US20150342293A1 - Dance shoe - Google Patents

Dance shoe Download PDF

Info

Publication number
US20150342293A1
US20150342293A1 US14/416,040 US201214416040A US2015342293A1 US 20150342293 A1 US20150342293 A1 US 20150342293A1 US 201214416040 A US201214416040 A US 201214416040A US 2015342293 A1 US2015342293 A1 US 2015342293A1
Authority
US
United States
Prior art keywords
foot
shoe
compartment
shank
pointe
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Abandoned
Application number
US14/416,040
Other languages
English (en)
Inventor
Jozette Hazzouri
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Individual
Original Assignee
Individual
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Application filed by Individual filed Critical Individual
Publication of US20150342293A1 publication Critical patent/US20150342293A1/en
Abandoned legal-status Critical Current

Links

Images

Classifications

    • A—HUMAN NECESSITIES
    • A43—FOOTWEAR
    • A43B—CHARACTERISTIC FEATURES OF FOOTWEAR; PARTS OF FOOTWEAR
    • A43B5/00—Footwear for sporting purposes
    • A43B5/12—Dancing shoes

Definitions

  • the inventive subject matter is generally directed to a dance shoe that includes a distal portion for receiving at least a portion of a forefoot of a wearer.
  • the distal portion includes a rigid structure for supporting the foot, such as a toe box for an en pointe dance shoe.
  • a proximal portion extends from the distal portion and it is configured for receiving the midfoot and rearfoot portions of the foot.
  • the shoe is constructed so as to conform to the shape of the foot through a range of foot flexations that vary the distance of the toes to the heel, particularly the flexations that occur when dancing en pointe.
  • this is achieved in whole or part by configuring the proximal portion to be elastically, longitudinally extendible relative to the distal portion and/or configuring the shoe's foot receiving compartment with a shape that mimics the foot en pointe.
  • the pointe shoe typically provides support to the dancer's foot through (1) a toe box, which is a rigid structure encasing the front of toes and some or all of the rest of the forefoot, and (2) a shank, which extends longitudinally therefrom.
  • the toe box generally hugs the foot across the metatarsal so that the sides of the dancer's foot are held in place.
  • the shank is an elongate, rigid element that is structurally coupled (e.g., as a separately attached or as an integrated piece) to the toe box and extends rearwardly from the toe box, typically at least across the midfoot region to the rearfoot region of the shoe, in the bottom, foot-supporting portion of the shoe.
  • the shank and toe box help support the foot and help distribute the dancer's weight across a broader area foot instead of the weight being concentrated in the toes. To effectively spread the weight, however, the shoe should fit tightly to the dancer's foot.
  • One of the problems with traditional pointe shoes is that the dimensions of a foot change, depending on the position, i.e., how extended or contracted the dancer's foot is during dance moves. For example, when the foot is flat on the ground, the foot is at its most elongate form (see FIG. 1 ), generally filling up a properly sized dance shoe. The dance shoe fits smoothly around the foot in the length as well as in the width of the foot, and there is no extra space in the rearfoot portion of the dance shoe. However, the foot en pointe takes on a more arcuate shape, shortening the distance between the tips of the toes and the heel, and the shoe does not fit tightly anymore. Therefore, conventional dance shoes when placed in the en pointe position become baggy and creased in the midfoot to rearfoot portions (see FIG. 2 ).
  • Breaking-in a dance shoe typically consists of bending the hard shank sufficiently to create a platform for the heel and sometimes softening the toe box slightly to allow the shoe to bend in demi-pointe. Because of such manipulations, the toe box and/or shank of a pointe shoe may become weakened and vulnerable to degradation, making the shoe less supportive with use.
  • the inventive subject matter is generally directed to dance shoes that include a distal portion for receiving at least a portion of a forefoot of a wearer.
  • the distal portion includes a rigid structure for supporting the foot, such as a toe box for an en pointe dance shoe.
  • a proximal portion extends from the distal portion and it is configured for receiving the midfoot and rearfoot portions of the foot.
  • the shoe is constructed so as to conform to the shape of the foot through a range of foot flexations that vary the distance of the toes to the heel, particularly the flexations that occur when dancing en pointe.
  • this is achieved in whole or part by configuring the proximal portion to be elastically, longitudinally extendible relative to the distal portion and/or configuring the shoe's foot-receiving compartment with a shape that generally mimics the foot when substantially en pointe.
