Craft Cubed featured event: The Signet Bureau 'Baby Steps and Favourite Dresses'

Baby Steps and Favourite Dresses is an installation presented by shoemakers/artisans Preston Zly and The Signet Bureau (munk and Robyn Black) that invites you to bring in to the store shoes from their childhood and favourite dresses to be included in the installation.

Our shoes are objects that define our childhood, merely by their size. One Preston Zly shoe in the centre of this exhibition will indicate the transition from childhood to adulthood.

Our childhood memories can also be linked to our favourite clothes and this retail exhibition will recognise the importance of fashion throughout our lives.

This installation is on until 4 September.

The Signet Bureau is located at 165 Gertrude Street, Fitzroy and is open Tue-Fri from 10am-6pm, Sat from 10am-5pm and Sun from 12-4pm.

Photography: Kim Brockett

Introducing... April Phillips

Could you tell us a bit about yourself, where you grew up, what you studied at school?
My mother was a knitwear designer in the 1980's so I guess I was exposed to handmade craft from the beginning. I moved around a lot and was exposed to a variety of places and things constantly. At high school I would wag maths to be in the art room, so it has always been a passion to make with my hands and thing creatively.

Upon completing sculpture at RMIT, what prompted the move towards shoemaking? Was it something that you’ve always been interested in, or was it more of a spur-of-the-moment decision?
When I completed sculpture at RMIT I had no idea what was next! I began looking for an alternative practice to sculpture, but knew I wanted to continue working with my hands three-dimensions. I went to a shoe repairer one day and as he was explaining to me how he would fix the shoes in detail I became fascinated with shoes and how they were constructed. I called Simon O'Mallon in Adelaide and after our conversation I knew this was something I wanted to do.

The shoes that you make take history and the nature of the wearer into careful consideration. Could you please tell us a bit more about this process? What has been your favourite fiction that you’ve created to date?
The owner/wearer of the shoe is very important to my practice. Shoes can give all sorts of indications and clues that can create stories and a greater context when viewed. I became very interested in creating fictional characters to make shoes for. I usually go through this process by asking a number of questions: What time is the character from? What do they do from day to day? What is their favourite dessert? Is there an occasion for these shoes or are they for everyday wear?

Sometimes these characters are prompted from books, or songs, or purely exist in my imagination.

I made a pair of shoes for a secret agent from the future. She has 'youth injections' to keep her young. Although her father is very wealthy she chooses to travel across the universe on public transport, so she is very grounded, and somewhat practical. She decided to take her first holiday in over 25 years and needed me to make her some boots with roller skates that could be removed.

April

Since commencing your studies in shoemaking in 2005, you’ve achieved so much. What do you hope to do in the future, and how would you like to develop your career and artistic practice as a shoemaker?
I think personal and professional development is very important at this stage in my career. I look forward to future mentorships, research, and study. Shoemaking is a craft with an amazing history, I am thankful for all those who have come before me who have created the techniques which form the platform of the shoe making practice. I hope that my life’s work can contribute to this pool of knowledge!

Sharing your studio with fellow Shoe Show exhibitor Tim Tropp must create a great environment for bouncing ideas and sharing techniques. What is a typical day like in the studio for the both of you?
Tim Tropp is a very inspirational studio friend. He is technically amazing and has a very unique way of problem solving and considering things. We check in with each other often bouncing ideas and sharing techniques. There is no typical day as such, but coffee is always key.

Do you see shoes more as ‘fashion’ or ‘art’, or both?
I don't really like categories, but I think you know when a pair of shoes takes a step into the art world. Shoes that are art make you feel aware of how beautiful your feet could be, and how wonderful life is.

And finally, “If I were a shoe I’d…
…have magical powers, and never be in a box."

Introducing... Emma Shirgwin of Emma the Shoemaker

Having recently exhibited at Craft Victoria as part of Shoe Show and taking part at the recent Craft Hatch market at the State Library of Victoria, Emma Shirgwin has been a Craft Victoria darling of late. Emma is based from her East Brunswick studio (which she shares with fellow Shoe Show exhibitor Phong Chi Lai and COUNTER stockist Sarah Russell of Scottato), and her label 'Emma the Shoemaker' has been in place for nearly three years now - something that is no small feat at all!

