The Red Boots

There’s a Spanish movie from 1974 called La mujer con botas rojas, which translates as “The Woman in Red Boots.” Catherine Deneuve plays the woman in question, who wears her pants tucked into a quite unremarkable pair of red leather knee-length boots for pretty much the whole film. It was directed by Juan Luis Buñuel, who is the son of the much more famous Luis Buñuel, with whom Deneuve made the much more famous Belle de Jour (1967) and Tristana (1970). In it, Deneuve plays an avante garde writer who gets manipulated by an elderly millionaire; however, the tables are turned when it emerges that she can summon up apparitions and recall visions of the past. I cribbed that plot summary from IMDB because, despite having watched the movie once on late night TV, I can remember absolutely nothing about it.

This post is not about that film, or those boots.

Around the time Deneuve was conjuring her apparitions in La mujer con botas rojas, David Gilmour, guitarist (and co-vocalist) for seventies rock giants Pink Floyd, received a demo tape from a friend, Ricky Hopper. Hopper was also friends with a family from Welling, in southeast London, whose teenage daughter was a musical prodigy who played the violin, organ, and piano and composed her own songs. Fifty of these youthful compositions were crammed onto the tape, which must have been a daunting prospect for any listener. But Gilmour was impressed by what he heard and forked out his own cash to pay for professionally-recorded demos of three of the songs. On the strength of these, sixteen year-old Catherine Bush, better known as Kate, was signed by EMI.

I am, I will freely admit, a huge Kate Bush fan, although to be honest I much prefer her first three albums – The Kick Inside (1978), Lionheart (1979), and Never Forever (1980) – which represent the unleashing of a huge burst of creative energy that had built up during the two years of her contract, when she was placed on a retainer by EMI and paid an advance that enabled her to take classes in mime and interpretive dance. The reasons for the company’s largesse are a matter of debate, ranging from altruism (EMI wanted to protect the youthful Bush from the potential trauma of releasing an album early to poor reviews), to cold-eyed commercial calculus (they wanted to lock her down before she had a chance to sign with another record label), to incompetence (the initial producers hired to work with her were no good).

Regardless of the reason, EMI’s caution in bringing Bush to the attention of the public paid big dividends. By the time she began recording her first album, in the late summer of 1977, she had written over 200 songs and honed her live skills by performing with her backing band in South London pubs. More especially, she had worked to combine music, song, and dance into the unique style of performance art that was to make her such a distinctive star of the late seventies and early eighties. By the end of 1977, Kate Bush was ready to meet her public. Which she did, in a very impressive pair of red boots.

The middle years of the 1970s had seen a shift away from more tailored clothes towards what Vogue called “the new ease in fashion;” oversized sweaters; loose-fitting, pleated skirts; wool, tweed, and peasant headscarves. Boots were a big part of this look; in contrast to the zippered, calf-hugging styles popular at the time, the new boot was loose-fitting, touching the leg rather than clinging to it, and falling in extravagant folds as the soft leather crushed around the ankle. Rather than having heels that were covered in the same material as the boot itself, the new boot featured stacked heels in material like wood. By 1975, the New York Times was referring to this style as “The Boot of the Year.”

Flash forward to when the young Kate Bush was fronting her band at the Rose of Lee in Lewisham and the boot was reigning supreme. “It’s lucky that shoemakers are almost all bootmakers too,” Barbara Griggs reported from the 1977 Paris Fall collections. “Otherwise they’d be grimly facing bankruptcy.” Griggs estimated that around 90 percent of the models on the Paris catwalks that season were wearing boots of some sort. “Ankle-high boots, calf-high boots, knee-high boots, and thigh-high boots. Boots that laced-up and boots you simply slid into. Boots made of soft sheepskin, shiny calf or dressy satin. Boots that invariably had low heels for daytime.” The variety of boots seen in Paris was, in Griggs’ words, “staggering.”

Most notably, 1977 saw the re-emergence of the over-the-knee boot after a six-year gap. Reporters covering that year’s Fall ready-to-wear shows in Paris were full of praise for Karl Lagerfeld’s collection for Chloe. Lagerfeld had been much taken with Federico Fellini’s Casanova released in December of the previous year and decided to produce a collection based on the eighteenth century costumes seen in the movie. But rather than women’s clothing from that period (which he declared to be “uninteresting”) Lagerfeld chose instead to design a collection for women that was influenced by the flamboyant male clothing of the period. So we have broad-brimmed cavalier hats, capes, velvet and satin breeches, lace trimmed blouses, and lots of swaggering over-the-knee boots.

