Sustainable Shoe design and its impact on contemporary society and

culture.

Facoltà di Lettere e Filosofia

Dipartimento di Storia Antropologia Religioni Arte Spettacolo
Corso di laurea magistrale in Fashion studies
Natalia Orlova
Matricola 1928478

Relatore Correlatore
Prof.ssa Silvia Vacirca Prof.ssa Marta Mele

AA 2023-2024
 Table of contents:

Introduction

Methodology and Literature Review

- 1st chapter: The representation of shoes in American TV series

- 2nd chapter: Sustainability and women's shoe design now

- 3rd chapter: The future of women's shoe design

Conclusion

References

Appendix
Our shoes are the foundation of our outfit and the whole wardrobe. In fact, they are
able to save or to destroy an entire look, but most importantly they affect our comfort
throughout the day. For this reason it’s so crucial to take care of shoes keeping them
in a good condition for a longevity. When we are seeking shoes, we always have to
go for quality over quantity because our health strictly depends on them but lately we
have learned that the future of our planet is linked to our choices of shoes as
well. The waste generated from the footwear industry starts from the beginning of the
design and creation of shoes. Global demand for footwear has increased throughout
the decades. Up to 40 diverse types of materials are used to manufacture footwear,
which can take many years to decompose. Many footwear brands are analyzing how
they are creating their footwear and finding solutions to reduce their environmental
impact. Sustainability efforts from major footwear brands have started to consider
designing for longevity, as well as recycling waste and using biomaterials that will
disintegrate faster.

In this thesis work, I aim to understand and explain why shoes began to have that
big impact on contemporary culture and us but furthermore I would like to redefine
how sustainability works in terms of shoes nowadays. Afterwards I propose what a
shoe design holds for all of us in the near future.

In the process of preparing to write my thesis work, the decisive factor for me was its
relevance for my future career in the fashion sector. If we look at my study plan, we
see that I have been used all received knowledge of multidisciplinary studies in my
final work. There is a place for cultural observation and psychological impact,
economics and sustainability, consumer experience and analysis of market, besides
that, even classes of drawing have been used in my thesis work.

With this body of work, I seek for the answers for solid questions:
- How did fashion and particularly footwear become so influential?
- What kind of impact did cinematography and contemporary TV series have
brought on fashion and us?
- What do we need to identify ourselves with protagonists?
- Where does a footwear industry go and how is it sustainable now?
- What initiatives and innovation and design approaches can be used for the
future?
 Methodology and Literature Review

The type of my thesis work is a combination of a creative work and a theoretical part
based on my previous practical projects I have already done for my future fashion
career, and books, articles and publications I have found through my thesis research
in a direction of sustainability. The structure of the thesis contains an introduction in
which I explain my work and its choice, the body of my thesis made of three chapters
and conclusions and a bibliography in alphabetical order, with all the authors and I
have used for completing my work.

Methodology
For this thesis work, the qualitative, primary data was obtained through utilising a
multi-methods case study approach ( research of academic books, grounded
analysis of the received data, semiotics, questionnaires ) as it allowed the
interviewees to describe phenomena and thoughts, which could later be interpreted
and analysed.

The purpose of this research is to do a deep comprehensive analysis, a work that

requires a careful study of historical, sociological, economic and cultural changes in
the world in the context of a long period of time in order to answer the questions
above. As a result, being able to use received information for creating the proposal
design for resolving assigned tasks, issues and problems connected with the future
footwear.

The idea of the creative part of the thesis work was to design a detachable high heel
shoe that can be worn comfortably with replaceable heels of different heights.. With
this in mind, the project objectives were as follows:

• Conduct a survey that will give feedback about comfort and stability among various
high heel users

• Perform research on topics related to ergonomics and human factors and high
heels in order to make the most comfortable and user-friendly design

• Create a rough prototype of the best possible solution while keeping comfort,
stability,durability, and aesthetics in mind.

The literature review which is the base for this thesis work was conducted through an
integrative review approach, where the authors reviewed and synthesised relevant
literature with the purpose of creating new perspectives and frameworks for the
given topic . To ensure high quality and trustworthiness in the literature review, the
main body of it consists of academic books and scientifically articles . The literature
was obtained through the databases of publishing houses Bloomsbury and Yale UP
and library of Museu del Disseny de Barcelona. The keywords which were first used
for the search of relevant literature were: “footwear”, “sustainability”, “sustainable
fashion”, “consumerism”, “psychology of fashion”, “sociology of fashion”, “the future
of fashion”, “fashion in film”.
Not much data has been provided through research has been made in the context of
the theory of footwear regard to sustainable fashion products, and hence, to facilitate
the creation of an integrative literature review,additional, relevant literature was
obtained through articles’ reference lists. This method of finding relevant articles was
appropriate as the databases alone did not provide sufficient literature for the review.
 Bibliography:

1. Adam Genzyme and Vicki Karaminas. Fashion and art. Berg Publishers;2012,
224 pp.

2. A.Luximon. The Handbook of Footwear design and manufacture. Woodhead

Publishing, 2013, 416 pp.

3. Alberto N. Garcia. Emotions in Contemporary TV Series.PALGRAVE

MACMILLAN.2016, 253 pp.

4. Alison Lurie. The Language of clothes. Holt Paperbacks. First Edition,2000,

244 pp.

5. Alison Gwilt, Alice Payne, Evelice Aniset Rutshchilling. Global Perspectives on

Sustainable Fashion. Bloomsbury Visual Arts, 2019, 312 pp.

6. Alice Payne. Designing Fashion Future. Present Practice and Tactics for
Sustainable Change. Bloomsbury Visual Arts, 2021, 240 pp.

7. Anna Bashtovaya. Fashion and cinema: 100 years together. How movies set
trends. AST Publishment, 2022, 156 pp.

8. Anna Demshina. Fashion in the context of visual culture: second half of the
20th – beginning of the 21st centuries.Asterion, 2009, 170 pp.

9. Anna Sharlai. Archetypes and Images. Litres, 2021, 350 pp.

10. Anna Sharlai. The Psychology of Style. Litres, 2021, 240 pp.

11. Bonnie English, Nazanin Hedayat Munroe. A Cultural History of Western

Fashion.From Haute Couture to Virtual Couture. Bloomsbury Visual Arts.
2022, 296 pp.

12. Christopher Laverty. Fashion in Film. Laurence King Publishing. 2021, 224
pp.

13. Claudia E. Henninger, Panayiota J. Alevizou, Helen Goworek, Daniella

Ryding. Sustainability in Fashion.A Cradle to Upcycle Approach. PALGRAVE
MacMillan, 2017.

14. C. Mair, The Psychology of Fashion Routledge; 2015, 150 pp.

15. D. Crane, I. Bovine, Approaches to Material Culture: The Sociology of Fashion

and Clothing. Porticos,2006. 333 pp.
16. Diana Crane. Fashion and Its Social Agendas: Class, Gender and Identity in
Clothing.University of Chicago Press, 2020.

17. DK. Arte.La historia visual. Editorial : DK; 001 edición,2020, 612 pp.
18. Ellen Sempson.Worn: Footwear, Attachment and the Affects of Wear,
Bloomsbury Visual Arts; 1st edition, 2020,272 pp.

19. Elizabeth Leese. Costume Design in the Movies: An Illustrated Guide to the
Work of 157 Great Designers (Dover Fashion and Costumes),2001, 176 pp.

20. Eundeok Kim, Ann Marie Fiore, Alice Payne, Hyejeong Kim. Fashion
Trends.Bloomsbury Visual Art. 2021, 184 pp.

21. Footwear and Fashion. White Word Publication. 2014, 115 pp.

22. Frances Corner. Why Fashion matters? Thames & Hudson; N.º 1
edition (january 2014),144 pp.

23. Fred Davis. Fashion, culture and identity. University of Chicago Press, 1992,
238 pp.

24. Gilbert S. Hedstrom. Sustainability.What It Is and How to Measure It. De

Gruyter. 2018, 366 pp.

25. Gilles Lipovetsky. The Empire of Fashion: Dressing Modern Democracy (New
French Thought Series), Princeton University Press,2002, 288 pp.

26. Gini Stephens Frings.Fashion: From Concept to Consumer (9th Edition),

2007, Pearson, 496 pp.

27. Goffman A.B. Fashion and people. New theory of fashion and fashionable
behavior. M.: Science publishment,1994. - 160 pp.

28. Harold Koda. 100 Shoes. The Costume Institute / The Metropolitan Museum
of Art. 2011, 232 pp.

29. Inma Peñate.Calzado Sostenible: Guía practica profesionales que quieren

cambiar el mundo de la moda. Independently published, 2020, 206 pp.

30. Jennifer Craik, Fashion: The Key Concepts.Berg 3PL, 2009, 234 pp.
31. Jennifer Keishin Armstrong. Sex and the City and Us: How Four Single
Women Changed the way We Think, Live and Love,2018, Simon and Shuster,
320 pp.

32. Julia Petroff. Fashion, History, Museums. NLO, 2019, 380 pp.

33. Kate Fletcher, Lynda Grose. Fashion & Sustainability.Design for Change.
Laurence King,2012.

34. Kirsten Niinmäki.Sustainable Fashion in Circular Economy.Aalto University.

School of Arts, Design and Architecture. 249 pp.

35. Margo DeMello.Feet and Footwear.Greenwood,2009, 384 pp.

36. Martin Charter, Bernice Pan, Sandy Black, Martin Charter, Bernice Pan,
Sandy Black. Accelerating Sustainability in Fashion, Clothing and Textiles.
Routledge. 2023, 436 pp.

37. Moda. Historia y Estilos.by Dorling Kindesley Publication, 2019, 480 pp.

38. Nigel Cawthorne, Angela Pattison. A century of Shoes:Icons of Style in the

20th Century. Book Sales, 2017, 162 pp.

39. Olga Melikyan. Fashion and Epoch. Costumes and society of the twentieth
century. Eksmo, 2023, 185 pp.

40. Olga Mitterfellner. Luxury Fashion Brand Management.Unifying Fashion with

Sustainability. Routledge, 2023. 248 pp.

41. Peter Van Bogaert. Eternal Erasure – On Fashion Matters. Sternberg Press,
2017, 292 pp.

42. Professor Bonnie English. A Cultural History of Fashion in the 20th and 21st
Centuries: From Catwalk to Sidewalk. Bloomsbury Visual Arts; N.º 2 edition
(26 julio 2018), 280 pp.

43. Purnell Carolyn. Blue Jeans. Bloomsbury Academic. 2023, 160 pp.

44. Rachel Worth. The Hidden Life of Clothing. Historical Perspectives on

Fashion and Sustainability. Bloomsbury Visual Arts. 2023, 216 pp.

45. Rebecca Shawcross. Shoes. Bloomsbury Visual Arts, 2022, 304 pp.

46. Simone Achermann, Stephan Sigrist. The Future of Clothing. Bloomsbury

Visual Arts, 2023. 200 pp.

47. Tamsin McLaren, Fiona Armstrong-Gibbs. The Business of shoes.

Bloomsbury Visual Arts,2020,208 pp.
48. Timo Rissanen, Holly McQuillan. Zero Waste Fashion Design, Fairchild
Books. 2016, 224 pp.

49. Valerie Steel, Colleen Hill. Shoe Obsession. Yale UIniversity Press, 2013, 284
pp.

50. Valerie Steel, Suzy Menkes. Fashion Designers A–Z. 40th Ed., 16 April 2023,
512 pp.
 The representation of shoes in the American TV series.

Nowadays cinema has become an integral part of our daily life. The visual images
that we receive through the screen can not only acquaint us with what is happening,
but also surprise, inspire, and draw us into a reality different from ours. They make
us empathize with the characters, feel like we are part of what is happening on the
screen, while forgetting that these are fictional stories. Often, after watching a film,
we bring into our real life some elements of the image (and sometimes we strive to
reproduce the entire image) of the hero with whom we identified ourselves while
watching. Consciously or unconsciously, we might try to copy the hero's speech,
gestures, mannerisms, as well as hairstyle, makeup and costume. Once having tried
on an on-screen image of a hero we liked the most, a person can carry it throughout
his life, taking as a compliment every word that notes his resemblance to a “style
icon.” It should be noted that the aesthetic pluralism characteristic of the postmodern
era changes the concept of a “style icon” - a single model for imitation. Visual images
of cinema, which previously set a single canonical pattern, have been fragmented
into many “icons” that change as quickly as fashion trends change. Why are the
images we see on the screen so attractive to us? Why do we feel a need to identify
ourselves with some person who does not exist in reality? Can cinema or TV series
motivate us to construct your own image by looking at your favorite character? Why
do TV shows have such a powerful influence on us?

The contemporary world is characterized by high speeds, as a result of which a huge

amount of visual information appears, since its perception and interpretation occurs
faster than textual information. Such sources of information as television, cinema,
and the Internet with its social media like Instagram or tiktok today occupy leading
positions; visual information is replacing verbal information. Cinema is capable of not
only influencing the fashionable preferences of its viewer, it is able to impose a
broadcast image, make the viewer believe in the picture that he sees, and inspire
him to bring it into his real life. The screen, as the greatest inspiration and somehow
manipulator as well, is not only a method of visualization, but also a system of
communication and, undoubtedly, conveys to the viewer certain information provided
by the director or the company production. ( For example, Netflix and its agenda).
Particular attention in cinema is given to the external image of the hero, and in
particular his costumes. It is obvious that with the help of the costume, we read such
information as whether the hero in front of us is positive or negative, what he does,
what his social status is, etc. Therefore, it is quite natural that with the advent of
cinema, fashion as an industry has reached a new level of its development. Fashion,
as you know, is formed from various sources; it originates not only in couturier’s
ateliers, but also on the streets; fashion is influenced by social conditions of life,
politics, but cinema and TV are one of the majorest fashion influencers.

The impact of the cinema industry became noticeable for the first time in the 1930s
in America. This is understandable: cinema was a completely new art, which
immediately, from the moment of its appearance, impressed people minds
and influenced on them.They imitated movie stars and looked up to them, forgetting
that cinema was a great professionally created illusion, and the heroes shown in
beautiful fairy tales were not able to live in real life. But nobody even tried to think or
pay attention to this and copied from the screen both the behavior of the heroes
(and, to a greater extent, heroines) and their outfits. Somehow it reminds us of the
same boom we have right now with social media where people tend to copy paste
the images of their favorite influencers. While many seem to forget that bloggers as
Hollywood stars in its 30s selling the idea of perfection with beautiful staged selfies
and photos,however, perfection does not exist. Coming back to cinema, another
reason why Hollywood had such a strong influence on people's minds was that
during the worst economic crisis in the history of the 20th century (late 20s - early
30s), cinema remained one of the most accessible forms of entertainment. Cinema
was a medicine for all diseases, almost everyone could afford some possible
getaway from a reality. Watching on the screen the fascinating life of the heroes,
filled with interesting events and unbelievable experiences, helped people to be
distracted and forget about their own struggles and sorrows, far from such a
magnificent picture provided by Hollywood industry. Cinema has always distracted
from the dullness of everyday life, from problems, and nowadays it is always the
same, the only possible difference is that now ordinary people are distracted with the
help of TV shows of Netflix, Hulu, Apple and etc or reels from IG and tiktok. The
interesting fact that we have to keep in mind is that in the early 30s, with the advent
of the first sound and color films, Hollywood turned into a real “dream factory” - this
the term appeared exactly then. Everything was unbelievably beautiful - faces, body
types,hairstyles, clothes, accessories. Through this glamorous approach cinema
became a role model for hundreds of thousands, and even millions of viewers, and
not only in America. Theatre could never dream about this possibility.

The ordinary people did not think that it was all just tinsel, illusions, dreams,because
the cold and inaccessible beauty of Hollywood stars was completely artificial,
invented, carefully constructed by the experts of industry. Even then, plastic surgery
and figure shaping were used in all available approches. Everyone contributed to the
creation of the ideal image: from plastic surgeons to make-up artists, from costume
designers to lighting technicians. By the way, the role of light in cinema of the 30-50s
was enormous; everything was modeled with light - the face, the landscape, and the
interior. It is necessary to add that cinema made a major impact on the choice of
fabrics. Before the creating of cinema in color, the main decorative effect of movie
characters’ costumes was achieved through expressive textures and their
combinations: matte with shiny, light with dark, etc. Thanks to purely cinematic
contrasts of textures, shiny materials came into fashion: satin, brocade, lamé in gold
and silver, as well as trimmings of fur and feathers, embroidering a suit with
rhinestones, embroidery with sequins, crystal sparkles, bugles and beads. Shoes
were also not left out: they were covered with gold or silver fabric and decorated with
large decorative buckles in order to be noticed.

The emergence of such industry as cinema, brought fashion to a new stage of

development. If previously a fashionable image could only be shown in a sketch, not
always conveying the accuracy of the details and especially the realism of the model,
then photography coped with these tasks perfectly. But more opportunities for
fashion representation arose with the birth of cinema, which immersively influences
the viewer’s perception of temporal flows of images. It became clear that the moving
picture that appeared thanks to cinema has greater potential in conveying visual
information to the viewer, and subsequently the buyer, than a sketch or a
photography. Designers, whose task is not just to create models, but also to promote
them to the masses, saw the potencial of cinema, which was incomparable, for
example, with the theatre, for which many fashion designers also created costumes.
Taking into consideration that the fashion industry was in need of building strong
connection between itself and the cinema industry, we must remember that it is a
special industry, it is not just the production of goods, it is the production of
meanings, which, on the one hand, brings an influence on the cultural component of
society, and on the other, are determined by culture. Fashion is a visual system of
values; it is set patterns that are followed and even obeyed en masse. Massification
of the human psyche, increasing prestige, regulation of emotional states,
familiarization with the new, self-affirmation of the individual, adaptive. Fashion is a
special phenomenon in mass psychology, based on statements about “fashionability”
and “not fashionability”.

There is a curious fact that among many movies of different genres that became
iconic and its stylization was taken in quotations by images and items, for example,
Wizzard of OZ, Pretty Woman, Kill Bill, etc there were the combination of film and
music industry that brought us the new screen genre, musical. For a long time, the
musical was the main delicacy that Broadway offered to sophisticated and
unsophisticated viewers. After successful theatrical productions, many musicals
migrated to the big screens, so it is not even known whether they gained enormous
popularity among audiences all over the world thanks to theater or cinema.

The age of silent films was coming to an end. In 1927, when Alan Crosland's The
Jazz Singer premiered, symbolically marked a change of eras—Hollywood entered a
new phase in its history. And although in fact the comedy production with the
Broadway star Al Jolson was not a sound picture (in the sense that we mean by this
concept now), but was a tape with a synchronized pre-recorded musical score and
singing, as well as some of the actors’ lines voiced separately, the work opened way
for subsequent sound tapes. The film was extremely successful at the box office
(with a budget of 422 thousand dollars, the production's total gross was 3.9 million)
and was awarded in several technical categories at the Oscars.

Already in the next musical and dance film “Crazy about the Songs,” which also did
not do without Jolson’s participation, the main distinctive features of the musical
were outlined: a harmonious combination of musical, choreographic, dramatic and
operatic arts.

The legendary looks that there is no doubt deserve the attention are the outfits of
one of the most popular classic romantic musical movie with Audrey Hepburn, which
is Funny Face. Funny Face wasn’t taken especially seriously upon its release in
1957. New York Times film critic Bosley Crowther, though he was charmed by the
musical’s “visual style” and “fine outdoor shots of Paris”, it amounted to “a lovely
phantasm made up of romance, tourism and chic”. But despite all the talk and the
ludicrous notion that there was anything “funny” about Audrey’s exquisite visage – its
legacy has far outlasted that of other, arguably more heavyweight cinematic fare of
the time. Dedicated fashion fans were always destined to fall for Stanley Donen’s
film, a Cinderella story that charts Jo Stockton’s journey from shy bookseller to
runway model following a fateful meeting with photographer Dick Avery. Insiders
immediately recognised Kay Thompson’s Maggie Prescott as a thinly-veiled version
of legendary magazine editor Diana Vreeland And Vogue photographer Richard
Avedon didn’t only inspire Fred Astaire’s character, he actually contributed to the
film: the images that appear in the title sequence are his. Funny Face also
formalised Hepburn’s working relationship with the French couturier Hubert de
Givenchy. The result was a wardrobe that remains a fashion touchstone almost 70
years later. The Funny Face outfit that really cemented Hepburn’s fashion muse
status was very simple: black cigarette pants, flats, and a black polo neck so widely
imitated it actually became timeless. But the part that not everyone immediately
notices were the flats of Audrey. It was 1957, full skirts and shiny heels were in
fashion, and suddenly in the movie “Funny Face” the sophisticated Audrey Hepburn
appears in all black and black suede loafers, of course, with flat soles. The look
presaged the looming cult of youth of the 1960s, and Salvatore Ferragamo's free-
spirited, beatnik-inspired loafers paired with white socks challenged mainstream
fashion ideals.

