The Dancers
Located on Level T of the Human Ecology Building
In a posthumously published fragment, written in August 1950, Hanna Arendt makes the following observation; “...we have arrived in a situation where we do not know--at least not yet--how [we] move politically.” The inclusion of feet and the protection they require in everyday life speaks largely to the way we move both contemporaneously and historically as we respond to our environment. The Dancers in this exhibition are a myriad of shoes and pair of socks: each tells a story and choreographs a way of movement in the fashion and life of the wearer. The current 2020 climate is one of unsure movement, unsure momentum, and uncertainty in general. Perhaps by mediating on the feet and their movement, we might ponder how to curate protection and possibility for the physical transport of bodies in this “new normal.”
Box M: Green suede pumps
Designed by Valentine’s, United States
Circa 1948
CF+TC #1496
Gift of Janet Reed
Valentine's was a famous footwear brand responsible for the design of these 1948 peep toe pumps. Suede is a subtype of leather but is derived from the underside of animal skin, which makes it a much softer and pleasing texture (Hodakel, 2020). In the 20th century, suede became fashionable and many designers began using suede into their collections due to its versatility as a material. Notably, Paquin, Hermès, and Givenchy. It soon became a status symbol due to its luxury appeal (Sterlacci). The shoe design house, Valentine’s, targeted the young, middle-upper class American woman and sold over 4,700 different show designs, which ranged in price from $6.90 to $12.95 (In 2020, this would be equivalent to $69.00 and $129.50).
Box N : Green argyle socks
Designed by Paul Stuart, United States
Date unknown
CF+TC #2004.07.066
Donor Dorothy Faux Schefer
“Sock” originates from the Latin word soccus which means soft shoes, which were worn predominantly by actors in Ancient Rome. They have since become everyday garments of both protection and expression. The argyle pattern is made of overlapping solid and outlined diamonds, historically worn by men from Clan Campbell of Argyll, located in western Scotland. The pattern is composed of layers of overlapping motifs, giving it depth and geometrical texture. This particular pair of knee-high, argyle socks were created by designer Paul Stuart; a men’s and women’s clothing brand founded in 1938 in New York City that has since expanded globally. The argyle sock is an extremely popular casual sock; the knitting pattern became widespread at the end of the 18th century, and later popularized by its association with golf and the Duke of Windsor thereafter. Following WWII, the argyle sock returned in popularity as young women in both England and the United States participated in a craze that involved knitting argyle patterned socks for their boyfriends or lovers overseas.
Box N: Zori sandals of straw with rubber soles and dull green velveteen thongs
Designed by Bear, Japan
Circa 1945-1951
CF+TC # 229
Gift of Helen Jewett
The zori sandal is a Japanese shoe with a flat bottom and a device called hanao, or the thong, to be worn between the big toe and second toe. This particular pair of zori is from sometime between 1945-1951 because the rubber sole of the shoe identifies that they were made in occupied Japan. They, along with the similar-looking geta, are a traditional, formal wear shoe in Japan. Zori were made historically by weaving straw together tightly. For those who worked in agriculture, and before shoe design patterns were available, men would typically weave themselves thinly soled waraji, which are straw sandals designed as workwear. Today, a zori with a lighter colored or white thong is worn with formal attire, while a zori with a darker colored thong is worn in more everyday situations; meaning that the color of the zori dictates the situation in which it will be used/worn. They are typically constructed today from leather, cloth, or vinyl. These shoes are very durable, and their design allows for effortless application and removal from the foot, making them extremely popular across many social classes.
Box O: Grass anklets
Unknown designer, Hawai’i
Date unknown
CF+TC #387ab
Gift of Beulah Blackmore
These anklets were made out of raffia and dyed with a synthetic green to imitate the look and feel of clothing imagined to be worn by Hawaiian peoples. This particular item of clothing, however, did not become synonymous with Hawaiian dress until the 1930s. The association of Hawai’i as a colorful, romantic tourist destination during the interwar period led to commodified interpretations of Hawaiian dress designed for the gaze of tourists. The performative donning and doffing of grass anklets during hula performances, in particular, helped this article of clothing become a popular icon of Hawaiian culture in the United States.
Box O: High street shoes
Unknown designer, location
Circa 1860s
CF+TC #1247
Gift of Mrs. Mary Geisler Phillips
These silk, satin dark green laced boots were manufactured in Philadelphia, PA in the latter half of the 19th century. They are both a functional and fashionable green garment, likely worn with a walking dress.
Box O: Baby bootie soft shoe, green leather
Unknown designer, United States
Circa 1820s-1850s
CF+TC #5061
Donor unknown
This soft sole shoe is known as a bootie and was likely designed for an infant, who would not yet need a hard sole for walking. The soft sole thus suggest that the wearer was under the age of 15 months, as it is not conducive to learn to walk confidently at a young age in hard soled shoes. Soft sole shoes help infant children improve their coordination, balance, and confidence as they rapidly grow; the softness allows the foot to grow without restriction. At such a young age, their sensitive skin requires protection from a number of assailants: cold temperatures, unforgiving objects on the floor, and rough surfaces. A good fit is recommended because children learning to walk wobble.