The look caught on. By May of 1977, Bernadine Morris was reporting in the New York Times that a growing number of retailers on 7th Avenue were featuring knee-baring dresses for fall, also noting that high boots, thick tights, should be used to offset increased leg exposure. By the time the glossies started covering the fall fashions, in their July editions, over-the-knee boots were high on the list of accessories. In its review of shoes for the 1977 fall season, Vogue hailed “a great-looking new over-the-knee boot to bear with a tunic top and textured legs… or a thick Shaker sweater and matching leggings. Or to pull on over the narrowest narrowed pants and cuff down (boots are that soft this year!) sometimes to show its cozy shearling lining.”

A thick sweater and shearling-lined over-the knee boots. In early 1978 Kate Bush went on a round of promotional interviews for The Kick Inside wearing just such an outfit, or variations on it. In March, the NME carried a profile of the new star, describing her as “neither doll-like, nor petite, though hardly tall. Her faded jeans are mostly concealed under a pair of sheepskin-lined, thigh-high, reddish suede boots, and are in marked contrast to her very feminine fringed top.” Here I have to take issue with the NME’s Steve Clarke, because those boots are most definitely not suede, but leather. I know this because Bush was possibly at the height of her fame (or at least its first peak), with the first single from the album, Wuthering Heights, at number 1 on the UK charts, and she was photographed everywhere in those boots. Sometimes with a sweater, sometimes the fringed top, and occasionally a silk chinoiserie blouse. But always the boots.

They were quite sturdy boots, made from heavy leather with a chunky heel and thick soles, more buccaneer than boutique, and quite the contrast with the image portrayed by Bush through her music, which tended towards floaty dresses, dance leotards, and unearthly vocals. The contrast was mirrored in Bush herself. I still remember being shocked when I first saw her interviewed on the TV. I’d imagined that the owner of that ethereal singing voice would speak in delicate tones of Received Pronunciation, but Bush’s accent was pure South London.

It was hard to escape from Wuthering Heights in 1978; those piercing vocals seemed to be everywhere. It spent four weeks at number 1 on the UK pop charts and ended up being one of the most played records on the radio that year (as well as the tenth best selling single*). My brother had recently moved to North Yorkshire and my memories of that time involve a lot of driving around wet moorland of the sort that had inspired Emily Brontë’s Gothic masterpiece, which had, in turn, inspired Bush. Wuthering Heights was an ever-present accompaniment on the car radio.

Interestingly – at least from the narrow perspective of this blog – March of 1977 saw a chart showdown between the red booted Bush and her black booted rival for seventies pop superstardom, Debbie Harry of Blondie. Blondie’s single Denis was kept off the top spot of the UK charts by Bush (and then suffered the ignominy of being leapfrogged by Brian & Michael’s Matchstalk Men & Matchstalk Cats & Dogs; Google it to see just how bad that one was), although the American act was to have by far the greatest number of hits overall. Kate Bush continued (and continues) to plow her own idiosyncratic course, with variable mass success but a passionate fan base. In 1993, she released an album entitled The Red Shoes, but since 1978 the red boots have, sadly, been consigned to the back of the pop closet.

Note:

* If 10th place seems a little underwhelming, bear in mind that this was the year of two Grease-powered John Travolta & Olivia Newton John hits, to say nothing of ABBA and the Bee Gees, so it was not a bad effort for a first single. Although she did get beaten by the Boomtown Rats as well.

Selected References:

  • Anon. Shoe Signals. Vogue, July 1977: pp.98-103
  • Anon. Walk Right In…. All the Terrific New Stockings & Socks, Shoes & Boots”, Vogue, July 1977: pp142–143
  • Clarke, Steve. Kate Bush City Limits. New Musical Express, March 25, 1978.
  • The Daily Mail, March 31, 1977: pg. 15
  • Griggs, Barbara. Bootnote… Down to Earth Detail. The Daily Mail, March 31, 1977: pg. 15
  • Morris, Bernadine. At Lagerfeld’s Paris show, the 18th Century goes modern. New York Times, March 29, 1977: pg.41.
  • Morris, Bernadine. Message is in From Paris – Bubbly, Bloused and Billowy. New York Times, April 5, 1977; pg.24
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I’m Mandy, Fly Me

In 1969, Hugh Hefner took delivery of what may have been the most decadent corporate toy of all time. Costing a cool $9M (the equivalent of over $55M today), Hefner’s stretched DC-9 jet had 12 onboard beds, a disco, lounge, bar, sunken roman bath, a full crystal dinner set for 32 people, and – as befitted the founder of Playboy Magazine – an elliptical king-sized water bed for the boss, covered with Tasmanian opossum fur.

