The Iconic Shoes of Cinema

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Judy Garland’s red shoes in ‘The Wizard of Oz’ (Victor Fleming, 1939)

It would be great if saying the words “There’s no place like home” and tapping your heels with your red sequined shoes were enough to get you home after a long journey.

The ballet shoes of The Red Shoes (Michael Powell, 1948)

The protagonist of this classic English film could not stop dancing in these red ballet shoes.

Catherine Deneuve’s Pilgrim in ‘Bella de día’ (Luis Buñuel, 1967)

This is one of Roger Vivier’s most emblematic designs, a pair of rectangular buckle shoes with a medium-thick heel that Catherine Deneuve made famous in ‘Bella de día’.

Las zapatillas Nike de Michael J. Fox en ‘Regreso al futuro 2’ (Robert Michael J. Fox’s Nike shoes in ‘Back to the Future 2’ (Robert Zemeckis, 1989)Zemeckis, 1989)

Slippers that tied themselves were one of the things that were happening in the distant future 2015. This year Nike has announced that it will release a model inspired by the ones worn by Marty McFly.

Las botas de charol de Julia Roberts en ‘Pretty Woman’ (Garry Marshall, Julia Roberts’ patent leather boots in ‘Pretty Woman’ (Garry Marshall, 1990)

A scandalous, above-the-knee patent leather boot for one of the most endearing prostitutes ever to come out of the cinema.

Tom Hanks’ Nike shoes in ‘Forrest Gump’ (Robert Zemeckis, 1994)

Tom Hanks’ character would not have travelled the same miles without the classic Nike ‘Cortez’ model.

Uma Thurman’s Asics shoe in ‘Kill Bill’ (Quentin Tarantino, 2003)

Tarantino dressed the new action heroine in a yellow tracksuit and sneakers, a look that will go down in the annals of film history and is a beautiful tribute to Bruce Lee.

Bill Murray’s Adidas shoes in ‘Life Aquatic’ (Wes Anderson, 2004)

Wes Anderson movies are always full of interesting sartorial objects. This time Bill Murray’s original look was completed by Zissou shoes from Adidas.

Kirsten Dunst’s Converse shoes in ‘Marie Antoinette’ (Sofia Coppola, 2006)

One of the coolest historical gadgets in the history of cinema, the lilac Converse shoes that were part of Marie Antoinette’s wardrobe.

The ”manolos” of Sarah Jessica Parker from ‘Sex and the City’ (Michael Patric King, 2008)

Carrie Bradshaw launched into stardom these super feminine and sophisticated shoes designed by Manolo Blahnik.

Lily James’ glass shoes in ‘Cinderella’ (Kenneth Branagh, 2015)

Cinderella’s glass shoe is a key part of the plot of this classic tale. And it has become one of the most versioned shoes in history.

From lavender to wheat: this is how Jacquemus fulfilled his social distance in his last parade

An infinite golden field is the bucolic print chosen by the French designer to present ‘L’Amour’, his spring-summer 2021 collection

Can a dreamlike atmosphere be created in this current scenario and by meeting the distances required? The answer is always yes when we talk about Jacquemus. For his spring-summer 2021 collection, the designer has chosen to make a regular presentation, which he has also transferred to nature. With one exception: if we still remember those delicate fields of lavender that were the protagonists of his spring show last year, in 2020 he replaces their lilac tone with the golden one of infinite fields of wheat about to be harvested. In the middle of them he has included a winding catwalk along which his models have paraded before the attentive gaze of an audience whose seats were at the side of the road, making room between the ears by means of wooden chairs and respecting the distance between each one of them.

The stage, of course, has delighted the guests, who could not avoid photographing this landscape. If the print was bucolic in itself, the couturier has also recreated curious scenes. For example, he has installed a bed in the middle of the field, as we could see in the photo published by Jeanne Damas in her Instagram profile. He also put up a large white frame that served as a perfect background to underline the idyllic character of the place where he presented the collection.

The backdrop had all the makings of a viral parade itself. Under the name of L’Amour, Simon Jacquemus presented a collection of visually pleasing colors that harmonized with the warmth of the wheat fields. White, earthy tones, yellow, a palette of ecru and beige and black dyed a proposal whose lines follow the silhouettes to which the designer has already accustomed us: dresses and blouses with asymmetrical knots, deep necklines, tops with cut-outs as sexy as delicate, fabrics ranging from linen to knit, prints like the checks…

Accessories once again play a fundamental role in this show: the creator proposes irresistible pieces in which he includes suede, canvas or leather and plays with everyday objects, such as plates. He also puts his Chiquito to the test, experimenting with different models, sizes and materials (including wicker) that are destined to become the industry’s next object of desire.

