1964 | ERCO | VIGEVANO

1964 | ERCO | Vigevano

Source: EMCI (Ente Moda Calzatura Italiana magazine)

1963 | ERCO | FOOTWEAR OSCAR WINNER | VIGEVANO

1963 | International Footwear Academy, Turin

ERCO: National Oscar Footwear Contest (Export category)

Gold plate 1963
Photograph: Irma Vivaldi

1963 | ERCO by Gildo Comelli

Footwear Oscar Winner designed by Franco Caresana

Source: Calzature Italiane di Lusso magazine

1963 | Footwear Oscar Winner

Source: 3rd Italian Exhibition of high quality footwear, leather goods and leather CATALOG (Turin)

1963 | International Footwear Academy, Turin

ERCO certificate | First prize: best women's shoe

Source: Carla Comelli Archive

May 2, 1963 | ERCO, Footwear Oscar Winner

[Third place to Aldrovandi, Vigevano]

Source: L'Informatore Vigevanese/Carla Comelli Archive

1963 | Mr. Gildo Comelli (left) awarded with the Footwear Oscar

Source: 3rd Italian Exhibition of high quality footwear, leather goods and leather CATALOG (Turin)

1963 | ERCO's owner Gildo Comelli with the awarded shoe

Source: Carla Comelli archive

1963 | ERCO by Gildo Comelli

Footwear Oscar Winner shoe at the International Footwear Museum of Vigevano

Photograph: Irma Vivaldi

The picture shown beside the shoe belongs to a similar but different ERCO model from 1967.

1967 | ERCO by Gildo Comelli

Source: Carla Comelli Archive

HISTORY OF THE SHOEMAKER ERCO
With the help of Carla Comelli (Erco founder Gildo Comelli's daughter)
PART 1 | PART 2

ERCO | Vigevano
I N D E X

1963 | ERCO | Footwear Oscar Winner

Source: 3rd Italian Exhibition of high quality footwear, leather goods and leather CATALOG (Turin)

1865 - 1909 | ALFREDO DICK | SHOES AND THE FOUNDATION OF JUVENTUS FC AND TORINO FC

1908 | Torino F.C. 

Central row: Alfred Dick is the third from left

Source: La Stampa Sportiva nr.16 1908

"Amante di tutte le estrinsecazioni atletiche che formano il corpo e l'anima per le battaglie del domani, entusiasta di ciò che era difficoltà e asprezza, aveva saputo serbare tra questi sentimenti un'anima fine, capace di ogni bene, incapace di offendere." 

La Stampa Sportiva, n. 33, agosto 1909

BARTOLOMEO CAVALLERA (1898 - 1983) | TURIN

1950s | Bartolomeo Cavallera

Turin

Quando Bartolomeo Cavallera, cavaliere di Vittorio Veneto, morì a 85 anni nel 1983, Aldo Sacchetti lo ricordò riconoscente come “suo grande amico e maestro”. (1)

Sacchetti aveva infatti collaborato con Cavallera nella seconda metà degli anni Sessanta e ne aveva rilevato l’attività e gli archivi in via Pietro Micca 17, nel momento in cui Cavallera si era ritirato, ormai settantenne. Nella fase di transizione fra i due artigiani, le scarpe che uscivano dal laboratorio di Via Pietro Micca erano firmate “Cavallera di Aldo Sacchetti”.

When Bartolomeo Cavallera, Knight of Vittorio Veneto, died aged 85 in 1983, Aldo Sacchetti remembered him gratefully as "his great friend and teacher". (1) 

Sacchetti, already established, joined forces with Cavallera in the course of the second half of the sixties and when Cavallera retired in his seventies took over his business in via Pietro Micca 17. For awhile the shoes made at the laboratory in Via Pietro Micca were signed "Cavallera by Aldo Sacchetti".

