Era of the Frankenshoes: Why are hybrid footwear becoming so fashionable?
When are sneakers not sneakers? When they take the form of sneakerinas instead.
It is currently a trend right now for footwear not to be of a single category, but a fusion of different styles.
Take the sneakerina, for example. This is simply a sneaker combined with a ballerina flat – hence the namesake portmanteau.
In terms of functionality, it is a blend of a casual, comfortable design with a touch of feminine flair.
Model Bella Hadid is believed to be a big fan of sneakerinas. She has been spotted out and about wearing them as part of various looks – effortlessly combining comfort and high fashion with each appearance.
Sneakerinas offer the cool vibe of streetwear, while giving you a feminine appeal. Photo: Vivaia The trend itself is named 'Frankenshoes', alluding to Frankenstein's monster (from the Mary Shelley novel), as these hybrid pieces are often cobbled together from mismatched materials, styles and influences, creating a unique and sometimes eccentric look.
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Just recently, Balenciaga launched a collaborative collection of unconventional footwear.
There is one design that combines the buckle and front strap found on the classic Pescura Scholl sandal with a cork sole and a high heel.
The Scholl clogs, often worn by nurses and cleaners, have also been reimagined as a trendy mesh slip-on.
Last year, New Balance merged sneakers and loafers into snoafers.
The design sparked plenty of buzz, though it might not appeal to everyone's taste.
While each release sells out quickly, some people are saying that snoafers just don't look aesthetically pleasing.
And that is perhaps the crux of the issue here. Frankenshoes are supposed to make you uncomfortable – in how they challenge your expectations of what footwear should look like.
Like how Hadid helped popularise sneakerinas, other celebrities have played a significant role in propelling the Frankenshoe trend into the mainstream.
Style icons like Dua Lipa and Kendall Jenner have been spotted wearing these daring hybrids, often turning heads with their bold and unconventional footwear choices.
By showcasing these pieces at high-profile events and on social media, they amplify their visibility and transform what might otherwise be niche fashion experiments into covetable, statement-making items.
In 2023, MSCHF's big red boots went viral. The cartoonish design made waves across social media platforms.
Also don't forget the Crocs heels that divided opinions seven years ago.
Despite all the ridicule received at that time, the brand continued to push out unique designs: hiking clogs, pool slides, platform shoes and more.
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The Maison Margiela Tabi sneakers have also been a favourite for quite some time now.
There have been numerous iterations of this design, but all with the hallmark split toe design.
Making its debut in 1988, Maison Margiela's Tabi footwear is a cult favourite.
The design is inspired by traditional Japanese socks characterised by having a separate compartment for the big toe.
Since then, the fashion brand has introduced an ever-increasing number of Tabi variations from ballet flats to mary-janes to loafers and brogues.
Which really shows that Frankenshoes are here to stay.
Love them or loathe them, such designs can act to push boundaries – one bizarre, boundary-blurring step at a time.
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The Star
19-07-2025
- The Star
She made fashion's weirdest footwear, now she's design director of shoes at Dior
Back in late 2018, a lifetime ago in fashion, a radical shift happened in footwear. Square-toed clunkers – sandals defined by exaggerated, spatula-like soles that jutted out from under the foot and pumps with bulbous stubbed toes – were shown in Daniel Lee's first collection for Bottega Veneta. At first sight, the shoes were hideous. Within months, they were on the feet of nearly every celebrity, editor, influencer and luxury VIC in the land. Retailers like Vince Camuto and Shein promptly issued dupes of the popular Lido sandal, a simple slide in a blown-up interpretation of Bottega's signature intrecciato woven leather. Lyst declared them the 'hottest shoes in the world' in 2019. 'It's funny what you can make people wear in fashion if it's done the right way,' said Nina Christen, the Swiss shoe designer responsible for the Lido. Christen's distinctive touch has quite literally been all over some of the most influential shoe design trickling down from luxury houses for the better part of the past decade. She has worked for Phoebe Philo at Celine, Jonathan Anderson at Loewe, Mary Kate and Ashley Olsen at the Row and Lee at Bottega Veneta. Last month, Anderson hired Christen as the design director of shoes at Christian Dior. It's one of the biggest jobs in fashion right now, and she is balancing it with a moonlighting gig, too. Read more: Era of the Frankenshoes: Why are hybrid footwear becoming so fashionable? Last year, Christen introduced her eponymous independent shoe brand. The first pure expression of her design identity came partly out of frustration. The shoes she designed for other brands were her taste, her take, she said, but they were never 100% herself. Opportunity arose when she met Paul Dupuy, an entrepreneur and a founder of Zoi, a health-tech company in the longevity space. Christen designed uniforms for Zoi's staff and clients, and Dupuy was so impressed that he offered to help her start her own brand. His mother was a fashion designer, and he has friends in the industry. He got it. 