R E V I S I T I N G
T H E
I C O N I C
B A L L E T
S H O E
MOVING ON FROM BURLAP AND SATIN Since it was first developed in 1832, there has been minimum modernization to this piece of specialized equipment. The pointe shoe still consists of a rigid box, made from canvas and glue, to support the toes and a shank extension that helps to distribute load. On a basic level, it is a piece of equipment that helps support the entire body weight. To a ballet dancer, it is an extension of their body. The intimate relationship between dancer and shoe has been examined. Working together, innovative ideas have been formed to better the experience of dancing en pointe. Through exploration of ‘new’ alternative materials and technology, such as additive manufacturing and 3D scanning, design solutions have been generated to
optimistically
address
current
problems.
Problem Identification: Wellbeing x Cost Per Wear
Calculating and Re-distributing Load Bearing Points
4-5
29
Research And Investigation: Dancers and End-Users
Product Innovation: Materials Sampling, Experimentation, Prototyping, Testing.
3 Point Concept Generation: Box, Shell & Inner Support
Product to Service: Business Enterprise & Customer Time Lines
12-27
34-59
32-33
60-71 Product Lookbook: Generation One Style Book
72-89
The average life span of a pointe shoe is around 4-12 hours of work.
‘THROW AWAY SHOES’ Each season, the Royal Opera House goes through 6000 pairs of pointe shoes and 6000 pairs of flats per season... adding up, ROH spends £250,000 a year on footwear alone...
That’s one dance comapany out of the estimated 200 in the uk.
PROFESSIONAL DANCERS CAN EASILY GO THROUGH 4
PAIRS OF POINTES
SHOES PER PERFORMANCE.
1
Injuries and deformation of the feet affects 99% of dancers
2
Fragile. Feminine. Graceful. Effortless. These words have been forever associated with ballet... genres may have evolved but the ideals of a ballet dancer have changed little through the years.
The social structure of ballet determines a set of social hierarchy in terms of their authority and prestige. According to Homan’s history of ballet, the art form would be associated with prestige right from it’s birth at the Italian courts during the Renaissance period. Despite new genres formulating in the dance field, ballet has remained at the top of the hierarchy and there has been little change to it’s theory and style since the Neoclassical evolution. The relationship between ballet and prestige advocates the dance genre as a luxury. Deyan Sudjic describes luxury being signified by elaborate workmanship, investment in time and effort, and cues that suggests high performance. Fittingly, ballet demonstrates all those aspects. Classical ballet assertively pushes the ideals of a dancer’s body to being youthful, athletic, elegant and lean. This has been accepted as the norms of beauty in classical ballet. Opposing to those ideals can be problematic for dancers to find their identity within the field. Injuries and alternative body shapes will shatter the habitus of a classical dancer and the fear of ‘lost youth’ limits the dancer’s career. Ballet dancers often start their training in infancy, around 3-5 years old, but very few professional dancers continue beyond 30 years of age. Research in sports medicine has shown that classical ballet is equal to professional football in the physical demands of athletic performance. The profession of a ballet dancer is essentially dependent on the athleticism of the human body and it’s ability to perform continuously in an artistic manner. Injury plays a major part to threatening a dancers habitus and ultimately, their dancing career. Injuries carry the prospect of premature retirement or termination to contracts.
The Art of Going En Pointe
The Pointe Shoe The most pioneering moment for ballet em-
ing. Aside from the essential sewing-on of
anated when ballerina Marie Taglioni danced
ribbons and elastic, dancers darn the shoe’s
en pointe in the 19th century. The two main
tip to make it less slippery, coat the interior
attributes that distinguishes ballet from other
with shellac for reinforcement and bends the
forms of dancing is the 180 degree turning out
box and sole continuously to break into cer-
of the feet and more iconically, female dancers
tain parts. A vast amount of effort is needed
en pointe. To go en pointe, the dancer should
to prepare a shoe until it is fit to wear. The
have 90° to 100° of plantar flexion in the foot/
average life span of a pointe shoe is around
ankle in full equinus to support the recurva-
4-12 hours of work. Once it loses it’s structural
tum (backward bending) of the knee.
integrity and becomes too softt o adequately protect the foot, the shoes are then discarded.