  • the stretch of the proximal portion allows the shank stay against the dancer's foot while en pointe and other positions, advantageously allowing for easier entry into the en pointe positions, improved weight relief when en pointe, and easier and more aesthetic tendu.
  • FIG. 1 shows a pointe shoe according to the prior art with the wearer in a flat standing position.
  • FIG. 2 shows a pointe shoe according to the prior art with the wearer in en pointe.
  • FIG. 3 shows a side view of a dance shoe, in this case a pointe shoe, according to one possible embodiment of the inventive subject matter.
  • FIG. 4 shows the opposite side of the dine of FIG. 3
  • FIG. 5 shows a bottom view of the shoe of FIG. 3 .
  • FIG. 6 shows a longitudinally cross section of a shoe according to another embodiment of the inventive subject matter.
  • FIG. 7 shows a foot en pointe and wearing an en pointe shoe like the one in FIG. 3 .
  • FIG. 8 shows the shoe of FIG. 7 with the foot in a flat, regular weight-bearing position.
  • FIG. 9 shows an example of a side profile of a last for forming a shoe according to the inventive subject matter.
  • FIG. 10 shows a partial view of the inside of a foot-receiving compartment of a shoe, with a retaining element for slideably receiving a shank in the compartment.
  • FIG. 11 is an anatomical mapping of the foot.
  • FIGS. 3-8 and 9 Representative embodiments according to the inventive subject matter are shown in FIGS. 3-8 and 9 , wherein the same or generally similar features share common reference numerals.
  • the inventive subject matter is directed to dance shoes and assemblies therefor that provide a foot conforming fit and an aesthetically pleasing foot line through a range of plantar foot flexations, particularly from through the “en pointe” position to regular weight-bearing positions of the foot.
  • the foregoing objectives are achieved via a shoe that has at least some elasticity in a portion ranging from the midfoot to rearfoot regions so that the portion of the shoe that is rearward (proximal) the toe box or other forefoot structure, can follow the foot through a range of plantar flexations along the longitudinal axis of the foot, i.e., contractions/extensions of the foot that vary the curvature of the arch the foot.
  • the toe box or other structure encasing the forefoot is elastically coupled to the remaining proximal portion of the shoe at one or more points from proximal the toe box or other forefoot structure and up to the heel.
  • heel refers to the very end of the rearfoot portion of the foot.
  • this is achieved in whole or part via a split-sole shoe, as described in more detail below.
  • the inventive subject matter is directed to a shoe or foot compartment for a shoe that is configured to correspond to a foot in plantar flexation.
  • a “plantar foot flexation” is the downward movement of the foot and toes which increases the approximate 90 degree angle between the front part of the foot and the shin, thereby changing the curvature of the arch of the foot between the tips of the toes and heel of a foot so that the distance between the tips of the toes and heel decreases with increased plantar flexation.
  • a plantar flexation of the foot may also occur if just the toes are flexed downwardly so that the angle between the toes and shins is increased to more than the approximate neutral angle of 90 degrees, thereby changing the curvature of the arch of the foot between the tips of the toes and heel of a foot so that the distance between the tips of the toes and heel decreases with increased plantar flexation.
  • the plantar flexation may be the en pointe shape of the intended foot, i.e., the foot size(s) the shoe is intended to fit. Such a shoe conforms to the intended foot without creases or bagginess.
  • the inventive subject matter is directed to a last corresponding to a foot in plantar flexation, e.g., a shape that corresponds to or mimics the en pointe position of the foot.
  • a shoe made with the last will conform to the intended foot with essentially no creasing or bagginess or substantially less creasing or bagginess than that of the prior art, such as seen in FIG. 2 , for instance.
  • the inventive subject matter is directed to (1) a split-sole shoe wherein the toe box or other forefoot structure is elastically coupled to the remaining proximal portion of the shoe at a point between the proximal end of the toe box or other structure encasing the forefoot and the heel of the shoe; and (2) the shoe is configured to correspond to the shape of the intended foot in the en pointe position.
  • the inventive subject matter is further directed to methods for making any of the foregoing dance shoes, and to lasts used for making the shoes.
