Moda Documenta: Museu, Memória e Design – 2015

FRANCA FOOTWEAR MUSEUM AND ITS COLLECTION Andrade, Natalie Rodrigues Alves F. (UNIFRAN e FATEC Franca) Matos, Ana Paula (UNIFRAN)

Abstract: This research investigates the Franca Footwear Museum collection and the aspects related to its emergence and trajectory by bibliographic research about museums and shoes. It’s used direct observation to analyze the shoes and their way of cataloging. This article intends to reflect and demonstrate the importance of the Museum and its contribution to the local society, in addition to describe its current situation. Key-words: Museum, shoes, Franca.

Introduction We observed the loss of history culture and memory in our society. This fact is perceived by the careless and lack of treatment of historical patrimony and also the artifacts produced in Franca, SP. The loss of history culture in Brazilian society is the subject of many interpretations: Each individual is part of a whole – of society and the environment they live – and construct, with the others, the history of this society, bequeathing to future generations, trough created products and interventions in the environment, recording capable of provide the understanding of human history for future generations. The destructions of inherited goods of past generations entail the rupture of knowledge chain, leading us to repeat incessantly experiences already lived. (CREA – SÃO PAULO, p. 15, 2008).

It would be considered historical and cultural patrimony “all nature goods material and immaterial, cultural or environmental interest, that have historical significance, cultural or sentimental, and that are capable, in the present or in the future, to contribute for the comprehension of cultural identity of the society that produced it” (CREA- SÃO PAULO, p. 15, 2008). Anyway, in Franca, located in the state of São Paulo, this fact is perceived by the constant careless and lack of conservation and preservation of its historical and cultural patrimony, as well as the artifacts produced for its industry, the base of local economy. Authors like Ferreira (1982 and 1989) and Follis (2004) who analyzed the local historical development point their inability in preserving adequately their rich culture patrimony. 1

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One of the biggest examples of this negligence is in the absence of care and conservation with leather shoes and accessories produced by local industry through all its history. In the city, only the industry Samello S/A has a small collection of artifacts and photos (of shoes and advertisements) that demonstrate its important trajectory in Brazilian’s footwear. In the city, few industries worry in preserve its own history and products, as the shoe industry Samello and the rubber industry Amazonas, which has in their factories a small record (shoes and advertisement materials) demonstrating their important trajectory in Brazilian’s male footwear. Recognizing the importance of rescuing and preserve the history of the artifacts of leather/footwear section, the industry Samello took the lead, in 2001, to gather its collection with the donation of some partners as entrepreneurs, retailers, designers and personalities, founding Franca Footwear Museum, officially opened in October 25, 2001, in a residential property adapted to this enterprise, located in Nossa Senhora da Conceição Square, downtown area. This present study aims to investigate and analyze informations about Footwear Museum’s collection related to its emergence and trajectory, as the total number of artifacts and its specifications (periods and collections it was constituted, like replicas, international models, national models, models from Franca and models of Samello industry), how they are cataloged, what is their contribution and importance to the local society and its current situation. The purpose of this analysis is emphasize the importance of preserving the industries and societies’ artifacts/objects history and memory, in this case footwear polo in Franca-SP. This article will be developed from bibliographic references, having as source articles, dissertations and published books about the industrial footwear polo from Franca, artifacts/objects and the museums. It will also be used the academic and professional knowledge related to the theme, once the authors are involved with the surveyed areas, as teachers in the areas of History1 and Fashion Design2. It will also be used direct observation through research and analysis of the artifacts and informations referring to Franca Footwear Museum and its collection.

Matos is a professor in Fashion History discipline at the graduation course in Fashion Design at UNIFRAN and is graduated and Master in History for UNESP Franca. 2 Andrade is a professor in Fashion Design and Footwear Design related disciplines at UNIFRAN, at the graduation course in Fashion Design and at FATEC Franca, in Industrial Production Management Course. She is graduated in Fashion Design for FASM and Master in Design from UAM, both in São Paulo. 1

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As a result, in addition to analysis and observation made, it is expected that the subjects covered here inspire a reflection of need to preserve the local history and memory through the conservation of so important objects in the composition of Franca’s history.

1.

