Nature may dictate height but the shoe designer is more than capable of manipulating it. This was never more obvious than immediately following the French Revolution (1792) when shoe heels all but disappeared. Their demise was motivated by politics and the desire to suggest that everyone was born on the same level.

English cream silk wedding slipper-sandal, c. 1815

American tartan woven wool and silk shoe with japanned
leather toe cap, c. 1830

By 1830, the square toe had come into fashion. An efficient industry manufacturing women's silk and kid footwear was developed in France in the 1830s using piecemeal workers. Their shoes were created for speculative sale in shops. The shoes were narrow but their construction was light and forgiving, allowing the wearer's foot to splay over the edges of the sole. Sturdier leather shoes and boots (for both men and women) were still made to order by a local shoemaker.

French silk heeless shoe, c. 1850

By the 1850s boots became a positive necessity for women in order to retain modesty. The fashion was for steel-framed crinoline hoops that tended to swing when walking. Boots prevented exposing the female ankle, protecting her modesty.

Long, full skirts predominated after 1840 resulting in a plethora of plain and uninteresting footwear. Even so, some shoes were made that were worked in colourful embroideries; the decoration usually created with machine-sewn chain stitching.

American white kid side lacing boot, c. 1850

Small heels were re-introduced to women's footwear mid-century, although they weren't standard until the 1870s when bustled skirts became the mode. The high heel was causal in protruding the posterior, which in turn enhanced the bustle's primary objective! By the mid 1870s "Louis" (hourglass-shaped) heels of two inches were not uncommon.

Canadian cream cotton wedding boot with ruched bow on vamp, c. 1867

Revivals of 18th century-style bows and buckles became fashionable additions from 1863 when the "Fenelon" bow (a multi-looped bow) first appeared on the toes of shoes. Skirt fronts fell close to the body in the 1870s and 1880s, therefore the toes and vamps (forepart) of shoes and boots became visible. As a result shoes took on more detail in the form of punch-work and embroidery, or inserts and cutouts. Similarly, button closures became very popular. These were thought a neat, yet more attractive way of closing boots than laces or elastic inserts.

French machine chain-stitched embroidered shoe with silk underlay, c. 1855

American white kid shoe with Fenelon bow on vamp, c. 1865

In the 1880s the United States began manufacturing footwear, using technology it had been developing for around 20 years. Innovations in production comprised lasting (shaping wooden shoe forms), cutting, sewing, beading, and sizing footwear. This meant that sturdy, fashionable, fitted footwear could be produced for a fraction of the cost of custom-made.

American black leather sandal boot with black velvet bow on vamp, c. 1880

French gilt embroidered purple velvet mules, c. 1880

While this allowed many people to afford better quality shoes for less money, it also set the stage for "couturier" shoemakers to cater to the elite. Paris-based shoemaker Francois Pinet is generally credited with being the first important "bottier." His costly made-to-order boots and shoes were the perfect ornamentation to a Worth or Redfern gown, whilst at the same time excelling in quality construction and fit.

American black leather pump with steel bead embellished vamp, c. 1885

Boots continued to dominate shoes as daywear as the century drew to its close. New styles were introduced to accommodate the changing needs of the active woman. Sporty styles in canvas with rubber soles or low-heeled leather boots with wool shafts appeared. They were designed for such activities as playing lawn games or partaking in the biggest and hottest craze of the 1890s - bicycling!

Bicycling boots, c. 1895 - 1900

Canadian Black leather button boot, c. 1900

THE 20th CENTURY - The Shoe Revealed!

By 1914, skirt lengths had begun to shorten and were sometimes cut in such a way as to make the ankle clearly visible. Boots started to fall from favour for evening wear with some exceptions. These were "Grecian" or "Tango" boots with decorative cutouts or strap arrangements.

Two tone walking boot, c. 1915

For modesty reasons, the boot held on to its popularity for daywear until the early 1920s. Their days were numbered when skirts rose to mid shin. Wearing boots left an unsightly gap between the top of the boot and the hem of the skirt. The only remedy for this was to wear shoes, which made visible the pleasing contours of the lower leg. At this point boots virtually disappeared, their fate being to languish in fashion wilderness (their only outing being as galoshes in foul weather) until the mid 1960s.

American steel bead embroidered black kid pump, c. 1918

Ironically from the 1920s to the 1960s, while women were making huge strides in their quest for liberation, their footwear became more debilitating. The shoe, which was now in full view, became an integral part of the fashion wardrobe. Shoes were now being made in colourful leathers and decorations. High heels tightened the calf muscle and made the ankle appear slimmer, creating a more shapely illusion, which women eagerly latched on to. Instep straps on shoes eventually fell from favour in the late 1920s. Their crime was to cut the length of the foot.

Chinese silk embroidered pump made for the Western market, c. 1927

The long-absent classical sandal re-appeared in the early 1930s for beach and eventually eveningwear. Smart, high-heeled laced shoes made good alternatives to plain pumps for a sporty look and two-toned spectator shoes were suitable for summer weather. In 1939, open toe, sling-back pumps were shown for the first time. This was amidst much complaining from the 'fashionables' because the reinforced toes and heels of stockings were not exactly appealing in this shoe style.

English red and grey leather sandal, c. 1934

Numerous shoe designers entered the scene in the 1930s, most notably Henry Rayne and Andre Perugia. They created shoe collections under their own labels and also supplied couturier collections.

English red and cream leather oxford, c. 1934

In 1937, Italian designer Ferragamo was inspired by the Italian Renaissance and re-introduced the Chopine, a tall platform shoe style. Fascist Italy was at war with Abyssinia and was experiencing shortages so Ferragamo substituted other materials for leather. He used cork and wood for platform soles and wove new materials, like cellophane for straps and vamps. Successful as a novelty at first, these non-leather shoes were important in continental Europe for the duration of World War II when all available sturdy leather was requisitioned for army gear and machinery belts for wartime factories.

