real footwear trends
TRANSCRIPT
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Future Concept Lab
Real Footwear Trends
edited by Francesco Morace and Paolo Ferrarini
Three paths for the future
of the European footwear industry
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Project funded by European Commission - 6 FP Priority IST - NMP
(Manufacturing, Products and Service Engineering 2010) Project N 507378
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1
Introduction by Francesco Morace 5
Methodological Note 9
The Snap Shoe 13
MindStyles Essential & Existential 14
Sixth & Sense 16
Aesthetic Trends Progressive Process 18
Artistic Articles 21
Consumption Trends Combo Consumption 24Tailor Territory 27
Future Trend Super Material 31
The Bio Shoe 35
MindStyles Core & Care 36
Crucial & Correct 38
Aesthetic Trends Materic Matrix 40
Original Origin 43
Consumption Trends Narrative Nutrition 46
Ethic Ethnic 49
Future Trend Huge Interlace 53
The Active Shoe 57
MindStyles Think & Touch 58
Sixth & Sense 60
Aesthetic Trends Therapeutic Technology 62
Detournement Details 65Consumption Trends Experimental Expression 68
Fast Fascination 71
Future Trend Massive Details 75
Conclusions by Francesco Morace 79
Authors 83
CEC-Made-Shoe Project Partners 84
Summary
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Methodological Note Methodological Note
Relevant Strategic Aesthetic Consumption
MindStyle Concepts Trends Trends
Essential Life Progressive Combo
& Existential Simplification Process Consumption
The Snap Shoe The Snap Shoe
Sixth Material Artistic Territory
& Sense Hyperception Articles Tailor
Core Core Materic Narrative& Care Health Matrix Nutrition
The Bio Shoe The Bio Shoe
Crucial Positive Original Ethic
& Correct Technology Origin Ethnic
Think Hyper- Therapeutic Experimental
& Touch Being Technology Expression
The Active Shoe The Active Shoe
Sixth Perceptiv- Detournement Fast
& Sense Insight Details Fascination
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The Snap Shoe
What is a Snap Shoe
The future competitiveness of the European shoe
industry requires rethinking footwear productconstruction from scratch in order to create new
components and novel shoe assembling processes.This will result in ideas to make shoes based on
advanced forming of materials, welding insteadof stitching (no seams no bonding), rethinking
of the last tool.
The seamless shoe concept is a basic question infootwear and it implies a complete breakthrough
in the actual manufacturing process: do we really
have to stitch or bond components? Novel andalternative structural product constructions as
well as new processes and new technologies shouldbe applied to implement this new concept.
This sub task, in redefining the product, will set
the specifications for the corresponding manu-
facturing processes, defining in particular mate-rial specifications and technological concepts fora shoe assembly that does not require stitching or
bonding. This will bring as breakthrough inno-vation the elimination of time consuming and
no-added value stitch and bonding preparation
operations. Basically shoe production today consistsof bringing elements (components) of various
materials together around a physical shape (the
last) in order to make a fashionable product around
the foot: the shoe. In this, various productionstages and various manufacturers are involved
leading to complex production arrangements,transport, intermediate components (lasts) etc.
The scope of this sub task is to develop a product
concept based on radically transforming thisprocess, avoiding transport, complex logistics,
long lead times, components like lasts, stiffenersand similar and radically transforming shoes into
foot wear. It gives a visionary image of foot-wear
(elementary called: wear for feet) and a wholenew production process. The goal is to directly
manufacture the shoe in the correct shape, withoutneeding to form it around a last. The shape of the
shoe is built in CAD around a virtual last andwith use of new production techniques directly
created in a multi material combination in the
correct shape. Such an approach implies a radicalchange in the actual industrial manufacturingprocess to increase competitiveness by reducing
production batch size.
Stockholm
[Text taken from the Description of Work of the CEC-Made-
Shoe Project]
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THE SNAP SHOE
Allow objects and ideas to grow structurallywithout standardizing.
Beijing
Consider the production process as the starting
point for aesthetics.