Footwear polo in Franca-SP

The city of Franca is located in the far northeast of São Paulo, its urbanization rate reached 98,23% and its population 318.369 inhabitants, according to the IBGE census realized in 2010. Its appearance is linked to the movement of miner’s “return-trip” in the end of eighteenth century, when fleeing from taxes of Portuguese Crown, possessed the west of Minas Gerais up to the route of Anhanguera, the so-called “Caminho dos Goyazes”, the old road between port of Santos and the provinces of Goiás and Mato Grosso. Today, the city shelters an important industrial polo with 449 industries and 256 providers of specialized services for the segment, besides 283 suppliers of input and raw material. In 2010 its production was 25,9 million pairs of shoes (about 3,2% of national production), being 3,5 million designated to exportation. The polo exportation values reached US$ 95,74 millions – 6,43% of total sales of Brazilian footwear exportations in that year. In 2010 The polo employed 32,300 employees, the equivalent to 8% of work force employed in this segment in the country. (FERREIRA, M.MENDES, H.M.P. e SILVA, A.A.C, 2012). The city is one of the main and traditional production systems in Brazilian footwear industry, as well as the Sinos Valley region, in the State of Rio Grande do Sul. The polo has a big representativeness in the section of man’s leather shoes production, in the total production of Brazilians Shoes. The city has the complete leather–shoe series, proving to be a cluster3, since it can be found suppliers of raw material (as leather), components (metal and sole), machines and equipments for the sector. The footwear polo in Franca has at present 467 officially registered companies, employs an average of 28 thousand people and has an estimated annual production around 39,5 million pairs, according to SINDIFRANCA (2014). Franca was an old rout of rushers and already appeared as the largest urban center and commercial warehouse in the early twentieth century. “The formation of Franca village is directly

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Cluster is an operating or administrative group of companies in the same supply chain. 3

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linked to husbandry, activity responsible for the effective population of much of interior of Brazil during colonial period” (COUTINHO, 2008, p.23). About the considerable quantity of shoemakers in the region since the formation of the village, Coutinho (2008) assumes that the muleteers’ movement in the city would support the hypothesis of travelers have stimulated the production of leather artifacts. Also for the author, after the 1870s, shoemaker’s profession and the opening of their workshops had, in São Paulo Northeast coffee economy, the possibility of becoming exclusive and with economic expression. From the new markets formed by coffee economy, added to the leather artifacts transportation facility by railway, there was an impulse in the local production of these products (COUTINHO, 2008). From the 1950s, stabilizes the cycle that continues for a long time up to nowadays in this polo, where workers, in unprepared workshops in rooms of their houses, inspired by the industries’ success of the same origin, open their companies. “The entrepreneurship, joined to the technical knowledge and lack of resources, a footwear fabrication characteristic in the city since the beginning of the twentieth century, expanded in several of new companies” (ANDRADE,2012, p.58). An example is the story of manufacturer, Miguel Sábio de Mello, “tiller in the city, former employee of Jaguar Shoes and, finally owner of a footwear workshop (boots and slippers). In 1953, gives the first big step in this segment, the foundation of Samello Shoes S/A” (Franca Footwear Museum, 2014). Since then: With quality, productivity and prices competition raises the proliferation of industries that would project Franca, worldwide known as the major producer of male footwear in Brazil, specially because of its responsibility to bring in a new phase in footwear’s history in Franca. Emerge many factories that consolidate the proliferation of footwear polo in Franca, constituted by Agabê, Pestalozzi, Palermo, Sândalo, Terra, Francano, among many others (Franca Footwear Museum, 2015).

Navarro says (1988 apud ANDRADE, 2012) that since the mid 1970s, Franca’s footwear exports are consolidated, becoming all the district the largest producer and exporter male leather footwear polo in the country. It is understood, finally, that despite been born in a farming region and uncertainty of its future as footwear center producer, Franca accumulates decades of experiences in the sector. Since the establishment of the first industry, there is a huge care for the production of leather and 4

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its derivates, and because of this, the city’s name is, up to nowadays, linked to the best quality shoes in the country. However, the local industries shows a lack of professional qualification and a lack of awareness of new markets demands, copying models and modeling of big industries, reproducing and adapting the models to their production conditions. Even today, few industries arrange designers in products development’s sector. Big part of models still are reproductions of Europeans models and maybe, because o f this so little interest in the preservation of what they produce.

2.

