit or
are no longer fashionable. Despite their faded silk uppers, wedding
shoes, stored in their original box, still trigger cherished memories
of a joy filled day. In order to relive the emotional monumentality of
our baby’s inaugural steps, we cast his or her first bootee in bronze.
Historically, shoes and chairs have always symbolized power. Leaders,
the modern day “chairmen”, early on assumed an unnaturally upright
yet dignified posture on straight backed thrones while their underlings
stood. To prove their importance, European nobility wore flimsy
Shoes and Chairs – ARCH ENEMIES
4
shoes or teetered on high heels while their servants donned sturdy
boots and performed the day’s manual labor. Discomfort and artifice
translated to status and wealth.
On an average day, we change our shoes at least three times and sit
in upwards of a dozen kind of seats and very few are comfortable.
Earth shoes, whose shapes originate from the outline of a left and
right foot rather than a symmetrical last, and ergonomic chairs, which
theoretically relieve the strain the hard work of sitting inflicts on the
spinal column, back muscles and internal organs, are bought by a
small percentage of the population. Most of us still opt for discomfort.
There are more than 500 versions of the Cinderella myth, which date
back to early Egypt. In each one a small foot is the embodiment of
female desirability, which may account for the fact that many women
buy shoes that are half a size too small. Folk lore, or maybe locker
room lore, purports men with large feet to be sexual studs while
women with large feet are sexual duds. In the immortal lyrics of Fats
Waller, “I don’t want ya ‘cos ya feets too big!” Sitting in a chair —
which social critic Bernard Rudofsky considered “an acquired habit,
like smoking, and about as wholesome” — strains the spine, lumbar
and diaphragm and is arguably as destructive to one’s health as
tight shoes and high heels. Unlike most chairs, shoe styles come
in different lengths and widths. A set of matching dining chairs,
expected to accommodate a family of different body shapes, weights
and heights is poorly conceived. Shoe couturiers like Manolo Blahnik,
who describes his creations as “controlled fantasy”, are rare.
Most, like Andre Perugia, see
their accomplishments as
feats of structural engineering.
“A pair of shoes must be
perfect like an equation and
adjusted to the millimeter
like a motor piece,” he said.
Similar terminology could be
applied to chair design, which
architect Mies van der Rohe
found to be difficult. “A
skyscraper is almost easier,” he said. “That is why Chippendale is
famous.” “Every truly original idea,” stated manufacturer George
Nelson, “every innovation in design, every new application of materials,
5
Evening shoe worn by Joan Rivers Manolo Blahnik, Black satin with gold leather, circa 1998, England, Lent by Temple University School for Podiatric Medicine Center for the History of Foot Care and Foot Wear Shoe Museum
every technical invention for
furniture, seems to find its
most important expression
in a chair.”
In the west, we spend the
majority of our waking life in
chairs and most of our walking
life in shoes. People in many
other cultures routinely enter a
home or sacred place barefoot
and view the habit of chair
sitting as a Western peculiarity.
In China and India, squatting
in public is de rigueur. It’s
common for the Japanese to
kneel while eating. In Turkey and the Middle East, business is often
conducted on a floor or carpet, with participants sitting cross legged.
During Tisha B’av, a Jewish day of mourning, observers forsake
leather shoes and chairs because they exemplify physical pleasure,
an opinion long shared by collectors.
Christies recently sold Marc Newson’s aluminum Lockheed Chaise
Lounge LC-1 for upwards of $1.5 million. By contrast, slippers designed
by Stuart Weitzman in 2004, encrusted with 565 platinum-set
diamonds, remain unsold. Despite their astoundingly high price tag
of $2 million, until they are bought, until they find a protagonist,
they are merely inanimate objects in search of a narrative.
LINDA O’KEEFFE, author of SHOES, A Celebration of Pumps, Sandals,
Slippers, & More; Creative Director at Metropolitan Home magazine
6
From the 1700s to the early 1800s, European royal courts reigned with power and influence, setting style and
taste for the elite. A person’s place in society was made known by dress and manner. These were Elegant Times for the well heeled and well seated.
The graceful silhouettes of shoes and chairs were both created
by gifted craftsmen using the finest materials.
The barrel chair, representative of a formality in 18th century
form, is upholstered in the most luxurious silks. The distinctive
barrel chair form was developed in England after the gondola
of Louis XV. The chair was made in various woods and wrapped
in silk from textile centers such as Lyon, France. The sensual
quality of the silk added the refinement, luxury and elegance
to the exposed wood frame.
Both the gold kid barrette shoe (1905) and the polychrome
brocade evening shoe (1918) feature the magnificence of
the “Louis” curved heel with its rich ornamentation. The
barrette shoe echoes the gilding and ormolu of fine furniture
while the evening shoe upholstered in silk brocade predicts
the new luxury of the 20th century, reminiscent of the painter
and textile designer Raoul Dufy. Both shoes are tastefully
embellished, expressing 18th century luxury and, with the
evening shoe, predict the revival of luxury as Art Deco
evolves in the 1920-30’s.
{ELEGA
NT Tim
es }
Evening shoe Hook, Knowles & Co. Ltd., Polychrome brocade with silver kid, Circa 1918, England, DHCC, Gift of Mrs. Upton Sullivan
Barrette shoes Sorosis Trademark Luxuries, Gold kid with glass bead ornamentation, Circa 1905, USA, DHCC
World events shape fashion, affecting every aspect of how we cover
our bodies, right down to the shoes we put on our feet.
In the early years of the 20th century, Paris was the Mecca of the
fashion world. During this time most dresses were made in two
pieces. Narrow feet were considered very fashionable, and both
men and women regularly wore shoes that were a full size too small.
Day shoes were typically high shoes or boots, and for evening, many
women wore a court shoe with a small Louis heel. These evening
shoes were sometimes embellished with embroidery or metallic
thread and glass or jet beading on the vamps, the only part of the
shoe visible beneath the voluminous skirt. Evening boots were made
from soft kid or satin, with rows of beaded straps.
From 1910 – 1920, events such as women’s suffrage, the roots of
Prohibition and the Great Influenza epidemic of 1918 fundamentally
changed American society. Dresses took on a whole new dimension.
The hobble skirt came into fashion, mimicking the “harem” skirts
of the Middle East. These skirts were rounded over the hips and so
narrowly tapered to the ankles that walking was difficult. Shoes and
hosiery also became more exotic and colorful. Paul Poiret, a popular
designer of the time, was heavily influenced by Eastern design and
colors and commissioned a line of Eastern-style jeweled slippers.
The Great War, 1914 – 1918, changed
people’s lives dramatically. Men went off
to fight the war and women were left at
home to run the factories. With increasing
independence and activity, women needed
practical shoes, and to meet this need, lace-up boots became
fashionable. Hemlines began to inch up with the wartime shortage
of fabric, and women’s clothing took on a more tailored appearance.
Shoes were constructed in leather mixed with colored canvas or
gabardine, and some leathers were reversed to form suede, or
were used with a kid or patent finish. Day and evening pumps
were embellished with removable buckles in cut steel, marcasite,
diamante or silver filigree. When the war ended, people’s interests
and needs changed. Fashion changed with the changing culture
and sportswear became increasingly fashionable, and U. S. Rubber
developed the first sneaker, called Keds, in 1917. It was a “stealthy”
shoe, with its rubber sole, which did not make noise as one walked.
