Above the rest: chopines as trans-Mediterranean fashion

Semmelhack, Elizabeth

doi:10.1080/14636204.2013.868241

Cited by 4 publications

(4 citation statements)

References 7 publications

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“…368-80. 47 Semmelhack 2009Semmelhack , 2013 about cultural change 48 . They can be used to document the transmittal of a culture of style from her home in Spain at Medina del Campo, through her shoemakers in Valencia and Madrid, and the Muslim culture of Granada that was the source of much of the design elements, and ultimately to her new home at the Tudor court in London.…”

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Raising infanta Catalina de Aragón to be Catherine queen of England

Earenfight

2016

Anu. estud. mediev.

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Raising infanta Catalina de Aragón to be Catherine queen of England

Earenfight

2016

Anu. estud. mediev.

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“…Throughout history, high heeled shoes have been symbolic in a variety of cultural contexts. Shoes have been worn for many different purposes, some dating back to as early as 332 BCE (Semmelhack, 2014). To design and develop a pair of high heeled shoes myself, it is necessary to understand the social context as to why people wear heels today and have done so for many centuries.…”

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“…In early Greek times, people wore platform heels called 'Kothornoi,' to prevent their gowns from getting dirty if they reached to the floor (Semmelhack, 2014) (Semmelhack, 2014).…”

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confidence: 99%

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The Iced Slipper

Neill¹

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This research project explores ways of configuring parametric software for generative design and additive manufacturing of high heeled shoes. The current cultural and social context suggests fashion is an outlet for individual identity and self-expression. This is particularly relevant for high heeled shoes where customisation of fit is critical and adaptability to style and aesthetic considerations is universally applicable. In addition, the traditional methods of high heel shoe manufacture depend on convoluted supply chains, complex assembly and an extensive inventory to accommodate the required range of sizes and the demand of consumerism. This raises the question, “Can the traditional method of manufacturing and distributing high heels be streamlined through the combination of generative design and 3D printing for a more bespoke and sustainable system of production?” In response, the research aims to develop an integrated parametric design workflow for customised 3D printed high heeled shoes. It seeks to integrate diverse considerations, such as scanning technologies and style parameters with concepts like design for deconstruction and distributed manufacture to transform the way footwear is designed, manufactured, distributed, and recycled. The research project will follow two overarching methodologies: Research for Design and Research through Design. It takes inspiration from recent experimental design studies for 3D printed high heels but seeks to combine these with more versatile and sustainable ways of configuring, customising and manufacturing shoes. The generative workflow created in this research is transferable to other products and systems of making.

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Materials for Renaissance Fashion

McCall¹

2017

Renaiss. Q.

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LONG DENIGRATED AS INTELLECTUALLY superficial due to a pervasive, often moralizing distrust of fashion's ostensible frivolity, studies of clothing and fashion have emerged as increasingly vibrant forces within the humanities' material turn and art history's embrace of material culture. This burgeoning scholarship builds on many decades of painstaking and comprehensive costume history as well as economic historians' formidable investigations of textile production. Three pioneering explorations of early modern material culture, consumption, and social relations generated intellectual urgency in the first years of the new millennium: Ann Rosalind Jones and Peter Stallybrass's Renaissance Clothing and the Materials of Memory, Evelyn Welch's Shopping in the Renaissance, and Welch and Michelle O'Malley's Material Renaissance. Likewise, ongoing engagements with materiality and its agency have furnished profitable theoretical perspectives for Renaissance clothing and fashion, as have histories of gender and bodies. Concepts of embodiment indebted to Joanne Entwistle's The Fashioned Body have afforded dynamic accounts of the relations between Renaissance bodies and clothes for scholars including Denis Bruna, Ulinka Rublack, and Susan Vincent. Any study of fashion must reckon with the body, which imbues garments with meaning, thereby providing the literal shape and interpretive fields through which they can be understood. Without the body, clothing is but "a corpse or a mass of lifeless cloth." 1 That fashion broadcasts signs of status and identity is a familiar refrain, yet we must recognize that its forms and materials simultaneously constitute these identities and even our sense of self. We make clothes, and clothes make us. Bodies are both concealed and revealed by clothes. Changes in the cuts and shapes of Renaissance clothing both induced and were influenced by bodily ideals mediated through expectations of gender, age, and status (and, time and again, I extend sincere thanks to colleagues who offered vital feedback on short notice:

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Above the rest: chopines as trans-Mediterranean fashion

Cited by 4 publications

References 7 publications

Raising <em>infanta</em> Catalina de Aragón to be Catherine queen of England

Raising <em>infanta</em> Catalina de Aragón to be Catherine queen of England

The Iced Slipper

Materials for Renaissance Fashion

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