Frankfurt
18
Underlining the generative creativity of progres-
sive processes, production becomes gradually anaesthetic process, and the rigid separation between
industry and handicraft progressively looses its
meaning. The aesthetic dimension is acknowl-edging the aesthetic processes in terms of produc-
tion, materials and economic factors that presidethe industrial work, while at the same time fighting
against homologation, as happens in many Coun-tries with projects that involve whole communi-
ties in the creative production. For this reason
working on the thin line that divides talent fromgenius is a key issue. Applied creativity has to faceeither designers ability and technical competence,
thus producing brilliant innovation in production.Focusing ones own energy on observing the brain
and the hands and their know-how, distancing
oneself from the myth of the machine that has tobe basically considered a mere operational tool, in
order to maximise its creativity and innovativevocation. Producers and designers have to re-think
productive processes through their gradual tech-nical and aesthetic unravelling, thus establishing
a corner stone for the new aesthetics in which func-tion and form deeply intertwine and create a virtuous
circle that feed innovative visions. Applying theProgressive Process is a new way of thinking in
order to define the extension lines of brands, as forexample Bisazza Ceramics already did with the
launch of its jewels collection.
Using the whole productive process in the various
phases of business, even on communication andselling, is a mean to express the creative tension
of the brand, not only a way to guarantee the quality
of the product. The creative minds are consideringteamwork as a fundamental element that contributes
to the market value of the product: the creative
result in fact is more the sum of different comple-mentary steps than the product of a single person,
and has to be finalised through a common purposein order to be maximised.
THE SNAP SHOE1.
Aesthetic TrendProgressive Process
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THE SNAP SHOE
Today its important to focus on the widespread
experience of an emerging class with a highcreative and cultural sensibility. They manifest
a growing request for products and experiences
marked as artistic articles that embellish theeveryday life.
Considering the article as a product thatcompletes the experience, reconciling it with
the values of radical modernity that was firstlyintroduced by the artistic avant-garde of the 20th
Century, following the example of Marcel
Duchamps ready made. Emma Jeffs Digital Laceis also a good contemporary example.Freeing industrial objects from the diktat of
anonymous equality by entering them on thefree territory of similarities. Thus the series
becomes unique and the unique faces the neces-
sity to be part of a group or series, like in therestored objects of 5.5 designers. This can be a
leading concept for the Snap Shoe.Looking at the aesthetics of Artistic Articles as
an experimental vital space able to enhance thecombinatory needs of customers, seeking for
unique emotions and sensations as well. Eventhe world of technology has opened up to this
experimental way, as shown in thousands of acces-sories for the iPod.
Proposing an educational aesthetic able to trans-form ordinary know-how in something extraor-
dinary is necessary for the Snap Shoe. Technical
abilities and manual work allow at the same time
to reproduce objects and to exert imagination andcritical thought, as demonstrated by the success
of model making and educational publications.
Using the artistic feeling to enhance the valueof everyday life, thus creating a happy experi-
ence that combines ethic and aesthetic, declares
the end of the avant-gardes and expands theartistic thought in order to rediscover hidden
affinities and lost similarities between things.Working on the personalisation of the series,
thus breaking the taboo of perfection. However,functional quality of objects will be anyway a
fundamental element in order to mark the success
of limited series and unique objects. Connectingart and life through artistic icons that acquirean active role within the everyday practice. The
real charismatic objects seem therefore to bethe most common objects of the daily life.
Aesthetic TrendArtistic Articles
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1.THE SNAP SHOE
Make visible the origins of the process whenoriginal.
London
Use a layering thinking for product aesthetics.
Cannes
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THE SNAP SHOE
Introducing an artistic touch in products thatmark the banal character of the everyday life.
London
Relying on surprise and irony to create products
with a strong character.
London
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1.THE SNAP SHOE
Thinking on which daily rituals and occasionscould be represented by aesthetics.
London
Projecting and producing objects that represent
an aesthetic punctuation of experience.
Frankfurt
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THE SNAP SHOE
Decline the component of passion and personalwhim, with the competence and the variety of a
new artistic handicraft.
Cannes
Elaborate and follow a new knowledge of excel-
lence, that reunite cultural refinement and authenticprocesses.
New York
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1.THE SNAP SHOE
Offer made to measure products that demon-strate the art of choice and life: the company and
the client come to an agreement connected to the
quality of life.