Since it was first developed in 1832 , there has been minimum modernization to this piece of specialized equipment. The pointe shoe still consists of a rigid box to support the toes and a shank extension that helps to distribute load. On a basic level, it is a piece of equipment that helps support the entire body weight. To a ballet dancer, it is an extension of their body. Dancers can spend equal periods of time customising their shoes as they would rehears-
A step by step of going en pointe (first posistion)
Tactile Experience Several brands of shoes were deconstructed and studied. By taking apart existing products to look at every component, areas of improvement can be pinpointed. This acts as the groundwork for innovation.
Anatomy of pointe shoes.
Photos: credit to Sydney Dance Company 2014.
The Tedious Process of ‘Breaking In’ 1. Shoes must be fitted by a professional as they should ‘fit like a glove’. Buying shoes online is dangerous. Every pair of shoe is different, even if they are the same make,. 2. Once the shoes arrive, the dancer must wear them to see which parts need to be softened, altered or reinforced. The dancer might wear them for a lesson to see which parts need to
5. Ribbons and elastic are attached to the top of the shoe. This can take several attempts to perfect. Millimeters out of place can cause great discomfort to the dancer.
be darned.
6. After wearing it a few times, the shoes
3. Darning (the process of stitching onto the
must be hung and air dried in a mesh bag.
service to create texture) takes place, and can take up to two nights worth of work. Everyone has their own darning techniques. 4. The box needs to be broken and worn in to soften the top and side parts.
should mold into the dancer’s feet shape. They
7. The shank might need to be broken in, depending on the natural arch of the foot, this differs for each dancer. 8. The vegetable-tan soles are scored to create more friction.
‘What is the dance?
It is motion. What is motion?
The expression of a sensation. What is a sensation?
The reaction in the human body produced by an impression or an idea perceived by
the mind. (LoĂŻe Fulle, pioneer of modern dance)
DESIGNER AS RESEARCHER
‘As a human-centric designer, it was important for me to immerse myself into the world of dance. I needed to to understand what ‘dance’ actually involved. ‘
‘And to experience Fuller’s meaning of ‘dance’, a first hand sensory experience was needed to understand dancers in their practice. I began to undertake adult ballet lessons at Dance City Newcastle to once again remind myself of classical ballet. A series of videos were recorded as reference to try pinpoint any patterns.’ ‘Since my departure with ballet 13 years ago, this is my first time stepping back into the dance studio. This time there was less tutus and instead I was dancing to the backdrop of contemporary music with a group of adult ballet beginners. The words ‘REPITITION, ENDURANCE, PERFECTION’ sum up my experience. Dance moves were repeated countless times. The difficulty of enduring the pain and boredom of those repetitive moves were shown on dancers’ faces. Ballet is about perfecting micromovements and it is highly aesthetics based. The shapes created by your body, from facial expressions to toes were being closely examined by the tutor and peers.’
Exploring the world of ballet through first hand experiences. In-depth interviews, observations and Question & Answers... all help towards forming human -centered design solutions. From aspiring students to professionals, dancers from all ends of the spectrum have been considered for their specific needs.
The Welsh Dance Company, rehearsal : Newcastle Dance City.
CONVERSATION: OUR FUTURE DANCERS Interviews with three semi-professional dancers provided insight to their ballet routines. Dancers ranged between 17-22 years old. All three participants started ballet under 7 years old and began pointe work around 12/13 years old. When asked what is their main motivation for learning ballet, all three agreed that their mothers were hugely influential. All three dancers train at least 4 hours per week, with participant C training up to 10 hours a week.
