Sara Valeri shares the Story of the META BEASTS Project. Global Footwear Awards 2023 Best Overall Winner.

Meta Beasts by Sara Valeri are transitional soccer shoes for ages 7-11, offering comfort, performance, and safety, and featuring a unique digital twin in the metaverse for enhanced skills in and out of the field.

Could you tell us a bit about yourself?

Hi, my name is Sara Valeri. I was born in Merida, Venezuela. From a young age, creativity has been my way of expressing myself and understanding the world around me. Growing up, I used to sketch and paint all the time. I would also disassemble toys and assemble them as new creations; music, specifically playing the guitar, became another outlet for my artistic soul. Now, as an adult, I’ve found a home in design. In this space, I can translate my creative ideas and life experiences into tangible solutions that not only speak to aesthetics but also bring profound meaning and positive change to people’s lives.

Where are you with your studies? Have you specialized in footwear design?

I’m a second-year master’s student at the University of Oregon’s Sports Product Design Program. I plan on graduating this spring of 2024. With a BFA in Industrial design and now immersing myself in the world of sports product design, covering categories like equipment and apparel, my true passion lies in footwear design. Which is the focus of my thesis project and what fuels my aspirations for the post-graduation chapter of my journey..

Is a philosophy, a vision, or a special process influencing your design?

Every design, regardless of its scale, has the potential to bring meaning and impact to someone’s life. Throughout my journey, I’ve woven the threads of my past experiences, the lessons I’ve learned, and the diverse people I’ve met into my daily work. This approach deepens my understanding of others and infuses purpose into my creations. When designing, I always think about the future and how our world can be reshaped for the better through design.

Can you explain your general design process? How do you start a new project?

I kick things off in my design process by profoundly understanding the project brief and problem. I meticulously plan my time, dividing the project into manageable phases. Understanding the end user is critical to “who I’m solving for.” I conduct thorough research, collecting data through surveys and interviews to define pain points and insights. For projects like sportswear, I dive into biomechanics, human factors, and societal trends. Trend forecasting gets me to explore society’s psyche and reactions. Then, I organize ideas, drawing inspiration from past projects and creating mood boards. The ideation phase is about sketching on paper, digitally, or even in virtual reality. I refine ideas using tools like Illustrator and Photoshop, sometimes playing with AI for more sparks. Material research and understanding of manufacturing follow, often involving collaboration with industry experts. After defining everything, I moved to 3D modeling and created physical prototypes and 3D printing components like outsoles and midsoles. Prototypes are tested, validated, and refined based on user feedback before being sent to the factory or client as tech packs, 3D models, and final renders. It’s a journey from concept to reality, ensuring the design works seamlessly in the real world.

What is the most challenging part of working on a new footwear concept?

The most challenging part of working on a new footwear concept is defining the problem and clarifying my goals; therefore, project management is super important. Because sometimes, as a designer, you want to solve too many issues at once, and you can get carried away with different ideas you want to implement. So, it’s always essential to establish the main problem you are trying to solve, always have the defined target consumer in mind, and be able to continually clarify and support each step of the process so that, in the end, it is a streamlined process. You can anticipate changes and work around new paths while focusing on that end solution.

Which footwear designer has had the most impact on your work?

Given the diverse influences throughout my career, choosing a single designer is no small feat. In my undergraduate years, luminaries like Ross Lovegrove, Neri Oxman, Zaha Hadid, Naoto Fukasawa, and Iris van Herpen, introduced by insightful professors, shaped my perspective on design. Thinker Hatfield, with his revolutionary impact on footwear design, kindled my passion for the field. Virgil Abloh, with his ascent to the pinnacle of the fashion industry, taught me that dedication knows no bounds. That one can revolutionize an entire industry with hard work and dedication. Matthew Williams’ contemporary, bold, futuristic aesthetic, challenging norms, and Yohji Yamamoto’s transformative designs with Adidas inspire my work in the realm where fashion meets sports, evoking change and transformation. However, a pivotal figure in my life is my brother Ezio, whose resilience and perseverance have instilled in me the fire to keep designing and fighting for my dreams.

How do you see your work evolving in the future, and what new concept you want to explore?

Peering into the future, I envision my work maturing, carving out a distinctive design aesthetic marked by timeless creations. The evolving landscape of future technologies, particularly the realm of 3D-printed footwear, holds immense appeal for me, and it’s a frontier I’m eager to explore. Beyond that, my journey involves a continuous quest for knowledge and exploration of new paths that lead to groundbreaking innovations in the world of sports and design. Material innovation and sustainability are areas I’m determined to delve into, recognizing the limited knowledge we often have about the end life of our products and the environmental impact of the materials we use. As I design, my goal is not just to solve problems but to contribute revolutionary solutions that stand the test of time. The journey ahead is one of constant learning, exploration, and a commitment to delivering designs that make a positive impact.

Discover our GFA 2023 Winners HERE

Footwear Designer Wout Speyers Reveals the Story of the One Shoe (fits all) Project. Global Footwear Awards 2023 Best Overall Winner.

One shoe (fits all) by Wout Speyers. Innovative and refreshing. This is a new style of shoe. A shoe for the Oxford style wearer and the man in slippers. Two functions in one design. ‘One shoe fits all’ is part of ‘The World is a natural product’ collection, the winner of the Craft the Leather Award 2022. 

Could you tell us a bit about yourself and your professional journey?

I am originally an industrial designer engineer and somewhere in life I fell in love with chairs. Designing chairs was my main focus for quite a while and then it struck me that a chair and a shoe are the same thing. It therefore made sense to switch to shoes and five years ago I started an education in artisanal shoemaking at the René van den Berg Academy.

