The History of Footwear

Cameron Kippen, Curtin University of Technology, Perth WA Maybe I should begin this presentation with a warning to those amongst us with a gentle disposition, for what you are about to see will never make you trust another pair of shoes, or feet again. Your natural reaction will be, and I do not blame you, I have made it all up. However please let me reassure you that all you read is true, genuinely researched from legitimate sources and most certainly does not contain any personal bias or deviant preferences, from yours truly. Mythologies and folklore of many cultures are rich in material whose significance hinges on the bond, which links the foot, and sex together. Feet according to William A Rossi in his wonderful and toe curlingly funny book The Sex Life of the Foot and Shoe (Kreiger, 1993) are sensual objects which often require to be hidden from unwanted attention. Few artists have missed the visual sensuality of the foot and her curves, convolutions and toe cleavage that make the pedal organ of erotic association. The author attempts to explore many of these in order to encourage greater understanding of equus eroticus and its importance to the human condition. Read what journalist, writer and broadcaster Phillip Adams had to say Plunging in feet first in The Australian. Evolution Style and Fashion Celtic Shoes Duck's Bill High Heels Fantasy Boots Sumptuary Law Discussion GLOSSARY OF TERMS SHOE EXHIBITION: Shoe: A National Touring Exhibition from the City Gallery, Leicester was at the McManus Galleries, Dundee, Scotland. Early Foot Coverings Religious Shoes Poulaine Chopines Slippers Fetish Clogs Hose Bibliography

CONFERENCE POSTERS: View and download copies of shoe and foot related posters.
Other Chapters [ Ballet Shoes |Biblical Feet | Boots |Bridal Shoe | Shoes at Christmas |Clogs | Corn Cutting |Dancing Shoes |Erotica | FAQ Podiatry | Foot & Shoe Fetish | Foot Sex | Foot Torture | Glamorous Shoes| Hosiery | Olympic Shoes | Rock Shoes | Rugby Boots| Sandals | Sexy Foot | Shoe Making | Shoes 'r' us | Skateboard Shoes | Soccer Boots | Sport's Shoes | Sumptuary Laws | Superstitions ]

The History of Footwear

Evolution
The unique features of the human foot namely, heel, inside arch, and big toe have according to anthropologists made upright posture possible. Standing on two feet allowed hands to develop and some authorities consider this was the reason why the human brain became more complex. The expansion and elaboration of the brain certainly followed the development of the foot by several million years. Bipedal stance has influenced the anatomical development of buttocks and bosoms; legs and thighs, as well as tummies and hips The foot has played a major role in the evolution and development of other erogenous features of the human body. Singularly we remain the only species to be able to copulate standing up and facing each other. Sigmund Freud, considered the development of upright stance led to display the primary and secondary sexual characteristics. Humans had no need to develop a sense of smell because there were greater benefits in perfecting sight. Later, Wilder Penfield, twentieth century, neuro-surgeon identified the parts of the brain responsible for organsmic activity, lay in close juxtaposition to the section responsible for feet. Thereby establishing a strong relationship to support claims of erotic association. Anatomically the foot is one of the most innervated parts of the body and as tactile as the hands. No surprise therefore many people enjoy the sensual aspects of the feet in both pain and pleasure. Body shape has been determined by bi-pedalism

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Early Foot Coverings

Scientists estimate the first shoes were made from animal skins during the Ice Age (5000,000 years ago). Inclement weather in the Northern Hemisphere has lent many historians to believe the need for foot protection. The biggest find of shoes from this period is thought to date back to 8000 BC and belonged to Native Americans in Missouri. From the examples discovered there were evidence of left and right shoes. Primitive shoes dating back to 3300BC were found on the Ice Man, discovered in the French Alps. According to (Spindler, 1993) the Neolithic herdsman of 3000 BC wore shoes on both feet similar to the footwear of the Laplanders. Each shoe consisted of an oval piece of leather with the edges turned up and bound with strong leather thongs. The material used was leather not fur and the soles were made from cowhide. Attached to the thongs was a net, knotted from grasscords to cover the instep and heel. Shoes were filled with grass to keep the feet warm. Boot leggings of fur were attatched to leather soles and worn to protect against the weather. The boots were tied around the ankle with grass cords.Rough shoes protected the feet of Stone Age people from rocks and thorns. Sandals are believed to be the first crafted foot coverings, the successors to primitive wrappings. The design was both simple and practical. A stiff sole for protection was attached to the foot, usually with straps or thongs. The soles were made from almost anything that was at hand. Slate cosmetics tablets of Pharaoh Narmer (3000 BC) depict the Pharaoh followed by a slave bearing his sandals. The image suggests that in ancient Egypt the sandal was a sign of power and rank. The sandals were initially made from a footprint in wet sand. Braided papyrus was then moulded into soles and the sandals often had turned up toes. Sometimes the instep of the sandal was decorated with figures of men defeated in battle. The difference between the commoner's sandal and the Pharaoh's sandal was a peaked toe. This ostentatious extension had no function but merely denoted a person of high born status and historians believe this was the influence of Hittie (1280 BC). Soles were dyed and the sandals were made to accommodate right and left fittings. Egyptian women would adorn their sandals with jewels. Australian Aboriginal people wore rough sandals but only the central tribes were known to do so. The vast majority went unshod. Ceremonial shoes made from emu feathers were worn on special occassions by some members of the tribe. Primitive sandals were made from available materials and held against the foot by a series of thongs

