Irina Righes closes the second upper after finishing the first Scarpet. The top-line is finished with a woollen ribbon sewn on to the edge.
Antique wooden lasts, once used by Irina Riges’ grandmother for scarpet making.
The top view’s shape is symmetrical. It was used to make both shoes of the pair, which were symmetric too. The scarpets’ left and right could be switched, in order to outwear the sole less, or better: more equally.
The side view shows a rather high toe spring. Once wearing the Scarpets, the upper’s top line is nicely close-fitting to the feet.
Pieces of cardboard were Usedom to adapt the last to the individual measurements.
A pair of old scarpets from Val Cimoliana. It had been worn for almost 10 years and it shows the signs of time. The actual abrasion of the material and the stitching is little and quite interesting to see.
Two ways for joining the parts:
stitching the edge of the sole before joining the upper;
or joining the upper with the fabric insole, to inable a final edge stitching sewing all parts togheter in the same time.
Steps of the sole stitching.
Meeting at the workshop in Venice for stitching the sole of scarpet. Giulia Mior joins the group. Different arrangements of the rags are experimented: 30, 35, 40 layers of different sizes are stitched togheter. What a hard and long work! Women in the past used to do it while walking, carrying downstream wood and hay.
Gabriele Gmeiner, Irina Righes and Alessandro Zannoni go to Casso/Friuli in order to meet Giacomina De Lorenzi for learning the secrets of the scarpets: material, shapes of the different elements of the scarpet and the lasts.