STEP OF TIME - STEP II
From Historical Archetypes to Physical Footwear Prototypes
Winter Quarter Progress and Recap
During the second semester of my Master of Design thesis at the University of Washington, the project evolved from early research and concept exploration into a series of physical prototypes.
The thesis investigates how historical footwear archetypes from different cultures and time periods can be reinterpreted through contemporary design methods, particularly digital modeling and 3D printing.
Rather than recreating historical shoes directly, the goal is to explore how their structural logic, cultural meaning, and formal language can inform new forms of footwear design.
Five archetypal footwear references form the foundation of the project:
1. Barefoot footwear traditions
2. Areni-1 — the oldest known leather shoe
3. Inuit Mukluk boots
4. Medieval pointed shoes
5. Japanese Geta sandals
Cultural Research of Five Footwear Archetypes
Before beginning the design process, I conducted research into the historical and cultural contexts of these five archetypes.
The research focused on:
historical origins
material construction
functional purpose
social or cultural meaning
Rather than extracting specific decorative elements, the intention was to understand the design logic behind each shoe type.
For example:
early leather shoes such as Areni-1 demonstrate minimal construction and adaptation to the human foot
Mukluk boots are designed for extreme climates and emphasize insulation and protection
These archetypes serve as conceptual starting points rather than direct stylistic references.
A Weighted System for Design Translation
To translate these historical archetypes into contemporary footwear designs, I developed a weighted design system.
Instead of copying historical shoes, each design balances several design influences:
historical archetype
contemporary footwear language
adidas Originals design DNA
digital fabrication constraints
speculative future design
This system allows each shoe to maintain a recognizable historical reference while still becoming a new design object.
During the second semester, this framework became an important tool for structuring the entire thesis collection.
One major evolution in the project was the integration of adidas design language across all five designs.
Originally, only the Inuit Mukluk design involved an adidas collaboration. However, after visiting the adidas CCLA headquarters and discussing the project with the development team, the direction expanded to incorporate adidas DNA throughout the entire collection.
This shift created stronger cohesion between the projects and connected the historical exploration with contemporary brand design language.
Digital Workflow
The primary digital workflow for the project combines Gravity Sketch and Rhino.
Gravity Sketch is used for early form exploration in VR, allowing rapid development of volume and proportions.
The models are then exported into Rhino for:
surface refinement
structural detailing
preparation for 3D printing
sizing adjustment
This workflow enables a fluid transition between sketching and engineering.
Material Experiments
Material testing also became a major focus during this semester.
Because the final prototypes are produced using FDM 3D printing, different TPU materials were tested to understand their flexibility, durability, and surface quality.
Several material issues appeared during early prototypes:
insufficient structural support
layer separation in thin areas
surface marks caused by support structures
Through multiple iterations and supplier testing, a TPU material from BQ and Sting showed significantly improved performance compared to earlier materials.
Design Prototypes
001_Barefoot
Cultural Research: Returning to the Origin of the Foot
The first project in this thesis explores the most fundamental state of footwear: the moment before shoes existed.
Anthropological research widely supports the “Out of Africa” theory, which proposes that modern humans originated in Africa approximately 200,000 years ago before migrating to other parts of the world. This makes Africa not only the birthplace of human civilization, but also the starting point of humanity’s relationship with the ground beneath our feet.
For thousands of years, human beings walked barefoot before footwear was invented. Even today, many African communities maintain a cultural tradition of barefoot movement, where the foot itself functions as the primary interface between the human body and the terrain.
During this research phase, I became particularly interested in scarification, a traditional body modification practice found in various African cultures. Unlike tattoos, scarification creates raised patterns on the skin through controlled cutting or burning, producing permanent textures that function as markers of identity, ritual, and cultural belonging.
The visual language of scarification — raised patterns embedded into the surface of the body — became the key inspiration for translating cultural elements into a footwear form.
To bridge historical inspiration with contemporary references, I also studied modern barefoot footwear systems, including designs from the adidas archive and products such as Vibram FiveFingers, which attempt to replicate the biomechanics of barefoot walking.
These references helped establish a design direction where the shoe does not replace the foot, but rather extends its natural form.
Sketch Exploration
Based on the research insights, I began sketch explorations focused on two key design goals:
- Preserving the barefoot silhouette
- Integrating adidas DNA through the Three Stripes
Instead of applying the stripes as a traditional branding element on the upper, I experimented with transforming the Three Stripes into a structural design language.