1948 | Shoes by Bartolomeo Cavallera

Gran Galà at Palazzo Madama, Turin

Source: exhibition Affetti personali. Storie di donne e di moda | Photo Moisio

1967 - 1969 | Bartolomeo Cavallera evening shoes

At the exhibition Affetti personali. Storie di donne e di moda

Photograph: Irma Vivaldi

1951 | Bartolomeo Cavallera mules 
From the nuptial trusseau of Anna Maria Cavallera

At the exhibition Affetti personali. Storie di donne e di moda

Photograph: Irma Vivaldi

“Bartolomeo Cavallera apre il laboratorio a Torino, in via San Francesco d’assisi 26 subito dopo la fine della Prima Guerra Mondiale. Già nel 1935 le sue calzature accompagnano le sfilate di alta moda al Valentino, ma è nel secondo dopoguerra che conosce la propria fortuna. Il negozio si trasferisce in via Pietro Micca 17 e Cavallera associa il suo nome ai grandi della moda torinese e italiana. Nel 1948 le sue scarpe sfilano al gran galà di Palazzo Madama insieme a quelle di Ferragamo. L’anno successivo sono al Lido di Venezia con gli abiti di Schubert e le pellicce Rivella. Ava Gardner indossa un modello appositamente creato da Cavallera per il film La contessa scalza, nel 1954.” (2)  

"Bartolomeo Cavallera opened his workshop in Turin, in Via San Francesco d'Assisi 26, right after the end of World War I. In 1935 his shoes made the haute couture catwalks at Valentino in Turin, but he peaked after World War II. The shop moved to Via Pietro Micca 17 and Cavallera associated with the biggest names of Italian fashion. In 1948 his shoes were shown at the fashion gala in Turin's Palazzo Madama, along with those by Ferragamo and the following year showcased at Venice Lido with Schubert's clothes and Rivella furs. Ava Gardner in the movie The Barefoot Contessa (1954) is shod in (made to measure) Cavallera." (2)

1960s | Bernardo Cavallera at his workshop

Turin

NOTES

(1) La Stampa, Jan 6, 1983

(2) Note at the exhibition: Affetti personali. Storie di donne e di moda.

GIO. CAPPA E FIGLIO | TURIN

1910s | Manifattura di calzature Gio. Cappa & Figlio

Turin

Fra i fornitori della casa reale a Torino c'era una manifattura di calzature di lusso fondata da Giovanni Cappa a fine Ottocento, il "Calzaturificio Gio. Cappa e Figlio”. Il figlio Virginio, con il Cav. Uff. Giuseppe Calegaris (poi grand'ufficiale del Regno e delegato alla Camera di Commercio Italiana della California) e il terzo socio Rocca, crearono nel 1909 la DITTA CALZATURIFICIO CAPPA ROCCA & C., che commercializzava calzature col marchio K – Matchless Shoes.

Among the suppliers of the royal house in Turin there was a manufactury of luxury footwear founded by Giovanni Cappa in the late nineteenth century, the "Calzaturificio Gio. Cappa e Figlio”. The son Virginio, with Giuseppe Calegaris (later Grand Officer of the Kingdom and delegated to the Italian Chamber of Commerce of California) and a third partner, named Rocca, created in 1909, the SHOE COMPANY CAPPA ROCCA & C. marketing footwear under the trademark K - Matchless Shoes (Note: CAPPA is how you pronounce the letter K in Italian).

1909 | Cappa, Rocca & C.
Turin
Source: Archivio Centrale dello Stato

Virginio proseguì l'attività di produzione artigianale con un socio, Eugenio Jachia, almeno fino agli anni '50. Il “Calzolaio del Papa” Gianfranco Pittarel, così soprannominato per aver realizzato calzature speciali per Papa Paolo VI, Papa Giovanni Paolo II e Papa Benedetto XVI, ricordò di aver imparato i segreti del proprio mestiere facendo l'apprendista presso Virginio Cappa.

Virginio continued his artisanal activity producing with a partner, Eugenio Jachia, at least until the 50s. Gianfranco Pittarel, "Cobbler of the Popes" - so nicknamed for creating special footwear for Pope Paul VI, Pope John Paul II and Pope Benedict XVI - recalled that he had learned the secrets of his trade doing the apprentice at Virginio Cappa's.