Both, a chair and a shoe, are free-standing objects defined by the line, sculptural pieces so to speak. Both are intensively used and have complex curved surfaces due to their relationship to the human body. Upholstery, leather, folds, and stitches play a part and new techniques and new materials are quickly integrated with both products.

However, a shoe is more dynamic than a chair and finds its way through the world. It is such a pleasure to be involved with expression and fashion while artisanal shoemaking is still a very technical profession that fits in with my engineering background. The step aside to art is a small one. Ultimately I just make sculptures, if possible practical sculptures.

Can you explain your general design process? How do you start a new project?

A ‘general design process’ suggests that there is a standard approach and maybe that was taught to me at the university a long ago. Something about sketches, variants, and semi-scientific choices but I kind of forgot about that.
Nowadays ideas often come from an object or thing I see at a flea market or in a museum. Sometimes it is a fragment from a song or a line of text from a novel. Perhaps even the dissatisfaction of the evening news. The core is inspiration, a sparkle of life that connects it to the real world.

For example, the Global Footwear Award winner ‘ One shoe fits all’ is made of vegetable-tanned leather which is a responsible choice. To emphasize that we must use precious materials efficiently, I have put two functions in one product. But there is also the observation of modern life. Neatly dressed Oxfords-wearing men run a rat race every day, but there is always a pause. There is a built-in reminder that being less hurried is also an option. Just pull out the slipper and let it all go, the opportunity to take it easy. Hakuna Matata.

It should not be left unmentioned that this shoe was only possible with the support of my mentor René van den Berg.

Is there a philosophy, a vision, or a special process that influences your design?

The year is 2024 and the world is entirely driven by efficiency and the maximization of profit. Well not entirely. A small local shoemaker still holds out against this spreadsheet mentality.

I’m exaggerating a bit, but it still amazes me that professionals send invoices made up of 5-minute time intervals. I resist that and there is no clock in my studio. If there’s one thing I’m aware of – let’s call it vision – it’s being generous with time. Beauty cannot be forced and value creation takes time. Ideas mature slowly, I have plenty of time for my clients and I put everything together in a relaxed manner. That sounds laid back but still, you have to do everything with focus, intensity, and dedication. I cherish commitment and ultimately love for the product.

What did you find the most challenging while working on a new footwear concept?

I often work on many projects at the same time; art projects, (shoe) sculptures, and bespoke shoes for customers. That sounds interesting, but it is not very good for progress. I tend to think more than I actually create and sometimes there is a discrepancy between the ideas and the craft I master.

The answer to all those things is the same: discipline. Keep creating, keep practicing. It is the 2024 New Year’s resolution, like every year.

What does winning the Global Footwear Awards mean to you?

As I mentioned before, I have made a switch from furniture design to footwear and I am relatively new to shoe design. Winning the Global Footwear Awards was a huge boost and confirmation that I am on the right path. Besides that, it is a much-appreciated sign of quality for my customers.

I am very grateful to have won this award. Thanks so much for the opportunity!

What is your sustainable design approach when developing your pieces?

Making bespoke custom shoes is a responsible choice because the valuable leather is used for shoes that are worn (and not for a series of fitting shoes in shops). Well-fitting shoes simply last longer. Since my training in Tuscany, Italy (and winning ‘Craft the Leather’) I have been using more and more vegetable-tanned leather.

I like to think that a local shoemaker is a sustainable choice because the money stays within the community. The ‘buy local’ principle without mass production and major transportation around the globe.

The ‘Makerszoon’ concept created by master shoemaker René van den Berg is a wonderful example of all this. Makerszoon shoes are only made when there is a customer. All vegetable-tanned leather is therefore used effectively. Rene does not use electricity to make this shoe and the imperfections of handmade are part of the design. All stitches are on the outside making the shoe easy to repair. Wherever you are, there will always be someone close by with a needle and thread. To prevent customers from having to drive across the country for a pair of Makerszoon shoes, these shoes are made locally by a craftsman in his studio. That would be me for the province of Utrecht, the Netherlands and I like to involve customers in the entire process of creation. I do use electricity sometimes, don’t tell anyone.

What advice would you offer to aspiring designers?

Be patient and practice. Sooner or later you’ll find your own voice.
(There’s not much wrong with copying the masters to get a sense of greatness).

Discover our GFA 2023 Winners HERE

Footwear Designer Ofir Kertesz Reveals the Story of the metamorphosis Project. Global Footwear Awards 2023, Best Overall Winner in student category.

Ofir was born in Txfat in Northern Israel. And moved to Haifa district to this day. Her life revolved around art, as a child she participated in jewelry lessons, ceramics, and drawing and creating costumes in her free time. After her mandatory service, she started her degree studies at Bezalel Academy. 

Winning Project: metamorphosis, During her recovery from a serious car accident that left her disabled both physically and mentally, she became obsessed with the concept of freedom, because she felt deprived of any remnants of it and found herself drawn to the metamorphosis of insects. She created three pairs of shoes, custom-made for her foot measurements using 3d printing and handcrafting techniques.

How did you choose Bezalel Academy Of Art And Design?

I was looking for a program that could teach me about as many aspects of design and art as possible. And the jewelry and fashion departments gave me just that, with the program starting as multi-disciplinary. I had the time to learn which aspects of the program suited me best and chose to continue my studies focusing on shoe design.

How did the design come to have such an important role in your life?

At about 12 years old I started to create fantasy costumes. I did that for about 10 years and decided to be a costume designer for theatre and movies. When I started my studies I came to learn the workings of shoe design and fell in love with the craft.

What is your inspiration behind metamorphosis?

In 2021 I was involved in a serious car crash. Suddenly I was disabled, had to learn how to walk again, and had to build myself back up. I felt like a butterfly and felt that my shell, my body, had more to offer than I could bring at that moment, so in the next months as I recovered, I had to learn how to utilize my body all over again. Same as I imagine a freshly hatched butterfly had to do when it left its
chrysalis.

