SOLE of the MAT­TER

Glit­ter­ing, be­decked with trade­mark sym­bols or a sig­na­ture shade of red, the mod­ern-day sig­ni­fier of true shoe lux­ury has a his­tory that spans cen­turies.

Wynn Magazine - - A-LIST - by Court­ney Rubin

當 Meghan Markle挽著她的新任丈夫哈里王子走出溫莎城堡,前往晚間婚禮招待會時,眼尖的觀眾都會留意到她的高跟鞋底那一抹淺藍色。這位新任的薩塞克斯公爵夫人特別要求把緞面高跟鞋的鞋底塗成淺藍色,這是她回應西方婚禮傳統上要穿「一點藍」( some­thing blue)的方式。但是對於世界其它地方的人們來說,或者至少從時裝精的角度來看,這雙高跟鞋底意味一種奢華的品味。當然,單看Markle腳上這雙緞面絲網裸色高跟鞋,很難猜到出自哪位設計師手筆(其實出自Aquaz­zu­ra品牌),但淺藍色的鞋底已經清楚地表明這雙鞋的獨一無二,還有什麼能比這種訂製方式更奢華?在談論鞋底的辨識度時,大家第一個想到的設計師估計就是Chris­tian Louboutin。他調製出的標誌性紅色(專屬Pan­tone色號18 1663TP)甚至還被Jen­nifer Lopez和說唱歌手Cardi B用在歌詞裡。但其他奢侈品牌也不甘後人,比如René Caovil­la和Markle最愛的Aquaz­zura(markle至少擁有5雙Aquaz­zura)也在這個平時不太為人注意的鞋底部位大做文章,向顧客表達產品的華麗精緻和高品質,同時也在向品牌擁躉傳遞默契暗語。這種鞋底設計風潮並不令人意外,最近Bain & Co.的一份消費者趨勢調查報告指出,鞋類已經成為世界奢侈品市場增長最快的品類,2017年的全球消費總額高達210億美元。紐約大學斯特恩管理學院市場營銷與創業指導教授、時尚與奢侈品研究室主任Jef frey Car­r表示:「鞋類很難從設計、外觀或風格上建 René Caovil­la立起廣泛的辨識度。」他指出,奢侈品牌推出的鞋類設計在廓形上很難真正地彼此區分開來,不像其它品類,比如提到一個用珍稀皮革製成、帶有鎖和鑰匙的鐘形雙挽手袋,大家就能立即識別出是Her­mès Birkin。「鞋底通常是印商標的地方,這個位置相當隱蔽。」而Louboutin打破了這個規則。Car­r表示:「Louboutin在鞋底設計上花費了極大功夫,從鞋的角度來看,它可能是全世界辨識度最高的品牌。」當然了,鞋底作為奢華的象徵在歷史上由來已久,從古埃及時代開始,鞋本身就被用來顯示穿著者的財富和身份地位,當時一雙精緻的涼鞋就足以作為一種位高權重的標誌,銘刻在墓碑浮雕上。在圖坦卡門法老王的墓葬品裡就發現了精美的細木雕花人字拖。鞋類帶起的奢侈風潮在1300年代極為盛行,連各國政府也參與其中:由於商人階層逐漸崛起,他們渴望穿上象徵精英身份的那種長長的尖頭鞋,這些鞋都是由昂貴的材料製成,政府因此製定法律,根據穿著者的財富收入和社會地位來規定鞋尖的長度。一個世紀以後,時尚風潮轉向稱為大嘴犀鳥或熊掌的闊頭鞋,法律又因此改成根據穿著者的地位而限制鞋頭的寬度。英國華威大學全球歷史和文化教授、Lux­ury: A Rich His­to­ry和Shoes: A His­tory From San­dals to Sneak­er­s兩本書的聯合作者Gior­gio

When Meghan Markle stepped out of Wind­sor Cas­tle with her new hus­band, Prince Harry, en route to the cou­ple’s evening wed­ding re­cep­tion, only the most ea­gle-eyed of spec­ta­tors likely noticed the flash of baby blue from the un­der­side of her shoes. For the newly minted Duchess of Sus­sex, the lac­quered soles she’d specif­i­cally re­quested on her satin heels were her way of car­ry­ing her “some­thing blue” with her. But to the rest of the world—or at least, to the fash­ion-savvy por­tion of it—the soles winked lux­ury. Of course it was im­pos­si­ble to guess from look­ing at Markle’s satin and nude mesh heels what de­signer had made them (they turned out to be Aquaz­zura), but the pale blue soles made one thing clear: The shoes were one of a kind, and what could be more lux­u­ri­ous than that? When you think of sole brand­ing, prob­a­bly the first de­signer to spring to mind is Chris­tian Louboutin, he of the trade­marked red (of­fi­cially, Pan­tone18 1663TP) that’s even been name-checked in songs by Jen­nifer Lopez and the rap­per Cardi B. But other lux­ury de­sign­ers like René Caovilla and Markle’s fa­vored Aquaz­zura (she owns at least five pairs) have also col­o­nized this less-seen shoe real es­tate, us­ing it both to send mes­sages to the buyer about the sump­tu­ous­ness and qual­ity of their prod­uct and to telegraph the brand to those in the know. It’s not sur­pris­ing, con­sid­er­ing that a re­cent Bain & Co. re­port pointed to con­sumer per­cep­tion to ex­plain why shoes are the fastest-grow­ing cat­e­gory in the world lux­ury mar­ket, reach­ing $21 bil­lion glob­ally in 2017. “Shoes aren’t broadly rec­og­nized by de­sign or by look or by styles,” says Jef­frey Carr, a clin­i­cal pro­fes­sor of mar­ket­ing and en­trepreneur­ship at New York Univer­sity’s Stern School of Man­age­ment and di­rec­tor of the school’s Fash­ion and Lux­ury Lab. He notes that there aren’t re­ally sep­a­rate or dis­tinct shoe sil­hou­ettes as­so­ci­ated with lux­ury brands, the way, say, a two-han­dled ex­otic leather tote with a lock and keys en­closed in a clo­chette is im­me­di­ately iden­ti­fi­able as an Her­mès Birkin. “The sole is of­ten where the logo is, and it’s very subtle.” Louboutin is an ex­cep­tion to this rule. “He did a hell of a job with that sole,” Carr says. “On the shoe side, it’s prob­a­bly the most iden­ti­fi­able brand­ing in the world.” Soles, of course, have a long his­tory as a sig­ni­fier of a lux­ury good—and in­deed even shoes them­selves have been used to con­vey the wearer’s wealth and sta­tus at least since an­cient Egyp­tian times, when beautiful san­dals were a pow­er­ful enough sign of rank to be de­picted on tomb re­liefs. King Tut’s tomb con­tained, among other things, elab­o­rately dec­o­rated flip-flops with mar­quetry ve­neer. Lux­ury footwear cre­ated suf­fi­cient fash­ion frenzy in the 1300s that gov­ern­ments got in­volved: The grow­ing mer­chant class so de­sired to wear the long, pointed-toe shoes of the elite—all crafted of ex­pen­sive ma­te­ri­als—that laws were passed lim­it­ing

工匠們精心地將「鑽石星塵」手工貼上每雙鞋的鞋底。 Crafts­men la­bo­ri­ously ap­ply “di­a­mond dust” by hand to each pair of René Caovilla shoes.

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