Shoemaking – Product Development

FINAL PRODUCT DEVELOPMENT RECORD NAME

Jorn Olsthoorn

STUDENT ID

OLS09276678

COURSE TITLE

BA (Hons) Cordwainers Footwear

YEAR

Fourth

PRODUCT 1

PRODUCT 2

THE MEASURING PROCESS / LAST AND LAST ALTERATIONS Measuring the foot After having had some experience with Gaziano & Girling (makers of bespoke footwear) during my placement year, I now knew how to measure someone‘s feet. There are many different methods and measuring devices though. As with many things within the footwear industry: there is no ONE agreed upon method or manner. I have been gathering a few different books on the subject and I still have a lot to learn. Here, however, I used a fairly basic way of measuring that is commonly used by Springline and some of the westend bespoke footwear manufacturers. The picture shows a French book on last making that I took as guide whilst measuring.

Measuring Equipment To measure feet a fairly basic amount of tools will do the job –if dealing with a normal, healthy foot: –

A shoemaker’s tape measure.

–

Large sheets of paper.

–

A pencil

The outline of the foot is drawn holding the pencil at 90° exactly! All around. After this the arches are drawn following the natural curve of the foot. Then measure joint, lower instep, high instep and the long-heel measurement.

It is also important to measure the backheight and the inner and outer anklebone height so that the pattern can be cut exactly under these bones. The inner anklebone always sits higher on the ankle, and therefore a lot of high quality shoes are cut asymmetrically, higher on the inside. This locks the foot better in place, gives more support and prevents ankle-rub.

THE MEASURING PROCESS / LAST AND LAST ALTERATIONS Last Makers (A ‘last’ is a wooden representation of the foot around which a shoe is build. The last has added length and other volumes where necessary to allow the foot to move naturally in the shoe, give support and protection where needed, and in order to facilitate certain footwear manufacturing techniques and methods.)

After completing the drawings I brought these to Springline (British last manufacturers based in Northampton) and gave them directions concerning foot type (in this case bony but not that sensible) and toe shape. I also informed them about the shoe I wanted to make because one needs a different last for different shoes (boot, heavy boot, slipper, clog, etc.).

I read already quite some books during the placement year about lasts and did not feel quite so ignorant anymore, I now knew what I wanted and, more importantly, I knew how to obtain this because I understood more in terms of last-making and construction so I could tell Springline exactly what I wished for (one should leave as little as possible to the imagination of the last maker!).

When the lasts arrived I checked the measurements. Therefore one lays the lasts exactly on the same place as where the feet were measured.

THE MEASURING PROCESS / LAST AND LAST ALTERATIONS

When checking the circumferences of the last, the SAME pencil should be used as when measuring at 90°! In order to not get the measurements mixed-up –think of the circumference of the pencil!

I still had to alter the lasts slightly to get a more elegant and little more elongated almond toe. As I will use leather puffs that can add quite a bit of volume the toe of the last must be quite sharp. The lower-instep measurement was also a bit too much under, it would be okay for a derby construction but not for an oxford, so I added volume.

Altering lasts is an important skill to have as shoemaker. Here fore one needs to know about the foot, the last and how the foot and the last work together.

Often a last needs alteration after a fitting, only very seldom it fits immediately correct.

The altering is done by means of little, or big leather patches that are prepared (the leather

THE MEASURING PROCESS / LAST AND LAST ALTERATIONS is soaked and/or edges are thinned down to facilitate application of the sturdy leather unto the last) glued upon the last and knifed, hammered, rasped and sanded until the desired shape and circumference is present.

Glue the leather the grain side down, the ‘good,’ the most dense and strong part of the hide unto the last. This is because it will bond better with the last and be stronger but equally facilitates the reworking of the (looser, fleshy) leather once glued and hammered unto the last.

After hammering the leather fittings unto the last they are roughly cut and subsequently the last is re-measured so as to get an idea

THE MEASURING PROCESS / LAST AND LAST ALTERATIONS of the amount of leather that needs to be reduced and where.

Finally the leather is fine rasped and impregnated with some Gum tree, this makes the leather hard and compact and flattens all fluff leaving a relatively smooth, hard surface.

BRISTLE AND THREAD PREPARATION FOR A BUTT SEAM When sewing by hand components for shoes or shoes, the principles to observe are (1) that the tread must be of sufficient strength to hold together firmly the sections forming the seam; (2) that it must be of sufficient substance completely to fill the hole made by the awl to ensure a watertight seam but also to avoid any movement or spreading whilst lasting –in case of an hand-sewn upper.

Here the pictures show the preparation of a thread suitable to sew a butt seam.

Ingredients: –

Two Bristles (nylon, formerly Boar).

–

Un-waxed 3-strand linen thread.

–

Beeswax

–

Tar

–

Sewing awl (appropriate seize!, in

this case SMALL)

–

Sanding paper (approx. 80 grid).

–

Knife

–

Pointed awl

To begin with, one must roughen-up the smooth nylon Bristles, this so that later the Tar will stick to the surface of the Bristle. Do not roughen-up the whole; leave 2,5“ smooth to hold whilst sewing.