For today's post, here's a peek into Emma's working space. Why not treat your feet good in 2010... and if you'd like to be custom-fitted for a pair of bespoke summer sandals, or perhaps get ready for the winter chill with a pair of lace-up leather booties, do get in touch with Emma to make an appointment for a studio visit. She'd be more than happy to measure you up!

Merry Christmas and Happy Boxing Day everyone! Make sure you get those elbows out when you hit the sales today, or if you're like us, prop your feeties up and enjoy a beautiful day off.

Could you tell us a bit about yourself, where you grew up, what you studied at school?
I grew up in England till the age of 5 then moved to Adelaide, then Melbourne aged 13. I grew up with 2 other closely aged siblings. Mum did not let us watch much TV and we did not have much money so we had to invent our own fun often role playing, I really appreciate that now. At school I was terrible at maths and science so studied mostly art and literature classes and especially loved woodwork. I then went on to study primary school teaching but was not satisfied and quit to travel the world searching for a passion, I had an inkling for shoes and had enquired in Melbourne but thought this could only be a hobby, surely. After four years of various shoemaking studies and experience, here I am!

Some of Emma's shoes hanging with Phong's (top rack)

You began your career in shoemaking with a short course completed in London. Was this something you planned to do while still in Melbourne, or was it something more spontaneous that happened during your travels?
I had planned to study this in Melbourne but the waitlist was too long I had also planned to go travelling, I found a course in London to get a head start then once returning to Melbourne a place in the course became available, and slowly my shoemaking career began!

Your shoes are extremely well-crafted and beautifully detailed, aspects that have undoubtedly contributed towards establishing your brand, Emma the Shoemaker. What/who has greatly influenced the way you approach shoe design?
I aim to make simple designs that are comfortable, fun and won’t age with time. I aim for well-made shoes with little quirks found hidden in the simple designs.

'The Victoria' wedge

With Emma the Shoemaker almost in its third year now, how else do you hope to develop your practice? Do you have a specific goal in mind that you are working towards?
To keep learning the craft of shoemaking, maybe travelling overseas to gain more knowledge and bring that back here to constantly improve my shoes in design and make.

Sharing a studio with two other shoemakers must create a wonderfully inspirational space, not to mention efficient in terms of sharing equipment! Have you always worked in a shoemaker-exclusive studio? How do you think this arrangement affects the dynamics of your practice?
I worked previously in my garage at home. Initially I loved this, but as time went on I felt limited (with space and ideas) therefore a little uninspired. Working with three other shoemakers has been amazing, we are all share ideas and contacts, offer tips and support each other through the hard times when we feel like throwing it all in.

Do you see shoes more as ‘fashion’ or ‘art’, or both?
Both, as I do everything from design to patterns and then making the whole shoe which involves many crafts, material and colour selecting, sewing, lasting up, sculpting heels and making sure the shoe balances and is appealing to the eye, yet also functional, so I think these aspects lie amongst art and fashion.

'Giddy up' riding style boot

And finally, “If I were a shoe I’d be…
…a lace up boot with a Cuban heel. I love lace ups, nearly all my shoes have laces, I never wear stilettos or particularly like them. This sums up me as I like my shoes to be ready for any kind of day!

Studio visit/Introducing... Tim Tropp

With our last day of trading almost upon us, we're going to roll out the last of the Shoe Show interviews fast and furious. Today it's Tim Tropp, who shares his studio with fellow Shoe Show exhibitor April Phillips.





Could you tell us a bit about yourself, where you grew up, what you studied at school?
Growing up in the inner eastern suburbs of Melbourne I always had a creative inclination. I would spend hours slaving over my sketchbook; however it wasn’t until my final years of high school that I became interested in fashion. Shortly after completing my VCE I started my own small business creating one-off garments for local boutiques Alice Euphemia and Fat 52. I have since studied fashion and visual arts at RMIT and undertaken an internship in Paris for a German designer Lutz Huller. I have freelanced for various local labels in the capacity of a designer, pattern maker, consultant and machinist, I also have extensive experience in made-to-measure.

You initially completed a degree in Fashion Design and followed it up with a Visual Arts degree. With creating trouser/shoes, you’ve embarked upon a different direction and combined your background in fashion with shoemaking, an area that is quite new for you. What prompted this shift? Was it something or someone that inspired you to do so?
I didn’t finish my degree in fashion or visual arts probably due to my impatient nature and desire to learn through industry and hands-on experience. It may be something I will embark on in the future but for now I am excited about creating a new creative umbrella that embodies both my background in art and fashion. I am interested in developing works that challenge traditional ideas and aesthetics in fashion. I suppose my interest in shoemaking is part of this intrinsic desire to find new possibilities in design. By merging these crafts together it opens the door to an alternative way of consideration, in the way we dress, coordinate and ultimately feel.

