To the Invisible Girl, in-progress - Part Two.

I'm leaving in a few hours to teach in Brisbane, but I have just enough time to get Part Two in gear...

When last we met, I ran into a problem with the arrangement of the drawer-pull (see last post). As soon as I rotated the pull so the connection was UNDER the lens, the entire piece came to life. Now I would be able to come up with an interesting bit of visual action in the center of the sole.

Laid in place to get the design right. Now the curve of the handle echoes the rounded heel - why didn't I think of that first time around? Guess that's why I made the 'mistake.'

 The pinion point poking through the bottom.

The original hole will receive another element later on - no worries there.

With all the work being done on the shoe, I've got to turn my attention now to securing the fused-glass portrait down at the toe. First holes are carefully drilled around the perimeter...

...and holes are drilled in the shoe leather.

 Sewing begins.

I love how the face isn't visible, and won't be, until I back it with black velvet later on.

With that finished, it's back to the heel. Seizing on the opportunity to use my new interest in kumihimo, I decide to try it out in situ...

 1920's linen thread - beautiful stuff.

 Ready to braid.

 I'm not sure this will work like this, but it's managing so far.

 Wow - I'm going to employ this again for sure.

 The ends get splayed out asymmetrically and run into the shoe.
 

The thread is anchored around the steel frame for strength and tension.

 The drawer-pull is locked flat with labradorite beads and thread, and a stunning raw peridot occupies the original hole at the top.


Ready to attack the inside chambers... and perhaps a great time to find a title that fits the shoe, as it were.


Come back soon!
Keith