Another great example of cooperation high fashion and music and cinema is a
Golden Globos winner, musical Evita with Madonna. Eva Peron’s post-mortem
triumph as the centerpiece of the hit musical ''Evita'' made her more famous than
ever she could have imagined when she married the Argentinian dictator Juan
Peron. Madonna's favorite film role, which she sought with great enthusiasm,
considering it her destiny because she had a lot in common with Eva Peron. Both of
them came from Catholic families, both did not really follow the strict rules of the
church. Both persistently overcame obstacles on the way to the top and achieved
triumph. Both were distinguished by their exceptional talent for attracting attention
and promoting themselves competently.

Embodying Eva Peron, who was very fond of luxury, Madonna set a world record
(inscribed in the Guinness Book of Records) for the number of costumes used in one
film. In Evita, Madonna changed costumes 85 times. Among other things, the props
included: 39 hats, 45 pairs of shoes and 56 pairs of earrings.

Eva Peron was a devoted client of the Salvatore Ferragamo brand. Therefore, for
the film, shoes were recreated based on samples that were kept in the company’s
archives. Interesting fact is that Ferragamo's entry into the world of cinema
happened by chance, as one of the brothers ironed the stage clothes of the nascent
Hollywood industry. After the first successes - boots for Western films, footwear of all
kinds for the blockbusters of the time - Ferragamo's fame grew beyond belief. He
understood the importance of arch support for fit after taking anatomy courses at the
University of California. In 1923, Ferragamo moved his business to Hollywood,
where he purchased the license of the Hollywood Boot Shop, located across the
street from Grauman's Egyptian Theater on Hollywood Boulevard. He was a prodigy
in a fashion world and created and introduced the platform shoes, the sandals as we
know them today, the high heels with metal pins and the cork wedge. Statistic shows
that in the late 1950s he could already boast with 350 patented shoe innovations. He
was awarded the Neiman Marcus Award in 1947 (presented only to clothes
designers until then).

The world of cinema attracted Ferragamo with the huge opportunities it offered for
various interpretations: from the crafting of ancient Roman sandals to the latest
women shoes, which added elegance, sex appeal, aristocratism and femininity.
Consequently, when the film studios moved from Santa Barbara to Hollywood,
Ferragamo followed, to be closer to his customers. The brand has preserved the
tradition of doing work for the cinema and for famous movie projects, creating
masterpieces for big Hollywood projects like Alan Parker’s Evita (1996) and Mark
Rosman’s A Cinderella Story (2004).

When the film came out, Evitomania was all the rage. Some designers (Elie Tahari,
Jill Stuart, Nicole Miller, Victor Costa), in the wake of the success of the film, began
to release lines based on Dior's new look. Items from Evita’s wardrobe appeared on
sale: suits, dresses with square shoulders. Faux mink stoles by Adrienne Landau,
shoes by Ferragamo, hats by Deborah Rhodes. Accessories for creating hairstyles a
la Evita.

One more film that deserves all the attention, though it is not musical but a movie
filled with musical romance and sensual choreography which is The Dirty Dancing.
Almost forty years ago, a film was released on the wide screen, and at its preview
screening, critics unanimously declared that it would be a failure. But the audience
thought otherwise, and the film was a completely unexpected and stunning success,
becoming a box office record holder. Box office receipts exceeded the original
budget by almost 36 times.

The creators of this low-budget film themselves did not expect such success.
Director Emil Ardolino was still little known at that time; the film had no special
effects or Hollywood stars of the first magnitude, moreover, the script was not
accepted the first time, it had to be remade.

The plot is based on the relationship between two lovers from different social
classes. The film takes place in America in 1963. The main character, high school
student Frances Houseman, nicknamed Baby, the daughter of a successful Jewish
doctor, comes with her parents to the resort on vacation and meets a young sexy
dance teacher, Johnny. And, of course, she falls in love with him, Johnny
reciprocates her feelings. However, parents do not allow their daughter to date a guy
who does not correspond to her social status.
Suddenly, Johnny's partner leaves, and the dance number they prepared together is
in jeopardy. Frances loves to dance, she even took up dancing a little, and Johnny
invites her to try to perform with him. They begin to train secretly from their parents.

Of course, Dirty Dancing tackles serious issues such as social and economic
inequality, prejudice and women's right to make their own choices, but in addition to
exposing all these issues, great dancing plays an important role in the film. While the
heroine of actress Jennifer Gray is just mastering dance moves, she prefers simple
sneakers made of white fabric with thin and flexible soles to traditional shoes with
low heels. They appear in close-up shots so often that you simply can’t help but
notice them.

Contemporary fashion is perfectly monitored and conveyed in TV series. Compared

to a film that last no more than 3 hours, TV series give a different sense of
perception, it becomes longer, more comparable to a real everyday life. The viewer
often associates himself with the hero (heroine) of the series and gets used to his
(her) role. And the length of time allows you to feel the emotions and character of the
hero much more deeply than in a film, which means you can become as involved
and identified with the image. And, of course, the viewer perceives the hero
holistically, without separating his appearance from his character; Consequently, the
costume becomes the most important and integral part of the character. Clothing is
able to play a key role in the relationship between visual and viewer due to its ability
to construct, transform and play imaginary, virtual and authentic identities.

A well-known example of cooperation between the world of fashion and cinema is

the extremely popular HBO series “Sex and the City,” which was released in 1998
and lasted until 2004. Later it was transformed into two films and made a
controversial comeback two year ago to TV screens with a new idea of a show but
still very connected with a fashion world. The series presents four completely
different female types, each of which can be perceived by us as a certain role model.
If just a few decades ago we could observe one or two images that were perceived
as standards that we wanted to emulate, today we are talking about a multiplicity of
images. There is no one example or an object, variety of different ones appear. This
project is not just an a symbol of what modern successful women should look like, it
is also the construction of a certain pattern of behavior associated with the constant
consumption of fashionable items that demonstrate feminine attractiveness,
emancipation and freedom.

The beginning of the future iconic TV series about four best female friends in their
middle 30s was laid by journalist Candace Bushnell with her book of the same name,
which became a continuation of her popular newspaper columns in New York
Observer. Bushnell had a talent for meeting people and collecting their stories easily,
she was IT-girl of a Big Apple before the term “IT-Girl” was discovered. In 1994,
Candace was 35 years old, her status as a single woman was questionable
(imagine!), and she was paid $1,000 per column (250 bucks more than other
writers). Bushnell was buying shoes at sales. In fact her future the biggest hit Sex
and the City is a show about her based on her own storytelling. She was speaking
about things that mattered to her mentality, expensive shoes appeared to be one of
them. Generally speaking,the main heroine of a column,later a book and a TV show
is Carrie Bradshaw who turns out to be a real example of a contemporary anti-
protaganist, since Bushnell did not want to write about women that readers liked. But
for the most part she wants to bring out someone that other women could indentify
themselves through imperfections inside out. Carrie is hardly ever able to be
described as the most beautiful, extremely successful or a great mother and wife. It
is the opposite. She is complicated, could not manage her financial situation
because her outcome on shoes, parties are bigger than income and she is single.
However, she is intelligent, with a great sense of humor and undoubtedly
charming.“My heroines are women whose actions cannot be called the best in terms
of morality,” Candace said.
“Sex and the City” raised a whole generation of women (they are now around 50s),
teaching them not only to put off marriage until later, to dress unconventionally ( the
skirt for the Sex and the City intro was bought for only five dollars), to value their
freedom,relations with friends and a great couple of shoes which as hard to find as a
partner in a man. All the heroines of the project are archetypal. Romantic explorer
Carrie, careerist and mentoring Miranda, a Big Apple princess and art lover
Charlotte, free and emancipated Samantha. This TV show consists of 94 episodes,
the series' heroines appeared in exclusive designer outfits, while each of the friends
was an indicator of a certain archetypal style in fashion, thanks to the main costume
designer and stylist, Patricia Field. Fashion critics note that the creators of the
project succeeded in something that, perhaps, neither glossy magazines nor fashion
weeks have ever fully succeeded in: “Sex and the City” was able to convince the
average woman that it was time to give up on a boring everyday clothes.

It was Carrie who we owe the fashion for bright shoes, created by the main shoe
designers of nowadays like Manolo Blahnik and Jimmy Choo, pendants with our own
names and a floor-length grandma's fur coat, which she wore over pajamas, evening
dresses or, as in the first season, with cropped trousers. Aristocratic Charlotte York
also became a style icon of glorifying classic images of the 50s on screens. Another
important detail of the heroine’s style were dresses and skirts with classic
fashionable prints: throughout all seasons, in her outfits the girl showed popular
patterns of polka dots, stripes and with floral appliqués. The liberated Samantha
Jones embodied in her image the main attributes of sexual elegance: two-piece suits

and jackets on a naked body became the main marker of the heroine played by Kim
Cattrall. It is worth mentioning that it was Samantha who taught fans of the series not
to be afraid of the fashionable technique of “color blocking,” when bright contrasting
colors are combined in one image. And the red-haired and pragmatic Miranda
Hobbes demonstrated throughout the series the most thoughtful versions of a
business style that is always relevant: her suits of a men's cut, geometric bags and
short hair still inspire the world's main fashionistas in office outfits. The main detail
that unites heroines of Sex and the City is their passion for high-quality and
expensive shoes, which might be seen on a bigger number of citizens of the Upper
Eastside. In fact, In "Sex and the City," shoes often play a prominent role because
they serve as symbols of independence, empowerment, and personal style for the
heroines. Carrie Bradshaw, in particular, has a deep passion for shoes, especially
high heels, which are often seen as an extension of her personality. For her and
Samantha, Miranda and Miss York, shoes represent more than just footwear; they
embody self-expression and confidence. In many episodes, Carrie's shoe obsession
is portrayed as a form of escapism, a way for her to feel in control amidst the ups
and downs of her romantic and professional life. However, we can consider it as not
only a psychological problem of the main heroine but a hidden push for a female part
of society to consume more. Additionally, the show's emphasis on fashion,
particularly high-end designer items, contributes to the significance of shoes in the
characters' lives. Shoes, being a tangible and visible part of fashion, become a
symbol of status and success for the characters.

One of the major contribution of "SATC" (ie "Sex & the City") is, of course,
brandomania, which helped to introduce to the general public a huge number of
different brands. And the ease with which branded items were purchased on the
screen created the illusion of making fashion more accessible for many, at least in
theory. Thus, thanks to the creative hand of the creators of SATC and its ladies, the
general public not only learned more designer names, but also wanted to own them.
Carrie Bradshaw wore Manolo Blahnik shoes and after watching them, thousands of
fans began to buy them. It is an accident? Definitely not,this is what product
placement is. Product placement is a marketing strategy in which brand products are
organically woven into the plot of films, TV series, computer games, music videos
and other content. Such hidden advertising works not only by reaching a large
audience - millions of people watch TV series and films, which is good for a brand
recognition through emotional response of a viewer. For "Sex and the City," these
collaborations occurred, enabling the show's wardrobe team to access high-end
designer pieces to create the characters' iconic looks. It was a win-win situation for
both sides: the show benefited from using prestigious, fashionable items, while the
designers gained visibility and recognition among a vast audience.

People could see Carrie and other girls and subconsciously wanted to become
closer to them. One of the easiest ways to do this was to use external attributes.
While none of producers are going to admit that the show tried to push people to
consume more shoes, SATC did contribute to the cultural fascination with designer
footwear and fashion in general. It influenced consumer behavior by setting trends
and shaping perceptions of style by flowing the main archetypal of 4 heroines . Many
viewers were inspired by the characters' fashion choices, leading to increased
interest and desire for similar items, including shoes.

The exposure on the show led to a surge in demand for Manolo Blahnik and Jimmy
Choo shoes. Fans and fashion enthusiasts sought to emulate Carrie's style and
sophistication, leading to increased sales and a heightened interest in these luxury
brands. The "Sex and the City" effect on these shoe brands wasn't just about their
visibility on-screen but also the association with the show's glamorous, fashion-
forward image. The characters' endorsement of these brands helped solidify their
positions as symbols of luxury and status in popular culture, influencing consumer
interest and purchasing behavior. The show showcased various Manolo Blahnik
styles, highlighting their elegance, craftsmanship, and the status they conveyed.
Similarly, Jimmy Choo shoes were also prominently featured, adding to the allure of
high-end designer footwear.

What makes Sex in the City stand out from other TV series of that time, in addition to
the bright outfits, crazy accessories and unwavering love for shoes, is the
combination of a sense of humor in relation to everything and even shoes are not left
without attention. For example, the episode in which Kerry meets model of shoes
Mary Jane in heels. It was the day that Carrie Bradshaw had a fashion epiphany.
While exploring the Vogue accessories closet, the writer declared in disbelief:
"Manolo Blahnik Mary Janes. I thought these were an urban shoe myth." As a joke,
this moment is clear to those who are involved in shoe design and know the whole
history of shoe accessories.
For Carrie, who adored Manolo Blahnik shoes and was familiar with their iconic
styles, encountering a Mary Jane shoe with a high heel might have been surprising
because it deviated from the conventional Mary Jane design she was accustomed
to. The blend of the classic Mary Jane silhouette with a higher, perhaps more
unconventional heel might have intrigued her, sparking her surprise and interest in
the unexpected twist on a familiar style. Carrie's passion for unique and distinctive
shoe designs often led her to appreciate and explore unconventional footwear.

The interesting detail to mention is that The "blue Manolos" became iconic due to
their significance in the show's storyline and Carrie Bradshaw's personal journey. In
the "Sex and the City" movie, Carrie wears a stunning pair of blue satin Manolo
Blahnik shoes for her wedding to Mr. Big. These shoes gained tremendous attention
and became a symbol of the character's romantic pursuit due to romantic
symbolism.The blue Manolos were meant to represent Carrie's "something blue" for
her wedding, adhering to the traditional bridal superstition of wearing something old,
something new, something borrowed, and something blue. They became an
emblematic element of her personal love journey throughout the series and the
movie. Besides that, The shoes themselves were exquisite and eye-catching,
showcasing the high-fashion aesthetics that the show was known for. Their elegant
design and the unique blue color made them instantly recognizable. Many mass
market brands still keep on producing their own more affordable versions of that
model of Hangisi (the name of that model by Manolo Blahnik).This crystal-buckle
pumps have become a footwear phenomenon for the past decade, ever since it
launched for spring 2008. As for the inspiration behind the design, Blahink said he
was inspired after visiting an exhibition by the Italian portraitist Giovanni
Boldini. Boldini painted European society ladies in the late 19th and early-20th
centuries, some of them had buckles on their shoes.There are also echoes of the
traditional North African baboosh slippers, immortalized by the French artist Eugène
Delacroix.

Perhaps the main thing, even revolutionary about this TV series, was the fact that
female protoganists of a TV show had no direct connection with a fashion world.
They are not designers, not models, not actresses but still they can be actively and
keenly interested in fashion, not just looking at fashion from afar as something
inaccessible to them, but being able to be a part of this world. Naturally, today we
see that the world of SATC is an exaggeration and even a fantasy, that the heroines
are far from "ordinary" women. Additionally, the show's creators and costume
designers intentionally used fashion, including shoes, as a storytelling tool. The
extravagant and sometimes unattainable fashion choices of the characters added to
the aspirational nature of the show, making it a key element of its appeal to
audiences. The obsession with shoes, especially designer ones like Manolos or
Jimmy Choo, became synonymous with the glamorous and luxurious lifestyle the
characters were living or aspiring to have. And yet, the idea that a woman not from
the highest social circles, working, with a realistic appearance can be not only an
observer, but an active participant in the fashion game, has forced many women to
look at fashion in a new way, making it more accessible, if not in price, then certainly
at the level of ideas.

The second no less significant in terms of fashion style and influence on the viewer
was the TV series of Gossip Girl about the golden youth of the Upper Eastside. The
storylines of Gossip Girl are universal. Even protagonists of ancient literature
experienced similar problems: love ups and downs, jealousy, conflicts of
generations, betrayal of friends, fighting for power, encounters with injustice and
attempts to correct it. However, the heroes of the series have an advantage: most of
them are golden youth, and therefore can solve their problems in ways that ordinary
residents of Brooklyn have never dreamed of. That’s why it’s so exciting to try on
these fantasies in your own life - this is the essence of escapism, which we most
often look for in binge-watching soap operas. For most, an experience similar to
looking through a glossy magazine is a life to which one we would like to belong to,
but so far we are there only in dreams.

The one of the essential attributes of Gossip Girl TV shows that brought an interest
to the various audience is fashion. After the climax of Sex and the City TV show the
niche of a fashionable TV series with a big focus on trends and the biggest
designer's name was empty but not for so long. Gossip Girl, released in 2007, was
not only a glamorous show with main trends of runways.It was ahead of a time due
to the the fact that this TV show predicted how social media would impact people's
lives. The anonymous Gossip Girl, voiced by actress Kristen Bell, received gossip by
email and photos of interesting high school students taken on smartphones and
posted them on her own website, ruining relationships and ruining social
connections. All things considered; Gossip Girl was at the origins of cancel culture
before it has been even created. Since then, anonymity and surveillance on the
Internet have become much more frightening, because there are now many
opportunities to anonymously destroy a person or start a rumor about him that not
many people will decide to check and each of us can become a victim of hackers
and online trolls.Overall, this show predicted not only fresh upcoming fashion styles
but the power of cancelling culture, online bullying and the obvious growth of
influence of Internet and its future social media. One more feature that makes
Gossip Girl stands out from other TV shows about similar problems of young and
rich, it is incredible accessibility to things that represent prestige.Prestige is a
complex social phenomenon and as such has, depending on the circumstances,
positive and negative or even ugly socio-ethical manifestations. Prestige in the
sphere of consumption depends on which social group the individual belongs to; so-
called opinion leaders play a large role here; reference individuals, i.e., people widely
known and popular throughout society, also have an influence; one of the areas in
which this need is realized and satisfied. Prestige serves as one of the tools through
which social norms of consumption operate: under normal conditions, what and how
it is consumed should command respect both from the consumer himself and from
his social environment.

Chanel, Oscar de la Renta, Celine, Christian Louboutin, Dior, Prada and other luxury
brands were seen in the wardrobes of the show's key duo, rich ladies and best
friend, sometimes enemies, Blair Waldorf and Serena van der Woodsen. Often their
outfits seemed extravagant and bold and made the ordinary people want to buy the
similar in order to be closer to their favourites. It brought the world of high fashion—
couture dresses, designer accessories, and stylish ensembles—into the mainstream,
inspiring viewers and setting trends. But the real reason why Gossip Girl has
become a new iconic trendsetting TV show for all fashion enthusiasts was Mixing
High-End with a street style. Though Carrie Bradshaw did her shopping at the
second hands or a vintage store at some episodes, we could hardly ever able to
imagine her wearing Ballerinas shoes. But at the same time, Daman outfitted
wealthy Upper East Side teenagers, not vintage-loving thirtysomething women. Blair
Waldorf would never wear a dirndl to the park or sit on the grass while she had been
doing a picnic with friends. And that is the point: Both shows based their costume
design in an understanding of character, environment, possible actions of different
levels of societies. The stylists were telling the stories through their characters and
outfits they wore and opening more about their characters through the way they
dress. It might be a great example of storytelling. Daman’s and Field’s costumes
work so well not only because they look good on-screen but also because they are
true to the characters and their evolving lives. Like SATC, Gossip Girl dealt in
archetypes—the type A, the free spirit, the rogue—and then made them fully fleshed
through story lines and costumes. And that what made these two TV shows are
different. The stylist of Gossip girl show skillfully combined high-end designer pieces
with more accessible street-style fashion that was more affordable for masses . This
mix of luxury and street fashion inspired viewers to experiment with their wardrobes
without loosing a sleep for fashion.