Like fellow Shoe Show exhibitor April Phillips, you’ve mentioned that you are very interested in involving a historical element in your artistic process. How is this played out in trouser/shoes?
I am interested in the things that govern/influence our decision making process in dressing. Historically dress codes have always defined people within periods and places. These ‘codes’ can instantly define an individual within a class, community, or system. The rules or limitations of dress codes are of great interest: breaking or altering a dress code is a way of reconstructing garments to create new meanings. This reconstruction process is often a mediation of two alternate contexts or situations. The psychological impact of dressing for an occasion, historical references and the material selection is central to the exploratory process.

With shoemaking as a skill that you’re currently refining, soon you’ll be able to make a bespoke outfit from head to toe! How do you hope to develop your practice and what would you like to achieve in the future?
I have much respect for the art of shoe making and would like to continue to develop my skill base in this medium to further integrate shoe making into my practice.

Sharing your studio with April must have been crucial in your foray into shoemaking. Given that your background lies in fashion, how have the both of you helped each other in terms of technique, design etc.?
I am very grateful to April as she has been quintessential to the realisation of the shoe trouser. She has guided me technically, and creatively we have a musing friendship, without April’s expertise and resources it would not have been possible for me to execute the shoe /trouser.

Do you see shoes more as ‘fashion’ or ‘art’, or both?
I think that all depends on the context in which they are made for; personally I am exploring ideas that belong to both.

“If I were a shoe I’d…
…most probably be smelly.”

Photography by Richard Brockett

Shoe Show

Shoe Show critically examines contemporary shoe making in Melbourne, showcasing new and experimental work by some of Melbourne’s leading emerging shoemakers.

The exhibition not only features a diverse selection of shoes but also provides an insight into the art and inspiration of local bespoke shoemakers. What techniques are informing contemporary practice? How is the form of the shoe being used as a vehicle for both artistic expression and technical innovation?

From brogues to embroidered boots and even a pair of ‘shoe pants’, Shoe Show features the work of Emma Greenwood, Phong Lai, April Phillips, James Roberts, Emma Shirgwin, and Tim Tropp.

Curated by Nella Themelios, Craft Victoria.

Download the exhibition catalogue here (3.5MB)

April Phillips

Phong Chi Lai

Excellent exhibition design by installation genius Erik North

Click here to view more installation views of the exhibition, along with images from each of the shoemakers' studios.

Photography by Kim Brockett

Introducing... James Roberts

We're a couple of days late on this one, but here is this week's interview with Shoe Show exhibitor James Roberts. Along with a friend, James is currently working on a new project called 'Captains of Industry' located in inner city Melbourne (Somerset Place off Little Bourke Street to be precise). Very exciting indeed! Set to open in mid-December, we can't wait to visit Captains of Industry - it sounds right up CVHQ's alley. Congratulations James and Thom!

Shoe Show ended yesterday (Saturday) and we hope you managed to sneak a peek before it closed. If you weren't able to, fret not as we will be posting photos of the exhibition sometime next week.

James

Could you tell us a bit about yourself, where you grew up, what you studied at school?

I grew up in Melbourne and studied hard sciences – Maths/Physics/Chemistry – all through High School and University. In Uni however I branched out to study History and Philosophy of Science also, and that was my main creative outlet I guess.

You've mentioned that you were about to commence your Masters in Chemistry before deciding to change your direction. What prompted the move towards shoemaking? Was it something that you've always been interested in, or was it more of a spur-of-the-moment decision?

I was doing a Masters in the History of Chemistry. The main idea was to recreate some early chemistry experiments as accurately as possible to find out more about early techniques, their accuracy, purity of materials etc... It turned out to be too hard to do in Melbourne and I had to put it on hold. The historical side of chemical practice led me to really appreciate old techniques, practices, tools, apparatus machinery etc. Shoemaking wasn't something I'd ever really considered before then. I saw a course in the CAE guide for shoe making run by Brendan Dwyer. I did a couple of his courses and then started teaching myself from then on. I'm still an absolute amateur. There is so much more to learn.

