The shoes in this section capture the fundamental pace and rhythm of fashion. Often the loudest component of one’s daily dress, shoes measure and announce presence; they also regulate it. While various identities might seem to be absorbed into or even erased by the regular pace of echoing footsteps, the inner rhythm of gait retains the individual imprint of a specific person’s temperament, energy, and body. The specificity of the materials, construction, and style also situate each pair within a particular culture and environment. The recorded sounds of each of these shoes, like the rest in the exhibition, are interpretations: the rhythm, tempo, volume, regularity, and length were improvised in the recording process according to an imagined personality — whether historically known or unknown.
Manolo Blanhik
Spanish, 1980-1989
Leopard print slingback heels
Heeled shoes with leather straps, leopard print fur, lined with leather, leather sole
Donated by Dorothy Schefer-Faux
CF+TC #2007.68.040
Manolo Blanhik shoes have made a splash in popular culture and become iconic in the late 90s. Blanhik started making shoes when Diana Vreeland, then editor-in-chief of Vogue, encouraged him to turn his sketches into reality. After Blanhik studied shoemaking with artisans at Italian factories, he opened his first Boutique in London and focused on crafting feminine and refined footwear. The footwear quickly entered popular culture, as the heels he designed clicked down runways for Izaac Mizrahi, Oscar de la Renta, and Calvin Klein. But it was in the 2000s when Blanhik became a household name with the help of the television show Sex and the City, where protagonist Carrie Bradshaw strutted down the streets of NYC wearing a pair, and where she often chose her love of Manolos over that of potential suitors. Singer Fergie also referenced the brand in her song “Labels or Love,” shown below, which was part of the soundtrack to the later SATC motion picture (2008). Can you hear Carrie’s (stumbling) pace?
Japanese
Japanese Geta Sandals
Lacquered paulownia wood, decorative fabric thongs embroidered in pink, white and metallic gold
CF+TC #235
Carved from a single block of lightweight lacquered paulownia wood known as kiri, these Japanese geta clogs feature a classic two-toothed design and cloth thong (known as hanao) which allows the wearer’s feet to breathe and move freely. The teeth make a distinctive “clacking” sound while walking, which is called karankoron. This sound was so common a few decades ago that many older generations in Japan feel nostalgic just hearing it. The proverb “You don’t know until you have worn geta” is an example of how popular these shoes are. The slapping sound generated against the heel by the geta while walking is akin to flip-flops, though the inflexibility of the material and elevated base of the show aid functionality and amplify sound.
Spain, 1972-1974
Purple suede shoes
Purple suede with brown imitation leather trim and laces, metal grommets, brown leather soles
Donated by Elizabeth Schmeck Brown
CF+TC #2002.09.062
These shoes belonged to Elizabeth Schmeck Brown, a noted fashion historian, who curated the costume collection at Cornell while teaching in the 1950s. In 1974, Brown purchased these shoes because she “could not resist those shoes that so perfectly matched the purple fabric” of the woven dress she made. Brown wore the complete outfit at the Princeton Branch of the American Association of University Women, where she served as president. As she approached the amphitheater on campus, two boys chatted from an upstairs window. “Look at that lady with the big zipper (referring to the dress design),” said one — “and get those shoes!” These giggles, laughter, and chatter of his encounter – the raw and genuine reactions to this outfit – illustrate how shoes that click with each step can conduct applause.
Valentines
American, ca. 1948
Green Suede Shoes
Green suede toeless ankle strap slippers
Donated by Miss Janet Reed
CF+TC #1496
Unknown Designer
American, ca. 1920-29
Red Satin Pumps
Red flame colored evening satin slippers and rounded toe
Donated by Nancy Lee Booker
CF+TC #2114ab
UBELLA
American, 2022
Kids’ squeaky shoes
Childrens shoes made from pigskin leather lining, rubber sole, and velcro closures
Acquired by the Cornell Fashion and Textile Collection
CF+TC
Many parents encourage their children to learn to walk by giving them squeaky shoes like these to stimulate their interest. When a child takes a step, a crisp squeak sound will come from the shoe’s sole because of small tubes placed in the heels. However, some studies have concluded that squeaky shoes are unsuitable for a child’s growth and development because children step their heels down harder to create loud sounds. This results in a shift of the center of gravity and too much impact on their heels. This worsens when the sound-making device is not working well, as some children will stomp their feet to try to make it squeak on purpose. Though the sound is fun, does it affect a child’s stride too much?
Turkish, 19th Century
Hammam bath sandals
Wooden clog sandals with square mother-of-pearl inlays flowers etching
Donated by Paul Clayton and Jacklyn Blake
CF+TC #2011.05.032a-b
Nalins, or Hammam clogs, are stilted sandals worn in Turkish bathhouses called Hammams during the Ottoman Period. At this time, nalins were made of hardwoods like walnut, sandalwood, or ebony. While not present in this example, Hammam clogs typically have straps made of leather or fabric as well. The height of the clogs was originally intended to elevate the person above the wet bath floors, but came to represent much more about the wearer’s identity. The heigh could indicate social status, enhanced by intricate design details like inlays crafted from mother-of-pearl, silver, and gold. But, the taller the nalins, the harder it was for the wearer to walk and they often would require assistance from servants, which amplified their social status. Due to the material and difficulty walking, they were also referred to as “Qabâqib” in Arabic, which also referencing the sound they made when worn.