There were three key areas of discussion that occurred throughout the interview:
1: Injury All dancers have experienced injury and various amounts of pain. One main area of concern was reoccurring injuries in their legs and feet due to repetitive movements. The lack of recovery support was also raised. All three agreed that listening to you body is vital, although it may not be easy to recognize the degree of injury before acting upon it. All three dancers suffer from mild to more severe Hallux Valgus.
2: Aesthetics According to all three participants, ballet is mainly about aesthetics. The position of the body is being judged to the extent of millimeters; micro-movements out of place will be scrutinized by the viewer. Participant C expressed that ballerinas represented an image of elegance, control and beauty and she feels that they should represent this image at all times, especially when wearing their ‘uniform’.
3.Repetition Dance moves are constantly repeated to build up muscles to support advanced techniques. This can be stressful to the body and disinteresting to the minds.
Q & A: THE WELSH DANCE COMPANY Questionnaires with dancers at the Welsh Dance Company confirmed current problems with pointe shoes and injury patterns that occur on a professional level. Both quantitative
Q: Are there any common problem areas with your current or past pointe shoes?
and qualitative questions were asked. Observational research was also conducted to examine body sequences and any social behaviors by professional dancers in a
‘They don’t last very long considering the amount of effort
touring company. Dancers were all previously trained in
taken to wear them in etc.’
classical ballet but now specialize in more contemporary
‘Ribbon can be irritating Doesn’t last long enough for all the
dance genres.
effort put in for preparation. Gets Dirty so easily and looks unprofessional.’
Q: If there could be any changes to your pointe shoes, what would you want?
‘Provides insufficient support to the toes and delicate areas. They don’t last very long and the shank and box can break and collapse quite easily.’
‘More cushioning for toes pre-sewn on ribbons and elastic softer points on the top of the vamp.’
‘They don’t last very long and are not breathable causing sweaty feet! Ribbons and elastics are a pain to put on sometimes as they take a lot of time.’
‘More support to the ankles and arch. More long lasting, especially the shank’ ‘‘Shorter preparation and break in period.’
Q: Do you suffer from any long term injuries and/or deformation of the feet?
‘More support and cushioning’ ‘Softer surface on the top of the box for comfort. Last Longer. Dirt free and more durable outer shell.’
‘Bunions on both feet, RS bigger Blisters especially on the 4th toes.’ ‘Permanent scars from where the shoe and ribbon digs into the skin, but don’t really mind as they are part of her identity
Q: How long do your pointe shoes usually last for until they are no longer wearable?
now. I have little toe nails and overall find my feet quite ‘ugly’’ ‘Minor bunions, blisters, mostly on 4th toe and 2nd toe (2nd toe is longer than big toe)’’
‘Changes due to work schedule. I can have up to 5 pairs
Slightly pushed in big toes (bunions). Reoccurring achilles
during the same time. During show season- 3 pairs/ week
tendonitis’
and rehearsal 1-2/ month.’
‘Bunions, blisters and reoccurring ankle pains.’
‘Some can withstand only one performance whilst others can last for a couple of months. It really depends on how i have prepared them and what i wear them for.’ ‘Some only last a week whilst others can last for up to 2-3 pairs/ months, this depends on what i need to use them for. Certain movements require different types of pointe shoes.’ ‘I usually have at least 3 pairs at the same time. Some can last a couple of months whilst others last only a few dance performances.’
Persona A Sally R. 17/18 years old. Semi-Professional dancer.
Sally is training to study Combined Dance at university and aspires to be a dance teacher after dancing a few years at professional companies. Sally practices around 15 hours a week along with managing school work and exams. As an aspiring dancer, Sally tries her best to look after her body but injuries still manage to occur time to time. Recently she is experiencing back pains and after weeks of ignoring these signals, she was sent to see a physiotherapist and a course of treatment helped towards her recovery. The physiotherapist suggested that her ballet shoes were not suitable for Sally as the sides were too soft,
Persona B Sally’s Feet. Size 8.5 UK .17/18 years old. Semi-Professional dancer, specialist in high heels during weekends and a student during the week.
causing her to apply more pressure on her lower body and back in order to stay balance. Once sally had changed to a new brand of shoes, her condition got increasing better. ‘Shoes are always about trial and error and you learn from experience,’ says Sally.