  • the “en pointe position” refers to the well-known dance position wherein there is complete or substantially complete plantar flexation of the foot and flexation of the ankle, as generally seen in FIG. 7 , for example. These positions and any other substantial plantar flexation of the foot, which is pronounced of en pointe, may be referred to herein as “mimicking” the en pointe position.
  • a proximal portion 6 pivots relative to distal portion 4 , creating a pronounced curvature through at least the arch in midfoot region of the foot.
  • the toes are generally aligned relative to the longitudinal axis of the foot.
  • the dancer's weight is generally supported on the tips of the toes.
  • the foot is generally shorter than in other weight-bearing positions or non-weight bearing positions due to the arching of the foot.
  • conventional pointe shoes for example, as shown in FIGS. 1-2
  • the shortening of the foot causes the shoe upper to bag and crease, as generally indicated in the area designated by the arrow A in FIGS. 1-2 .
  • dance shoes according to certain embodiments of the inventive subject matter resiliently adjust to the difference in length because of the longitudinal adjustable properties of the foot-receiving compartment.
  • dance shoes according to the inventive subject matter provide a better general appearance and better looking curved line on the foot through a range of dance moves.
  • “regular weight-bearing positions” may refer to any position of the dancer wherein the dancer's body weight is not generally supported on the tips of the toes.
  • FIG. 11 is an anatomical mapping of the foot.
  • the “forefoot” includes the toes and metatarsals and it provides the ground contact area of the ball of the foot. It consists of most of the bony architecture of the foot including phalanges to the toes, five metatarsal bones and the two sesamoid bones of the big toe joint.
  • the “midfoot” is the intersection between the forefoot and rearfoot. Its anatomic location is at the peak or highest part of the arch and has important joints connecting it to the forefoot and the rearfoot region. It consists of five bones including three cuneiform bones, and the navicular and cuboid bones.
  • the “rearfoot” connects to the midfoot and to the ankle and provides the ground contact area of the heel region of the foot. It consists of the bony architecture of the calcaneus and talus.
  • the “forefoot region” (or “forefoot portion”) of the compartment refers generally to a portion of the compartment receiving the toes as well as the metatarsals of the foot of a wearer.
  • the “midfoot region” (or “midfoot portion”) of the compartment refers generally to a portion of the compartment receiving the arch of the foot of a wearer.
  • the “rearfoot region” (or “rearfoot portion”) of the compartment refers generally to a portion of the compartment receiving the heel of the wearer.
  • proximal, distal, upper, bottom, front, rear etc. refer to parts of a shoe worn by a dancer who is standing upright and with the feet flat.
  • the inventive subject matter is directed to a dance shoe having a foot-receiving compartment 12 that is formed of a distal portion 4 and a proximal portion 6 , as shown in FIGS. 3-6 .
  • Distal portion 4 of foot-receiving compartment 12 generally corresponds to the forefoot region of a foot, and it is configured to receive at least a portion of a forefoot of a wearer.
  • Proximal portion 6 of foot-receiving compartment 12 generally corresponds to the midfoot through rearfoot regions of a foot and is coupled (i.e., it is attached as a separate piece or as an integrated piece) to distal portion 4 , and it is configured for receiving at least a rear foot portion of the foot.
  • the foot-receiving compartment 12 generally attaches to a sole unit disposed on the bottom side 16 of the shoe.
  • the sole unit comprises an outsole and optionally a midsole 41 .
  • the sole unit can be selected and configured to provide any number of attributes, including traction or lack of traction (e.g., a smooth surface for spin moves), protection, and/or force dissipation or force return.
  • a sole unit may be fashioned to have multiple attributes in a given zone of the foot.
  • a sole unit may be fashioned to have multiple zones, each with a unique set of attributes.
  • the foot-receiving compartment 12 generally comprises a shoe upper 14 that attaches to a sole unit, e.g., a full length sole unit or a partial sole unit, e.g., just forefoot and rearfoot sole units 38 and 40 .
  • the length separating furthest points between the toes and heel is L.
  • the upper may be a full or partial encasing for the foot. For example, it may have portions that encase the sides and top of the foot and connect to a sole unit that forms a bottom portion 16 of the shoe. Or, it may include a bottom portion connected to the side portions, creating a sock-like structure, for fully encasing the foot, as shown in FIGS.
  • the non-toe box part of the foot compartment i.e., the midfoot and rearfoot portions
  • the midfoot and rearfoot portions will be constructed of one or more thin, flexible plies of materials that can conform to the foot similar to the way a sock does.