Cannes
Develop, rediscover or support the forms of
culture that come from the territory of birthor production.
New York
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Tailoring
Speed
Artistic Touch
Friendliness
Sensorial Perception
Quick and Qualitative
Life Simplification
THE SNAP SHOE THE SNAP SHOE
The research carried out in the area of materials
in recent years has revolutionised the aestheticfruition of objects. Todays challenge is that of
applying innovative materials to new projects and
manufacturing processes. We have been witnessingthe emergence of a new priority in which the final
product is not the result of the process but a toolthrough which it is possible to get to know new
materials and textures. New Yorks famous GagosianGallery has dedicated an exhibition to the Australian
designer Marc Newson. For this occasion, Newson
has reinterpreted his historical pieces through therelevance of the raw materials, bringing the worldof industrial design closer to that of artistic exper-
imentation.From the more consolidated artisan traditions up
to the most alternative man made experiments,
the unique property of a material becomes theabsolute protagonist of a truly new aesthetic expres-
sion. They look like living elements capable ofexpressing their identity through the surface (hence
through the sensorial dimension) as well as throughtheir substance (functional performance).
The Israeli companyAnimi Causa, designs andmanufactures objects for the home and the office
giving privilege to eccentric materials like eco-compatible foams, metals and elastic laces char-
acterised by an innovative performance. Thanksto a system of 120 integrated spheres, Feel is a new
experience of sitting that allows one to change
positions and sensations.
Considered as the decade that focused exclusivelyon image, the 80s have in fact given a boost to
a series of research studies in the world of aesthetics
that is now proven to be very strategic and crucialto all sectors. From the point of view of material
experimentation, our inheritance of the patrimony
of the 80s is still actively contributing to the creationof new stimuli.
1.
Final Keywords The future of the Snap ShoeSuper Material
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THE SNAP SHOE
Stockholm
San Francisco
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1.THE SNAP SHOE
New York
Milan
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The Bio Shoe
What is the Bio Shoe
Scope of this task is the development of a completely
biodegradable shoe to meet the expectations ofenvironmentally concerned customers and enabling
a green manufacturing approach towards a nullresidue industry. The BioShoe design will be based
on biodegradable materials (construction mate-rials and adhesives) and environmentally friendly
manufacturing technologies and procedures.
The objective of this task is to define the newproduct design, assembling and manufacturing
methods appropriate for biodegradable materials
and adhesives. The specific chemical and phys-ical properties of biodegradable materials require
new solutions in terms of design (to assure mechan-ical performance) and manufacturing techniques.
There is limited current use of biodegradable mate-rials in shoe uppers and components.
Specialists in polymer chemistry, polymer processingand shoe manufacturing will be involved; the chal-lenge will be to develop a fashionable design solu-
tion with materials that have lower mechanicalperformance (than traditional synthetic ones).
This task is aimed at transforming footwear from
a static and passive element to a dynamic andactive device capable of adapting to the user and
to environmental conditions and of protecting in
a smart and active way the wearers foot health.
To achieve this objective different fundamentalresearch areas will be developed where radical
innovations will be achieved.
New
Yo
rk
[Text taken from the Description of Work of the CEC-Made-
Shoe Project]
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THE BIO SHOE
Arguing a biological vision of materials and theirappliances.
London
Using the matter as a laboratory for formal
inspiration.
Shanghai
40
Today its necessary to re-define the modern sense
of matter, its consistency and its tangible aspects,thus acknowledging to the materic structure of
objects a specific energetic dimension, which consti-
tutes its peculiarity. The most advanced creativeminds are working on the very same vital charac-
teristics of matter, which metabolism possess specificrules that follows a materic biological matrix
transferring punctual qualities. Today this trendinvolves the deep structure of the material world
and is represented for example by the most advanced
projects of urban recycling. Producers should stim-ulate the visions and perspectives of designersthrough the specific characteristics of any single
material, thus challenging the aesthetic thresholdsthat matter could enhance. In this way the artifi-
cial is provided with a soul, working on the qual-
ities of materials and on the environmental care,thus constituting a point of reference for the most
advanced recycling projects. Experimenting andenhancing the combinatory qualities of matter, will
give birth to incredible aesthetics. The seek fornew cults will be able to represent the extraor-
dinary on the domain of a new material form, ashappened with the Breil extension line on metal
jewels, which aim was to challenge the passagefrom technical products towards fashion. In most
of its projects, the Italian product designer GaetanoPesce explores materials through their symbols,
allowing them to express themselves in an innov-
ative way, through the overwhelming character of
volumes, forms, textures and colours.