Can you explain your general design process? How do you start a new project?

In this project, I started with how I felt. I started to look for inspiration around me that sparked that feeling and landed on insects and then studied the process that the insects go through and different kinds of them until I landed on the right shapes that I wanted to create with that inspiration.

What does winning the Global Footwear Awards mean to you?

I’m very honored to be selected, every recognition of my art and hard work brings me so much joy.

Are you currently working on something new that you can tell us about?

I’m currently learning how to crochet, with the idea of getting to know a new craft and maybe merging it to my shoe designs.

Discover our GFA 2023 Winners HERE

Footwear Designer Stephan Henrich Reveals the Story of the CRYPTIDE – ONE – Project. Global Footwear Awards 2023, Footwear Brand of the Year.

Winning project: The CRYPTIDE ONE is a luxury lifestyle shoe that is completely 3D printed from one flexible material.
The upper shoe, designed as a sock that is perforated for optimal ventilation, can be shaped by a 3D scan of the foot of its future wearer. The iconic sole design is segmented into the wearer’s toe, ball, and heel areas.

Why did you choose a design that is segmented into the wearer’s toe, ball, and heel areas?

I love to design finding an expression for ‘the creature’ in the object. So the object – in this case, footwear – is of course above all supporting and reacting to the human anatomy but I also wanted to visually extend and translate the anatomy onto the object. Beyond that, it is a work on the footprint of us human creatures: We all leave traces on our ways. I believe these traces should be caused by a much closer connection to our bodies. Also, the brand´s name The CRYPTIDE derives from the ‘creature in the object’: Cryptids are species in cryptozoology – the „science“ of animals that may exist …or not. Wearing the CRYPTIDE ONE will create traces that prove their existence.

What is the material that the shoe is 3D printed off? Why did you choose this material?

The shoe is 3D-printed in TPU. As the shoe is 3d-printed in one go, the challenge was to find a material that works for the shoe´s upper, where it will be in close contact with the wearer´s skin, as well as for the midsole, where it should provide cushioning and stability and for the outsole, that needs to resist abrasion and provide grip. TPU can cover all of these aspects!

What makes your design stand out in comparison to other sneaker designs?

I guess that conceptually and aesthetically the Cryptide ONE design has its independence. The design comes with a few innovations/inventions that I haven´t seen in other footwear to date.

How do you envision the Cryptide sneakers influencing the world of footwear design?

We will see…

What design elements did you prioritize to ensure the style and comfort of the Cryptide sneakers?

The branching structure of the midsole is the result of a simulation-driven design. A topology optimization predicted where the material would be needed to support the wearer´s walking and where material could be left away. This process can help to steer comfort while allowing for a lightweight design. It was important to me that the shape of the upper shoe is as close as possible to the human foot, even the foot of the individual wearer to ensure comfort. As an option, this can be achieved by 3D-scanning the feet of the future wearer to inform the shoe´s geometry with this information. In addition, I wanted to make sure that the TPU material, which is not breathable by default, wouldn´t reduce the wearing comfort. So I went for a continuously perforated upper, that allows comfortable ventilation even in hot summer.

Were there any specific design challenges that you had to overcome to achieve the design you desired? If yes, what?

I wanted the design to be monolithic. One material for everything: No gluing or fusing of different materials or anything that makes pure recycling impossible. So it was a challenge to design the shoe in a way that it is comfortable to wear and durable at the same time.

What made you choose 3D technology to create your design?

I have been developing designs for additive manufacturing (3D printing) for many years – not at all limited to footwear. I have been designing e.g. furniture and robots that only can be produced with the use of 3D printing. Over the years I developed a design language for objects that are meant to be 3D-printed. So it was a natural thing to do to apply this „3D-printing-design-language “to 3D-printable footwear.

What are the advantages and the limitations of using 3D printing, especially when it comes to performance and durability?

When constructed well, 3D-printed shoes can be very durable. I have been testing some pairs for over 1200 km and I am continuing to wear them because they don´t get destroyed. A limitation is the price: 3D printing still is an expensive process.

What can we wish you for 2024?

You could wish me that The CRYPTIDE finally becomes available for purchase soon. And then of course satisfied customers.

Discover our GFA 2023 Winners HERE

Footwear Designer Hita Wangse Rudira Reveals the Story of the ANTA – TERRAN AWR – (ALL WEATHER READY) Project. Global Footwear Awards 2023 Best Overall Winner.

Anta held a footwear design competition in 2021 with a theme of the future, focusing on the earth’s ecosystem. Hita Wangse Rudira argues that we must act quickly and consistently to save the planet and explore possibilities with innovation. She envisions a future where natural disasters occur and how we live forward, emphasizing the importance of listening to nature and acting accordingly.

Could you tell us a bit about yourself and your professional journey?

My name is Hita Wangse, you can call me Hita. I am a footwear designer who began my journey in this industry in 2014 with an internship at one of the leading sportswear brands in Indonesia, League Sportswear. Since then, the fun journey started. I also met many senior designers who guided me from the beginning until today. Currently, I am working in Surabaya City, Indonesia, for Ardiles International, a specific division that focuses on the international market. I have connected with many brands from across the world, including France, Norway, the UK, Germany, the USA, UAE, Saudi Arabia, Australia, Spain, Japan, the Philippines, etc. Building a network while developing my skills and upgrading my creativity with design solutions has made me what I am today. I believe, no end is being a designer because problems always come up and we are making the solution.

How did the design come to have such an important role in your life?

