DRS2012 Bangkok Proceedings Vol 4 - Design Research Society

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Shoe Design Requirements for the Physically Disabled Women Ramos, or into the prom queen, indispensable to Nahum, or even into the powerful entrepreneur, mentioned by Camargo. Shoes are part of this character transition in which they live. The lack of articles together with the difficulty in finding or adapting them is the denial of this possibility of building up characters. It may lead them to depression, as Nahum reported. The wearers concluded that the shoes need to be easy to put on and take off, easy to clean; they should allow perspiration and their stitch should not hurt their feet. Their shoes must promote safety, i.e., their feet must be held firmly by the shoe upper part. Their shoe heels need to promote stability when walking with non-slip soles in order not to cause the feeling of twisting the foot. The safety and body diversification matters worked on this study were requirements already foreseen. The sensual and feminine characteristics attributed to the shoes stemmed from the interviewees’ accounts. Sensuality lies in the power to seduce others and to seduce oneself through the excitement of the senses. The visual and the touching senses are the most used in fashion design. Soft and sensual materials such as sheep leather literally caress the touching sensitivity of the wearers. The shoes with feminine and sensual characteristics are the ones which make the wearer feel self-confident, included in the social environment, i.e., the ones which bring them emotional benefits, social and psychological pleasure according to the situational context. In the day by day routine, the wearers are quite happy with the sneakers, ballerina flats and wedge shoe models. On the other hand, in special occasions, often pressured by the cultural industry, shoes like scarpin or high-heeled sandals (higher than 6 cm) or medium (around 4 cm), were pointed out by the wearers as models capable of conveying this confidence, directly related to the power of female seduction. That is when they want to delight and fascinate the others. Those moments ‘of stars of the catwalk, actually, life’s catwalk’, are the ones that they are worried about. Fulfilling their basic needs is not enough. If that were the purpose, they would stick to their orthopedic boots. The shoe is a fashion design object which needs to vary according to the dreams, will and desire of those who wear it in several occasions. This study observed that the aesthetical-symbolic functions of the shoe may cause effective socio-cultural inclusion of the wearers. The well-being is associated with the possibility of building up personal images according to the wearers’ desires, which also influenced by the cultural industry. Power, seduction and femininity are the main symbolic values attributed to the desired shoes by the interviewees. The shoes make women feel good socially, thus improving their well-being. These subjective concepts associated with the technical and ergonomic aspects will function as basis for the shoe design development. The interviewees, therefore, have become active partners of the project. They will be often consulted so that an effective socio-cultural inclusion and some life improvement concerning physical and social aspects can be ensured. References BÜRDEK, Bernhard E. (2006). Design: História, Teoria e Prática do Design de Produtos. São Paulo: Edgard Blücher. CHAUI, Marilena. (2000). Convite a Filosofia. São Paulo: Ática. IBTeC. (2007). Cartilha do Calçado, edição 01 – ano 2006/2007. Novo Hamburgo: IBTeC. IIDA, Itiro. (2005). Ergonomia: projeto e produção. São Paulo: Edgard Blücher. JORDAN, Patrick W. (2000). Designing pleausurable products. London: Taylor & Francis. 11 Conference Proceedings 1615
1616 12 Conference Proceedings Mariana Rachel RONCOLETTA and Maria Cecilia LOSCHIAVO DOS SANTOS JORDAN, Patrick e GREEN, William. (1999). Human factors in product design: current practice and future trends. London:Taylor & Francis. LÖBACH, Bernard. (2001). Design industrial – base para a configuração dos produtos industriais. São Paulo: Blücher. MARTINS, Suzana Barreto. (2005). O conforto no vestuário: uma interpretação da ergonomia. Florianópolis: UFSC. MORIN, Edgar and ADORNO, Theodor. (1967). La industria cultural. Buenos Aires: Galerna. NORMAN, Donald. (2004). Emotional Design why we love (or hate) everyday things. New York: Basics Books. RONCOLETTA, Mariana Rachel and MARTINS, Suzana Barreto. (2011). “Usabilidad, placer y comodidade en El calzado para mujeres con deficiência física”. In: FLORES, Oscar and LOSADA, Ana. Diseño y Ergonomia para poblaciones especiales. México: Desígnio. SEMMELHACK, Elizabeth. (2006). “A delicate balance: women, power and high hells.” In: RIELLO, Giorgio and McNEIL, Peter. A history from sandals to sneakers. New York: Berg.
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