Love, Jacquemus wrote, has been precisely the driving force behind the collection. Above all, that of his team’s ability: “Not long after my team split up, we were all in our respective homes feeling the desire to work, and a new vision of the collection emerged. We became a human chain, executing with love every step of the creative process. In fact, every decision I make concerning Jacquemus is motivated first by love and then by common sense. This is what justified, he explained on Instagram, his decision to come down at a more sustainable pace this year, with two parades combining the female and male lines. “This decision ended up saving us this season, as we received all our fabric orders before the confinement. The decision to go ahead with our usual calendar and with the parade is at the heart of our visual identity and our commercial strategy. With this smaller collection, presented mainly to our family and friends, we bring out our inner worlds, interpreting the humble fabrics and objects we live with, which have their own poems to tell”.



History of a Red Sole. It is clear that the color red raises passions and if not that they say it to two big companies of footwear of luxury that have come up to the confrontation in the Courts of Justice of the European Union.

Louboutin and the battle for red soles

The footwear designer and master shoemaker par excellence of French origin Christian Louboutin, won in June 2018, after six years of confrontations the lawsuit he had to defend that the red color of the soles of his shoes was a distinctive sign and main element of the European Union trademark that he has registered. The red soles have become a fashion icon and as a red mark is valid and protected.

It should be remembered that since 1992 the shoes designed by Christian Louboutin have been characterised by their red lacquered soles.

Can a colour be registered as a European Union Trade Mark?

The Court of Justice of the European Union has finally recognized Louboutin’s exclusivity to use red soles in his shoe designs.
It all started when a Dutch shoe company, Van Haren, copied the red colour of the soles of designer Christian Louboutin. The judgment states that the red mark is a registrable sign and that it was protected before the Dutch company began to manufacture its shoes with red soles and to market them in its shops.

The decision means that since June 2018 the luxury footwear firm can keep its most characteristic stamp, the red sole, registered as its own brand.

There are other companies that have a registered colour, such as the jewellery company Tiffany&Co, which in 1998 registered the so-called Tiffany blue. The British food multinational Cadbury legally protected the purple wrappers. For its part, the mobile phone company T-Mobile, registered in the Netherlands the magenta color that identifies its logo. In Spain there are also other cases of patented colors, such as the blue of Evax packages, the green of El Corte Inglés or the green of the Guardia Civil, among others.

Without a doubt, the colour of a brand is an unmistakable insignia and therefore deserves protection, or is the colour Ferrari red just any colour?

Protection of footwear designs.

This issue of the battle for red soles goes back to 2012, when Van Haren was selling women’s high-heeled shoes with red soles in its stores. Louboutin sued him in the Dutch court, as he infringed the exclusive rights that Louboutin had obtained by registering the colour red for the soles of his high-heeled shoes.

It should be remembered that Louboutin legally registered the heel with the red sole in 2010, and do you know why? We’ll tell you why at the end of the post.

On the other hand, the Dutch company claimed that the designer’s trademark was invalid, excusing itself that according to the European Union’s Trademark Law it is forbidden to register any sign formed only by the shape of a product, in this case the sole. The judge concluded that the concept of “shape” must be effected in accordance with its usual sense of language. And in everyday language, a color in itself, without being spatially delimited, is never considered to constitute a shape.

For that reason, Louboutin made it clear that when he registered the mark the outline of the sole does not form part of the mark, but is intended to highlight the position of the mark, which is the colour red, a colour which is stipulated in the international identification code such as Pantone 18 1663TP and which he applied to his red soles.

In other words, Louboutin’s mark does not consist of the specific shape of the sole of a high-heeled shoe. Drawing the sole serves only to highlight the red colour of the object.

The red sole has allowed the public to attribute its origin to its creator, Christian Louboutin, over the years, thus creating a true personal brand that is different and associated with red soles.

The Advocate General of the European Union Court, Maciej Szpunar, was in favour of annulling the French designer’s mark. For him a mark combining colour and shape can be refused according to the agreements of the directive. Szpunar maintains that the analysis must be made of the intrinsic value of the shape without taking into account the attractiveness it makes to the product because of the reputation of the trademark owner.