The “Big Bunny”, or “Hare Force One” as it was jokingly called, was painted all black with a Playboy bunny head logo on the tail. The plane carried spotlights to ensure that the logo remained illuminated in flight. Hefner and his guests could enjoy In-flight meals that included lobster and roast beef, then sit back and enjoy an entertainment system that included two film projectors and a video player.

There was also a crew of four ‘Jet Bunnies’ onboard. These were recruited from girls that had worked in the Playboy clubs in Chicago and Los Angeles and trained at Continental Airlines’ stewardess school. Hefner wanted his flight attendants to look like they had stepped out of a James Bond movie, so they wore black custom uniforms designed by Walter Holmes.

Holmes is an interesting character – the fashion historian Jonathan Walford has provided a fascinating outline biography of the designer on his blog, which you can find here. In the nineteen sixties he was living and working in Chicago, where Playboy Enterprises happened to be based. In 1968 Holmes had earned much press attention, not to mention to wrath of the Catholic Church, for a collection of nun-themed “Medieval Minis,” which may have been what attracted Hefner’s attention.

The Jet Bunny uniform is a classic product of its time. There were a couple of variants, one based on around a mini-dress, the other a tunic and pants. The material used was black, shiny, and entirely artificial – it often gets described as leather, but really it was leatherette – a fabric base treated with soft PVC. It was accessorized with a white Playboy aviator’s scarf and, because this was 1969/70, a pair of tall black boots.

The boots were also black stretch vinyl, low heeled and tall enough to just cover the knees, where they were secured with a strap and buckle. As you’ll have seen if you’ve read this blog, this was a very popular design during the years between 1968 and 1971. Sleek, tight fitting boots of this sort were part of a general move, begun by designers like Pierre Cardin, to create a more slimline silhouette for women’s clothing, suitable for a time when eyes were fixed on the future and technology was seen to hold all the answers to humanity’s problems. Not to mention that they were unabashedly sexy.

It’s not surprising that Hefner adopted this look for the Jet Bunnies. What’s more surprising is how common mini-skirts, hot pants, and boots were as uniforms for commercial flight attendants during this period. Originally I’d planned to for this piece to segue neatly into a consideration of this, but then, just this week, Hefner went and died on me. So the flight attendant piece will have to wait until the next post.

Hefner’s demise, at the ripe old age of 91, was an opportunity for various broadsheets like the New York Times and the Washington Post to lionize him as a crusader for liberal values and individual freedoms. Inevitably this led to a counterpunch from other publications, pointing out that Hefner’s values did not extend to the various young women who lived and worked with him. As Nathan Robinson succinctly put it, “Hefner wanted to be free, but he wanted to be free from government tyranny only so he could exercise a kind of unaccountable private tyranny. As with libertarianism always, ‘freedom to be a dick’ seems to be the goal.”

Which brings us back to the Jet Bunnies. Those awesome, wet look uniforms may have signified the sleek, space age ambitions of the late sixties, but they also say a lot about a world in which a wealthy man could dress women up in the way he wanted and have them on-hand to wait on him and his friends. There’s nothing wrong with hot pants and boots… it’s whether the person that’s wearing them gets to choose that’s the issue.

Selected References:

  • Anon. 2017. See what it was like to fly on the ‘Big Bunny,’ Hugh Hefner’s customized Playboy jet. Business Insider. September 28, 2017. Retrieved Sept 30, 2017.
  • Pemberton, R. 2015. The Mile High Club Hugh Hefner style: A fascinating look inside the glamorous Playboy jet Big Bunny in the swinging Sixties (complete with wild discos, onboard showers and air hostesses clad in leather). Daily Mail, November 27, 2015. Accessed, Sept 30, 2015.
  • Robinson, N.J. 2017. Good riddance to an abusive creep. Current Affairs, September 28, 2017. Retrieved Sept 30, 2017.
    Sigel, R. 2011. Hugh Hefner’s Big Bunny Jet – Hare Force One. Jet Gala Magazine, August 2011. Retrieved Sept. 30, 2017.
  • Walford, J. 2012. Fashion Hall of Obscurity – Walter Holmes. Jonathan Walford’s Blog, July 24, 2012. Retrieved Sept 30. 2017.

