Clare Finney on the rise and rise of the ballet flat, and the arrival of Pretty Ballerinas



They don’t look like the sort of shoes that would inspire controversy. In fact they almost seem designed to avoid it. Yet if there’s one emotion the soft, sweet ballet pumps being sold in St Martins Courtyard have never inspired, it’s indifference.
For one thing they’re flat, a concession to comfort that seemed almost blasphemous in the days of yore. Even now, shoe height has the power to spark controversy: witness the unions’ insistence that high heels be banned in the workplace, or the furore sparked by a former MP’s rant against flats.
Yet the gradual rise of the pump can actually be traced as far back as revolutionary French, when the Napoleonic Code of 1803 banned women from wearing high heels due to their connotations of aristocracy and pretension, which hadn’t been helped by Marie Antoinette wearing a pair to her execution. Only when the Victorians started fetishising woman’s ankles did heels become fashionable once more.