From the age of three they Sally’s left and right feet have been practicing classical ballet. Their first fitting for pointe shoes came at the age of 12 years old and since then the shape (and size, naturally) have changed. Big toes have been pushed in and lacerations seems to appear on the same spots from time
After getting a new pair of pointe shoes (around every 1-2 months), it is Sally’s mother’s job to prepare these shoes for her. This can be a long and troublesome process, requiring hours of darning work, attaching ribbons and elastics.
to time. A natural high arch helps to balance the legs and lower body and is also aesthetically desirable.
CONSUMER PERSONAS
Persona C Sophia B. 27 years old. Soloist Ballet Dancer
Sophia has joined Saddlers wells as a ‘’Soloist’ after spending several years at the Birmingham Royal Ballet, dancing as a ‘first artist’. After taking time off to recover from a fatal injury, Sophia decided it was time to move on and looked into a company that is more contemporary and ‘free spirited.’
On average Sophia rehearses around eight hours a day and show season can even involve up to 14 hours of practice! Sophia says’ Ballet is mostly about strong lower body and hours at the barre perfecting every move. This can be a extremely tiring process and yoga and physiotherapy is needed to relax my lower body muscles, especially during show season. I have had several injuries in the past which has jeopardized my career and this is something all dancers try so hard to avoid! My livelihood depends on my body!’ Sophia takes
At the BRB, Sophia has worn Freed shoes for 8 years and now
extra care in protecting her body with a super healthy diet
changing to a different brand will take Sophia some time to
to cleansing the mind with yoga and meditating. When it
adjust to. Sophia can go through 2-3 pairs of shoes a night
comes to dance apparel, she only wears the best, making
and has up to 7 pairs during any one time!
sure that the materials are hypo-sensitive, breathable and aesthetically pleasing. For shoes, Sophia wears what the company provides.
Persona D Sophia’s Feet. 27 years old. Size 38. Soloist Ballet dancer. Pointe work specialist and logistics manager.
Sophia’s left and right feet are in charge of all the tedious pointe work and very often carrying around 50KG of weight on their big toes. Due to years of standing en pointe, bunions have been formed on both sides and reoccurring blisters have made these feet rather unsightly. No amount of pedicures can hide those bunions now! The fourth toes seems to be taking a lot of the impact with bruises and sores often forming. At work they also have a uniform consisting of toe tape, bound around each individual toe, toe pads and of course, various pairs of pointe shoes.
CONSUMER JOURNEY: PRO LEVEL
INTERVIEW: ORTHOTICS SPECIALIST An interview with a physiotherapist, specializing in prosthetic limbs and orthotics, provided relevant medical knowledge. Lower body extremities were mapped out as key injury areas for a ballet dancer, where repeated injuries occurred in dancers’ knees, ankles and feet. Innovative ideas such as combining podiatry and artificial prosthesis techniques were suggested. Load bearings can be shared in a similar manner as installing prosthetic limbs
Case Study 1: A severe case of amputating the 4th toe on a dancer was experienced whilst working in Amsterdam. The dancer had ‘slept in her shoes’ to break them in ready for performance. The abrasions on her toes were left untreated whist not letting them breath and the build up of bacteria in the shoe had caused severe infections.
