EP1871187A1

EP1871187A1 - A shoe

Info

Publication number: EP1871187A1
Application number: EP06733162A
Authority: EP
Inventors: Cherie Petrea Broadley
Original assignee: Individual
Current assignee: Individual
Priority date: 2005-04-15
Filing date: 2006-04-13
Publication date: 2008-01-02
Also published as: NZ539463A; US20090100715A1; CN101170919A; WO2006110053A1; CA2603578A1; AU2006234773A1; CN100579406C; AU2006234773B2

Abstract

A shoe (100) provides a sole (105) under the ball of the foot (110) but none below the arch (112) or heel (113). An upper (104) encircles the metatarsal bones and the distal end of the tarsals. An inelastic ankle band (102) shaped as 'C' holds the shoe on the foot. Support is mainly longitudinal, includes over the arch, may be adjustable, and is provided without causing foot distortion. Sensation from exposed parts of the foot promotes kinaesthetic procedure for teaching and learning dance. Variations enclose the dorsal part of the foot, some enclose the toes, and one optio is a toe box for en pointe.

Description

TITLE A SHOE

FIELD

This invention relates to the field of footwear; in particular to footwear adapted by shape or construction for use when performing various types of dance, including modern, contemporary jazz dance, and in ballet, as well as for use in relevant forms of gymnastics and martial arts.

DEFINITIONS and NOTES

The usage of "foot" and "shoe" or synonyms herein in the singular (which is for convenience) should always be interpreted as referring to one of both feet, or one of the pair of shoes that would be worn on both feet. Anatomical orientation terms, such as "plantar" for the sole aspect versus "dorsal" for the upper aspect, "posterior" for the heelwards direction of the foot and "anterior" for the toewards direction of the foot are used.

BACKGROUND

Many aspects of current dance genres place strains on the feet which are unusually large for a novice or a young person. Such strains lead to some risk of stress-related injury to dancers' feet; more particularly to the bones and ligaments as well as some risk of damage to the subcutaneous tissues under the sole of the foot. Many previous types of shoe have exacerbated the problem by totally enclosing the foot and forcing the foot to alter shape to fit the shoe, which it will do in time but often with the result that the foot becomes damaged. Children's soft feet are easily damaged. The present invention was developed in response to requirements of modern dancers who need to feel the floor with their bare feet, spin with ease, and have a measure of protection and support. The present invention for a shoe is in part driven by an appreciation of kinaesthesiology in the performance of dance in particular, although many other human physical activities may also benefit from the invention. Some underlying drivers include:

1. Usefulness of lighter "minimised" protective shoes which actually stay in place and which permit all kinds of activity. 2. Avoidance of the pathological consequences of tight or binding shoes, perhaps coupled with incorrectly applied over-stressing of the musculoskeletal system; both of which can distort and damage the foot. Consider the results of the ancient Chinese practice of binding a girl child's feet and consider that even today it takes only about a month to damage a child's feet with inappropriate shoes. The barefoot mode of life has many advantages.

3. Recognition of the place played by kinaesthesiology in movement and in performance. By this word the inventor refers in particular to neurophysiological processes (a) starting with activation of skin, joint, ligament, muscle, balance receptors (including inner ear and visual cues) and other sensations derived from sensors, that (b) use reflex (non-aware) and/or consciously aware integrative activity carried out within neural pathways responsive to recruitment and encouragement probably at the synapse and dendrite level for neurones in the nervous system (in both the brain and the spinal cord), and (c) development of motor actions such as muscle strength in muscles that are driven, immediately or indirectly by the above neural pathways. The conscious aspect extends to thinking about one's movements in terms of the musculoskeletal system. One can make progress in performing a complex action by thinking about one's muscles. Kinesthesi- ology is particularly applicable to teaching and training, and to physiotherapy. In relation to a dancer, awareness of where one's feet are, which way they are pointing, how close they are to other objects, and general awareness of the feet and what they are doing can commence as conscious activities in a suitably encouraging environment, and with time and practice will become subconscious, "reflex" actions while the dancer concentrates on higher level matters.