The years from 1920 – 1930 were marked by Prohibition, jazz music
and a revolution in mores and values, especially among the young.
Footwear, 1900-1950
8
The “flapper” seemed free from all the restraints of the past. She
smoked cigarettes and drank alcohol, she “necked” in parked cars,
she danced the Charleston until dawn and she had a very different
look. Never before in the Western world had women worn skirts
revealing their legs. The foot became the focal point of fashion. The
most common style of shoe was a single-bar, buckled-strap pump,
with a pointed toe, sturdy high heel and one tiny covered button.
High tongues, cutaway decorations, crossover straps and T-straps
were all popular elements of shoe design. The discovery of Egyptian
King Tutankhamen’s tomb in 1922 also influenced shoe design of the
period. Bright, exotic fabrics and brilliantly dyed leather, including
metallics, were used to create some of the most fascinating shoes
ever seen! First designed as a shoe for children in 1927, the iconic
Mary Jane came into fashion. This shoe was a low-heel slipper made
of patent leather with a blunt toe and single strap over the instep
that fastens at the side, named for the shoes worn by the character
Mary Jane in the comic strip Buster Brown.
The movies were an escape from the harsh reality of the Great
Depression. Even though styles continued to change, few ready-
to-wear garments were purchased, as women began sewing more,
mending and patching old clothing. A softer, more feminine style
replaced the boyish 1920’s flapper look. Waistlines returned to the
natural position, and hemlines dropped. A variety of shoe styles
were popular during the 1930s: ankle-strap, lace-up, slip-on, buckle,
wedge-soled, and rounded-toe styles, as well as pumps and flats of
all description. The two-tone spectator shoe was a popular style of
the early 1930s, along with variations of fabric boots with molded
rubber soles. Late in the 1930s, the most incredible, magical shoes
of all times were created — the ruby slippers. Gilbert Adrian designed
the ruby slippers for Judy Garland to wear in The Wizard of Oz
(1939), and at least seven pairs were created.
Many costume historians believe that World War II changed the
world of fashion forever, cutting American designers off from Paris
couture, causing them to concentrate on sportswear. The war affected
all aspects of clothing production, as the manufacture of war goods
took precedence. Leather was restricted, so footwear designers
were forced to use every imaginable material, including reptile
skins, mesh, cork, and wood. Embellishments were at a minimum,
and many women adopted a practical, make-do philosophy, using
household novelties to embellish their shoes. When the war ended,
dressing down was over along with the austere silhouette of the
1940s. In 1947 Dior introduced the “New Look” and a return to
classic femininity in fashion, as we stepped into a new decade.
DESIRE SMITH, Author and Art Historian
9
Evening shoe Fenton Footwear, Silver floral-printed kid leather with gold kid and plas-tic, Circa 1930, USA, DHCC, 61.31.10, Gift of Mrs. Haig H. Pakradooni
Black is a subtle, sensual color whose effect on materials has intrigued and inspired designers and intrigued
philosophers for centuries. Black Magic has been a subject of debate since Aristotle stated black was the lowest of colors while white was the
noblest. This statement was challenged in 1584 when R.
Borghini’s “Il Reposio” asserted black is more noble than
white because it is unchanging.
In 1945, Alfred Porteneuve designed his chair with an eye for
perfection in the relationship of elements to a refined form
in a rich black texture that defines Black Magic. The nobility
of the black finishes are given sensuality by ebonized wood
accented with bronze mounts. Porteneuve reclaims the
tradition for luxurious furniture of 18th century France by
combining fine materials with meticulous attention to detailing,
proportion and balance. The chair is commanding in its
understated elegance with slender legs touching the floor
as lightly as a women’s foot in an elegant black shoe.
The unadorned severity of the Blahnik
black pump is an expression of sheer
seduction. In the 19th century, black was
the color of the working bourgeoisie
manifest in non-descript business suits, in the simple attire
of shop girls and in maid’s uniforms. At the turn of the 20th
century, black became the color of sleek modernity when
clothing was increasingly simplified to emphasize silhouette
and construction over applied ornament and color. Black
Magic transformed the drab uniform of the working class
into elegant eveningwear. These evening oxfords contrast
the textures of silk and black patent
leather to add interest and style to a
black palette as their tall shiny heels echo
the leg of Porteneuve’s remarkable chair.
{ BLA
CK M
agic
}
Red is the color of energy and passion, eliciting intense personal responses. A bold form in red commands attention
and comment. The 1930’s Art Deco chair, attributed to Michel Dufet, is truly Red Hot. Michel Dufet worked in two métiers: as Modernist designer,
interested in design for mass production embracing metal,
and as an Art Deco designer, producing furniture of exquisite
materials for the luxury furniture market. In the interwar years,
these two design philosophies both flourished, bringing a
diversity of styles to both ordinary people and to the privileged
elite. The crimson chair’s striking contour is delineated by a
continuous line of metal “beading” with the front legs adeptly
slicing into the chair’s arms.
In contrast to a black shoe which conveys
sophistication, a red shoe screams “look
at me!” Red shoes are eye-catching and
alluring, calling attention to legs and feet.
Shoe designer Christian Louboutin’s trademark scarlet soles
have transformed these VERY expensive shoes into instruments
of both seduction and status. Not only is the sole red, but this
entire Louboutin pump is covered in blood red patent leather.
With pointed toes and vamps resembling flames, the red
suede mules by Herbert Levine embody both the wicked
and the witchy. Red Hot indeed!
{RED H
ot }
11
Evening oxford Laird, Schober and Co., Black silk and patent leather with gold kid, Circa 1936, USA, DHCC, Gift of Mrs. Curtis Bok
Pumps Manolo Blahnik, Black silk satin, Circa 2006, England, DHCC, Gift of Sally C. Bleznak
Mule Herbert Levine, Red suede, Circa 1970s, USA, Lent by The Philadelphia Museum of Art, Gift of the estate of Myrtle M. Corbman, 2003
Pumps Christian Louboutin, Blood red patent leather, 2008, France, Anonymous loan
12
I wore my red shoes, wore my red shoes again…
Me and my red shoes. Nothing can please us.
Patty Griffin, Flaming Red
Culture, upbringing and personal preference influence what an
individual considers beautiful. Personal preference is influenced by
education, income and location. Our response to color is directed
by the same psychological stimuli that respond to beauty. Semir
Zeki, cognitive neuroscientist and Professor of Neurobiology at
University College London, argues “the psychological makeup of a
man depends on the neurological organization of the brain.” In his
study of the neural basis of creativity and the aesthetic appreciation
of color and form, he proves, by showing that we see different
attributes of visual input at different times, that color and form are
processed separately by the brain, color being processed first. Color
and form are intimately linked. Every turn in a form is accompanied
by a change of color as light is reflected more or less from the form.
Color can reinforce or diminish a design by accenting, neutralizing
or negating form.
Conditioned by cultural and ideological factors and perceived in
relation to memory and experience, color choices communicate
aspects of a person’s emotional status. Max Lüscher, a Swiss
psychologist and color consultant for industry, devised the Lüscher-
Color-Diagnostic® to objectively measure a person’s psychophysical
state and their ability to perform and communicate. As this field
of research evolved, other systems linking color to emotions were
developed, many of them contradictory. At this time no universal
standard exists, attesting to the complexity and variety of factors
influencing our reaction to color.