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Style and Fashion

The Greeks took good care of their feet, adapting their footwear for every type of activity. Women at first went barefoot but began to wear sandals as both style and quality of sandals flourished. Shoes were used to identify station with the height of the sole and the colour orientation indicating the wearer's social class. The Greeks emphasised design and beauty with elegance, refinement, extravagance and rich ornamentation, especially for women. Greek women of ill repute wore elevated sandals to attract men's attention. Their sexy Trendleberg wiggle created an audible "clacking" when walking and this was acknowledged as a deliberate flaunting of sexual charms. Romans devised military style thongs, which enabled their legions to travel the empire on foot. The caligae was a sturdy thick-soled heavy leather sandal with an upper that reached the instep. When victorious soldiers returned from war they frequently substituted the bronze nails, which held the caligae together with gold and silver tacks. Women's feet were a symbol of chastity and worshipped by fetishists. Senator Lucius Vitellus kept a shoe of his mistress under his tunic and would kiss it frequently. This type of fetishism, according to Ovid in his Ars Amandi, led Roman women to confine their feet into tiny shoes. The Romans, like the Greeks never entered a house without removing their shoes. Styles began to follow the trade routes and shoes were often used to display wealth and power.

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Shoes cost as much as a peasant would earn in a year

Religious Shoes
With the fall of the Western Roman Empire and the barbarian invasions, craftsmanship declined in Europe. Most common people went barefoot or wore rough clogs. Sandals had become pass and the art of sandal making was almost lost. The elaborate sandals and open work bootees of Imperial Rome were still worn by Byzantium in

the 5th century. However they were exptremely expensive. According to AndersonBlack & Garland (1975) shoes were made of soft leather or material with leather soles and a strap across the instep with fastening on the outside. Soft boots and shoes were worn by all classes. The boots in Byzantine times were worn to the calf. Shoes and boots were heavily decorated with gems. Chalaman's shoes were described as gilt covered and distinguished by long latches. His nephew wore wooden shoes with uppers of leather and laced through with leather thongs. Worn closely to the foot the toe shape was narrow and pointed at the great toe. This was thought to be the way to tell left from right. The same footwear continued in 6/78/9c the shoes varying in design and often sewn with jewels. The fastenings sometimes incorporated jewelled clasps at the front of the ankle. As early Christians began to celebrate the goodness of creation, shoes took on a religious significance. Colour was specific to rank and privilege. The expression of love for God took on sexual metaphors including footwear. Amongst the most sought after gifts of the time were a pair of shoes. Costs were so prohibitive, people bequeathed their footwear to family and loved ones. Hence the saying "following in your father's footsteps." Women wore slippers made of leather. These were flat soled and died red, green, purple or white. Sometimes they were gilded. The Consul wore red leather boots with ties crossing the instep and fastening around the ankles. Citizens wore yellow leather boots with ornamental ties on the outside of the calf. Soldiers wore leather soled boots with brown yarn which stretched and required no fastening. The emperor wore boots of crimson leather sewn with pearls and worn higher over the knee that the back. By the sixth century AD shoes were generally worn and made to fasten in graceful ways. A revival of toeless Greek bootees was a feature of the 6c. Ankle boots were in vogue and laced up the front or side, leaving the toes free. Rich decoration was the custom, and shoes were often embroidered with jewels. Boots and shoes followed the natural line of the foot and were made of leather, cloth or felt. Round about the ninth century a distinction in shape between the right and left foot began to be made by the Anglo Saxon shoemakers. Once the new notion of use of clothing had become generally accepted the art of costume developed and expanded. It formed according to Cuningdon (1941) a convenient mode of expressing rank. The 10th century man wore shoes of soft brown leather with openwork striping and jewelled ornament in the centre of the instep. Frankish boots called pedules were made of soft leather or cloth and were turned over at the top, below the knee. The upper of the boots were sewn with pearls. Women continued to wear soft shoes of the same designs as those of men.By the time of the Norman Conquest shoes were richly worked in leather, cloth or silk, and ornamented with gold. The Norman shoe fitted closely to the foot and finished at the ankle, sometimes having a rolled border. At this time shoes developed definite long points. Many pilgrims went barefoot and a flatfoot was viewed with considerable suspicion. Shoes themselves could be omens of good and bad as many cultures believed the shoe housed the spirit of its owner.