By an "encouraging environment " the inventor refers to minimising the masking effect on proprioception caused by encompassing, protective shoes as are λvorn by custom in most civilised societies when seeking either or both appearance (fashion) and protective functions. This category includes many customary types of dance shoes or slippers. Encompassing, protective shoes may have disadvantages for dancers especially if not fitted well. One cause of the development of modern dance has been a desire to escape from the prescriptive, limiting notions held in ballet such as the use of special slippers many of which are adapted for dancing on the tips of the toes (en pointe dancing). Barefoot dancing has developed from that desire to escape. Accordingly there is a need to minimise the masking effect on proprioception 'caused by encompassing, protective shoes as are worn by custom in most civilised societies, for both appearance and protective functions. This category includes many existing dance shoes or ballet slippers.

The "First-aid Stretcher" or "Hammock" analogy.

Further, the present invention is in part based on a theory that the inventor has developed and on which the range of dancing shoes to be described herein is based. It should be noted that even if the theory, which is offered here in a spirit of "giving the best possible description", is not correct or not well explained, nevertheless the dancing shoes provide significant benefits that have not hitherto been available. The theory draws an analogy between a human foot and the "first-aid stretcher" - the Army-style stretchers made from two lengthwise poles that support the sides of a canvas sheet forming a bed, used by two porters carrying a prone person. A shoe of the invention provides support at each side of the foot, alongside both the medial and lateral metatarsal bones, by means of the upper in combination with the sole, which are under some tension. The point is that a surface made of a flexible, inextensible material can provide support from its middle regions when opposite edges are held. The same effect is seen in a hammock with rigid "spreaders".

Excess forces may jeopardise the structural properties of the bones and ligaments within a foot - and tendons and muscles in the remainder of the body as well. A well-designed shoe can supplement and protect the anatomical structures while allowing as much interaction between the foot and its substrate as possible.

PRIOR ART One patent document has a superficial similarity to the present invention: WO99/51117 Wilkenfeld refers to a soft leather sole, the edge of which is bordered by an elastic band, the sole covering just the ball of the foot and is held in place by elastic straps extending over the top of the metatarsals and further held in place by an elastic strap extending under the sole (where it crosses over) and around the ankle. In the corresponding patent US 6018888, some claims to a void formed in the sole between the points where the ankle strap is attached to the elastic band around the sole have been deleted.

The present invention also provides a flexible sole covering the ball of the foot and no covering below the arch or the heel, but differs in other respects, such as with a different structure in which neither the ankle band nor any other part of the shoe is made of an elastic (resilient) material (although the ankle band may be edged with an elastic strip). The ankle band is not crossed and does not dive under the sole but instead is produced from from the somewhat abbreviated upper of the shoe. The ankle band of the present invention, assisted by the pattern from which the upper and band have been cut, forms a "C" curve as seen from a medial or lateral aspect and hence provides the foot with medial and lateral alignment and support not unlike that of a slingback sandal, yet continues to provide some "give" as compared to a straight strap or band. The present invention applies the principles of kinaesthesiology, and provides support for the bones and ligaments of the foot, as will be explained later. OBJECT

It is an object of the present invention to provide an improved dance shoe that will optimally 95 support and protect, yet expose at least parts of a dancer's foot while dancing or at least to provide the public with a useful choice.

STATEMENT OF INVENTION

In a first broad aspect this invention provides a shoe adapted for use in modern dance, contemporary and jazz style dance, ballet, or other forms of athletic activity, wherein the shoe includes a 100 flexible, inelastic sole that is held, when in use, beneath the plantar aspect of the ball of the foot, although the shoe does not provide any covering beneath the plantar aspect of the heel nor beneath the plantar aspect of the instep so that the wearer's heel and instep are directly exposed to contact with a floor surface or the ground.

Preferably the shoe includes a flexible, inelastic upper, the upper having a first side and a second 105 side each of which sides is attached along a corresponding edge of the sole so that the sole and the upper complete a tunnel surrounding a portion of the foot including the metatarsal bones and at least an anterior portion of the tarsal bones, the upper being capable when in use of serving as inelastic support for said portion of the foot.

Preferably the upper of the shoe has produced therefrom a flexible yet inelastic ankle band 110 extending in a closed loop in a posterior direction from the posterior, upper part of the dorsal enclosed upper, the length of the band being selected so that when in use the band is capable of being slipped over the ankle and around the wearer's calcaneus without crossing over and without passing below the heel or instep of the wearer's foot.