Black and white, the absence of color, can subordinate color to
form and shape. Black is a color of contradictions. It can be a color
of both submission and modesty, as in a nun’s habit, or authority,
as in a judge’s robes. The adjectives “sexy black” are a descriptive
convention for fashion meant to seduce. Because it absorbs all light
waves, textural distinctions are more apparent on black as in the
modulated surface of the Charles Jourdan hair calf boots and the
fabric of the Porteneuve chair. Delman’s crystal chandelier-heeled
“Venetian” pump and Ferragamo’s painted heeled pump illustrate
how “basic black” can be the subdued canvas on which to highlight
embellishment. Black connotes sophistication, dignity, elegance,
power and timelessness. To give credence to a color trend, the fashion
press will often refer to a color as “the new black”. Tuxedos and
Living Color
13
Belle de nuit pump, Roger Vivier, Red silk and rhinestones, 2008, France, Lent by Roger Vivier
limousines are typically black. Ferragamo’s satin and faille wedge
conjures up the perfect partner to the tuxedoed gentleman in his
limousine. Silver is the color of mystery and the moon. The silver
accents on the shoe add a little “Black Magic” to the pairing.
White symbolizes purity, goodness, innocence, cleanliness. Historically
the fact that it soils so easily defined the status of the wearer who
needed to be transported from venue to venue by carriage or
limousine, feet never touching the dirty street. The white wooly après
ski boots in the “Wild Life” group are not designed to withstand the
elements but to slip into by the fire after a long day of skiing. The
white goat fur on the wooly chair sends the message “pet me” but
don’t sully me by sitting down and resting your feet. Brown suggests
casual, natural, earthy, grounded. It is the most practical shoe color.
It can be worn with the clothing colors of all four seasons. The
warm brown, natural colors of the Nakashima chair and the Levine
“FranTanCue” loafer in the “Natural Sole” group relate directly to
the materials from which they are made. .
Red has more personal associations than any other color. In western
culture red has been linked with polar attributes — love, anger, passion,
danger, the devil and the fire of hell, and the redemptive blood of
Christ. Physiologically it increases pulse rate and breathing, causing
your blood pressure and metabolism to rise. If you want to signify
intensity, color it red — red carpet, red flag, red light. Red is related
to vitality, power, desire, appetite and craving. In ancient Rome, red
sandals denoted power and were reserved for high officials. Red
can symbolize the blood of life and the flame of the spirit. It was the
color of the philosopher’s stone in alchemy. Red amulets were worn
in many cultures to prolong life. According to the ancient Chinese
practice of Feng shui, painting the front door of a house red will
bring prosperity to the inhabitants.
In the movie The Red Shoes, the ballerina’s red slippers symbolize
her conflict between her love of the composer for whom she has
quit the ballet and her love of dance. Her dangerous red shoes
compel her to dance herself almost to death and then indeed die
when the shoes are finally removed from her feet and the dance is
complete. In the movie The Wizard of Oz, Dorothy’s ruby slippers
dance her through danger and eventually return her to Kansas.
Red can suggest erotic promise — red hot mama, scarlet woman,
red light district. Vivier’s red hot satin “Belle de Nuit” stilettos
suggest a walk on the wild side, an expensive one.
At the paler end of the red range, pinks generate a different response.
Pink causes the brain to secrete nor-epinephrine which inhibits the
production of epinephrine, the chemical which allows the brain to
14
produce anger. Feelings of well being are described as “in the pink”,
“rosy outlook”, “tickled pink”. How appropriate for comedian Lucille
Ball to choose pink for the damask sandals she wore for a performance
in Philadelphia in the 1960s. Yellow, with its association with the sun,
evokes happiness, radiant well being. Gold is the color of gods and
kings and is associated with wealth, power, the exotic and oriental.
Christian Lacroix’s gold snakeskin pumps embody these attributes.
Combining multiple colors delivers the stimulation of all the colors.
This connotes imagination and whimsy. The multi-colored pumps
by Susan Bennis and Warren Edwards are fanciful yet sophisticated.
Vivier’s “Miami” stiletto adds pure luxury to the fantasy by covering
the shoe with pink, white and yellow feathers and topping it with
a Swarovski crystal covered buckle. The platform wedges by
Arisa are capricious and youthful and just plain fun. With his Queen
Anne chair, Robert Venturi
reacts against the plain
surfaces of modernism
by painting the surface
with one of his signature,
multicolored patterns.
Color is an important part
of human expression.
Although science has
been able to quantify the
neural responses of color
perception, our emotional
responses remain non-
quantifiable. No single,
universal psychological
reaction to a particular
color exists. As asserted by
British philosopher David
Hume, color remains “a
phantasm of the sense.”
KATHI MARTIN, Associate
Professor of Fashion
Design, Drexel University
Memphis sandal Roger Vivier, Color blocked satin and leather, 2008, France, Lent by Roger Vivier
What a personality a chair has! Chairs rest and restore the
body, and should evolve from the material selected and
the predetermined personal requirements which impose
their restrictions on form, rather than the other way around.
Some parts, such as spindles, are used primarily for strength,
and aesthetics becomes a secondary consideration.
These can be beautiful, however, and the error of just a
sixteenth of an inch in the thickness of a spindle can mean
the difference between an artistically pleasing chair and a
failure. Function, beauty and simplicity of line are the main
goals in the construction of a chair.
George Nakashima, Soul of a Tree
It is tempting and easy to overlook the design aspect of George
Nakashima’s work. In his own words he emphasizes the tree, its
second life as a functional object and the concept that each board
has one ideal use. He consistently made every effort possible to
extract ego from his work.
Nakashima’s work is all about design, from cutting the tree to oiling
the final product. When we focus on the drama and beauty of the
wood we lose sight of the fact that his work is designed; we need to
focus on the heart, mind and hand of the maker. No board cut itself,
jumped on a base and made a beautiful table or chair. He and those
who worked with him toiled hard to make that happen through a
careful design process.
The very first decisions about how to cut the tree are design decisions
that take into account how this piece of wood may be used. Each
piece is a carefully shaped product; first as a mental image, then on
paper, then on the boards themselves in chalk or pencil and finally
to a three-dimensional form. The only things that are naturally
occurring about his work are the tree from which they come and
the spirit which informed the process. “Each cut requires judgments
and decisions on what the log should become,” he said. “As in cutting
a diamond, the judgments must be precise and exact concerning
thickness and direction of cut, especially through “figures,” the
complicated designs resulting from the tree’s grain.”
The final product is deceptively simple, leading many to remark
on his furniture as if it depended on the wood itself. It is easy to
mistakenly focus on the grain and configuration of the boards as if
the pieces are aesthetically successful only because the boards are
beautiful. In fact, the apparent simplicity of a Nakashima design
Naturally Nakashima
16
is one of its strengths, and final product is so balanced that the
myriad decisions to achieve that effect are easy to overlook. To
make a piece of furniture of such simplicity and purity is design.
Creating furniture with the sense of being natural was complex and
demanded all of Nakashima’s unique sensibilities and exceptional
skills. Everything was planned, designed, drawn and reworked
before it was made; “….the error of a fraction of an inch can make
the design fail absolutely.”