THE BIO SHOE2.
Aesthetic Trend
Materic Matrix
THE BIO SHOE2 THE BIO SHOE
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THE BIO SHOE
Carefully consider the original meaning paying
particular attention to its authentic origin andtherefore to its very distinctiveness: today the
added value resides in the originality of the origin.
For example, Driade has pushed different designersto work of the value of the product origins.
Underline that today the sense of continuity andof the origins is very strong and supported by the
presence of some brands characterised by thequality of their product origins: this has to be a
drive for the Bio Shoe. Discontinuity and diver-
sity emerge every day from a plurality of the origins,that propose a radical aesthetic which growsthroughout time multiplying itself according to
the parameters of complexity.Todays most advanced projects absorb and
metabolise the aesthetics related to ethnicity and
cultural diversity, giving life to an aesthetic char-acterised by the Original Origins which includes
regeneration projects, as the Kusturicas propo-sition of new orthodox churches. Work in
creative terms on the deconstruction and recon-struction, as the Chinese artist Zhang Dali proposes
by inserting his own aesthetic vision in the processof the building Chinese industry. The Bio Shoe
should follow this idea.Clarify and deepen the harmony and at the same
time the difference between what is original(unique and distinctive) and authentic in order
to face with clarity the problem of imitation and
of the fake: originality can be imitated, but authen-
ticity cannot.Reflect on the consequences of aproduct origins onto the product aesthetics and its
packaging, reflecting on the necessity for expressing
this originality through the package, as it is happeningfor lots of culinary quality products (e.g. good quality
food now proposing transparent packaging). Elab-
orate more or less direct forms of communicationin order to emphasise or simply tell the origins and
the stories related to Companies, to the Countriesof origin and their products.
Aesthetic Trend
Original Origin
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3
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2.THE BIO SHOE
Advancing new combinations between traditionaland new materials.
Milan
Experimenting with the materic surfaces of objects
instead of their forms only.
New York
THE BIO SHOE2 THE BIO SHOE
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THE BIO SHOE
Imagine aesthetic languages that are linked tothe past but that do gratify present needs.
Cannes
Allow the tradition and the well-rooted techniques
to become an innovative element of the product.
London
2
1
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2.THE BIO SHOE
Approach the cultural roots of products in anexpressive and radical manner.
Cannes
Emphasize the genius loci and the know how of
specific territories and communities.
Milan
THE BIO SHOE2 THE BIO SHOE
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The ever more important value of imagination
and the story telling dimension is linked to thelarge scale public participation in recent years to
literature festivals, public readings of classics,
filmography and its historic characters.As with the use of DVD and their multi story
structure, the radical consumer today tends moreand more to recreate in terms of modernity detailed
contents, products and services, but also the worldthat rotates around these. Sharing stories and
personal tales with others (including companies)
and have the possibility to know more about whatyou are buying is the new consumers increasingneed: the company spaces or museums, the state-
ment of a plot that has involved the brand withits episodes and oddities, contribute to this narra-
tive unfolding of the identity.
Even specialised publications on the history ofcompanies have also become more appreciated.
The growth in interest in recent years for film-documentaries, the extraordinary success of tales
of literature, stories, religion that use the prin-cipal day to day characters as a link, are a signal
of the return to a encyclopaedic and series basedculture, with the support of DVD that facilitates
the organic and ordered transmission of infor-mation. The packaging often transforms into a
container of stories.Consumption as a new area of reality to deepen
is having a rapid development through press inves-
tigation and specialised TV channels. Daily news-
papers and magazines at this point dont just targetthe days news (for this there are free magazines,
Internet and TV) but t hrough investigation,
comments and opinions that often influencereality profoundly.
THE BIO SHOE2.