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Celtic Shoes
The Celts wore untanned leather shoes with the fur left on the inside of the shoe. They were made with the upper and sole in one. The shoes were fastened with leather thongs put through holes made near the edge of the upper. The thongs wound together over the instep and round the ankle.Tutonic shoes were similar to Celtic footwear. Anglo Saxons wore boots higher behind the knee than in front. During the 11/12th centuries working people would wear thick course hose with leather soles. Northern tribes wore the gallicae which was a simple boot made of two pieces and reaching the ankle. They were worn with crude gaiters, primitively knitted woollen socks and paison. (Bigelow, 1970) Shoe and boot makers had become highly skilled and a wide variety of new forms and perfected older styles were used. Brodequins or high shoes with laces, made of leather, were heavy footwear worn by the lower classes while the upper class wore the heuze a high boot made of soft leather laced and fitted with a tongue beneath the centre opening. Sometimes heuze were buttoned or buckled at the ankle. The nobility wore soft silk slippers indoors and women wore soft leather slippers tied or buckled at the ankle both in and out of doors. Between the fourth and tenth centuries, hose was made of knitted material in a tube shape. Tapes sewn to the tops served as simple garter support, possibly tied to a cloth belt worn around the waist under the gonelle or kirtle. Men wore their hose either under their breeches or pulled up over them. In warm weather the working classes wore their stockings crushed down over their boot tops. Women wore soft fur lined boots indoors during the winter time. The botte or bottes were simple bedroom slippers. Many Celts went barefoot and considered wearing shoes a mark of weakness.

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Poulaines
In the Dark Ages, Royalty wore slippers of purple silk trimmed with pearls or embroidery. Both men and women wore shorter boots

whereas the longer boot was exclusively mens' fashion. In the 11 and 12th centuries workers wore the open toed crepita and laced calcaneus. (Bigelow 1970). Stockings and socks were worn by the Normans. The Norman seemed to prefer stockings to socks, unlike the Saxons. William II liked to pay a mark for his stockings and when his chamberlain bought him a pair for less he was most put out. To save face, the embarrased chamberlain promptly bought another pair of cheap stockings and told the king they were one mark in price. Delighted the king forgave his chamberlain and wore the stockings. By the High Middle Ages fashion had become more established. Men began to wear long toed shoes called pigaches or poulaines. The style became an instant success and the fashion lasted over three hundred years before it was eventually legislated against. Soon extensions became longer and longer until they were so long they made walking almost impossible. Young bucks started to stuff wool and moss in the extensions to keep them erect. So blatantly phallic and long, soon the style included attachments to the knee with a chain to prevent tripping. A popular vulgarity was to paint the extensions flesh coloured, allowing them to flap with lifelike mobility. Small bells were often attached to the end of the poulaine to indicate the wearer was a willing partner in sexual frolic. "Footsie, footsie" took on a more meaningful importance during this time and many boring banquets were enhanced with below table, shenanigans. Sometimes worn by curling the toes, the poulaine was the forerunner to the codpiece. The origins of the shoes remain clouded but in some places they were referred to as Crackowe shoes. Certainly the fashion was wide spread and their popularity unopposed. Exaggeration is a constant theme of fashion and is used to give maximum impact to a new look and to prolong the life of a dying one. This may account for the eccentricities, which certainly glorified masculine sexuality in a most obvious way. Youths were chastised for standing on the street corners waggling their toe suggestively as the young ladies walked by. The appearance of the poulaine was perhaps less by chance and more to do with and undercurrent belief in the worship of Phallus. This predated Christianity and may have represented a conscious resurfacing of occult practice in the Middle Ages. Today we may be shocked at the audacity of poulaines but then the Roman Church was all too aware of its significance.On the pretext they were shocked at the overt and ribald obscenity of the habit, the Church tried through sumptuary legislation to stop men from wearing them. Initially they were condemned because they physically prevented men from praying. But the edict met with dumb silence. In truth whilst the length of shoe was implicated as the cause it may have had something to do with the way men wore their hose tightly laced to their doublets. So tightly were they worn they could not kneel without damaging their leggings. The shoes were branded as Satan's Curse (or Satan's Claw) university professors were first banned from wearing them in the thirteenth century. The clergy then blamed the Black Plague (1347) as God's revenge for the poulaine. Yet still the style prevailed until the length of shoes was later legislated for but not because of faith or breach of faith, instead because it was as a function of social status. Between 1327 and 1377, during the reign of Edward III (1312-1377), pointed toes were prohibited to all who did not have an income of at least forty pounds a year. And while a prince might wear shoes as long as he liked, pikes