When we look at Nakashima’s chair designs, it
is immediately apparent that most of them are
influenced by American vernacular designs, most
obviously the Windsor chair and the Captain’s
chair. These traditional American designs were
basic building blocks that were combined with
elements of Asian vernacular design and a
modernist aesthetic. This unusual and complex
combination of eastern, western and modernist
influences led each chair to evolve into a
unique George Nakashima design.
ROBERT AIBEL, Ph.D., owner, Moderne
Gallery, Philadelphia
Clean and pristine were the bywords of mid-century modern in the aftermath of WWII; this objective encouraged
postwar designers to work with standards, prototypes and production. Accepting this challenge also were the designers who expressed their
individuality through artistry and craftsmanship achieving
a Natural Sole in their work. Although there were different
beliefs between designers, there were an abundance of
opportunities to produce a variety of products eagerly
snatched up by postwar consumers.
Artist/craftsmen embrace the beauty and the imperfections of
raw materials. In the Conoid Chair (1950s), George Nakashima
was just such a designer and master craftsman. Nakashima
wrote in Soul of a Tree that “Chairs rest and restore the body
and should evolve from the material selected.” Knoll, a
company who supported both individuality and the prototype,
commissioned Nakasima to design a chair series. At first, he was
reluctant, but this became a mutually beneficial relationship
when Nakashima retained the rights to make the same pieces
mass produced by Knoll by hand in his workshop.
The J. Crew thong sandal and Herbert Levine flat slip-on
feature natural brown leather in the pure simplicity and
Natural Sole of a traditional form. The basic thong is prevalent
in many cultures of the world and has been worn as a sandal
for centuries by both rich and the poor. Although the J.
Crew thong is mass-produced, it retains the charm of the
hand crafted sandal through its simplicity, craftsmanship
and choice of material.
Timeless style characterizes the flat slip-on shoe by Herbert
Levine. As natural materials, both leather and wood have
the marvelous ability to become deeper and richer with use
and with the patina of age making these shoes only more
handsome over time.
{ NA
TURA
L So
le}
Open Work is the crisp intersection of lines and planes embodied by the modern movement of mid-
20th century. The forms and materials used by postwar designers would change our perceptions of comfort and beauty as in the 1952 Asymmetrical
Chaise Lounge by Harry Bertoia.
Bertoia was a sculptor and teacher of metal arts at the
Cranbrook Academy of Art and a furniture designer for Knoll
International, one of the premier postwar furniture manufac-
turers. These associations placed him at the ideal creative
intersection for an artist/craftsman and designer as the postwar
pendulum swung from modern design and recognized the
individuality of artist/craftsmen. In his chair designs for Knoll,
Bertoia served as both inventor and innovator. His brilliance
as an artist/designer is demonstrated by the transformation
of plain industrial metal rods into floating planes of open
grids which drape into forms of seating.
Just as the Bertoia chaise lounge creates the illusion of
translucency when a person sits in it, strappy sandals draw
attention to the foot wearing them rather than to the sandal
itself. Throughout most of western history, it was indecent
to show so much of the foot. This changed in 1930s as
evening shoes became increasingly bare. These Open Work
evening sandals from the early 1940s caress the foot and
wrap seductively around the ankle. The twisting motion of
the contemporary platform sandal by Kate Spade echoes
the clean and orderly spirit of the Bertoia chaise lounge.
The silver leather platform is held onto the foot by sleek
leather straps with clean lines crossing the foot.
{OPEN
Work }
Herbert Levine shoe Brown leather, 1960s, USA, Lent by Temple University School for Podiatric Medicine Center for the History of Foot Care and Foot Wear Shoe Museum
Thong sandal J. Crew, Brown leather, 2008, USA, Anonymous loan
Evening sandal Saks Fifth Avenue (in the style of André Perugia), Ivory satin with silver kid appliqué, Circa 1940, USA, DHCC, Gift of Mrs. R.R. Loening
Platform sandal Kate Spade, Black silk and silver leather, Circa 2008, USA, Anonymous loan
The great Danish designer Hans Wegner was onto something when
he defined the act of sitting as a compromise between standing
up and lying down. Perhaps what separates us from cave dwellers
squatting on a rock is not the discovery of fire, after all, or the
invention of the wheel, but the development of the chair. It’s the
mark of an advanced civilization to sit and, not incidentally, to sit
on something spectacular.
The modern chair, with all its anthropomorphic parts — seat, back,
arms and legs — derives from the thrones of ancient royalty. In
recent times, chair design passed through heavily carved Victoriana,
the overstuffed upholstery of the Art Deco era and the sleek severity
of Bauhaus leather and steel, before reaching its mid-20th century
heyday. From roughly 1947 to 1957, a profusion of chairs with easy,
fluid shapes, impeccable ergonomics and plenty of personality
poured onto the U.S. market.
The factors that conspired to produce this perfect storm of innovation
and creativity around chairs in the decade following World War II
were many. They included the streamlined industrial design of the
1930s, a fascination with atomic structure, new concepts of plasticity
arising from developments in the aircraft industry and the world of
fine art — especially the massive forms of Hans Arp sculpture, the
free-floating mobiles of Alexander Calder and the disjointed lines of
Klee and Miro. All influenced the appearance of chairs at mid-century,
collectively giving rise to the idiom known as biomorphism.
In 1940, two young architects, Charles Eames and Eero Saarinen,
took top honors in a design competition at New York’s Museum
of Modern Art called “Organic Design in Home Furnishings.” Their
plywood shell chairs — Conversation, Relaxation and Lounging —
had the free-form, sculptural quality that was to become a hallmark
of postwar chair design. Instead of sinking into these chairs, as one
did with conventional upholstered pieces, the multi-dimensional
curves of their layered plywood veneers offered continuous support
to the spine. The trio of revolutionary chairs remained prototypes,
never produced, but they launched a movement.
Through the late 1940s and into the 1950s, designers were swept
along on an exuberant stylistic impulse, which conveyed the optimistic
feelings of the postwar moment — an upward, forward momentum,
clean, lean and free.
In a garage in Venice, California, Charles and Ray Eames experimented
with molding sheets of plywood into previously unimagined shapes.
In rural Pennsylvania, Harry Bertoia bent metal rods to create chairs
seemingly made up of light and air, corralled by a grid of chrome-plated
Origins of the American Mid-Century Chair
20
wire. Saarinen’s “Tulip” chairs and tables, on spreading aluminum
pedestals, were a totally new look for the dawning space age. “I
wanted to clean up the slum of legs and make the chair all one
thing,” the designer said.
As always, furniture design followed architecture. New high-end
residential construction in the mid-20th century leaned heavily on
Bauhaus principles. The ideas of influential architects like Marcel
Breuer and Mies van der Rohe, who fled Nazi Germany for American
universities, trickled down to busy but less famous architects working
in the wealthy suburbs of New York, Chicago and Los Angeles. The
houses they designed, with their floor-to-ceiling glass walls and
open plan interiors, created a need for chairs that looked good from
any angle. As George Nelson — design director for Herman Miller
from 1945 through the early ‘60s, and designer of the beloved
Coconut chair and Marshmallow sofa, among many icons — wrote:
“The chair remains unassimilable, and in consequence it becomes very
conspicuous…as much a piece of sculpture as an object of utility.”