Consumption Trend
Narrative Nutrition
47
THE BIO SHOE
2
1Recover with attention the story of Companies,regions and every single product, that nearly
always contain elements to learn from.
New York
Understand that the dynamics of advanced
consumption are nourished through the logicof individual tales and shared themes.
New York
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THE BIO SHOE2.THE BIO SHOE
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Develop a new sensibility to be applied on theongoing competition between different markets
and cultures.
New York
Consider fair trade as a real support for the local
production of handicrafts on the southern partof the world.
New York
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2.
Point out the distinctive values of culture thatdont have a global influence but that could however
contribute to an intercultural enrichment.
Milan
Acknowledge the integral value of some behav-
iours and consumption habits that come fromdifferent cultures.
Cannes
THE BIO SHOE THE BIO SHOE2.
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Cultural Values
Regional Roots
Innovative Shapes
Organic Aesthetics
Integral Story
Wellness
Comfort
Everyday Paradise
In the last decade, the dynamics of cultural polli-
nation have permeated the world of project andthe overall approach to the use and circulation
of products which present a very sophisticated
aesthetic. The ability to construct an originalvision of the design projects merges with the act
of reviewing it on the basis of peoples daily needsfor having products highly personalised. Cultural
pollination has become a natural phenomenonin peoples life, crucial to the realisation of ones
own style and identity. The iPhone by Apple
proposes a range of multiple services (phone,mp3, videos, camera and internet navigation)and gives users the opportunity to highly person-
alise the performance.The overlapping of different materials constantly
influences peoples aesthetics and styles, by the
sophisticated fusion of worlds that are culturallydistant to each other and that can now mix thanks
to designers creative suggestion pushed by peoplesdesire for exploring cultural differences. In this
context, it is important to preserve the wholepicture of a project/product usage in order to
easily merge very different elements that consumershave yet to assimilate. After the worldwide success
ofSin City, another masterpiece inspired by FrankMiller demonstrates the tendency to blur the
boundary between cinema and cartoon, betweenhistory and fiction. In the movie 300, aesthetic
language and epochs of narration mix up, giving
life to a unique interlace.
The creative and visionary spirit of the world ofart has now influenced peoples daily life aesthetics
and the world of design in general. Accessories,
for example, become body decorations and looklike sculptures that have been created to generate
a strong visual impact and not necessarily a high
degree of functionality.
Final Keywords The future of the Bio Shoe
Huge Interlace
THE BIO SHOE2.THE BIO SHOE
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San Francisco
San Francisco
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New York
Milan
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The Active Shoe
What is the Bio Shoe
This task is aimed at transforming footwear from
a static and passive element to a dynamic andactive device capable of adapting to the user and
to environmental conditions and of protectingin a smart and active way the wearers foot health.
To achieve this objective different fundamentalresearch areas will be developed where radical
innovations will be achieved.
This sub task is aimed at defining requirementsand specifications for new families of materials
to be used in the active shoe, such as materials
with physical and chemical behaviors dependenton the service environment and type of load.
The objective of this task is the development ofsensing systems to monitor physiological, mechan-
ical or general health parameters which will berelated to the prevention of foot problems or to
feedback micro-actuators to improve comfort or
shoe functionality.
They will improve consumer quality of life and
contribute to health and safety of specific groupsof consumers, through the introduction of high
tech functionalities in shoes. On-line and contin-
uous measurement of foot load and environmentare to be considered as breakthrough innovations,
in a market scenario in which commercial systems
are able to perform static and dynamic measure-
ments but as they are not wireless, measurementscan only be carried out in laboratorial conditions.
A multidisciplinary team consisting of experts inmaterials, organic chemistry, textiles, micro-
electronics, medicine, communications and soft-ware will carry out this working line.
NewYo
rk
[Text taken from the Description of Work of the CEC-Made-
Shoe Project]
THE ACTIVE SHOETHE ACTIVE SHOE3.
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The consumer is overwhelmed by the technolog-
ical solutions available in the market and has famil-iarised with the idea of a fast changing tech-world.