Image Sources:

  • Jet Bunny Avis Miller, 1970, Playboy via Pinterest.com
  • Hugh Hefner poses with two Jet Bunnies, Associated Press via Daily Mail
  • Jet Bunny uniforms, Playboy via Business Insider
  • Hugh Hefner and Barbi Benton with Jet Bunnies, 1970, Playboy via Daily Mail

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Atomic Blonde

Last weekend, I took a trip with my wife to see Atomic Blonde. For those of you who haven’t heard of this movie, it stars Charlize Theron as an MI6 agent (yeah, right) who is sent into Berlin in the last days before the fall of the Wall. The film is full of Cold War treats, including a missing list of spies, double agents, the Stasi, Berlin counterculture denizens, sultry French secret agents, and a seemingly inexhaustible supply of beetle-browed KGB thugs for Ms. Theron to fight. I should say up front that it has some of the most brutal fight scenes I’ve ever seen; Theron’s MI6 officer, Lorraine Broughton, gets beaten black, blue, and bloody, and even though her assailants come off much worse, it’s still hard to watch. It also has a thunderous soundtrack of eighties pop (Neunundneunzig Luftballons turns up a few too many times for my liking). I loved it. My wife, who has a “thing” for Theron’s co-star, James McAvoy, was quite pleased too. This, however, is all by the by, because my main reason for writing this post is to discuss whether Lorraine Broughton’s boots were period-appropriate.

Bone crunching hand-to-hand combat aside, Atomic Blonde is quite a good movie if you’re interested in fashion. Theron is togged out in a succession of gorgeous ensembles, which include some amazing footwear. There is a great scene where she takes down a couple of would-be kidnappers, armed only with a red patent stiletto pump by Dior, while traveling at high speed in the back of a Mercedes. But since this is a blog about the history of fashion boots, let’s focus on Lorraine Broughton’s supposedly 1989 vintage boots, which – of course, are nothing of the sort. But neither are they so far from the truth either.

If you work in the marketing department of Stuart Weitzman, then you’re going to be pretty happy with Atomic Blonde, because Lorraine Broughton wears no less than three of the company’s boot styles. First up is the venerable 50:50 boot, which is almost – but not quite – old enough that our heroine could have worn the actual boot; the 50:50 was first launched in 1993, a mere four years after the events of the movie. If you are, by chance, the sort of woman that spends her time getting into bloody, bone-crunching, fights to the death with Russian thugs, the 50:50 is definitely the boot for you. Ms Theron wears her in an extended battle in an East Berlin stairwell that was almost too much to watch.

The second pair also proved quite handy in a scrap. These were the Weitzman Lowland boots, a very tall thigh boot in stretch leather. The low heels of this style also make them a good choice for those who need to fight off several Berlin cops, as Ms. Broughton does in yet another of her epic battle scenes. Although, as she says in the movie, if she’d known that was going to happen, she’d have chosen a different outfit.

Most articles about Atomic Blonde‘s fashion that I’ve seen only note two pairs of Weitzman boots, but the eagle eyed will spot a third style. This is the leather version of the Highland boot, more commonly seen in its suede version adorning the legs of various celebrities and supermodels. Lorraine Broughton dons a pair to go undercover in East Berlin. Undercover, in her case, means a beanie and a brown wig. She still looks exactly like Charlize Theron. The Highland, as its name suggests, has a higher heel than the Lowland, and this may be why Lorraine doesn’t do quite as well in her fight in an East Berlin movie theater as she does in some of her other tussles.

So, are these three pairs of boots period-appropriate? Kinda. The late eighties were more noted for over-the-knee boots that were loose fitting, low heeled, and suede, but styles in leather do make an appearance, starting around 1988. In the August 1988 edition of UK Vogue, an editorial entitled “Guinevere” discussed the emergence of “a new heroine” emerging from “the age of chivalry… at the London collections there was a distinct feeling for Camelot… moody velvets, jewel and dull metal colours, Gothic points and drama in brave accessories – metal work, gauntlets, thigh boots, and borzois.” So we do have thigh-high boots, but more of the doublet-and-hose variety than the urban chic sported by Lorraine Broughton. Certainly none of the contemporary styles were quite as tall or as pipe-cleaner narrow as the Highland and Lowland, and no-one was experimenting with the fusion of leather and stretch fabric seen in the 50:50.