1910s | Calzaturificio "Gio Cappa e figlio" - Turin

Ankle boots

Source: Camilla Colombo private collection

Sources:
Archivio Centrale dello Stato
La Stampa, Turin
Crista Kramer von Reisswitz
Die Papst-Macher: Die Kardinäle und das Konklave - Droemer Knaur 2003

U P D A T E S

1977 | VBP Soles

Montecosaro, Macerata (Marche Region)

1970 | DESIGNER LUIGI PROVERBIO FOR MIRELLA & LION (S. ELPIDIO A MARE)

1970 | Shoemaker MIRELLA | S. Elpidio A Mare

Designed by Luigi Proverbio

1970 | Mirella and Lion models

Designed by Luigi Proverbio
Source: Foto Shoe

1970 | Mirella and Lion models

Designed by Luigi Proverbio
Source: Foto Shoe

1970 | Luigi Proverbio w/Foto Shoe model Giuliana

Source: Foto Shoe

Mirella's owner Vincenzo Macerata (L) and Luigi Proverbio (R)

At MICAM, Milan
Source: Foto Shoe

INTRODUCING DESIGNER LUIGI PROVERBIO
TANAGRA/YVES JEAN CLAUDE
CERRO MAGGIORE, MILAN

DESIGNER LUIGI PROVERBIO
TANAGRA/YVES JEAN CLAUDE
THE BEGINNING

1970 | YVES JEAN CLAUDE

AS SEEN IN CALZATURE ITALIANE DI LUSSO
PART 1 | PART 2

ARSHO BAGHSARIAN | ARSHO'S LOVE AFFAIR WITH SHOES

Arsho Baghsarian for Shoe Biz

Source: University of North Texas

SARKIS DER BALIAN AT ROMANS [MUSÉE INTERNATIONAL DE LA CHAUSSURE) | PHOTOGALLERY

1948/1959 | Sarkis Der Balian

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

ca. 1958 | Sarkis Der Balian

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

ca. 1958 | Sarkis Der Balian

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1949/1950 | Sarkis Der Balian

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1950/1955 | Sarkis Der Balian

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1965 | Sarkis Der Balian in his workshop (Paris, Rue de Faubourg)

Source: The Art of the Shoe by Marie-Josèphe Bossan - Parkstone 2004

1936 | Sarkis Der Balian

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1936 | Sarkis Der Balian

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1936 | Sarkis Der Balian

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1950/1955 | Sarkis Der Balian

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1950/1955 | Sarkis Der Balian | detail

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1950/1960 | Sarkis Der Balian

Not charming but inventive: it's a single piece of leather

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1950/1955 | Sarkis Der Balian

Not for show: 17cm/6.7 inch heel

and you can even climb up a flight of stairs (says the museum)

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

1950/1955 | Sarkis Der Balian | detail

© Romans; Musée international de la Chaussure

© Direction des Musées de France, 2007 © Christophe Villard

INTRODUCING
SARKIS DER BALIAN

A TRIBUTE TO
THE ARMENIAN SCHOOL OF FOOTWEAR DESIGN

INTRODUCING
ARSHO BAGHSARIAN

Der Balian

SARKIS DER BALIAN | THE MASTER OF THE ARMENIAN SCHOOL OF FOOTWEAR DESIGN

1965 | Sarkis Der Balian in his workshop (Paris, Rue de Faubourg)

Source: The Art of the Shoe by Marie-Josèphe Bossan - Parkstone 2004

Among all the bottiers and shoemakers gone abroad after the diaspora following WWI, the most prominent became Sarkis Der Balian, a native of Aintab in Cilicia. One of the many orphaned children, he learned the trade in the postwar period with the shoemaker who took care of him and, when grown up, set off for France to seek his own fortune.

Fra tutti i bottier e calzolai figli della diaspora, il più grande fu Sarkis Der Balian, originario di Aintab in Cilicia. Uno dei tanti bambini rimasti orfani, imparò il lavoro nel primo dopoguerra dal calzolaio che lo prese in carico e, diventato grande, partì in cerca di fortuna per la Francia.

THE ARMENIAN SCHOOL OF FOOTWEAR DESIGN

1946 | Sarkis Der Balian

Paris

A hundred years after the genocide of the Armenian population and the following diaspora, we want to remember the many Armenians whom moved to Europe, France in particular, to became, more often than not, shoemakers.

Living mainly in Belleville, nearby Paris, as repairers or cobblers, some of them were able to climb up the ladder thanks to talent and extraordinary craftsmanship such as Sarkis Der Balian or Garabédian. Others distinguished themselves for their entrepreneurial skills such as Ascot Of Paris founder Armen Karagulian. In more recent times the name to remember is Arsho Baghsarian (I.Miller, Dior, Sho Biz, Margaret Jerrold, Colette).

