It’s relatively an easy process for us to go into a store and choose a pair of shoes to buy. What doesn’t go through our minds is the why and how it arrives to its final destination in-store; how a designer or brand is able to negotiate getting their products into stores and boutiques nation-wide. The footwear industry doesn’t just include fashionable heels but also encompasses athletic shoes, work boots, children's footwear and more.

One of the many ways for brands to get noticed and strike business deals is through exhibiting their wares at tradeshows. Currently, one of the top tradeshows is taking place in Las Vegas, Nevada called, FN PLATFORM.

Under the direction of Leslie Gallin, Vice-President of Footwear for Advanstar's Fashion Group, FN PLATFORM showcases “the most comprehensive assortment of footwear brands at any tradeshow in North America. Featuring over 1,500 new and emerging labels...” Simply put, this is one of the industry’s most recognized and must-attend events which bring together top retailers, brands and decisions-makers under one roof.

I had the fortunate opportunity to conduct an interview with Gallin who graciously took time out of her busy schedule during FN PLATFORM to answer a few questions about this tradeshow, her experiences and the footwear industry.

What drew you to the business of fashion and retail, and in particular footwear?
LG: The people. They are the soles of the earth and some of the nicest people you'll ever meet.  As an industry, they actually like each other and look forward to getting together, working and playing hard.

Trade shows aren’t normally visited by the everyday consumer, can you tell me three things someone would find interesting about FN PLATFORM?
LG: If the consumer was allowed to attend they would be wowed... the array of shoes and brands they could see would be reminiscent to Willy Wonka’s chocolate factory for those who love footwear.

What are some of the most memorable shoes you’ve seen at FN PLATFORM?
LG: Julian Hakes – futuristic... and Luciano Padovan... they are works of art.

Image above: Julian Hakes’ Mojito shoes, the only ones in the world with hand applied Swarovski crystals, the white heel was especially designed for recording artist, Nicki Minaj

Footwear has always been an important segment within the retail industry, but in the past few years there’s been a turning point for increased consumer demand for more high-end designer-focused brands. When did you start to notice this change in consumer mood?
LG: Ever since jeans became an acceptable wardrobe staple for all business and social events... shoes came out from under the covers. A new pair of shoes makes anyone feel special.

You’ve developed a list of your top five footwear trends at FN PLATFORM for fall/winter 2012-2013. What factors help you decide on the hottest trends we’ll see in the stores and on the shelves?
LG: There are so many different factors that play into deciding trends; culture, the economy, etc. Trend time cycles are constantly evolving and translated through different areas of design whether it is home, accessories, apparel or automobiles.  

Leslie Gallin's top five footwear trends for the fall/winter 2012-2013 season:
1. Reptile Skins
2. Mixed Materials
3. Buckles
4. Electric Hues
5. Tailored Styles 

What are your criteria for a well constructed and well designed shoe?
LG: A well-constructed shoe has the biggest impact on how long the shoe will last and ultimately, how much it will cost. Generally speaking, the materials used needs to be resilient and accommodate your foot while walking. As far as design, it has to do with merging innovation with practicality. Finding new ways to style the foot, just like with apparel.

What are some up-and-coming footwear brands we should keep an eye on?
LG: Ah, there are so many good new brands up and coming... have a look at Zoe Kratzman and Jorge Bischoff.

Image above: Zoe Kratzman, spring/summer 2011.
Image #1 courtesy of FN PLATFORM. Image #2 from Julian Hakes. Image gallery #3 from Zoe Kratzman

On a beautiful fall morning I had the pleasure of interviewing Canadian footwear designer, Abel Muñoz at Yorkville boutique, George C where his designs are carried.

Abel and I have always run into each other at multiple events over the last year, but this was the first time we had the opportunity to sit down and have a conversation about his work and love for shoes. His heels have appeared in Vogue Italia, WWD, Flare Magazine and are carried in boutiques in Canada and internationally; most recently in Seoul, South Korea, and Soho, New York City.