Multiple iterations were explored from both top views and side views to study proportion, toe articulation, and overall structure.
Among these variations, side-view options 2 and 5 emerged as the most promising directions. The final design balances these two approaches, integrating:
a barefoot-inspired forefoot structure
flowing structural lines
the Three Stripes reinterpreted as scar-like ridges
Rather than sitting on top of the shoe, the stripes flow across the entire form, traveling from the upper surface down toward the outsole. These raised ridges mimic the visual language of scarification, creating a continuous sculptural gesture that connects cultural reference with brand identity.
Digital Modeling
The digital development process began in Gravity Sketch, where the initial three-dimensional form was sculpted in VR.
Working in a spatial environment allowed rapid exploration of volume, curvature, and the integration of the Three Stripes as flowing structural elements.
The model was then exported to Rhino, where the geometry was refined and optimized for fabrication.
For the outsole pattern, I translated the visual logic of scarification into a parametric dot structure. Using Grasshopper, circular elements were generated with gradual changes in scale and height, creating a pattern that transitions from dense to sparse across the surface.
This pattern allows the outsole to visually reference scarification textures while simultaneously functioning as a traction system.
Material Testing and 3D Printing
As the first physical prototype in this thesis, the Barefoot project also served as a testing ground for 3D printing workflows and materials.
The shoe was developed for a US 9.5 (275 mm last) and fabricated using FDM TPU printing.
Several TPU materials were tested to evaluate flexibility, surface finish, and structural performance.
Three primary materials were compared:
Sanlu TPU
The material proved too rigid, resulting in insufficient flexibility for wearable comfort.
Bambu TPU
Although structurally functional, the surface finish was overly glossy, producing a plastic-like appearance that felt visually inexpensive.
BQ TPU
This material provided the most balanced result. Its surface sits between matte and reflective, producing a more refined and premium appearance while maintaining appropriate flexibility.
For these reasons, BQ TPU was selected as the final printing material.
Prototyping Iterations
The development process required nine print iterations.
The first three prints primarily focused on material evaluation and surface quality. Once the material was finalized, the following iterations addressed technical issues discovered during wear testing.
Several common problems emerged during early prototypes:
stringing artifacts caused by TPU extrusion
weak layer bonding
insufficient structural density in the midfoot
overly soft internal structures
Through iterative adjustments — particularly modifying internal density and structural distribution between the upper and outsole — these problems were gradually resolved.
By the ninth print, the prototype achieved a stable structure and wearable comfort, resolving most of the major technical issues encountered during development.
002_Areni-510
Cultural Research: The Oldest Known Leather Shoe
The second project in this thesis references one of the earliest known examples of footwear ever discovered.
The Areni-1 shoe is a 5,500-year-old leather shoe discovered in 2008 in the Areni-1 cave in the Vayots Dzor province of Armenia. Preserved in remarkably good condition, it is considered the oldest known leather footwear discovered by modern researchers.
The shoe was constructed from a single piece of leather hide, wrapped around the foot and secured with leather laces. Its construction demonstrates an early understanding of how footwear could conform to the natural shape of the foot while remaining simple and efficient in material usage.
This project was originally explored during my first year graduate studio project, but for this thesis it has been revisited and significantly updated.
The new iteration introduces modern performance references from adidas archive, allowing the design to move beyond historical reconstruction toward a hybrid between ancient construction logic and contemporary footwear design.
Because the Areni-1 shoe was discovered in a mountain cave, the surrounding environment suggested a natural connection to mountain terrain and climbing activity.
This led to the introduction of climbing shoes as the modern design reference.
For this project I studied climbing footwear from the adidas Five Ten archive, as well as other contemporary climbing shoe designs.
Climbing shoes emphasize:
precise foot wrapping
aggressive toe curvature
minimal layered construction
friction-based rubber surfaces instead of patterned outsoles
Within the weighted design system, this project leans more heavily toward the modern silhouette of the Five Ten climbing shoe, while drawing structural and visual inspiration from the Areni-1 archetype.
Historical elements translated into the design include:
organic perforations inspired by leather tension points
curved openings extending toward the toe area
simplified single-piece wrapping logic derived from the leather hide construction
Sketch Exploration
The sketch exploration phase documents the evolution of the concept from the Year 1 prototype to the updated thesis version.