Preferably the overall curved shape of the ankle band is determined by the profile used during 115 cutting out the band, supported by the elastic edging sewn to the plantar side of the band and around the upper bordering the sides of the instep, the overall curved shape resembling the letter "C" as seen from the medial or the lateral aspect, so that the band continues to provide medial and lateral alignment and support while transitions and actions such as plantar flexion, dorsiflexion, inversion, eversion, and flexion and extension of the foot are made.

120 Preferably the strap also has a kinaesthetic function by stimulating proprioceptive sensory nerve endings under the strap.

Optionally the ankle band is adjustable in length and this may be effected by use of a hook-and- eye fastening system or zipper or lacing or ligature means. Optionally the ankle band is made from a separate strap

125 Preferably the ankle band, when in normal use, tends to be bent into a downwardly directed curve between the ball of the foot and the posterior aspect of the calcaneus by tension applied from a lower attached border of an elastic material; the bent shape thereby providing the ankle band with functional resilience, as compared to a straight band made of the same material, until the ankle band is stretched, so that the strap retains sufficient tension and continues to provide support

130 during movements of the foot and thereby holds the shoe in place.

Preferably the material from which the sole, upper and ankle band of the shoe is made is selected from a range including leather, suede leather, and cloth and combinations of leather overlaid with cloth.

Optionally the external aspect of the shoe has an applied decorative finish, so that the appearance 135 of the shoe is compatible with use of the shoe in a performance.

In a first related aspect, the upper of the shoe is provided with tensioning means thereby providing firmer and adjustable support.

Preferably the tensioning means includes a posterior slit aligned in an antero-posterior direction, and the shoe includes fastening means capable of maintaining the width of the slit across the 140 antero-posterior direction; the fastening means is selected from a group comprising shoelaces passed through apertures, clips, a zipper, and hook-and-eye fasteners, so that the inelastic support and retention band can be tied firmly over the portion of the foot including the metatarsal bones and at least an anterior portion of the tarsal bones thereby providing firmer and adjustable support.

In a second related aspect the upper and the sole are terminated in the anterior direction by an 145 amount sufficient to leave the toes exposed on their dorsal and plantar surfaces while retaining coverage under the ball of the foot and over the metatarsal bones and at least an anterior portion of the tarsal bones of the foot, so that in use the shoe encourages or permits sensations from proprioceptive nerve endings in the foot, thereby encouraging use of kinaesthetic methods of teaching and carrying out performance.

150 Preferably the shoe further includes a cord extending from the upper, passing (when in use) directly between the first and second toes, and finishing at the anterior aspect of the sole, thereby serving to improve retention of the shoe.

In a third related aspect the upper forms a dorsal part of a blind tunnel, completed on the plantar side by the sole below the ball of the foot; the blind tunnel forming a pocket enclosing the toes, 155 and the metatarsal bones.

In one option the pocket enclosing the toes includes a substantially rigid surround or enclosure for the toes of the type known as a toe box; so that the shoe can be used in the performance of en pointe ballet dancing, contemporary dance and the like; the shoe providing support to the foot over the dorsal aspect yet leaving the plantar and posterior parts of the foot exposed, so that the foot can 160 maintain natural arching and strength.

Desirably the shoe is made without metal components.

In a fourth broad aspect this invention provides an example shoe based on shoes previously described in this section; this shoe comprising a "versatile shoe" wherein the shoe has enclosed toes and an extended sole, extended towards the arch from the ball of the foot.

165 Optionally this shoe is made without fasteners and the upper is made of one piece of material.

In a fifth broad aspect this invention provides a shoe according to principles previously described in this section; the shoe of this aspect comprising a "T shaped upper shoe" wherein the shoe has a minimised upper and no fastening means.

Optionally the shoe has an extended sole, extended towards the arch from the ball of the foot. 170 Optionally the sole is extended towards at least the underside of the big toe.

Optionally the upper of this shoe encloses the toes.

In a sixth broad aspect this invention provides a "wrap shoe" type of shoe according to principles previously described in this section, wherein the shoe has a minimised upper, covering substantially the dorsal part of the foot between the bases of the toes and the ankle.

175 Optionally the "wrap shoe" has a maximised upper, covering substantially the dorsal part of the foot between the bases of the toes and the ankle.

