At the onset, the exhibit appeared to be just an array of high heels to appease a yearning crowd. However, upon closer examination a pattern immerged from the placement of the shoes. Lisa Small, curator of the exhibit, explained that the shoes were grouped together based on whatever story they were telling. She was careful to select shoes that displayed a historical period, geographical origin, a similar artistic style or function, a color story or that fell under similar themes. Each area of the exhibit that housed the shoes that epitomized the respective themes, were obviously very cautiously selected. Majority of killers made powerful artistic statements that demonstrated innovation and boldness by the revolutionary designers that created them. A recognizable progression in the modernity of the designs became apparent. However, what was interesting was that regardless of when a shoe was produced, it doesn’t represent its place in the exhibition as it relates to modernism. Some of the pieces were way ahead of their time at conception and still are. Some of the pieces from the 1950s are still very stylish, fresh and wearable today!
One of the sections that stood out was dedicated to the relationship between architecture and the high heel. This was a refreshing and inspiring segment. The direct relationship was very clear. The heels displayed were ultramodern with artistic styles and feels from different movements like Art Deco. Every piece made a daring declaration and defied the notion of the typical concept of the high heel. The lines, colours, heights, curves, contours, edges, silhouettes and overall structure of each of the shoes in this area of the exhibit made for a memorable display.
Another outstanding section was found at the end of the exhibition where the designs seem to stem from metamorphism. Each appeared as though they were either transforming into something or transformed from something. There were influences from nature (The Horse Shoe) and even the supernatural and metaphysical (Stairway to Heaven). A notable point of interest was the unconventional choices of materials used. There was such a wide variety: from metals, plastics, glass, beads, wood, rubber to springs, flowers, feathers and seeds. It served to broaden the idea of design and challenge an individual to step outside of what has already been done.
The shoe that stood out to me the most, however, was the Healing Fukushima (Nanohana Heels) designed by Sputniko and Masaya Kushino in response to the Fukushima nuclear disaster in 2011. The flowers on the shoes are what grow from the seeds it dispenses and plants as one walks. These seeds absorb radioactive substances from the soil. This remarkable piece of footwear is not only an aesthetically pleasing piece of art but it is also functional not only to the wearer but to the environment on a whole. As Nina Simone once said, “it is an artist’s duty to reflect the times.” I feel like these artists definitely achieved a great feat with this shoe.
As it concluded, one became aware of how well-structured the exhibit was as the larger picture emerged, one also left more knowledgeable of a principal player in our society – the high heel. However, the most valuable thing that was gained from this experience was an expansive idea of what it is to be an innovative designer. It certainly encourages one to think and draw inspiration for the extraordinary.