  • most athletic or work shoes have relatively non-conforming rubber or other molded-polymer outsoles and midsoles in the midfoot and rearfoot portions that prevent a sock-like fit.
  • their uppers may include non-compliant portions such as natural and synthetic leathers, molded plastic sections, or plies of material that while flexible are not very compliant.
  • the distal portion 4 includes a toe box or other rigid compartmental portion 20 that provides support for a dancer to stand en pointe.
  • the construction of such toe boxes is well-known in the art. For example, see U.S. Pat. No. 6,895,693 and U.S. Pat. No. 7,765,718, which is incorporated herein by reference in its entirety for all purposes.
  • proximal portion 6 may include an elastically extendible portion 10 , which is generally distal portion 4 and the end of proximal portion 6 .
  • the distal portion 4 generally corresponds to the forefoot region of the foot, and proximal portion 4 corresponds to the midfoot and rearfoot regions of the foot.
  • the elastically extendible portion 10 is disposed substantially in the midfoot portion (corresponding to brackets 10 ) of proximal portion 6 of the shoe. It may comprise a section of elastic material or materials that extend around at least the sides and bottom of the foot. Elastically extendible portion 10 should be of sufficient elasticity to conform to the shape of the foot through a range of movements. In pointe shoes, elastically extendible portion 10 allows the foot-receiving compartment 12 of dance shoe 2 to stretch when the foot and is in regular, weight-bearing positions and to hug the foot in the en pointe position, as indicated in FIGS. 7-8 .
  • the inventive subject matter contemplates a rigid or relatively inelastic distal portion 4 for the forefoot, which is coupled to a relatively elastic midfoot portion 10 , which in turn is coupled to a rearfoot portion of proximal portion 6 , which may or may not be elastic relative to the midfoot portion.
  • elastically extendible portion 10 may correspond to the entire midfoot and proximal portion or any one or more segments along those portions. It may be made of satin stretch, canvas stretch, or stretch leather. An example of a compartment 12 with a proximal portion 6 made substantially entirely of a stretch material is shown in FIGS. 7-8 . Also, the foot-receiving compartment may be made in whole or part of a single-ply of thin, flexible material (except possibly for the toe box structure, a thin comfort lining and/or an optional insole). In other embodiments, the foot-receiving compartment may be made of multiple plies of material, or a combination of single-ply and multi-ply materials.
  • compartment 12 includes an upper 14 , a bottom portion 16 , a toe box 20 , and a shank 15 .
  • An example of a shank 15 is shown in FIG. 6 .
  • Shoe 2 may further include a front sole 38 secured to bottom portion 16 of compartment 12 in the forefoot (distal) region 4 and a heel sole 40 secured to bottom portion 16 of compartment 12 in the rearfoot region of proximal portion 6 .
  • Compartment 12 may be made of a satin textile material, canvas, leather, or various other soft and thin ply materials.
  • the pointe shoe may have pleats 28 at the front of the compartment. As shown in FIG. 5 , for example, pleats 28 are located at front 36 of toe box 15 . Pleats 28 are created when upper 14 is folded into the bottom of the shoe underneath front sole 38 .
  • seams may join portions of fabric, for example a portion of stretchable material may be inserted in between portions of relatively inelastic material.
  • elastically extendible portion 10 may one or more plies of a resilient, longitudinally-extendable material. It extends around the bottom and sides of the shoe. By constructing the midfoot section entirely of elastic material, the midfoot and rearfoot portions may extend away from the forefoot portion. To allow for this, shank 15 is sufficiently decoupled from the midfoot or rearfoot portions so those portions are not bound and restricted by the shank.
  • the inside of the foot-receiving compartment 12 may be provided with a liner inside a ply of an outer-facing material, such as a ply of satin.
  • FIGS. 3-8 show a toe box 20 of a generally rigid structure located at the front of shoe 2 and positioned inside flexible compartment 4 .
  • Toe box 20 has a flat face or a platform, which allows the dancer to stand en pointe.
  • the upper of toe box 20 called the vamp, may vary in length and width depending on the dancer's forefoot length and width.
  • the toe box may cover at least the entire length of the third phalanx.
  • a toe box 20 is made from layers of thin plies of materials that are bonded together using a bonding agent such as pastes, adhesives, glues, and resins.
  • a bonding agent such as pastes, adhesives, glues, and resins.
  • the layers of material may be various combinations of textiles (e.g., hessian or jute), papers, or fiber-based sheets.