Apply a coating of Tar, not too much as this will result in the thread sliding off, not too little as this will create a weak bonding and the thread will equally slide off. Do not apply Tar unto the bit left smooth, as there the hands will hold the bristle whilst sewing.

BRISTLE AND THREAD PREPARATION FOR A BUTT SEAM Now unwind the thread a little so that three single strands are visible. By means of a knife scrape each strand so as to create a tapered end. Let each strand smoothly follow the other, so that they seamlessly blend. This tapered thread-end will be attached to the Bristle at a later stage (With SHOEMAKING/BOTTOMING one makes the thread entirely from a spool of singlestrand linen. This allows creating different thread thicknesses for different tasks.)

Twist the tapered ends well together again and coat the thread with wax –several coatings may be necessary. Wax binds the strands together, lubricates whilst sewing and protects and strengthens the thread.

To make sure the wax coats the thread evenly all over –for smooth passage whilst sewing– one can rub the thread a few times with a piece of calf upper leather folded so the thread goes between two sections. This also helps to get the wax inside so that it coats every strand.

Apply Tar to each tapered end of the thread.

BRISTLE AND THREAD PREPARATION FOR A BUTT SEAM Then twist the thread very tightly around the Bristle beginning at the to of the Tarred bit of the Bristle downwards, leaving the smooth part of the bristle clean. !

The transaction must be completely smooth, lumps or bumps will result in bad, pain striking and impossible sewing; bristles will fall off, break or get stuck.

Then place a pointed awl between the thread and form an opening large enough for the Bristle to pass trough. Pass the clear part of the Bristle trough this hole and lock the thread unto the Bristle by pulling the Bristle entirely trough the hole. This needs to be done in one quick, smooth gesture, if done to slow the Tar will stick and make the operation impossible, if done too quick and brute, one might break the thread.

BRISTLE AND THREAD PREPARATION FOR A BUTT SEAM When pulled through ‘roll’ the bristle up and down with something flat, clean and hard.

This is done to consolidate the necessary smooth transition.

The prepared thread.

In shoemaking preparation is everything. If parts are not well prepared it ruins the working pleasure and makes it sometimes a quite hellish experience.

Form the Bristle in a curve that mimics the curve of the awl that is to be used.

BUTT SEAM The butt seam is basically a flat seam with a completely flat front-view (no visible seam), there is zero over- or underlay (the seams sits at the back and SIDES of the sections. It is, however an extremely tricky seam because the risk of coming out at the front is very big, especially with the relatively thin footwear upper leathers.

!

When pulling the thread through it is important to do this with a ‘controlled jerk.’ This because Tar has a working sticks and settles hard quite quickly, it is therefore important, when dealing with two Tar baring surfaces (such as two Bristles passing trough one little hole!) to not have them sit together still because they will soon become one; friction is indispensable.

To hold the sections in place use a strap, this allows giving pull without the sections coming undone, moving, etc.

FINAL PRODUCT 2 / PRODUCT EVALUATION Introduction The following document presents a chronologically arranged stage-by-stage record of the making of a pair of hand-made, welted bespoke men’s shoes featuring a machine-stitched rubber outsole. I order to be insightful, this record uses annotated photographs of the entire process.

Design / Oxford Minus The Oxford shoe is an iconic men‘s style. The ’Oxford Minus‘ (see image) is based on this classic men‘s style. Here, however, several subtractions have been made to ‘invite’ the spectator to fill-in/ imagine lines where they are ‘subtracted’. In this respect the designintention is to create ‘unsaturated design.’

Upper

Making

Last / Pattern

The upper of the Oxford Minus is at the in-

As outlined in the introduction, the Oxford Mi-

After the foot measuring process (see section

side, at the side-seam/ ‘back seam’ and at the

nus is not entirely hand made as the soles

on the measuring process) Springline turned

facing-area, hand-stitched using the saddle-

are stitched-on by machine, the reason for

out the desired last. Here, with this particular

and butt-stitch. The remaining part of the clo-

this is the fact that the outsole is a ‘Dainite

model, a lace-less shoe, the last needed to

sing has been machine stitched by Gaziano &

rubber sole’ (very high-density rubber). Hand-

be altered so that the shoe would ‘clip’ onto

Girling (G&G), where the maker has interned.

stitching rubber is a possible but infernal job

the foot as with a slipper. Therefore the joint-

This part of the closing could unfortunately

and would most likely give a very poor result

measurement was taken down together with

not be recorded (see Product Evaluation of

compared to machine-stitched rubber soles

the lower-instep measurement. The higher

final product 1).

(and this is what bespoke firms now all do;

instep, on the contrary, needed a little increa-

The upper of the Oxford Minus is practically

they send the shoes off to a factory if a client

sing. Also the sides of the last at the top-back

a wrapped whole-cut (i.e. one sole piece of

asks for rubber soles). The heels are equally

were taken down so as to fit snug around the

flawless leather as upper with only one seam,

build by means of machines –although the

higher-heel/ lower-ankle. Additionally, the

usually a back seam). The ’back seam’ with

hand still plays a big role– together with the

vamp-point has been taken up to a relatively

this model, however, is more a side-seam as

edge trimming, and edge setting and finishing

high point on the foot whilst still allowing en-

it is placed on the inside, within the arch area.