Loewe invents a new way of parading: a “show” in a box


His proposal, inspired by Marcel Duchamp, is added to the new initiatives of brands such as Louis Vuitton, Gucci or Saint Laurent

Loewe has presented his spring-summer 2021 men’s collection in an extremely creative alternative format he has called show-in-a-box. It was a classic 50s style filing box, with internal dividers that treasured everything that could be seen, heard, perceived and touched in the show that “imagined” took place yesterday Sunday at noon. In Loewe they have shown that there are other ways of parading in the times of the Covid-19, uniting tradition and technology.

The fact is that anyone who thinks that fashion will stand still is confused. Jonathan W. Anderson, creative director of Loewe, has taken the idea from Marcel Duchamp’s famous boxes, those Boîtes-en-valises he sold in America, which included a whole series of drawings, silk-screen prints, photographs, miniatures and small installations with which the great artist tried to create small portable museums. Launched from 1936 to 1966 by subscription and initially produced by hand by Duchamp himself, these boxes condensed the essence of his work.

Contemporary Craftsmanship

“I didn’t want to go back to the parades yet, but to promote crafts and traditions in a contemporary way. I wanted to give importance to architectural volumes and unite clothes and bags as if they were one piece,” Anderson says in the video presentation of his show. Each box sent to the press and guests included large cut-outs of the collection’s eyewear, cards with the shoe collection, a colour chart showing the softness of the chosen ranges, or beautifully arranged fabric samples.

A personal letter from Jonathan Anderson, photos of the garments in the collection, a replica of the parade’s backdrop, paper sculptures to be mounted personally and even a record in which the sound of Loewe’s workshop in Madrid could be heard with a rudimentary cardboard and a needle, completed the surprising physical kit sent to the home as if it were a post-war spy case.

Digital support

The show-in-a-box was completed with a great series of digital contents on Instagram and the brand’s website that were made public yesterday. Among others, a selection of home videos of the participants in the fictional front row, artists and singers from the five continents recorded in their environment were shown. Also distributed were videos explaining manufacturing processes, such as the centenary Japanese Shibori, a type of dyeing similar to tie dye sixty or the craftsmanship behind the clothes in braided straw. This presentation, which invited people to get involved in the project, both in terms of touch and visual appeal, was a real novelty after these months of confinement in which digital and evanescent life presided over the scene. A cahier of physical and unexpected style in today’s ethereal world.

This initiative follows the announcement of Louis Vuitton, which will develop a series of short parades almost without an audience in different cities around the world, expanding the universality of the brand without compromising the health of those attending. And it joins the novelties at Gucci and Saint Laurent, which are reducing their shows to twice a year but in a digital way, while other brands are showing their collections on Instagram or booking for better dates. The paradox of Lampedusa, changing everything so that nothing changes.


Carrie Bradshaw’s favorite store in 2020 would be this shoe junkie corner

Sarah Jessica Parker is about to make one of the biggest dreams of the Sex and the City character come true

I’m sure that if the Carrie Bradshaw who conquered all fashion lovers from 1998 to 2004 knew that in the year 2020 she would be so close to her beloved Manolo Blahnik, she would not have believed it and would have written a column fantasizing about the remote possibility. But the truth is that, in addition to continuing to share the same looks, it seems that Sarah Jessica Parker and her character of ‘Sex and the City’ are also destined to fulfill the same dreams. Following in the footsteps of Carrie and her -conical- shoe addiction, the shoe firm the actress founded six years ago, SJP Collection, will open its first official store in the same place in Manhattan where designer Manolo Blahnik had his New York boutique -a place of worship where Carrie spent more time than at home. So, the reign of the fine-tipped, high-heeled salon continues!

Although the actress’ brand had a pop-up store and showroom, from next April it will have the spacious and luminous space that her signature jeweled buckle and sandal stilettos deserve. A universe filled with Carrie Bradshaw’s favorite satin heels? Yes, please! Best of all, the store, located in downtown Manhattan, will also feature the full line of SJP Collection accessories, ranging from handbags and sunglasses to cell phone cases, perfumes, candles, books or even beach towels. A 360 degree immersion in the world of Sarah Jessica Parker who, thanks to her impeccable taste in fashion and, above all, accessories, has become the style prescriber that her legendary character has always been.

Are you already thinking about planning a trip to New York with your friends? We confess that we are too. So point this direction, 31 West 54th Street, if you want to give free rein to nostalgia… and to the credit card – in the purest Carrie style. Sarah Jessica Parker has made it clear in her last post, everyone is welcome to her particular empire, “this store is a dream come true for #SJPCollection and we can’t wait to welcome our usual customers, open our doors to new ones and create a space where everyone is welcome”.