  • the layers may also be based on molded polymers, such as thermoplastics.
  • An underfoot support element herein referred to as a shank 15 , is coupled to the toe box and extends rearwardly toward the heel.
  • the shank supports the foot at least through the arch and in a pointe shoe it structurally ties into the rigid toe box to facilitate the shoe's support of the foot and ankles en pointe.
  • the shank may be in any configuration that serves the aforementioned functions. It may be directly or indirectly connected to the toe box, including being formed as integrated or unitary extension of the toe box. It may be based from one or more of boards, such as, cardboard, redboard, fiberboard, Texon board, leathers, polymers, such as thermoplastics, woods, metals, and other materials that may be assembled or formed into a rigid structure. In some embodiments, the shank may be selectively flexible in some areas but providing significant foot-supporting rigidity in other areas.
  • FIG. 6 shows a shank 15 of a stiff material, for example redboard, on the inside of shoe 2 .
  • shank 15 provides support to the foot for dancing en pointe.
  • Shank 15 extends along bottom portion 16 of compartment 12 and across some or all of rearfoot portion 6 .
  • Shank 15 is disposed above a layer of compartment material in the midfoot region and under liner 22 .
  • the shank may have different lengths, for example, a shank may span three-fourths of the foot or one-half of the foot.
  • the shank may be coupled to the toe box, for example glued or nailed to the toe box, so that the shank provides support under the arch of the foot when the foot is en pointe.
  • the shank may provide flexural strength to prevent the dancer's foot from rolling over or falling off pointe.
  • the shank may also provide compressive strength to support the vertical load from the dancer's body weight.
  • shank 15 is decoupled from the proximal portion and coupled strictly to the distal portion or toe box so that the proximal portion can extend rearwardly from the distal portion. If less than a full length shank is used, the shank need not necessarily be decoupled from such portion of the proximal portion 6 that corresponds in length to the shank. In such case, the portion of the proximal portion that extends rearwardly from the shank can be provided with longitudinal elasticity to conform to the changing length of the foot.
  • Select embodiments may include an outsole in the form of a split outsole, which may be simply referred to herein as a “split sole,” such as that disclosed in U.S. Pat. No. 6,895,693.
  • a split sole such as that disclosed in U.S. Pat. No. 6,895,693.
  • outsole materials are typically stiffer, inelastic materials, when the midfoot portion of a dance shoe is entirely or sufficiently free of such outsole materials, the midfoot portion can be made of more flexible or elastic materials, thereby allowing the shoe to conform better to a wearer's foot through a range of flexations.
  • Another advantage of such construction is that is eliminates or reduces the need for the wearer to break-in the shoe.
  • FIGS. 3-8 show an example of a split outsole, including a front outsole 38 and a rear outsole 40 which are attached to bottom portion 16 of compartment 12 .
  • Front outsole 38 is located in forefoot region and is generally positioned below the ball of a dancer's foot.
  • Rear outsole 40 is located in rearfoot region and is generally to be positioned below the heel of a dancer's foot.
  • Front outsole 38 is spaced apart from rear outsole 40 , separated by the midfoot portion, which is free of outsole material and therefore a thinner section. In this, the midfoot portion is just the material forming the proximal portion of the sock-like upper of compartment 12 .
  • Outsoles 38 , 40 may be attached to bottom portion 16 in any known or to be constructed manner, for example, with threads or adhesives, or a combination thereof.
  • the outsoles may be made of a suitable material for contacting the floor or ground that generally is wear resistant and provides some desired degree of frictional engagement with the surface of contact.
  • the outsoles may be made of natural leather, synthetic leather, natural and synthetic rubbers, including molded polyurethane (PU) or ethyl vinyl acetate foams (EVA) and other synthetic materials, known in the art.
  • the sole unit may incorporate midsole elements, including cushioning elements formed of known materials and structures, including EVA, PU, gas and gel-filled bags, and mechanical springs. It is contemplated that a stiff sole or variably stiff sole may be used as the support element to serve the function of a shank and that a separate shank is not required.
  • the shoe may have just a front outsole or just a rear outsole sole or have no outsole at all, in which case the bottom portion 16 of compartment 12 serves as the ground-facing portion.
