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Leslie Clark “He Always Told Me That a Cowboy Boot Should Look Like A

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Leslie Clark “He Always Told Me That a Cowboy Boot Should Look Like A “He always told me that a cowboy boot should look like a Coke bottle or a beautiful woman; then he’d describe the shape of an hourglass with his hands.” Leslie Clark oy Story 3 hit movie screens this summer, and once again might reasonably be called the motherlode for handcrafted its old-fashioned hero, Woody, rushed forth to save the boots, they are considered an artform and a gloriously proud good guys and vanquish the bad. As everybody knows, the tradition. Bootmaking is passed down through generations in movie is animated, the characters are toys, and Woody is that the same families, and faithful customers are known to buy enduring symbol of American legend, lore and romance— their boots for decades from the same maker. It has been a cowboy. We recognize him by his hat, his six-gun and his remarked that Texas men are more loyal to their bootmakers boots: Especially his boots. than to their first wives. It is impossible to overestimate the allure, the mystique, In the golden era of the 1950s, boots went on a joyride in the lasting popularity of cowboy boots. Even though most conspicuous consumption. Exotic hides were introduced, people who wear them have rarely or never seen the backside like whale, anteater and elephant skin (prohibited now). One of a horse, cowboy boots grab the imagination and persist in storied pair of black boots had gold Krugerrands imbedded in holding on to a star-studded, fabled status. In Texas, which them. In his now-classic The Cowboy Boot Book, first published 40 ORNAMENT 33.5.2010 33_5_SoleMatesJD.indd 40 9/2/10 5:04 PM in 1992, the late boot collector and western props dealer Tyler Beard quoted a story from a 1955 issue of The Cattleman magazine illustrating how boots got gussied up. “Last summer a customer wearing handmade boots walked into the John Furback jewelry store in Amarillo, Texas, and asked to see their silver belt buckles. The jeweler could not concentrate on the sale for staring at the customer’s boots. His practiced eye skipped over the richly engraved sterling- silver plates covering his boot heels and toes. Right in the middle of the toe caps were mounted two-carat diamonds… In his cordovan boot top was the emblem of the state of Texas embroidered in pure gold thread, complete with the blazing lone star.” Everyone agrees that cowboy boots are descendants of the European riding boot. Dating from the seventeenth century, cavalry boots were “straights”—i.e., no left or right foot—with high tops and rounded toes. In 1815, after his defeat of Napoleon at Waterloo, the idolized Duke of Wellington’s PLAYING CARD BOOTS, Abraham Rios of Mercedes, Texas, circa 1940s. Mixed media. Photographs by Blair Clark; courtesy of the New Mexico boots inspired the next craze. Calf-high of plain black leather Museum of Art, Santa Fe. with a low heel which prevented the foot from dropping through the stirrup, they formed the basis for American military boots and were adapted for cattle ranching through Daddy Joe” Justin is credited with making the first cowboy the 1880s. The tall, level tops were known as “stovepipes,” boot after the Civil War in his shop in Spanish Fort, Texas, a which is what they looked, and probably felt, like. frontier settlement on what became the Chisholm Trail. But But nobody quite agrees on where the cowboy boot as we records also show that as soon as cowboys ended the great know it appeared on the scene. According to Beard, “Big cattle drives at railheads in Dodge City, Wichita, Ellsworth, and Abilene, Kansas, they asked cobblers to make boots with what they needed: narrow, pointed toes, an underslung, higher heel, and thick leather for protection. In the 1860s, the “Coffeyville” from Coffeyville, Kansas, became a prominent style. It had a pieced-on front, the precursor to the now- standard four basic sections that go into building a boot: the vamp, covering the front of the foot; the counter, over the heel, and the uppers. Thanks to the entertainment industry and its enthusiastic mythologizing of the West, the idea of the cowboy boot as fashion accessory took hold and has never left. As 1920s cowboy movie stars rode into the sunset and cowboy crooners sang to radio listeners, boots enjoyed no end of colored-leather inlays and overlays of playing cards, twining roses and vines, cactus, longhorns, eagles, and bucking broncos. Television took over and millions of American kids went out to play in cowboy outfits after World War II, with mail-order catalogues promoting matching children’s boots. Elizabeth Taylor made custom boot history ordering diamond-studded white ones costing forty thousand dollars from famed Houston bootmaker Rocky Carroll. Carroll’s story is representative, except for his high-flying customers. 