could not be more than six inches long for a plain commoner, twelve inches for a landowner (bourgeois), Knights, one and a half feet; and twenty four inches for a baron, and princes could wear them as long as they liked. From about 1340 onwards men started to wear shorter garments called gippons or pourpoints. Long garments survived at court and ecclesiastical and academic circles. Short garments exposed the leg and required hose that was better supported and tighter. These were generally made to measure and available in different styles. There were fur lined hose, hose for horse riding, soled hose which replaced shoes. Despite the alternatives, poulaines remained popular throughout Europe until in 1367, when Pope Urban V eventually banned commoners from wearing the winklepicker shoe. He threatened excommunication and in some cases death to the lower echelons of society but was less adamant with the upper and ruling classes. Turning a blind eye to their open promiscuity, and granting those of royal birth immunity to wear the poulaine. As the fashion reemerged in France, Charles V (the Wise) (1338-80), forbid the wearing of "trop ultragueses poulaines". Little notice was taken and in 1386 at the battle of Sempach, Austrian Knights who wished to dismount to fight needed the help of their armourer to snap off the long toes. According to Ribeiro & Cumming (1989), Richard II (1377-1399) bought whalebones for the points of his shoes in 1393-4. The fashion reached its peak towards 1460-70 when Edward IV (1442-1483) enacted a public law prohibiting shoe maker from making shoes with more than two inch extensions for under privileged persons. The end of the poulaine was foretold by two episodes. The first involved the death of Duke Leopold II of Austria, who died because his long pointed shoes impeded him from escaping his assassins. The second was because Charles VIII had polydactylism or six toes on each foot. The regent required broad square-toed shoes which changed the fashion. The winckle picker did eventually return in fashion but not before the introduction of the heel. In the fifteenth century women started to wear poulaines but the fashion was short lived. Many women were persecuted as witches because they wore unusual attire, cross-dressing in the manner of wearing men's shoes or poulaines was enough to convince the fearful of guilt. The phallus was worshiped long before Christianity The length of a shoe, even today, is governed by decency with no reference to foot comfort and function

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Duck's Bill Shoes

At the end of the Middle Ages, clothes had become important symbols of social status. They accrued a mass of symbols serving to indicate emotional states, such as joy and grief in the finer shades. Shoes supplied a kind of social ritual, the knowledge of which indicated breeding. There were symbols marking particular occasions as well as standard of conduct. Paris was already the home of fashion and of polite Western manners. During the thirteenth century in France the concept of the ideal beauty was developed and took precise shape in the visual arts and literature. This was also seen in Italy where greater attention was paid to the perfection of the female body. In all the Italian states men and women translated this search after formal beauty into costume. This may explain why the broad shoe called Duck's bill, Scarpine or Bear's Paw came into being. Broad enough to accommodate each toe, Ducks bill shoes were as much as 12 inches broad. Men who wore Duck's bill adopted a waddling gait. The uppers were made from silks, brocades and velvets. The shoes were heavily padded, puffed,and embroidered. The upper of the shoe had fine cuts (or slashing) in the leather to show the coloured hose or sumptious lining beneath. Often the shoes were lined with soft fur to resemble pubic hair and as the foot moved, skin could be observed through the open and closing slits, vaginal like. This was considered to resemble the female genitalia. By 1492 the toes of mens shoes became rounded. High fronted shoe with bulbous toes were worn towards the end of the 15th century. Coloured hose for men were in vogue and the shoe the ideal means of displaying them. Stockings or tights were worn in two layers: a dark inner one and a plain outer layer which was cut into narrow vertical strips for most of its length. In 1540 women wore woollen or linen hose with square-toed shoes that were cut low at the front and sides and fastened with straps. Mens shoes were closed to the ankle and had rounded toes with uppers that were slashed diagonally. These were often studded with tiny jewels and worn with a slight heel. Slashing was a fashion statement, which may have had its origins in war torn, lookalike. The style was popular for about a century till it was eventually condemned and outlawed throughout Europe. in the reign of Queen Mary, (Bloody Mary - 1516-58) sumptuary laws were passed to limited the breadth of shoes. These shoes were also known as solerets. Slimmer shapes replaced the broad duck's bill shoes, first the low cut escaffignins, wide and puffed at the toes, then the heeless eschapins, which covered the foot and were slashed on top. The growth of towns and enrichment of the mercantile classes led to the emergence, everywhere of a rich bourgeoisie, which aspired to the privileges of the nobility. Costume became a means for one class to demonstrate its rise, and for another to emphasise its jealously guarded permanance. Women wore soft ankle strap slippers with puffed and slashed round toes. In the 16th century the T strap was introduced. Round toed sandals, raised by two heels one under the ball of the foot the other under the heel. High fronted shoes with