(see further in this document). The shoes are

tree. The fact that the shoes are bespoke

This leaves the back of the shoe seamless

nevertheless hand-sewn, hand-lasted and

shoes plays here an important part because

which increases the durability (the back-part

hand-welted using only the very best compo-

the last could be shaped and the pattern

of a shoe receives a lot of wear, even when

nents.

could be cut to exact measurements. As a

put on by means of a shoe horn, it is a stress

ready-to-wear shoe this model could not exist

area) and the sought-after aesthetic simp-

Extra Note

successfully as it would need to accommoda-

licity. This side-seam/ ‘back seam’ is hand

As previously mentioned, this record gives in-

te a too vast variety of feet (one would need

butt-stitched (see further in the record) and

sight into the process of the making of a pair

to in-built elastics or hidden lacing). Here, it

is completely flush and barely visible, it be-

of hand-made, welted bespoke men’s shoes

could be tweaked so that it has the desired

comes almost a ‘suggestion’ of a seam. The

by means of annotated photographs. Here,

‘hold-on‘ with wear without having to have all

same goes for the facings. At the top-line the

within this record of final product 2, the record

the dramatic paraphernalia of a ready-to-wear

butt-seam is protected by a dog-tail.

will at times direct the reader to pictures and/

shoe. The fact that the in- and outside ankle-

The back is embellished by a row of hand-

or annotations within the record of the making

bones are taken in consideration –as the in-

stitches, saddle stitches, that echo at the area

of final product 1. This is done because many

side anklebone sits somewhat higher on the

of the shoe where the facings and the vamp

stages are either identical or at least similar.

leg– equally contributes to a superior fit; gi-

are joined.

ving more support and preventing ankle-rub.

MAKING OF FINAL PRODUCT 2 / UPPER PREPARATION Upper / Design and Technique The upper shown is practically a wrapped whole-cut (apart from the facing section); there is only one ‘back seam’, situated in the inside of the shoe, the arch area. The absence of a back seam makes the back part/ counter/ heel (stress area) of the shoe strong and most unlikely to break over time.

The facings and the ‘back seam’/ side-seam are butt-stitched, which makes them flush and practically invisible. The ‘back seam’/ sideseam is protected by a ‘dog-tail’; this provides a stronger join than a plain seam.

Edge finishing All exposed edges are hand finished by means of fine sandpaper, cloth, dye and a burnishing iron.

The edge is sanded in one direction in order to lay the fibres down smoothly, then the edge is dyed, let to dry, burnished... and then two times the same thing over so as to obtain a lasting and smooth edge. And the end beeswax is melted into the edge and the edge is then polished.

MAKING OF FINAL PRODUCT 2 / UPPER PREPARATION Edge dying Applying dye is a tricky affair; it is best done very carefully with a cut brush –one should avoid getting the dye all over the upper!

Heating the iron The burnishing iron needs to have the exact right temperature, not too hot as this will destroy the dye, make it come off or crack, nor too cold as this will fail burn the dye into the edge and make them one solid unit. Here, only practice, trial and error can be guide. The facing is attached to the vamp by means of a saddle stitch.

MAKING OF FINAL PRODUCT 2 / UPPER PREPARATION Saddle stitch The saddle stitch is a traditional seam used by saddlers, now often used for bags and purses (e.g. by Hermes). Hand stitches are much stronger (two needles attached to one thread) and carry a whole other look than a machine stitch. Typical of the saddle stitch is the fact that they sit ‘like little pearls’ on/in the leather.

Stitches are pre-marked and then wholly pierced by a diamond shaped awl. It is important to hold the awl at the same angle and pull the thread through in a consistent manner in order to get a tidy and even stitch.

MAKING OF FINAL PRODUCT 2 / UPPER PREPARATION Clamp To hold the sections to be sewn in place either a clamp or a strap is used.

Butt-stitch The butt seam/stitch is basically a flat seam with a completely flat front-view (no visible seam), there is zero over- or underlay (the seams sits at the back and SIDES of the sections. It is an extremely tricky seam as the risk of coming out at the front is very big.

For a butt stitch the sections are pre-marked and pre-stabbed with a specific flat awl, then stitched and hammered flat.

MAKING OF FINAL PRODUCT 2 / INSOLE PREPARATION Insoles The oak-bark tanned leather insoles are soaked until mellow and subsequently blocked onto the sole of the last and left there to dry completely.

It is important to put the firm part of the leather at the vamp part of the shoe and the more loose fibered part of the soles at the heel area. This counts for almost all parts of the shoe, the best and strongest parts of the leather should be in the front as the front part is most subject to stress and most exposed to the eye.

Whence dry the insole is cut to shape, taken off the last, fine sanded and right and left compared and paired up.