Since I was 4 years old, I always accompany my father in painting in his studio. Sometimes I observe how he works with his brush, rotating the canvas, mixing the oil color, and even sleeping beside his painting. Then I learn through paper and pen, simple as that. Drawing everything in a realist mindset, almost every day. Then I started being surrealist because I loved reading manga, drawing short-story manga at 8 years old, drawing characters, and so on. So my family is already in an art / creative environment. The only painter in my family even a big family is only my father. Since then, I made a promise to myself that I would live through my passion for drawing and found out footwear design is my way to bridging my hobby in basketball and drawing. Starting by bridging design and sports, then I found a new vision in designing footwear now, to make my colleagues/stakeholders happy through my work and the products I design have a good impact on the user.

Is there a philosophy, a vision, or a special process that influences your design?

My lecturer said there are levels of problems in our environment which are divided into three questions, What, How, and Why. And the highest level is “why”. So my design philosophy is always trying to answer the “Why” question to get a better version of solutions. When I can answer the “why” it will include “What” and “How”. For the technical part, I always try to do it the fundamental way, by sketching. Pen and paper, digital sketch, even pen, and my palm sometimes. A lot of sketching while listening to music and just sitting alone. Sometimes coffee can be a booster.

What is your inspiration behind ANTA – TERRAN AWR – (ALL WEATHER READY)?

In my Terran AWR design, I just start by imagining something outside human calculation of our future. Through my design, I am trying to imagine in our future there is no “futuristic life” as we admire the progress of technology now. Start with the imagination of “What If” our earth rejects and declines our “futuristic way of life” because we hurting the earth and it giving us an apocalypse all over the world. As a footwear designer, I imagine people will come back to a fundamental way of life, and on of it is by walking/running. With unpredictable contour and climate post-apocalypse, I am trying to redefine what is the most durable and effective to create supportive shoes. I predict 3D printing is in our lifestyle, people make things with 3D Print and there will be so many broken / used materials caused by the apocalypse such as used tires or other rubber. My design is to combine the most future in that moment (that still works) and the easiest process that humans can do post-apocalypse without causing huge damage to the earth, recycling.

Which designers do you admire the most? Do you take inspiration from their work when diving into a new project?

I have high respect for many designers across the globe and not only designers. There is no specific person for it. All designers even junior designers are inspired by me. Not always the person, the process, or the result of the products they create. Their passion, uniqueness, and integrity can inspire me. For example, I admire a person such as Salehe Bembury, Raka Gemma, and Gagaswara as designers, also the famous Akira Nakai in his work ethic and creativity in customizing a car. Anyone can inspire me even the great Ibn Battuta. But most of all is my father, my guide in being creative since I was a kid. I absorb anything from them, how the way they think, work, presentation, calculation, intuition, etc. For a new project, inspiration can come from their work but is not limited to. It always depends on the brief of the project.

What does winning the Global Footwear Awards mean to you?

Actually, in 2023 I was selected two times with 3 categories winner. It is always meaningful to be acknowledged and selected as a winner in such a high-level of footwear event. My Family appreciates my winning with happiness and my mother shares through everywhere, it is so funny. While she said my father will be proud from heaven. It motivates me to be the best of who I am every time. The last two awards categories, with my Terran AWR design entry, hopefully, will inspire many people not only designers because of my insight, imagination, and story behind the design. Or maybe will be developed in the future. It is manufacturable.

What are you working on at the moment? Anything you can share about your upcoming design?

Currently many projects on my desk, designing and assisting brands for 2024. Maybe I will just say that this year will be more into fashion/lifestyle projects coming up. Excited about the releases of brands I assist in starting the product line.

Discover our GFA 2023 Winners HERE

PET LIGER Founder and Visionary Artist, Constantinos Panayiotou reveals the story of the VERTEX LOVE Project. Global Footwear Awards 2023 Design of the Year.

Pushing the boundaries of single silhouettes. The first Heels series featuring the heart motif gained virality on Social Media with over 120K likes.

Could you share your concept behind the design of the Vertex Love high heels? What do you want to express with this design?

Since the theme is Love, what better way to express that than through the use of the universal symbol for love, the heart shape? I wanted the design to appear like it’s almost floating. Also, I wanted the texture and feel of it to look edible and sweet to the taste like candy. All this works together to create a feeling of pure ecstasy.

What inspired you to create the design of the Vertex Love high heels?

Constantinos creates a footwear design every day and posts it to the PET LIGER Instagram account, And he has been doing so for close to half a decade. The Vertex Love Heels were designed and uploaded on Feb 14th to Celebrate Valentine’s Day!

Would you share your approach to choosing the designs based on your whole brand?

PET LIGER is all about having fun and being playful, also I want to inspire others through my work and to make them feel a sense of epicness and awe! That’s how I feel when I’m putting my creations together.

How are the Vertex Love high heels manufactured? Is there any specific technology behind the unique design?

These are digital creations, for now, designed to be worn in the Metaverse. Digital and Onchain fashion is the future!

Based on your extraordinary designs, what do you want to add to the world as a designer?

Beautiful and Iconic silhouettes! Things that bring me joy.

If you could design this pair of heels one more time, what would you do differently?

I have already redesigned them countless times. You can find all the different iterations on the PET LIGER Instagram.

What makes you go to work every day?

Gratitude that today by some miracle I will help to bring something new into the world.

Do you have any new design projects you can share?

At the moment our main focus is bringing these digital works into the physical world. 2024 is the year we finally give the people what they have been asking for!

Discover our GFA 2023 Winners HERE

Join us in celebrating the future of footwear! Explore the groundbreaking designs that clinched victory in the 4th edition of the Global Footwear Awards. Witness how technology and sustainability are reshaping the industry. 

The Global Footwear Awards (GFA) is excited to reveal the distinguished winners of its fourth edition, having received an impressive array of over 200 projects from 25 countries.