PREFERRED EMBODIMENT AND DRAWINGS

The present invention may be more clearly understood from the following description of a specific and preferred embodiment read in conjunction with, the accompanying schematic and detailed 180 drawings; wherein:

Fig 1 : as Figs Ia (medial view), Ib (view from behind), Ic (lateral view), Id (front view), to IE (oblique view of sole) are tracings made from photographs of a prototype shoe in use; and in Figs Ia- Id the dancer has her heel on the ground. Laces are omitted for clarity. Fig 2: as Figs 2a (medial view) and 2b (view from in front) are tracings from photographs of a 185 prototype shoe in use made when the dancer is raised upon the ball of the foot.

Fig 3: as Figs 3a (lateral view) and 3b (view from in front) are tracings from photographs of an early prototype shoe as per Example 2.

Fig 4: is a tracing from a photograph of the shoe of Example 3, in use, as seen from the lateral side of the dancer's foot.

190 Fig 5: is a diagram of the shoe of Example 4 as seen from in front of the dancer's foot.

Fig 6: is a diagram of the shoe of Example 5 as seen from in front of the dancer's foot.

Fig 7: is a diagram of the shoe of Example 6 as seen from in front of the dancer's foot.

EXAMPLES

At this time, the inventor has created several versions or examples of the shoe; some of which are

195 described in this specification. In general, as to materials, a flexible, inelastic sheet material is preferred. Soft leather, tanned in various ways, is a suitable material as is well known to shoemakers. Suede leather is an option. The sole is made of a harder leather (though no sole as such is an option, when the leather of the upper is used instead. The collagen fibres of leather allow flexibility if not over-stretched and while the fibres are in a wavy, unextended mode, but

200 once they extended into straight lines the material cannot be stretched any more. Laminates such as dress fabrics glued to leather may be used. Some plastics whether in sheet or in woven fibre t form, canvas, and the like may be used as equivalents. The use of elastic materials is limited. An elastic loλver edging (Fig 4: 101) is usually used around the ankle band 102 on the lower (plantar) aspect, and a trimming or upper edging (Fig 4: 109) may be sewn to the dorsal aspect of the ankle 205 band along its circumference.

EXAMPLE 1 "Original C-shape shoe"

Note that all examples can be made in a range of sizes and in forms suitable for both men and women. The shoe is normally provided as a pair but for simplicity in this specification the shoe is referred to in the singular.

210 Taking the first Example in detail, (see the five parts of Fig 1) in which the dancer is in the flat- footed stance, Fig Ia shows a prototype shoe 100 when in use, as seen from the medial side. The dancer's foot 110 is shown as a dotted outline in Figs 1 and 2. Fig Ia shows that the toes 111 are not covered in this Example. Exposure of the toes is considered desirable for enhanced kinaes- thetics and the freedom and enjoyment of (nearly) barefoot dancing. The arch 112 and heel 113 are

215 also not covered. The ball of the foot is the only ground-contacting portion that is given protection. In Fig Ie, the weight-bearing sole under the heel is emphasised as a series of lines 113. An upper of the shoe includes a functional tunnel 104 of a flexible material which surrounds and encloses the distal end of the foot, covering the lower parts of the metatarsal bones yet leaving the toes exposed, and is sewn (seams 105S) or otherwise fixed to the medial and lateral sides of the sole

220 105. Shoe laces are not drawn here for reasons of clarity. The laces are threaded through the holes made through the upper and tied conventionally. A series of holes 106 for use in lacing the upper with a shoelace is best seen in Fig Id. Although eyelets might be considered, it is preferred that no parts of the shoe are made of metal because they may cause trauma on occasion.

The tightness of the upper is adjustable (in this particular embodiment) by means of a shoe lace 225 passing through holes or eyelets 106 on both sides of a slit 107 in the upper that is arranged more or less over the position of, and in alignment with the second metatarsal bone. (Note that the shoelace itself is deleted from most drawings). The slit allows the upper to be made tighter or looser in order to more exactly fit a given foot at a given time, as for ordinary walking shoes. A person's foot may swell under physiological conditions, or with temperature or after exercise for 230 example, and re-adjustability is useful. Some other ways, known to a worker experienced in the footwear manufacturing arts, to provide adjustability include other forms of fastener such as a hook-and-eye fastening system (e.g. "Velcro"^(TM)) and/or simple use of suitable reversibly extensible or elastic materials for the upper 104. Some uses other than modern dance may permit hard clips, zippers, or the like. This foπn of shoe is also made with no fasteners, and the upper is cut out 235 in one piece.

