2011 BASICS CATALOGUE UK & EUROPE Travis Wall is wearing the NEW FizzionTM Z11 by Capezio® T M 2011 CAPEZIO BASICS CATALOGUE NEW BASIC HIGHLIGHTS TABLE OF CONTENTS Capezio History 4 11 35 Footwear 5 - 33 PRO CANVAS ACCESSORIES Anatomy of a Pointe Shoe 6 Fitting a Ballet Shoe 7 Pointe 8 SMU Pointe Shoes 9 Soft Ballet – New Additions 10 - 11 Jazz – New Additions 12 - 13 Lyrical, Modern & Gym – New Additions 14 footUndeez™ - New Additions 15 Fizzion™ - Product Debut 16 - 17 Dansneaker® 18 - 19 Tap & Character – New Additions 20 - 25 Dancesport – New Additions 26 - 27 Social Dance – New Additions 28 - 29 Footwear Fitting Guides 30 - 32 Tap Fitting Guide 33 Dance Accessories 34 Dance Bags – New Additions 36 - 37 17TM FIZZION Bodywear 38 - 75 Meryl Collection® – New Collection 39 Supplex® Basics – New Collection 40 Dancelogic® 41 - 42 Bodisilk – New Additions 43 - 46 Capezio Classics – New Additions 47 - 55 English National Ballet 56 Capezio Class Collection – New Collection 57 - 59 Skirts – New Additions 60 - 61 Tutus – Coming Soon 62 Flamenco/Social Dance 63 Dancesport 64 - 66 Children’s Collection – New Additions 67 - 69 Bodywear Fitting Guide 70 Harmonie® Simply Plush – New Collection 71 Harmonie® Pamperwarmers – New Collection 72 Foundations 73 - 75 Legwear 76 - 81 Tights – New Additions 77 - 80 39® MERYL Tights Fitting Guide 81 COLLECTION 13 While Stocks Last 82 - 86 JAG NEW FizzionTM Z11 — page 17 caPEZIO histoRY The Icon of DanceTM Salvatore Capezio was born on April 13, 1871, in Muro Lucano, Italy. Capezio® Dance Award was established in 1952 to honor those who In 1887, at the age of seventeen, he opened his shop near the old make a long-standing, significant contribution to dance. The Capezio® Metropolitan Opera House in New York City. The sign above his door Foundation was established in 1953 to promote and recognise ongoing read: “The Theatrical & Historical Shoemaker.” achievements in dance. He began his business by repairing theatrical shoes for the Met. On Plenty of the world’s greatest performers have recognised Capezio® as the day he created an emergency pair of shoes for Jean De Reszke, the only way to dance: Anna Pavlova, Fred Astaire, Gene Kelly, Sammy Salvatore quickly made the transition from cobbler to shoemaker. Davis Jr., Charles “Honi” Coles, Alicia Alonso, Bob Fosse, Mick Jagger, He discovered dance shoes, pointe shoes in particular, to be a Liza Minelli, Gregory Hines, Tommy Tune, Ann Reinking, Debbie Allen, challenging balance between Ben Vereen, Charo, Merrill delicate construction and Ashley, Ashley Tuttle, Rob complex engineering. In turn, Salvatore Capezio Marshall, Fatima, Savion his customers discovered Glover, Brian Friedman, that few shoemakers were as Madonna, Gwen Stefani, determined as Capezio to take Justin Timberlake and Britney on that challenge. Spears. Soon the shop became a Although the business is meeting place for dancers who radically different today, third would stop by to discuss their and fourth generation family needs and pick up a pair of his members resolutely continue shoes. One dancer in particular, Salvatore’s legacy of craft, Angelina Passone, a graduate innovation and commitment. of La Scala, lingered over the With prevalent industry use of discussion of her shoes and computerisation and robotics, later became his wife. Capezio® Special Make-up As his popularity grew, dancers Department still hand crafts from around the world made footwear for an eclectic it a point to visit. In fact, Anna mix of performers. Some Pavlova purchased Capezio® noteworthy past and present pointe shoes for herself and casts include The Lion King, her entire company during her Memphis, Billy Elliot, Promises, first tour of the United States Promises,The Addams Family, in 1910. Her generous praise La Cage Aux Folles, Chicago, of his work ensured Salvatore’s Mamma Mia, the Rockettes, success. Ringling Brothers, Barnum & Eventually, he entrusted Bailey Circus and Disney. his superior shoemaking Capezio® products have been techniques to his family. They featured in television and film joined him in the business productions such as So You and the exceptional reputation Think You Can Dance, Dancing of Capezio® continued to with the Stars, MTV’s Made, spread. By the 1930s Capezio Burlesque, Black Swan, Center products were dancing across Stage, The Company and Broadway in the Ziegfeld Chicago. Follies and in dozens of other musicals. In 1941, Claire McCardell The dedication of Capezio® to providing dancers with technologically ® showed the Capezio long-sole ballet shoe with her fashion collection. advanced, quality tools for their art continues to inspire innovations. The enthusiastic response provoked Lord & Taylor, Neiman Marcus and