Which brings us to the final pair of boots, Saint Laurent’s metal studded chain leather booties. These fetish-infused, stiletto heeled babies, seen in close-up striding along a London sidewalk in the rain, are absolutely period perfect, as typically eighties as shoulder pads, “Frankie Says” teeshirts, or puffball skirts. When Broughton is hanging out in techno-infused Berlin nightclubs, seducing her fellow agents, she totally looks the part. The Eighties were, more than anything, the age of the ankle boot.

Anyway, who cares? Go watch the film. It’s awesome. Vorsprung durch Technik, as we used to say in the Eighties.

References:

  • Anon. 1988. Guinevere: New Style Heroine. Vogue (London), August 1988: pp.114-120.
  • Dargis, Manohla. 2017. Review: Dressed to kill, ‘Atomic Blonde.’ New York Times, July 27, 2017. Retrieved 9/9/2017.
  • Howard, Courtney. 2017. Charlize Theron sports some killer footwear in ‘ATOMIC BLONDE.’ FreshFiction.tv.Retrieved 9/9/2017.
  • Soo Hoo, Fawnia. 2017. Charlize Theron kicks ass in ‘Atomic Blonde.’ Fashionista.com, July 24, 2017. Retrieved 9/9/2017.

Image Sources:

Betty

Sept 10, 1969. Designer Yves Saint Laurent is in London to open a new branch of Rive Gauche, his prêt-à-porter boutique, on New Bond Street, London, opening day of boutique, Sept 10, 1969. Standing in the doorway of the store in front of a massed bank of press photographers, the infamously neurotic maestro is flanked by the two most important women in his life. At his left hand, in head scarf, wrap-around skirt, and safari jacket, is the women who will become his muse, Loulou de la Falaise. At his right, yin to de la Falaise’s yang, is Betty Catroux.

Catroux, enigmatic behind vast sunglasses is, like Yves, wearing one of YSL’s trademark safari suits, a leather belt slung raffishly around her waits, accessorized with a knotted silk scarf. Her legs are sheathed in a sky-scraping pair of leather boots by Roger Vivier, the shoe designer whose partnership with Saint Laurent goes back years. Vivier designed the crocodile skin boots for YSL that kicked off the sixties craze for cuissardes in 1963. Suited and booted, Catroux famously does not give a shit. “I never made any effort; I amquite indifferent and unconcerned,” she is on record as saying. “I look ambiguous. I’ve dressed the same way practically since I was born. I don’t dress as a woman. I’m not interested in fashion at all. I never learned anything; everything I do is natural and uncalculated.”

Saint Laurent met her in 1967, in “a very gay” nightclub in Paris. She was blonde, lanky, and androgynous, and Saint Laurent was smitten. “She wore a Prisunic plastic skirt,” he recalled later. “What impressed me was the style, the androgyny, the body, the face, and the hair. I hit on her.” He grew to see her as his twin sister and, perhaps more significantly, his female incarnation. He wanted her to work for him. She refused. Unlike Loulou –  who once described as muse as “someone who looks glamorous but is quite passive, whereas I was very hard-working” – la Catroux just wanted to have fun.”It was coup de foudre when we met, and we never left each other,” she recalled, years later. “After that we only lived for fun, two of us against the world. We hated normal life!”

Betty and Loulou, masculine and feminine. Betty herself, both masculine and feminine. Here again is the paradox of the fashion boot. Her cuissardes undoubtably masculine, with the swagger of a chevalier, yet lending a decidedly feminine touch to the Saint Laurent safari suit.”I was thinking of her when I imagined the pantsuit, then the leather,” Saint Laurent once said. “All the male codes that I have appeal to the female. If Paloma Picasso and Loulou de la Falaise inspire my fantasy, Betty, she inspires my rigorous body.”