  • the bottom portion 16 could simply be ply of the thin, flexible ply or plies of materials forming the compartment 12 and being of a sock-like compliant nature.
  • compartment 12 may include a lining or layer 22 for comfort or cushioning of the foot, such as an in-sock and/or insole that may be provided within the foot compartment of the shoe.
  • the insole may be coupled to the toe box in the forefoot region and extends to overlie the shank 15 in the midfoot and rearfoot regions.
  • the insole may be integrated to the toe box.
  • the insole may be disconnected from the compartment 12 in the midfoot and rearfoot regions to allow stretching of the compartment.
  • the insole may be coupled to the shank even if it is decoupled from compartment 12 .
  • the insole 56 may come in varying lengths, including half-lengths, three-quarter length or full length.
  • upper 14 may include a binding 24 applied at the finished edge of a foot-receiving opening of upper 14 .
  • Binding may include a drawstring 26 to help secure the shoe on the foot.
  • binding 24 would have elasticity in at least the corresponding portions of the compartment.
  • the binding 234 defines what is known as the topline or throat line of the shoe, which is the aperture in the shoe through which a foot is placed.
  • the inventive subject matter contemplates a shoe made on a last representing a pronounced plantar flexation.
  • the plantar flexation corresponds to or mimics the shape of the foot when en pointe, for example the last may have a curved profile in mimicking the profile of a foot en pointe, resulting in a shoe having a corresponding curvature.
  • a last is a shaped, three-dimensional body corresponding to a size and shape of a model foot.
  • Shoe parts, including those that form the foot-receiving compartment, such as compartment 12 are placed around the last form and assembled together. Once assembled in the shape of the last, the last is removed. The sole unit may be assembled to the compartment while it is on the last.
  • FIG. 9 shows the side profile of a last 120 made according to the inventive subject matter. As can be seen, the last substantially mimics the shape of the foot en pointe.
  • FIGS. 3-5 and 7 - 8 represent the appearance of a shoe made according to a last such as FIG. 9 . As can be gleaned from FIGS. 7-8 , the shoe conforms to the foot with essentially no wrinkling or creasing through a full range of flexation. It is also believed that the curved last results in a shoe that will allow the dancer to achieve improved balance en pointe because of its ability to anatomically and closely conform to the dancer's foot.
  • the inventive last also shapes the shoe and shank so that the shank more readily stays against the dancer's foot while en pointe and other positions.
  • the shaped shank also allows for easier entry into the en pointe positions, improved weight relief when en pointe, and easier and more aesthetic tendu.
  • any other now known or to be discovered method of shaping a foot compartment such as compartment 12
  • last 120 shown in FIG. 9 it has a length of L between the furthest points separating toe and heel. It has a maximum arch depth D, which is measured from point R on the surface of the arch.
  • the point R also generally defines a pivot point on which distal portion 4 and proximal portion 6 rotate downwardly toward each other to define a curved arch region in the midfoot area, with the maximum depth D.
  • the distal and proximal portions are not pivoting in a strict linear angular relation. Rather there is some allowance for foot conforming arch curve on either side of R.
  • the point of rotation R may be varied along L.
  • a suitable range for placement of the pivot R is somewhere from 50% to 75% of the length of L, measuring back from the distal (toe) end of L.
  • Another approach is to generally place point of rotation R in the topline (throat line) region T of the intended shoe.
  • ⁇ is typically around 5 degrees.
  • ⁇ is greater than 5 degrees. In certain embodiments, it is 15 to 40 degrees or thereabouts.
  • an unworn shoe made using embodiments of lasts described above may or may not have an angling or curvature, equivalent to that in the last used to make the shoe, depending on the nature of the materials used in the shoe, e.g., the elasticity of the upper or the rigidity of the shank.
  • the shoe may or may not have a zone of stretchable material in a portion of compartment 12 and/or a split sole, as described above.
  • a retaining element 29 such as a channel or loop of material may be affixed to the bottom, inside of a foot compartment 12 at some point along the length of the compartment to slideably receive the shank 15 , while holding it down.
  • a suitable location is at or about the rearfoot portion of compartment 12 .
  • the shoes and lasts shown can be symmetrical in form, i.e., a given last or shoe can be for either the left or right foot, or the shoes and lasts can be configured specifically for a left or right foot.