GETS DIRTY EASILY
REQUIRES DIY WORK
TIME CONSUMING DISCOMFORT/ RESTRICTS MOVEMENT WRONG SHAPE FEET DEFORMITY
HUGS THE ARCH
HARD ON THE TIP
ARCH/ CURVE
ELEGANCE
SKIN TONE COLOUR
PRE-SEWN ELASTIC AND RIBBONS
NEW MATERIAL
TOE SEPARATORS
RIBBON AND ELASTIC DOESN’T DIG INTO SKIN
COLLAPSES DOESN’T LAST LONG SMELL
THE BOX
NOISE
EXPENSIVE
NEED TO BUY SEPARATE TOE PADS
SUPPORTS THE CURVE FLEXIBILITY VS SUPPORT DIFFERENT SUPPORT TO CERTAIN AREAS
THE BOX
LASTS LONGER
THE PLATFORM
SHORTER BREAK-IN TIME
PAINFUL
THE SHANK
SNUG ON DANCER’S FOOT
THE QUARTER
DOESN’T FALL OFF HEEL
COLOUR
CURRENT ERGONOMICS ............................................................................................................................................................................................................................... CONVENIENCE AESTHETICS COMFORT PROBLEMS
STRAPS & ELASTIC
OUTERSHELL
FEELS SAFE
MOLDS TO THE DANCERS FOOT SHAPE NO NOISE
SOFT ON CERTAIN PARTS
LASTS LONGER
DOESN’T COLLAPSE
DIRT RESISTANT INNOVATIVE FABRICS
DISCREET DARNING
An ideation chart was produced to
show
current
areas and review ergonomics, aesthetics, convenience and
ALREADY DARNED
comfort
of
pointe
Physical,
LASTS LONGER BUILT IN TOE PADS
shoes.
psychological
and social attributes of a desired
pointe
shoe
were
also identified. On a physical level, the shoe should be comfortable, safe, supportive and durable. Meeting these CUSHIONING
requirements will have effects on the psychological side, such as increased confidence, empowerment and trust. On a
SECOND SKIN
social level, dancers aspire to become prima level with a long and successful career.
DOESN’T RUB AGAINST SKIN BREATHABLE DISPERSE LOAD BEARING POINTS
problem
The Box and Shank Replacing burlap and glue with alternative materials. Looking into synthetic materials such as silicone rubber, carbon fibre amongst other materials for a more durable shoe. The box needs to closely fit each dancers’ shape thus, a high level of customization is needed. To make it more convenient for dancers, areas of hardness and support can be adjusted according to different requirements. This can hopefully eliminate the process of ‘breaking in’.
The Outer Shell Replace non-breathable satin with a high stretch material and take the original shape higher to provide more support to the ankles. Taking the shape higher may replace the need for elastic and ribbons. The high stretch material will eliminate unsightly bagging and accentuate the arch of the foot. Detail such as darning the base and scoring of the sole can be replaced by printed textures.
Internal Cushioning + Support Add internal cushioning in materials that are both viscous and elastic. Propose to incorporate a tailor-made internal piece that can distribute load bearing points amongst all toes.
SHAPE AND SUPPORT A plaster cast of a foot, en pointe posistion, was first produced to map out support areas. Iterations of the box were made from modeling clay. Continuous iterations progressed to the box and shank becoming one piece.
SHOES TO FIT YOUR DNA There is no universal shape for our feet. By using reverse engineering, highly bespoke shoes can be made according to customer specifications. The box can be altered to accommodate a variety of sizes and shapes. The box will carry different areas of hardness, more rigid at the base and getting much softer at the top. Again, this will be different for each dancer. The shank can have different rigidity levels as required. For example, if a dancer has a weak natural arch of the foot, the shank can be more curved to help form a higher a arch.