People of all ages and social class accept innova-
tive proposals that are really user-friendly and low-cost. The technological advances in sectors like
textiles and wearable technology have a very preciseobjective: to reinforce human performance and
support parts of the body. The current directionrepresents the golden era for digital technology
and its limitless applications. There is an increasing
need for interactivity between people in both privateand public spaces and the world of communica-tions is facing the first implications of innovative
solutions, like the wi-fi spots or RFID tags. Theevolution of the smart home and planet are getting
more and more close to the peoples desires and
needs. Nowadays, consumers have enough toolsthat allow them not only to handle but also modify,
elaborate and so on, electronic sounds, multimediaimages and videos.
The MindStyles
Think & Touch 1
2
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7
89
10
Strategic Concept
Hyper-Being
The body becomes the source of inspiration for the new technological products that can rein-
force ones own mental and physical performance.
The advances in the fields of nanotechnology and medicine bring into light innovative solutions
that respect human nature and its needs.
New solutions allow the protection of the human body and manage to set one free from his/hers
encumbrances.
Experimentation and a mix of sophisticated materials, in order to create new typologies of acces-
sories and clothing that facilitate the body after long-term research.
Wearable technology has reached its most advanced expression that does not impose techno-
logical innovation but proposes new rituals.
The use of the new technological products makes possible the expression of feelings and thoughts
through the body.
The research in the field of nanotechnologies brings surprising results that find new applications,
from cosmetics to sports equipment.
The daily presence of nano-things, even with few mass-market applications, becomes more
and more evident.
The real-time control of a computer or a robot is becoming a reality, mostly for the disabled
people.
The mind as the lord of creation, who makes possible the convergence between the human
body and the machines.
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THE ACTIVE SHOETHE ACTIVE SHOE3.
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Emphasize the sensorial experience throughtechnology.
Beijing
Consider technology as the facilitator of a ther-
apeutic character.
London
62
Today we need to understand that the role of tech-
nology becomes strongly reorganised in regard tothe vision of human and biological landscapes.
This leads to identify an aesthetic and functional
area of great importance that is expressed in thetherapeutic vocation of a soft technology, in a
position to strengthen the demand for new lifequalities, as can be seen more and more in large
scale producers bathroom accessories and sani-tary fittings. Companies and designers need to
work on the aesthetics of a not invasive and often
invisible technology, that incarnates a light andreassuring presence, and works as a butterfly wing:light and powerful, flexible but tangible. On this
basis we can foresee an aesthetic of TherapeuticTechnology, that is not so much a style but incar-
nates and expresses a particular view, as happens
in the integration of sound that Gap has previewedwith musical jackets Hoodio.
To develop products in which technology putsinto focus emotions is more and more important,
and represents therefore a concrete help in theexploration of the most mysterious worlds. The
most advanced projects reside in this case in theperformative potential of the technological processes,
like in the Adidas_1 shoe that absorbs micro-trauma produced from running in contact with
various types of surface. Forms of therapeutic tech-nology take part also in so-called soft surgery treat-
ments that are more and more perceived and lived
by people as simple aesthetic-health treatments.
The relationship with technology therefore becomesa fascinating and complex journey towards the
knowledge of oneself, through the understanding
that even objects have a soul. The barriersbetween the truth and virtual appear to be more
and more one the completion of the other.
Aesthetic Trend
Therapeutic Technology
THE ACTIVE SHOE3.THE ACTIVE SHOE
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Artist and designers today are working on details
not like a comprehensive, finished, co-ordinateddrawing. It rather embodies the role of the asym-
metrical creative exception, thus proposing a
surprising, radical effect. The Active Shoe shouldtend to surprise the consumers.
Figuring out aesthetics in which the product doesntaim to propose itself as a totally detourningachieve-
ment. Only a detail could possess this character-istic, thus destabilising the overall rational linear
function, as happens in D-Licious products.
The very same nature of modernity exceeds herself,recognising the critical reflexive vitality that thetheory of complexity has made necessary, thus
proposing an aesthetic of the Detournement Details,as happens in most of the Marti Guixs objects.