In the initial sketches, the focus was primarily on translating the folded leather wrinkles of the Areni-1 shoe. These early concepts resulted in relatively chunky forms, emphasizing the material thickness and gathered leather construction of the archaeological artifact.
As the design evolved and the climbing shoe reference was introduced, the direction gradually shifted toward a slimmer and more performance-oriented silhouette.
Later sketches explored:
tighter foot wrapping
streamlined profiles
perforated organic openings derived from leather tension points
smoother continuous surfaces
This transition reflects a balance between archaeological inspiration and modern footwear ergonomics.
Digital Modeling
The digital modeling workflow follows the same pipeline established in the first project.
Initial form exploration was developed in Gravity Sketch, where the climbing-inspired curvature and wrapping geometry were sculpted in a VR environment.
The model was then exported into Rhino, where the geometry was refined and optimized for fabrication.
An interesting discovery during this stage was the shared simplicity between the Areni-1 shoe and modern climbing shoes.
The Areni-1 artifact consists of a single leather piece without a structured outsole, while climbing shoes typically rely on smooth rubber surfaces rather than patterned traction.
Because of this similarity, the final design intentionally avoids introducing complex tread patterns.
Instead, the outsole remains minimal and continuous, with a matte textured surface applied during the 3D printing process to increase friction while preserving the visual purity of the archetype.
Prototyping
The 002_Areni 510 prototype is currently in the 3D printing phase.
The shoe is being developed at the same scale as the previous design:
US 9.5 (275 mm last)
and will be fabricated using FDM TPU printing.
The material testing and printing workflow established during the 001_Barefoot project provides a technical foundation for this prototype. Lessons regarding TPU selection, internal structure density, and print stability are being applied directly to this design.
Future iterations will focus on refining:
structural reinforcement around perforated openings
surface texture quality
flexibility balance between upper and sole areas
Reflection
Revisiting the 002_Areni 510 concept allowed the design to evolve from a historical reinterpretation exercise into a more integrated footwear exploration.
By introducing adidas Five Ten climbing shoes as a contemporary reference, the project now operates as a dialogue between:
an archaeological footwear archetype
a modern performance silhouette
Rather than replicating the ancient shoe, the design uses the Areni-1 artifact as a conceptual starting point, translating its construction logic and material simplicity into a new form through digital modeling and additive manufacturing.
This approach continues the broader thesis goal:
to treat historical footwear not as objects to reproduce, but as design inputs capable of generating new contemporary forms.
003 — MuklukSuperstar
Research — Inuit Mukluks and Extreme Weather Design
Mukluks are traditional winter boots developed by Inuit communities living in Arctic environments. These boots are specifically designed for extremely cold climates and long-distance walking on snow and ice.
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The structure of mukluks typically consists of three functional layers. An inner boot sits close to the foot for warmth and comfort, while an outer layer provides insulation and protection from the environment. The outsole is usually made from sealskin leather, which is dried, softened, and wrapped around the foot.
One distinctive feature of mukluks is their wrapped sole construction. Instead of placing the seam on the bottom edge of the sole, the leather is wrapped upward so that the seam sits along the upper sides of the boot. This prevents leaks and reduces wear during long-distance walking on ice.
Because mukluks are extremely lightweight, they usually require little or no lacing. Many designs intentionally avoid tight lacing to prevent constricting circulation, which could cause the foot to become colder.
Another fascinating construction detail relates to the sealskin outsole. To soften the leather and allow it to flex naturally while walking, Inuit makers traditionally chew the sealskin before shaping it. This process creates a characteristic wrinkled texture across the toe area.
This wrinkled folding pattern strongly resembles the radial shell pattern of the adidas Superstar toe cap, which became one of the conceptual bridges between the historical reference and the modern archive reference.
Visual Language and Cultural Pattern References
During research into Inuit clothing and footwear, I also observed that many traditional garments feature large geometric compositions, often composed of bold straight lines and simple shapes. These visual patterns are not overly decorative but instead rely on strong structural graphics and high contrast material arrangements.
This visual logic resonates with one of the most recognizable elements in adidas design language: the three stripes.
Rather than directly copying traditional motifs, this project explores how the structural simplicity of Inuit garment graphics can be conceptually combined with the adidas stripe system.