Returning GIs and their young families fled their parents’ old-fashioned,
high-ceilinged houses to newly built, less generously proportioned
suburban ranches and split levels. Setting up housekeeping en masse,
this generation formed an enormous, receptive audience for all that
was modern and new.
Unlike pre-war furniture, mass production meant no loss of quality.
The fact that the Eames molded polyester shell chair rolled off
Herman Miller’s assembly lines in the tens of thousands, and Bertoia’s
wire chairs for Knoll became fixtures of corporate atriums and
cafeterias, in no way compromised how well they were made. These
were pieces intended for mass manufacture and flawlessly engineered
for the process.
Several pieces in this exhibition are perfect examples of the mid-
century chair’s design apogee and the infinite variations on a basic
design. Bertoia’s classic 1952 chair came in solid molded plastic or
plastic-coated wire. With arms, it was called the Diamond; the tall-
backed version, the Bird. Even today, demand for Bertoia’s concept
endures: witness the recent re-issue by Knoll of an asymmetrical wire
chaise designed in 1952 as a prototype and never before produced.
All are among the proliferation of mid-century chairs selling briskly
at retail in the 21st century, testament to the brilliance and lasting
quality of their design. As George Nelson put it: “The once-humble
chair has emerged as a thoroughly glamorous object.”
CARA GREENBERG, author of Mid-Century Modern, Furniture of
the 1950s
21
Saturated with style, shoes are a reflection of the time in which they
were worn. The shoes of the 1950s, with their high slender heels
and pointed toes, arched the back and caused the hips to sway
provocatively and accentuated the exaggerated feminine silhouette
then fashionable. Roger Vivier, whose opulent, jewel-encrusted
designs for the house of Dior set the tone for the decade, has been
credited with inventing the stiletto heel. The stiletto was made possible
by technological advances which enabled steel supports in the heel
to become thinner and lighter. High-heeled “spring-o-lator” mules,
which were held onto the foot by a strip of elastic under the instep,
were another footwear innovation of the 1950s. Beth Levine, designing
under her husband’s name, was the first shoe designer to capitalize
on this style and produced her “Magnet” mules, which refers to their
amazing powers of attraction to the foot.
If the 1950s gave us the stiletto and the spring-o-lator mule, the
1960s provided an avalanche of fashionable boots. The younger
generation rejected the restrictive clothing of their parents and
embraced styles that were youthful to the extreme. The abbreviated
hemlines of the 1960s were complemented by flat mary jane-style
shoes or low heeled pilgrim buckle pumps. In 1964, André Courrèges
launched his pivotal “space” collection accessorized by short white
leather boots. These boots played an essential role in the dissemination
of futuristic styles and were widely copied at all price points in
materials like PVC and rubber. By the end of the decade the space
look was supplanted by hippie fashions, which were deliberately
eclectic and meant to resemble a pastiche acquired from shopping
at flea markets, bazaars and rummage sales. Retro styling was seen
in the revival of 1940s-inspired platforms and wedges as well as
Victorian-influenced “granny boots”. The humble sandal (such as
Birkenstocks or Dr. Scholl’s) was preferred to anything too polished.
The 1970s has famously been derided as the decade that taste
forgot but can also be characterized by lack of cohesive style. High
fashion limped along but its relevance was constantly challenged by
street fashion and unisex styles. The hippie aesthetic continued well
into the decade as sandals, Earth Shoes and wooden-soled clogs
were popular for both men and women. Kork-Ease, a natural leather
sandal with a high platform sole of cork, was another typical style.
Popular music, such as Disco and Glam Rock, influenced the flamboyant
platform shoes of the 1970s. Worn by both sexes, these were brightly
colored and covered with gems and glitter. However, by the end
of the decade, glitzy androgyny and earthy practicality had been
supplanted by a return to time-honored styles.
Great Strides: FOOTWEAR
DESIGN AFTER 1950
23
Magnet Mule Herbert Levine, Black leather and plastic, Circa 1956, USA, Lent by The Philadelphia Museum of Art, Gift of Mrs. J. Alexis Burland, 1999
Shoulder pads and big hair
are indelibly associated with
the 1980s, but it was also a
decade which embraced
athleticism and the Japanese
avant-garde. High fashion
was no longer the monolithic
entity it once had been;
designers now offered
several different aesthetic
choices for consumers, ranging from brightly colored mini-dresses
to oversized layered tunics and trousers in dark colors and natural
fabrics. Footwear was suitably varied. Many familiar styles, such as
stiletto pumps, sling-backs, spectators and oxfords were updated
with vibrant colors and unusual heel shapes. Avant-garde designers
bucked this colorful trend and produced sleek and streamlined flats
and slouchy boots in a monochromatic palette of black, indigo and
white. It was during this decade that athletic shoes gained acceptance
— it was fashionable to look athletic even if you were not!
During the 1990s, the fashion industry became increasingly splintered
and there was no longer one dominant designer or style. Some
designers, in particular the Japanese and Belgians, embraced
minimalism and advocated clean lines, while others advocated lush
ornamentation and historicism. Throughout the decade there was a
kaleidoscopic array of styles available as designers mined the recent
past for inspiration. Active sportswear continued to be influential
and “techno” fabrics like nylon, neoprene, rubber and sport mesh
were incorporated into everyday dress. Footwear reflected these
many divergent trends and offered minimalist boots and sandals
with athletic shoe details like molded rubber soles, stretch and
reflective fabrics and toggle closures. Retro fashions demanded
kitten heels, platform wedges and chunky heels in the style of the
1960s and 1970s. The late 1990s saw a revival of sharp stilettos and
rich ornamentation reminiscent of 1950s showgirls. The popularity
of Sex and the City made shoe fanaticism socially acceptable and
made household names out of Jimmy Choo, Christian Louboutin and
24
Manolo Blahnik. In contrast to these extremely glamorous offerings,
most women choose comfort over style, resulting in the recent
popularity of some extremely — some would say, deliberately —
ugly trends such as Ugg boots and Crocs.
Despite this mainstream emphasis on comfort, exaggerated heels
and platforms remain essential elements of high fashion. Houses
such as Balenciaga, Prada, Lanvin and Marc Jacobs are known as
much for their outré shoes as for their garments, a wise move since
successful accessories are essential to keeping fashion houses afloat.
Many of these extreme shoes were originally produced for the
runway, but manufacturers have found that consumers are willing
to purchase some of the most extreme styles available. In the past
decade, the demand for designer shoes has risen and prices have
skyrocketed. Saks 5th Avenue has recently launched an expanded
shoe department complete with its own zip code.
Imelda Marcos jokes aside, women are passionate about shoes.
Recent reports have claimed the average woman now owns more
than 19 pairs, but many women admit to owning far more. Shoes
are an essential element of fashion. They can be experimental and
sculptural and appeal to a collector’s instinct. While fashions are
increasingly standardized and neutral, shoes remain a fantastic
element and indicator of personal style. Shoes tap into an emotional
element and represent not just who we are, but who we imagine
ourselves to be.