The first shoe James made

Do you think your background in chemistry has influenced how you work with shoes in any way?

I'm sure it has. But I still think it is coming out slowly. I really like colouring my own leather and would actually like to make my own dyes and glues, waxes, threads etc in the future.

You've been making shoes for a couple of years now... any plans for the future in terms of developing your practice? What do you hope to achieve?
I have a long way to go yet and most of it is learning. I'd like to be able to make some historical reproduction shoes and perfect a bespoke fitting in the near future.

You share a studio with a shoemaker as well as a few other creative types working with a diverse range of mediums. How does this affect the way you approach your artistic practice?

Working with other people is incredibly helpful. Steve (the other shoemaker) and I have both had problems with different things in the past and it definitely helps to talk through them with other people. Having other artists around is good too. Feedback and sharing ideas are very important, especially when your starting out.

Do you see shoes more as 'fashion' or 'art', or both?

I can certainly see that they occupy a place in both those worlds. But shoes are also very practical. You wear them every day. Maybe they are in that elusive realm between science, art and craft. Modern shoes can also be put in the category of technology they are so far from being handmade.Personally I'm not a couture shoemaker. I like to make simple shoes based on classic styles and techniques with my own twist.

And finally, “if I were a shoe I'd be...

…Hopefully on someone's feet. I'd hate to be a pair of shoes stuffed in a closet full of other shoes.

Photography by Richard Brockett

Studio visit: James Roberts

This week, here's a peek at Shoe Show exhibitor James Roberts' old studio in Carlow House which he shared with a large group of other artists including Dani M and Felicity Jane Large. They've all since moved due to a rent hike (boo) and James has now relocated to a top secret, top notch new location which will be revealed all in good time...

James operating some heavy machinery

James also shared his workspace with another shoemaker Steve Phillips (who is also the very lovely Dani M's husband!)

Illustrations by Max Blackmore, done with a soldering iron

xo shoe, part of the Shoe Show exhibition

Full-length interview with James coming up soon...

In the meantime, Shoe Show is in its last days. Ending this Saturday 28 November, make sure you drop by and pick up a catalogue while you're here!

Photography by Richard Brockett

Introducing... Emma Greenwood

Following on from yesterday's post, today's Introducing... features the full-length interview with Shoe Show exhibitor Emma Greenwood.

Long-time readers of CLOG may remember an interview we did the Emma sometime last year. It was one of the first interviews we ran on CLOG and it's great to interview Emma again almost one year on!

Emma also has a blog filled with updates, projects, news, the occasional ultrasound update (congratulations Emma!!) and even a link to her talented son Leo's Lego blog. He is only four years old and he already puts most of us to shame with his mad Lego skills...

Happy Friday everyone!

Could you tell us a bit about yourself, where you grew up, what you studied at school?
Growing up in Adelaide I was a very academic lass until Year 12, when the pressure got too much and I discovered the art department. After that I did a four-year Visual Arts degree, majoring in printmaking, but then in my final year discovered sculpture and became hooked on three dimensions.

Upon completing your Visual Arts degree, what prompted the move towards shoemaking? Was it something that you’ve always been interested in, or was it more of a spur-of-the-moment decision?
Once I graduated I worked as a bike messenger for almost three years. When I felt the urge to study again, a friend and I wanted to start a street wear label, so we signed up for Apparel at TAFE.

There was also a handmade footwear course, which piqued my curiosity so I enrolled in both fields, thinking that the apparel would be full time and the footwear part time. The enrolment was bungled; I ended up doing full time footwear and completely fell in love with the sculptural process.

It immediately felt like an extension of my fine art training, an opportunity to refine and apply lateral thinking, and most of all an excuse to use hand and power tools, transforming raw materials into practical, sculptural pieces of art.

The shoes that you make are quite theatrical in design. Could you please tell us a bit more about where you derive your inspiration?
Well I’ve never been a minimalist and do tend to research my designs more in terms of key features. I’ve been drawn to costume books from history and film and really enjoy all the details, techniques and character design. Lately I’m obsessed with a Star Wars costume book, from Episodes 4 – 6 - to work on a project as vast as a three-movie period would be an amazing experience.

My other inspirations are diverse, including royal and military regalia, decorative patterns from many cultures, art and history, and both pop and hip hop culture.