The sole 105 covering the ball of the foot is visible in Fig Ie. The sole 105 is shaped to lie beneath the ball of the foot and is made of one or more materials adapted for bearing weight and for allowing gliding over or gripping of the floor to a desired degree. A typical sole is made of a leather outer and a canvas inner, or a double leather. The thickness is typically up to about 3 mm.

240 For the exposed-toes versions, a short leather (or the like) cord (108) runs between the distal end of the upper, downwardly between the first toe and the second, to the distal edge of the sole at 108A (see Fig Ie). That toe cord/separator helps to bond the shoe to the foot, avoiding any tendency for sideways slipping of the sole under the ball of the foot, and assists with proprioception. The shoe is also held in place by means of an extension from the posterior side of the

245 upper, here called an ankle band 102, that forms a closed loop which is directed in a curve to behind the ankle - specifically, passing over the calcaneus - as shown in Figs Ia, Ib, and Ic and in Fig 4. There is no crossing over. When the shoe is on the foot, the band does not pass below the heel or instep of the wearer's foot. The band is preferably an extension of the upper and is made of the same material, rather than being a separately made item, subsequently attached to the upper.

250 The curve forms a "C" curve between the ball of the foot and the ankle, and, by comprising a distortable bent shape rather than a straight unit, has some "give" as compared to a straight inelastic strap, so that it continues to provide an effective amount of support and holding function at any amount of extension of the foot, such as in Fig 2. A seam may be present. Optionally the ankle band is adjustable in length and this may be effected by use of a hook-and-eye fastening

255 system or lacing or ligature means. Preferably the overall shape of the ankle band is determined by the elastic edging sewn to the plantar side of the band and around the upper bordering the sides of the instep. The ankle band continues to provide medial and lateral alignment and support while transitions and actions such as plantar flexion, dorsiflexion, inversion, eversion, and flexion and extension of the foot are made.

260 As to materials and constructional details, the shoe 100 is, so far, made of leather. Despite no elastic materials being used for structural components, an elastic binding or edging 101 is sewn to the plantar and posterior edges but not the front of the upper from where the toes 111 emerge, and not on the dorsal (upper) side of the ankle band. This assists with comfort and retention of the "C" shape. A seam 103 is just a constructional aspect of manufacture. The upper 104 of the prototype

265 shown is made of a suede leather and the sole 105 is made of a thicker leather. The toe strap 108 is, in this prototype, made of a flexible material but could be provided with means preferably at the upper end for adjustment of length. A reader skilled in the art will be able to select a type of leather, suede leather, or other materials such as canvas, optionally as a multi-layered construction for the purpose from the wide range available. Note that the heel strap 102 is not crossed over and

270 does not lie in contact with the sole of the foot. Nor does the strap encircle the ankle like the ribbons of a ballet slipper. This helps maintain foot circulation and helps the integrity or health of the Achilles tendon.

Visual acceptability (such as by an audience) could be greatly influenced by external appearance. The inventor also notes that ballet slippers have not previously been decorated for the sake of

275 appearance. For any type of shoe, the upper 104 and/or the strap 102 may be lined externally with satin or other decorative materials according to taste, or may be coloured to merge with the skin. An edging 109 may be sewn to the upper part of the ankle band. The sole may be coloured. A shoe lace may be coloured. The structural parts of the shoe can be trimmed with satin, or have a leather or suede binding 101. Fashion finishes can be provided, perhaps with matching accessories such

280 as clothing or tote bags. Example finishes include leopard-skin spots, zebra stripes, chevrons, splotches, flecks and specks, fake grass, faux fur, holographic and metallic decorations, parka-type nylon and quilted effects, vinyl and photographic designs, diamante appliques, sequins, beads, and buttons. Any colour is possible, including fluorescent colours. Luminous decorations include phosphorescent paints or other materials and lights (such as light-emitting diodes) which may be 285 activated by pressure or perhaps by sound. Ethnic designs and fantasy figures or character merchandising images may be used. Users may paint and decorate their own shoes, starting with neutral coloured shoes and a kit of basic art materials.