'When she told me she designed shoes for Loewe and Bottega, I was like: 'OK. This is solid,'' Dupuy said. Christen already had a complete vision for a brand beyond shoes: the perfect pair of Japanese denim jeans, the perfect leather jacket, even fine jewellery, the first piece of which is a diamond toe ring. All are prototyped and planned. She had the packaging, branding, logo and positioning in mind. Dupuy raised US$5mil (approximately RM63.6mil) in capital and helps with business logistics, including with the planning of a store in Paris slated for 2026. Christen shoes are produced in Italy by the same factories and specialists that work with big luxury brands. The prices – US$1,100 to US$3,650 (RM4,668 to RM15,485) – reflect Christen's uncompromising production standards and ambition to compete at the highest level. On a morning in late June, the raw cement floor of the studio below Christen's apartment in Paris was set with more than 30 examples of her designs arranged in a neatly art-directed grid. Three styles from Loewe's Spring/Summer 2023 runway collection stood out for their cartoonish, fantastical qualities. There were pumps embroidered with an explosion of deflated white balloons and sandals abloom with a giant, hyper-realistic anthurium. Red rubber pumps that looked fit for Minnie Mouse were particularly complicated. 'You can't wear this for more than two hours,' Christen said of the pumps. 'But Jonathan Anderson was very open to ideas that really crossed the line between art and fashion.' By comparison, the styles on display by Christen's brand appeared compact, sexy and razor-sharp. 'I love the space of geometric shapes,' Christen said, surveying the body of work at her feet. 'When I think of toe shapes, for example, it's all about that. Is it a square? Is it rectangle? Is it a circle? Is it oval? What is the degree?' Dozens of Nina Christen's shoe designs – Bottega Veneta, Loewe and Celine, among them – arranged in a grid in her home studio in Paris. Photo: The New York Times She wore a pair of white sandals by her brand that left the foot nearly naked, bisecting it with a single strip of leather like a strand of floss through the big and second toes. The sole was thin and slightly elongated under the toes, like an insole that was a size too big. The proportions of the shoes varied wildly, but a common thread was a certain offness. Christen thinks a lot about redefining standards. 'It's about creating things we are not used to yet,' she said. 'When I make something and I don't know if I like it, that's always a good sign.' Christen, 40, grew up in Bern, Switzerland, in her own words, 'obsessed with fashion without an explanation'. 'It was just in me,' she added. There she studied technical tailoring and pattern-making and practiced on the 'normal' garments she prefers to wear in her personal life. She never dreamed of being a shoe designer. Finding Switzerland to be a fashion void, she moved to Paris. While completing a master's degree at Institut Francais De La Mode, a shoe design workshop liberated her. 'I realised I could do all kinds of crazy things,' she said. Christen met Lee in 2017 when they were working for Phoebe Philo at Celine. Before that, Christen did the rounds consulting for less elite players, including Marimekko and H&M. Consulting for the traditional French rubber boot brand Aigle proved to be one of her most formative gigs. Read more: Jane Birkin's original Hermes bag sold for over RM42mil in an intense auction The platform rubber boots she designed for Philo's last collections at Celine, and subsequently the viral Bottega Veneta Puddle Boot introduced in 2020, were directly descended from what Christen learned at Aigle. 'I thought, 'Why not make it fashion?'' she said. 'Working with Nina was a special collaboration,' said Lee, who has been the creative director of Burberry since 2022. 'She's a designer that understands precision and refinement.' Rather than reference the work of a specific artist or architect, Christen draws from the worlds of science and spirituality. She cited CERN, the European Organisation for Nuclear Research, as a source of inspiration, the tangible effect of which is difficult to explain. 'It's more that I like to think about things that are impossible,' she said. 'From drawing shoes to the reality, there is this huge gap of things that you can do, things that you cannot do. I enjoy finding a way to do new things.' The power of the mundane, even the ugly, courses through Christen's work. 'Every day I see normal people wearing extremely interesting things that have nothing really to do with fashion,' she said. Orthopedic shoes for the elderly have been good source material. After Christen's first year in business, its most popular shoe is a grandpa-style slip-on bootee lined in goat shearling. As Christen said, 'Once you wear them, you cannot wear anything else.' – ©2025 The New York Times Company This article originally appeared in The New York Times.