Franca Footwear Museum and its collection

2.1 Museums According to Gonçalves (p. 83, 2007): The museums material space is constituted social and symbolically by the tense intercrossing of different relations between ethnic groups, social classes, nations, professional categories, public, collectors, artists, market agents of culture, state agents, etc. The ideas and values that guide these relations are dramatized through a “meaning web” (Weber 1978; Geertz 1973) whose coherence and stability are permanent threatened by external and internal inquires to the field.

So we can consider that museums reflect all dynamic of a society, with its successes and failures and also the maneuvers of the social groups that search the maintenance or the changing of power source. When acquiring, for many means, objects from different origin, while classifying as components of a determined collection and while exhibiting publicly, the modern museums not only express but also produce ideas and values by how relations in society, groups and social categories are thoughts. Its studies give us access to mechanism by which ideas and values circulate socially, how they are reproduced, reinterpreted and disseminated in public space of modern societies. What Françoise Héritier called “elementary symbolic of the same and different” (1979:217) is elaborated in particular ways through those objects acquisition procedures, classification and exhibition in the museums. Fundamental oppositions of social and modern ideological universe such as civilized/primitive, national/foreign, lettered/popular, elite/people, past/present and specially authenticity/unauthenticity are represented and disseminated in the museum space, which transform 5

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them in rich material of studies about social relations systems and ideal systems and effective values in modern societies context GONÇALVES, P. 84, 2007). Thus, the objects displayed in museums are imbued of meanings that make a link to what society was and what it is nowadays. These objects have the power to demonstrate the trajectory of the past to the present and many times, from the present to the future. Study the museums’ collection is an unquestionable source of knowledge about society’s history, its values and customs: these studies about collections, museums and patrimonies report aspirations and demand made by social movements of nationalist nature, ethnic or religious defending its respective conceptions of identity and memory, as describes Gonçalves (2007). As the studies related to shoes, knowing about footwear industry development in the country revels, in general, an important part of its economy (husbandry, exports and imports) and specifically as whole regions have developed and nowadays, are still there due to footwear activity. In relation to the spaces that preserve the story of footwear artifacts, there are in Brazil two specific museums about the activity of leather footwear industry and footwear artifact: The National Footwear Museum (NFM)4, at the leather-footwear polo in Novo Hamburgo, in the state of Rio Grande do Sul, located at Campus I at FEEVALE University (NATIONAL FOOTWEAR MUSEUM, 2014) and Franca Footwear Museum (FFM), located in Franca, in the state of São Paulo, currently located at UNIFRAN campus (University of Franca).

2.2 Franca Footwear Museum historical Franca Footwear Museum was idealized by Regina Consuelo de Luca de Mello, founder of Cultural Institute Wilson Sábio de Mello, with the main idea of creating a space capable of rescuing the footwear history and trajectory of footwear industry from Franca. Samello S.A. and its founder, Miguel Sábio de Mello – an ex shoemaker that became a manufacturer – stands up specially in relation to the implementation of innovations in polo Franca footwear sector, besides pioneering initiatives to the conception of a different footwear since 1950. The NFM was founded in 1999. “It has about 40 thousand pieces, of which 35 thousand are shoes and the rest are bags, accessories, tools and books, being all parts of museum received as donation” (TESSARI, 2014, p. 4 and 5). 4

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Samello becomes not only the largest manufacturer in Franca, in the mid of twentieth century, but also a reference in the sector, as the first industry in the city to use mechanical conveyors in production and enter the foreign market effectively. The launching of moccasin model in the country is a mark in the segment’s history (ANDRADE, 2012). Thus, on October 25, 2001 when we celebrate Shoemaker’s Day, Regina Mello realizes her goal and homages her father by opening and baptize “Miguel Sábio de Mello” Footwear Museum based at Monsenhor Rosa Street, number 1843, downtown city. At that time, the local had about three thousand items, such as marketing pieces, pictures, replica shoes (PEDIGONI, 2001). The museum attended the general public and became a cultural reference in the city to all interested in knowing the history of the city, footwear and footwear industry. Its collection contained, beyond replicas, original shoes of that time, countries typical shoes, national and international celebrities’ shoes, advertising and phonographic material, video room, specialized bookstore, and shoe boutique - that commercialized themed souvenirs – and cyber café – for more depth researches. Although taking the founder’s father’s name and start its activities with a collection that tells the trajectory of Samello S/A., important companies for the footwear historic of the city had their area reserved, this way, it is possible to find models from Agabê Footwear, Sândalo, Jacometti, Donadelli, Albanese, Carmen Steffens, Couromoda, Francal, Abicalçados, Azaléia and Paquetá, and also material from Sinos Editorial Group and Franca Industries and Footewear Union. Regina Mello reports to the local newspaper that: By our statue, we assume the responsibility for the safekeeping of each item leaded to the museum, whether donated or just given”. (…) “footwear workers, tenants, suppliers, footwear professionals and people in general can contribute to the database development (DIÁRIO DA FRANCA, 2001, p. 4).