The 2023 Footwear Brand of the Year is The Cryptide, earning recognition for their design of the CRYPTIDE ONE, led by designer Stephan Henrich. This luxury lifestyle shoe is entirely 3D printed from a single flexible material. The upper part, designed like a perforated sock for optimal ventilation, can be shaped based on a 3D scan of the wearer’s foot. The distinctive sole design is segmented for the toe, ball, and heel areas, while the midsole features a branching structure tailored to the wearer’s weight through FEA and topology optimization. On-demand manufacturing prevents overproduction, and its single-material construction facilitates easy recycling.

The Independent Footwear Designer of the Year title goes to Constantinos Panayiotou for his outstanding creation, Vertex Love. Founder and creative director of PET LIGER, Constantinos is a globally acclaimed visionary artist who has created an impressive array of footwear explorations through his daily artworks series.

The Emerging Footwear Designer of the Year award goes to Madeline Helt, a student at the Savannah College of Art and Design. Collaborating with colleagues Jack Winkler (3-D printing) and Emily Lacomba (sock design), they reimagined climbing boots by integrating technology to retain heat. Structural patterns were strategically repeated to create a new textile for the outdoor space. The sole concept focuses on customizability and sustainability, allowing users to swap or change the sole after wear.

Winners receiving the “The Best Overall Design” included Base Camp Mule by The North Face, 2023 Asics FireBlast Basketball shoe concept by Jake Lin, Stealth Formations by Jóse Monroy, PUMA NFRNO by Hyon Park and many more. Other winners included Bottega Veneta Sardine Boot Concept by Anna Boutashkova, Concept Nike CONQUEROR by Marc Van Tichelen, Skechers by Jeffrey Hernandez, FILA Wings by Martin Chapuy, JOMA | Evolution Cup 23 by Piotrek J. Pérez, Adidas XPLD Football Cleat Design by James Bleakley, Astro Heel by Noriyuki Misawa, Jordan 3 2021 by James Howe and Footwear for Barefoot by Bao Qiancheng.

This year’s distinguished panel of judges, drawn from experts in fashion, design, media, and art, has been carefully assembled to guarantee that the winning designs truly epitomize the pinnacle of footwear excellence. Comprising a collective wealth of knowledge, the jury boasts renowned figures such as Oronzo De Matteis, CEO Founder & Creative Director of OROORO BRAND LUXURY; Anna Maria Giano, Contributing Editor at Vogue Italia; Monica Mei, Footwear Designer and Product Manager at Vera Wang; Sean Williams, OSD, SOLEcial Studies Co-Founder. Adding further expertise to the panel are Mathew Kurien, Head of Department at MIT Institute of Design, and Fionn Corcoran-Tadd, Innovation Designer at adidas, among others.

“I’m thrilled to see so many of this year’s GFA winners embracing sustainability and technology in their designs, offering us a glimpse into the future of eco-friendly footwear. It’s inspiring to witness the perfect blend of style and innovation. These designers aren’t just making shoes; they’re crafting a narrative of mindful steps towards a more sustainable and tech-driven future,” commented Astrid Hebert, GFA Program Director. 

To view all winners, visit globalfootwearawards.com. With the conclusion of the fourth edition, the GFA looks forward to the continued success of these designers, confident they will inspire and reshape the future of footwear with style, sustainability, and innovation. 

The Global Footwear Awards (GFA) is thrilled to unveil the distinguished jury members who will be presiding over its highly anticipated fourth edition. The GFA, an esteemed platform celebrating outstanding achievements in footwear design, is now open for submissions from talented designers worldwide.

Since its inception, the GFA has attracted designers from over 50 countries, with each edition surpassing the previous one in terms of creativity, innovation, and global participation. Winners of the Awards have not only received prestigious accolades but have also enjoyed significant industry recognition, featuring prominently in renowned publications and forging partnerships with leading brands.

The 2023 grand jury comprises experts hailing from diverse backgrounds, including fashion, design, media, and art. These distinguished individuals bring their exceptional insights and extensive experience to the selection process, guaranteeing that the winning designs represent the pinnacle of footwear design excellence.

Among the esteemed jury panel are renowned personalities such as Felipe Fiallo, Founder & Creative Director of Felipe Fiallo S.R.L.S, who, after working for Ferragamo and creating concepts for Stella McCartney and Adidas Maker Lab, is now focused on luxury sneakers and footwear. Jury member Sissi Johnson, an MBA professor and Founder of SelfSells, has had her work featured by Forbes, CNN, The New York Times, Vogue, and the V&A Museum. Sean Williams, a well-respected NYC-based sneaker lover for over 37 years, serves as a sneaker industry consultant to brands worldwide and is a co-founder of the SOLEcial Studies sneaker industry education program. Jazerai Allen-Lord is a multi-hyphenate creative with deep roots in sneaker and streetwear culture. The agency she founded, True to Size, has worked extensively with notable brands such as New Balance, Nike, Reebok, Jordan Brand, and many others, focusing on women’s-focused storytelling. Richard Kuchinsky, Founder and Owner of The Directive Collective, a full-service footwear design consultancy, brings over 20 years of extensive experience in the industry, driving the creative design and development process for global brands with a sharp focus on design DNA and strategy.

Joining these luminaries are Robbie Fuller, Creative Director at Anta Group, James Lee Thompson, the innovative strategist from On Running, Oronzo De Matteis, the visionary behind OROORO BRAND LUXURY, Ann Williams, Co-Founder and Footwear Design Director at Schwilliamz Creative Consultants, and Mary Norton, the Luxury Accessories Design Director/Specialist at Savannah College of Art. This star-studded jury panel, consisting of industry giants, ensures that the Global Footwear Awards 2023 will be an exceptional showcase of innovation and creativity. Discover the full list of esteemed jury members, including other prominent names, on the GFA website.