Capezio® proudly introduced revolutionary footwear to the industry ® other major stores to purchase and promote Capezio footwear. This with the Dansneaker®, footUndeez®, tap shoes with Tele Tone® taps ® trend became so strong that in 1949 Capezio made the cover of Vogue. and the Rayow system, the Pedini® styles, the acclaimed FizzionTM ® In 1952, Capezio received the Coty Award, fashion’s highest accolade. and several favorites made with PowerPointe Construction®. Capezio® An eye for innovative products and the camaraderie he shared with regards dance as an art form, a lifestyle and an attitude. Capezio® is dancers were the key to the success of Capezio®. In this spirit, The more committed to dance now more than ever. “…your theatrical shoes are indeed the best I ever had.” – Anna Pavlova, February 27, 1915 4 www.capezio.com FOOTWEAR anatomY OF A POINTE SHOE As elegant as dancing on pointe may appear, it is an athletic talent Fitting a Pointe Shoe which requires strength as well as grace. The shoes involved are truly Remember you have more than just two feet to consider. You also have considered to be part of the foot and a continuation of the leg line. It two points of view — the dancer’s preference and those of the dance absolutely must fit properly to provide the support dancing on pointe teacher. While selecting the correct shoe, take your time. The only way requires. In attempting to achieve a correct fit, dancers should consider to fit a pointe shoe is carefully. Since confronting two different sized these critical elements of design. To create a shoe, all the fabric, feet is common, always apply the following procedure to BOTH feet. leather and other components need to be shaped on a form. 1. Study the dancer’s feet in a flat, standing position. Note the general Last — A last is designed to create that shape by replicating the form shape, width and length of each foot. Keep in mind that just of a dancer’s foot. Every style, size and width requires its own last. because a dancer has a square foot doesn’t Box — The sturdy compartment for a dancer’s mean he/she will need a square shoe, nor will toes which provides the support standing on a tapered foot definitely require a tapered shoe. pointe requires. 2. Select a pointe shoe that best resembles Side Wings — Side wings are an extension the shape of the dancer’s foot. The dancer of the box and provide lateral support. must help decide this after trying on the Vamp — The vamp is the section of the shoe shoes. Be sure to follow the fitting process “upper” measured from the platform back to each shoe style requires. and including the binding. A longer vamp can 3. Once the dancer makes a selection, place help draw the foot closer to the shank for more the box of the pointe shoe between the support on pointe, so that the foot doesn’t palms of your hands. Gently apply pressure overextend. to soften the box. Do this for each shoe. Throat — The throat is the open area located 4. Slip the shoe onto the dancer’s foot. Using between side seams at the center front of a crisscross motion, lightly pull the the shoe. It gives shape to the upper which drawstring accentuates a dancer’s arch. BY BOTH ENDS and tie a loose knot. Note Drawstring — The drawstring, encased in the overall fit of the shoe. It should fit like a the binding, snugs the upper to the foot. glove. Allow no excessive pressure or room for growing. Binding — The binding finishes the edge of the upper. 5. To help determine the length, have the dancer demi-plié in a parallel position. Platform — The platform is the flat end of This is the longest the feet will ever be in the box which allows the dancer to stand on the shoes. The dancer’s toes should just pointe. be touching the end of the box without Crown — The crown is the vertical height being curled or pushed back. If correct, between the vamp and the sole. there will be a slight pinch of fabric while the foot is on pointe which disappears — Pleats occur where the fabric folds Pleats in a flat position. When a dancer is on into the sole and are located on the underside of pointe, his/her foot contracts. This is why it the box. is imperative that the shoe must be snug Stay — The stay is the fabric that covers the seam in the back of the when the foot is shoe at the dancer’s heel. flat on the ground. Side Quarters — The side quarters are the sections of satin from 6. To help determine the width, make sure that the edges of the the side seams to the back of the stay. foot, including the large and small toe joints, are pressing slightly Sole — Made of either buffed or scored leather to provide traction, against the edge of the shoe. The dancer should be able to feel the sole is internally stitched to the upper.