During our talk, Abel taught me a lot about shoe making and as a result, I’ve added additional questions from this interview than with my previous subjects to this blog post – our conversation is edited for length.

I absorb and look at the world that I live in which is many worlds; how different cultures are assimilated, experience, enjoy and how they produce and create fashion. Also the cities I travel to, but really it’s an idea or a feeling more than anything else (that I draw) from the people that I work with.

What are your criteria for a well constructed and well designed shoe?

It’s very simple, a well constructed shoe is a shoe that is traditionally made not necessarily by hand with a hammer, but it could be with technology and still take into account traditional shoe making. It’s the use of leathers, the plateaus and the heels as opposed to shoes you see in less expensive places where it’s just a fibre poured into a mould and there is no flexibility, there’s no sole or shank – a piece of metal that goes into a shoe and gives a lot of support and flexibility so that the shoe moves.

Abel Muñoz fall/winter 2011 collection (selected styles) 

There is no heel or platform too high and there is no heel or platform too low, everything goes.

Can you tell me about a shoe you will never forget?

It’s pretty much the first pair of shoes that I made – I make all my shoes myself and I make them by hand – it was simple pair of flat mules out of brown leather made here (in Toronto) at a school called, Sarah Rotering’s studio that’s now closed.

What styles of shoes do you like?

I like the Italian classics but especially ones with a modern twist.

What styles of shoes do you dislike?

I don’t like shoes that are overly designed and not functional. I understand and respect different ideas but some shoes are not practical; how is a woman supposed to wear them and how much are they (the shoes) going to hurt you?

What footwear projects do you have planned for the future?

I’m launching in Ruia, New York City, this spring/summer which is a boutique that mainly carries shoes. My shoes are also in Seoul, South Korea, in a series of small galleries that carries a lot of artisan pieces.

Abel Muñoz spring/summer 2012 collection (selected styles)

What is your present state of mind?

Optimistic but very cautious.

ADDITIONAL INTERVIEW QUESTIONS:

What are some of your experiences as a footwear designer in Canada, the challenges and success you've faced?

The huge challenge is that there is really no industry here, there used to be but it was lost due to massive production and manufacturing. There are still a few places in Quebec who manufacture shoes but it’s small. Also, to convince retailers that what you’re doing is good because many of them go to Europe and elsewhere to find product, and I’m here doing something just as good or even better than some of the shoes they bring in (from out of the country).

However, there has been a lot of support from boutiques such as George C. I’m into my fifth season with George C., they’ve picked up my designs and have been with me through my growing pains from the very beginning; George Corbo (owner) has mentored me a lot.

What is your proudest accomplishment/moment with Abel Munoz Accessories?

The fact that I’m going into my fifth season not only here (in Canada).

I’ve received some positive feedback on my interviews with footwear designers, Charlotte Olympia Dellal and Nicholas Kirkwood. As a result, I’m continuing my footwear focused interviews by adding more interesting designers to my list, using questions I’ve adapted from the Proust questionnaire.

You know the term, “It’s all in the family?” Well, no truer does the phrase applies to Karl Kowalewski, Director of Leather Product Development and Design at Roots.

I chose Karl as my subject for this interview for three reasons; the first, he comes from approximately three generations of shoemakers – I felt this alone makes for a different story to tell than my previous subjects. Secondly, Roots originally started out as a business producing the negative heel shoe and lastly, it’s a successful a Canadian company fiercely dedicated quality and comfort which is paramount.

I didn’t have the opportunity to meet Karl for this interview – I’m sure our paths will cross soon enough – but the timing seems fitting as the company approaches its one year mark after reintroducing shoes into its product line and to its customers last fall.

What inspires you as a footwear designer?

My travels to Italy is what inspires me. Each season I meet with the tanneries where we hand-pick our leathers for the bags and shoes. I attended a technical school for shoe design back in the 70’s so Italy holds a special place in my heart. I’m inspired by the Italian people and their culture.