The GFA invites designers from around the world to submit their most remarkable work, embracing the opportunity to be recognized alongside industry luminaries. With an illustrious jury panel, the fourth edition of the GFA promises to set new benchmarks for creativity and innovation in footwear design.

For more information about the Global Footwear Awards and the submission process, please visit globalfootwearawards.com.

Noriyuki Misawa: Create shoes as works of art

A pair of good shoes should also be a walkable work of art. How to better integrate technology and art in the process of designing and manufacturing shoes is considered to be a problem that the entire footwear industry has been exploring and thinking about. Recently, Linker  by Red Boots Awards, the Chinese partner of the Global Footwear Awards interviewed Noriyuki Misawa, a Japanese handmade shoe maker/artist, to launch an in-depth dialogue on technology and art, creation and inheritance of shoemaking concepts and professional experience.

Noriyuki Misawa, a shoemaking master/artist. 2022, he was honored with Global Footwear Awards, best overall Winner, and many more. 2015, he received the award of 33rd Japan Leather Craft Exhibition from the Minister of Education, Culture, Sports, Science and Technology. 2010, Misawa won German International Shoemaker Skills Contest, Gold Medal and Honorary Prize;

“Shoes are not only walking equipment, but also a work of art.”

From a college student selling shoes in shoe stores 22 years ago to an apprentice studying shoe making technology in Vienna, Austria, Noriyuki Misawa spent ten years learning and accumulating on the way of handmade shoes. His experience of studying, working and living everywhere not only brought him a new perspective on the art of footwear, but also brought him a broader understanding of “tradition” and “fashion”. “Taking the west as the skeleton, and the east as the soul” – based on the traditional shoemaking techniques and “classic aesthetics”, the implicit restraint of oriental art is used to balance the aesthetic feeling of shoes to seek a new design thinking and convey his own ideas and attitudes towards art and modern life. This is the understanding of shoe aesthetics by Noriyuki Misawa and his exclusive “Misawa expression way”.

In Noriyuki Misawa’s heart, shoes are the carrier of his understanding of art. He believes that “shoes are not only walking equipment, but also a work of art or handicraft“, which is fully reflected in his work “Foot’s nest”, the winner of the Global Footwear Awards and many more. In Tokyo, where the virus was spreading, when people had to be blocked at home, Noriyuki Misawa felt a mission of “what must be done” by producers and artists. After a long time of thinking, inspired by the ant nest he studied in his childhood, he changed the design idea of “from shoes to feet” into “filling and making the space outside the feet from the inside to the outside”, and created a “non-wearable, non-walking” “shoe”. It was this work that made Noriyuki Misawa known to Linker.

Work description: This art work perfectly combines the artistic aesthetics and the environmental protection concept of “no glue, no sewing, limited materials, easy disassembly or maintenance, easy recycling”. Taking local materials from nature, and the supernatural “shoe art” was created through nature.

A pair of shoes that cannot be worn cannot be accepted by everyone. In the process of work, Noriyuki Misawa is also often troubled by the difference between the customer’s aesthetic and his own design concept, but he believed that although professionals are committed to contacting and thinking about shoes every day, it cannot be the reason for them to judge that their aesthetics of shoes are necessarily higher than those of customers. “It is important to play their professional role and confidently convey their aesthetics and ideas to customers, but they should not be overconfident. It is also important to flexibly accept the views of customers and find a balance between the views of both parties. ” He added, for example, that sometimes he would try to accept the requirements of an aggressive or opinionated customer, and he often found that the customer’s insistence would indeed bring unexpected good results. From this point of view, he did “constantly learn a lot from customers.”

“Artistry”+”Practicability”

Artists often need to enter a state of “mindfulness” of “turning away from the world” when creating, which makes the creators have to experience the inevitable feeling of loneliness most of the time. For  Noriyuki Misawa, hand-made shoes create a space for him to deviate from the industry and crowd to some extent, which not only gives a creator more opportunities to insist on himself, observe and think independently, but also makes him have to endure loneliness and temptation. “I do feel very lonely because the relationships around me have been cut off,” Noriyuki Misawa said. In fact, I sometimes feel like I’m getting sick because I’m so bothered by this kind of isolation.” However, the “satisfaction of designing my own shoes from scratch” can give me another kind of indescribable satisfaction.”

Noriyuki Misawa has given its own understanding of the relationship between “art” and “industry”. He acknowledged that the “pursuit of excellence” of art and the “pursuit of efficiency” of the industry are sometimes contradictory, but many excellent works of art can not only meet the requirements of efficiency but also show some artistry in the mass production of shoes in the industry: “In any case, the truly excellent shoes are both artistic and practical, both of which are indispensable.”

“Thinking in the state of feeling nature to enter the state of mindfulness“

Every artist has a strategy to get rid of the bottleneck period of creation. Borges once said: “My mind will always run out of ideas, but I will pretend to be okay.”  Noriyuki Misawa faced the practice of drying up: leave yourself to nature. “A few years ago, I would read books related to design art and try to find some information and inspiration to make me create new works. However, I have changed my original practice and am more inclined to think in the state of feeling nature and find inspiration by putting myself in an unconscious state.”

In the process of seeking inspiration, Noriyuki Misawa realized that he always tended to create works related to the earth unconsciously. In 2011, Miyagi Prefecture, Noriyuki Misawa’s hometown, a huge earthquake broke out, which took countless lives. It brought a profound impact on Noriyuki Misawa’s life and works. He often recalled the ground, faults, seismic zones and other causes of the earth’s violent movement, and more than once reflected these in his works. His representative work “Foot’s nest” was also inspired by nature.

“Pain is the source of art. If I give up, I will no longer be myself.”

