Product Development by Lixian (Lisa) Teng

TIDY up the

COMMOTION Product Development

Lixian (Lisa) Teng

Design and desirability comes into place when it comes to product development. Through observing various components of vintage orthopaedic footwear, there is a suggestion that the construction is one of the important factor rather than the visual aesthetics. The designs of the upper may be simple but lacks the desirability factor. These basic design elements of this footwear show certain specifications, according to different type of foot problems. Therefore colour combination plays an important factor towards the development of the product. There are explorations of shape, fit and silhouette together with the materials used. The critical analytical and evaluative account translates the concept and research into forms of innovative designs into reality. Aesthetic and technical components, study of construction and prototype testing comes into place. Different construction methods and techniques were explored for each components of the shoe, the material, silhouette, construction and the wedge unit.

ANALYSING...

Ideas are best generates from a three dimension form rather than a flat two dimension drawing. Some of the ideas were generates through analysing various vintage orthopaedic footwear and components from the college archive collection. This partially provides insight of its construction. The footwear that was constructed in the 1930’s is slightly out of the ordinary, with the structure of the sole. Each of the footwear was made for specific client, giving reasons why it was made in a certain look to cater to their own needs. Through these observations, there are noticeable differences with the construction in comparison to ordinary footwear. In addition, there is evidence of durability of the materials used in the footwear. The cork used for the insole stays in shape. Around the vamp, it is either closed with the lace or strap to secure the foot. Through analysing this type of footwear and the series of experiments, it led to the chosen design for the prototype for this unit. Modifications and other changes were made while conducting different sets of tests for each component of the design. In a way, changes were made during the experiment and construction stages of the prototype. Starting from the basic shape of the court shoe, the silhouette was slightly altered, reinterpreting the shape by eliminating some of the surface area. Some of the lines were reshaped to make it more angular in reflection to the concept of the project (through some of the art pieces by Richard Long and Julian Opie). Sections were cut out at the back to create a ‘sling-back’ look. The toe area was cut into a sandal to balance out the style of the shoe.

Initial stage, manipulating with the long strips

Around the front, instead of adding a buckle, additional strips were added to create some emphasis to the basic form. These strips which loops through the front area looks like a buckle. In order to achieve this, a long piece of rectangle was cut with five strips (as straps); all at one centimetres width were divided and cut through until it was near the slits, made for looping through. However, the slits would split due to the thickness of the straps. The slit looked unfinished and unclean. Other methods came into investigation by experimenting with different thickness and the distance of the slit. Another method was to create a slit and punch two holes at the sides of the slit. Though it prevented the slit from splitting, it made that area bulky. Using a hole-punch primarily used for belt buckles, it created a smooth cut of the hole and surprisingly, it was the same size as the straps. The holepunch was thinnest and the widest punch available for creating the slots. It made a huge difference in regards to the bulk at the front. Various colour variations and the distance between the holes affects the form. Different materials used were also in experimentation.

Top: Punched holes (cleaner finish), Bottom: Slit and hole punch at sides (fibres are weakened) 05

Playing around with the slots

Adding the straps to the last

Various ways to loop the front area.

Initial stage of the weaving technique - from foam to leather

The materials that were tested were foam strips (EVA), vegetable tanned leather and chrome tanned leather for the upper. Although the main emphasis was on vegetable tanned leather was the first thought for the collection, other mediums were tested with the construction for the strap and slots. These material experiments enabled to see how different materials affect the form and shape. Weaving these various materials sparked an idea on a leather braiding technique. The foam strips were used as part of the initial stage of the design development. The foam strips were durable but it was too thick to work with. The effect of the strip weaving formed interesting shape but irrelevant as it gave a sportier look, a contrast to the intention of the collection. In addition, it was too thick to work with. Chrome tanned leather had a cleaner finish at the edge but it was not ideal as the material surface was too dry. The thickness of the leather affected the form of the straps, therefore, one of the solutions was to split the leather to experiment with the thickness of the vegetable tanned leather and pig skin lining with backing. Though the thickness seemed satisfactory, another batch of the strip had a layer of aqualine to layer between the upper and lining. However, it proved to be too thick and caused the structure of the front of the footwear bulge. A short experiment was implemented to dying the leather with acrylic dye. Various colour combinations with acrylic dye were tested by rubbing onto the surface. However, the colours turned out more earthy than vibrant (as intended with the collection). Therefore, the idea of dying the leather was abandoned for the final prototype. Dye experiment