decorative slashed uppers remained popular till 1588. By then men were wearing white shoes with long pointed toes and pinked uppers. Women also wore these shoes although some wore chopines closed at the ankles. Countrymens clothing were more functional and they wore spurred boots turned down at the knee. Women continued to wear shoes without fastenings, which fitted closely around the ankles. Mules worn on stocking clad feet were often studded with pearls. During the reign of Elizabeth I (1533-1603) a platform sole about I inch thick became popular. The ladies of the court wore mules high heeled slippers with closed toe straps fur trimmed and made of brocade. The pump was designed with an over sized tab that covered the instep and rose to the ankle. Pattens were often worn to protect delicate shoes from the elements. Rabbit ear bows were worn with high heeled shoes. (Bigelow, 1970 ). The fashion for broad shoes became ludicrous until there was scarcely enough flat space for free passage The Ghillie shoe of today exhibits the same slashing style of the Duck's Bill

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Chopine
Until the end of the fifteenth century, centres of population were comparatively isolated from each other. Come the next century with improved trade and transport there was a greater sharing of cultures. Florence was the centre of the universe. The women of Florence began to wear platform shoes called chopines. Originating either in the east or some say Spain the chopines were worn by women to increase their height. Some were often 24 inches off the ground and ladies required to be escorted through the streets. This is were walking canes became fashionable and escorts would walk on their right hand side to protect the ladies from the passing carriages, leaving their right hand to draw a sword. The idea of the groom standing on the right side of their bride may have come from this time. The style was talked about all over Europe but may have only been worn by Venetian women. Shakespeare includes a mention in Hamlet and the style was laterally associated with depraved and dissolute women. These were eventually banned after many women reported miscarriages as a result of falling. Few portraits of ladies wearing chopines are available which has led McDowell to conclude this was a short-lived style. Venetian prostitutes used to wear the chopines the height they needed to stand out in the street. Another popular shoe was the patten, which consisted of a wooden block fitted to a delicate slipper, or hose, which was worn as overshoes to protect the foot and delicate

tapestry from the dirt, covered streets. Patten probably is from the French word patte meaning paw. Contemporary medical reports described the changes in posture associated with wearing platforms. This was the beginning of medical interest in elevated footwear. A marriage could be null and void if the groom discovered his bride had been misrepresenting her height by wearing chopines.

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Slippers
Mens shoes were decorated with bows and huge sparkling rosettes of spangled ribbons which dwarfed the low-heels. By 1641 shoes were tied with a ribbon rather then rosette. Merchants wives began to wear high-heeled shoes trimmed wit modest rosettes (compared to the shoes of men). In 1661 deep fashion linen were the new exuberant style of garter and high heeled shoes for men were worn long and with narrow toes, and tied with bows. Womens styles were narrowed toed but worn with a lower heel. Later shoes became plain and were tied with ribbons. In the later part of the century gentlemen wore low heeled or heel-less mules as indoor slippers decorated with fringes. They followed the prevailing shoe fronts but were more comfortable to relax in. Square-toed shoes were fashionable at the beginning of the century. The Macaronis wore flat-heeled dancing pumps with round jewelled buckles. Ladies wore neo classic styled white silk shoes crossed with ribbons in imitation of classical sandals. In the early 18th century satin pumps with high spoon heels and very pointed toes became fashionable for women. Bows and elaborate ties were less fashionable and toes were rounded and the heels lowered. Later in this century women started to wear an adaptation of the Grecian sandal as the classic fashion took over. Low cut slippers replaced high heel pumps during the last years of the century. Women wore high heeled slippers of brocade , kid and velvet in light hues. They were often embroidered with gold and silver threads. Buckles of gold and silver were decorated with imitations or precious gems were attached to the instep. Satin pointed toed, pumps with high spool heels became vogue in the middle of the century. Later the shoe became less decorative and was made of plain kid or satin. Rounder toes an lower heels were all the fashion between 1740-1790. Men's slippers were made of soft black leather or striped fabric. Ladies slippers were little more than leather shells laced over the instep and up the legs to the calves. Slippers gaiters were worn to protect shoes/stocking outside. By the early nineteen hundreds the Turkish style was in fashion, men wore pointed vamp slippers

with long smoking jackets. Square-toed boots became vogue and were worn with light coloured gaiters. High heeled pumps became very popular in the early eighteenth century.

