「我喜歡這個想法,每位女性都可以在她的鞋底配上幸運符。」“I liked the idea that every wo­man could wear a lucky charm on the sole of her shoes.”

Wynn Magazine - - A-LIST - — edgardo oso­rio

Riel­lo指出:在17世紀法國的路易十四的法庭上,鞋底真正成為了財富的象徵,尤其是紅色鞋底。1673年,國王發布詔書宣稱只有貴族才能穿令人艷羨的紅色鞋底,而且任何人的鞋跟都不能高於國王擁有的那雙5英寸高跟鞋(是的,男人也曾穿過高跟鞋!)高跟鞋當然一直都是身份的象徵,因為沒有人可以穿著它們進行體力勞動。而選擇紅色鞋底的一個關鍵原因是:紅色的製作成本非常昂貴,需要壓碎經過乾燥處理的雌性胭脂蟲(一種墨西哥寄生蟲)來進行染色製作。(路易十四還訂製了用胭脂蟲染色的皇室床幔和凡爾賽宮裡的椅墊。)為Louboutin帶來靈感的不是17世紀的法國,而是他助理的美甲,啟發了他用紅色指甲油手工繪製鞋底,最終創作出簽名式的紅鞋底。「鞋底的閃亮紅色沒有什麼功能,就是為了向公眾表明它們是我創作的,」Louboutin說,「我選擇這種顏色是因為它迷人,有挑逗感,令人難忘,而且熱情洋溢。」Aquaz­zu­ra今年夏天在永利拉斯維加斯的En­core Es­planade新開了店鋪,對於品牌設計師Edgardo Oso­ri­o來說,選擇在鞋底放什麼樣的裝飾是顯而易見的事情(那位即將成為皇室成員的新娘提出的要求除外):他一直喜歡收集的金菠蘿。他解釋說,品牌旨在表達意大利海岸式( Riviera)的美好生活,品牌名字來源於意大利文ac­qua az­zurra,意思是藍色的水,而在意大利和法國南部的別墅中常常會看到石菠蘿的裝飾,這是酒店的好客之道象徵。後來他還發現,在亞洲文化中金菠蘿是幸運的象徵。「金菠蘿象徵聚財,是個幸運符號。」Oso­ri­o表示:「我喜歡這個想法,每位女性都可以在她的鞋底佩上幸運符。」René Caovil­la品牌那些閃閃發亮的鞋底實際上是用水晶粉末製成。品牌創始人的孫子、品牌創意總監E­doardo Caovil­la說:「設計的靈感是希望讓顧客覺得自己像天空中的星星一樣獨特,我們為鞋底加入這樣的特色,希望讓女性覺得走路時在沿途留下閃亮的痕跡。」每雙鞋底的閃亮粉末需要耗時3小時製作,歷經精細打磨( Caovil­la稱之為「鑽石星塵」)並結合精湛手工和高科技,正是這個近100年歷史的品牌對工匠嚴格要求的一種貼切的象徵。Caovil­la表示:「製作的工序如此精細,像煉金術一樣,我們製造的鞋不僅僅是一種時裝配飾,而是憑著自身實力成為了一件藝術品。」透過鞋底傳遞的信息,還有什麼比這更美妙? the length of a shoe’s toe ac­cord­ing to the wearer’s in­come and po­si­tion in so­ci­ety. A cen­tury later, the fash­ion was for a wider-toed shoe called, among other things, a horn­bill or bear paw, where width was then lim­ited ac­cord­ing to the wearer’s sta­tus. It wasn’t un­til Louis XIV’S court in 17th-cen­tury France that soles, too, be­came a sym­bol of wealth—specif­i­cally red ones, says Gior­gio Riello, a pro­fes­sor of global his­tory and cul­ture at the UK’S Univer­sity of War­wick and co-au­thor of both Lux­ury: A Rich His­tory and Shoes: A His­tory From San­dals to Sneak­ers. In 1673 the king is­sued an edict that only no­bil­ity could wear the cov­eted red soles, and that no one could own a pair of heels (yes, men once wore them, too!) higher than his high­est pair, which was five inches tall. (Heels, of course, have al­ways de­noted sta­tus, be­cause no one could do man­ual la­bor wear­ing them.) One key rea­son for the se­lec­tion of red: It was an out­ra­geously ex­pen­sive color to make, re­quir­ing the crush­ing of the dried bod­ies of the fe­male cochineal, a Mex­i­can par­a­site. (Louis XIV also or­dered the royal bed cur­tains and the chair up­hol­stery at Ver­sailles dyed with cochineal.) It was Louboutin’s as­sis­tant’s man­i­cure—not 17th-cen­tury France—that in­spired him to hand-paint the bottom of his shoes with red nail pol­ish, and a sig­na­ture was born. “The shiny red color of the soles has no func­tion other than to iden­tify to the pub­lic that they are mine,” the de­signer has said. “I se­lected the color be­cause it is en­gag­ing, flir­ta­tious, memorable and the color of pas­sion.” For Edgardo Oso­rio, the de­signer of Aquaz­zura, which opened on the En­core Es­planade at Wynn Las Ve­gas this sum­mer, the choice of what to put on his soles (ex­cept when soon-to-be-roy­alty has other ideas) was ob­vi­ous: gold pineap­ples, which he’d al­ways col­lected. The brand is de­signed to evoke the Riviera kind of good life—its name is de­rived from the Ital­ian ac­qua az­zurra, or blue wa­ter—and at vil­las in the south of Italy and France you see stone pineap­ples, a sym­bol of hos­pi­tal­ity, he ex­plains. Then he dis­cov­ered that in Asian cul­tures, the gold pineap­ple was a sym­bol of good for­tune. “It at­tracts money, so it’s like a lucky charm,” Oso­rio says. “I liked the idea that every wo­man could wear a lucky charm on the sole of her shoes.” At René Caovilla, the glit­tery soles—ac­tu­ally crystal pow­der—“come from the idea of mak­ing our cus­tomers feel unique and spe­cial like the stars in the sky,” says Edoardo Caovilla, the founder’s grand­son and the brand’s cre­ative di­rec­tor. “We give the shoe soles this spe­cial char­ac­ter­is­tic with the idea of the wo­man leav­ing her trace as she walks.” The del­i­cate, three-hour process of per­fect glit­ter ap­pli­ca­tion (Caovilla refers to it as “di­a­mond dust”) mixes crafts­man­ship and high tech­nol­ogy, a suit­able hall­mark of the nearly 100-year-old mai­son’s de­mands of its ar­ti­sans: “so fine it is like alchemy, pro­duc­ing shoes that are no longer sim­ple ac­ces­sories but be­come works of art in their own right,” he says. What bet­ter mes­sage to send than that?

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