Freud said: “Instinct repression forms the basis of all the most valuable wealth in human civilization.”  Noriyuki Misawa was incomparably convinced that “pain is the source of art“. Noriyuki Misawa believed that the desire and inspiration for writing essentially reflect the lack of life at all times. Although Misawa said in a somewhat “pessimistic” tone that “we have no choice but to continue suffering,” he still gets himself into pain in an almost masochistic, impatient way. “Why is it so painful every day? Because every day I think it would be better if I didn’t try, but not trying might make me more painful. The reason why I didn’t give up when it was very difficult is because if I gave up, I would become more painful! I would no longer be myself. Undoubtedly, it gives me this feeling! I will be very satisfied and happy if I can make works that satisfy me. That feeling is wonderful. Only with this idea can I continue to create.

This is the voice of almost all creators at all times and in all countries – they get a moment of joy and sweetness from the long and boring pain, and find the meaning and evidence of their own existence, just like the state described by Yan Geling: “At this time, I have lived to the fullest.”

“The time that made me happy was really short. After a while, the painful day began again.”  Noriyuki Misawa said with a smile, “I must immediately create new things to experience the pain again.”

A new painful creative cycle has begun again, and it is also bound to be the brewing of another happy moment.

“What I have to do to cross a field is my work.”

Noriyuki Misawa said that his goal or the theme of his work is always to “create a brand-new shoe of his own style that others could not make”. Constant innovation requires him to constantly step into new fields to learn and achieve knowledge integration. “cross a field” is something that must be done, because this is my job. It is very difficult to make new and interesting designs if I am confined to my own field. If I have the opportunity to have good ideas and integrate them, I will do it, and I am also very interested in the unknown.”

Therefore, the works presented by Noriyuki Misawa not only realize the integration of aesthetic tastes of the East and the West, but also break through the boundary of shoe design. Whether the shoes are specially customized for Hollywood actors and celebrities, Japanese AKB48 art team, or New York tap dance artists, German Berlin pianists, Noriyuki Misawa has always been striving to explore the integration of multiple artistic elements of the innovative display form.

Recently, Noriyuki Misawa reached a project cooperation with Astro Boy to try to break down the boundaries between art and technology and create futuristic footwear art that is both artistic and technological.  Noriyuki Misawa said the design of outstanding innovative products relies on new technology: “Good design can only be made on the basis of new technology. Making new materials with technology is the most important theme. ” Recently, Noriyuki Misawa has used waste tires as the material and extended the life of old things in this innovative way, exploring the lasting harmony between green shoemaking art and technology.

In March this year, Noriyuki Misawa held a personal theme exhibition in Singapore. The so-called cross a field, for him, is just his relentless pursuit of the next proud work.

“Making people want to make handmade shoes is what I want to achieve.”

All works of art in any era require integrity, harmony and beauty in form, as well as exquisite and sophisticated artistic skills and unique techniques. For a long time, handicraft art and visual art have shown obvious differences in inheritance. Many technologies related to handicrafts, including some intangible cultural heritage technologies such as Chinese drama, are faced with the problem of how to spread and inherit.  Noriyuki Misawa has been deeply aware of these problems, and started the inheritance of footwear art and design education five years ago. From Japan to Singapore, from young people to middle-aged scholars, Noriyuki Misawa has always been committed to expanding the “circle of friends” of the Institute of Handmade Shoes. “In fact, handcraft faces certain difficulties, but even in the face of different cultural backgrounds, I still want to try to change my teaching attitude and teach young people in a more patient and flexible way. I want to let young people know that handmade shoes are worth inheriting. I hope that through my efforts people will want to make handmade shoes. This is what I want to achieve.” Noriyuki Misawa said.

At present, Noriyuki Misawa has a new dream: to travel to developing countries to combine his handmade shoe making skills with unique local materials to create unique pieces of footwear art, and to pass on the craftsmanship by teaching it to local young people and children.

“Every day I will think about what I can bring to China after I come to China.”

At present, China’s footwear manufacturing industry is in the window period of transformation from “manufacturing” to “creation”. China’s innovative design is still in the development stage, and there is a large demand for talents at all ends of the industry. The grand scale, the vast market, the rich resources and the brilliant prospect make Noriyuki Misawa full of expectations for the trip to China. Come to China at the right time, and cooperate with experts and young people who are committed to China’s footwear industry and shoemaking industry to carry out further communication and exchange to explore possible cooperation opportunities in the future. “In my impression, China has an industrial scale that Japan cannot match. Most of the shoes in the world are produced in China. In my opinion, new changes may take place in the future. China’s Shoe Industry Association is based on a huge scale, and new changes will occur… What changes will happen if I come to China? I look forward to carrying out some innovation.”

From animal leather shoes to wooden shoes, cloth shoes, leather shoes, sneakers and various popular new material shoes, each pair of shoes can be used as a symbol of the times and culture, a witness of history, and one of the products of technological progress. Taking shoes as a piece of art to create is Noriyuki Misawa’s attitude towards shoe making and life——Focus and broad, serious and modest, and go all out on things you love. This is not only the expectation of a pair of high-quality shoes for its designer but also the expectation of an industry for its manufacturer.

(Text | Jinglan Xu,  Sufang Cao)

Read his previous GFA interview. 

video by linker.

Global Footwear Awards 2022 Category winner Catia Di Carlo discusses her vision for the AYUMA. Project.

Could you tell us a bit about yourself and your professional journey? How did the design come to have such an important role in your life?

I have always told myself I’ve been lucky to know from when I was 5 years old what I wanted: to be a Fashion Designer. Then after my study I shaped my career in Footwear.
My Mom shared her creativity with me and she made me grow flowing with that vibration. She taught me all she knows about tailoring, embroidery, crochet. My family has always supported me and I’m really thankful for it.
Design is expression, I would say is part of myself, something I need to do in several ways.
I’ve worked and lived abroad and I currently live in Italy working for a few brands as Design Director and Merchandising.