What are your criteria for a well constructed and well designed shoe?

It’s simple really. Using the finest materials, which means designing a good last (the form the shoe is built around), using the best leathers and having a durable sole.

Do you have a shoe motto?

It's cliché, but if the shoe fits, wear it!

Can you tell me about a shoe you will never forget?

I will never forget the first boot I designed when I was 18. I saw the movie Woodstock and Joe Cocker was wearing his purple boots with the white star on the toe and I was determined to craft myself a pair. I quickly went to my dad's workshop and made my version of a tall purple suede boot with a white star on the toe and high leather stacked heel. I thought it looked cool with my denim bell bottoms. I wish I still had them today.

Roots’ spring/summer 2011 collection

I like classic all-leather shoes. At Roots, our shoes are designed to withstand the test of time. We have styles that we've tweaked from the 70’s, when we first began making shoes, as well as new styles being regularly introduced. They are fashionable now and will be years from now.

What styles of shoes do you dislike?

I've never been a fan of canvas sneakers.

What footwear projects do you have planned for the future?

I want to introduce Roots footwear for kids. My grandchildren have inspired me!

What is your present state of mind?

That's a good question. Frantic at the moment (laughs). We have several projects on the go, including putting the finishing touches on the new Fall line of leather bags and footwear. Fortunately, it’s a good frantic. This is an exciting time at Roots.

Images courtesy of Roots

Last month I published my interview with UK footwear designer, Charlotte Olympia Dellal and I’m following up with my conversation with Nicholas Kirkwood, the architect and new innovator of footwear.

If you were walking down the street and passed by Kirkwood you would never guess in 2008 he was awarded the Footwear Designer of the Year award by Condé Nast's Footwear News publication, or that his work has given new life and focused attention to footwear in fashion.

Sitting with Kirkwood one-on-one revealed his quiet and subtle demeanour, a contrast to his bold statement shoes famously known for its architectural quality and use of innovative materials such as python, shaved stingray or laser-cut mirror leather. I came out of this interview appreciating Kirkwood’s deep reflective nature and felt that I only scratched the surface with him.

Everything, from architecture to film and music, really also being in London and the work of other people like the ready-to-wear designers; there are many things in London to be inspired by.

What are your criteria for a well constructed and well designed shoe?

First, it’s to find the right factory in Italy who uses quality materials, small stitching – it’s attention to detail. A lot of times it’s in the finishing part, which is something that sometimes gets rushed through in many factories; they clean up, make sure there’s glue on the soles, all these types of things and putting a bit of love in the manufacturing.

Do you have a shoe motto?

I’m going to try and come up with one right now... I’ll think of one by the end.

Can you tell me about a shoe you will never forget?

There is no specific shoe but it’s the work of Roger Vivier and how he used to go to NASA to get a heel developed. The whole idea of the real exploratory and trying to change the boundaries of footwear at the time; it’s him, André Perugia and Ferragamo.

Nicholas Kirkwood spring/summer 2011 collection

What styles of shoes do you like?

I like high heels – you might guess that one (laughs). Things that are interesting as a silhouette, even if you turn off the light and shine a light from behind, it’s the shape a shoe creates that for me makes it interesting.

What styles of shoes do you dislike?

Sneakers on high heels.

What footwear projects do you have planned for the future?

I’m currently working on collaborating with the Keith Haring Foundation to make a mini collection of 10-12 pieces based on of his art work and using it to create pattern pieces. It’s a fun project, as soon as I get back from here I’m going to start working on it. 

What is your present state of mind?

I think it would be really funny to say hung over but I’m not (laughs).

Nicholas Kirkwood's design collaboration with the Keith Haring Foundation

Images from Nicholas Kirkwood

Back in October the Bay hosted a spectacular reception to celebrate the one year anniversary of The Room titled, “God Save the Queen”. A day later, I had the great opportunity to interview footwear designers, Charlotte Olympia Dellal and Nicholas Kirkwood.