Costume designer Eric Daman who worked with SACT before, again was able to
create an unique style for each character of Gossip Girl. It was he who brought into
fashion those exact headbands of Blair Waldorf, shiny sandals with high heels and
stylish bags of Serena Van der Woodsen and bright ties of Chuck Bass. Daman
managed to rethink the fashion industry of that time, he was able to ensure that
global brands began lining up to have the main characters of the series appear in
their models in at least one episode. He made a comeback for a Preppy style.

Preppy is a style that arose among American students, students of schools

(colleges) that prepared young people for admission to prestigious Ivy League
universities (Harvard, Yale, Princeton and others). The name of the style comes from
preparatory university school (a school that prepares for entering a university).
Sometimes the word preppy is shortened to prep. They could afford quality clothes
and shoes. In addition, they did not like too formal clothes, were often somewhat
spoiled and strived for comfort. Finally, they were involved in rather “expensive”
sports such as polo and yachting (although they also played golf and tennis). One of
the most famous items in the preppy wardrobe are loafers - both penny loafers and
tasseled models. Mostly,after World War II, loafers became a favorite among
American college students—comfortable, elegant, and yet not too formal. Students
began inserting coins into the holes, and since then the model has been nicknamed
“loafers with a coin” (penny loafers). It is worth adding that preppy fans wore loafers
not only made of calfskin, but also of cordovan. In the 1950s and 1960s, women
began adopting loafers as part of a more androgynous or preppy style. These shoes
were initially considered unconventional for women but gradually became more
accepted as a fashion statement. Generally speaking, Gossip Girl made a major
impact by contributing to the resurgence of such preppy fashion elements, as plaid
skirts, tailored blazers, headbands, high stocks and loafers or ballerina shoes which
became popular among younger audiences.

In general, if we pay more attention to an every protagonist of Gossip Girl, we would

have come to a conclusion that it popularized statement pieces like bold, bright,
accessories, designer handbags, and standout shoes. It emphasized the importance
of accessorizing and how these elements could elevate an outfit and make it
noticeable.

Speaking mostly about shoes,Gossip Girl featured a variety of iconic shoes that
contributed to the show's fashionable allure. Some of the notable shoe styles that
became iconic due to their frequent appearances on the show include:

- Christian Louboutins Heels. The signature red-soled Louboutin heels were a

staple on the show, ranging from classic pumps to more daring and statement
designs. Both Blair and Selena wore them as a symbol of belonging to the
exact society where shoes that cost more than 1000 dollars are something
expectable and common. But the most iconic appearance of Louboutins was
the episode with its model Ernesta. Blair Waldorf's love for Christian
Louboutin in general and her dramatic appearance in a totally red evening
dress by Oscar de la Renta in 4th season matched with high heels sandals in
fucsia color was significant. These classic red-soled heels became symbolic
of Blair's sophisticated, polished style and her aspiration for luxury fashion.
- Manolo Blahnik pumps. Similar to "Sex and the City," Manolo Blahnik shoes
were favored by characters on "Gossip Girl." The elegant and timeless Manolos,
particularly pumps, made several appearances during the whole show.

- High Heel Shoes with The Buckles. Unsurprisingly, Carrie and Blair share other
fashion favorites. As I have told before,at the end of the SATC movie, which
premiered in 2008, Big proposes to Carrie using one of her Manolo Blahniks:
bright blue pumps with crystal buckles. Fast-forward to 2010, and Blair meets
Louis, a prince of Monaco, in Paris. When they part, she gifts him one of her
shoes, telling him he can “always come find [her].” Like Big’s proposal, Blair’s gift
is a Cinderella-style romantic gesture, and it might be even with some hidden
purpose that Daman intended to link these two moments. After all, Blair’s heels
are Roger Viviers’s Maréchale style: navy-blue platform pumps with gold
buckles, echoes of Blahnik’s Hangisi. In the label-driven worlds of Carrie and
Blair, a designer shoe (“worth a hell of a lot more than a glass slipper,” says
Blair) may be the biggest expression of love of them all. As Blair said that this
shoe was worth of a lot more than a glass slipper of Cinderella.
- Stuart Weitzman over-the-knee boots.The show also highlighted Stuart
Weitzman's sleek and chic boots, which complemented the characters'
wardrobes during the colder seasons. Besides that, it is one of the frequent
choices by Serena to her casual looks with jeans or dresses with no connection
to the weather. There is no doubt that this provocative type of boots might remind
us the risky look of Julia Robert’s in her Pretty Woman but again Daman did his
work professionally and he stabilised Serenas outfit with her boots. Her upper
part of body is covered, which is essential when rocking over-the-knee boots and
her military-esque coat has strong lines that lend it a menswear-inspired vibe,
and the tartan tights add to the boys club feel. She's nicely covered up on top,
letting those legs take center stage.

This TV series was no exception, and as soon as it started to have a success after
the first season, fashion houses paid attention to the general interest in the show and
build pragmatic relationships with the series in the format of product placement: they
understood that millions of viewers would see their clothes in a favorable light, and
not only on TV - paparazzi and fans crowded around the location shooting in New
York , and then photographs from there were spread across the Internet and tabloids
bringing more attention to accessories and clothes of heroes in general.

One thing about Gossip Girl TV show that cannot be denied is it was released during
the dawn of social media like Facebook and later Instagram that made a speculation
about its plot but mostly their outfits more viral and vivid with a raise of forums, chats,
live journals and tumblr. That´s why a lot of people in their 20-30s feel such a
connection with this TV show. Moreover, many fashion critics have claimed Gossip
Girl a fashion guide for every self-respecting fashionista, which is what the series
remains to this day.

After the end of Gossip Girl there were some TV series mostly directed for a female
audience but none of them sparked an interest for die-hard fashion fans until Netflix
streaming platform announced a new TV series of an American fashionista and her
adventures in France, “Emily in Paris”. Emily in Paris is a show about the
eponymous Emily Cooper, a vivacious young American woman navigating life and
love in the always-glamorous city of Paris. Emily joins the French marketing
firm, Savoir, and must juggle her career aspirations with her love life and effort to
settle into her newfound home city of Paris. Actress Lily Collins' character is often
shown in striking and unique outfits from head to toe throughout the series. Emily
shows off these outfits around Paris both during her work day and in her free time.
Since she is a marketing executive, her style is part of how she puts her best foot
forward not only for herself, but for Savoir as well. But what it’s really about – as
anyone who’s seen it will know – is the fashion. Fashion is the pièce de résistance of
the hit Netflix show, Emily in Paris. Myriad memorable outfits feature in every
episode, and each character’s personality is transmitted to the viewer through their
individual sense of style. At the centre of all of this, of course, is Emily herself, her
eclectic, vibrant taste has created more than a few pause-worthy fashion moments.
Emily’s personal style has practically become a character in and of itself over the
course of three glitzy, quirky, and irresistibly charming seasons. Though this TV
show was highly criticised about cliché that American society might think about
France in general. There's the absurd idea that Emily's boss could not get her dream
job in Paris because she was pregnant, illusional fat phobia and hints at
compensating for food by smoking, as well as a caricature of the French and
numerous stereotypes about their habits. However, analysts say: this TV project
itself already has a very effective influence on fashion, forcing the viewer to pay
attention to certain things: outfits, accessories. This phenomenon has even been
called the “Netflix effect”, named after the provider of films and TV series based on
streaming media when Emily in Paris is streaming. The series "Emily in Paris"
contributed to the increased demand for Kangol bucket hats, red berets and bags of
various brands similar to the Aldo screen model. However, the whole film is filled
with beautiful things and after watching it, a viewer will want to buy dresses and
bags, shoes and jewellery, like its heroines.

On the contrary, this TV show deserves a try for its risky outfits choices and
beautiful streets of Paris. If you paid close attention to Emily Cooper’s fashion sense,
you will have noticed that she goes for pieces that kind of harp on Parisian cliches—
like the beret, her controversial bag charm (LOL), and a ton of Chanel tweeds. In
previous seasons, famed costume designer Patricia Field was a costume consultant
for creator Darren Starr’s “Emily in Paris.” The two also worked together on “Sex and
the City” so it’s not surprise that the Netflix show has become one of TV’s most-
fashionable shows as of late and having mixed reviews. Some describe Emily’s
looks as absurd, over-the-top, kitschy, and certainly not French. The colorful, mixed
prints and towering heels has been Field’s bread and butter since the ’90s when
Carrie Bradshaw was TV’s hottest fashion girl. When it comes to style now, Field
isn’t thrilled with today’s trends of minimalistic outfits in black,grey or beige, she
stays true to a Carrie Bradshaw style and her Parisian colleague Marilyn Fitoussi
follows her colourful combinations, as a result they were not criticised only by the
lazy. Much has been written about Emily’s strange preferences: not only berets with
a print of the Eiffel Tower, but also an endless supply of outerwear: a big amount of
neon faux furs and holographic motorcycle jackets, but the craziest detail among all
is stiletto boots, in which she managed to wear run halfway through Paris. In France,
many streets, especially small ones, are still covered with cobblestones which make
this type of footwear even dangerous for a health of heroine.
It doesn’t matter what megapolis we will take into consideration nowadays it’s very
rare to meet a woman in high heels in the middle of the day. They most often wear
sneakers, practical flats or platform boots, paired with a relaxed suit or jeans. The
modern image of a young girl should contain ease and irony, which can be seen in
the wardrobe of Emily's French friend, Camille. She wears bell-bottom jeans with
jackets, mini-dresses with boots, and even in an evening dress she doesn’t look
overdressed. Yes, Camilla is not a fashion blogger with an army of subscribers, but
in her images at least one can feel a connection to modernity.

Coming back to reality, even the actress Lily Collins who plays the leading role of
Emily, admitted that she started to have problems with health for wearing heels in
Paris. Lily Collins said she needed to visit a foot doctor weekly while filming "Emily in
Paris" because of how painful it was wearing heels around the city's cobblestone
streets. She wished she could wear flats instead of heels. And her honest answer
leads us to understanding how many of views could follow crazy footwear choices of
their favourite protagonists from Emily in Paris, or Gossip Girl or Sex and the city just
to be able to identify themselves with their chosen character for imitation and
aspiration.
Continue to speak frankly about Emily's choice of outfits for every day, which very
often do not have any connection with reality, modern trends and comfort. It is worth
noting that the choice of shoes is always the same bright and not always suitable for
her outfit. However, any shoe that Emily chooses for a particular event is
outstanding; it is necessarily a designer choice and, as a rule, it is luxury. If you
make a list of Emily's luminous public appearances from the past filmed seasons,
then you can make a certain scale of Emily's most unique shoes.

- Maison Margiela Tabi Ankle Boots

One of the most iconic footwears in the history of contemporary shoe fashion
and a shoe you might have unnoticed in Episode 2 given its neutral color is
the Tabi Boot of Maison Margiela. Inspired by Japanese tabi socks, these
popular boots feature a cleft toe, and this pair in particular hits right above the
ankle. It also features a heel height of three inches that make it optimal for the
daytime.

Christian Louboutin Soval Ankle Strap Pump. And although throughout the entire
series we are able to see Emily in her Christian Louboutin high heels quite often,
this particular model still requires more attention because it is more appropriate to
the cobblestone's streets of Paris. This pretty memorable scene was when Emily
witnessed the making of a perfume commercial, with the model walking naked along
a bridge. She gave a pretty clear stance as to how she feels it objectifies women.
Anyway, her outfit that episode might boost her confidence which she completed with
cute ankle strap patent pumps from Christian Louboutin and matched red sole with
her beret of same colour.
Vivienne Westwood Freed Boots. Vivienne Westwood is a renowned designer known
for her avant-garde and rebellious fashion. The brand's association added to the
boots' appeal, elevating their status and desirability among fashion enthusiasts.
These boots have a distinctive and unconventional design, featuring an oval toe, kitty
heel, and it also added some interest in the form of the “squiggle cut-out” detail. For
its design it made them stand out and caught the attention of viewers.

- Fendi Rockoko Runway 115 Boots. And although there are many critical attacks
on Emily and her clichéd outfits associated with Paris such as berets, various
bold colours and stiletto heels, however, there is one detail associated with
France and these are special boots. One subtle way she did refer to France was
through her Fendi boots from Episode 9, which matched her fluffy pink Kate
Spade bag. The boots are actually inspired by 17th-century fashion in Versailles,
as manifested by the pastel hue, perforated details, and floral embroidery.
- Christian Louboutin King Beaded Red Sole Booties. Rounding out this list is a
pair of refreshingly edgy combat boots that are surprisingly from Christian
Louboutin. Called the King Booties, this design hits right above the ankle for a
comfortable fit. It’s lugged sole is lined with studs, because Emily loves a good
fashion statement. As if that weren’t enough, it’s also beaded with a floral motif!
In this case Emily couldn’t help but let her flirty, feminine style peek through.

On the whole, Emily in Paris is still a curious visual content from Netflix and the
brightest TV show that has a direct connection to a contemporary fashion no matter
how ridiculous sometimes the main protagonist can look like. TV shows can highlight
and influence niche fashion trends and subcultures. Shows like Emily in
Paris present viewers different styles that reflect specific groups or times. Emily in
Paris showcases the chic and sophisticated style of the titular character as she
navigates the fashion capital of the world. With its emphasis on luxury fashion
brands and trendy ensembles, the show has highlighted the allure of Parisian
fashion through her experience. With a lot of popularity of this TV show on the rise
recently, there has been a direct connection between the fashion styles in the
shows and an uptick in sales of similar clothing. Many consumers of the show get
inspired by their favorite characters and seek out similar clothing. This desire to
wear your favorite show’s clothes helps create an even better bond with the
characters on screen, which keeps viewers coming back season after season
which in fact stimulate a Netflix platform produce more content.
 Conclusion:
Taking into consideration all written above, we come back to the answering the main
2 questions that we asked in the beginning of the chapter.
Why do TV shows have such a powerful influence on us? Why do we want to identify
ourselves with main protagonists wearing heels in TV shows?
The answer lays further than in a marketing strategy of those who work on creating
this type of TV content. We have to look at a psychology.

We live in the golden era of TV series: they have long ceased to be considered a low
genre, the best filmmakers of the generation are working on their creation, and the
format allows stories to be told in many details, in a way that cannot be done in
cinema. Having more diversity in terms of the stories told on screen opens us up to
so many more characters, and we are much more likely to find someone we want to
emulate. TV stories are also told over longer periods – in episodes and seasons –
allowing us to explore and enjoy a character's wardrobe over time. What television
can also offer, that perhaps seeing a model on the catwalk cannot, is relatability,
while the encouragement to buy something may also feel less forced or contrived
when you subtly see it on screen, compared with when an influencer is directly trying
to sell a follower something. Besides that, we live in another golden era of
digitalization: we do not have to leave our house anymore in order to receive
whenever we want. We can do many things online, watching TV shows about
fashion and simultaneously shopping online for the similar outfits while we are
watching it. Pandemic of Covid 19 did its impact on a growth of interest to watching
Netflix and other platforms, escapism at its finest. While TV shows lately have always
had some sway in deciding what we wear, the last few lockdown years had seen the
small screen’s influence on style grow and grow.

If we add all the factors together, it is not surprising that TV series have become an
absolutely natural part of our lives. Without a doubt, this multimillion industry has its
own structure and its own tricks to retain the attention and interest of viewers. In
order to keep us obsessed with the screens for a long time, the creators of the series
use a lot of psychological triggers. It is especially difficult for people with mental
disabilities to resist them.

It makes sense to start with the way these shows are shot and edited: one scene
follows another; the camera jumps from character to character. Fast editing makes
the picture more interesting; it is almost impossible to tear yourself away from what is
happening. This technique has long been used in advertising to capture our
attention. It seems that if we look away, we will miss something interesting or
important. In addition, in TV shows they usually use archetypes of basic characters
that bring us closer to a chosen type of a hero or heroine. And finally, after finding
this connection we seek for similarities between us or even experiences we used to
have in two realities in common. The appearance identity places a major role as well.
As much as we can find out more links and connections between an illusional hero
and ourselves, the harder we keen on this protagonist. We might start looking for a
possibility to look like this person, to do the same haircut, to buy that bag or change
a style in general looking closer to the chosen character. Our brain encodes every
experience: what actually happened to us and what we saw on the screen, read in a
book or imagined. While watching a series, the same areas in the brain are activated
as during real events that happen to us. When we become attached to a character,
his problems become ours, we identify ourselves with him, we want to look the
same, dress similar, be in the same places and situations. TV series are the same
lever of escapism from reality as cinema during the Great American Depression.

Another trick that we fall for is the plot. The episode ends on a cliffhanger and we
can't wait to tune into the next one to find out what happens next. Producers know
that the viewer expects a happy ending because they associate themselves with the
main character, which means that if the character gets into trouble, the viewer will
need to know how he will get out of it.

But what role does image play in it? Why one TV shows like Sex and the City,
Gossip Girl or Emily in Paris become more interesting for an audience than others?

Again, when we see a bright, beautiful, juicy picture consisting of changing events,
we see how the heroines live their exciting lives, we want to live the same
experience. But taking into account the lack of opportunity to live such an experience
due to the lack of one or another level of life and opportunities, we are looking for a
substitute to somehow touch to the impossible. For example, not every one of us
may find ourselves in the high society of New York or have the opportunity to go to
parties in Manhattan or work in a marketing company for a fashion house in Paris.
Thus, we are looking for something that we can repeat in our lives. Image is one of
the simplest and most accessible options for bringing yourself closer to your loved
one character and similar lifestyle. Between us and the heroes of the series there is
a certain dopamine dependence, and for us, first of all, the easiest way to maintain
this connection after finishing watching the series by copying certain details of the life
of your favourite character. If we are talking about series aimed primarily at a female
audience related to fashion, then fashion is precisely that incredible source for self-
realization and the very identification of someone close to the character. Fashion
allows us to painlessly play this or that character, try on her image for ourselves,
choose this or that look of the day, use certain accessories in shoes, boots, sandals,
bags, clutches in order to express ourselves and at least slightly dilute our bland life.
If a viewer is drawn to a character on one of these impactful shows, it’s no surprise
that he/she would head straight to Google to try and find out what they’re wearing in
this show. A viewer itself creates demand. Television offers us an opportunity to step
into another world and, when this is done well, we relate to these characters and
want to be or to own a part of it – and fashion is an excellent way to do this. Although
a lockdown life is a way behind, it feels as if the power of fashion on the small screen
is here to stay as one of the soft mechanisms for managing our desires and needs.

There is no doubt that the creators of the series do this with the aim of promoting
certain products since they have their own contracts with fashion houses and
companies and the ability to influence global trends. Therefore, given that most of
the series are still created by men, the patriarchal images where wearing heels is the
sexiest event in a woman’s life It is not surprising that we accept this picture and
continue to use it in our lives.

Wearing high heels and promoting this image as the most sensual and incredibly
attractive is rooted in the history of shoes, when heels first appeared on men and
only then, over time, women began to use the right to wear heels. if we are talking
about cinema and its visuals, then of course a woman wearing heels looks more
toned, more attractive, because her figure is changing, the calf muscles of the pelvis
are being tightened, her bottom part is rising, her chest is becoming more opened
because her posture is completely changing. To what extent does wearing heels
also return us to youth and visually prevent us from associations with aging since it is
still a difficult topic not only for everyday life in our society but also for the cinema
and TV industry. Our brain, our world of our perception, is still hard to except
external visuals changes associated with aging, thus when the main female
characters are older than 30s and they continue to wear heels at 40,50, 60, this is, to
some extent, an attempt to get away from the problem of aging in the global society.
Heels represent youth and ability to move in them easily, again a reference to the
younger age with no visible health problems.