The Museums’ activities, however, did not limit itself to shoe theme only. Included in the cultural circuit of the city, the space goes to house exhibition, shows documentaries (as on Mario de Andrade Week, in 2002, and the project ‘Curta na Hora do Almoço’, released in 2003), theme nights (Choro Night, wine and cheese, in 2004), musical and theater presentations, etc. It received politicians religious and artists. The space was maintained by Wilson Sábio de Mello Institute until May 2007, when UNIFRAN – University of Franca assumes it, under commodatum contract with the Institute, probably motivated by financial difficulties dealt by Samello group.

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Under Unifran’s administration, the Museum changes its address, and is located at the same street, but at the number 1611. Unifran promotes the modernization of the cyber café and continues the cultural activities, motivating and organizing visits from public and private schools. However, in 2011, Unifran changes the Museum to its dependences campus, located at Avenida Dr. Armando Salles de Oliveira Ave, number 201, at Parque Universitário. Since then, the cultural activities were suspended, keeping only visits to the collection. Until middle December 2014, the Museum remained at Unifran campus, but the visitation was drastically reduced (they happen only with pre-scheduled time) and according to the responsible of the Museum at the University, the collection will return to Wilson Sábio de Mello Institute, once the new administration5 demonstrate no interest in keeping it until the end of the contract (May 2022).

2.3 The collection and cataloging of Franca Footwear Museum In general, footwear can be defined as any accessory used to wear, cover or protect the feet and may be shoes, boots, sandals, etc. According to the book "A brief survey of shoe fashion through the ages", published by British United Shoe Machinery Co. Ltd (SHOE MUSEUM, 2014), in Antiquity, the shoes were divided into two categories: those that protected the soles of the feet and were tied with cords and the ones that entirely covered the feet and that left the fingers entirely free, such as solea, crepida, baxae and sandals. In the past, mostly shoes were basically made in leather. Currently, the leather is still the predominant material and highly valued, but may be other options, such as: the kidskin, suede, fabrics, straw, rope, rubber, wood, and the industry through the various types of processing, can provide us different types of leather, which vary in strength, thickness, softness and color. As regards soles (sole), used to protect the soles of the feet, can also be made of various materials beyond the leather. The heels, usually of wood, metal or rubber, lined with leather, fabric or other material. However, we must emphasize that the definition and meanings of the shoes go beyond protecting feet and putting on to the act of walking. Footwear is one artifact imbued with several 5

In July 2013 UNIFRAN – University of Franca – was sold to Cruzeiro do Sul Educational Group 8

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meanings, serving various desires and needs. It communicates through design elements, sensations, symbols, social contexts and even subjective characteristics of users (ANDRADE, 2012). It is also a guardian of individual and collective memories. The artifacts displayed at Franca Footwear Museum are important objects, which carry memories, reinforcing a particular situation, space or time. Through research of these artifacts, we can relate to memory, history and fashion, because if remember our history through souvenirs, clothes or even objects, we can rebuild a whole and portray the history and the identity of a person or group as reflected Merlo (2010). The methodology used primarily provided for the analysis and comparison of the Cataloging of the only two footwear museums of the country, the National Museum of Footwear in Novo Hamburgo-RS and Franca-SP. The Cataloging of NFM6 uses a computer program specifically developed for the museum. The electronic catalog has the largest possible amount of information about each artifact. In addition to this cataloguing, the shoes get in your soles a label with bar codes. This code refers to the system that contains the following information: location of the model (code, model type and packaging box, donor, or which celebrity belonged, photo and characteristics as the model description, raw materials, and techniques used and details. The cataloging program is online at the museum's website for free-form queries, as described Tessari (2014). However, today the site is down for a makeover. The FFM7 does not have such an advanced and detailed system. In research and consultation of museum archives, we found only a folder with footwear relationship and a typed list with data about the museum's collection. On each artifact there was the following information: a code (defined as record), a description (model type, raw material, reference _, colors and manufacturer, but not all models have records of all these items) date (year or decade), origin (country) and number of feet (or pairs). As the MNC, lying on the soles or shoes’ shape, a label, but with descriptions of the model code, the shape reference, manufacturer and artifact donor. The FFM has a website, but containing some pictures of the collection, especially the replicas of historical footwear and texts about the history of footwear and the city of Franca. In FFM are exposed replicas of foreign male and female footwear (East and West) of many centuries prior to the twentieth; footwear models used by celebrities such as actors, singers