I’ll be publishing my interviews with these designers in two separate blog entries; Dellal in this post and Kirkwood next month. The questions I’ve asked these designers are based on the Proust questionnaire with a few personal adaptations.

You’re probably asking yourself, why I waited so long to publish these interviews. To put it simply, it was a matter of timing; wanting to bring in new content for 2011, as well as tying the interviews to London Fashion Week’s fall/winter 2011 shows.

Charlotte Olympia Dellal’s designs are whimsical and tell a mirage of stories taking inspiration from the likes of Carmen Miranda and E. B. White’s novel, Charlotte’s Web. Upon meeting her it was apparent where these designs come from, Dellal’s natural charm, sense of humour and easygoing personality are key indicators. She is captivating and my moment with her spoke volumes about the love she has for her craft.

What inspires you as a footwear designer?

Many things, I have a true essence of my brand so I’m inspired by people, whether they’re alive or dead, different fabrics, textures, a bunch of things. There’s always a starting point for things which inspire me whether be a person or interior or a colour.

What are your criteria for a well constructed and well designed shoe?

Being a woman, I actually wear the shoes so I know what they feel like, whether they’re comfortable or not comfortable. The design obviously comes first but then it’s trying to make it practical at the same time, because it’s not just about designing a pretty shoe. At the end of the day it’s still a business and I want to sell shoes that are wearable.

Do you have a shoe motto?

The higher the heel the better I feel.

Charlotte Olympia spring/summer 2011 collection  

Can you tell me about a shoe you will never forget?

Probably the first pair of shoes I saw was my mother’s which appeared to be fantastically high at the time; they were a pair of gold Gucci platforms with an ankle strap.

What styles of shoes do you like?

High heel with a platform, but I like my flats – I’ve only started recently doing flats, so they’re always a low version of the high shoe. I like my flats to be somewhat simpler and easier to wear because a flat shoe for me is about being a bit more practical.

Flats are essentially what I wear mostly in the summer and I think it’s a natural way for me to introduce a flat shoe in the form of a summer sandal. As much as I love my high heels, in the summer or by the seaside I am not one to wear high heels; that’s not practical I tend to wear flat shoes if not Converse.

What styles of shoes do you dislike?

It’s pretty hard to say that because I might say that I dislike it a shoe and then in a few seasons I’ll make something similar with a different interpretation, a better way of doing it. However, I’m not into UGG boots, they’re ugly.

What footwear projects do you have planned for the future?

I’d like to do more collaboration with other designers. I have a few plans but I’d like to plan more.

What is your present state of mind?

Excited, it’s been a fantastic couple of days. I’m leaving Canada excited.

Charlotte Olympia fall/winter 2010 collection

Spring/summer 2011 and fall/winter 2010 images taken from Charlotte Olympia’s Facebook fan page

Over the past year I’ve met a lot of people through social networking, be it through this blog or on Twitter. One of those people is Courtney Blackman, Co-Founder and Co-Chairman of the Fashion Business Club (FBC). She kindly reached out to me after I published a FBC video in a blog entry this past June and since then we’ve become pen pals.

Courtney is a woman of many talents – in addition to her work with FBC – she is the Founder and Director of Forward PR, sits on the board of the Ethical Fashion Forum and sat on the advisory board of the Fashion Summit 2009. During my recent trip to London we had the chance to meet for the first time, I asked her a few questions about her involvement in the fashion industry and work with FBC.

1. How many seasons have you been involved with London Fashion Week? 

Probably about 11 or 12 seasons, a mix of both attending and working; when I first got into the fashion industry in London I was working as the in-house PR Marketing Director for a fashion designer. After that I open my own agency.

For the first few seasons I attended London Fashion Week and we would get clients that would be exhibiting at as exhibitors, it was only within the last few seasons we started doing PR for shows.

2. How has London Fashion Week grown and developed over those 12 seasons?

It’s moved around a lot, it used to be in Chelsea at Duke of York Square, then it moved to the Natural History Museum and now they’ve moved to Somerset House.