I. Miller & Sons
American, ca. 1956
Black pumps with interchangeable heels
Black suede pumps, with three interchangeable heels: rhinestone, suede, and pebbled beads
Donated by Mildred Graves Ryan
CF+TC #2017.15.029ab
I. Miller & Sons started by creating footwear for the theatrical world in the 1890s and grew to be one of the largest manufacturers of women’s shoes in the United States. The company was innovative in many ways, which is illustrated by these shoes. Designed by the head of the company’s Paris Studio, Andre Perugia, this style of replaceable heels was patented by I. Miller & Sons Inc. in 1956. Sold with three styles of heels, these shoes offered women the ability to “change their heels as easily as they change their minds.” While options were available, the favored style could be heard over time. The heels, and the sound of one’s steps, changed when the nails holding the heel together were revealed through wear. Which of these heels were worn most and would have had the loudest metallic click?
Établissement de Saboterie
French, 1927
Wooden carved sabots
Wood, leather, paint
Donated by Alison Mason Kingsbury Bishop
CF+TC #2014.12.002ab
American, ca. 1990-99
Silver Platform Boots
Silver knee-high platform boots, sparkly glitter all over, 5 inch heels at least
Donated by Mariel Quevado
CF+TC #2005.28.002
John Lobb
1995
Shoes, black, laced
Leather
CF+TC #2002.05.137
John Lobb leather soles have been tapping and scuffing down hallways, on streets, and anywhere finely made clothing is worn, for over 150 years. Made in London, the John Lobb shoe company continues to produce fine leather men’s shoes for both bespoke and ready-to-wear markets. Throughout Lobb’s century-and-a-half marathon of shoe-making, one can only imagine the amount of tipping, scuffing, and clacking that men have created by wearing Lobb Oxfords such as these. The imprint of a Coliseum stamp on the soles allude to Italian manufacturing, which is associated with leather of the highest quality and with standards of elegant masculinity.
American, ca. 1892
White Wedding Slippers
White suede slippers with crossed straps, china buttons, and metal beading
Donated by Luenna Von Eltz
CF+TC #1198
Japanese, 20th century
Children’s geta
Wood, fabric, paint
Donated by Joan Patin Buckmaster
CF+TC #5134
Chanel
French, 1995
Tan and black Chanel pumps
Leather pumps Donated by Dorothy Faux Schefer
2002.05.119
After her graduation from Cornell in 1969, Dorothy Schefer Faux went on to have a successful career in fashion. She was a senior editor at Vogue, a best-selling author, and an entrepreneur. Usually sporting a smart Chanel jacket or dress, Faux’s iconic black and tan Chanel pumps were part of her simple and elegant day-to-day outfits. On some days, she would wear a mid-length denim skirt paired with a simple white T-shirt, and a Chanel jacket and pumps. When looking at these well-loved heels, it is easy to imagine the hurriedly strutting across the Vogue office.
Robert Manwaring
City of Norwich, New London, c.1800-07
Black Leather Pumps
Leather, cloth lining inner, white thread stitching, wood sole
Donated by Mrs. Geoge A Palmer
CF+TC #1178
These uniquely narrow straights with pointed toes and “Louis”-type heels are entirely handmade and remarkably preserved for their age — a perfect example of turn-of-the-century “smartness” and feminine modesty. Born in 1795 to an impoverished and widowed mother, Frances Manwaring Caulkins, author of History of New London, Connecticut: From the First Survey of the Coast in 1612, to 1860, and granddaughter of Robert Manwaring, who was the maker of these shoes (among others) as well as deacon of the church in New London for many years, might have been the one to wear them. Robert moved to Norwich in 1800 and died in 1807, which confirms the possibility that Frances was the dainty shoes’ youthful owner. Within this cultural and religious landscape of her early life, and its development into the intellectual drive and tenacity of her later career as author and historian, the shoes might capture the precocious demeanor of a young, intellectually astute Frances.
Frank Brothers
American, ca. 1910
High Button Boots
Black patent leather and white kid
Donated by Mrs. Glitner Knudson
CF+TC #1205
The American Girl Shoe
American, ca. 1965
Pink alligator-spike stilettos
Pink leather stilettos with bow detail and artificial metal alligator-spike heel
Donated by Mrs. Barnette Stuart
2374
The 1960s stiletto was a threat to flooring across the nation. An integral part of jet set style, aluminum floors on airplanes became compared to waffle irons due with repeated perforation of stiletto heels. Heels had become higher and slimmer than ever, which reduced the weight bearing area for the foot and increased contact pressure on the ground. To accommodate this style, stilettos were designed with either cylindrical metal tips attached to the bottom of the heel or a metal shaft extending throughout the heel enclosed with a washer. When the entire body weight was applied into the heel against the floor, particularly at an angle, it produced a distinct clicking sound and had a knifelike effect on the floor cutting deep crescent shapes. The bottom washer on these The American Girl Shoe stilettos has chipped away, revealing its grooved artificial alligator-spike that would produce a piercing noise and puncture when stepped upon.
“Made in France exclusively for Elizabeth Arden”
France, ca. 1931-32
Pink Faille Mules
Silk tea rose faille with gold & silver applique
Donated by Charles Mason Remey
CF+TC #3165
Toddle-Time
American, 1970s
Toddle Time Saddle Shoes
White and black leather saddle shoes
CF+TC #2009.04.027
Bear
Japanese, 1945-1952
Zori sandals made in Occupied Japan
Straw with rubber soles and dull green velveteen thongs
Donated by Helen Jewett
Nike
American, 2018
Black Suede Air Jordan Nike Air Max 270
Black suede, leather
Donated by Joshua Johnson
CF+TC #2021.16.003ab