Key Functional Characteristics
From the research phase, several core principles of mukluk design emerged:
Designed for extreme weather environments
Optimized for walking or running on snow and ice
Laceless or minimal lacing to maintain circulation
Wrapped outsole construction
Waterproof material systems
Multi-layer assembly
These characteristics became the functional foundation for the design reinterpretation.
Modern References — Outdoor Footwear Systems
Because mukluks were originally designed for extreme environments, I explored several modern outdoor footwear systems as technical references.
These included aggressive traction systems and winter boots structures found in mountaineering and winter footwear, such as designs from outdoor brands including Arc’teryx, Salomon, and the Yeezy 1050 boot.
These contemporary references helped inform how traction systems could be reinterpreted while still maintaining the recognizable design language of the adidas Superstar outsole.
Sketch Exploration
The design exploration began by combining the structural logic of mukluks with the tooling of the adidas Superstar.
The Superstar outsole was selected as the base structure, while the upper was redesigned to reinterpret the layered mukluk construction.
The inner boot layer is imagined as a modern neoprene sleeve, which provides a close-fitting structure around the leg. The outer layer builds a softer, more padded volume inspired by traditional fur-lined mukluks.
Instead of traditional lacing systems, the design maintains the laceless philosophy of mukluks. A single elastic cord at the top of the boot helps secure the boot around the leg while allowing circulation and ventilation.
The heel structure incorporates a raised thermoformed panel that merges traditional Inuit garment graphics with the adidas three-stripe language.
The outer shell is envisioned as a waterproof nylon construction with insulated padding to reinforce the winter performance context.
Outsole Design
One of the key design experiments was the reinterpretation of the traditional mukluk wrapped outsole.
The outsole was designed as a detachable external structure that wraps around the Superstar tooling.
The internal shape follows the exact geometry of the Superstar outsole, allowing the component to lock onto the base tooling.
The toe area references the wrinkles formed in traditional sealskin soles. In this reinterpretation, the folds are simplified into five raised ridges, connecting visually to the five shell ridges found on the Superstar toe cap.
Early outsole sketches referenced the original Superstar tread pattern, which includes wave-like zigzag textures. Later iterations evolved toward a more aggressive outdoor traction system using sharper cleat-like forms, inspired by mountaineering footwear.
This approach allowed the outsole to maintain the DNA of the Superstar while introducing a contrasting technical character appropriate for winter environments.
Development Collaboration with adidas
During the second semester of this thesis project, I contacted the Design Vice President I had previously worked with during my internship at adidas headquarters.
She invited me to visit the adidas CCLA headquarters, where I had the opportunity to discuss this project with the development team.
Because this design involves both textile development and tooling experimentation, I prepared a full technical package for the team to review. The discussion provided valuable insights into materials, construction feasibility, and development considerations.
At the moment, both the upper construction and outsole concepts are being explored as experimental development studies within the adidas environment.
Digital Modeling and Prototyping
The outsole was first modeled in Gravity Sketch to establish the overall geometry and proportions. The model was then transferred into Rhino for detailed refinement.
To ensure a precise fit with the Superstar outsole, I initially attempted to scan the original shoe using a mobile scanning application. However, the accuracy was insufficient for production-level modeling. Instead, I downloaded a digital model of the Superstar and imported it into Gravity Sketch. Using the model as a reference, I rebuilt the outer structure along the edges of the original outsole.
The first printed prototype fit loosely and detached during walking. After analyzing the tolerance, I adjusted the model by offsetting the internal surface inward by 2 mm. The second iteration produced a significantly tighter and more stable mechanical fit. I also connect 3 stripes from heel to the outsole pattern on the second trial to make it looks more unified with outsole pattern, instead just branding alone.
The outsole prototypes were produced using FDM TPU printing, allowing flexibility while maintaining structural integrity.
Current Development Status
The upper construction is currently still under development, with further updates expected as the textile experiments continue.
The outsole prototypes have already been tested with multiple iterations, and the collaboration with the adidas development team is ongoing.
This project represents an exploration of how traditional cold-weather footwear archetypes can be reinterpreted through modern footwear systems, while maintaining recognizable brand DNA.
004 — MDVL
Research — Medieval Pointed Shoes
This project builds on a design study I began during the first year of the program, focusing on the exaggerated pointed footwear commonly worn by European aristocracy during the medieval and Renaissance periods.
These shoes, often referred to as poulaines, were characterized by their dramatically elongated toe shapes. Historical paintings and preserved museum examples reveal that these shoes were not only fashion statements but also markers of social status.