There’s also been a noticeable difference since Harold Tillman has taken over as Chairman of the British Fashion Council. It’s much more business oriented and there’s a lot more communication; they send out a lot more e-mails communicating about the fashion industry and the impact it has on business as a whole in the UK and how much money it brings in. I think that’s better because it makes the general public understand that fashion is a viable industry and gives so much to the country. They’ve also pulled in Boris Johnson and David Cameron, really trying to get the government involved because it is an important industry.

3. There’s a prevalence of street fashion photography and bloggers at London Fashion Week – it’s much more visual and concentrated. What’s your take on this?  

Street fashion photography is really big, it started with the Sartorialist and now everyone is doing it and getting in on the action. Everyone has their part during London Fashion Week; you have the editors, you have the journalists, you have the people who dress crazy and then you have those who photograph these people.

The bloggers are like micro celebrities in their own right; they dress a certain way, blog and they want to get photographed.

London is such a creative city, a creative country – there’s always been that kind of feeling to Fashion Week.

4. How did you form the Fashion Business Club?

A year after I launched my own PR company I met my now business partner, Alison Whelan. We conceptualized FBC and communicated it to people within the fashion industry in London and had such a great response. We held our first meeting just to see how many people would come and 75 turned up. Then we went to the drawing board and decided how we want to make it function. 

FBC has just past four years of being in operation and it has grown so much. Meetings are always the last Thursday of every other month at 3:00 p.m. We’re partnered with Swarovski Crystallized (our venue partner), with Vogue.com (our media partner) and we’ve just partnered with MyWardrobe so they dress Alison and I for events. We also just launched FBC TV last year, so we film all of our meetings.

Our next meeting is on September 30^th we’re having Laura Bailey; she’ll be interesting because we’ve never had a model and never had someone involved in the ethical fashion industry – she’s also a journalist and entrepreneur.

Dolly Jones (left) interviewing Laura Bailey (right) during the September meeting of FBC. Click here to read FBC’s blog about this interview.

5. What are the future plans for FBC?

We always found it quite fascinating to have our own venue instead of nesting in another location, but we’ll see because that’s a big under taking – it’ll need financing and investors. We’re going to keep working with Swarovski and keep bringing in amazing speakers.

Image #1: photograph by Venetia van Hoorn Alkema

Image #2: from Fashion Business Club Blog photographed by Sam Atkinson

I am absolutely fascinated with corsets and during |FAT| Toronto Alternative Fashion Week Dianna DiNoble‏ of Starkers Corsetry presented her latest creations. Unfortunately, I missed the show but as luck would have it I had the recent opportunity to visit Dianna in her home where she showed me her works, shared her knowledge about corset making and allowed me to try on a few pieces.

Trying on corsets was a completely new experience for me; being laced and buttoned into one was eye opening and really cool. I didn’t take the best pictures of me in the corset but you get the general idea.

I love the detail that goes into each piece and the sculpting involved in the process. Seeing a flat, thin piece fabric be transformed into a three dimensional structure that is strong enough to hold a person upright and reshape their figure is quite amazing. Also, the reaction of a client who has just put on their corset marvelling at how tiny their waist looks is quite fun too.

How can someone tell the difference between corsets that are well made versus ones that are poorly made?

Corsets that are well made typically have a traditional busk (fixed hook & eye) closure, steel bones and three to four layers of fabric. A well made corset is carefully cut on the fabric grain, which will minimize wrinkles, and is fit to the customer. A poorly made corset often has a single layer of fabric; it may have plastic bones or elastics and is quite wrinkly and possibly uncomfortable to wear.

What are some of the reasons people continue to wear corsets or have them custom made to this day?

This season is all about brides! Brides love having something that is comfortable to wear, elegant with a hint of edge with and a hint of their own unique style. It's also a big bang for your buck as a bride to have a completely custom made to measure gown that is often under $1200, even for silk! The best part is that it is adjustable with the back lacing.