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National Footwear Museum, Novo Hamburgo, RS, Brasil. Franca Footwear Museum, SP, Brasil. 9

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and politicians, conceptual shoes, typical shoes, models of international brands (mostly Italian) and national. All pairs were donated mostly by the Mello family, owners of Samello S/A In addition to shoes, the museum has exposed some books, suitcases, boxes of tools for making shoes and posters.

Figure 1: Moccasin and Brazilian shoes in shapes donated by Samello S / A. Source: Collection of the authors, 2014.

The exposed artifacts have only one tag containing the model name and year of manufacture.

Figura 02: Samello S/A Platform Boots of the 1970s. Source: Collection of the authors, 2014.

Through analysis of folder/catalog, which has very few data recorded for each pair) and visiting the museum could be quantified in numbers that 55 ft/or pairs of shoes are from Brazil 10

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(but unable to number the pairs produced in Franca) and 155 ft/pairs of foreign shoes from countries of all continents. Of these feet and pairs, 46 of them are replicas of footwear of periods of Antiquity and the 15th and 16th centuries (foreign replicas of foreign footwear), typical footwear (Japanese, Indian) or costume (pairs used in films or conceptual creations of students). Of the documented pairs, 192 are considered season in its records. The oldest date from the 1930s to the 1990s Most of the season shoes are of the 1960s and 1970s, large period increase in production of Franca polo shoes. The value of a museum as the Franca’s is to recognize the qualities of the product and the local territory. Authors such as Krucken (2009) describe the need to understand and value the place where a product is born, its history, qualities, identities (climate, local nature, residents lifestyle and spirit of place), materials heritage elements (architecture, artifacts , art, etc.) and immaterial heritage (folklore, language, music), as well as history and regional economy as tools for differentiation and consolidation of a product or service on the territory. “With globalization, one of the major challenge is to communicate the qualities and local product values for people who do not know their original context and its history, so that they can assimilate and recognize them" (Krucken, 2009 p.23). At this time we realized here the importance of FFM as a resource to demonstrate the values of the artifacts produced in Franca polo, associating them to its history, economy and culture, highlighting the products with characteristics that more features that highlight the polo as male models and the unisex (the model moccasin, which highlighted the city in national and international markets), which have a whole tradition on footwear production characteristics, including the traditional methods of hand stitching.

Final Considerations

Unquestionably the importance that museums acquire for preservation of history and memory of societies, so also does not question the importance of Franca Footwear Museum as valuable component for Franca’s society for the same reason: preservation of footwear and footwear industry history in the city.