A way of thinking that follows the logic of creative
chaos more than the rules of structured programmes,as taught by Rem Koolhaas with his projects on
the urban area. However, this attitude representsmostly a premise for a challenging project than a
fixed component of the aesthetic projects.Sorting out new products able to propose a creative
approach in order to cross the borders that existbetween the public and the private sphere. Thus
leading to a new frontier able to freed imagina-tion that could be used in a useful way on the
everyday life through the concept of commongood. Using details to re-assemble totality, providing
the audience with an emotional image as a refer-
ential point, and consequently transforming the
unique character of accessories into a personalmark, also in the active dimension. Trans-
forming useful details into delightful experiences
that stand in between the internal and the external,the image and the substance, the form and the
function. Developing attention and sensibility
towards an anthropology of the everyday life,thus transforming the common language of objects
into an evolutionary path. Critical sensibility andeven the small daily obsessions become a strategic
project that carries new meanings and new formsof interaction.
Aesthetic Trend
Detournement Details
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Create magic through technology.
London
Introduce soft interaction with the products.
London
THE ACTIVE SHOE3.THE ACTIVE SHOE
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Work on elements of wonder and surprise.
London
Blend the details with the background.
London
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66
Use simple ideas in order to reveal new points ofview.
Milan
Pay attention on the small elements that make
a big difference.
Beijing
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THE ACTIVE SHOE3.THE ACTIVE SHOE
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Create the conditions for a magical and unex-pected encounter with the client, encouraging
intuition and the coup de foudre, beyond the
economic value of the product.
Milan
Emphasize the attractiveness that enhances an
essential form of simplicity, expressing a profoundcultural meaning.
San Diego
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Promote the idea of the bargain service (or evenof the free service) adopting alternative strategies,
that are explained with clarity to the client.
New York
Stimulate the speed of the consumers thinking
in relation to the shopping activity, and not thespeed of fruition: the instant gratification can
then last throughout time.
So Paulo
THE ACTIVE SHOE THE ACTIVE SHOE3.
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Dynamic Style
Life Occasions
Quick Response
New Functions
Personal Expression
Interaction
The more classic icons of femininity (flowers,
butterflies, high heels, prints of romantic inspi-ration...), had a powerful come-back to fashion
and loved, searched for by women of all ages,
become massive, revealing themselves to beimportant in the definition of new glamour. This
type of aesthetic has invaded the apparentlydistant worlds of technology, web graphics, indus-
trial design and artistic installation.The British designer Susan Bradley has for years
worked on designs of an extremely feminine touch,made of little details that become the heart of each
project, like with the flower-shaped mirrors, theclothes hangers in the shape of a heel, or the metal
sheets cut and proposed as tapestry for exteriors.The attraction towards icons, ancient or contem-
porary symbols is a must for the young generations,
who remove the ideological or religious aspects,they appropriate them in aesthetic terms in a contin-
uous game ofhappy combinations. The attractiontowards a surprising and moving aesthetic is a
consolidated phenomenon that continues to grow.The poetry of de-contextualization and oneiric
inspiration continues to propose new and unex-pected points of view. Ideated by MTV and Refill
Magazine, Seven is an itinerant exhibition dedi-cated to skateboard decoration, carried out using
the seven layers laser technique.Irony represents thefil rouge of this path of sensi-
bility: today is expressed with all its force through
the references targeting the universe of the divas
of all times and the more recognizable feminineicons. The role of new femininity has at this point
been metabolized and accepted: from being a post-
feminist claim becomes a daily pleasure, freed fromspecific moments (the evening, celebrations, festiv-
ities) and a true and proper fun and carefree rite.
The line of makeup Barbie MAC is made up of aseries of products (chromatically dominated by
shocking pink) thought for a public of 20 to 30years of age. The irony in reference to the dolls
iconic world is central to this project.
Final Keywords The future of the Active Shoe
Massive Details
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San Francisco
New York
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New York
Milan
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Francesco Morace
Sociologist, writer and journalist, he has worked
for more than twenty years in the field of socialand market research. He is chairman of Future
Concept Lab where he is responsible for the Mind-Style and Genius Loci research programmes. Strate-
gical Consultant of Companies and Institutions,he teaches at the Domus Academy and the Milan
Polytechnic and holds courses and seminars inItaly and abroad.
Paolo Ferrarini
Researcher, expert in art, customs and advanced
communication and within Future Concept Labresponsible for research dedicated to youth culture.