Every bride will gain or lose a little weight within the days leading up to their wedding and a corset is still a perfect fit without any alteration. Brides also like chese corsets as foundation garments to their gowns if they are going with a zip-up gown.

I also have some clients who tightlace, that is, they wear their corsets from 10 to 23 hours every day to achieve a very small waist. There are some drag queens, dominatrixes, celebrities wanting them for red carpet events and even some with scoliosis or MS who are looking for supportive undergarments which prettier than the standard issue brace.

If someone is interested in buying a corset or having one custom made (by you) what should they consider?

They should consider primarily where they will be wearing it, i.e.: specific event, casual wear, long term wear,and if it can be used for different occasions. They should consider whether they would benefit from an under the bust style – which can be more casual or undergarment use, or an over the bust style which looks better as an outer garment. They could have in mind the colour or fabrics they would like. Although I do provide fabric swatches and design services if they don't know where to start.

Clients sometimes run under the assumption a corset will make them appear skinnier which is not true. A corset will draw in the waist, but as a result the hips will often  appear larger (even though they are not) and they will have an appearance of being overall curvier not generally leaner, or skinnier as they were hoping for. It does keep the odd bump under control but will give them a figure more like Kate Winslet than Angelina Jolie.

Once I take measurements, clients typically wait six to eight weeks for their garment to be completed. Each corset varies from start to finish.

What is the typical price range for a corset?

The price range for my custom corsets is $430 and up.

I had the opportunity to speak with Cristina Sabaiduc, designer of Romandin, a few days before she presents her extended fall/winter 2010 collection at |FAT| Toronto Alternative Arts and Fashion Week.

Cristina and I had a great discussion about her experiences as an up and coming fashion designer, the inspiration behind her latest collection and her plans for the future – the conversation was captured using my new digital voice recorder. Originally, I was going to transcribe our discussion for you to read, but the exchange between us has a good flow and you get a better sense of Cristina, as a designer and a person who has a wealth of experiences and is wise beyond her years.

Romandin runway show at |FAT|: Friday, April 23, 2010 at 10:30 p.m.

Location: Studio City, Liberty Village (1 Pardee Ave), Toronto

Advance tickets: $25 (day pass)

Tickets at the door: $30 (day pass)

About Cristina Sabaiduc: adventurous, quirky and strong-willed. Cristina Sabaiduc has always been driven to explore the unknown, looking for unfamiliar objects, places and experiences. Romanian-born and an avid traveler, her design aesthetic marries textile traditions and techniques from around the globe. Experimentation with unconventional materials pushes boundaries and offers the fashion world a fresh perspective.

Throughout four years at Ryerson University completing a Fashion Design degree, Sabaiduc’s efforts have been recognized and applauded. The Lancôme Scholarship of Excellence in Women’s Luxury Design, received in 2008 and the Le Château Inc. Scholarship, received in 2008 and 2009, show her dedication, talent and success in the fashion industry.

Honing her skills and refining her design sensibility with designers such as Carolina Herrera in New York and Jeremy Laing in Toronto laid the foundation for Sabaiduc to create Romandin.

The debut of Romandin in April 2009 at |FAT| Toronto Alternative Arts and Fashion Week was embraced by the media and won “...the week’s prize for innovation,” according to NOW Magazine. Through the combination of art, luxury and impeccable design techniques, Romandin aims to inspire and encourage its wearers to be fearless.

Romandin fall/winter 2010 collection: experimental design, artistic interpretation and the exploration of industrial materials are the driving powers behind Romandin, a line that challenges the differences between art and fashion. The collection draws inspiration from the ancient Babylonian civilization in stark contrast to the sketches of Constant’s New Babylon, a futuristic utopian society. The fall/winter 2010 collection examines and manipulates an array of unconventional materials; creating luxury by replacing traditional textiles with plastic chicken wire, caulking, fabric remnants and Swarovski crystals. Romandin dares to discover, to be different, to be a leader of new ideas and to bring innovation to women’s wardrobes.