The inventor has found that protection for the ball of the foot by the sole 105 of the shoe protects against development of blisters and calluses, and protects against splinters or cuts. The reader will 290 note that all forms of the shoe are "minimised"; there is no provision for a sole beneath the arch or heel in any of the versions. All dancing shoes are compromises between protection and exposure. This shoe, lacking any heel or plantar arch support and with many versions (but not all) also exposing the toes, allows people to better explore the limits of their capabilities and is relatively unobtrusive either to the user or to an audience. The following table sets out some differences.

295 EXAMPLE 2. Pointe shoe; enclosed toes and toe box.

This variation of the invention (see Fig 3a and Fig 3b) is a point shoe, based on the original "C" shaped shoe of Example 1. The inventor, a teacher of dance, has noted that pain and difficulty is often experienced by dancers when commencing or during execution of point work, that may indicate incomplete and/or incorrect development of foot strength. If early training is carried out 300 using a shoe as previously described in Example 1, a smooth transition to the demands of point work is facilitated, and natural and healthy development of the foot configuration will have been encouraged.

This C shape pointe shoe allows the dancer to retain gains made during earlier training, assuming that the dancer does not progress to point work until physical strength and maturation is appro- 305 priate. Here, the use of the core (a tenn applying to the core of the dancer's body) is highly preferred because the lift is initiated from the core, not just from the feet, and should not be substituted in any other way.

This shoe has enclosed toes (surrounding the toes with an internal rigid toe box). The outline of the concealed toe box is shown at 306. One preferred toe box construction for this shoe may include a

310 fibreglass shell, an optional internal lining of a polymer gel, and an innermost lining of cotton, leather, suede leather, wool, or absorbent synthetic fibre. Alternatively it may be a standard toe box toughened with epoxy resin for longer life. There is a "feathering" of firm rubber or leather that emerges from the opening of the toe box, within the shoe. This feathering, which tapers away from the toe box towards the seam line behind, provides a more gradual transition between the

315 hard toe box and the flexible body of the shoe, and provides support and comfort for the phalanges (toes), metatarsal, and tarsal bones. The sole 305 of the shoe is made of two or more layers of firm but flexible leather. The sole extends slightly further back towards the arch of the foot - by up to about 37 mm to 50 mm (for an adult size of shoe) beyond the ball of the foot. Further, an option for the shoe includes coverage of the plantar area under the foot with an about 2.5 cm wide strip

320 (307) of a reinforced fabric or wide Elastic material. This would be sewn to the posterior edge of the extended sole. The upper includes the cover over the toe box and is dorsally reinforced. Note that the heel and arch is still exposed.

This shoe has a longer life, has a slight shock-absorbing function, and is suited to both demi and pointe performance work. The next table compares this example shoe to prior-art pointe shoes.

325 Note that the shoe of the invention provides more support to the dancer's foot, and does not feel as if it is about to slip off, as the prior art pointe shoe does when the sole pulls away from the foot s the foot arches. A dancer who performs pointe procedures in the ball of her/his foot, or on the toes, most of the time, and the usual principles of foot support do not apply. With this Example, the dancer's foot has the freedom to reach its own natural arch in which the maximum of natural

330 strength is expressed, because there is no constraint from a rigid sole or the like, as does occur with use of the prior art shoe. (Marieb E N in "Human Anatomy & Physiology (5th edition) 2001 Addison Wesley Longman states under "Arches of the Foot" "A segmented structure can hold up weight only if it is arched. The foot has three arches; two longitudinal arches ( the medial and lateral) and one transverse arch, which account for its awesome strength" Given the stresses

335 involved in pointe dancing, it is important to maximise the strength of the foot and not to disable any of the arching motions that should occur.