Is there a philosophy, a vision, or a special process that influences how you approach design? Would you say that you apply it to your life as well?

I could define myself eclectic. I’m attracted and inspired from whatever surrounds me… nature, travelling, art.
My process is quite full of adrenaline. Everyday is quite funny I know, but many many ideas pop out in my mind. Then some of them really gave me that fire I need and I can do it right away.
I could say I’m experienced and connected enough to Make it Happen. So for the creativity stage of the product I’m super enthusiastic and I don’t see any limits.
When it comes to Marketing and Sales it does become much harder for me and that’s the time where I kind of get demotivated and I let it go. As also in my personal life I like to do many different things and I do it with effort and enthusiasm. I know is not always the right choice.. cause after that I would start a new project again. So Yes, maybe this is the right Time to find someone that can support me on that part of the project that you need to have to call it business and get consistent.

How did you come up with the vision for the AYUMA Collection? How did you manage to join your experience in art itself while also focusing on sustainable production?

AYUMA is a brand I’ve created as a safe box for my creative projects.
During a trip to Tokyo I found out Ayuma means Dream – Desire and I thought it was the best way to call my own dream.
My vision of this latest project is a result of years of exploration through art and handcraft based on colors and images.
I wanted to mix the handwoven leather I have explored for a project of interior design presented for the first time in 2016. That project is called Woven life: pictures taken in Tibet and Patagonia of amazing people and nature and handwoven on leather to halve the percentage of colors leaving that beauty of the image when you step back from it. As in our life: sometimes we need to step back and have a bigger vision to see the actual beauty. Then I’ve mixed that project with colorful rubber eva bracelets I’ve developed.
I have worked as a Footwear Designer for 15 years and I’m still thinking of a business where there is so much waste. So I want to work thinking about sustaining the project producing with respect but mostly left over materials where possible.

What kind of feedback have you received and how do you deal with it?
I did receive nice feedback from people I know in the business, I got some interest in my profile too, so I have to say it has been definitively exciting and I thank you for it.
The project I presented is a concept that must be developed to become a capsule collection…
So I would say: stay tuned! It might be a great opportunity to start collaborations in the future.

What did you find most challenging while working on the collection and what did you enjoy the most?

I love to give shape to the construction and find the balance within colors and different materials.
I have always been attracted by colors and geometry.
Is challenging to create a product that is a mix of concepts, based on recovery materials and handcraft work.

Which designers do you admire the most? Do you take inspiration from their work when diving into a new project?

I got inspired from so many different artists and designers and I have to say it changes while travelling and discovering more thanks also to exhibitions around the world.
I could highlight Philippe Apeloig that impressed me years ago after a show where I’ve jumped in. His extraordinary evolution of graphics and color patterns has given me a great emotion since then.
Also Yves Saint Laurant and his impressive and exciting play of colors, the influence of geometry he got back in his early career was such an imprint in my mind.

What does winning the GFA Awards mean to you in terms of validation and recognition of your work in the footwear design industry?

I’m thankful to GFA for giving me the opportunity to show my vision and my name. I’m one of these professionals who has always worked “behind” creating what the market wants.
I did enjoy shaping my vision without business need or design request from the market.. not now.

Are you currently working on something new that you can tell us about?

I’m working on developing this concept for a capsule collection that can be spread across different heel heights and products.
Would be nice to find a way to showcase it later to the right stores.
Right now this slide has a strong approach to colors and volume. The target I’m referring to is quite aware of trend and not afraid to approach colors.
Surely I would like to play in a more soft way with colors in the collection development.
I’ve been travelling for a month across Papua and Bali right after the Award and I do feel the pure energy I want to work on it now.

How do you want people to feel when wearing your designs?

Ecstatic, Eclectic. Aware of art, aware of fashion but not a trend addicted through social media.
I would like AYUMA to be that woman that has been and loves traveling, she loves to be barefoot and comfy but she’re ready to pop a strong product with that personality when she wants.

Why is sustainable design so important to you personally?

Sustainability in my opinion in recent years became a word that many people in the fashion industry approach with and only Marketing focus.
I’m quite disappointed about it. Surely I would like to be as sustainable as possible but I want to do it consistently. I want to build designs that take into consideration all the supply chain.

What role do you think culture sustainability plays in the modern footwear industry?

The latest Mantra in Fashion is “make less, make better, give a longer life to products” . I would like to take these words seriously and make it happen taking in mind that some products are still quite seasonal but they must have a Story, that passion behind that makes them feel in some ways Unique.
Ayuma’s Motto is “Unique as YOU are” right because I hardly believe in it. I like those small impressions that skilled hands make.
The main concept in Ayuma is referring to CULTURE SUSTAINABILITY which means take that beauty of hand making. I want to give effort to my Italian background, the Country where I belong to and work with those ideas that can only be amazing if realized with maniacal patience, passion and care. On the big vision there is the idea to explore the same beauty across the word.
I’ve been travelling a lot in my life and I would love to build and explore that beauty across the word and the history of artisans.

How do you see your work evolving in the future, and what new sources of inspiration do you hope to explore?

Traveling is my main inspiration. I’m a travel addict, those people need to move, do things, go far and come back. I would call myself Dynamic and I would like to see my project like that too.
I love talking and getting personally woven with different cultures across the word. That was the base concept of my Art project where I do handwoven by hand.
So I do dream to make this traveling become part of it, find the economic support of someone who believes in evolution… cause I would like Ayuma to be in that way: I do change, the brand is doing it with me.

What advice would you offer to aspiring designers who dream of creating meaningful designs such as yours?

Somehow I believe that in the last years 3d art gave a great opportunity to all creative people like me. I would suggest not to stop in front of a screen but get hands on taking the advantage needed from these programs but learning how to actually do this amazing job of showing creativity.