Through studying historical oil paintings and museum collections, it became clear that these medieval silhouettes strongly influenced the development of many modern pointed footwear forms. Contemporary fashion shoes and formal dress shoes often inherit proportions and toe shapes that originated from these historical archetypes.
In my first-year project, the design exploration focused primarily on directly interpreting the historical silhouette. For this thesis iteration, I aimed to move beyond historical reproduction and instead explore how this archetype could merge with modern footwear design language.
Modern References — Loafers and Contemporary Dress Shoes
To introduce a modern design layer, I studied contemporary loafers as the primary reference.
Loafers offer several structural features that can be reinterpreted and simplified into a modern silhouette. These include:
the strap detail on penny loafers
the two-piece construction between tongue and quarters
raised edge piping around the upper panels
the clean horizontal collar line
These elements provide opportunities to reinterpret traditional shoemaking structures as a more integrated and minimal form.
To further enhance the fashion-forward character of the design, I also referenced a classic couture footwear construction known as the fiddle waist. This sculptural waist section of the outsole creates a narrow midfoot profile and is often used in high-end formal footwear to emphasize elegance and craftsmanship.
Design Exploration
While much of the research and structural reference was rooted in traditional shoemaking, I wanted the final design to introduce a visual contrast.
To balance the strong historical references, the overall sketch exploration moved toward more futuristic and dynamic forms. The proportions emphasize speed, sharpness, and motion rather than purely historical elegance.
One early challenge involved the loafer tongue construction. Reproducing the traditional tongue structure in a single 3D printed material proved difficult, as thicker printed geometry around the tongue could create discomfort or pressure on the foot.
Several iterations explored combining printed structure with textile or leather components to create a more flexible tongue.
However, after further exploration I decided to maintain the laceless loafer identity, simplifying the tongue geometry and integrating it into a unified printed upper form.
Another design decision involved extending the adidas three-stripe language into the outsole geometry, allowing the stripes to continue across the entire sole and wrap toward the heel.
Digital Modeling
The digital modeling process began in Gravity Sketch, where the primary silhouette and proportions were developed in three-dimensional space.
The model was then exported into Rhino for further refinement, including surface cleanup, curvature adjustments, and structural detailing.
Two variations were developed during the modeling stage.
The first version retained the straight collar line typical of traditional loafers. The second version introduced a more curved collar profile, inspired by athletic footwear, to reduce pressure around the ankle and improve comfort.
Another design detail incorporated during modeling was the use of zigzag-edged three stripes along the sidewall. This reference draws from retro adidas Originals archive elements and helps reinforce the connection between futuristic geometry and heritage design language.
Prototyping
The prototypes were produced using FDM TPU printing, allowing the structure to maintain flexibility while preserving the sharp geometry of the design.
The printed upper demonstrated a high level of structural integrity and surface quality. However, challenges appeared in the lower support areas during printing. Some sections where the shoe contacted the support structures developed rough surfaces and small structural break points.
These issues will require further experimentation with material settings and printing orientation in future iterations.
Despite these technical limitations, the prototype successfully demonstrates the core design concept: a hybrid silhouette that merges the exaggerated pointed geometry of medieval footwear with contemporary loafer structures and adidas design language.
This project explores how historical fashion silhouettes can be reinterpreted through contemporary footwear language, creating a dialogue between heritage craftsmanship and speculative form.
005 — GETA
Research — Geta and Tabi in Japanese Footwear Culture
Geta are traditional Japanese wooden sandals that have been worn for centuries, particularly during the Edo period and earlier. They are commonly associated with kimono and traditional clothing, and were designed for practical as well as cultural purposes.
One of the key reasons for the development of geta was environmental. Japan’s climate often includes rain and wet streets, and the elevated wooden platform of the geta helps lift the foot above mud, water, or snow. The raised base also improves ventilation and keeps the foot dry.
Geta are typically constructed from a single block of wood, carved into a flat platform supported by two vertical wooden teeth known as ha. A simple fabric thong strap called the hanao passes between the big toe and second toe, securing the sandal to the foot.
Because of this structure, geta are traditionally worn with tabi socks, which feature a split toe design that separates the big toe from the other toes.
What makes geta particularly interesting from a design perspective is their extreme structural simplicity. The form is composed of very clear geometric volumes: flat planes, sharp vertical cuts, and minimal material transitions.