Landscapes

  • Health & Medical Sciences (AREA)
  • General Health & Medical Sciences (AREA)
  • Physical Education & Sports Medicine (AREA)
  • Footwear And Its Accessory, Manufacturing Method And Apparatuses (AREA)
US14/416,040 2012-07-21 2012-07-21 Dance shoe Abandoned US20150342293A1 (en)

Applications Claiming Priority (1)

Application Number Priority Date Filing Date Title
PCT/IB2012/001410 WO2014016630A2 (en) 2012-07-21 2012-07-21 Dance shoe

Publications (1)

Publication Number Publication Date
US20150342293A1 true US20150342293A1 (en) 2015-12-03

Family

ID=49997908

Family Applications (1)

Application Number Title Priority Date Filing Date
US14/416,040 Abandoned US20150342293A1 (en) 2012-07-21 2012-07-21 Dance shoe

Country Status (6)

Country Link
US (1) US20150342293A1 (ru)
EP (1) EP2874513A4 (ru)
CN (1) CN105283090B (ru)
AU (1) AU2012318293B2 (ru)
RU (1) RU2015102030A (ru)
WO (1) WO2014016630A2 (ru)

Cited By (11)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
USD799169S1 (en) * 2015-11-20 2017-10-10 Rachel Abramowitz Ballet slipper
US20190174874A1 (en) * 2014-12-27 2019-06-13 Albert Lee Method and Device for Automatic Fitting tools of Athletic Foot Wear
US10390584B2 (en) * 2016-01-19 2019-08-27 Fuerst Group, Inc. Footwear article having cord structure
USD859792S1 (en) * 2017-11-06 2019-09-17 Narcis Subatella Sánchez Demi-point ballet shoe
US10834995B2 (en) 2019-02-07 2020-11-17 Pointe Noir Pty Ltd. Foot covering with divided sole
USD903990S1 (en) 2016-11-01 2020-12-08 Lisias Ransan Footwear component
USD912375S1 (en) 2018-11-01 2021-03-09 Lisias Ransan Footwear component
USD920642S1 (en) 2019-12-03 2021-06-01 Lisias Ransan Ballet pointe shoe
US20210267310A1 (en) * 2018-11-01 2021-09-02 Lisias Ransan Ballet pointe shoe
US11278080B2 (en) 2019-01-19 2022-03-22 Lisias Ransan Ballet pointe shoe having toe platform with malleable bumper
AU2019363627B2 (en) * 2018-10-26 2023-12-21 Ballardini, Celso Ballet pointe shoe

Families Citing this family (4)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
CN105266263B (zh) * 2015-09-18 2017-06-16 昆山开闻舞蹈用品有限公司 芭蕾舞脚尖鞋
US11154110B2 (en) 2017-08-04 2021-10-26 Nike, Inc. Article of footwear having a knitted component with a forefoot portion and a heel portion
RU2703562C1 (ru) * 2018-07-31 2019-10-21 Игорь Николаевич Бабенко Способ изготовления обуви для спортивных бальных танцев
WO2020257850A1 (en) * 2019-06-25 2020-12-30 Muse Dancewear Pty Ltd Method and structure for making dance footwear

Citations (13)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
USRE33018E (en) * 1982-09-27 1989-08-15 Consolidated Foods Slipper
US4901453A (en) * 1988-03-18 1990-02-20 Gaynor Elizabeth H Ballet slipper and method of manufacturing a ballet slipper
US5035069A (en) * 1988-03-18 1991-07-30 Minden Elizabeth G Ballet slipper and method of manufacturing a ballet slipper
US5956868A (en) * 1997-07-23 1999-09-28 Ballet Makers, Inc. Dance shoe with elastic midsection
US20020078591A1 (en) * 2000-12-27 2002-06-27 Ballet Makers, Inc. Dance shoe with tri-split
US20030070319A1 (en) * 2001-10-16 2003-04-17 Minden Elizabeth Gaynor Pleatless ballet slipper
US6705026B1 (en) * 2002-03-21 2004-03-16 Tracy A. M. Arbour Dance shoe
US6895693B2 (en) * 2001-12-28 2005-05-24 Leo's Dancewear Inc. Dance shoe
US20050138839A1 (en) * 2003-12-29 2005-06-30 Paul Terlizzi Dance shoe and last for making a dance shoe
US20050138848A1 (en) * 2003-12-24 2005-06-30 Fullerton Young C. Climbing shoe with a tension support sole
US20100126042A1 (en) * 2006-04-05 2010-05-27 The University Of Wolvehampton Shoe
US20140259774A1 (en) * 2013-03-15 2014-09-18 Elizabeth Gaynor Minden Ballet Shoe
US20150007457A1 (en) * 2013-07-08 2015-01-08 Orzapro LLC Shock-absorbing dance shoe assembly

Family Cites Families (7)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US1693174A (en) * 1927-10-22 1928-11-27 Capezio Salvatore Ballet slipper and method of making the same
US5682685A (en) * 1995-10-12 1997-11-04 Ballet Makers Inc. Dance shoe sole
DE29801638U1 (de) * 1998-01-31 1998-05-20 Danza S R L Schuh, insbesondere Sport- oder Tanzschuh
US6745498B2 (en) * 2002-09-11 2004-06-08 Laduca Phillip F. High-heeled jazz dancing and character dancing shoe
US7690132B2 (en) * 2006-10-17 2010-04-06 Pointe Noir Pty Ltd. Dance shoe
US8516723B2 (en) * 2008-10-08 2013-08-27 Nike, Inc. Midfoot insert construction
WO2011116423A1 (en) * 2010-03-24 2011-09-29 Timothy Charles Heathcote Dance shoes with improved heel and arch sections