As we see it all together, sociology, cultural roots, historical facts, our psychologies,
the desire to change reality, all this leads us from a passion for shopoholism for
shoes in order to look better not only for ourselves but also for those whose attention
we want to get. Somehow, we seek for fictitious power and self-confidence.
 Sustainability and women’s shoe design now.

In a constantly and rapidly evolving society, digitalisation enables globalisation in

many contexts and aspects of people’s daily lives. Scientists along with climate
activists have been increasingly successful in raising global awareness of the current
human-made climate crisis that negatively affects the world; a crisis that partly is
caused by overconsumption and unsustainable lifestyles (Hess, 2021). The
increased awareness of the climate crisis leads to sustainability becoming more
important to many people (Parzonko et al., 2021), and the societal challenge that
has emerged from the climate crisis today will have a large impact on future
generations.

First of all, we have to define what sustainability is. Sustainable fashion is a term we
are using more and more as we become more aware of the serious impact our
consumer choices have on the environment. Slow or sustainable fashion is clothing
and accessories that are produced, sold, used and disposed of in an environmentally
and socially responsible manner.

This concept also includes ethical issues: fair wages, equal opportunities for different
people and support for socially disadvantaged groups, and so on. But first of all,
sustainable development is the interaction of industry and ecology. Because now the
industry is moving along an “unsustainable” path, because of which the whole world
(and we along with it) could fall into an environmental disaster.

Over the past nine years, the temperature of the Arctic Ocean has increased by 2-4
degrees, Arctic ice is rapidly melting, which is why many coastal cities are at risk of
flooding, and marine ecosystems are being destroyed. For example, coral reefs only
need a couple of degrees of warming to begin to die off. On land, this leads to no
less serious consequences - weather disasters, soil destruction and desertification.

The popular phrase that by 2050 there will be more plastic in the oceans than fish is
also not without foundation: for example, in 2014, 311 million tons of plastic were
produced, and at this rate of production, its amount will quadruple in 30 years. Only
5% of plastic is effectively recycled, most ends up in landfills or is incinerated, while
about a third ends up in nature, including in the seas. Recently, plastic debris was
even found at the bottom of the Mariana Trench.

Plastic is dangerous because it takes about 400 years to decompose in nature and
releases toxins when decomposed. In addition, once in the ocean, it ends up in the
food of marine animals and leads to their death. Despite the fact that governments
around the world are already passing laws banning the use of plastic bags and
single-use plastic items, the problem is still far from being resolved.

A 2012 report in the journal Natural Science found that textile dyeing and finishing
(fabrics in general, not just clothing textiles) are the second largest source of
freshwater pollution after agriculture. In the retelling of journalists, this turned into
“the fashion industry is the second most destructive impact on the environment in the
world.” In 2018, The New York Times called the phrase "fashion's biggest fake news
story." However, the production of clothing, shoes and accessories still significantly
harms the environment. These include pesticides and chemicals that enter the water
when growing cotton and then when dyeing fabrics, and the release of harmful gases
during the production of synthetics and the transportation of finished products. Thus,
in 2015, this industrial sector emitted 1.2 billion tons of greenhouse gases into the
atmosphere - this is more than all the planes and ships in the world produced during
the same period. The fashion industry is also responsible for a fifth of all freshwater
pollution on the planet.

The textile and fashion industry are one of the largest industrial sectors, which uses
a lot of resources and causes a lot of environmental problems. To give an example,
globally 20% of industrial water pollution is caused because of the dyeing and
treatment of textiles (Khare 2014). In the linear system this industrial sector uses
mostly non-renewable resources “– 98 million tons in total per year – including oil to
produce synthetic fibers, fertilisers to grow cotton, and chemicals to produce, dye,
and finish fibers and textiles” (EMF 2017, 20) .While textile and fashion
manufacturing has moved to lower cost countries on the other side of the globe, so
also have many environmental problems .The true value of resources used in
industrial production are easily forgotten or subsidized (e .g . clean water, energy,
pure soil) and the costs of environmental impacts are not included in the end price of
the product. In this way low cost garments can have a remarkable environmental
impact in the location where they are produced.Textile manufacturing in particular
causes a lot of environmental problems, while harmful and toxic chemicals are used
and waste is not treated properly.This causes human tragedies for workers and the
neighbouring communities and their environment.
In the linear system (design-manufacturing-sale-dispose) we are wasting valuable
materials in huge amounts. Not only materials, however, but also many other
resources, for example water and energy needed for manufacturing are wasted if the
product life-time is very short.

On the other hand the amount of impulse purchased garments has increased, and
these kinds of garments might never have been worn (Niinimäki 2011). A study from
Finland showed that around 30% of garment purchasing was based on impulse
shopping. Some consumers actively seek emotional “highs” by constant purchasing,
and this emotionally “addictive” search easily leads to impulse shopping, which
seems to have become accepted behaviour in today’s fashion consumption. The
average number of times a garment is worn has decreased by 36% compared to the
situation 15 years ago. Moreover, the vast amount of garment production results in
markets being oversaturated, and not all garments produced actually enter the
market anymore. There are different figures for unsold garments, but one estimation
shows that even 20% of produced garments will be unsold (Ann Runnel 11 .10
.2017).

In the linear model, the material throughput in the system is fast (fast design and
manufacturing, fast consumption, easy disposal) and this fast tempo is also setting
the model for the fashion business and its means of pursuing profit. These garments
are not made to last for long in the current linear system and most of our garments
are designed to be laundered only 10 times. Such is the new “norm” in the fast
fashion business. But we also have other problems than waste in the fashion sector.
There are consumers who buy new fashion items every week (M Magnuson, B.,
Reimers, V., & Chao, F. (2017) and fashion has become easy entertainment or a kind
of fashion “hunt” for some consumers. Because of this intensive consumption and
impulse purchasing our wardrobes are full, and therefore many garments in our
wardrobes are not in active use.

Consumer responsibility begins as soon as things are in stores. We buy more

clothes than we need: in the summer of 2018, the German freight forwarding
company Movinga surveyed 18 thousand people from 20 countries and found that
we wear, at best, half of all the things we own, or even a third. Excess clothing
becomes a source of problems: although most items can be recycled, only a small
portion makes it to recycling bins. For example, in 2014, America threw away
approximately 16 million tons of textile waste, of which only 2.62 million tons were
recycled, 3.14 were burned for energy, and the remaining 10.46 went to landfills. At
the same time, polyester in synthetic items is the same plastic from which bottles,
bags and other packaging are made, and it also does not decompose easily.

At the same time, it is customers who can—and do—become the main driver of
change. At the end of 2018, financial services company HSBC surveyed more than
8,500 different companies and brands (including fashion) and learned that almost a
third of them had launched sustainability initiatives: they did so under the influence of
their audience, because such actions increase loyalty ( 84% of those who decided to
make changes noted their positive impact on profits and brand development).

Conversations about sustainability are far from new. Microplastics, including

synthetic fibers that are now found in drinking water, beach sand, mussel shells and,
as a result, in human excrement, were seriously discussed back in 2011. Four years
later, sustainability became a viral word - and has only grown in popularity since
then. The world is divided into eco-activists, who call on fashion houses to take the
“true path” at all costs, and pessimists, who often deal with production and brand
representation, and, accordingly, believe that the future of ethical fashion is very
vague. According to the latter, sustainability and environmental friendliness have
become a new way for fashion brands to communicate with consumers - and often
an image necessity, a convenient marketing tool.

The pessimistic truth however is that all this experimentation and supposed
“innovation” in the fashion industry over the past 25 years seem to be failed to lessen
its planetary impact — a loud wake up call for those who hope that voluntary efforts
can successfully address climate change and other major challenges facing society.

The precise negative environmental impact of the fashion industry remains unknown,
but it is sizeable. The industry’s boundaries spread globally and its multitiered supply
chain remains complex and opaque. Thanks to trade liberalization, globalization,
and enduring cost pressures, very few brands own the assets of their upstream
factories, and most companies outsource final production. In fact, how many brands
who know where their stuff comes from in the supply chain, and after receiving this
information there are some doubts how many of them have entered into active
relationships with those suppliers to reduce their carbon footprint. This complexity
and lack of transparency means estimates of the industry’s carbon impact range
from 4% according to McKinsey and the Global Fashion Agenda to 10% (U.N.) of
overall global carbon emissions.
Like all industries, fashion is nested in a broader system. It is a system premised on
growth. Combining the imperative of growth with accelerating product drops, long
lead times, and global supply chains, and the result is inevitable
overproduction. Notwithstanding improvements in technology and communications,
predicting demand across tens of styles that are launched seasonally is much easier
than doing the same for thousands of styles released monthly. Therefore, fashion
inventories inevitably accumulate, and 40% of fashion goods are sold at a
markdown.

The speed of this hedonic treadmill continues to ramp up exponentially. Five years
ago, McKinsey reported that shorter production lead times enabled by technology
and revised business systems enabled brands to “introduce new lines more
frequently. Zara offers 24 new clothing collections each year; H&M offers 12 to 16
and refreshes them weekly.” This acceleration and proliferation of “newness” served
as a constant draw to bring consumers back to sites and stores. This level of speed
already seems outdated and quaint. Shein (pronounced She-in) is now “the fastest
growing ecommerce company in the world.” According to SimilarWeb, its web site
ranks number one in the world for web traffic in the fashion and apparel category.
Selling tops for $7, dresses for $12 and jeans for $17, Shein makes Zara and H&M
look expensive and slow. To deliver on low price points for fast changing styles,
these “real time” brands rely on fossil fuel-based synthetic materials that are
cheaper, adaptable, and more widely available than natural materials. As a result,
polyester has grown to become the number one synthetic fiber and now represents
more than half of all global fiber production. It is derived from nonrenewable
resources, requires a great deal of energy for extraction and processing and
releases significant byproducts.

Most discouragingly, increasing environmental damage has come at a time of

heightened transparency, NGO persistence and escalating environmental concerns.
It’s not as if “sustainability” isn’t on the agenda for fashion companies. Statements
from fast fashion brands such as Primark (a retailer of $3.50 T shirts) that promise to
“make more sustainable fashion affordable for all” are representative of nonsense.
Garments cannot be sold for few coins and at the same be sustainable even if
somehow they are produced from better material that the cheapest version of
polyester. Because the cost of few coins equals that someone works almost for free
in the worst working conditions ever, in this case nothing can be sustainable and
that´s a great example of greenwashing.

Greenwashing as a fashion phenomenon is widely spread according to analysis

made by such organisations like Greenpeace. Despite a number of labour rights
initiatives, and the rise of a global fashion activism movement, including Fashion
Revolutionº and Greenpeace’s Detox campaignº, the global fashion industry is more
concerned on overproduction than ever. Clothing production doubled from 2000,
taking an already unsustainable level of production each year to an estimated 100
billion garments.

One of the last Greenpeace reports has exposed the biggest false green claims
made by major global fashion labels.
Sustainability sells. And fashion labels make incredible claims to appeal to a new
kind of consumer. But brands are hiding their lack of action behind false claims of
environmental responsibility.Without the evidence to back up the eco-claims made
on their labels, fashion companies are guilty of greenwashing. This is when
companies make themselves look eco-friendly to the public but continue polluting the
environment behind the scenes.Big fashion labels promise recycled materials, take
back systems and recycling schemes. But due to the ever-increasing volumes of
fashion being produced, these promises are impossible for companies to keep.
A recent screening of sustainability claims in the textile, garment and shoe sector
suggested that 39% could be false or deceptive.

Big brands like H&M and Decathlon have been found by regulators to have been
making false green claims. In the UK, authorities have investigated similar claims
made by ASOS, Boohoo and George at Asda, as part of a larger effort to develop its
Green Claims Code. In terms of materials, recycled polyester especially is becoming
a central sustainability myth for the fashion industry. Clothes are being labelled as
‘recycled’, even though there’s no evidence that they are part of a truly circular
system for clothes.

This is potentially misleading – consumers might think that the term ‘recycled’ means
they are made out of old clothes, and can be recycled again into new clothes, when
neither is the case.
This is not only creating a false sense of security for customers, but hiding the facts
about plastic recycling: as of 2015, only 9% of all plastic waste ever created has
been recycled.

Meanwhile, we have to divide waste into four different groups. The first is wasted
resources, where all materials and also energy are entirely lost if the product cannot
be continually regenerated. The second is wasted lifecycles, where products have
artificially short lifecycles, and might even be disposed while they are still functional;
a phenomenon called early disposal. The third category is wasted capacity, where
the full potential of the product is not used, seldom use for example. The fourth
category is the wasted embedded values, where all resources and materials from the
disposed product are not recovered and put back into use.

Post-consumer waste can be recycled using mechanical, thermal or chemical

recycling methods. In mechanical recycling, material is selected, cut, shred, carded
and spun into new yarns (e .g . Reblend, Purewaste). With this process, the quality
of the yarn is not as high as with virgin materials and very often some virgin
materials are added to keep the quality sufficiently high. Through the chemical or
thermal recycling process, the material is returned to polymer level by dissolving it,
and thereafter the fiber is regenerated (or reproduced). Unfortunately, a lot of
recycling is down-cycling, meaning that the value of the material is lost (at least at
some level) if the recycled material or product is of a lower value than the original
(every frequently-recycled textile material is down cycled for filling purposes only).
Recently, a lot of development work has been done to construct different
technologies to be used with different waste fibers in the mechanical or chemical
recycling process. New technical and system innovations are needed to use the
waste as a valuable resource within manufacturing. New material standards and
testing methods are also needed as more and more waste is remanufactured into
new fibers, yarns, textiles and clothing. Safety issues are critical when textile waste
material includes different kinds of chemicals, some quite harmful. In addition, new
inventions are needed to totally close the loop and to recycle not only materials but
also the chemicals in the textile materials.

New technologies for using textile waste are being developed, creat- ing new
challenges to the original garment design while considering the end part of its
lifecycle, e.g . the fiber content in the garment. The sorting of different textile waste
materials is an important phase while recovering waste. Unfortunately, a lot of
fashion items are made from blends, very often from 3–4 different fiber types, and
this combination might prevent their recyclability. Also, the information about fiber
content is not always correct, which also prevents garments from entering certain
recycling processes. Recently, an automatic sorting system using robot- ics has
been tested with textile fibers.

Extending the use of clothes is one key issue in sustainable development. For
example, if we can double the use-time of clothing we can halve the resources
needed for production and halve the waste rates of consumption (Saricam, C. &
Okur, N. (2018). This would be an important improvement upon current
unsustainable fashion consumption and the early disposal of clothing. Some
examples already exist of how garments can be rented or leased or brands that offer
free mending services to extend the using time of garments and, simultaneously, to
emotionally satisfy customers.

Speaking about production of shoes there is much more speculations about what it´d
rather be done instead of actions themselves. The discussions about the use of the
modern innovative technologies have been talking over for half of a decade.The
organisations admit the need of emerged actions and they insist on immediate
changes but meanwhile if there are some visible impacts in the textile production
industry, the big changes in footwear just are expected to be done.

As far as we are concerned, textile waste accounts for approximately 7% of

household waste. However, there is still no exact data on how much of this seven
percent comes from shoes. Global footwear consumption has doubled every 20
years since the 1950s. In 1950, every person in the world consumed one new pair of
shoes per year - in 2005, consumption increased to 2.6 new pairs of shoes per year
(in total, more than 20 billion pairs of shoes were sold in 2005). Global shoe
production reached 24.2 billion pairs in 2018 before Covid-19 pandemic (roughly
three new pairs of shoes per person worldwide each year). The leading shoe
producing countries are China, India and Vietnam (2019).

In developed countries like the United States and Italy, shoe consumption per capita
is higher, with an average of seven pairs of shoes per year. In developing countries
such as India, Vietnam and China, per capita shoe consumption is 1-2 pairs per
year. In the European Union, there is an average of five pairs of new shoes per
person per year.

Fast fashion encourages the production of huge quantities of shoes because of the
rapid turnover of cheap items. Fast fashion involves the use of low quality materials
to meet the demand for high volume production of cheap clothing and shoes.
Additionally, the fast fashion model encourages consumers to view their items as
disposable. As a result, the life cycle of shoes has been shortened, leading to
increased waste.

It is estimated that about 40 different materials are used to make one pair of shoes.
This is one of the main reasons why the shoe industry has a major impact on the
environment. There are difficulties in separating and recycling so many materials in a
cost-effective and sustainable manner. Below you see the composition of the
average boot (as of 2018). (Naderi, I., & Van Steenburg, E. (2018).)

The most popular materials are genuine leather, synthetic materials and rubber.

Genuine leather has been in demand in the shoe industry for many centuries. It can
be sewn, molded and waterproofed, making the shoe breathable and durable. The
upper part, sole and lining of shoes are made from genuine leather. They mainly use
the skins of sheep, cows and calves, as well as the skin of reptiles. The negative
impact on the environment is associated with the use of toxic substances (chromium,
solvents, aldehydes) in the production process and greenhouse gas emissions. We
are not taking the cruelty fact into consideration.
Synthetic materials - polyethylene, polyvinyl chloride (PVC), polyester and
polyurethane - are extremely in demand in the footwear industry. They are used to
make soles, heels, and laces. Ideally, such materials should be recycled because
they do not biodegrade in the natural environment, but in practice, separation
difficulties make this nearly impossible.

Rubber is made from natural or synthetic rubber and is used in soles and shock
absorbers. Its advantages are durability and waterproofness. Harm to the
environment: during production, harmful vapors and greenhouse gases are released;
Forests are being cut down for rubber plantations, leading to the destruction of
natural habitats and loss of biodiversity.

Textiles - cotton, wool, nylon, rayon, polyester, nylon - are used in shoes for lining
and uppers. Growing cotton requires enormous amounts of water and pesticides.
Nylon is a synthetic fiber that is produced from non-renewable resources, the
process uses toxic substances and produces harmful emissions into the
atmosphere. The production of wool and viscose is also harmful to the environment.

A 2018 study shows how different shoe materials impact the environment at different
stages of their life cycle. The study's authors focused on three main types of
footwear: synthetic, leather and textile - representing 57%, 25% and 18% of total
global footwear production, respectively.

The product life cycle covers the production of raw materials, their processing, the
manufacture of materials and the production of finished products from them, as well
as packaging, distribution, use, as well as reuse and disposal (recycling, landfill or
incineration). Environmental impacts occur at every stage of a product's life cycle.
The most detrimental impact on climate change comes from the shoe manufacturing
phase. It also has the greatest impact on the consumption of fresh water and
resources, as well as on human health. The extraction stage of raw materials
damages the environment - the quality of the ecosystem deteriorates. The impact of
packaging, transport and disposal appears small compared to other stages of a
shoe's life cycle: transport accounts for 2% of the global environmental impact,
packaging and disposal accounts for less than 5% of the total impact.

Leather footwear makes up only a quarter of total footwear production, but account
for between 30 and 80% of global environmental impact. In second place are
synthetic shoes, followed by textile ones. This result for leather shoes is due to the
fact that serious negative impacts occur at all stages - from raising animals to leather
production, where hides are chemically treated to obtain the desired properties.

The life cycle of leather begins with the breeding and slaughter of animals, a process
that produces methane emissions. In addition, animals require land for grazing, as
well as food and water to live. Few slaughterhouses and tanneries have adequate
waste treatment facilities, meaning the use of chemicals in this industry results in
severe pollution in areas near tanneries. According to pre-pandemic data, more than
2.25 million tons of chemicals are used to process leather to produce 776 million
pairs of leather shoes—much of which is released into the environment.
Initially, the hides are treated with chemicals to remove hair and prevent bacterial
growth. By-products of such treatment enter the environment with wastewater. The
second stage is tanning, when the leather is treated with mineral or vegetable
tannins. Chrome is most often used for tanning, since with it the drying process is
faster, and the leather ultimately stretches better (an important characteristic for shoe
manufacturers). The use of this heavy metal during tanning also leads to the release
of harmful substances, including carcinogenic ones, into the environment. The final
step is finishing the leather to achieve the appropriate texture and softness for the
finished product.