EXAMPLE 3. Versatile dance shoe; enclosed toes but no toe box

The "Versatile Dance Shoe" (see Fig 4) is based on Example 2. Otherwise it has similar design and reinforcement means, such as in the upper (404). The sole 105 is extended posteriorly about 37

340 mm (1.5 inches) (although less may be satisfactory) over the otherwise exposed arch 112 of the foot behind the ball, while the heel 113 is exposed. The ankle strap 102 may have an upper edging 109 of (for example) satin or perhaps a fold-over, and the lower edging 101 is elastic. The toes are fully enclosed by an extension (401) of the upper (404). While a shoelace is illustrated (106) the inventor realises that the footwear trade has a number of options available to it for providing shoe

345 tightness adjustment. The inventor prefers to use no metal parts, for the sake of safety. In one option (Fig 4a) the top is cut in one piece and has no fastening means and no seams.

EXAMPLE 4. T-shape shoe (toes exposed) The upper looks similar to a capital T character, as seen by the wearer. This shoe (see Fig 5) is based on Example 1 but exposes more of the upper surface of the foot to each side of the extension

350 505 of the upper 504 which (a) carries means for shoe adjustment and (b) continues on to form a strap 102 passing behind the heel. The gap 506 between the apposable parts could be extended further towards the toes. Edging 101 is also shown and may be applied at the border of the upper that exposes the toes 111. A between-toe strap is also shown. The abbreviated upper 505 is preferably symmetrical or close to being symmetrical. Preferably this shoe has no fastening

355 means.

EXAMPLE 5. T-shape shoe with toes enclosed.

An alternative T-shape shoe with enclosed toes (see Fig 6) is based on Example 4. This version is not intended to have a toebox, although a later version may be fitted with one.

EXAMPLE 6. Wrap shoe: top of foot enclosed.

360 The wrap shoe (see Fig 7) is based on Example 4 but covers most if not all of the dorsal part of the foot from behind the toes 111 and approaching the ankle. 110 shows the unclad lower leg. 1. 704L shows the lateral part of an enclosing upper; 704M shows the medial part of the upper. A strap 102 with edging 101 that is mainly hidden in this illustration extends around the ankle, over the calcaneus, as for the other examples described in this specification. The edging which may be

365 leather, suede or satin (for example) forms a continuous loop around the region including the eyelets or other apertures for a lace (if any). The ankle and heel remain bare, as for the other examples described in this specification. The C shape remains visible.

VARIATIONS

Variations suitable for use in the martial arts (such as karate, judo, hap kido, tae kwan do, etc) 370 retain the feedback of bare feet or at least bare heels, while providing some protection.

Variations that retain the basic principles as claimed may be made for ballet, jazz, contemporary and modern dance.

Manufacturing requirements may alter some details of the shoes but_^the basic principles will be unaltered.

375 INDUSTRIAL APPLICABILITY and ADVANTAGES

We shall review the shoe of Example 1 in particular - re proprioception and balance. See also

Tables 1 and 2 in relation to prior-art shoes.

The open toe structure allows the toes to participate in sensory activities. Toe and heel alignment is encouraged through kinaesthesiology - touch and pressure receptors within the sides of the foot 380 responding to gentle side bracing supplied by the design of the shoe. This function is reminiscent of the practice of strapping but there are no disadvantages of adhesion.

The shoe enhances natural support and balance systems rather than requiring the foot to adapt to the shoe itself, which can result in deformity, and loss of balance. Preferably the shoe adapts to the foot. Prevention of sickle foot is encouraged. 385 The shoe retains the direct feel of dancing barefoot yet protects the ball of the foot from wear and trauma, especially when the weight is concentrated on the ball of the foot, and helps to support the foot during active use. In this way, the principles of kinaesthesiology can be adopted by a person teaching dance for use by each student.

The shoe of the invention enhances a strong foundation in foot action by permitting a natural foot 390 position during movement. This foundation can be an ideal basis for developing injury-free point work later on.

Unrestricted toes permit natural three-point balance, whereas traditional shoes limit and alter balance actions.

The shoe of the invention does not constrict the ankle, whereas many prior-art shoes constrict the 395 Achilles tendon (which can prevent full plantar flexion) and may restrict venous return of blood and lymph drainage. Such constriction may interfere with propioception by receptors within the tendon or within muscles to which the tendon is attached.

Despite having no heel or arch support, the shoes described herein do not impede normal walking, because the included sole is not thick. 400 The shoe provides a contemporary approach to foot support, compatible with modern dance. Its design focuses on the majority of movements made by a dancer - which use the ball of the foot.

Design of these shoes is diametrically opposed to conventional ballet slippers and pointe shoes.