MATERIALS AND TECHNIQUES
Alternative materials to the traditional canvas, fibre board and satin have been explored. Innovative materials can offer more cushioning, comfort and durability etc. Although many of these materials are much higher in cost compared to traditional materials, the cost per wear could be lower over a prolonged period of time. The increased comfort levels of dancers can boost morale, aid performance and reduce injury. Resin materials were first tested for the box, but failed to retain it’s shape and proved to be hazardous. Silicone rubbers were suggested by industry and a series of molds were made, developing from the initial box shape to a wider and longer fit to accommodate internal cushion. Collaborating with David O’leary, Design for Industry, progressed 2D work and prototypes to 3D CAD designs. A finalized model of the box and shank was ‘sliced’ into several parts, mounted and 3D scanned. Point clouds (data) were then triangulated and used as basic dimensions for CAD work. This reverse engineering process created a highly bespoke shape that fitted the end-user. The component was 3D printed to review the shape. Collaboration with DR. Jari Pallari at Peacocks
laser sintering (SLS). It took three different attempts
Medical turned 3D CAD files to working
to successfully produce the desired cup shapes. First,
prototypes. Through frequent discussion of
the release agent used between the mold and carbon
ideas, both conceptual and realistic solutions
fibre failed to work. A ‘collapsable’ mold method then
were shared. Carbon fibre was suggested
failed. After compromising with wall thickness, the most
for the rigid part of the box. After providing
realistic method was to SLS the cups to 2mm thickness
Peacocks with ‘positives’ (solid reverse shape)
and to that add 3-5 layers of carbon fibre.
of the box, molds were built using selective
CARBON FIBRE Looking into reinforcement materials, Carbon-fibre carries many desirable attributes for the box and shank of a pointe shoe. Carbons as a solid is a unique substance that exhibits a vast variety of properties. Whilst, some are extremely strong, other forms can be ductile and soft. Carbon fibre reinforcement offers high fracture toughness and pseudo-plasticity. When carbon is reinforced with carbon, it exhibits a high fracture toughness. When compared to other material reinforcements, Carbon fibre reinforced polymers are less abrasive than those containing glass, showing lower friction with greater moduli of elasticity. The flexural strengths are also often greater when added to polytetrafluoroethylene.
‘SECOND SKIN’ MATERIALS Innovative and biomimicry materials have been researched to potentially add comfort and cushioning properties to the box. Breathable materials create a ‘second skin’ experience. Jelly to viscous materials mimic the synovial fluids in our joints, softening friction when surfaces touch. EdiZONE’s thermoplastic elastomeric copolymer, IntelliGel, is used in a wide range of cushioning products such as Nike’s baseball cleats. The principle behind the material is that they distribute pressure over the whole object that it is cushioned. It absorbs impact and dampens vibrations. Technogel ® offers ‘second skin’ like qualities. With good water absorption and release properties, the product is breathable and non irritating to the skin. It’s high shock and sheer force absorption provides excellent support yet it’s good recovery capability will avoid energy loss.
DESIGN DEVELOPMENT Ideally, the internal structure would be made as a single piece by additive manufacturing. However, the current technology available in additive manufacturing fails to produce hard wearing outcomes. Functionally grade materials, where several different materials are ‘printed’ together, breaks when under little strain. Although this method cannot be currently achieved, this area is vastly developing and there could be a applicable solution in the near future.
SHAPE REFINEMENT Compromising with available technology, the integrated box and shank has been divided into a soft and hard component. When put together, a flush surface design will create an even finish.
The rigid carbon fibre component stops 10mm above the heel bone. At this length, it provides the right amount of support needed, yet stops the shank from protruding out of the fabric shell. The shank of the soft component has been extended by 20mm, getting thinner towards the top, allowing it to ‘wrap’ around the entire heel bone. This provides extra cushioning creates a more refined, aesthetically please shape.
LACE STRUCTURE A series of minute hexagonal holes in the soft component first creates a more ‘breathable’ surface, second it allows more flexibility and movement. If the size of each hole is no bigger than 50 microns squared, then the uneven surface texture is undetectable to the human skin.
When worn, the carbon structure
shank stops at the heel bone,
creates a softer feel and
providing sufficient support.
allows more movement
The soft extention cushions
The
lace
the entire heel
bone for
comfort
contours
and
around the foot for a more streamline shape.