Vegetable tanning is called an alternative to conventional chrome tanning as it is less

harmful to the environment as natural tannins are used in the tanning process.
However, chrome tanning still dominates as it is a faster and cheaper way to produce
leather.

It is estimated that leather shoes take 25–40 years to decompose. In the process,
harmful substances can be washed into the soil, affecting the ecosystem and human
health.

Why in my thesis work do I use pre-pandemic data? This was done in order to
understand what is really happening in the footwear market at the moment if we are
talking about the luxury, middle market and mass-market segment. And have the
fashion giants made any changes to make their shoe production more sustainable?
I specifically used pre-pandemic data to track the dynamics of changes in fashion
society. The COVID-19 pandemic has disrupted fashion activities globally, including
fashion weeks being cancelled, stores closed and workers furloughed, causing
industrial crisis and collapse of the global supply chain has increased the production
costs of fashion products, including luxury fashion items and force luxury industry to
adjust their current practices and make changes to navigate their future. However,
after all the lockdown restrictions were lifted, society was more focused on making
up for what they had missed and consumerism increased compared to the period
before the pandemic though consumers started to think more about sustainability.
Unfortunately, often being misled by greenwashing of big names and brands like
Zara, H&M and etc. Well- known brands’ supposedly sustainable collections that are
in the greenwash danger zone include: Decathlon Ecodesign,H&M Conscious,
Mango Committed,Primark Cares, Zara Join Life e etc.
The promises made by brands on these labels were found to be lacking in a number
of ways, such as:

• Confusing labelling for customers, including false ‘certifications’ which are

simply named after company sustainability programmes.

• Lack of in-house or even third-party verification on environmental, social and

human rights measures.

• Lack of public information from across the chain of production.

• No attempt to slow the production of large volumes.

• Misleading claims of ‘circularity’ relying on recycled polyester from plastic

bottles

• Using ‘sustainable’ or ‘responsible’ on materials which are only slightly better

• Promotion of fabric in blends such as polycotton, which is unrecyclable.

• Continued reliance on discredited measurement tools such as the Higgs Index

on Materials Sustainability.

• Lack of breakdown of information about materials.

• Relying on small scale changes when large changes in volume production are
needed.

As a result, consumption of garments and footwear as well has become even more
widespread.

The most interesting fact is the colossal success of the shoe brand Amina Muaddi in
the luxury segment during the lockdown and the height of the COVID-19 pandemic.
Right at the peak of the pandemic in March, Amina Muaddi’s launched her capsule
collection for MyTheresa. This was the time when consumer sentiment was at an all
time low and luxury retailers were struggling to adjust to the new normal. Amina
Muaddi fans didn’t seem to have the same concerns as they rushed to get their
hands on the designer’s $800 pair of sling-back pumps and crystal-embellished
sandals. Within hours of the launch, almost every style was sold out.
In an uncertain economy, luxury items like Muaddi’s designer shoes were generally a
tough sell, especially since the shoes accommodate a lifestyle that was hard to
imagine in times when playing dress-up at home and hosting Zoom cocktail parties
would be the closest one would be able to get to socializing, at least for the
foreseeable future at that period of time. For one, social media has created quite a
buzz around the designer and distribution has been kept tight.

The Muaddi phenomenon is a bit hard to explain taking to consideration quality vs.
Quantity factor. At the end of the day, it comes down to the demand around the
product. Bottega Veneta bags and shoes are another example of products that have
essentially become “pandemic-proof.”

Like Bottega Veneta, Muaddi’s visual aesthetic is incredibly strong as is her

marketing. Muaddi regularly posts to her 1.3M+ Instagram followers and has never
dabbled in paid advertising. Her following includes some pretty high-profile
celebrities like Gigi Hadid and Kim Kardashian and influencers like Gilda Ambrosio
and Giorgia Tordini of The Attico. Rihanna has also been frequently spotted wearing
Muaddi’s designer shoes and has even gone as far as collaborating with Muaddi on
footwear for her Fenty label, which is set to drop next month.

At this point, Muaddi has no investors and no business partners. But this has allowed
Muaddi to be more nimble and adapt to challenges presented by the COVID-19
crisis. In response to COVID-19, Muaddi paused her plans to open up her first
physical location in London and decided to keep product volumes low — a strategy
that has served the brand well. Muaddi has been able to maintain the hype around
her brand in times when luxury retailers were lost in the face of crisis. Meanwhile,
she receives the Award of the designer of a year, Entrepreneur of the year for the
third year in a row.
It makes us to learn more to understand the success of her release that had been
done online. Taking into account all the receiving information about her brand, its
production takes place in Italy, specifically in Parma, and though designer herself
insists on a refusal to be a thing of the moment or to represent an impulse for the
customer, her company produces at least 4 collection per year and does not provide
any transparent report about its sustainable status. However, her success is based
on social value. There is no doubt it affects luxury purchase intention. Many
researching have explored how social value plays an essential role in shaping
consumers purchase intention especially when products are represented as luxury
and premium goods. Nowadays Face culture continues to have. Great influence on
society and consumer consumption values due to the social and cultural prestige
needs which can generate a bandwagon effect when one repeats after another.
Another factor is seen as a social identity which is defined as a perception of
oneness with a group of people and social identification streams from the
categorisation of individuals, the distinctiveness and prestige of the group. However,
people want to identify themselves with those who inspire them or make them feel
jealous for the status they do not have. This is how celebrities, influencers, TV shows
continue to give its impact on our choices how we would like to look like through the
face culture and social values. That´s the secret of Amina Muaddis success: faces
who wear her shoes and how they are valuable to the modern society. There's the
aforementioned A-list endorsement. When Rihanna and Rosie Huntington-Whiteley
are wearing the very same thing on repeat, the world pays attention—especially when
it comes to shoes. Both are known as being early trend adopters, each with a keen
eye for detail, quality and straight-up glamour.

To some extent, it is understandable why this shoe brand became a sensation. What
about a design itself and a quality, fabrics that have been used to create a pair?
Described as shoes that can go "from 9 to midnight," the sharp design allows for the
frivolity of feathers, sparkles and prints to maintain a luxurious feel. With her own label,
Muaddi has found the freedom to create a silhouette in her heels that is now instantly
recognisable: The heels of her shoes flare out to create a unique architectural effect
but also an extremely comfortable base.

It's this silhouette, most famously associated with the Gilda mules, that has gained cult
status, and Muaddi now counts multiple celebs (including Dua Lipa, Rihanna, Kendall
Jenner and Huntington-Whiteley) among her repeat customers.The product
composition consists of Upper is 100% calf, lining is 100% goat, sole is 70% leather
and 30% rubber. Also, it has crystal embellished straps. No mention about sustainable
approach.

Moving on to a luxury famous giant of the fashion industry, the Italian brand Gucci,
and his responsible attitude towards sustainable chances inside of company and
production of its goods. Taking into account the reports made by the company itself
and other independent organisations and portals like goodonyou.eco we can be
surprisingly pleased by sustainable Initiative provided by a luxury brand. The brand
has set a science-based target to reduce greenhouse gas emissions generated from
its operations and supply chain, and is on track to meet its target. It has a policy to
protect biodiversity throughout its supply chain, uses low-waste cutting techniques to
maximise fabric use, and it reduces chromium and other hazardous chemicals from
its leather tanning processes.

Gucci also uses some lower-impact materials, like in its past circular line, Gucci Off
The Grid. The brand says it “uses recycled, organic, bio-based, and sustainably
sourced materials”. The brand’s genderless collections also included items made
from ECONYL, organic cotton, recycled steel, and regenerated polyamide.

In a same way Gucci has green innovations in their footwear as well. Perhaps this is
one of the most actively developing areas in the footwear industry. It is clear that
only large brands can develop at a high level and with the possibility of scaling. But
they are the drivers of the entire market. Today for them it is one of the new
directions for business development. Gucci's plant-based leather substitute
Demetra. It is a new material that is 77% plant-based, a blend of viscose and wood
pulp from sustainable forest sources, and bio-based polyurethane from renewable
sources. It combines quality, softness, durability, environmental friendliness and -
importantly - scalability. Gucci plans to make Demetra available to the entire fashion
industry from 2022. It took the company two years of research and development to
develop the material.

The fact that companies are investing in such developments confirms the growing
importance of ethical and sustainable practices in the fashion industry.
Demetra features in the shoes’ upper and part of the linings. In addition, the
sneakers contain organic cotton, recycled steel, and recycled polyester.

The line contains other compounds for quality and aesthetics, and even though at a
minimal level, Gucci is working on replacing them with more eco-friendly
elements. Demetra scraps will be upcycled and reused by Gucci as an extension of
its Gucci-Up program, a circular economy initiative dedicated to upcycling waste
leather and textiles stemming during the production process. In addition, the material
can be easily scaled and produced in mass volumes.

The fashion house has filed patent and trademark applications for Demetra and
plans to incorporate this material across all of its collections from accessories to
handbags. The name was chosen by creative director Alessandro Michele, who
arrived at it through Greek mythology and Demeter, the goddess of agriculture and
new harvest.

Plus, as part of its carbon-neutral pledge, any balance GHGs related to Demetra will
be directed into conserving and restoring forests and biodiversity. It is conducting a
third-party Life Cycle Assessment(LCA) to analyze the impacts on the environment
throughout this material’s lifecycle. This too will further help Gucci to list its impacts
based on Kering’s Environmental Profit and Loss methodology and compare
Demetra with other materials.

Initially, the company will provide brands under its parent name Kering with Demetra,
which can be customized, with plans to make it available to the entire fashion
industry from the start of 2022.This news follows its recent publishing of its inaugural
Gucci Equilibrium Impact Report, with its new Environmental Profit and Loss results
finding that the company crossed its 2025 reduction target four years before its
estimated deadline. Apart from this, it revealed a 44% reduction of total
environmental impacts and a 47% decrease in GHGS on a 2015 baseline.

The vegan sneaker line is available in Gucci stores as well as on its online stores
with additional sneaker models and other product categories showcasing Demetra to
follow soon. The shoes are priced between EUR€590 and 790.

Coming back to one of most iconic luxury footwear brands and the biggest love of
Carrie Bradshaw, Manolo Blahnik, is known for its shoes, but not its sustainability
initiatives. Though brand insists that it is all about to change with an innovative post-
purchase repair partnership with The Restory aimed at extending the life cycle of the
luxury brand’s footwear. ‘Mend My Manolos’ is the first of its kind partnership for The
Restory and for luxury shoemaker, Manolo Blahnik. The program will allow aftercare
for customers around the world via the the Manolo Blahnik website and through its
three UK boutiques. All items will be shipped to The Restory’s London-based atelier.
There, the shoes will be assessed and repaired for a fee. Services offered include
re-soling, re-heeling, restoration, and re-dyeing. It’s all part of what the brand says is
an effort to extend the longevity of the promise that comes with an investment piece.
The brand proposes Mend my Manolos like Blahnik´s avant-garde service is more
than just the aftercare of these pieces, it generates a future in sustainable luxury
products that simultaneously fosters a more responsible, sustainable discourse and
approaches within the fashion world.
“Beautifully crafted, timeless investments to be treasured for a lifetime is what we
strive to create in every pair of shoes at Manolo Blahnik,” Manolo Blahnik chief
executive Kristina Blahnik said in a statement. “We are thrilled to be partnering with
The Restory, a business who understands the value of artisanry and craftsmanship
and who is passionate about bringing well-loved pieces back to life.”

Like the secondhand sector’s recent demand explosion, aftercare is also a booming
sector of the luxury fashion market, estimated at more than $200 billion, according to
The Restory. It’s more than just caring for luxury pieces, though, the brand says—it’s
a way to foster responsible sustainable strategies in the fashion world.And that can’t
happen too soon. Fashion and textile waste are leading producers of greenhouse
gas emissions and landfill waste.

As Vanessa Jacobs, founder and chief executive of The Restory, said in a

statement. “We started The Restory to make aftercare fun and stylish and as much
a part of the fashion experience as buying to begin with.We have spent four years
cracking the complexity of aftercare, partnering with some of the UK’s leading luxury
retailers to help customers fall in love again and again with their investment pieces.
Few brands epitomise fun, style and investment-in-self better than our first brand
partner Manolo Blahnik and we are excited to be leveraging our tech, data and
craftmanship to power aftercare for such an iconic brand, championing a sustainable
approach to luxury and helping the industry advance towards a greener future.”

Blahnik’s sustainability initiatives have been largely lacking, though. In 2011, the
brand partnered with Marcia Patmos on a collection that featured the skins of dead
tilapia fish, along with cork, and raffia. But there’s been little else since. The brand’s
environmental policies—if they even exist—have not been made public. That earned
Blahnik a “not good enough” rating in 2019 from the Good on You Directory.
According to the Directory, the brand has not published policies about its people,
planet, or animal initiatives. Its labor practices were also called into question and
there’s no evidence the brand has a code of conduct, ensures payment of living
wages in its supply chain, or conducts any audits of its suppliers. But since the
pandemic started, the brand updated its website to include commitments to several
non-profits working across mental health issues, stray dogs, and reforestation
efforts. One of the initiatives is a partnership with the group Treedom and the
creation of the Manolo Blahnik Global Family Forest, which it announced last Earth
Day on behalf of each of its employees.

If we tend to analyse the composition of Manolo´s shoes and its sustainability, let
them be the iconic shoes which is Hangisi, highly promoted by Sex and the city.

These pumps featuring a square crystal buckle encased in a gunmetal

frame. Finished with a stiletto high heel. The composition of the shoe
consists of upper: 68% viscose, 32% silk., sole: 100% cow leather, lining:
100% leather, heel measures 105 mm, besides that the product is made in
Italy. However, there is no transparency about all the process of the
production.

If we are talking about the middle market segment of footwear, then very
often consumers do not understand this category and want to buy either
luxury shoes or save money and buy a mass market . Although the most
interesting and truly sustainable brands are most often found in the segment
of Middle Market. One of the reasons why brands in this segment are more
responsible about sustainable development is the desire to stand out, show
the ethics of the brand, make their idea memorable and find a more
conscious consumer who may not buy every new product in th e season, but
at the same time will show their loyalty. Such brands are based prima rily on
customer loyalty.
One of the greatest example of a sustainable brand of shoe in a middle
market segment is MIISTA. The brand was based in 2010 in London and up
to the date it provides a great choice of sustainable female footwear, clothes
and accessories. Her founder, Laura Villasenin, born in Galicia but received
her designer education in London, from the start of the brand knew that her
brand will support fair trade, equality, diversit y and sustainability before it
became somehow a green trend. Her idea was always for the brand to offer a
complete lifestyle, a culture and a community in a more consolidated way. Her goals
were ambitious and the challenges more than substantial for an independent brand.
One Brexit and a global pandemic later, Miista not only diversified its product offering
by entering a new category, but did so by opening its own production site, which
already employs 20 people. The brand prefered not to outsource parts of the
business, but to integrate them, even if it meant more financial investment. Besides
that, they wanted to focus on preserving and caring for craftsmanship. Because the
owner of the brand understands that craftsmanship is disappearing, and they have
realized that they would run out of places to manufacture in Europe if we did not
start invest in training new generations. The vast majority of MIISTA craftsmen are
over 50 years old, and it is very hard to find young people who want to dedicate
themselves to this trade. Only two of the seamstresses in her factory are young.

Opening their own factory, even on a small scale, was a huge risk, but it’s part of
Miista’s brand identity: risky footwear and the same decisions.During the Covid-19
pandemic, the brand realized that it was no longer just a question of believing in this
concept in terms of its sustainability level, but that it was the only possible one. The
supply chain faced a lot of difficulties, and the only solution was to fight to preserve
craftsmanship in Europe. In addition, the Galician designer stressed the importance
of promoting gender equality in the industry. She could not accept the fact that the
most important positions were still occupied by men. For example, in the footwear
section in her factory, only one worker is male and other 19 workers are women of
the age over 50 that demonstrates that the brand founder stays true to her believes
and she fights with inequality of sexes and ages.
The entrepreneur chose her native Galicia as the location for her production
workshop. The region has expertise in the fashion and textile industry and is also
home to the headquarters of international brands such as Bimba y Lola, Adolfo
Dominguez, Roberto Verino, and Purificación García, as well as Amancio Ortega's
Inditex. Despite receiving a call from the fashion giant offering her a position, like
many of her fellow design students after completing their degree, Villasenin made it
crystal clear that she was never interested in fast fashion. She continues to question
the business model to this day. She is against the fact that they impose
unsustainable conditions for factories and destroy many parts of the industry,bringing
the negative impact by fast fashion companies when it comes to local production,
both in Galicia and in northern Portugal. She bluntly highlighted how frustrating it is
to see small brands suffer their designs being used as “inspiration” by these retailers,
creations that require years of hard work just for it to be eventually “burned” in a
matter of weeks when it goes out of style. Moreover, MIISTA founder recommends to
slow down with consumerism and comes with a similar proposal as Manolo Blahnik
with a repairing offer. Collaborating with a crop of international cobblers who they
trust and respect, a brand is offering a discounted service when you have your
Miista shoes repaired. The idea was also to give a platform to the people who are
creating some of the most important and radical change in the industry around
circularity, sustainability and fashion. As for the ethical part MIISTA uses leather
but they mostly focus on using left-overs from the leather that can be bought in
stocks and use the smart design for creating models with a less or zero waste.

For example, they are most iconic high boots called Finola,is wide-leg, over-the-
knee boot crafted from textured calf leather that transforms from dark to lime
green.Featuring a block heel and elongated toe, Finola is finished with memory
foam insoles, calf leather lining and leather outsoles with heel of 6.5 cm of height.
The brand insists on fair trade supply chain of fabrics and smart design with a
minimum of leftovers. They insist on using leather because the meat industry is
still growing in progress and Spain where the footwear is produced is a very meat-
oriented country.
Above that all, the brand prefers to do Pop Ups of their old collections or products
that have some little imperfections as Sample Sale Event in order not to stimulate
consumerism but to give the life for items that were not sold at the first place.

The same logic is used by another Spain middle market brand, called About Arianne.
About Arianne always recalls the classical styles and uses Mediterranean roots as a
starting point. Seeking timelessness in each collection and based in Barcelona
atelier in an artistic barrow of Poblenou, their collections are designed for a
contemporary woman with a stylish essence. Feminist and environmentally
conscious, passionate about design but preferring quality over quantity. The focus is
on well-being and practicality.

The design process starts from a concept on every collection and throwing out all the
ideas that sprang to the mind of founders, Ariadna Guirado and Ernesto Vidal who
started the brand in 2010. Their designs feature locally sourced materials and
craftsmanship, and their mission is to produce 'walkable' shoes without
compromising on style.They create their sketches and ideas in Barcelona but
produce them in ELX, Alicante, Spain and all of the footwears are made in the
same way as it has always been produced in Spain.They work with real,local
artisans as a way to keep alive a traditional craftsmanship and they represent
it as one of the main goals of their company, respecting all the procedures and
ensuring a healthy environment.As much as MIISTA, About Arianne respect
the equality of sexes and for this reason the women comprise more than a half
of the manufacturers and receive equal wages as the brand shares their
transparent representation.

Because of their care for environmental impact, all of their shoes are made -to-
order to prevent over production and waste. By working with local providers they
reduce the use of energy and waste of water. Every shoe and packaging generate
as little waste as possible. Trending toward a future vegan footprint, many of
their materials are made with high-quality vegetable or vegan leathers. When
they do source authentic animal leather, they do so consciously and
responsibly. All packaging is completely sustainable with no plastic on it, the
little paper it uses is recycled, plus it is renewable so it can be used over again
as a beautiful storage box to keep the footwear sound and safe. Moreover, the
company continually works toward a more sustainable supply chain.
Their bestseller was Chunky platform sandal made in a soft orange vegan leather.It
consisted of 100% vegan platform heel of 80 mm with a square toe. Upper is eco
vegan PU ‘leather’, it has resin sole and it made in Spain. PU leather is an artificial
leather material made with split leather (that's the fibrous part of the hide left over
from making genuine leather) which has been coated with polyurethane (hence the
name “PU”), and then applied to production of shoes, bags or furniture. Since
polyurethane has been used as a special coating for heavy duty and industrial
purposes it is very durable. It lasts a very long time and usually does not crack or
wear down easily. The overall durability and quality is quite good and actually way
better compared to most faux leather alternatives.