MAKING OF FINAL PRODUCT 2 / INSOLE PREP. / STIFFENER PREP. Holdfast cutting As the insole is the very fundament of the shoe it is of great importance that it is prepared perfectly. (See also the making record of final product 1.)

Stiffeners The oak bark tanned leather stiffeners are soaked until mellow. Hereafter they are cut to pattern, scraped (removing the greasy grain surface) so that it will fuse with the upper and lining and paste and form one solid bond.

Next the stiffeners are skived at the edges gradually down to zero, to prevent rub-through (showing on the finished shoe) and sharp uncomfortable edges.

MAKING OF FINAL PRODUCT 2 / STIFFENER PREPARATION / LASTING A specific paste is rubbed into the stiffeners, first one side, the scraped ‘grain‘ side, then they are inserted in the upper, between the upper‘s lining and the upper, and the other side is pasted only then –to keep it clean.

Lasting The objective of lasting is to get the upper to sit straight (!) and tightly on the last. Here, the shoe takes shape. It is important to pair the shoes up and check crucial measurements such as anklebone heights, cap- and vamp lengths and back heights. Lasting seamless back is tricky as there is a surplus of leather that needs to be tucked under the feather.

MAKING OF FINAL PRODUCT 2 / TOE PUFF PREPARATION / LASTING After the upper being well tapped-up, the vamp of the upper is pulled back and the lining is solely lasted over and with rubber solution glued unto the feather and half the holdfast.

Toe-puff The oak-bark tanned leather puffs are scraped cut to rough shape and then skived down to zero at the edge. It is important that this is all done with most care, as any default will be likely to show on the finished shoe!

MAKING OF FINAL PRODUCT 2 / TOE PUFF PREPARATION / LASTING The puff is carefully measured unto the last, a too long puff will be likely to cut painfully into the wearer‘s foot and a too short or thin puff won‘t retain the shape well over time and crack soon.

Shaping a good puff is difficult; it should follow the shape of the last and not ruin its shape and elegance without being too thin –for reasons before mentioned.

Paste is applied; the puff lasted over (carefully without ripping it!), tapped up and allowed to dry completely over night.

MAKING OF FINAL PRODUCT 2 / TOE PUFF PREPARATION / LASTING Whence dry, the puff can be shaped and worked. Here the final toe-shape its in play, it is important to create a strong and lasting yet elegant shape, or any other intended shape.

The puff can be about 5mm thick; this can alter the shape of the last incredibly. If the puff is not shaped up it might result in a disappointed customer and/or designer.

It is also important to create a sharp feather edge (see pictures), if not the feather might ‘dip’ at the toe-area and this creates an inharmonious, unbalanced look.

MAKING OF FINAL PRODUCT 2 / TOE PUFF PREPARATION / LASTING When happy with the toe shape paste is applied and the upper‘s vamp can be lasted over.

Before this, however, a thin strip of newspaper is laid over the very edge of the puff, this will prevent rub-through and hide the edge.

The upper is now completely lasted over. It can be still worked and minor irregularities and pleats can be rubbed out, tapped out, or again blown out with a heat gun (if necessary, preferably not, of course).

MAKING OF FINAL PRODUCT 2 / WELT SEWING The welt If a hand-made welted shoe is to receive a machine stitched outsole, it is better to use a specific welt, of a different consistency, better for machine-work; an oak-bark tanned leather welt is less suitable for machine-sewing.

Thread making Next the threads are prepared for welt sewing. (See record on the making of product 1).

Welt sewing (See images and for annotation see record on the making of product 1).

MAKING OF FINAL PRODUCT 2 / FACTORY / OUTSOLE PREPARATION Bottom filling There are different ways of bottom filling, here a wooden shank is used, some bespoke firms will use metal shanks others use only a hard piece of outsole leather (it depends on the type of shoe, custom and customer). The shank is covered with a piece of soft leather.

Next the front-part cavity is filled with cork (some use tarred felt) and cut and rasped to shape.

Rubber Outsole Preparation After the bottoms are filled the desired rubber outsole is selected, glued, together with the bottom and welt of the welted shoe, and left to dry. Next glue on the rubber sole is reactivated in a specific oven and carefully glued onto the welted shoe –leaving no air pockets!

Then the sole is pressed tightly onto the bottom and welt by means of a special press. Hereafter the shoes are ‘rough-rounded’, i.e. the excess material of sole and welt are trimmed away, roughly (see also next page). This operation leaves an even distance between shoe and the welt-edge.

MAKING OF FINAL PRODUCT 1 / FACTORY / OUTSOLE SEWING After the shoes have been rough-rounded they are stitched together by the outsolestitch machine. (This happens in no time and is a somewhat baffling sight for those accustomed to hand-stitching the outsole on.)

MAKING OF FINAL PRODUCT 2 / HEEL BUILDING Heel Building After the outsoles have been stitched on, the heel length is determined and appropriate heel-blocks (pre-fabricated glued and stacked layers of leather) and top-pieces need to be selected (which is sometimes difficult if designs differ from the factory‘s standards).