The two components slot seamlessly into eachother creating a flush surface
A simple comparison test with the carbon fibre base showed initial impressions of the new material. The base of an existing pointe shoe was removed and replaced by a carbon shell to create a working prototype. The lightweight material was the most intriguing sensation for the dancer. At 1.5mm thickness, the touch of the floor is much stronger compared to the 5mm wall of an existing pointe shoe.
Through pattern cutting and toiling, around 12 different iterations were produced, each developing from the pervious version. Excess bagging was removed to create a more figure hugging shape. The latest version involves a criss cross structure that extends to the ankle area.
The shape of the shell was then designed on CAD, ready for laser cutting. Slits were added to the internal lining to allow more ease of movement . Ribbon can also be threaded through these laser cut slits to provide more support if needed. Assembly requires sonic welding, heat fusing Beamis and minimal sewing. Different sole designs were laser etched onto leather to experiment with grip levels.
5 PIECE LASER CUT SHELL
LASER ETCHED SOLES
HIGH STRETCH EUROJERSEY Nurel’s Sensitive ® fabric offers extreme elasticity, yet retains it’s original form after every use. With embedded active ingredients such as Retinol, Ceramides and amino acids, they are slowly released upon wear to reinvigorate and hydrate the skin.
By refining the shape, eliminating excess bagging, the shell gives the perfect snug fit, hugging the arch and showcasing the dancer’s pointed feet.
Nurel’s Sensitive Ž fabric comes in a variety of colours, weights and finishings.
HIGH STRETCH OUTERSHELL
CRISS CROSS STRUCTURE
PRINTED DARNING
OPTIONAL RIBBON
DETACHABLE SHELL The shell has been designed to become detachable for easy washing and drying, preventing the build up of bacteria from sweat. Shells and internal parts can be interchangeable according to needs. The ribbon is threaded through the laser cut slits on the inside of the shell and goes through the shank to provide optimum support to the ankles.
THE NEXT GENERATION DESIGN
High stretch EuroJersey cover criss cross structure
Higher shape for optimum ankle support Innovative elastic toggle
TPU/ high elasto plastic base Intergrated sole
Cut out area to eliminate excess bagging
Flap design makes it easier to ‘get into’
A range of biomimicry materials were considered for the internal piece. Several versions of the ‘toe piece’ were modeled to illustrate the bespoke nature of the internal cushioning. Each toe separator will be different, fitted to each dancer’s natural foot shape. For this, silicone putty was placed inside a shoe and the dancer was asked to go en pointe. A two part mold was then produced to cast the toe piece in a 40 shore A silicone, of which was then refined. This silicone piece will be used as the ‘master’ for future use.
Examining the relationship between human interface with material properties and the sensations generated when the two meets. Shock absorption, compression, energy force and comfort levels have all been considered.
SCAN...DATA....CAD....CUSTOMISE...PRODUCTION.....FILE ‘Our care for customers do not stop at the point of purchase, but instead we offer lifetime support to guide them through their dancing careers.’
1:
BESPOKE BOX & SHANK
3: BESPOKE INNER SUPPORT PIECE
2: HIGH STRETCH OUTER SHELL
OPTIMUM PRECISION By utilizing the technology used in fields such as Podiatry and Orthotics, highly customized products can be produced. For user-fit products, where it is necessary to precisely fit the enduser’s body, ‘reverse engineering’ is often employed. Reverse engineering is a technique where customer body data is first captured, then analysed and finally used as the basic geometry for further design work.Traditionally, data is captured by hand casting the targeted body part in order to produce an inverse mold, of which is then scanned and digitized. This traditional method is more commonly used over directly scanning the human body because there are problems with keeping the subject stationary over a prolonged period. Although accurate data can be collected, it can be time consuming and costly. CurveBeam’s pedCAT® 3D scanner answers to this problem. The 3D scanner can capture real time data in less than 60 seconds with similar radiation levels to conventional radiographs. The subject can be scanned standing in a full weight bearing position, and if necessary in shoes. By looking at the main load bearing points, specialists can see how the foot and ankle is functioning and can clearly pinpoint any conditions.