Patent Citations (13)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
USRE33018E (en) * 1982-09-27 1989-08-15 Consolidated Foods Slipper
US4901453A (en) * 1988-03-18 1990-02-20 Gaynor Elizabeth H Ballet slipper and method of manufacturing a ballet slipper
US5035069A (en) * 1988-03-18 1991-07-30 Minden Elizabeth G Ballet slipper and method of manufacturing a ballet slipper
US5956868A (en) * 1997-07-23 1999-09-28 Ballet Makers, Inc. Dance shoe with elastic midsection
US20020078591A1 (en) * 2000-12-27 2002-06-27 Ballet Makers, Inc. Dance shoe with tri-split
US20030070319A1 (en) * 2001-10-16 2003-04-17 Minden Elizabeth Gaynor Pleatless ballet slipper
US6895693B2 (en) * 2001-12-28 2005-05-24 Leo's Dancewear Inc. Dance shoe
US6705026B1 (en) * 2002-03-21 2004-03-16 Tracy A. M. Arbour Dance shoe
US20050138848A1 (en) * 2003-12-24 2005-06-30 Fullerton Young C. Climbing shoe with a tension support sole
US20050138839A1 (en) * 2003-12-29 2005-06-30 Paul Terlizzi Dance shoe and last for making a dance shoe
US20100126042A1 (en) * 2006-04-05 2010-05-27 The University Of Wolvehampton Shoe
US20140259774A1 (en) * 2013-03-15 2014-09-18 Elizabeth Gaynor Minden Ballet Shoe
US20150007457A1 (en) * 2013-07-08 2015-01-08 Orzapro LLC Shock-absorbing dance shoe assembly

Cited By (14)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
US20190174874A1 (en) * 2014-12-27 2019-06-13 Albert Lee Method and Device for Automatic Fitting tools of Athletic Foot Wear
USD799169S1 (en) * 2015-11-20 2017-10-10 Rachel Abramowitz Ballet slipper
USD812864S1 (en) * 2015-11-20 2018-03-20 Rachel Abramowitz Ballet slipper
US10390584B2 (en) * 2016-01-19 2019-08-27 Fuerst Group, Inc. Footwear article having cord structure
US11160324B2 (en) 2016-01-19 2021-11-02 Fuerst Group, Inc. Footwear article having cord structure
USD903990S1 (en) 2016-11-01 2020-12-08 Lisias Ransan Footwear component
USD859792S1 (en) * 2017-11-06 2019-09-17 Narcis Subatella Sánchez Demi-point ballet shoe
AU2019363627B2 (en) * 2018-10-26 2023-12-21 Ballardini, Celso Ballet pointe shoe
USD912375S1 (en) 2018-11-01 2021-03-09 Lisias Ransan Footwear component
US20210267310A1 (en) * 2018-11-01 2021-09-02 Lisias Ransan Ballet pointe shoe
US11278080B2 (en) 2019-01-19 2022-03-22 Lisias Ransan Ballet pointe shoe having toe platform with malleable bumper
US10834995B2 (en) 2019-02-07 2020-11-17 Pointe Noir Pty Ltd. Foot covering with divided sole
US11432614B2 (en) 2019-02-07 2022-09-06 Pointe Noir Pty Ltd. Foot covering with divided sole
USD920642S1 (en) 2019-12-03 2021-06-01 Lisias Ransan Ballet pointe shoe

Also Published As

Publication number Publication date
CN105283090A (zh) 2016-01-27
CN105283090B (zh) 2017-07-07
AU2012318293A1 (en) 2014-02-06
WO2014016630A2 (en) 2014-01-30
WO2014016630A3 (en) 2014-11-06
RU2015102030A (ru) 2016-09-20
EP2874513A2 (en) 2015-05-27
AU2012318293B2 (en) 2016-01-21
EP2874513A4 (en) 2016-11-16

Similar Documents

Publication Publication Date Title
AU2012318293B2 (en) Dance shoe
US7926203B2 (en) Dance footwear
EP2549898B1 (en) Dance shoes with improved heel and arch sections
US10925346B2 (en) Article of footwear
US8732982B2 (en) Footwear
US8839531B2 (en) Footwear
US8082682B2 (en) Insole for a ballet slipper
US7690132B2 (en) Dance shoe
US20200196703A1 (en) Footwear article with asymmetric ankle collar
US20180116335A1 (en) Footwear Sole Structure Including a Spring Plate
US11432614B2 (en) Foot covering with divided sole
US20090126232A1 (en) Item of Footwear with Integrated Midfoot Roll
US20170238658A1 (en) Footwear Upper With Zonal Support Areas
WO2012166857A1 (en) Footwear promoting natural motion
WO2012158471A2 (en) Modular shoe system
WO2014016631A1 (en) Dance shoe
JP5538615B1 (ja) 靴
AU2007229351B2 (en) Dance footwear
KR200464470Y1 (ko) 발바닥 압력 분산을 위한 여성용 구두 중창용 아대, 이를 가진 중창 및 구두
JP2006042983A (ja) 履物製品とそのソール部材及びソールパッド
AU2015271907A1 (en) Dance shoes with improved heel and arch sections

Legal Events

Date Code Title Description
STCB Information on status: application discontinuation

Free format text: ABANDONED -- FAILURE TO RESPOND TO AN OFFICE ACTION