In the same way, some biggest sport footwear names or independent brands of
sneakers provide a sustainable alternative to their customers. It is impossible to talk
about environmental initiatives without mentioning adidas, which is perhaps one of
the pioneers in this direction.

Adidas AG is the largest sportswear manufacturer in Europe and is second only to

Nike worldwide. Adidas is a multinational corporation, founded and headquartered in
Herzogenaurach, Germany, which designs and manufactures footwear, apparel, and
accessories (Tighe, 2022). The Adidas group is made up of Reebok, TaylorMade,
and Runtastic. The company also owns a share of the German football club Bayern
Munich. Adidas' logo is three stripes, which is used on the company's apparel and
footwear designs as marketing. Some of Adidas' major competitors are Nike, Puma,
and Under Armour. As of 2020, Adidas will be the third largest apparel brand in the
world, with a brand value of $16.5 billion (about $51 per person in the US) US
dollars. The company is also one of the most valuable athletic apparel, accessories,
and footwear companies in the world. Over the years, the Adidas brand surpassed
Nike and other global athletic footwear brands among US consumers, based on a
ranking of customer satisfaction levels (Tighe, 2022). Most recently, Adidas fell
closely behind Nike in terms of customer satisfaction, achieving a score of 77 out of
100. The company will employ approximately 62 thousand people worldwide in 2020.
The Adidas Group's global net sales amounted to about $20.99 billion dollars in
2020, signifying a decrease compared to the prior year due to the coronavirus
(COVID-19) pandemic. In 2020, the North American region of the Adidas Group
generated 24 percent of the company's retail net sales. Footwear is an Adidas
Group's biggest segment. In 2020, the company produced 448 million pairs of shoes
worldwide. (Tighe, 2022).

Adidas' sustainability efforts started in 1998 when the company announced its
environmental and social standards that all its suppliers must uphold. In 2012,
Adidas equipped all volunteers at the London Olympic Games with uniforms made
from recycled polyester. Three years later Adidas partnered with the environmental
organization “Parley for the Oceans” and created a shoe that uses Parley Ocean
Plastic as an eco- innovative replacement for virgin plastic. They made an
appearance together at the United Nations as part of a long-term eco-innovation
partnership (Adidas, 2022). By the end of 2021, adidas produced 17 million pairs of
shoes using recycled plastic waste collected from beaches and coastal areas. Last
year, 15 million pairs of such shoes were produced. Adidas is constantly expanding
its vegan offering and is completely phasing out the use of fur. In collaboration with
partners, adidas develops plant-based leathers, recycled cotton, and especially
climate-friendly running shoes.

Interestingly, adidas is attentive to local markets and collaborates with local

influencers and experts in all of its campaigns. And they do it not only to promote
their own products, but also to involve as many people as possible in the topic of
ecology. So, as part of the Run for the ocean campaign in Russia in 2021 ( before
the war of Russia against Ukraine), Bulyash Todayeva, an industrial designer,
engineer in the field of sustainable development and the founder of the Zerowastelab
project in Russia, and Alexei Bakhmetiev, a TV presenter known for his upcycle
inventions, became brand ambassadors. Together with Bulyash, adidas developed
and launched the adidas Telegram chatbot “Kroshka”, which in an accessible form
told subscribers about simple household eco-habits and shared tips for a conscious
lifestyle. Together with Kroshka, users determined plastic labels from photographs,
found the nearest waste recycling and sorting point, received useful information from
experts, and got acquainted with the topic of ecology in a fascinating way. Thus,
companies are engaged not only directly in the development of new materials, but
also in the education of the consumer, involving him in an environmentally friendly
lifestyle.

But besides all his projects or initiatives Adidas still has the work to do for being a
transparent sustainable brand. According to Forbes, Adidas told ASPI they had no
direct contractual relationships with the suppliers indicated in the report but could not
rule out a link further down their supply chain. Adidas’ PR team says that “being
a sustainable business is about striking a balance between shareholder expectations
and the needs and concerns of our employees, the workers in our supply chain, and
the environment.” It makes us think that sustainability for workers’ rights only goes as
far as profits. In the Adidas world, everyone is equal, but some are just more equal
than others.

Their closest competitor, which is Nike, has a bit another dynamic in terms of
sustainability. Nike, Inc. (2022) is an American multinational company engaged in
the design, development, manufacture, and marketing of footwear, apparel,
equipment, accessories, and other sporting goods. It is one of the world's largest
suppliers of athletic footwear and apparel, and a major manufacturer of sports
equipment with revenues of more than US $24.1 billion (about $74 per person in the
US) and a workforce of approximately 44,000 employees (about twice the seating
capacity of Madison Square Garden) worldwide in 2012. The brand alone is worth
US $10.7 billion (about $33 per person in the US), making it the most valuable brand
among sports corporations. The company was founded on January 20, 1964, as
Blue Ribbon Sports by Bill J. Bowerman and Philip H. Knight, and officially became
Nike, Inc. on May 30, 1971. Nike markets its products under its own brand name, as
well as under Nike Golf, Nike Pro, Nike +, Air Jordan, Nike Skateboarding, Hurley
International, and Converse, among others. In addition to sportswear and equipment
manufacturing, the company owns Niketown stores. Nike is a sponsor of many high-
level athletes and sports teams around the world, with the famous slogan "Just do it."
The Swoosh logo was created by Carolyn Davidson and outlines a wing of the
goddess that gives the brand its name (Companies History, 2020).

In 1992 Nike published its mission, values, and principles statements with standards
of professional conduct, the list of its suppliers and factories they work with, worker
compensation, and overtime work disclosures as well as a declaration of no
tolerance for forced labor and care for the health safety of their workers (Nike, 2022).

Nike’s vision of sustainability is about becoming a company that contributes to

a circular economy. By “creating products that last longer and that are
designed with the end in mind” (Nike, 2022). They have 10 main principles for
circular design. These all include choosing materials tha t have a lower
environmental impact. Taking into consideration the cyclability of the product
and how the product will be recycled at the end of use. By rethinking a new
method of making the products, Nike also aims to reduce waste at the time of
shoe construction. Designers must think about the disassembly of the shoe
once the shoe is returned, considering using adhesives that are more
environmentally friendly. In addition, refurbishing shoes to extend their life,
versatility, and durability of the footwear. And finally, the constant creation of
new models that use these principles and come up as an ethical product that
will be better for the environment (Nike, n.d.). Nike recently launched the
“Move to Zero” initiative to counteract climate change (Cook, 2020). The
program prioritizes carbon waste and aims to get to zero carbon. Carbon is the
leading contributor to climate change. We want to use recycled materials as
often, and use zero carbon materials (On-Running, 2022).

To supply additional context, Nike has a strong history of sustainability efforts.

In 1995, Nike reduced the use of solvents by 95% to avoid exposing workers to
harmful fumes, by switching from petroleum-derived solvents (PDS) to
wastewater-based adhesives. Starting in 1997, Nike committed to phase out
the use of all SF6 F-gases, a gas used in cushioning air soles that contributes
to global warming. By 2006, Nike completely ceased the use of these gases. In
1998, Nike adopted US OSHA (Occupational Safety and Health A dministration)
clean air standards to improve the environment for workers. In the same year,
the company ended the use of Polyvinyl Chloride .
In 2002, Nike developed an environmentally friendly rubber for footwear
outsoles that has 96% fewer toxins by weight than the materials they were
previously using. It's in 2006 when the company started to instill education on
the best selection of materials from the beginning of the design process of
shoes, they wanted to start promoting the creation of shoes by thinking about
the waste that will be generated and how the materials will disintegrate back
into nature. In 2008, Nike launched the Air Jordan XX3 , they created the shoe
by using innovative technology that employs a water-based bonding process
that allows the carbon fiber cement plate to be attached without the use of
solvent-based cement (Gunther, 2008. Another sustainability initiative from the
company was that they used the waste from the factory floor and integrated it
into various parts of the shoes such as uppers, midsoles, and outsoles. In
2010, Nike introduced environmentally friendly jerseys, for the national teams
playing in South Africa including Brazil, Portugal and Netherlands. These
jerseys were made entirely from recycled polyester, each made from up to
eight plastic bottles (Niskanen, 2019).

An example of Nike taking sustainability to scale is with the Vapor Max 2020
shoe. The Nike air sole units are created in a facility that runs on 100%
renewable energy. When forming the air soles any scrap that is left over is
integrated into a new material. Every time you see an air sole you have at least
50% recycled content in it. The way they created Vapor Max 2020 has 70%
recycled content in it. On the upper sole, it has Flyknit, which is a platform
made of a polyester thread (Daniels, 2018).

Nowadays, Nike’s sustainability encompasses multiple areas of the business,

including circular solutions which include supporting product care for longer life,
promoting recycling of used products, selling refurbished returned shoes as an
accessible priced and sustainable reuse option, and re-creating pieces from vintage
and dead stock products.
The company is working towards its targets:

• 0.5m imperial tonnes less of greenhouse gas (GHG) emissions by 2025,

through increasing use of environmentally preferred materials to 50% of all
key materials: polyester, cotton, leather and rubber. As of FY22, 182K+
metric tonnes of emissions were reduced by using 39% environmentally
preferred materials in products.

• 100% waste diverted from landfill in the extended supply chain with at least
80% of waste recycled back into Nike products and other goods by 2025.
Ninety-seven per cent waste diverted from landfill as of FY22.

• 25%reduction of fresh water usage per kg in textile dyeing and finishing by

2025.

• 70%reduction of GHG emissions in owned or operated facilities — 64% as of

FY22.
Besides that, More than 70% of any Nike product’s carbon footprint comes from
materials, so it is unsurprising that the company is continuously
developing sustainable materials.

Innovative material development includes:

• Nike Forward: An all-new material made from ultra-thin, needle-punched
layers with a reduced carbon footprint of 75% on average when compared
to traditional knit.

• NikeFlyknit: A lightweight fabric made from plastic bottles, precision-

engineered with an average of 60% less waste than in traditional footwear
upper manufacturing.

• Nike Flyleather: Created by binding at least 50% recycled leather fibres with
synthetic fibres using a water-powered process which is a low waste, low
impact alternative to traditional leather.

Nike believes in developing sustainable materials that not only support the planet,
but are also a better alternative for its customers.

The company also imposes voluntary restrictions on chemicals, uses 100% organic,
recycled or Better Cotton sourced through the Better Cotton Initiative (BCI) as of
2020, and saves an average of one billion plastic bottles from landfills and
waterways annually through using recycled polyester.
Nike’s newest development in sustainable material is a new ReactX foam cushioning
unit, which is launching soon in the InfinityRN 4. The shoe, which also utilises Nike
Flyknit, is designed for road running and is part of a range of Nike shoes designed
for long distance comfort and support.The ReactX Foam reduces the carbon
footprint of the midsole by over 43%, and offers improved support and cushioning for
the user. The foam is put through an injection process, rather than the compression
moulding used previously, which boosts energy return whilst reducing carbon
output.

Over the past five years, the material has been researched, developed and tested to
ensure progress in both performance and environmental impact.

Another brand that it is not close to these giants with production but still
produces absolutely sustainable vegan casual sneakers and sport shoes, is a
Spanish brand SAYE.

Since day one,SAYE founders considered the environment and sustainability as their core
priorities at SAYE. They made all decisions consistently aimed to strive towards greater
change by pushing for new solutions, investing in new socio-environmentally conscious
projects, and setting out to reduce their impact to the environment until it is truly neutral.

The brand represents a clear purpose: to promote a conscious lifestyle by offering high
quality vegan sneakers that are kind to the planet and its people. In their aim is to forge
the path toward a brighter future, the policy of their company says that all of their
employees make every decision considering its environmental impact first.

Values of the brand is to be committed to providing quality, sustainable footwear, and

apparel. SAYE mission is to facilitate the shift towards a more conscious lifestyle. They
are aware that right now we are all facing a great challenge but they firmly believe that
today they cannot turn their backs on the damage everyone iscausing to the planet. And
following the rule that if you want to change the world,start with yourself, the brand gives a
great example to others. That is why SAYE was born with the commitment to offer an
alternative to the conventional footwear industry and wants to take steps toward a better
future. The company chose a sustainable approach through veganism. Vegan products
must also have an environmental commitment and cannot be made of plastic. For this
reason, SAYE is constantly looking for new materials and they are currently using
innovative, bio-based, recycled. And organic materials.The company prefers to be a part of
and promote the use of new, scientifically new,more plant-based materials without relying
on animal and non-renewable resources. We collaborate with our factories and suppliers,
which allows us to develop materials and products with lower impact. Following the goal to
build social consciousness, the brand constructively educates the consumers through their
products, showing timeless and durable designs, encouraging a change of mentality
towards more responsible consumption. The team build an honest business to promote
long-lasting transparent relationships with everyone included. Every direct and indirect act
associated with the fashion industry harms the planet, as a result the brand decides to be
transparent in every action and in 2022, SAYE decided to partner up with BCome, a
platform for global sustainability management, to meticulously map out our supply chain,
and gain insight and clarity on our impact.

To analyse how sustainable SAYE is, I chose Green Capsule collection for an
observation. The name of this collections refers to an original and fresh vegan napa
material that the sneakers are made from: fruits, vegetables and plants. All of
them are recycled from the food industry, preventing the creation of more waste.
The brand insists that their goal is to give them a new life! This capsule includes
the following sneakers: the M’89 Vegan Cactus, the M’89 Vegan Polar Cactus, the
M’89 Vegan Mango and the M’89 Vegan Low and Hi Apple.They are not only
vegan, but as sustainable as they can get, always reaching for the highest quality.

The company believes in the importance of being on the continual search for
leather alternatives that offer a more long-lasting product than ever before. Also,
they want to contribute to reusing materials that otherwise would be thrown away
and encourage the market to find new and innovative options.
THE M’89 VEGAN MANGO
Made from an alternative vegan napa that uses a revolutionary process that
transforms discarded mangos into a leather-like material.

We use mangoes that do not meet the market standards, whether because they
have a bump or they are not the right size. Instead of throwing them away, we
recycle them and give them another use.

Why mango napa?

· 45% of all fruit produced for consumption gets thrown away.

· 30% of the earth’s agricultural land is used to produce food that eventually will be
thrown away.

· 40% of food harvested is left in the fields, because it does not meet the cosmetic
standards for the supermarkets.

· 10% of all greenhouse gasses emitted in developed countries are used to

produce food that will never be eaten.

Compared to the conventional market this sneaker has 42% less impact on carbon
footprint.

Carbon footprint:5,52 kg CO2 eq.//276 light bulbs (42%)

Water consumption:5;05 m3//78 bottles (58%)
Eutrophication (Biodiversity loss due to fertilizer use):12,5p phosphates
Abiotic depletion (Non-renewable energy consumption):79,83MJ // 18km by car
(43%)

THE M’89 VEGAN CACTUS.Cactus is one of the most innovative plant based
alternatives to leather. Surprisingly soft to touch while also offering exceptional
quality and being environment-friendly.
Why cactus napa?
· The napa is capable of growing on land where other crops won’t prosper. It can be
used for the restoration of degraded land in many countries.

· In only 14 acres of organic cactus plantations, we can absorb 8,100 tons of CO2
per year, while at the farm we only generate 15.30 tons of CO2 annually.

· It takes approximately 3 leaves of cactus to create one linear meter of vegan napa.
Only mature leaves of the plant are cut, without damaging the plant itself, and
enabling repeat harvest every 6-8 months from the same plants.

· You only need 200L to grow 1kg of cactus biomass which water is absorbed by the
plant itself from humidity present in the atmosphere, compared to 1000L (on
average) to grow the same kg from other crops.
Carbon footprint: 5 kg CO2 eq. // 250 light bulbs (44%)

Water consumption: 5,05m3 // 78 bottles (48%)

Eutrophication (Biodiversity loss due to fertilizer use): 11,25 g phosphates // 2

washes (19%)

Abiotic depletion (Non-renewable energy consumption): 74,25 MJ // 17 km by car

(43%)
Compared to the conventional market this icon has 44% less impact on carbon
footprint.

All the information about the products of SAYE, it is taken from its instagram and
website to analyse the content description.

Talking about fast fashion footwear, here the footwear manufacturing industry and
retail supply chain is currently unsustainable. Around 2o billion pairs of shoes are
manufactured each year, this has levelled off and there is little growth forecasted.
Although there will not be the soaring growth in production of recent years there is
still a needs to sustainably dispose of a phenomenal volume of shoes every year.
Recycling components and making components out of recycled material is going to
have to be key, particularly as resources such as petroleum and farming become
more expensive. Alternative forms of mass customisation of key components such
as soles and heels also needs to be considered.
 Conclusion.

Radical shifts in the technical and cultural development of society scale and
complicate the processes of transformation of light industry production systems,
under the pressure of practical tasks, brings a need to consider modern sustainable
technologies beyond the textile industry. The consumer forms a request for a better,
more green technology for the production activities, updating product design,
revising the approach to the serial production of textile footwear products. The
relevance of theorist and methodological problems of the work of the paradigm
increases the efficiency and competitiveness of enterprises in the textile industry
requires analysis and revision of the technologies being used.Sustainable
development in the textile and apparel industry is one of the key priorities of
enterprises of our time, concern for the protection of people and the environment and
the adoption of an environmentally friendly approach requires the use of modern
green technologies.

The need for modern technology for companies in the textile and footwear industry is
the ability to create new profit streams to increase their sustainability and
competitiveness in the global market. The textile and footwear industry needs a
flexible production system capable of responding to the development of technology
and the culture of society with suitable tools for creating products of a new type of
business model.

Some organisations demand modern technologies for the production of footwear

products requiring compliance with the following fundamental conditions:
- complete elimination of the use of prohibited substances ;
- reduction of chemical emission factors to the environment;
- increased endurance comfort for final users;
- taking into account a significant amount of previous knowledge and design and
technological options in need for development and production costs.

An important technological problem currently is the large amount of generated waste

at the end of the life cycle of clothing and footwear; the service life of textile, clothing
and footwear is relatively short; it is gradually decreasing as a result of rapid wear
and tear,changes in the market and consumer fashion trends; therefore, it is
necessary to continue to develop already created technologies for the reuse of waste
into textile and footwear and these companies can focus on circular and sustainable
production.

The footwear industry is facing significant environmental challenges. However, there

is a growing movement towards sustainable and eco-friendly practices. By prioritizing
sustainable materials, reducing waste, and incorporating circular economy principles,
the industry can reduce its environmental impact significantly. As consumers, we can
also play a crucial role in promoting sustainable footwear practices and embracing the
principles of a circular economy.
 The future of women's shoe design.

The future of a shoe design starts today. Our awareness builds the new tendency.
The trend towards sustainability is a step towards promoting a more environmentally
conscious world. In the past, the fashion industry was known for its wastefulness and
unethical practices, but we're now seeing a shift towards a more eco-friendly and
responsible fashion industry. Sustainable shoes offer us an opportunity to make a
difference. By choosing to buy shoes that are made from sustainable materials, we
are not only doing our bit for the environment, but we are also supporting responsible
brands. The future of footwear lies in the hands of those who are willing to make a
change and move towards a more sustainable future. In this post, we’ll discuss
sustainable shoes, their benefits, and what makes them a great choice for the
conscientious consumer.