010 0 2 A second-generation bootmaker whose father started the 5. 5 BUTTERFLIES AND BLUEBIRDS, Lisa Sorrell, 2008. Kangaroo top and 33. 33 crocodile foot. business in 1938, Carroll began learning his craft at the age of MENT M Opposite page: UNTITLED, Montana Boots. Mixed media. six and has made boots for the last six presidents, though not for Obama yet. Carroll attributes the reputation of his prized ORNA 1 41 ORNAMENT 33.5.2010 33_5_SoleMatesJD.indd 41 9/2/10 5:04 PM DEANA McGUFFIN after a long day, 2009. MY DAY OF THE DEAD, Deana McGuffin. boots to their “split personality.” The bottom or top front part Traugott’s search also turned up examples by two award- of the foot looks fairly decorous and conservative. But let the winning contemporary women bootmakers, Deana McGuffin wearer sit down and his pant legs hike up, and ornate inlay in New Mexico, and Lisa Sorrell in Oklahoma. Women have and lavish embroidery burst with rowdy abandon into view. been involved in custom boots for a long time, mostly in the Carroll says he likes to stitch “character” into his boots. background stitching designs on tops. They never got much Boots still keep getting reinvented. They migrated into credit. A third-generation bootmaker, Deana McGuffin had to advertising (think of the Marlboro man) and serve as subjects convince her father to teach her how to build boots. “He of contemporary art and photography. They take the stage on didn’t think I was physically strong enough, and he didn’t the feet of rock ‘n’ roll and country music stars, affirming their think it was really appropriate for a woman,” McGuffin role as rebels and outsiders. Cowboy boots walk the streets of remembers. But she prevailed. Though he was retired, her London and Bangkok. They convey a legacy that is still vividly father ran a small home shop, mostly for boot repairs, and alive, redefining the West with attributes of go-your-own-way McGuffin learned the craft alongside him. She opened her own independence, freedom and unpredictable behavior. shop in 1985 in rural Clovis, New Mexico, with ranchers for For the exhibit Sole Mates: Cowboy Boots and Art at the customers. Inspired by her father’s work and by the beautiful New Mexico Museum of Art in Santa Fe, curator Joseph styles of San Antonio bootmaker Dave Little, McGuffin knew Traugott trolled through literally thousands of boots, mostly in she wanted to make dress boots, “real fancy and colorful,” and El Paso, regarded as the boot capital of the world. According she became known for her rich metallic colors and narrative to Traugott, the city boasts more boot manufacturers than designs. Ten years ago McGuffin moved to Albuquerque, and anywhere else in America. Most people are familiar with has noticed increasing numbers of women buying handmade the big-name brands, which all started out as small family boots. Her orders come from all over the country, and some businesses: Lucchese, Justin, Tony Lama, Nocona, and a customers sign up for a two-week “learning vacation,” a sort newcomer, Rocketbuster. Rocketbuster, founded in 1989 by of tutorial where they travel to her shop and collaborate with Marty Snortum, was inspired by glitzy vintage peewee boots McGuffin on building their own boots. She also teaches (i.e. low-top boots, made because of a leather shortage during extensively through New Mexico state-funded training 010 World War II, that have remained in vogue ever since). programs and holds private courses for people wanting to 2 . 5 33 Snortum calls Rocketbuster boots “west Texas retro-moderne.” become professional bootmakers. 33. T Colorful, flamboyant, even bordering on kitsch, their A bootmaker’s talk is studded with thought-provoking MENT ME showboat style is tempered by a nostalgic love of cowboy terms like “toe bug,” “wrinkles,” “mule ears,” and “beading,” ORNA ORN 2 boot tradition. which does not call for beads. They represent some of the 42 ORNAMENT 33.5.2010 33_5_SoleMatesJD.indd 42 9/2/10 5:04 PM design features on a boot, along with the choices a customer has in selecting leathers, color palette, toe shape, heel and top height, stitching, and decorations. McGuffin works mostly in kangaroo and ostrich leathers. “People don’t understand that one reason custom boots cost as much as they do is because the materials are expensive to start with,” she says, mentioning that the price of fine quality leathers alone is often more than a pair of off-the-shelf boots. Contrary to popular assumption, boots are built from the top down, not bottom up. McGuffin makes a top or shaft pattern for each client, to get the right height and fit at the boot throat. Then comes the outside decoration. For the intricate inlay in her unique Day of the Dead boots at the Sole Mates show, McGuffin used pearlized turquoise and hot pink lambskin, a lightweight leather flexible enough to create fine detail and the rippling, three-dimensional layers in the dancer’s skirt.
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