The Star
14-07-2025
- The Star
Still calling the shots: Giorgio Armani proves he is very much in control at 91
Giorgio Armani appears at the end of his haute couture Spring/Summer 2025 collection show in January. The designer has missed two of his last shows. Photo: Reuters Giorgio Armani was not present at his couture show last week (July 8). The designer, who later celebrated his 91st birthday on Friday (July 11), had contracted bronchitis before his men's collection last month, and his doctor advised him not to travel. 'In 20 years of Armani Prive, this is the first time I haven't been to Paris,' he wrote in an email sent to some attendees. He obviously wasn't happy about the fact, because he not only said that he actually felt well enough to make the trip in his note, but also added that he still had control. 'Even though I wasn't in Paris, I oversaw every aspect of the show remotely via video link, from the fittings to the sequence and the makeup. Everything you will see has been done under my direction and carries my approval.' Read more: From Balenciaga and onward to Gucci: Demna's final show was his legacy letter As if anyone in the audience for his ode to 'the seduction of black' could have doubted it. Armani is nothing if not committed to his vision, in his design as in his business. However, just in case his absence inspired anyone to start speculating about change (and it wouldn't be a surprise, given all the other upheavals occurring in the fashion world, from designer job switcheroos to Anna Wintour stepping back from the day-to-day operations of Vogue ), Armani had a message for them. 'If I've come this far, it's thanks to the iron focus and obsessive attention with which I manage everything,' he wrote. 'And that hasn't changed.' Models present creations for Giorgio Armani Prive during the Autumn/Winter 2025 Paris Couture Week. Photo: AFP For proof, simply consider the runway. Consider the 77 versions of night sky looks that strolled by in low-heeled bootees. The velvet tuxedos and velvet jodhpurs, side seams picked out in jet, and the jackets finished in peplum swirls over the hips. The velvet pajamas and strapless velvet sheaths with Milky Ways of beads tracing the body. Read more: Jane Birkin's original Hermes bag sold for over RM42mil in an intense auction Or the way many of them were finished off with little velvet skull caps, sheer fingerless rhinestone gloves and velvet bow ties floating at the throat rather than pearls. The bow ties may not have been everyone's idea of the perfect accessory – they made the models look like very fancy mimes, but they were definitely his. – ©2025 The New York Times Company This article originally appeared in The New York Times.
The Star
14-07-2025
- The Star
From Balenciaga and onward to Gucci: Demna's final show was his legacy letter
It's rare that anyone gets to curate their own legacy. Usually that's the prerogative of the future, something that can only happen in retrospect. But on Wednesday (July 9) in Paris, Demna, the mononymic designer who has defined Balenciaga for the past 10 years, transforming it from a symbol of austere and unattainable perfection into a pop culture phenomenon, was able to use his final couture show to do exactly that. In March it was announced that he was leaving the brand to go to Gucci, but rather than cut ties immediately, he was given the opportunity to design his exit. Now, that is elegant. And so it was. The audience was rife with the celebrities who were the avatars of his disruptive, initially shocking, style: Nicole Kidman and Cardi B; Lorde and Katy Perry. Even Lauren Sanchez Bezos, fresh from her Venice wedding, was there. Read more: Michelle Yeoh and other stars light up Demna's final Balenciaga runway show The show itself was chockablock with characters, including Kim Kardashian channeling Elizabeth Taylor in a champagne duchesse-satin slip dress, a tawny fur coat actually made of feathers trailing from her shoulders and, in her ears, 15 carats of diamond drop earrings that Mike Todd gave Taylor, on loan from jeweller Lorraine Schwartz. Demna used his final couture show to do what he had always done as Balenciaga's creative head: transform the once-strict fashion house into a pop culture force. Photo: Balenciaga Also Isabelle Huppert offering Left Bank haute beatnik in skinny black capris and a black turtleneck, a hidden corset turning her into an hourglass. The soundtrack was composed of the names of those who had helped Demna over the decade, recited in their own voices. Most of all, it was the clothes that spoke for him. Each one was representative of how he had assumed the challenge of silhouette inherent in the name of Balenciaga and turned it inside-out, combining his streetwear roots with the highfalutin' heritage of the house to upend the totems of luxury and genuinely influence how everyone dressed. Whether they bought Balenciaga or not. Shoulders jutted like iron struts in not-quite-polite tailored coat dresses and midi suits. The collars of simple silk and cashmere sweaters curved up and around the face like razor-edged tulips. Slouchy corduroy trousers turned out to be made from what the team said was 300 kilometers (more than 185 miles) of tufted yarn, and a long quilted puffer came with no side seams, so it resembled the articulated shell of an armadillo. Classic men's suiting had been made by traditional Neapolitan ateliers – but prototyped on the frame of a body builder and then modelled not only by him but nine other men of notably different sizes (including Demna's husband, the composer known as BFRND), so the jackets hung on their frames and twisted around their ankles. The better to suggest, Demna said backstage, that one size could fit all. The point being, he continued, that it should not be the garment that defines the body, 'but the body that defines the garment'. That's why he replaced the logos on the oh-so-proper handbags dangling from models' arms with their own names. Why what looked like extreme corsetry beneath the draped siren dresses of Olde Hollywood that ended the show turned out to be made from a sort of shapewear, built of layers and layers of stretch material, so it allowed the person within to actually breathe. And sit. And that's progress. Read more: All eyes on fashion provocateur Demna as he attempts to revive Gucci's fortunes In the end, it was a reminder of how much Demna had let the air into the cloistered environs not just of couture – it was only four years ago that he reintroduced the practice to Balenciaga after a 53-year hiatus – but fashion in general. How, by using the vernacular of the everyday and applying it to the elite and the exclusive, he pulled down the barriers of both. To that end, the house photographed every piece in the collection on the streets of Paris, rather than in the salon. After the show, for the first – and last – time, Demna came out to take a bow. Once upon a time, back in 2015 when he arrived, he might have been seen as an interloper, but he was leaving as an agent of change. On every seat he had put a note that read in part, 'Fashion lives on the edge of tomorrow, driven not by what we know but the thrill of discovering what's next.' On Monday, he starts at Gucci. – ©2025 The New York Times Company This article originally appeared in The New York Times.