Whence the right components are together they are roughed-up, glued and left to dry.

Bespoke and ready-to-wear, a cute contrast.

MAKING OF FINAL PRODUCT 2 / HEEL BUILDING Once the heel-blocks are fully dry the glue is reactivated and the heel-blocks are tightly pressed onto the sole. Hereafter nails are driven through the heel-blocks, soles and insoles to secure their position.

Next the heel block needs to be pitched correctly in order to stand flat on the ground.

This is checked with the top-piece, and then the blocks are sanded down flatter where needed and re-checked to secure a correct and stable shoe.

Sanding down a heel-block. (See also the section on heel building in the record of the making of product 1. where this is carried-out by hand.)

MAKING OF FINAL PRODUCT 1 / HEEL BUILDING / TRIMMING If the heels stand correctly they are glued and left to dry together with the glued top-pieces.

Subsequently the top-pieces are pressed onto the heel block to form one solid unit.

Finishing Next the heels and sole edges are trimmed to the desired shape, first rough than fine.

The trimmer needs to constantly ‘pair-up’ the right and left shoe and create an identical welt-width. This ‘pairing-up’ is obviously very important at every stage; clicking, closing, insole preparation, skiving, lasting, etc.

MAKING OF FINAL PRODUCT 2 / FINISHING / STAINING / SETTING After the heel and edges are finished, the dust is blown off, edge-dye applied and left to dry.

MAKING OF FINAL PRODUCT 2 / FINISHING / SETTING / POLISHING When the stained areas are completely dry, Yankee wax is passed along the edges and then edges are set by means of and electronically heated edge-iron. Next, the sole and heel edges are buffed to a high shine ready to be cleaned, antiqued, polished (see next page) after which the last can be removed.

FINAL PRODUCT 1 / PRODUCT EVALUATION Introduction The following document presents a chronologically arranged stage-by-stage record of the making of a pair of fully hand-made, welted bespoke men’s shoes by means of annotated photographs of the process.

Design / Double monk-strap The double monk-strap (see image) is a classic men‘s style, however, as with nearly all menswear, it can be conceived in uncountable manners. Herein lies the freedom, within this circumscribed playground, or grid of the double monk-strap.

Here, the intention was to create a shoe of a sharp and minimal nature (leaving away rather than adding). The sought after appearance is a shoe that has a special look wi-

pair of feet, as the shoes are ‘bespoke’, the

possible to the closer – leave no aspect un-

thout being overdesigned or too ostensibly

in- and outside anklebones are taken in consi-

clear to avoid surprises; there should be no

different. (The designer/ maker believes that

deration, this results in asymmetrical quarters

room left for interpretation for the closer!

‘less is more’, more or less.) Looking well at

– as the inside anklebone sits higher on the

It needs mentioning that the leather used,

the design one might notice how all the lines

leg. This gives superior support and prevents

crust baby-calf, presented some problems

either echo one another or work together in

ankle-rub. Also, as the trained eye might noti-

due to its very delicate nature. Baby-calf is

a harmonious way, or again are arrested in a

ce, the instep-point is measured so the upper

the like the Kashmir of leather, it is extremely

surprising fashion (i.e. leaving aspects away

can be cut exactly to that point, here this re-

soft and has a very tight grain structure and

that the eye/cultural agreements expect to be

sulted in the shoe sitting fairly high up onto

can be beautifully polished up to a very deep

there, as with the ‘cut’ heel of the design here

the foot (small circumference of the ankle).

black. Despite these fine qualities it is also al-

at stake).

In ready to wear (standardised) this sits al-

most too delicate for hand lasting because it

ways low so as to accommodate as much feet

is so thin and rips easily, on top of this it ‘rubs-

Last

possible. With bespoke footwear other silhou-

through’ (the underlay allowance of a seam

After the foot measuring process (see section

ettes take shape, however subtle perhaps,

showing through), even though well skived)

on the measuring process) Springline (a last

other design challenges present themselves

which may affect the shoe‘s appearance un-

manufacturer based in Northampton) turned

together with other design possibilities.

pleasantly.

ever, still needs to be checked to verify the

Upper

Making

measures and altered if necessary.

This record deals with the upper in so far

The product here in question is fully hand-ma-

as the maker has been personally involved.

de (apart from a part of the upper) following

Pattern

Here, this is the hand stitched ‘roll-stitch’ at

traditional methods on which the following

Despite the somewhat simple appearance of

the back. The closing of the upper has been

pages hope to shine a light. As mentioned be-

the double monk-strap, the pattern making for

carried-out by the footwear designers and ma-

fore, the used upper leather presented hard

a double monk-strap is not at all a straight-

nufacturers Gaziano & Girling (G&G), where

times lasting the upper over the last due to

forward matter. It is very difficult to make all

the maker has interned. This process could

its delicateness. This issue was especially

the lines appear harmonious, have the buck-

unfortunately not be recorded as G&G were

problematic because the shoe has no back

les pulling the straps correctly and have the

doing the job in the factory at an undetermi-

seam (seamless backs) and must be lasted

‘saddle’ sit completely flat unto the last (see

ned moment in time –in-between their habi-

over like a toe, which can put a fair stress on

sketchbook/ design development book). Many

tual labour. The patterns and the prepared

the leather (but it worked out fine).