The benefits of sustainable shoes are vast. Firstly, they promote a cleaner
environment by reducing environmental pollution from waste and emissions caused
by traditional shoe production methods. Secondly, they help to minimize the use of
non-biodegradable materials. Furthermore, many sustainable shoes are durable,
comfortable and of high-quality. As more consumers become aware of the impact of
fashion production on the environment, the demand for sustainable shoes will
continue to grow. There is an increasing trend for sustainable fashion, and this has
forced many fashion and footwear brands to start exploring sustainable
manufacturing processes. With the development of new materials and technologies,
sustainable shoe production is expected to improve even more in the future

Sustainability has become a growing concern for people around the world, especially
with regards to environmental protection. The fashion industry is one of the biggest
contributors to environmental pollution, and the production of footwear in particular
isn't exempted. Over the years, manufacturers have been exploring innovative ways
of creating sustainable and eco-friendly footwear. This has led to the development of
a new category of footwear called sustainable shoes. Sustainable shoes are created
using environmentally friendly materials that have minimal impact on the
environment. These shoes are designed with the aim of reducing carbon footprint
and promoting more sustainable and ethical production methods. Sustainable shoes
are made from materials such as vegan leather, leather leftovers, organic cotton,
recycled polyester, natural rubber, cork, and not only recycled materials like plastic
bottles, but upcycled materials as well.

In addition to the materials used, the manufacturing processes employed by footwear

companies play a significant role in determining the sustainability of their products.
Ethical alternatives prioritize environmentally friendly practices, such as reducing
energy consumption, minimizing waste, and ensuring fair labor conditions.
In this case the right and only decision will be building a circular economy in the
footwear industry.

A Circular Economy (CE) is regenerative by nature, based on principles of closed

loops. A Circular Economy CE, is not a new concept. It originates from Walter
Stahel’s report “The potential for substituting manpower for energy” from 1976,
presented to the European Commis- sion (Baker-Brown 2017, 10). It presented the
idea of and ‘economy in loops’, with the positive impact to increase jobs: “economic
competitiveness, reduced dependence on natural resources and the prevention of
waste”. A biological cycle means composting, which, however, is not a realistic
option for textiles while only a few fibers can be composted and while textiles include
harmful chemicals which should not be released into the soil. Moreover, composting
produces methane, which contributes to greater greenhouse gas emissions and
global warming, and even the nutrient value from textiles to soil is low. Furthermore,
textiles, even bio-based, compost too slowly to be suitable in the municipal
composting system and therefore should be composted in home-composting units.
In the fashion sector, therefore, closing the loop is more likely to happen in a
technical cycle (using textile waste to produce new fibers and yarns). On the other
hand, a more interesting option is to combine these two cycles and use biological
processes to some extent in order to process textile waste to be suitable for the next
round of manufacturing within the technical cycle (producing new yarns). For
example, while separating fibers in blended materials, biological composting can
help, for example, to destroy bio-based materials from blends, and in this way
polyester can be separated and used again in the recycling process.

A circular economy approach in footwear fashion aims to develop a more

sustainable and closed-loop system where the goal is to extend the use- time of
garments and maintain the value of the products and materials as long as possible.
This means that all materials will be recycled in several rounds. Products are
designed to be included in a system where all aspects support circularity. The
original design needs to take account of several lifecycles. Materials need to flow
within the system and waste needs to be collected and appreciated as a valuable
material for recycling and material recovering. All products need to be collected back
after their useful time is over. Accordingly, moving towards a circular economy
means taking a system perspective on fashion, where all factors are included:
designers, producers, manufacturers, suppliers, business people and even
consumers. Kirsi Niinimäki,(2017).
The scheme represents the model which constructs a four level system by RSA
(Royal Society for the Encouragement of Arts, Manufactures and Commerce, “Great
Recovery” programme 2018)
The first includes consumer behaviour, and its goal is to extend the product use
phase. The second includes companies and new kinds of business models (e .g .
Product-Service Systems PSS) to extend or intensify the use of products. The third
challenges manufacturers by bringing in new ways to extend the use-time of the
product through remanufacturing. The fourth level concentrates on material recovery,
using waste to manufacture new fibers and yarns. This is the most interesting level,
and a lot of new development work is going on in this sector looking at how to use
textile waste as a source for new fiber production. Notably, this model also includes
key stakeholders who are needed to enact the transformation towards circularity.
New kinds of collaborations are needed to get everyone onboard. Designers,
researchers, industry, companies, users and policy makers are all needed to create
a new network and a new system.
The next section presents the key concepts for circular economy. The text includes
some business examples in parentheses, from businesses which have succeeded in
offering some interesting developments relating to a certain aspect of circular
economy.

The optimisation of use or utilisation of manufactured objects is at the core of the

circular economy, and not the term ‘cycle’ as one might have expected. This
distinguishes the circular economy from the linear economy, which optimizes the
production of the same objects up to the point of sale. Extending and intensifying the
use, reusing the same object in a new context, and innovative reuse are some of the
ways that shift use to the centre of circular thinking. This is a new challenge for
industry, business and designers, but also for consumers, who need to critically
consider their own consumption practices.

Extending the use of footwear is one key issue in sustainable development. Another
key is developing innovative materials and approaches to them.

One of the latest approaches that takes a part nowadays is using 3D printing in the
footwear industry. It is possible to create 3D printed shoes with original designs,
insoles, to do rapid prototyping and try new manufacturing processes. Initially larger
brands such as Nike and Adidas have harnessed their research and development of
3D printing into marketing communications messages. However this process of
manufacture has to be adopted by the mass fashion producers as the technology
develops. The use of bespoke 3D printed components needs further investment,
encouragement and even directives in place. The materials used could be recycled
and / or biodegradable.
The concept of 3D-printed shoes doesn’t appear to be petering out anytime soon.
According to SmarTech Publishing, it’s set to grow into a 6.3 billion dollar business
over the next ten years. The big names as mentioned above(Adidas, New Balance,
Nike, etc.) will continue to take center stage, but there are a number of other
industrious companies that are putting their own unique spin on things. 3D printing is
used in many industries, and the footwear industry is one of the beneficiaries. Unlike
other methods, 3D printing allows customization, offers a higher level of detail, and is
often heavier than traditional shoes.
Like in 3D printing other designs, the process starts with creating a 3D file using 3D
modeling software. In addition to designing the shoes from scratch, you can also
download ready-to-print shoe models from various websites offering free 3d printing
files like Thingiverse, Myminifactory, Printables, and Cults3D. After the design
process, the next step is to convert the model into a format that a 3D printer
understands known as the G-code. The G-code contains instructions the 3D printer
can follow to convert the digital file into a physical model. You can then send the file
to your 3D printer and start 3D printing. There are various materials that you can use
to 3D print shoes, and one of them is TPU. TPU is ideal for 3D printing shoes as it’s
inexpensive, flexible, highly elastic, and durable, making it helpful in running and
high-end shoes.

The 3D printing technology used in creating shoes depends on the 3D part printed
and the materials available. Stereolithography is often used for printing shoe soles
because it can create parts with smooth surfaces and complex and intricate designs
that would be difficult or impossible to do using other methods.
The process uses a liquid resin and a light source to “cure” the resin layer by layer.
The resin is cured using an ultraviolet laser, which is directed at the resin and
solidifies it. The process repeats until the entire object of the shoe is formed.
The smooth surface finish SLA provides is ideal for shoe soles, which require a
smooth and comfortable finish to ensure the wearer feels comfortable. The accuracy
of the printing process also ensures that the sole fits the user’s foot well. Fused
Deposition Modeling is another technology companies use in 3D printing shoes.
Thermoplastic filaments like TPU are utilized in creating both the outer and soles of
the shoes. It can be faster and more affordable than SLA but can produce less
detailed prints. FDM is a good option for printing shoe soles that need to be
functional but do not require a high level of detail.

The advantages of using 3D printing for production of footwear:

• Sustainability: One of the primary benefits of 3D printed shoes is that they are
more sustainable. With the earth groaning under the weight of discarded
plastics and waste, it’s important to cut back in any way we can. With 3D
printed shoes, both production and materials are much more eco-friendly. For
example, Feetz, an American startup run by Lucy Beard, uses recycled and
recyclable materials, uses no water, and reduces its carbon footprint by 60%!
• Customisation: 3D-printed shoes can be custom-made. Instead of going
through box after box trying to find the perfect fit (and quite frankly, feeling like
one of Cinderella’s ugly step-sisters), 3D printed shoes can be designed
specifically for your unique foot shape. For anyone who has struggled being
caught between standard shoe sizes or even has feet of different sizes or
shapes, 3D printed shoes could be the answer to their prayers.
• Variety: 3D printing allows intricate designs and patterns that traditional
manufacturing and materials just can’t achieve. And with the type of printable
materials available, the combinations are endless.
• Performance Improvement: Some designs, like the Adidas 4DFWD, were
specifically created to improve athlete performance, thanks to its lattice
structure and flexibility that can only be achieved through 3D printing.
 • Lightweight shoes: With 3D printing, it is possible to create shoes with
lightweight materials like carbon fiber. Carbon fiber is a strong and lightweight
material, and it is also highly durable and can withstand a lot of wear and tear.
• Elimination of costly prototyping: With 3D printing, a design can be adjusted
in a CAD program easily before sending it to the 3D printer, and any
corrections required can be fixed quickly, saving the cost one would have
incurred in changing designs.

In general, while we are still far from having fully 3D-printed shoes in our stores, this
technology has made great strides since its invention.As 3D printers become
affordable and easily accessible, the future of this manufacturing method is
promising, and 3D-printed shoes will become more commonplace.

Another technology that might be a solution based on the total experience of the
brand SAYE, is s constant search for a new materials and innovation that will reduce
a waste and it will help a maintain more sustainable production. Producing
biomaterials is a complex process. Even after years of research and development
behind them, innovators have a long road ahead to achieve large-scale production.
Several factors contribute to this. A frequent challenge in biomaterial
commercialization is the financing of expensive capital projects, which can cost
millions of dollars. The investment risk is high, since the technology is pretty
innovative, and the result is that many promising biomaterial technologies only exist
at pilot scale, However, it´s possible to raise millions in investment, and interest in
this arena is steadily growing, with Material Innovation Initiative estimating that the
global wholesale market size for next generation materials will reach 2.2 billion USD
in 2026.

Besides that, there will be requirements for changes in infrastructure. The global
fashion industry, footwear included, was built on fossil fuels, which means this is
what the current apparel industryýs infrastructure supports. The shift to next-
generation materials,which often have a complex manufacturing process, will require
heavy investment by brands and require to leave their old, expensive infrastructure
in the past. It´s a challenge to reformat plant-based materials for traditional
manufacturing methods.

Closely related, and arguably the biggest hurdle for biomaterials, is the ability to
meet brand supply demands. For the textile manufactures supplying the worlds
biggest brands with its materials, scale is being able to produce hundreds of
thousands of square meters annually. And this is to meet the demand of large
brands, who produce millions of products every year.

Questionable solution might be a leasing of footwear as it successfully happens with

clothes nowadays. But is this the best solution for post-consumer shoes?

“In the UK, Oxfam alone with its shop donations and door-to-door collections
recovers around 5-10 tonnes of worn or unwanted shoes every week.” [1] As a
solution for avoiding post-consumer shoe waste, how successful is this? Sure, it’s
a nice feeling to donate your unwanted clothing and footwear. But looking at it
from another angle, how often do you buy second hand shoes? Many people
stigmatise pre-owned items for being “unsanitary”. Whilst this problem with
clothing can generally be solved with a run in the washing machine, footwear is a
different story - secondhand shoes can be a little trickier to clean. Other solutions
should be implemented first.

Upcycling might be one of the leading technologies for the future of footwear. It
usually consists in recycling materials or products that have fallen out of use in order
to turn them into higher quality or more useful products. Plastic bottles, cotton
recycled from textile industry cuttings, recycled polyester but moreover, it might be
not only recycled materials giving household waste a second life, but recreating a
new item from used fabrics, breathing in a new life into the old thing.
 The concept of my future footwear

In today’s society, many women wear high heels for different reasons: some wear
them to parties and events while others wear them to work or even casually.
Regardless of the situation, women want a shoe that will be able to provide comfort,
stability, ease of use, and of course, aesthetics. It may be very difficult to find that
“perfect” shoe because they come in many different shapes, sizes, heights, and
materials. The user will often have to buy multiple pairs that she may not even know
will be compatible with her foot. Buying so many products is costly and inefficient
both personally and environmentally.

All of these observations about high heel users are important to consider when
fulfilling the objectives of this project. Likewise, they all play a role in the negative
stigma that every female has at least once attributed to wearing high heels. The
problem with regular high heel shoes is that many females find it difficult to wear
them for long periods of time due to pain and discomfort.
The idea of this project was to design a detachable high heel shoe that can be
changed comfortably for a smaller or higher ones. With this in mind, the project
objectives were as follows:

Conduct a survey that will give feedback about comfort and stability among various
high heel users:
• Perform research on topics related to ergonomics and human factors and high
heels in order to make the most comfortable and user-friendly design.

• Consider possible alternate solutions to creating a high heel that can be changed in
shorter or taller one.

• Create a prototype of the best possible solution while keeping comfort, stability,
durability, and aesthetics in mind.

The survey consisted of 44 females (students of ESDI, Escuela de diseño y textil,

Barcelona ) that all answered (the same) various questions based on their
experience with high heels.

In order to develop the best mechanism to attach the heel to the sole, it was
imperative to explore possible alternatives to figure out which methods really worked
best. Much can be learned from understanding what has succeeded and failed in the
past. Principles from each of those successes and failures can be applied to this
project in order to make it complete and accurate.

In this era, high heels are very common. There are several types of high-heeled
shoes for various types of occasions. Each type of shoe has a different connotation
for what it is trying to represent or symbolize. Today, high-heeled shoes are often
seen on a woman in a dress in an attempt to display elegance and sophistication.
However, high-heeled shoes were originally developed for a different reason. They
were first seen being worn by the upper classes on Egyptian murals dating back to
3500 B.C. In contrast with the present purpose of heels, the original purpose was for
functionality. In fact, Egyptian butchers originally wore heels in order to walk above
the blood from the dead animals they had been working on (Wilson,2005). However,
the use of heels varied depending on occupation and global location.

The concept of my future footwear is footwear with replaceable heels created with
one main purpose is to help women of any age and with various foot deformities feel
comfortable, sexy and relevant. Often style equals discomfort and rapid changes in
trends, which in turn negatively affect the health of the feet in the case of
uncomfortable but fashionable shoes, our wallet, as we remain in search of our ideal
pair, and the environment, because the constant consumerism stimulates massive
overproduction. The main positive goal is to reduce the load on your feet and on our
planet, since enough fabrics and materials have already been produced and there is
always something that can be made from. Replaceable heels are made to reduce
the pain for feet with diseases.The mission of my project is to give women's feet
comfort, reliability, health and a modern approach to production.

When women consider which heeled shoe to wear, the height and style mostly come
into play. A tall, narrow heel is generally worn to represent elegance. In contrast, a
short, wide heel is generally chosen for comfort and mobility. Active lifestyles often
involve long periods of standing and walking, which demands a need for flexible
shoes that can accommodate these active lifestyles. Although attempts have been
made to create a shoe with variable heel height and style, no design has proven
successful in addressing the need of aesthetic appeal, ease of use, comfort,
simplicity of design, and sturdiness.

US Patent No. 5133138 discloses a shoe with a replaceable high heel. However, the
design of this heel has several drawbacks. Typically, the greatest stress in a heel lies
at the top of it where there is an attachment to the sole. Therefore, having a wider
attachment point of the heel to the sole greatly helps the shoes stability. However, on
this patent the fixed-heel insert attached to the sole is narrower than the top surface
of the detachable-heel, and consequently provides less strength than a normal high-
heeled shoe. In addition, a slight movement of the heel relative to the sole would
create a gap between the sole and the top edge of the detachable heel. Therefore, a
retractable pin would be required to manually secure and release the detachable
heel. This pin makes detachable-heel replacement uncomfortable for the user.
Patent W091108685 discloses a shoe with a detachable heel as well. This design
contains all the drawbacks that US Patent No. 5133138 has except there is no
retractable pin required . (Monteagudo Garro,2012) This design uses a magnetic
attachment for the detachable heel. One major issue with using a magnetic bond is
that a slight variation in mechanical tolerances (such as temperature and moisture)
of the
metallic insert or its housing will result in either an overly tight or overly loose
attachment, resulting in less stability.

There must be ways to bond the fixed heel or socket to the sole of the shoe. In these
designs, the heel is bonded to the sole with nails and adhesive. Alternative methods
of attachment would work as long as long as it attains a secure and durable bond.
The sole is constructed with materials that allow flexibility within the sole to provide
proper foot position and support. A material commonly used to accommodate the
needs of the sole is flexible leather. However, alternative materials, such as flexible
rubber could also be used to accommodate the needs of the sole. When the shoe
converts from a higher heel to a lower heel, the front portion of the insole must be
flexible enough to adjust to the flexing sole. The most commonly used material to
accommodate the upper portion of the shoe is a combination of Lycra and leather.
This material must be flexible, yet sturdy enough to hold the foot in place. Some
alternative materials that could also be used are any flexible leather, cloth, or any
other material permitting flexibility to help enable proper foot position and support [8].

The fixed heel part of the shoe is composed of ABS plastic injected around the upper
magnet. The surface shapes of the attachments should be shaped according to its
matching part that it will be attached to so that they can be flush with one another.
This will also help increase stability. The interchangeable low heel part, which is fixed
to the shoe, is composed of molded polyurethane plastic injected around the lower
magnet. Also, the interchangeable high heel part is composed of molded ABS plastic
injected around both the lower magnet and the metal cylinder core. In addition, the
interchangeable heel has a conical shape that allows for minimal friction and rubbing
between the socket wall and the interchangeable heel surface as the user inserts the
heel until it is fully inserted and the magnets come into contact [8]. Some alternative
plastic types can be used for the construction of the heel as long as they are
lightweight but strong. The magnets used are solid neodymium magnets, which
permit a compact design that are strong enough to securely attach the
interchangeable heel; yet, it just takes a quick tug to detach the interchangeable
heel.
In addition, the shape of the detachable heel and the socket which the heel enters
for attachment both have somewhat of a square cross-section to eliminate rotation of
the detachable heel once it is attached. But this is design won't be sustainable at all.

Because another major problem that any shoe designer faces in our time is the
need for sustainable development of the business model, understanding what the
product is, what it is made from and how this or that pair of shoes will end its life.
Many people don’t realise that recycling shoes is almost impossible.The
peculiarity of shoes is that they are multi-component: only the sole usually
consists of three materials (rubber, polyurethane, ethyl vinyl acetate), as well as
glue, plastic,
different types of fabrics, accessories, so it is very difficult to recycle such a
product. To process it, you will have to separate 10-15 fractions from each other.
This is a very long and complex process, which is simply not profitable for
enterprises. For this reason shoes should be produced with a clear idea what
they are made of, if they follow trends or they are out of tendencies, highlighting
their own uniqueness, how long these pairs of shoes last and how they will be
recycled.

For this reason, there was a decision to invest into 3D PRINTING for creating
insoles and replaceable heels from the waste that are used for fibres for 3D
printers and use the easiest fixing system based on screws. Screws system
helped me to change a heel by putting a screw into an outsole with a superglue,
however the specific arrowhead was putted in the middle of the heel to be fixed
completely. This was one detachable heel design that was chosen as the
proposed design. It was chosen because it adequately balances style with
comfort.
The concept of sustainability
As far as sustainability is rather complicated topic, there is still my perception of
my impact on the industry. As I mentioned before, I would like to work with fabrics
that are waiting for the second life: leather leftovers, old jeans bought on app for
second hand clothes called vinted,pieces of textile and etc. The biggest approach
is to go Zero waste, using all possible materials,creating patchworks or other
options to make my impact more green.

The concept of happy healthy feet

One of the most important aspects of such a design in this case is human factors.
Not only does the high heel need functionality and aesthetics, it also needs to be
comfortable for all types of potential uses. It can be noted that “wearing high -
heeled shoes may be a contributing factor with respect to the development of
patellofemoral pain (PFP)” based on the fact that “peak patellofemoral joint stress
was found to increase significantly with increasing heel height” [10]. A detachable
high heel shoe must have the same comfort as any other high heel shoe product
on the market in order to avoid that the connotation that detachable heels create
more discomfort and pain than normal high heels. In order to make a product that
can flex and function as a regular shoe, it seems that it may be easier to work
with a shorter heel because of the angle associated with the sole is small; and
therefore, the sole requires less flexibility.