CLARE SAURO, Curator of Drexel Historic Costume Collection
Casual shoe Prada, Brown leather and mustard nylon with suede and rubber, Circa 1998, Italy, Lent by The Philadelphia Museum of Art, Gift of Lisa S. Roberts, 2005
Positive Negative juxtaposes and combines the clear, the flimsy and the weightless with what is opaque, solid,
and heavy; in a chair or a shoe this concept tests our beliefs about the nature of structure and integrity. How can this crystal clearness support a
human body?
The idea of a gravity-defying chair was explored in 1920-30s
with tubular metal structures in a cantilevered chair. The
introduction of plastics as a structural material, an alternative
to tubular metal, pushes the concept even further. Plastic had
been considered a cheap and utilitarian material for humble
everyday objects such as picnic tableware. Plastic was NOT
a material associated with luxury furniture. In 2002, Philippe
Starck’s Louis Ghost Chair reinterpreted a traditional 18th
century chair profile utilizing plastic in place of fine wood.
In transparent polycarbonate, the chair is an ironic mix of
illusions — structurally and stylistically!
Acrylic was embraced by fashion elite
when introduced in the late 1930s but
truly came into prominence during the
postwar period. While fashion of the
1950s embraced historic styles and
romanticism, it also embraced sleek
modernity and technology. The vinyl and acrylic shoe is the
intersection of these two themes (much like the Louis Ghost
Chair). The “Spring-o-lator” mule is a provocative Positive
Negative update of the styles traditionally worn in the
boudoir. They are held onto the foot by a patented elastic
strip under the arch of the foot, the clear fabrication only
increasing their fantastical appearance.
Similarly, the Weitzman pump offers
the consumer their very own version
of Cinderella”s glass slipper.
{ PO
SITI
VE
Neg
ativ
e}
26
Color is a visual sensation inviting response; a reactive mix of emotion and intellect. In Color Forms, the
immediacy of color and pattern on discernible and distinct shapes gives character and, depending on the intention, purpose and respect.
Robert Venturi & Denise Scott-Brown challenged traditional
views of color and form with a set of whimsical chairs for
Knoll International in the 1980s. The paradox of these chairs
comes from the intention of authenticity and as tributes to
designers like Chippendale and Sheraton, to Queen Anne
furniture and to the timeless humble country cottage. These
iconic profiles were fabricated by contemporary craftsmen
from bent plywood planes finished in a variety of solid colors
or patterned plastic laminates. Color and form are closely
linked in the design of this Queen Anne chair. The irony is not
only in the use of plastic laminate on this traditional style —
otherwise renowned for the finest of oiled finishes — but also in
completely covering it with pattern of lines and abstract roses.
Brightly colored garments of medieval
jesters (legs, sleeves and torsos
split with many blocks of color) were
referred to as “parti-colored” and
this playful exuberance is reflected
in the parti-colored leather pumps
by Bennis Edwards, a NY-based design team known for its
playful take on traditional luxury. The
more contemporary Arisa platforms
become Color Forms ornamented with
the type of plastic beads often seen in
kindergarten craft projects.
{COLO
R Forms }
27
Spring-o-lator mules Michelé, Clear vinyl and acrylic with rhinestones, Circa 1956, USA, DHCC, Gift of Mr. and Mrs. Richard K. Simon
Pump Stuart Weitzman for Mr. Seymour, Clear vinyl and acrylic with silver leather, Circa 1970, USA, DHCC
Pumps Susan Bennis/Warren Edwards, Polychrome leather, 1980s, USA, Lent by the Philadelphia Museum of Art, the Diane Wolf Collection, 1999
Platform sandal Bank by Arisa, Blue denim with polychrome plastic beads, Circa 2000, Japan, Lent by the Philadelphia Museum of Art, Purchased with the Costume and Textiles Revolving Fund, 2000
From flea markets to international bazaars, from rummaging through attics to street culture, one can find a
kaleidoscope of “goods” which can be put together in deliberately eclectic ways. But, how does one chose from this potpourri of histories and
cultures when applying color, texture and pattern to a form?
Such Pattern Play is a serious undertaking requiring a trained
eye to transform the ordinary into the extraordinary.
Interplay of form with materials has always intrigued designers;
their application debated rigorously as to style and appropri-
ateness. The debate explodes exponentially with the catalysts
of technology and a culture’s preferences and prejudices. This
chair, designed by Anthropologie, begins with the traditional
fauteuil lounge chair from the elegant times of royal France.
What was traditional becomes Pattern Play when covered
NOT with expected silk damask but in a cotton patchwork
pattern — challenging the perception of appropriateness of
style, form and material.
Contemporary fashion has seen numerous revivals
of earlier styles. One of the most popular revivals
has been the platforms and peep-toe styling of the
1940s. Compare these green suede shoes from the
1940s with the contemporary style of the pumps
by Anthropologie which combine the peep-toe
style with a 1970s style wooden heel. The popularity
of retro styles also embraces an eclectic Pattern Play
street bazaar aesthetic of slightly tattered and deliberately
patched and faded hues.
In the 1940s example, texture is created by the cutting
of green suede. The openings produce a visually arresting
shoe. This motif is echoed by Anthropologie’s pumps of
perforated leather which are ornamented with a floppy
bow with self tassels.
{ PA
TTER
N P
lay}
28
For centuries, before the refined woven or knitted textiles or “techno” fabrics, leather and animal skins provided
clothing and shelter and in many parts of the world their use as the primary material continues. Wild Life embraces the untamed quality that we
see in this furry chair by Charlotte Alix in 1930. Do you sit and
sink into the fur? Do you stroke the chair as you would a pet?
Do you stand back and wonder what inspired the making
of a big furry chair? However you want to view this chair,
it certainly is seductive, sensual and provocative!
The 1930s was a time of experimentation with a variety of
materials and techniques, whether it was the use of precious
and semi-precious materials by Art Deco designers or new
industrial materials with designers of the Union des Artistes
Modernes (UAM). Charlotte Alix was a member of UAM who
believed in its principles linking the production of furnishings
to assembly processes. The frame of this particular chair
follows one of the UAM principles, standardization, but the
covering in angora goat pelts makes this chair uniquely
governed by individuality.
In the visual shorthand of the costume
designer, Wild Life animal prints and
skins intimate a dangerous, predatory
nature. They also evoke the trophies of
the big-game hunter. Animal skins are
traditionally a luxury good, a rare and costly material, such
as the unborn calfskin used in these pumps elevating a
classic, sedate pump to a status symbol.
The furry goat fur après-ski boots are
not meant for street wear but meant to be
worn as deluxe slippers. As such they are a
statement of luxury and comfortable leisure.
{WILD
Life }
29
Peep-toe sling-back Miss Albright for Anthropologie, Mustard-yellow perforated leather and wood, 2008, USA, Lent by Anthropologie
Platform peep-toe sling-back Urbanites, Olive green suede, Circa 1946, USA, DHCC, Mrs. Sally Walker Huebner
Pump Custom-made, Unborn calf-skin, Circa 1952, Mexico, Lent by Temple University School for Podiatric Medicine Center for the History of Foot Care and Foot Wear Shoe Museum
Après-ski boot Diadora, Goat fur, 1970s, Italy, Lent by Tonja Kelly
What is an “easy chair?”The American Heritage Dictionary of the
English Language defines it as “a large, comfortable, well-upholstered
chair.” However, this simple definition belies the easy chair’s underly-
ing complexity in terms of its origins and development, as well as
its continued change as designers challenge and reinterpret this
definition. The easy chair is not a singular invention by one person
at a particular point in time. Rather, it came into being gradually
as a result of changing lifestyles and developing technology and
continues to change as lifestyles and technology evolve.