References:

 

  • Blagg, Max. 2011. Betty Catroux interview. Oyster #95, 11/6/2011. Web, accessed 8/21/2017.
  • Borrelli-Perrson, Laird. 2015. A brief history of fashion’s kinkiest boot. Vogue, Oct 1, 2016. Web, accessed 8/21/2017.
  • Lalanne, Olivier. 2001. Initiales B.C. Vogue (Paris), April 2001. Trans. Iwanttobearoifeld.com, April 21, 2013. Web, accessed 8/21/2017 
  • Samuel, Henry. 2010. Yves Saint Laurent “didn’t love women, he used them.” Daily Telegraph, Jan 20, 2010. Web, accessed 8/21/2017.

Image Sources:

Ruth Pearson, 1946-2017

Yesterday I found out that Ruth Pearson had died. It happened back in June, but somehow I missed it. The British papers noted her passing, briefly, but the Times gave her a generous obituary for a woman who had spent the last few years of her career working quietly in local government administration and IT. But for men of a certain generation, Ruth Pearson was, quite simply, sex on two legs.

Pearson was a founder member of a dance troupe called Pan’s People, who danced on the hugely popular BBC TV show Top of the Pops. Her mother was Israeli, and she had a touch of sabra about her that made her seem impossibly exotic to a kid from the outer reaches of the London suburbs. She was one of six dancers (eventually cut to five) that performed to hits when the actual artists weren’t available in person. Viewed from the distance of nearly 50 years, PP routines look quite demure, but at the time they were seen as quite scandalous. They were the reason your dad was prepared to sit through half and hour of David Cassidy, Mudd, and the Osmonds.

They earn an honorable mention in this blog because they frequently wore boots as part of their costumes, not surprisingly given that their TOTP career from 1968 to 1976 spanned the period of peak popularity for this style of footwear and that they were also frequently clad in hot pants or miniskirts (for the record, in later life Pearson was more than a little ambivalent about this. “I’m not very sentimental about my time in Pan’s. The music, the clothes and the dances all made some of it a bit . . . bleurgh”).

It’s possible to draw a wider cultural conclusion from the fact that Pan’s People’s late seventies successors, Legs & Co. (1976-1981, managed by Pearson), rarely wore boots on TOTP, preferring more disco-appropriate high-heeled sandals. By contrast, their punkish rivals on ITV, Hot Gossip (1978-1981), tended to go for a lot of rubber and PVC fetish wear, including spiky heeled thighboots. In this sense, they reflect wider trends in the evolution of fashion.

But the reason I’m writing a post about Ruth Pearson is that her passing makes me feel very old. I grew up in a time when it seemed quite natural for a music program on a national TV channel to employ a team of dancing girls. For good or ill, that notion seems impossibly quaint now, as archaic as steam trains and non-metric currency. Pans’ People were, in the words of the Times, the epitome of “an innocent and carefree era in popular culture when London was swinging and everything was groovy.” I can’t help feeling a little nostalgic for simpler times.

RIP, Ruth.

References

Ruth Pearson, obituary. The Times (London), June 29, 2017. Accessed, 9/2/2017

One for the Dads. Accessed 9/2/2017

Dickins, C., Lord, B., Wilde, D., Pearson, R., and Barnard, S. 2013. Pan’s People: Our Story. Signum Books, 208pp.

Image Source

One for the Dads Forum

Branded

As mentioned in the previous post, I wish I could say that someone had this blog in mind when they designed these boots. For more information, see here.

Reference:

Fisher, Lauren Alexis. 2017. These off-white boots were literally made for walking. Harpers Bazaar, July 24, 2017. Web, retrieved 8/19/2017.

Image source: Off-White via Harpers Bazaar.com

Fall Trends, 2017

080217-red-boots-runway-leadThis blog is more about history than anything else, but it’s worth noting that it’s the time of year when the fashion press publishes it’s Fall fashion reports and, once again, it’s clear that boots are a big deal. Apparently red is a big deal this year, as are sock boots, and slouch boots, which are basically loose-fitting over-the-knee boots that are worn squished down below the knee. A particular favorite of mine are the boots by Off White that are emblazoned with the words “Made for Walking” in big white letters. Free advertising? Why not?