Wearing high heels inevitably makes the user less stable and more prone to
injury. In fact, human feet account for about 10% of the total surface area of the
human body (Smith,2013). Of that 10%, less than half is in contact with the
ground. However, when a high heel is worn, the surface area of foot that touches
the ground is essentially cut in half again due to the nature of the foot [12]. These
constraints can make walking a struggle, especially if the heels are very tall. For
example, say that an average woman only really needs to wear a pair of high
heels 25% of the time at a certain event. This is assuming that they will wear
them while getting ready to go out, driving in the car, walking to the desired
destination, or taking them off before they even leave the event. If these women
were able to wear some type of flat shoe for the remaining 75% of the time that
they have a product on their foot then they could limit their risk of major injury that
could be caused by the shoe.

The idea of a shoe with a convertible heel did not come up out of a blue.In the
past I was a dancer and my feet had a lot of pressure, traumas as a result I have
a plain feet with hallux valgus deformation. It causes pain regulary, for this reason
I was in search through specific exercises, orthopedic shoes, massages and
other opportunities to find a solution. I did not want to wear outdated orthopedic
shoes the rest of my life.

40% of young women under 40 suffer from some kind of problem related to foot
deformity. This could be flat feet, valgus deformity, or other problems. Why is foot
deformation dangerous? Even a slight deformation of the foot area can cause the
development of diseases such as arthrosis and osteochondrosis. In addition, people
with deformities experience changes in posture, curvature of the spine, impaired
coordination, and in severe cases of the disease,disability may occur with
subsequent loss of ability to work.
Those women, instead of feeling happy and living their lives, have to invest a lot in
treatment, which in fact can be either maintenance therapy or surgery with a fairly
serious recovery. It is fundamentally wrong to believe that flat soles,Birkenstocks or
just sneakers or any super wide shoes are salvation. One of the options for
maintenance therapy may be gymnastics and changing shoes every 4 or 4 with half
hours to create adequate load on the feet. This is how I came to my project idea
name which is 4.22. ( 4 hours for wearing boots and 22 minutes to relax and change
a heel ).

Problems that over knee boots with replaceable heels solve:

- Hallux valgus deformation

The main factor that provokes the disease in adults is weakness of the arch of
the foot. Often the appearance of hallux valgus is preceded by transverse flat
feet, aggravated by wearing tight or uncomfortable shoes (this also includes
high-heeled shoes either flats influence on deformation even faster). When the
arch of the foot becomes flat, the toes experience increased stress and begin to
deform. The first to take the blow is the thumb, moving to the side. Shoes for
hallux valgus in adults can mitigate the negative impact, significantly reduce pain
and prevent profound changes. Uncomfortable shoes or boots are one of the
factors influencing the occurrence of this problem. The right shoes for adults for
hallux valgus should help relieve the load on the foot and support the arch in the
right areas.
 Many years of medical studies, analysis and experiments have found the
relationship between poor footwear fit and risk of foot deformities, and the available
evidence shows that a large proportion of the population wears incorrectly-sized
footwear, which is associated with foot pain and foot disorders because this footwear
seems to be in trend or more affordable. The influence of footwear on the
appearance of foot deformities seems to have a notable impact not only at an early
age since the maturation of the bone structure of children’s feet has not yet finished,
but also on the adults feet as well especially if they spend more than 8 hours
standing or walking.These rapid changes may be conditioned by extrinsic factors,
such as footwear, or intrinsic factors, such as lifestyle, foot morphology or body mass
index, among others, which in combination can influence the morphological and
functional development of the adult foot. At risk are professional athletes whose toes
are often injured (football players, gymnasts, etc.). Dancers
also constantly receive bruises, dislocations and fractures, leading to the early
formation of hallux valgus. Non-operative treatment of the hallux
valgus cannot correct the deformity. However, insoles and physiotherapy in
combination with good footwear can help to control the symptoms.

- Sensitive feet.
According to medical statistics, a lot of people suffer from and complain about feet
pain and tiredness. According to studies close to 75% of the population in the world
right now suffers from some kind of foot pain on a daily basis or occasionally. Our
foot apparently has the most number of bones in our body after our hands. They are
an ingenious structure with 26 bones and 33 joints. All of this is surrounded well by
muscles and nerves. Our feet and ankles bear a lot of impact with each step we
take. It is roughly measured out to be 2 to 3 times our body weight and couple that
with an average of 8,000 steps per day, you are in for a painful treat. It is obvious
that we all experience some degree of foot pain at some point in our lives.

Our feet tend to spread out as we age. Not only this, but the muscles and tendons of
our feet and legs begin to weaken. As we age the fat pads located under our heel
and ball of the feet become thin as well. Problems such as diabetes, arthritis, and
circulatory issues also become common as we age and they worsen feet aches.

Women are predominantly at a larger risk of foot problems. This is primarily because
of their habit of wearing tight, uncomfortable and very high heeled shoes. Also low
bone density after 40 years of age makes this problem even more critical. This can
even cause posture problems later in life.

Running, sprinting and playing basketball and similar sports cause pain in your
heels, back of your heels and shin muscles. Many sportspersons complain of these
aches and pains quite frequently as it is excruciating.

Overweight or obese people experience pain in their feet very frequently and this
overload on their feet and ankles is not easy to get rid of. This excess weight puts
surplus pressure on their muscles, ligaments, tendons and of course bones, which
often leads to foot fatique and pain.
So, based on the received medical data about the most spread physical issues
connected with feet, taking into consideration that female population suffer the most
because of the modern tendencies of footwear, I have decided to do an analysis of
market based on target of the future footwear audience of my project.

Analysis of market

Google search: around 10 brands with the same idea

The most famous: Pashion footwear

SWOT analysis for its idea of interchangeable heels

Strenghts:

Innovative, still there is no much competition,healthy approach for those clients who
suffer, focus on sustainability, provocative silhouettes, high quality.

Weakness: Interchangeable heels did not make a real competition on the market,
there are cheap offers on Aliexpress, it is necessary to invest a lot in promotion of
aproject. Dependency for suppliers of insoles and outsoles.

Opportunities: to become the most famous in this field through digital recognition of a
project, collaborations, prepaid posts for local influencers, online sales and special
offers.

Threaths: economic instability, changing of customers preferencies, competition

within a field.

Target. Key demographics:

Age range: 25-45 years old.

Gender: mostly women but all genders are welcomed

Common job titles: designer , training manager, art director, marketing specialist,
project manager, freelancer, student, influencer.

Key Psychology: smart, active, charismatic

Values: beauty, empowerment, uniqueness, comfort, sustainability.

She loves designer items and expresses herself through her own style creativity +
quality. She is not afraid to receive attention.Takes care of the environment.

Preferred communication channels: Social networks (IG, FB, LinkedIn), e-mails,

whatsapp.

Preferred Content: Posts from bloggers, fashion articles, business or connected with
work.

She leads an active lifestyle, so shoes quickly break-in or arenot comfortable. Due to
the narrow or wide foot, it is difficult to find the right shoes. Shoes, boots are not
suitable for all the activities that take place during the day.

Moodboard based on inspirations from TV shows, footwear brands and

contemporary celebrities.

The survey was taken offline and each user remained completely welcomed with any
answer. It was set up in the following manner: there were seven multiple choice
questions, participants were not allowed to skip any questions, each participant was
instructed to answer each question as honestly as possible. Listed below are the
questions with their corresponding answers that were listed on the survey.

• Question 1: How often do you wear high heels?

1. Less than once a month

2. A few times a week
3. 1-3 times a week
4. 4-6 times a week
5. At least once a day
• Question 2: Which part of your foot/ankle feels the most discomfort when wearing
heels?

1. Heel
2. Toes
3. Archoffoot
4. Top(fromstraps)
5. Ankles

• Question 3: Would you pay more for high heels that could guarantee comfort?

1. Absolutely,comfort is most important

2. Probably, as long as its within reason
3. Maybe
4. No,I feel fine in all the heels I buy

• Question 4: How important is comfort to you when wearing heels? (1 least

important, 6 most)

123456

• Question 5: How important are the aesthetics/looks of your heels? (1 least

important, 6 most)

123456

• Question 6:How important is stability when wearing heels? (1 least important, 6

most)

123456

• Question 7: How aware are you with the possible long-term physical health issues
related to wearing high heels?

1. Very aware, I try to wear heels only when necessary

2. Pretty aware
3. I’ve maybe heard a thing or two about it
4. I didn’t know high heels could cause long term issues

The answers received on these questions can be considered valuable since 72

percent of those females who took the survey wear high heels at least a few times
every month. One can assume that they have the experience to be able to give
feedback on the subject. An overwhelming 70 percent agreed that their toes feel the
most discomfort when wearing heels. Because of this, something had to be done in
the toe region of the proposed model in order to alleviate that discomfort. Several
options were taken into consideration including changing the shape of the toe area,
having some sort of padded material insulate the entire toe covering, and gel pads
placed in specific areas. Eighty eight percent of participants agreed that they would
be willing to pay more for shoes that can offer greater levels of comfort as long as
those costs can be justified. This was great to hear because naturally, by owning and
wearing more comfortable high heels, there will be a reduced amount of injury that
coincides with using the product.

Design and prototype

Inevitably, the costs of manpower and resources will constantly increase over time.
Because of this, the use of computer aided process planning has also increased.
This includes the use of computer-aided design (CAD) and computer integrated
manufacturing in order to help develop the product.

The prototype of a footwear with replaceable heel first was sketched in Procreate,
The pattern making process of the boot was recreated handmade using all
craftsmanship techniques for a pattern making.

second the outsole of high-knee boots was recreated in adobe illustrator and as a
result the final design for sole was produced with the help of 3D printer.
Boot was created following all the traditional sewing process: at first there was a
need to modify a form in order to square it. It took time to find a right proportion
during creating the pattern, then it was produced totally handmade.The insole was
created out of two classic insoles with addition of nappa. Only outsole and heels
were 3d printed.

The characteristics of a ready-to-wear footwear.

Silhouette: A tight elastic boot with reaching right up the calf for a tall just-below-the-
knee finish silhouette.The length of boot is 73cm.

Form: The form is extremely geometric with square toe with an ultra-thick convertible
heel. The form of platform sole reminds running sneakers with a toe that goes a
bit up and still it is serving up a lower-heel-feel to keep you moving til dawn without
suffering.

Upper: From front point of toe tip to a tread point a front part is made in neon yellow
colour for highlighting the contrast of the whole boot. The ball girth (cone/toe part)
consists of different denim in order to make more elastic and using little denim
leftovers.There is a zipper behind it works for high arch feet to make them fit in. A
small pocket serves as a useful decoration for your lip balm, lighter or any other stuff.

Materials: Upcycled pair of old Zara jeans and 100% of nappy leftovers. Though
Zara is not sustainable brand at all, the decision to use their jeans came with the
need to recycle them or do any other activity for giving them the second change.
Upcycling them from jeans into boots as a great sustainable example. Keeping in
mind that the environmental benefits of upcycling are mammoth, aside from
minimising the volume of discarded materials and waste being sent to landfill each
year, it also reduces the need for production using new or raw materials which
means a reduction in air pollution, water pollution, greenhouse gas emissions and
often a conservation of global resources.
The final result of project:
 Conclusion:

Many women enjoy wearing high heels to various occasions, besides that
sometimes they must do it following the dress code of work, or any other casual
events. Some of these events require an abundance of standing or walking. The
problem is that many females find it difficult to wear high heels for long periods of
time due to discomfort or medical issues. Throughout the years more women have
evolved away from the household duties and into career jobs. Due to media and
favourite TV shows and movies, influencers and contemporary celebrities, women
feel pressured to wear high-heeled shoes in order to fit the mold of the image of
trendy beautiful woman. However, there are many long and short-term health risks
associated with high- heeled shoes. The objective of this thesis work was to analyse
the willing to wear high heels, where it comes from, what film and TV shows products
gave a push to increasing a passion for high heels. But more importantly, the main
idea of this thesis work is to find a solution to more sustainable and ergonomic
approach to a footwear in the nearest future in order to increase comfort and
minimize high-heel related health risks. It became apparent that the best way to
maximize comfort and minimize health risks was to decrease the amount of time
women wear high heels and experiment with the height of the heel during the day
following the medical prescriptions.

Style, trends and fashion are very important aspects when it comes to high-heeled
shoes; therefore, a balance needed to be found between comfort, health and these
aspects. The smaller the heel height, the less pressure there is applied to the balls of
the foot and toes. With that being said, the optimal design must contain a shoe that
would be stylish and innovative, but yet could somehow convert to a shoe with as
small a heel height as possible. This is when the idea of a detachable heel was
discovered.

The proposed design consists of an attachment mechanism that uses fixing screw
and hook brackets. This became the optimal attachment method because it
increased stability and functionality while maintaining aesthetics by housing the
attachment method internally. The method of attachment is not visible on the exterior
of the boots and from an observer’s point of view this convertible high heel looks like
an ordinary high-heeled boots.

Moreover,It is crucial to consider the environment and the lives of those that may be
affected by designing and manufacturing a new product. It should be a goal and
concept set by every company to produce as little waste and be as eco-friendly as
possible. The materials used in this proposed design are appeared to be as
environmentally friendly as possible. All plastics, metals, and adhesives are as
natural as possible. Even Zara denim did not turn into waste but received the second
life and chance to have bigger longevity in terms of footwear. Any product that uses
additional chemicals that may harm the environment has not been used. Consider
the following scenario and having a mandatory marketing strategy and plan: this
product with replaceable heels might become popular in todays market. Assuming
that every female owns at least two pairs that she enjoys to wear at some casual and
most fancy occasions. For these situations, she essentially has four pairs of shoes
that only consume the material used in two pairs by having a product that can simply
convert into a comfortable, versatile shoe with a various heel with a different height.
A lot of material would be saved if this became the standard in the market.

In addition to the statement above, a replaceable high heel product would greatly
increase the health and safety of the user over a long period of time. The risk of
rolling an ankle, forming blisters, bruises, or other more serious medical issues
would be minimized. Since spraining or breaking a foot/ankle is a realistic possibility
during wearing heels, medical bills could rise for those who wear high heels on a
regular basis. These medical costs would be widely decreased in response to the
reduced risk from having a product that can convert into a regular shoe when the
consumer becomes uncomfortable or tired.
 References

• Abrahamson, E. (2011). The Iron Cage: Ugly, Uncool, and Unfashionable.

Organization studies, 615-629. https://doi.org/10.1177/0170840611405425

• Azungah, T. (2018). Qualitative research: deductive and inductive approaches

to data analysis. Qualitative research journal, 18(4), 383-400.
https://doi.org/10.1108/QRJ-D-18-00035

• Brett Fifield, Katrina Medkova, Circular Design - Design for Circular Economy
(2016)
https://www.researchgate.net/publication/313771263_Circular_Design_-
_Design_for_Circular_Economy

• Companies History. (2020, November 19). NIKE, Inc. history, profile and
history video. Companies History. Retrieved February 17, 2022, from
https://www.companieshistory.com/nike/

• Cook, G. (2020, September 30). Nike is grasping the sustainability nettle with
its "move to zero" campaign. British Vogue. Retrieved May 11, 2022, from
https://www.vogue.co.uk/news/article/nike-move-to-zero-sustainability

• Daniels, J. (2018, May 16). Flyknit, the new technology of your trainers.
Luxury Lifestyle Magazine. Retrieved May 11, 2022,
https://www.luxurylifestylemag.co.uk/style-and- beauty/flyknit-the-new-
technology-of-your-
trainers/#:~:text=Flyknit%20is%20developed%20using%20a,where%20more
%20support %20is%20needed

• Hess, T. (2021). “Gen Z Will Save Us:” Applauded and Dismissed as a Gen Z
Climate Activist (Perspective from the Field). The Journal of Applied Research
on Children,36pp.
https://digitalcommons.library.tmc.edu/childrenatrisk/vol12/iss1/5/

• Kerrigan, D. Casey, Mary K. Todd, and Patrick O. Riley. "Knee Osteoarthritis

and High-heeled Shoes." The Lancet 351.9113 (1998): 1399-401. Print.

• Khare, A. (2014). Antecedents to fashion clothing involvement: role of global

self-identity,cosmopolitanism, and normative influence. Journal of global
fashion marketing, 5(1),37.
https://doi.org/10.1080/20932685.2013.856099
• Kirsi Niinimäki (2022). Sustainability, fashion, and technology. 133-146
https://www.researchgate.net/publication/362991639_Sustainability_fashion_a
nd_technology

• Kirsi Niinimäki,(2017). Fashion in circular economy. 151-169

https://www.researchgate.net/publication/318237519_Fashion_in_a_Circular_
Economy

• On-running. (2022). What is circularity? What is Circularity? Retrieved

January 27, 2022, https://www.on-running.com/en-us/articles/what-is-
circularity

• Niskanen, H. (2019). Sustainability in the sporting goods industry. [Bachelor’s

Thesis, Metropolia University of Applied Sciences].
https://www.theseus.fi/bitstream/handle/10024/221993/Niskanen_Heidi.pdf?se
quence=2&i sAllowed=y

• Naderi, I., & Van Steenburg, E. (2018). Me first, then the environment: young
Millennials as green consumers. Young Consumers, 19(3), 280–295.
https://doi.org/10.1108/YC-08-2017-00722

• Parzonko, A. J., Balińska, A., & Sieczko, A. (2021). Pro-environmental

behaviors of generation z in the context of the concept of homo socio-
economicus. Energies (Basel), 14(6), 1597
https://doi.org/10.3390/en14061597

• Magnuson, B., Reimers, V., & Chao, F. (2017). Re-visiting an old topic with a
new approach:the case of ethical clothing. Journal of fashion marketing and
management, 21(3),400-418.
https://doi.org/10.1108/JFMM-10-2016-0091

• Saricam, C. & Okur, N. (2018) Analysing the Consumer Behavior Regarding

Sustainable Fashion Using Theory of Planned Behavior. (pp. 1-37)
https://doi.org/10.1007/978-981-13-1265-6_1

• Smith, E. "High Heels and Evolution." Psychology, Evolution & Gender 30

(1999): 245-77. Web. 22 Feb. 2013.
http://web.ebscohost.com.ezproxy.lib.calpoly.edu/ehost/pdfviewer/pdfviewer?s
id=f9d98a5d-5c3d-4cc2-
8f9c6f644c1a6561%40sessionmgr112&vid=26&hid=126

• Tighe, D. (2022). Adidas-Statistics & facts. Statista. Retrieved February 17,

2022, from
https://www.statista.com/topics/1257/adidas/#dossierKeyfigures
• Vieth, Erich. "Killer High Heels." Ergonomics In The News. N.p., 22 Apr. 2007.
Web. 20 May 2013.
http://ergonomicsnews.usernomics.com/2007/04/killer-high-heels.html

• Wilson, Nigel Guy. 2005. Encyclopedia of Ancient Greece. New York, New
York: Routledge. Accessed: March 11, 2008.

• "Benefits of Orthopedic Shoes." Foot Care Express. N.p., 16 July 2010. Web.
21 May 2013.
http://footcarexpress.com/foot-orthotics/benefits-of-orthopedic-shoes/

• Adidas. (2022). Materials. Adidas. Retrieved January 10, 2022, from

https://www.adidas- group.com/en/sustainability/products/materials/#/leather/

• Nike. (n.d.). 10 principles of circular design. Nike.

https://www.nikecirculardesign.com/guides/MiniGuide.pdf

• Shoe Industry. (2007). Environmental impact. The Shoe Industry.

https://theshoeindustry.weebly.com/environmental-impact.html

• https://www.preview.ph/fashion/designer-shoes-emily-in-paris-a00300-
20201009

• https://www.glamour.com/gallery/best-gossip-girl-outfits

• https://www.bustle.com/style/carrie-bradshaw-shoes-sex-and-the-city

• https://www.greenpeace.org.uk/news/fashion-greenwash-report-companies-
hiding-true-environmental-costs-fast-fashion/

• https://www.nytimes.com/1957/03/29/archives/screen-funny-face-brings-
spring-to-music-hall-audrey-hepburn-and.html