Graduated from DAMS Bologna, is specialised inthe study of aesthetics, the evolution of style and
research methodologies. Has coordinated projectsin different sectors, from that of fashion to tech-
nology, from communication to retail. He teachesat Domus Academy, Istituto Marangoni and Politec-
nico di Milano. Co-author with Francesco Moraceand Valentina Ventrelli of the book: Italian Ways,
Libri Scheiwiller 2003.
Authors
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CEC-Made-Shoe Project Partners
PRANKEICIMSI SUPSI LBORO
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PRANKE
Karlstrasse 16 b 76133 Karlsruhe Germany
Harald Pranke
www.pranke.com
PROCALCADOLargo Alminhas Das Barrancas, 97(Feitera) 4415-343
Pedroso Portugal
Rui Russo
www.forever.pt
SILLER
Wannenckerstrasse 43 74078 Heilbronn Germany
Ralf Michi
www.siller.de
STEEBHeilbronner Strasse, 4 74232 Abstatt Germany
Helmut Felzmann
www.steeb.de
STRING
p.za Sraffa, 4 20136 Milano Italy
Beppe Colli
www.string.it
TECNICA
Via Fante DItalia 56, Giavera del Montello 31040Treviso Italy
Antonello Marega
www.tecnica.it
TNO
De Rondom 1 5612 AP Eindhoven
The Netherlands
Sytze Kalisvaart
www.tno.nl
TTSLargo Calesotto, 1 23900 Lecco Italy
Antonio Avai
www.ttsnetwork.com
TUM
Leopoldstrae 139 80804 Munich Germany
Ralf Reichwald
Angelika Bullinger
www.tum.de
86
ICIMSI-SUPSI
Galleria 2 CH-6928 Manno Switzerland
Claudio Bor
Andrea Castrovinciwww.icimsi.ch
IFW
Schnebecker Allee 2, 30823 Garbsen Germany
Berend Denkena
Stefan Brehmeir
www.ifw.uni-hannover.de
INESC
Campus da FEUP Rua Dr. Roberto Frias, n 378 4200-
465 Porto PortugalJos Carlos Caldeira
Luis Carneirowww.inescporto.pt
INESCOP
Polgono Industrial Campo Alto P.O. Box 253
03600 Elda (Alicante) Spain
Csar Orgils
Enrique Montiel
www.inescop.es
ITIA
Viale Lombardia, 20/A 20131 Milano ItalyFrancesco Jovane
www.itia.cnr.it
ITIA - TPM
Via Pisani 1, 27029, Vigevano, Pavia Italy
Emanuele Carpanzano
www.itia.cnr.it
ITIA
Viale Lombardia, 20/A 20131 Milano Italy
Andrea BallarinoAntonio Diterlizzi
KYAIA
Rua 24 de Junho, 453 Penselo 4800 Guimares
Portugal
Fortunato Frederico
Luis Gonalves
www.kyaia.com
LBORO
Ashby Road LE 11 3TU Loughborough UK
Shahin Rahimifard
Sujee Jeyapalinawww.lboro.ac.uk
LIITTO
Mannerheimintie 76 B, 00250 Helsinki Finland
Yrjo Gorski
www.muotikaupanliitto.fi
LIREL
Zona Industrial de Arrifana 3701-908 Arrifana
Portugal
Manuel ResendeNuo Lopes
MOLINA E BIANCHI
Viale Industria 213/5 27029 Vigevano Italy
Stefano Secchi
www.molinaebianchi.it
MAESTRE (HORMAS)
Polgono Campo Alto C/ Italia, parcela 8103600 -
Elda (Alicante) Spain
Jos Ramon Maestrewww.hormasmaestre.com
MANAS
Via Tangenziale 14/16 62010 Montecosaro Scalo
(MC) Italy
Cleto Sagripanti
Alessandra Albano
www.manas.com
PIEP
Universidade do Minho Campus de Azurm 4800-058Guimares Portugal
Antnio Augusto CunhaCarla Simoes
www.dep.uminho.pt/piep
PONS
San Antonio, 120 07730 Alayor Spain
Santiago Pons Quintana
Rafael Palliser
www.ponsquintana.com