Italian silver kid and woven cellophane sling-back pump by Ferragamo, c. 1938

By 1941 platform soles appeared in North American footwear, small at first. They elevated a woman's height and, when combined with padded shouldered suits, gave them an imposing stature. This suited the times for they were tending the home front while their men were at war. Wedge heels were popular too. They not only gave height but also supplied the sturdiness of a flat-soled shoe. By the end of the war platforms had increased to four or five inches in height. However, the style was not considered attractive by all women, particularly tall women who yearned to look petite.

American black satin platform sandal with rhinestones on vamp, c. 1945

Sturdy laced oxfords made of durable leather were rationed but lasted for years with proper care. The endurable plain pump with Cuban heel and round toe provided a dressier style for the war years.

American open wedge-heeled laced brown suede shoe, c. 1940

Following the Second World War fashion footwear, just like clothing, could no longer be contained to one look. A multitude of designers fed society's hunger for different styles to suit time of day, social function, utility, looks, and audiences

Canadian white and blue leather “saddle” shoe, c. 1955

"Teenager" was a new term coined in the post war world. It recognized a matchless sector of society. Anti-fashions donned by various groups were used to identify a unique culture, be it left bank Parisian intellectuals or rowdy English street thugs.

Dior's 1947 "New Look" collection was the catalyst that heralded in a softer, feminine ideal. Chunky platform-soled shoes were slowly phased out to make way for the revival of the high-heeled pump. This time it relied less on ornament, and more on architecture. The 1950s pump and sandal gradually slimmed their heels, especially in Europe where the thin Italian stiletto heel was first shown on fashion runways in 1954. The pointed toe was paired up with the stiletto heel in 1957. This created a shoe that enhanced and beautified the foot yet impaired it unrelentingly. Shoe designers like Roger Vivier and Beth Levine made the most of its attributes in their versions.

Canadian black suede “baby doll” pump with rhinestone trims, c. 1950

However, the stiletto had practicality problems. Driving was tricky and sidewalk grilles were deadly. The wearer was pretty deadly too of course. Men were more afraid than at any other time in shoe history, especially on the dance floor. Museum curators were suicidal at precious floors pock marked by tiny weapon-like heels. Worst of all, makers of galoshes could not find a suitable rubber overshoe that was not pierced by the foot-borne spear upon its first wearing

Italian black satin pump with beadwork-embellished vamp, c. 1962

Various designers toyed with boot designs, including Charles Jourdan and Pierre Cardin. But it was Courreges in 1964 that is credited with the return of the boot. It was the revolutionarily opposite of the fashionable shoe of the day. A square toed, low-heeled boot cut just above the ankle, it found success with the younger generation. Shoes too took on the new silhouette, but it was a slow transition from the old style. Mature women preferred the more sophisticated pointed toe stiletto albeit by 1967 the low-heeled shoe had won out.  

 

American see-through vinyl and black PVC vinyl go-go boot, c. 1966

American brown patent leather pump with brass studded heel, by Beth Levine, c. 1967

By 1970 the low heel was on the rise again. Heels were either blocky square shapes or tall and straight. The toe rounded gradually to become more almond shaped throughout the decade. In 1971 wedge heels and platform soles returned as options. This time they found favour with liberated women who enjoyed the empowering height. The platform's popularity peaked in about 1974 then declined, disappearing completely by 1980. Knee high boots were essential elements of the winter wardrobe, in shiny vinyl at the beginning of the decade and earth toned leathers and suedes by its end.

Spanish patchwork suede knee-boot, c. 1974

Italian red snakeskin and wood platforms, c. 1975

The Hippie movement of the late 1960s brought a new image to footwear. Themed as "back to nature" it first included the popular rise of simple sandals; leading in turn to "health-conscious" styles to include negative heeled oxfords and athletic runners. Attractiveness was not paramount in the consideration of casual shoe styles but comfort, fit and foot health was. An oxymoronic footwear fashion twist emerged as the 1970's ended. A woman could wear a pair of Anne Kelso's crepe soled, negative-heeled "Earth" shoes in the office and a pair of barely-there, strappy Maude Frizon, spike-heeled evening sandals to the disco.

South American made Brown leather ankle boot, c. 1979

In the collections of designers like Andre Pfister, colour and surface embellishment abounded on 1980s footwear. The stiletto heel returned but was only one of many heels that were equally fashionable. These included low slanted heels and upside down, triangular-shaped heels. Indigenous styles of boots such as cowboy and Cossack boots found favour alongside sleek knee-high fashion styles.

French Garnet leather pump, by Charles Jourdan, c. 1980

French black leather and purple snakeskin pump, c. 1985

With the 1990s came a series of revivals. Late 1960s styled low heeled, square-toed shoes were available alongside 1970s style platforms, like those made popular in John Fluevog's collections. Curvy hourglass heeled shoes from Stuart Weitzman and Peter Fox revived early 1920s styled footwear. Casual chic returned in updated classics like Patrick Cox's revivals of the Hush Puppy suede loafer. Subculture boot modes like laced fetish boots in black vinyl were available at the same time as punk style Doc Marten combat boots. Athletic footwear continued to carve a huge niche out of the footwear industry, seceding from influences of high fashion and creating its own vocabulary of style.

Black kid and elasticated vamp pump, by Stuart Weitzman, c. 1992

French black suede and net pump, Maude Frizon, c.1995

It is not uncommon these days to refer to ones shoes as my "Blahniks", or my "Clegeries" rather than "my pink pumps" or "black mules". Today, fashion footwear is less about being "au courante" and more about the design, the designer and recognition.