Using traditional textile arts such as crochet, embroidery and knitting, and combining these skills with leatherwork in a contemporary way is something I enjoy seeing evolve. I’m big on technique, and often teach myself new methods just to get the look right.

You’ve been working with shoes and exhibiting for over 12 years now. How do you think your practice has evolved in this period of time?
The first 7 years of my career resembled an informal apprenticeship, as I worked in established studios making shoes by hand in Adelaide, Sydney and finally Melbourne. During this time I was able to hone my skills, experiment with many different materials and styles, and learn about small business.

Since embarking on my own I have introduced an accessories range and concentrated on my shoemaking in a very specialised sense, making exhibition and experimental pieces, alongside more commercial bespoke work for clients, friends and family.

I used to prefer to make handmade sneakers, customised for graffiti artist pals, and over the years have got this down pat. Lately I feel a bit more like a grown up, so I’m making more refined styles, not entirely girly, but with more feminine details. That said, I am currently working on a pair which are pink and gold, really not my colours, but my sub-conscious is commanding me to make them!

In comparison with the other Shoe Show exhibitors, you are the only shoemaker who works on their own. How does this affect the way you approach your artistic practice?
I do envy the cross-pollination of ideas that working with others can bring, plus being able to share machinery must be a bonus, but I can be a bit of a control freak! As a shoemaker I have mostly worked alone, occasionally sharing spaces with others; jewellers, graffiti artists, and musicians. Shoemaking is quite grubby though, generating a lot of dust, noise and stink from the glues, so I’m now working in a customised home studio.

I love working from home, previously having a studio outside the home meant that the time spent travelling and the extra expense just never added up. I like being able to walk out into the backyard with a cup of tea, having put the laundry on, and do a few hours at the workbench. Also my son is not yet at school, so when he’s at home it’s easy for me to grab a bit of time in the studio.

Do you see shoes more as ‘fashion’ or ‘art’, or both?
They can, of course, be both, but in my practice I like to create them as art. I don’t get much satisfaction from producing a run-of-the-mill style with minimal flair, I’d much rather imbue my work with thorough attention to detail, in terms of design, materials and construction.

There are so many stages in the production of handmade footwear, and each process is tailored and time consuming. The skills involved take so long to master, and are art forms themselves, often there’s a need to re-invent processes for particular styles. There is a huge amount of problem solving required, as well as patience, persistence, maybe even a certain pathology!

One-offs are easier to produce as art, such as the pieces I’ve made for Shoe Show, inevitably once you get into production runs a little bit of the magic can be lost. I generally sample something outlandish which satisfies my more-is-more ethos, but then I’ll refine it and offer a less embellished version. It can be a fine line between creative indulgence and commercial survival.

And finally, “If I were a shoe I’d be…
…a transformer shoe, which could morph in-between states: from a smart, stylish and highly customised sneaker, to a hand-carved platform geta with embroidered tabi socks, which then folded out into an elaborate yet elegant golf brogue with quilted tongue flap, then to a sleek high heeled lace-up piece of brilliance with tartan details.

Honestly it is too hard to name one shoe, I would have to be a shape-shifter!

Photography by Richard Brockett

Taking guerilla knitting to the next level

One of Dave's projects from 2005 entitled The Knitting Machine. Picture from artnet.com

How do you knit a gigantic flag using two excavators?
How do you knit a bridge cosy?
How do you catch a moonbeam in your hand?


Visting US textile artist Dave Cole probably won't know the answer to the third question (or he might, we're not sure. You should ask him!) but he'll definitely be able to expand upon his amazing practice as a one of the world's biggest knitters - literally.

As part of the Big West Festival which kicks off on Friday 20 November, Dave will be in Melbourne presenting an artist talk on Wednesday 18 November at Craft Victoria. He'll talking about his various projects, in particular his current monumental knitting installation on Footscray’s historic stock bridge connecting Maribyrnong and North Melbourne. Funnily enough, the project called 'The Big Knit'.

Dave is also the man behind Knitting with Loaded Shotguns (Safeties Off) (2008) using spun statuary bronze with 12-gauge shotguns. So that's how you do guerilla knitting...

Picture from artnet.com

If you'd like to come along and listen to Dave speak, call us on 9650 7775 to make a booking to attend his artist talk. This event is free but spaces are strictly limited, so act fast!