Finally, it will be understood that the scope of this invention as described and/or illustrated herein is not limited to the specified embodiments. Those of skill will appreciate that various modifϊca- 405 tions, additions, known equivalents, and substitutions are possible without departing from the scope and spirit of the invention as set forth in the following claims.

Claims

I CLAIM

1. A shoe adapted for use in modern dance, contemporary and jazz style dance, ballet, and other forms of athletic activity, characterised in that the shoe includes a flexible, inelastic sole that

410 is held, when in use, beneath the plantar aspect of the ball of the foot, although the shoe does not provide any covering beneath the plantar aspect of the heel nor beneath the plantar aspect of the arch so that the wearer's heel and instep are directly exposed to contact with a floor surface or the ground and so that in use the shoe encourages or peπnits sensations from proprioceptive nerve endings in the foot thereby encouraging use of kinaesthetic methods of performance; the

415 shoe includes a flexible, inelastic upper, the upper having a first side and a second side each of which sides is attached along a corresponding edge of the sole so that the sole and the upper form a tunnel surrounding at least a portion of the foot including the metatarsal bones and a dorsal covering over at least an anterior portion of the tarsal bones; the upper being capable when in use of serving as inelastic support for said portion of the foot; and the upper of the

420 shoe has produced therefrom a flexible yet inelastic ankle band extending as a closed loop in a posterior direction from the posterior, dorsal part of the upper, the size of the loop being selected so that when in use the band is capable of being slipped over the ankle and calcaneus and holding the shoe on the foot without crossing over and without passing below the heel or instep.

425 2. A shoe as claimed in claim 1 characterised in that the ankle band, when in normal use, tends to be bent into a downwardly directed curve between the ball of the foot and the posterior aspect of the calcaneus both by the shape of the band as cut, and by tension applied from an attached border on the plantar side of an elastic material; the bent shape thereby providing the ankle band with functional resilience, as compared to a straight band made of the same

430 material, so that the strap retains sufficient tension to hold the shoe in place, and continues to provide support and proprioceptive stimuli during actions of the foot.

3. A shoe as claimed in claim 2 wherein the ankle band comprises an added strap.

4. A shoe as claimed in claim 2 characterised in that the material from which the sole, upper and band of the shoe is made is selected from a range including leather, suede leather, cloth and

435 combinations of leather overlaid with cloth.

5. A shoe as claimed in claim 4 characterised in that the external aspect of the shoe has an applied decorative finish, so that the appearance of the shoe is compatible with functional use of the shoe in a performance.

6. A shoe as claimed in claim 4 characterised in that the flexible, inelastic upper includes a posterior slit aligned in an antero-posterior direction, and the shoe includes fastening means capable of maintaining the width of the slit across the antero-posterior direction; the fastening means is selected from a group comprising shoelaces passed through apertures, clips, a zipper,

445 and hook-and-eye fasteners, so that the inelastic support and retention band can be fastened firmly over the portion of the foot including the metatarsal bones thereby providing fiπner and adjustable support.

7. A shoe as claimed in claim 4 characterised in that the upper and the sole are terminated in the anterior direction by an amount sufficient to leave the toes exposed on their dorsal and plantar

450 surfaces while retaining coverage under the ball of the foot and over the metatarsal bones and the tarsal bones of the foot, so that in use the shoe encourages or permits sensations from proprioceptive nerve endings in the toes thereby encouraging use of kinaesthetic methods of performance.

8. A shoe as claimed in claim 7 characterised in that the shoe further includes a short cord 455 extending from the upper, passing (when in use> directly between the first and second toes, and finishing at the anterior aspect of the sole, thereby serving to improve retention of the shoe.

9. A shoe as claimed in claim 4 or in claim 6 characterised in that the upper forms a dorsal part of a blind tunnel, completed by the sole below the ball of the foot; the blind tunnel forming a pocket enclosing the toes and the metatarsal bones.

460 10. A shoe as claimed in claim 9 characterised in that the pocket enclosing the toes includes a substantially rigid enclosure for the toes of the type known as a toe box; so that the shoe can be used in the performance of en pointe ballet dancing and like performance; the shoe providing support for the foot over the dorsal aspect yet leaving the plantar and posterior parts of the foot exposed, so that the foot can maintain natural arching and strength.

465