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High Heels
Some historians believe the fashion for high heeled shoes arose as a modification of the chopine. By carving out the forefoot section the cordwainers created a heel, which made the shoe easier to walk. Elevated shoes had been known from early Hellenic times however this phase of fashion was the first time shoes were associated with the female sex. The true heel as we know it today was not introduced until the middle of this century when technology and design fashioned the Stiletto heel. However early in the sixteenth century Catherine de Medici moved from Florence to Paris to marry the king. She was small in stature and wore high-heeled shoes to her wedding. The style became an instant success and the fashion remained in vogue throughout her lifetime. Many experts believe this was the true beginning of fashion. High-heeled shoes became popular with men and were also trademark of sex workers of the time. Prior to the French Revolution contemporary medical reports described the changes in posture associated with wearing high heels. Their 'gaze' was firmly directed away from men and transposed onto women. Women of distinction however tended to wear heel-less pumps and some authorities believe this was a vailed attempt to moralize. High heels for men were considered in vogue during the 17 & 18th century. Louis XIV became fanatical about them and banned anyone other than the privileged classes from wearing them on penalty of death. The Sun King was of short stature and may have preferred the borrowed height heels could give him. The heels of men's shoes often were painted with miniature rustic or romantic scenes. Different shapes were experimented with including hourglass heels. Also during this time men's shoes were ornamented with silver buckles. The Louis Heel was invented by Louis XV (1715-1774) and was splayed at the base with a wasted section, which is still used in modern female fashion. He also introduced the white shoe to match his hose but red heels survived until 1760. The term "down on your heels" is thought to relate to the habit of the rich towering over the poor. Late in the 16th century rounded toe shoes were popular but heels for women's shoes were not introduced until the beginning of the

seventeenth century.Instead wedge shaped soles were popular, these thrust the foot forward like a heel. Most shoes of the period were leather or heavy velvet and were made in a number of different colours, Most were simple slip ons but some fastened with a lace, or buckle at the instep. Thigh length boots were fashionable and were sometimes heavily decorated at the thigh and attached to the doublet by suspenders. (Anderson Black J Garland M, 1970). Until 1615 shoes might have had their uppers slashed to show the stockings or linings. After this date decoration was chiefly concentrated on ribbon ties and shoe roses. After 1680 the instep fastening was usually a strap and buckle. After the French Revolution heel heights lowered. The new socialist government was short of money and many shoe buckles were donated to the cause. Ladies in the early part of the nineteenth century wore low-heeled satin shoes but as the twentieth century approached high-heeled boots for women became vogue. Stylish shoes were low cut and worn with silk stockings. Worker women wore lace ups. Women began by the 30s to wear square-toed shoes. Mens became progressively narrower and were worn by the dandies of the day. Both men and women wore striped socks and stockings respectively with women wearing lace up boots. By 1884 ladies wore shoes of fancy leather and pointed toes. These were highly decorated with rosettes and heels, one and a half to two inches high. In the first decade of the twentieth century court shoes with lacing and T straps were popular. Women sometimes wore high heeled calf length buttoned or laced boots with shorter and wider skirts. As the decade progressed however boots fell from fashion. Men started to wear light coloured socks and laced shoes. Women wore high heeled court shoes trimmed with decorative buckles, spats by 1924 had become passe. After the Depression walking shoes with low heels were fashionable. Evening wear included court shoes with Louis heels. Toe cleavage was seen with peekaboo cutaways. This fashion appeared in 1936. By the forties most of fashion for womens shoes had become heavy and practical By the end of rationing platform shoes were reintroduced. In the fifties shoes became lighter in appearance and were worn with stiletto high heels and pointed toes. Although the heel was originally conceived as a female fashion men soon took to wearing it, themselves