First test piece

Various thickness and colour combinations

Thong braid on side profile

Vegetable tanned leather is chosen for the uppers. Though there would be some emphasis on the wedge unit, the back of the upper needed something to balance the outlook of the prototype. The back of the upper looked a little off balance as the front was heavily decorated with the looping straps. Various forms of decorative elements on leather were considered during the experimental stages. The thong braid where stripes of leather were looped through the punched leather and weaved through each leather strand. This idea reflects the earlier idea with the weaving with the leather at the earlier stages. Looking at the side profile of the prototype, if the braiding was sewn straight down, hardly any of the effect can be seen. By rearranging the slits from bottom wider than the top line, the thong braid can be seen at the side profile. Different thicknesses of straps, colour combination and the shape of the weave according to the position of the slits were experimented. The thin lining leather at one millimetres thickness was easy to loop through but it looked flat at the back, even when a contrasting colour was used. Using the same thickness, colour and material as the upper, it lifted the design (texture wise) but it needed a tiny injection of colours to lift up the design. The upper and lining leathers where stuck together but it became too thick and difficult to loop through the holes. Therefore, the upper lining material was split and lined again. The colour contrast lifted the design without it being too garish. Though the design of the upper seems heavy at the top, the development of the wedge had to be slightly subtle but still need an interesting element.

From foam to balsa wood

Balsa wood and Styrofoam were used for the earlier stages of constructing the wedge unit before the idea of using MDF (medium density fibre) and laser cutting came into mind. MDF which is wood specifically made by breaking down hardwood or softwood particles into wood fibres, with a combination of wax creating various sizes of wooden planks. Usually these forms of wood can be used for building structures. The Styrofoam was used to form the contour of the sole of the last. Next, the shape of the sole contour was transfer onto the balsa wood. The balsa wood with the depth of 12 â&#x20AC;&#x201C; 18 millimetres was easy to mould series of shapes for early development but after rough handling, it began to snap. However, the finishing was smoother. The basic structure was constructed with the wood. Various ways to construct the wedge using a plank of wood with a three millimetre depth was experimented with. However, through the measurement, the distance was too close and it became brittle. Through using this prototype, it made it easier to construct the unit on Rhinoceros 3D (Rhino 3D), software for 3D modelling.

Foot scanner

Scanned last and detail calculated

The lasts were scanned using the 3D body scanning facilities at John Princes Street. Three different lasts were scanned in those sessions (the other two for the final major project). The lasts were scanned with one side with insole, the other side without insole. This proved to make a difference with the contour of the sole. To construct the wedge, the scanned last with the insole was used. Rhino 3D was simultaneously while working on the model with balsa wood. While constructing the wedge, there was problem with the balance of the last to wedge unit made towards the inside. This problem with balance was solved through using Rhino 3D. On the balsa wood, an extra triangular piece was constructed to balance the structure. The wedge design was redrawn on the computer. From that point, accurate calculations and the pattern for laser cutting could be made. Finding ways to balance the last

Drawing and dividing patterns on Rhino 3D

Laser cutting pieces

Pieces laid out

On the computer, the structure similar to wooden prototype was drawn into 3D blocks before the pieces were drawn. Simple lines and used the measurements of the thickness from the MDF to spilt the pieces up. The pieces were rearranged and laid out and ready for cutting. On the laser cutting software, the pieces were rearranged the order for the cutting to be done. Though the shape had the same structure, the outcome is different. Being that the pieces of split up, the structure gives a different feel to the structure made with the balsa wood. However, it still keeps the ideal structure in mind where most of the form is angular. Though the surface does not come out as smooth as the balsa wood, it forms more ideas for future development of heels and other sole units for the final major project.

Padding for the insole

Still keeping in mind of the vintage orthopaedic footwear, the manufactured socks especially for minor foot problems giving it a more comfortable feel to the sole were used though it simply needed a simple sock to cover the padding.

The sole cover is made of thick vegetable tanned leather. After the shoe is lasted, the skeleton board is made (traditionally the skeleton board is made before lasting but this means uneven edges on the sole board). The straps are positioned then that area is lined with the black lining leather. The skeleton board is made with vegetable tanned leather as well.

Construction of the sole cover in order. (top to bottom)

The sole cover is hand bevelled, covered with beeswax and polished at the edges to give a smoother edge. Lastly, the edges are coated.

GOING FORWARD... This prototype that went though development will affect the development of the final major project. Some of the experiment elements that were implemented will be used. The looping design â&#x20AC;&#x2DC;buckle likeâ&#x20AC;&#x2122; design at the front part of the upper could be subtlety used on other types of footwear. On this prototype, it was heavily used as it was designed on the reinterpreted court shoe. The thong braids could be used on other parts of the footwear. However, it could stay at the back seam as a design element or signature to unify the collection. On the final major project, it will still be used though through other means so that it will not be heavy on the top as there is an interest to push on with the development of the sole through the means of laser cutting. Using Rhino 3D is challenging to use for first time user. However, there are huge possibilities to create unique shapes from basic forms created through balsa wood. This is like taking a 3D shape, breaking it and constructing it again. This approach to making the sole units will be implemented on future designs. Through the first prototype, there are potential of constructing unique and slightly complicated designs which will become part of the emphasis on future designs. This unit opens up the possibilities of mixing traditional construction methods with a bit of technology (laser cutting).

Lixian (Lisa) Teng TEN06189907 B(A) Fashion: Design and Technology (Top-Up Footwear)