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As stated by Krucken (2009) recognition of the qualities and values of local products, related to knowledge and importance of producing communities, are a way of helping to make visible an entire society and its history behind the artifacts. These objects would communicate the cultural and social elements and would allow consumers to enjoy them properly, creating a favorable image of the city where the product are developed. Franca Footwear Museum would be a way to enhance and protect the material heritage to record stories for the community. As in other cultural and local heritage sectors, the society is not involved and do not demontrate interest in preserving or redeeming the city’s past. It also demonstrates the lack of relationships and involvement between the local population, business sector and educational institutions. We realize thus a low awareness and perception of the city and its identity; there are few spaces to transmit cultural and territorial identities and are smaller still, actions to raise awareness and inform about its history. Franca has high industrial production, but few cultural productions. About Franca Footwear Museum, unfortunately, by the end of the study, it is observed that, over time, there was a change of course on the management and even a lack of interest in expansion and maintenance of the museum and its collection. Before, the activities that included the community and various promotional activities today suffer complete abandonment: although installed in a university campus, there is no social, cultural or educational activity that involves and even before the end of the contract, acquis will be returned to Samello family to vacate the space. To return the collection, there is no news that it will either be transferred to another location or even another company or entrepreneur has been interested in keeping it. Until the end of the article, the University of Franca does not “comment” about the fate of the parts except for the return to the family holding its guard. The closing of Franca Footwear Museum reflects not only the lack of interest of local society to preserve its history, but also shows a dramatic change in modern human behavior. According to Walter Benjamin (cited Gonçalves, 2007) we no longer have “time” to contemplate, we are submerged in the era of quick and impersonal information, which already comes in ready and finished, almost unquestionable. We do not get involved, do not interpret and, in this context, it is not for the museum under it was in the Franca Footwear Museum: narrative, psychological strain and even leisure local.

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References

Publications COUTINHO, Antonio. Couro cru: origens do polo calçadista de Franca (1820-1950). Franca: Ribeirão Gráfica e Editora, 2008. FERREIRA, Mauro. Franca, Itinerário Urbano. Franca: Laboratório das Artes, 1983. FERREIRA, Mauro; MENDES, Hellen Maria Passos; SILVA Ana Carolina Carlucci da. Mobilidade urbana e sustentabilidade em Franca (SP). Anais do XIII Encontro de Pesquisadores do UNIFACEF, Franca, 2012. FOLLIS, Fransérgio. Modernização urbana na Belle Époque paulista. São Paulo: Editora UNESP, 2004. GONÇALVES, José Reginaldo Santos. Antropologia dos objetos: coleções, museus e patrimônios. Coleção Museu, Memória e Cidade: Rio de Janeiro, 2007. KRUCKEN, Lia. Design e Território: valorização de identidades e produtos locais. Sutdio Nobel: São Paulo, 2009. MERLO, Márcia. Memórias: imagens entre fotos, palavras, coisas e sonhos. In: COLÓQUIO DE MODA, 6., 2010, São Paulo. Anais eletrônicos do 6° Colóquio de Moda. São Paulo: [s.n.], 2010. 1 CD-ROM. PEDIGONI, Ângelo. Museu do calçado de Franca expõe 3 mil pares. Diário da Franca, Franca, 9 de out. 2001. Local, p. 4. TESSARI, Valéria. Catalogação de acessórios em museus: O Museu do FIT e Museu Nacional do Calçado. IV Seminário Moda Documenta. I Congresso Internacional de Memória, Design e Moda. São Paulo, 2014.

Theses and Dissertations ANDRADE, Natalie Rodrigues Alves Ferreira de. O Design de Moda e o desenvolvimentodos calçados femininos no Polo de Franca – SP. 2012, 212 f. Dissertação (Mestrado em Design) – Universidade Anhembi Morumbi, São Paulo, 2012. FERREIRA, Mauro. O Espaço Edificado e a Indústria Calçadista de Franca. São Carlos: EESC/USP. 1989. Web References

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ESTEVES, Tarissa. Um museu invisível. PortalGCN.net.br. Acesso em: 12/01/2015.

Disponível

em

FRANCA INAUGURA MUSEU DO CALÇADO. Disponível em: Acesso em: 12/01/2015. MUSEU DO CALÇADO DE FRANCA. Disponível . Acesso 16/10/2014.

em: em

MUSEU NACIONAL DO CALÇADO. Disponível em: http://www.feevale.br/cultura/museunacional-do-calcado-mnc. Acesso em 17/10/2014 SINDIFRANCA. Relatório Mensal – NICC Polo Franca – AGOSTO de 2014. Disponível em: . Acesso em: 16/10/2014 as 13hs. CREA-SÃO PAULO. Patrimônio Histórico: como e por que preservar/ coordenação de: Nilson Ghirardello e Beatriz Spisso; colaboradores: Gerson Geraldo Mendes Faria [et al.]. -- Bauru, SP: Canal 6, 2008. Disponível em: . Acesso em: 20/02/2015. TESTA, Fernanda. Unifran reinaugura Museu do Calçado de Franca. Portal GCN.net.br. Disponível em: Acesso em: 12/01/2015.

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