curves need to be altered and/or ‘sprung’ to

upper-parts were handed to the factory where

give them the desired appearance and func-

they would be assembled. It is important to

tion. Also, as the upper is made for an unique

give as much information about the design as

out the desired last. The delivered last, how-

MAKING OF FINAL PRODUCT 1 / UPPER PREPARATION Upper / Design and Technique The upper here shown is a double monk-strap with seamless backs (see section upper 1) displaying a roll stitch.

The Roll stitch The roll stitch can be used to join sections, visually ‘break‘ surfaces (shoe aprons) or as decoration. Here it is used merely decorative, as a brand signature.

MAKING OF FINAL PRODUCT 1 / UPPER PREPARATION When using a roll stitch close to e.g. the topline one must bare in mind that allowance needs to be added (depending on substances used), if not the top-line will ‘dip‘ and be distorted which may affect the fit and/ or make lasting extra tricky.

Sending Uppers to the Closer The prepared sections are boxed-up, ready for the closer. The patterns and design standard are enclosed so the closer has a reference in case questions arise.

MAKING OF FINAL PRODUCT 1 / INSOLE PREPARATION Insoles The oak-bark tanned leather insoles are soaked until mellow and subsequently blocked onto the sole of the last and left there to dry completely.

It is important to put the firm part of the leather at the vamp part of the shoe and the more loose fibered part of the soles at the heel area. This counts for almost all parts of the shoe, the best and strongest parts of the leather should be in the front as the front part is most subject to stress and most exposed to the eye.

Whence dry the insole is cut to shape, taken off the last, fine sanded and right and left compared and paired up.

MAKING OF FINAL PRODUCT 1 / INSOLE PREPARATION Holdfast cutting As the insole is the very fundament of the shoe it is of great importance that it is prepared perfectly.

The holdfast is a rand created within the insole unto which the welt will be stitched. There are many thing to consider when cutting a holdfast; type of shoe/style, upper substance, components, type of outsole, insole substance (thick/thin).

The holdfast is carefully cut 1/3 of the insole thickness deep. Then the welt-stitches premarked (4 to the inch) and pre-stabbed for optimum control.

MAKING OF FINAL PRODUCT 1 / STIFFENERS Stiffeners The oak bark tanned leather stiffeners are soaked until mellow. Hereafter they are cut to pattern, scraped (removing the greasy grain surface) so that it will fuse with the upper and lining and paste and form one solid bond.

Next the stiffeners are skived at the edges gradually down to zero, to prevent rub-through (showing on the finished shoe) and sharp uncomfortable edges.

MAKING OF FINAL PRODUCT 1 / STIFFENERS / LASTING

A specific paste is rubbed into the stiffeners, first one side, the scraped ‘grain‘ side, then they are inserted in the upper, between the upper‘s lining and the upper, and the other side is pasted only then –to keep it clean.

Next the lining is pulled down again and the lasting operation can start.

Lasting The objective of lasting is to get the upper to sit straight (!) and tightly on the last, without air pockets. Here the shoe takes shape. It is important to pair the shoes up and check crucial measurements such as anklebone heights, cap- and vamp lengths and back

MAKING OF FINAL PRODUCT 1 / STIFFENERS / LASTING heights. Lasting seamless back is tricky as there is a surplus of leather that needs to be tucked under the feather (especially with delicate leathers), but with a good deal of sweat, water and the right tools and skill it is well possible!

When the upper is fully lasted, except for the toe area, the excess material/lasting margin is cut away so that the holdfast remains visible which will facilitate welt sewing. Next the nails are knocked over and the upper is tapped up in order to shape, smooth out irregularities and make the paste penetrate and bond the stiffener well to the lining and upper.

MAKING OF FINAL PRODUCT 1 / STIFFENERS / LASTING

After the upper being well tapped-up, the vamp of the upper is pulled back and the lining is solely lasted over and with rubber solution glued unto the feather and half the holdfast.

MAKING OF FINAL PRODUCT 1 / TOE-PUFF / LASTING Toe-puff The oak-bark tanned leather puffs are scraped like the stiffeners, for the same reasons, cut to rough shape and then skived down to zero.

It is important that this is all done with most care, as any default will be likely to show on the finished shoe –and the toe-area is unforgiving.

MAKING OF FINAL PRODUCT 1 / TOE-PUFF / LASTING The puff is carefully measured unto the last, a too long puff will be likely to cut painfully into the wearer‘s foot and a too short or thin puff won‘t retain the shape well over time and crack soon.

Shaping a good puff is difficult; it should follow the shape of the last and not ruin its shape and elegance without being too thin –for reasons before mentioned.

Paste is applied; the puff lasted over (carefully without ripping it!), tapped up and allowed to dry completely over night. Whence dry the puff can still be shaped and worked (see next page).