These qualities made geta an ideal archetype for reinterpretation through modern digital fabrication.
Modern References — High Heel Structures
While the historical reference for this project is the wooden structure of geta sandals, the modern reference comes from the silhouette of high heels.
High heels represent a very different visual language from geta. Where geta emphasize wide, blocky, and architectural forms, high heels often focus on elegance, curvature, and slender proportions.
This project explores the tension between these two opposing design languages.
Notably, this is the only design in the series that specifically focuses on women’s footwear, allowing the reinterpretation of the geta archetype through a more sculptural and feminine silhouette.
Design Exploration
Early sketch explorations attempted to reinterpret the geta thong strap by dramatically enlarging the strap structure. The idea was to extend the strap geometry from the toe area all the way to the heel, transforming it into a structural component of the shoe.
In these early iterations, the extended strap geometry would also form the heel structure, creating a continuous visual flow that connects the strap, heel, and outsole.
However, this approach created ergonomic issues. The enlarged strap geometry frequently intersected with the ankle area, which would likely create discomfort when worn.
Additionally, the design began to resemble a modified high heel rather than a reinterpretation of geta.
To address this, the design direction shifted back toward the structural language of geta itself.
Instead of focusing primarily on high heel forms, I began analyzing the geometric logic of the wooden geta structure — particularly the sharp edges, flat planes, and vertical cuts created by woodworking processes.
These straight-edged geometries were then combined with the smoother, more organic curves typically found in high heel silhouettes.
Another key design element was the reinterpretation of the thong strap. The strap extends toward the rear of the shoe and transforms into a structural heel component. Together with the central heel support, this creates a visual composition reminiscent of the adidas three-stripe language.
In a simplified sense, the design can be understood as bending the platform of a wooden geta into the shape of a high heel, while extending the thong strap into a structural heel element.
Digital Modeling
The digital modeling process again began in Gravity Sketch, where the initial volumes and proportions were established.
The model was then refined in Rhino, where the geometry was adjusted to balance two opposing design languages: the sharp, architectural edges of wooden geta and the smoother curvature of high heel forms.
During this stage, multiple iterations of the thong strap geometry were explored. The challenge was to keep the strap visually expressive while ensuring it would not interfere with the foot.
To achieve this balance, the strap geometry was gradually softened and rounded, creating a more fluid shape that enhances the feminine character of the shoe while still maintaining the structural contrast with the angular base.
Prototyping and Material Experiments
Prototyping this design introduced several technical challenges.
Unlike flat footwear, high heels require significant structural support. TPU printing offers flexibility, but its softness makes it difficult to maintain stability in tall heel structures.
As an early experiment, I attempted to print the shoe using PLA, which provides greater rigidity. However, PLA lacks flexibility and therefore has poor wearability.
This led to a new strategy focused on internal structural density control. By adjusting the internal infill density of different areas within the print, I attempted to create varying levels of stiffness across the shoe.
For example:
The thong strap area requires softness for comfort against the foot
The footbed requires moderate flexibility
The outsole and heel require significantly higher structural stiffness
Two early TPU prototypes failed due to insufficient density in the strap area, causing layer separation and structural breaks.
In later iterations, I switched to a different TPU supplier called Sting, whose material demonstrated significantly better structural consistency. The issue of whitening marks from support material was also improved.
Future iterations will continue testing this material to achieve a better balance between flexibility and structural support.
Reflection
One of the most surprising discoveries during this process has been how deeply historical footwear continues to influence contemporary design.
Although separated by centuries and cultures, many of the structural principles behind historical shoes remain relevant today.
Digital tools such as VR modeling and 3D printing provide new ways to reinterpret these archetypes.
Rather than replicating historical footwear, the goal of this thesis is to explore how design history can inform future footwear design.
Conclusion
Footwear design is often framed as a pursuit of innovation — new materials, new technologies, new aesthetics. However, throughout this process, I began to realize that many of the ideas we consider “new” are, in fact, deeply rooted in history.
Each archetype in this project represents a moment where design responded directly to its context — climate, culture, material, or social identity. These responses created forms that continue to influence contemporary footwear, often in ways we no longer consciously recognize.
By translating these archetypes through digital tools such as VR modeling and 3D printing, this thesis is not attempting to recreate the past, but to reposition it. The goal is to explore how historical logic can become a design method, rather than just a reference.