Although it would seem that man has always sat in the same
way, the positions that people have adopted to sit in have varied
throughout history from culture to culture. Different races have
characteristic ways of sitting which seem to have a cultural derivation
and have not arisen out of any anatomical differences between them.
Whereas in some places it is habitual to sit in a squatting position,
or on one’s knees or crossed-legged, the chair is the exclusive mode
of comfort in the West. Seats of almost any kind reveal the posture
and carriage of the persons for whom they were made, and chairs
show more than any other article of furniture the importance accorded
to dignity, elegance or comfort. The chair has evolved along with
political, economic and religious power and with art, knowledge
and industry, thus defying linear chronology. Over the centuries,
chair styles have come and gone, with elements introduced and
then disappearing, only to reemerge at another place and time.
Current chair design has produced many new styles as new materials
and techniques have allowed the form of chairs to vary greatly.
Designs today run the gamut from economical molded plastic seats
to the luxurious comfort of the contour chair. However, the design of
contemporary chairs often dispenses with the conventional elements
of comfort in favor of utter simplicity.
It has been suggested that the ergonomic failure of much contem-
porary furniture is due to a disregard for the traditional conventions
of sitting comfort. It had taken a long time for eighteenth-century
furniture makers to find the correct seat and back angles and the
appropriate curves, shapes and material for sitting comfort. The
dimensions of the functional paradigm are detailed and explicit,
while the formal alternatives are left to the imagination of individual
designers. However, many contemporary designers are not interested
in variations; they want to develop solutions on their own, without
the aid of paradigms, and so their work has come to be judged
primarily according to its novelty.
The Easy Chair: A LESSON IN COMFORT
30
Given the range of materials, technology and creative freedom
available to designers today, chairs run the gamut from awkward
and clumsy to restful and relaxing. However, of those that can truly
be considered “easy chairs,” not all of them necessarily conform to
traditional notions of what an easy chair looks like. Contrary to the
definition of an easy chair as “a large, comfortable, well-upholstered
chair,” today’s easy chairs may or may not be large and well-uphol-
stered. In the end, it all comes down to providing sufficient support
for the human body, regardless of style. Alas, neither art nor design
can outwit Mother Nature.
LISA PRIBORSKY ’08, MS Interior Architecture & Design,
Drexel University
31
Have you had this experience? You buy a fabulous, or even just
functional, pair of shoes — that weren’t necessarily cheap — and
although they were comfortable in the store, after walking in them
for 5 minutes, you find yourself reaching for the Band-Aids. While
not every shoe meets our expectations for comfort, the development
of comfortable shoes has advanced in recent years.
Comfortable shoes as we know them today evolved from the aware-
ness of physical health. This awareness has recurred as a cultural
zeitgeist in western history, with notable periods in the late 1800s
and again during the 1920s-1930s. In Modernism: Designing a New
World 1914-1939, Christopher Wilk dubs this movement “Healthy
Body Culture” and writes “Widespread participation in sport
(whether Olympic or in a public park) and exercise saw men, and
even more so women, dressing in both practical clothing for sport
and in fashionable sportswear, which drew attention to their bodies.”
In order to meet the requirements of these new popular activities,
shoes were needed to meet the demands of flexibility and support.
Today it has become evident that different activities have different
demands and inappropriate footwear can cause a bevy of health
problems. This has lead to specialized shoes for many sports —
from basketball to aerobics — beginning in 1917 with Converse’s
basketball-specific All Stars.
As athletic lifestyles have created more demands on shoe technology,
competitive shoe brands have emerged. The way to excel in this
atmosphere, aside from good marketing, is simply to offer a high
functioning shoe to meet consumers’ needs. This is not an easy
task, as reported in Modern Footwear Materials and Processes by
Walter E. Cohn: “…because of the subjective nature of so many
criteria applied to shoes when actually worn, it has proven difficult,
costly and controversial to arrive at conclusions which are not only
meaningful but are also accepted by the industry as significant….”
Put simply, to make a shoe that suits everyone is extremely difficult
because physiques and consumer needs vary.
In shoe ergonomics, like ergonomics for furniture, materials are of
the utmost importance.
Mesh became popular for shoes during World War II, when leather
was rationed and shoe designers were pressed to find new materials.
Mesh has evolved as a key material for athletic and comfortable
shoes, and is appreciated for its breathability, flexibility and lightness.
These qualities are particularly valued in the construction of running
shoes, which require less lateral support.
Functional Footwear
32
Another pivotal material in footwear is foam, which creates foot
support by molding around the individual’s foot. Air-cushioning is
employed in shoes as diverse as the 1980s Reebok and Nike basketball
shoes — which incorporated manual pumps — and Dr. Marten boots.
Gel is also used to the same effect, to cushion impact. Now the
growing revolution is to be “green”, which has affected shoe technology
as well. Hitoshi Mamura, a craftsman for Asics, has developed long
distance running shoes with rice husks in the soles. He purports
they are effective aids in traction and moisture absorbency.
In recent decades, street fashions have trickled up, gradually elevating
comfortable shoes to status symbols. In the 1990s, Prada — a giant of
status labels — began making clunky, comfy styles for their clientele
reminiscent of the combat boot styles worn on the streets.
Meanwhile, a sneaker subculture has developed, particularly in the
Hip Hop realm, in which a vast collection of sneakers from brands
like Adidas, Nike and Puma is a serious fashion status symbol. This
exchange between sportswear and active wear is profound, with
Prada designing shoes for the America’s Cup yachting competition
and Yoji Yamamoto currently designing sneakers for Adidas, while
many mid- to high-end status brands such as Coach and Gucci offer
their own lines of sneakers. Tsubo has a very clear brand identity,
which they sum up as “Ergonomic Style Synthesis.” Rather than
identifying their brand with activities, they identify with lifestyle
Likewise broadening their market, Vermont shoe label Merrell has
taken their signature high performance hiking shoes beyond their
specialization to create new everyday shoes styled like traditional
Mary Janes, loafers or clogs, but employing the comfort technology
of high performance footwear. Merrell sums it up: “Over time, the
concept of “outdoor” has broadened to include all types of activities
and environments — both natural and urban. Merrell is driven to keep
pace with this evolution of “The New Outdoor,” and continues to evolve.”
It is safe to acknowledge that many comfortable shoes would never
be mistaken for a fabulous Manolo Blahnik or Jimmy Choo effort.
Perhaps it is because customers who make comfort a priority may
not be as interested in a “pretty” shoe; conversely a customer who
wants a fancy shoe is possibly willing to suffer through blisters
and foot cramps for it. Will there ever be a technology that allows
stilettos to be as comfortable as sneakers? Only time will tell.
SALLY CONGDON-MARTIN, candidate, MS Fashion Design,
Drexel University
33
Late in the 20th century, specialized shoes and chairs were produced as the user’s activities, from work to
sports, demanded comfort and support. New developments in techno materials opened a plethora of possibilities for the shaping and structuring
of chairs and shoes which embodied this Work Out ethic.