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Fantasy
In Victorian times well bred women could not be acknowledged to possessing anything as potentially carnal as legs. Indeed it was during this period legs were referred to as the lower limb. Ironically, crinoline was ridiculous seductive and the steel hoops

that buoyed the skirt kept it in a permanent state of motion The slightest pressure at one point raised it correspondingly at the opposite side, often revealing a titillating and tantalising glimpse of the forbidden flesh. The simple pump disappeared and the ankle boot took over. Partly worn as a fashion in honour of Wellington, the boot complemented the crinoline dresses and provided a foot corset enjoyed by men and understood by women. As trade and travel took on international dimensions in the 19th century, the prized fabrics of the orient joined the French fashion world. The eastern look was dignified and exotic, symbolic of a sophisticated understanding of the world. Shoes styles had names like the Empress. With the cotton trade came delicate gauze or layers of sheer fabrics for dresses. Shoes needed to match and were decorated with pearl buttons, or bead buttons and rhinestones. Repression and prudery generated new outlets for sexual expression. The fashion to conceal the female leg under floor length skirts and boots was so successful that the mere glimpse of a women's ankle was a cause for arousal. Women's ankles and by extension their shoes and boots became symbols of more hidden body parts, and lusting after their feet or footwear was deemed strictly taboo. Not surprisingly, by 1850 with the introduction of photography an underground market for pornography and shoes with 6 inch heels flourished in London. Leopold von Sacher-Masoch, from which the word masochism comes, freely wrote of his experiences where he allowed his mistresses to whip and walk on him. He was delighted to kiss the shoes that performed the action. No flesh just crinoline

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Fetish
Well over a century later, shoe fetishism flourishes although it remains a social taboo because of its association with cross dressing and Algolagnia or S&M. The fetish shoe often incorporates locks, chains and high heels. The locks represent the idea the feet are precious and owned by the admirer. Chains restrict movement, which reinforce the power game being played out between "slave and master". According to some anthropologists wearing high heels changes the distribution of mass around the body and, and tilts the pelvis into a precoital position. Fetish shoes are often black or red, made in patent leather, and fit the foot like a corset. Boots are often extended to knee or thigh and have platform soles to extend the length of the leg. In today's society, cross-dressing is still viewed with great suspicion however many people are specifically attracted to style associated with the opposite sex because of their allure. Naturally they wish to explore

the full ensemble. As Rossi so eruditely puts it "fashion is the artisan of mascarade." Erotic symbolism is not expressed in all footwear in the same way and the sex appeal features in shoe design must comply with the psychosocial personality of the individual. Eroticism often infers dominance of one partner over another A popular foreplay with foot fetishists and algophiles is tickling. Tramping describes walking over your partner. A little more uncomfortable than tickling but still relatively harmless. Crushing describes standing on your partner with stiletto heels. Definitely not for the fainthearted and more than likely to cause perforation of the skin. The bazaar practice is more for the discerning s&m user. Madame's heels are designed to cause damage. Madame's heels are designed to cause damage

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Hose
According to Biglow (1970) during the Crusades and Gothic periods (1000-1300) linen hose made from two-leg profile pieces replaced tube hose sewn together. These were held up be tapes tied to the waistband. Under the hose was worn a shapeless pair of linen legs which were stitched through the crutch, hemmed at the top and gathered by a drawstring around the waist. In time the outer hose were joined and called the closed hose or pair of legs. The invention of the knitting machine by William Lee in the sixteenth century revolutionised hosiery making. They became cheaper and were popular with both sexes. Hose came in bright colours often embroidered with gold thread on the instep and up the shin. The development of better knitting techniques were enveloped as well as the introduction of the full bottom hose and codpiece. The leg sections of these limb coverings were made to fit more smoothly by means of a series of small darts, hidden by embroidery, around the ankles of the hose. As doublets and suercotehardies came into general use the hose or chausses were first worn over the breeches but eventually these became only brief trunks and were then discarded in favour of the full bottom hose. Either these styles of leg coverings were attached to the doublets or jupes by cord laces with metal tap tips. (Bigelow, 1970 ). Hose were often decorated with embroideredclocks decorative patterns extending from the ankles to the calf. (Bigelow, 1970 ). In the 14th century, for a short period shoes were discarded in favour of stockings with leather soles. (Anderson Black & Garland, 1970). In the eighteenth century both men and women wore stockings made of silk or wool. These were usually white. Womens stockings often had decoration open work over the instep or horizontal stripes and random patterns of rosebuds. (Bigelow, 1970).

 For a short peroid of time shoes were discarded in preference to leather soled hose

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Discussion
Feet and bipedalism are distinctly human characteristics. Gait is a learned process which is every bit as influenced by social graces, as it is, by environment. Shoes are an extension of our personalities and although the subtleties of their origins maybe lost to modern society their implications are ever present. The conventions of sensible footwear for the masses have been governed by the prevention of indecency and fashion excesses, expressed in sumptuary laws. Ironically what passes today for a good fitting footwear owes more to social control that it does to fit and fuction.