MAKING OF FINAL PRODUCT 1 / TOE-PUFF / LASTING

MAKING OF FINAL PRODUCT 1 / TOE-PUFF / LASTING When happy with the toe shape paste is applied and the vamp can be lasted over, before this a thin strip of newspaper is laid over the very edge of the puff, this will prevent rubthrough and hide the edge.

MAKING OF FINAL PRODUCT 1 / LASTING The upper is now completely lasted over. It can be still worked and minor irregularities and pleats can be rubbed out or blown out with a heat gun (if necessary, preferably not, of course).

Shoemaking is a messy business; before you know it you have tools and leather and leather dust all over!

MAKING OF FINAL PRODUCT 1 / WELT PREPARATION The welt The oak bark tanned leather welt is cut in two (for both shoes) by means of a strap cutter, scraped, grooved (groove where the stitches will lay in) and cut (45째) the edge under the groove that will lie against the holdfast (see section on welt sewing).

MAKING OF FINAL PRODUCT 1 / THREAD MAKING Thread making The making of thread from single strands of unbleached linen twisted together with special thread wax (a mixture of colophony, beeswax and tallow) is an indispensable skill because certain constructions require more strands/ heavier threads and others lighter threads/ fewer strands of thread.

Here, for example, 9 strands of this particular Swedish linen is used to create a strong thread for welt sewing. It is also important to consider the diameter of the awl used to stab the holes; the thread must not sit too loose in the hole as this will cause movement nor should it fill the awl hole up too much which will put strain on the material.

MAKING OF FINAL PRODUCT 1 / THREAD MAKING

At the ends the separate strands will be positioned about 1 inch from each other in order to create a long taper that will later be twisted around a bristle (think of a flexible needle either from nylon or boar‘s bristles) to create a smooth transition (see further images).

Whence the required amount of strands is gathered the thread is waxed (to ‘lock‘ the strands together and conserve, strengthen and protect the thread over time), twisted (so all the strands form one solid thread) and rubbed with a piece of leather (to melt the wax right into the thread). Then the bristles can be put on.

MAKING OF FINAL PRODUCT 1 / THREAD MAKING The bristles are slightly roughed-up with a piece of sanding paper, then tarred (to make it sticky). The same is done with the thread ends. Next the two tarred surfaces, the tapered end of the thread and the bristle are twisted together to become one smooth unit –ideally.

Finally the bristle is curved to mimic the curvature of the awl used because it has to enter through the hole made by the awl during welt sewing –which can be more tricky than it sounds!

Making thread and putting bristles on is important. If done wrong the work becomes a hell!

MAKING OF FINAL PRODUCT 1 / WELT SEWING

MAKING OF FINAL PRODUCT 1 / WELT SEWING Welt sewing Welt sewing is one of those typical figures belonging to the choreography of shoemaking.

As with many stages in shoemaking, it is hard to describe all aspects in words.

With a specific awl one finds the pre-stabbed hole in the holdfast, pierces the upper and then comes out within the groove in the welt.

Then, with a specific movement passes the bristles through the hole, forms a knot, pulls the thread through and pulls it tight, very tight (therefore one wears a leather glove on one hand and turns the other thread around the awl handle, to not end up with bleeding hands).

When ready, the welt is tapped straight and all excess material is cut away.

MAKING OF FINAL PRODUCT 1 / BOTTOM FILLING / OUTSOLE PREP. Bottom filling There are different ways of bottom filling, here a wooden shank is used, some bespoke firms will use metal shanks, others use only a hard piece of outsole leather (it depends on the type of shoe, custom and customer). The shank is covered with a piece of soft leather.

Next the front-part cavity is filled with cork (some use tarred felt) and cut and rasped to shape.

Outsole Preparation The oak bark tanned leather outsole is soaked until mellow and put between newspapers to loose excess moist. The sole is to be cut to size and roughed up so the paste sticks well.

MAKING OF FINAL PRODUCT 1 / OUTSOLE PREP. / THREAD MAKING After the soles are pasted unto the sole bottom the welt is dampened and the fudge-wheel heated and run over the welt. The fudge is basically a stitch marker, they come in a variety of seizes (here a 9 to the inch).

Next the outsole is channelled at the feather (forgot to take an image! and that is for a reason: it is one of the most tricky steps).

Basically one runs a knife along the feather of the outsole cutting into the sole but only about half way in deep and about 1cm in from the edge. This cut is opened with a channelopener. The stitches will sit ‘buried‘ within the sole and will not be visible from the outside (see further pictures).

MAKING OF FINAL PRODUCT 1 / OUTSOLE STITCHING

Following the marks made with the fudge wheel the welt and the outsole are pierced through and stitched together.

With outsole stitching it is difficult to create a regular and good-looking range. One needs to learn to stab and pull with regularity and consistency.

The pictures here shown show the opened channel. After stitching the channel is glassed and sanded a little to remove wax and tar next glue is applied into the channel.