References:

  • Bennet, Alexis. 2017. The one shoe trend that will win you all the compliments this fall. InStyle, Aug 9, 2017. Web, retrieved 08/17/2017.
  • Kirkpatrick, Emily. 2017. Obsessed or hot mess: check out these daring looks. People, August 16. Web, retrieved 08/18/2017.
  • Perez-Gurri, Stephanie. 2017. How to wear red boots if you’re not a supermodel. InStyle, Aug 10, 2017. Web, retrieved 08/17/2017.
  • Perez-Gurri, Stephanie. 2017. Shop the runway-approved red boot trend this fall. InStyle, Aug 14, 2017. Web, retrieved 08/17/2017.
  • Sheppard, Ciara. 2017. 14 pairs of slouch boots to saunter around in all autumn long. Glamour (UK), Aug 18, 2017. Web, retrieved 08/18/2017.

Image source: Getty via InStyle

Ivanka Trump’s Boots

One day, when some future version of me is looking back at the profoundly screwed-up time we’re living in right now, I’ll probably find time to discuss how a pair of boots marketed by Ivanka Trump’s fashion label became a vehicle for people to protest the election of her father to the presidency. For now, I’ll just give you a couple of links to go and explore yourself, here and here. The boots themselves are a spiky knee-length leather and stretch fabric hybrid design that is no longer for sale, but you can still see their old Amazon product page. Customer Q&A includes:

Q.Where is this boot made? (the description says usa or imported. which is it?)

A. It could be Russia but it could be China. It could be someone sitting on their bed that weighs 400 pounds.

Q.What kind of leather? a friend told me it’s human skin! I guess it’s possible coming from China. can you please tell me kind of skin is used? thx!

A. Thin skin.

Q. It says the fit runs small. Any chance they will make these bigly?

A. Don’t let the media fool you, these do not run small. This boots run bigly, let me tell you.

And believe me, there are many, many more where those came from.

Lace-up boots, 1996

IMG_5373When I was working on the book, I pulled together a reference collection of boots of various sorts. Some of these were found on the far-flung reaches of Ebay or Etsy. Others came from the darkest recesses of our closet. This pair is one of the latter. They look like the sort of thing that might have been worn by a sixties dolly bird, but they actually date from 1996.

As I’ve mentioned in previous posts, in Britain the middle years of the nineteen nineties saw a huge resurgence of interest in the music, art, and fashions of the sixties. These were the years of “Britpop,” a distinctive guitar-driven form of rock with psychedelic overtones typified by bands like Blur, Oasis, Suede, Pulp, and a host of lesser imitators.

Where sixties pastiches are found, there also the fashion boot flourishes. The iconic look of a miniskirt and boots is a potent one, even if most of the evidence suggests that the look was nowhere near as common as movies like Austin Powers would have you suppose. Boots had already made a comeback as part of the clubbing culture of early nineties Britain, but now shoe retailers went full tilt into sixties-themed nostalgia.

And nothing says sixties like a pair of white boots. Stack-heeled lace-up boots had been hugely popular a couple of years previously; this pair by the British store Dolcis took the stack heeled design, reworked it in white patent leather, and added that elegant Edwardian-style curve to the top of the shaft. An instant winner, right?

Unfortunately not. The tall lace-up boots of the nineties had a circulation-challengingly tight fit which did wonders for the line of the wearer’s leg, but they also took forever to get on, which is one reason why they were rapidly supplanted by zip-fastened designs. And however keen you were on sixties fashions, a shiny white pair was never a practical option in grimy British cities.

That explains why these particular boots ended up in a bargain bucket at Dolcis, where I purchased them for the princely sum of £5:00. I bore them home in triumph to my wife who, being much more knowledgable about fashion than me, cocked a quizzical eyebrow and consigned them immediately to the farthest reaches of the closet. Where they remained for almost twenty years, until I needed a pair of boots to illustrate a piece on sixties nostalgia for the book.

Changes

If you’ve been following this site for a while, you’ll have noticed some changes have taken place over the last couple of days. I’ve spruced up the design, added some new pages, etc.

This is partly in preparation for the publication of Made for Walking (the book). As I mentioned a while back, I spent much of the last half of 2016 working on this project. It takes the blog as a starting point, but also features a lot of new research. It’s being published by Schiffer and will be coming out in 2018. I’ll publish more details on the blog as soon as they’re done.

So does that mean it’s all over for Made for Walking (the blog)? Not at all. There were things that came up in writing the book that I couldn’t fit in or discuss in as much detail as I wanted. There were also things that I covered that could be explored from different perspectives. And new stuff emerges all the time. So the blog will live on, and I now have the time to devote to writing new posts. One of which is coming up next…