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Bibliography
Anderson-Black J. Garland M. 1975 A history of fashion London: Orbis Publishing. Barker R 1977Sauce London: Hodder & Stoughton Barker R 1979Gentleman's Relish London: Hodder & Stoughton Bernhardt E L 2000 Venetian Chopines Bigelow MS 1970 Fashion in history apparel in the western world Minneapolis: Burgess Publishing Co Boucher F 1988 A history of costume in the west New York:Thames and Hudson The history of costume published by Braun & Schneider (circa.1861-1880), 1999 Bruhn W 1988 A pictorial history of costume New York:Arch Cape Press Bulley M 1996 Ancient and medieval art London: Bracken Books Burnett EK 1926 Romantic chapters in the history of the shoe: an extrvaganza The Chiropodist 77:13 204-210. Carlson IM 1999 Footwear of the middle ages Cassin-Scott J 1997 The illustrated encylopaedia of costume and fashion New York:

Studio Vista Different Loving: Translocation of desire Clarke J 1999 A basic guide to footwear in the viking age Cordwainer's Shoe Collection London College of Fashion Gilman S L 1990 The jewish body:a footnote Bull Hist Med 64:4 588-602 Girotti E 1997 Footwear:la calzatura San Francisco: Chronicle Books Halsall P 1999 Internet medieval sourcebook Hennig J 1995 The rear view London: Souvenir Press Ledger FE 1985 Put your foot down: a treatise on the history of shoes Melksham: Uffington Press Linder M Saltzman CL 1998 A history of medical scientists on high heels International Journal of Health Services 28:2 201-225 Lister M 1974 Costume: an illustrated survey from ancient times to the twentieth century London: Barrie & Jenkins Mazza S 1994 Cinderella's Revenge San Francisco: Chronicle Books O'Keeffe L 1996 Shoes: a celebration of pumps, sandals & slippers New York: Workman Publishing Panati C 1991 Panati's parade of fads, follies, and manias New York: Harper Collins Pattison A Cawthorn 1997 A century of shoes: icons of style in the 20th century NSW: Universal International Platform Diva 1999 A history of the platform shoe Ribeiro A & Cumming V 1989 The visual history of costume London: BT Batsford Ltd Rossi W A 1981 High heels: the agony and the ecstacy Journal of American Podiatry Association 71:12 698-701 Rossi W A 1990 A brief history of footwearJournal Current Podiatric Medicine 39:6 3237 Rossi W A 1990 Foot and shoe fetishism: Part I Journal Current Podiatric Medicine 39:9 19-23 Rossi W A 1990 Foot and shoe fetishism: Part II Journal Current Podiatric Medicine 39:10 16-20 Rossi W A 1993 The sex life of the foot and shoe Kreiger Press Spindler K 1993 The man of ice Weidenfeld and Nicolson Steele V 1985 Fashion and eroticism: ideals of feminine beauty from the victorian era to the jazz age New York: Oxford University Press Steele V 1996 Fetish: fashion, sex and power New York: Oxford University Press Swann S 1975 A history of shoe fashions Northampton Museum and Gallery The medievil review von Sacher-Masoch L 1996 Venus in furs London: Senate

Interesting Sites
Arch Enemies Bata Shoe Museum Tornoto, Canada Consumers.Org: 18th century shoes Cordwainer's Shoe Collection London College of Fashion Northampton Shoe Museum , UK

 Official site of occult fiction author Sean-Alonzo, exploring symbolism, alternative history, philosophy, secret societies and other areas of the esoteric tradition. Of Human Interest a web site dedicated to both the curvy and the straight Petrus Camper (1722-1789) on the Shoe translated by Dr Miriam Meijer, Mongomery College, USA Running Barefoot Shoesonthenet.com Shoes On The Net was founded in 1995 and is the home of the Oprah Winfrey Angel Network Shoe Drive. ShoeSchool: Shoes for the 21st Century Shoes: Store Directory More Shoes, US Shoes Store Online Internet Shoe Warehouse Slam Dunk Science: A sport research lab in the science classroom The author would like to acknowledge the sources of pictures which came from a variety of sources, including: Barker R 1977Sauce London: Hodder & Stoughton Girotti E 1997 Footwear:la calzatura San Francisco: Chronicle Books O'Keeffe L 1996 Shoes: a celebration of pumps, sandals & slippers New York: Workman Publishing Pattison A Cawthorn 1997 A century of shoes: icons of style in the 20th century NSW: Universal International The history of costume published by Braun & Schneider (circa.1861-1880) If I have unwittingly ommitted a source, I do apologise and will rectify as soon as the matter is brought to my attention.

Footnote
The author has no association with shoe manufacturers or retailers. The information presented here has been researched and collated using, in good faith and wherever possible, refereed materials. Where triangulation was not possible, information was taken at face value and unless stated otherwise represents the opinions of the author and not Curtin University of Technology.

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URL http://podiatry.curtin.edu.au/history.html