MAKING OF FINAL PRODUCT 1 / OUTSOLE STITCHING After the glue is dry the channel is rubbed down, hammered and tapped down.

Outsole stitching is hard in the beginning but when one gets better at it one can take delight in good work as a Hepburn or a Kennedy takes in little pearls.

MAKING OF FINAL PRODUCT 1 / OUTSOLE FINISH / HEEL BUILDING Heel Building Before building the heels the outsole needs to be shaped very close to the intended final shape, this is achieved by means of a knife and a rasp.

Next the dimensions of the heel are marked and paired. The soaked oak-bark tanned leather heel-lifts are scraped, cut to shape, pasted and placed. After the positioning of each lift it is possible to trim it down to very close to the final shape. In case of a very curved solebottom a ‘horseshoe‘ is positioned before the placement of lifts, this, however, is not always necessary.

MAKING OF FINAL PRODUCT 1 / HEEL BUILDING Each heel-lift is attached with paste and a series of nails that are decapitated –so that they can be punched till just under the lift‘s surface. The nails need to sit just under the surface because each lift (especially the first) is taken down in the middle; the curvature is skived off so that a completely flat surface comes to the fore.

MAKING OF FINAL PRODUCT 1 / HEEL BUILDING Next the heel height is determined, the heel completed, rasped-up and paired up.

Cutting the heel ‘breast‘ (i.e. the surface of the heel that faces the toe of the shoe) is a quite difficult step. Firstly, the heel-lifts are of the hardest and most dense fibered leather, therefore hard to cut through. Secondly, to create a ‘geometrically‘ correct surface (in this case 90°) in one consistent cut is very tricky –and thereby not to cut into, or through the actual outsole!

Sharpening knives and keeping a keen edge on them is an indispensable skill!

MAKING OF FINAL PRODUCT 1 / HEEL BUILDING The final shape of the heel is cut. This is equally hard, getting all the lines to work well and correctly, without odd lines, requires a keen eye and skilful hand –and sharp knives!

Next the knife marks are rasped out, first with a rough rasp, then fine, working towards a smooth surface.

MAKING OF FINAL PRODUCT 1 / HEEL FINISHING Whence the heels are satisfactory rasped and have the right shape the rasp marks are glassed out (using the sharp edge of a broken piece of glass). After glassing the surfaces (4) (and 4 of the other shoe!) they are all sanded working down from 100grid, to 180, to 240 to finally 360 (see also next page) When arrived at grid 180 the surface is sanded only in one direction and with moist, this lays the fibres down and creates a perfectly smooth surface (a lot of work, sweat and dust).

MAKING OF FINAL PRODUCT 1 / HEEL FINISHING / OUTSOLE PREP.

The shoe in question has a ‘added-on‘ outsole. A bottom pattern needs to be made to the required shape; the leathers roughed up, glued and trimmed to shape.

MAKING OF FINAL PRODUCT 1 / FINISHING The sole edge needs to be squared up with the rasp. Next a little roll is formed from sanding paper (see picture hereunder) and the sole edge sanded/shaped (with moist in one direction!) until ‘convex‘. This is done so the edge will later conform to the edge-iron’s shape (see picture) and shows two crisp ‘lips.‘ The sole bottom is scraped and then sanded with a fine sanding block to create a ‘peachy‘ surface.

MAKING OF FINAL PRODUCT 1 / FINISHING / STAINING / SETTING To protect the sole bottom from stain it needs to be covered in low-tack tape.

Stain is applied with long steaks, taking care not to get dye all over!

Before using the irons it is very important to let the dye dry thoroughly!

Shown hereunder all the different irons that were needed for this particular shoe. (Good irons are hard to find, they come in different seizes and shapes all serving particular purposes.)

It is important not to overheat irons as this makes the surface crack instead of making it smooth and shiny.

MAKING OF FINAL PRODUCT 1 / FINISHING The edges are ‘set‘, this means that the irons are pressed onto the edges and surfaces that received the stain –with force, but carefully, one slip could ruin the whole shoe! This makes it all come out, the shapes clear up and everything becomes visible and tidy (if welldone).

The fudge wheel is once more run over the stained welt; this sets the stitches up tidy, regular and shiny (a look that is often copied in fake welts as a mere decorative feature).

For the best result the heel and edges are resanded with fine sandpaper (360grid) after all has been set! This creates a sublime surface but takes much longer because everything needs to be done all over again!

MAKING OF FINAL PRODUCT 1 / FINISHING After the edges, breast and heel surfaces are satisfactory set, the bottom is nailed with brass nails. The nails bend easily so need to be knocked in with one solid hit. Next their heads are clipped off and than the rest is filed down until flush with the surface.

MAKING OF FINAL PRODUCT 1 / FINISHING The previously unstained heel and bottom parts are now stained with a specific bottom stain.

Finally the shoe is cleaned-up with antiques, waxes and polishes.

MAKING OF FINAL PRODUCT 1 / CLEANING An impression of the workplace after some work. It is a funny idea that a relatively clean and luxurious product can come out of such a world of chaos.