A cento anni dal genocidio della popolazione Armena, e dalla diaspora che ne seguì, vogliamo ricordare questi eventi con un pensiero ai tanti armeni trasferiti in Europa, in Francia in particolare e lì spesso diventati calzolai. Installati principalmente a Belleville, quartiere di Parigi, come riparatori o ciabattini, alcuni di loro seppero farsi strada grazie ad una straordinaria abilità artigianale e artistica, come Sarkis Der Balian o Garabédian o grazie al talento imprenditoriale, come Armen Karagulian, fondatore della maison Ascott di Parigi. Il nome da ricordare, più vicino ai giorni nostri, é Arsho Baghsarian (I.Miller, Dior, Shoe Biz, Margaret Jerrold, Colette)

1938 | Ascott by Armen Karagulian

Paris

I have great feelings for the Armenians. They were the bankers of the Ottoman Empire and they are a very old race. They go back very far and there are many similarities between the Armenians and the Jews - from the persecution point, from the brains and the financial abilities point as well as their sales ability. Also they are quite artistic. And generally speaking they are incredible people. 

Jerry Miller
[From: The Wandering Shoe - My Goodfriens, NY 1984]

1938 | Ascott by Armen Karagulian

Paris

1938 | Ascott by Armen Karagulian

Paris

1949 | Garabedian

Shoe Strings by Shoe Biz

Designed by Arsho Baghsarian

Source: The Library At FIT, NY

INTRODUCING
SARKIS DER BALIAN

SARKIS DER BALIAN
PHOTOGALLERY

INTRODUCING
ARSHO BAGHSARIAN

A TRIBUTE TO
THE ARMENIAN SCHOOL OF FOOTWEAR DESIGN

1972 | SALVATORE DEODATO FOR ROMEA

May 1972 | Salvatore Deodato forecast

Source: Foto Shoe magazine #5, Vol. IV

Bologna - May, 1972

Laid out in plain sight the Deodato forecast for the year 1974. In the meantime he wasn't shy of high heels and designed these stunning platforms (15 cm/6", at least) for the shoemaker Romea showcased at the 26th Bologna Footwear Fair (March, 1972).

1972 | Salvatore Deodato for Romea (Venice)

Source: Foto Shoe magazine #4 Vol. IV

Nevertheless Deodato missed the deadline by a few months but managed to design for Ferdin these two platforms at the beginning of 1975.

1975 | Deodato for Ferdin (Fano, Pesaro-Urbino)

Source Foto Shoe magazine #5 Vol.VII - May 1975

1975 | Deodato for Ferdin (Fano, Pesaro-Urbino)

Source Foto Shoe magazine #5 Vol.VII - May 1975

FOOTNOTES

1993 | Vivienne Westwood

Super Elevated Gillie

Source: BBC

Ahead of the exhibition, Westwood said: "Shoes must have very high heels and platforms to put women's beauty on a pedestal."

Joanna Hashagen, keeper of textiles at the Bowes Museum, said the shoes, including the infamous "Super Elevated Gillie" shoes, were "works of art in themselves".

Source: BBC

Oh well, we knew already Deodato was many years ahead of the curve; anyway, more than ever, what the late Mr. Erminio Zaffaroni told us was right on the money, maybe a little generous about the year 1978:

... at the Museum of Vigevano, a Vivienne Westwood exhibition was held at the Palazzo Ducale’s stables (2006). A lovely one: her shoes were displayed like flowers on metal plates with iron stalks. At the opening I visited the exhibition with her and she was charming and down to earth. That woman has passion: you could notice that by the way she explained the story of each one of her shoes; how they were made and when ... She also loved Deodato’s shoes. Basically, what she did in 1978, Deodato had done it in 1972. 

2010 | Erminio Zaffaroni
The Zaffaroni Collection

To wrap things up, at the same Bologna Fair Deodato also exhibited another terrific design for Romea:

1972 | Salvatore Deodato for Romea (Venice) | Ready to be knocked off A.S.A.P.

Source: Foto Shoe magazine #4 Vol. IV

1973 | SALVATORE DEODATO FOR ROMEA
AT THE MAA (MUSEUM of APPLIED ART) | BELGRADE, SERBIA

1970s | Done already! Striking resemblance minus the AstroTurf vamp.

Source: Shoes (Workman Publishing, 2006)