Attalai Zita

2013-07-27 • Artists, Textile, paper, leather Posted in • 0 comments

„Yes, shoes can have erotic content.“ -twisting the spiral-curled leather lace with mysterous smiles. Do not ask more, the gesture indicates enough. Many reported opinions on the emotional connection between a shoe and its wearer.Elements of arts and sculptures can tell us more about this subject. .

„I graduated at the Academy of Craft and Design in 1987. My diploma works of baroque-rococo style caused no little consternation, for the trendy style was the post-modern one that time. I was fascinated that the masters of the baroque-rococo era had so brillantly applied tecnical novelties.“ Her plans for lifelong career lasted no long time. Export-oriented domestic shoe producing companies, high-esteemed that time, were swept out by the economic changes.

For me, designing a shoe means maximal pleasure, happiness, freedom, and discovery. I put a piece of marabu flock inside the shoe, imaging how it would tickle me when getting into…

There is a leather museum (Schuhe und Ledermuseum) in Offenbach, Germany. I was allowed to present my Curly Series there in 2002. This camara exhibition had a great effect, news spreaded on my shoe-sculptures. Thanks to dr. Rosita Nenno, the curator of the Museum, invitation arrived from Bremen, Mainz, Herne, and (in 2006) the German Shoe Design Award for first place in Pirmasens.

I made 107 shoes so far, 40 of them were displayed all around the world. The model „Little virgin“ was a front-page piece in Barcelona. I am not able to sell this and the „Dragon“. I will not sell these even for collectors.

The outside colour set is always a conscious choice, but the interior is random and accidental. It is a great fun. Every detail of a shoe is exciting. Even the sole is a buzz, maybe a puzzle. A little piece of rubber inserted in it — why not? The walk would be safer. When the skin slicks below our foot, we really feel: this shoe is poured on us.

Who is on my mind? I think to female idols, strong characters, challengers, as Iris Apfel, Peggy Guggenheim, Diana Vreeland, or Irén Psota. I never dared to approach the actress, even if the models in my diploma work were inspired by her personality.

I use mostly fine goat skin, glazed kid, and soft calf leather. These shoe sculptures are not for wearing, these are for developing the formal models of the design. I have one last only, for the size of myself. If even taking into account the special heels, to produce a whole marketable series of boot-crimps you must invest serious money. And there is no word on the handwork demand of the uppers, for which I myself have no much patience.

With some gaps, I design my shoes twenty years. I became steady. My playful, rebellious era is outgrown. I understood today that the less is more. I make sketches on slips of paper, and only then I work the details out by the computer. After years of experience, I do know you need a well-positioned red stripe only. Or, why not the left and right shoes can be asymmetrical? Perhaps the pair can make a picture?

For myself, I hunt the good quality materials on sale. Finding a good piece, I buy more colours. I cannot resist to a nubuck leather of velvety touch. I have perhaps a thirty pairs of shoes… Well, you are right, perhaps more…”

13/9/2011 Budapest