Bill Stumpf and Don Chadwick designed the 1994 Aeron
Chair for Herman Miller — seeking to create a new approach
to the chair that excelled in ergonomics, in functionality,
anthropometrically and environmentally. It is shaped by a
revolutionary material, Pellicle, which the designers note,
“symbolizes the free flow of air to the skin in the same way
lace, window screens and other permeable membranes
permit the flow of air or light or moisture.”
Shoe designers are merging techno
fabrics and technology of athletic
shoes for status footwear to meet
the Work Out lifestyle of today’s
consumer. For 25 years, Merrell
has been recognized for excellent
athletic and outdoor footwear but they were not considered
fashionable. Merrell has introduced stylish ergonomic
alternatives to their traditional lines such as the Mary Jane
sport shoe (2006), an anatomically correct shoe featuring
anti-microbial mesh.
In contrast, Tsubo — a company co-founded
by former Rebook designers — believes
“style doesn’t have to be uncomfortable.”
The knowledge of the making of an
athletic shoe provides the basis for
comfort and support and is vital to their
design and style aesthetic. The platform wedge (2006)
by Tsubo (Japanese for pressure point) combines nylon,
leather and rubber for comfort and style.
{ WO
RK O
ut}
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Ergonomic sport shoe Merrell, Grey and black nylon, rubber with Velcro, Circa 2006, USA, Anonymous loan
Platform wedge Tsubo, Black nylon, leather and rubber with velcro, Circa 2006, USA, Anonymous Loan
Shoes and Chairs. What an odd pairing, you might be thinking. Certainly we think of shoes and socks together or chairs and tables. But why Shoes and Chairs?
Perhaps this is part of a written intelligence test, “Stand is to Sit, as ______________ is to ______________ .”
Could the genius reply be “Stand is to Sit as Shoe is to Chair?” We can push this question/answer metaphor a bit further, if you can stand it, by recalling the old “I’ve Got A Secret” TV quiz show. Both chairs and shoes have a secret! Let me explain.
A room is just a space, until defined by its furnishings to become a place — a place to work, to live, or just to be. The chair defines the room.
Seating arrangements can alter patterns of behavior. Consider the early 20th century French ensembliers who grouped chairs facing each other for conversation in the lived environment, the interwar years when chairs were placed next to the radio for listening and today’s screening room seating arrangements in front of a HDTV for viewing rather than conversing. This speaks to our priorities today. By the way, chairs are also handy for drying clothes, as storage for packages and backpacks or as stepstools for hanging pictures (using your shoe as a hammer) or changing light bulbs and even as an exercise bar.
If no room is complete without chairs, is an outfit complete without shoes?
You would not wear an evening shoe to a sports event or a sneaker to a formal event (unless you wanted to make a statement). The wrong shoe can alter the mood of the wearer (and not fit well) just as a chair may cause great discomfort.
There are cultures where sitting on the ground is natural and where feet go shoeless, but not so in the Western World. “Rest Your Feet” reflects the culture of the West, providing a forum for observation, thought, engagement and a celebration of chairs and shoes.
An Odd Pairing
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Shoes and chairs share the languages of design, function and structure, albeit with very different applications but with one common objective — to support the human body.
Both contribute to our quality of life, reflecting our social and economic status as well as our emotional and physical well beings. Sensible shoes and classical chairs may command respect and have purpose in business, while in a social environment high heels may cause adoration, envy and a sense of decorum or of abandon. Today, as the pendulum of fashion swings, high heels command respect and even signal aggression in the office again altering patterns of behavior and acceptability.
We are name droppers — describing shoes and chairs by the designer’s or manufacturer’s name. A daughter of an architect (a friend of mine) was home visiting with her boyfriend. He was offered the “Corbusier” lounge chair or the “Harry Bertoia Diamond chair” and then at dinner, he was asked to pull up an “Eames” chair! He finally asked, “Why are your chairs called by name as if they were members of the family?” After all, weren’t they just living or dining room chairs? No, they are icons of 20th century modern design!
Shoes do not escape this tribute either; not only are they recognized by the signature bright red sole as a Christian Louboutin shoe or by the signature buckle and ribbon bow on the“Vara” pump by Ferragamo and the blunt toe of a Birkenstock clog. The choice of these shoes speaks volumes about the person wearing them just as the height of the office desk chair can be equated with power and position. But, one cannot always rely on these old adages as the Aeron Chair, with its distinct functional design, changed the symbols of status in offices. Tsubo has redefined the casual and formal shoe by combining the technology of athletic shoes with their fashion aesthetic.
You chose both shoes and chairs based on a personal identification with a particular shape or color even if you profess to care nothing about style or status. There
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are always choices to be made — whether out of novelty (being the first to own), by familiarity (because it is known)or because of status (defining your place in society).
Shoes and chairs are interwoven into our lives; close companions and active participants in our daily lives. They affect us emotionally and physically. Why not honor the designers of those products? In 2000, TIME magazine devoted an issue to design and designers. Until recently such discussions only seemed to matter to design professionals and the academy. Design as a discipline has experienced notable recognition by both academy and the business worlds as evidenced by Business Week in citing the top design schools in October 2007 or for the public in the international publication, Wallpaper*, a *DESIGNINTERIORSFASH-IONLIFESTYLES (yes, it is one word) magazine.
You have traveled through Rest Your Feet and hopefully you discovered that chairs and shoes, odd pair that they may be, both reflect and shape our place in the larger world. My collaborators in planning this trip included educators from the fashion, graphic, and interior design disciplines. We stimulated and provoked debate by avoiding traditional academic distinctions based on strict definitions of time periods and style. Such choices always carry risk, and invite the judgment of others viewing the exhibit.
With that, the time has come to pull up a chair, kick off your shoes, make your own conclusions and rest your feet!
KARIN S. KUENSTLER, Associate Professor of Interior Design,
Drexel University
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(OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT) Cherner Chair 1958, Designer: Norman Cherner; Ankle boots Charles Jourdan, Black hair calf and leather, Circa 2006, France, Anonymous loan; Peep-toe wedge Pacemaker Casuals by Wearwell, Polka-dot cotton twill, Circa 1940, USA, DHCC, 62.1.2, Gift of Mr. Harry Cohen and Geraldine Cohen; Eames Wire Chair (with “Eiffel Tower” base) 1951, Designers: Charles and Rae Eames; Evening pumps Christian Lacroix, Gold snakeskin, Circa 1994, France, Lent by Temple University School for Podiatric Medicine Center for the History of Foot Care and Foot Wear Shoe Museum; Oxford M. Cohen & Sons, Brooklyn, Ocelot fur and black leather, 1920s, USA, Lent by Temple University School for Podiatric Medicine Center for the History of Foot Care and Foot Wear Shoe Museum; Empire upholstered armchair Circa 1800, Donor: George W. Childs, Drexel No. 557; Ankle-strap platform Sommers, Ivory rayon satin with rhinestones, Circa 1946, USA, DHCC
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Curators Roberta H. Gruber Kathi Martin Karin S. Kuenstler Clare Sauro
Catalogue Editor Karin S. Kuenstler
Graphic Design Jody Graff
Illustration Christopher Hansen
www.drexel.edu/westphal