SERVICE TIMELINE Similar to the importance of regular eye tests, ballet dancers should have their feet regularly examined for changes. As their livelihoods depend heavily on their feet, it makes sense to give them optimum care. From scanning to consultation, CAD customization to shoe production, and finally customer data stored on file; this will differentiate the brand to any of it’s competitors. Dancers are not just customers at the point of sale, but they become customers for life.
CONSUMER JOURNEY AND SERVICE TOUCHPOINTS
DANCER’S TIMELINE From their very first ballet class to hanging up their pointe shoes in retirement, the journey of a dancer has been examined to look at product touch-points during every stage of their career.
PRODUCT Q & A Q: Why change tradition? Q: Why would I want to pay more for a product that
A: It’s not that we want to eradicate tradition, but
is cheaper elsewhere?
we simply want to utilize technology with classical
A: Although the price is relatively higher than others in the market, on the long run, we promise to save more money as the product durability is longer and more sustainable. They simply last longer than traditional Pointe shoes made from burlap and satin. Also, the bespoke service you get is different to any other shoe maker. After all your feet are your anchor point and your livelihood as a dancer depends heavily on them, so it makes sense to care for them!
ballet. We are looking at it from both the dancer’s and company’s perspective. The wellbeing of dancers is a vital part to a successful company and we strongly feel that extra care and comfort needs to be given to dancers feet, so the birth of the brand comes here. Together we are bringing Ballet to the future yet holding onto it’s core values that makes it such a beautiful art form. This is similar to the introduction of Lyrcra, where before that dancers were still dancing in restricted non stretch cotton. The landscape of the arts is ever changing so be part
Q: Why try something new? Is it not just the same as
of the future vision!
other Pointe shoes? A: There are currently no other products that offers the same level of personalization and utilization of new materials and technology. The new materials are
Q: Companies: What’s in it for us?
lightweight yet very durable. We are co-designing
A: The promise of a more durable product will save
together to create the most bespoke shoe that
money in the long run. We understand that there
adapts to your foot shape, catering for any problem
have been cuts from the arts council, so saving
areas of needs etc. Also why not be a part of the new
money is crucial. Instead of creating cheaper
generation dancer and leap into the future?
products that are more competitive in price, but jeopardizing the quality, we have looked at it in a different point of view. The shoes may be more expensive, but the promise of longevity and extra comfort and ease for the dancers will benefit your company in the long run. Happy feet equals happy dancers! Also we offer a wide range of customization based on your request, such as colour and style to match your production requirements, this could be good news for the shoe master.
Designer: Elle Hoi Ming Lau MA Performance Product Design at Northumbria University Many of aspects of ballet have evolved through the years such as lights, costumes and staging, yet ballerinas are essentially still dancing on a piece of canvas reinforced with glue. If costumes have moved on from cotton to high stretch lycra, then why are pointe shoes still holding onto it’s inconvenient traditions? This project has inspired new enquiries for many other stagnant design areas. By positively challenging these dormant designs, we can begin to bring them to modernity.
This project has created new opportunities for me as a multidisciplinary designer. The amalgamation of cross disciplinary design, from fashion textiles to 3D engineering, has allowed me to push both design and personal boundaries. With evolving technology, I believe this is a starting point for fashion and engineering to work closely together and possibly becoming a discipline of it’s own.
www.mingminglau.co.uk
Special Thanks to: Sarah Morehead, MA Performance Product Design Program Leader David O’leary, Design for Industry Program Leader Dr. Jari Pallari at Peacocks Medical
Many of aspects of ballet have evolved through the years such as lights, costumes and staging, yet ballerinas are essentially still dancing on a piece of canvas reinforced with glue. If costumes have moved on from cotton to high stretch lycra, then why are pointe shoes still holding onto it’s inconvenient traditions? This project has inspired new enquiries for many other stagnant design areas. By positively challenging these dormant designs, we can begin to bring them to modernity.