CN101170919A - Shoes with removable sole - Google Patents

Abstract

The shoe (100) provides an outsole (105) under the ball of the foot (110), but not under the arch (112) or heel (113). The upper (104) surrounds the metatarsals and distal ends of the tarsals. A non-elastic ankle strap (102) in the shape of a "C" holds the shoe on the foot. The support is primarily longitudinal, including over the arch, may be adjustable, and is configured so as not to cause deformation of the foot. The sensation from the exposed portion of the foot promotes the kinesthetic process for teaching and learning dance. Variants surround the back of the foot, some around the toes, and one option is an in-toe cap for the toes.

Description

shoe

technical field

The present invention relates to the field of footwear; in particular footwear having a shape or structure suitable for use when performing various dances, including modern contemporary jazz and ballet, as well as in related forms of gymnastics and martial arts.

Definitions and Notes

In this text, the use of the singular forms "foot" and "shoe" or synonyms (for convenience) should always be construed as referring to one of two feet, or one of a pair of shoes worn on both feet .

Anatomically oriented terms are used such as "sole" for the outer bottom surface as opposed to "dorsal" for the upper, "posterior" for the direction of the heel of the foot, and "anterior" for the In the direction of the toes of the foot.

Background technique

Many aspects of modern dance style place the force on the feet, which is unusually large for beginners or young adults. These forces lead to some risk of pressure-related injury to the dancer's foot; more specifically, some risk to the bones and ligaments and damage to the subcutaneous tissue beneath the sole of the foot. Many previous types of shoes have exacerbated this problem by completely wrapping the foot and forcing the foot to deform to fit the shoe, which the shoe will do in time, but often results in damaged feet. Children's feet are soft and can be easily injured.

The present invention is developed according to the needs of modern dancers, who need to touch the floor with bare feet, be convenient to rotate, and have protection and support measures. The shoe of the present invention is particularly motivated in part by the appreciation of the sensation of movement when performing dance, although many other physical activities of a person also benefit from the invention. Some potential drivers include:

1. The availability of lighter "minimized" protective footwear that actually stays in place and allows for a variety of activities.

2. Avoid the morbid consequences of fastening or binding shoes, which may be linked to the addition of improperly applied overloads to the musculoskeletal system; both may deform and damage the foot. Considering the consequences of the ancient Chinese being used to bound girls' feet, and considering that even today wearing inappropriate shoes only takes about 1 month to damage a child's feet. A barefoot lifestyle has many advantages.

3. Be aware of the place kinesthesia occupies in terms of movement and action. In this regard, the inventors specifically refer to the neurophysiological process (a) that begins with the activation of skin, joints, ligaments, muscles, balance receptors (including the inner ear and visual cues), and other sensations originating from the sensory organs, (b ) responds to reflexes to neurons in the nervous system (in the brain and spinal cord) perhaps at the level of synapses and dendrites, using reflexes (unconscious) and/or conscious awareness of synthetic activity going on in nerve tracts Enhancing and encouraging, and (c) developing muscular movements, such as muscular strength in muscles, which are directly or indirectly driven by the aforementioned nerve bundles. The aspect of consciousness extends to thinking about the movement of the person with respect to the musculoskeletal system. By thinking about human muscles, people can make progress in performing complex movements. Kinesiology is particularly useful in teaching and training as well as in physical therapy. It is all about the dancer being aware of where his feet are, where their feet are pointing, how close they are to other objects, and generally being aware of the foot and what that foot is doing can begin as a conscious activity when properly inspiring environment, and with time and practice will become subconscious "reflexive" behavior, while the dancer concentrates on higher level affairs.

By "inspiring environments", the inventors propose to minimize the masking effect on proprioception elicited by enveloping protective footwear, such as those worn by customers in the most civilized societies, seeking appearance (style) ) and one or both of protection functions. This category includes many common types of dance shoes or slippers. Wrap-around protective footwear can be detrimental to dancers, especially if they don't fit perfectly. One reason for the development of modern dance was the desire to move away from the normative restrictive concepts maintained in ballet, such as the use of special slippers, many of which are suitable for dancing on the tip of the toes (pointe dancing). Dancing barefoot has grown out of the desire to get rid of it. Accordingly, there is a need to minimize the masking effect on proprioception induced by enveloping protective footwear, such as those worn by consumers in the most civilized societies, for both appearance and protection functions. This category includes many existing dance or ballet shoes.

"First aid stretcher" or "hammock" analogues

Furthermore, the present invention is based in part on a theory developed by the inventors and on which the line of dance shoes to be described herein is based. It should be noted that even if the theories offered here in the spirit of "give the best reasonable explanation" are incorrect or imperfectly explained, dance shoes nonetheless provide heretofore significant benefits. The theory draws on the similarity of the human foot to an "emergency stretcher" - a military stretcher made of two long poles supporting the sides of a sheet of canvas that formed a bed, and two porters carrying a flattened person. The shoe of the present invention provides support on each side of the foot, across the medial and lateral metatarsal bones, in some tension by means of the upper in conjunction with the outsole. The problem is that a surface made of a soft, inextensible material can provide support from its middle region, while the opposing edges are held. The same effect can be seen in hammocks with rigid "struts".

Excessive force can compromise the structural features of the foot endoskeleton and ligaments, as well as tendons and muscles in other parts of the body. A well-designed shoe complements and protects the anatomy while allowing as much interaction as possible between the foot and its bottom.

current technology

A patent document superficially similar to the present invention: WO99/51117. Wilkenfeld mentions a soft leather outsole edged close to the elastic band, the outsole just covering the ball of the foot and held in place by an elastic band extending over the metatarsal, and further by extending under the outsole ( cross here) and stay in place with an elastic band around the ankle. In the corresponding patent US 6018888 some claims to the void formed in the outsole between the points where the ankle strap connects to the elastic band around the outsole have been deleted.

The present invention also provides a soft outsole that covers the ball of the foot and does not cover under the arch or heel, but differs in other respects, such as having a different construction in which neither the ankle strap nor the rest of the shoe Made of elastic (stretchy) material (although the ankle strap can be hemmed with elastic). The ankle strap doesn't cross over or protrude under the outsole, but is instead made from a slightly shortened upper of the shoe. The ankle strap of the present invention is aided by cutting out the upper and strap pattern to create a "C" curve as seen from the medial and lateral, and thus provide medial and lateral fit and support for the foot, not unlike a back air sandal , and still continue to provide some "stretch" compared to straight strips or straps. The present invention uses kinesthetic principles and provides support for the bones and ligaments of the foot, as will be described later.

purpose of invention

It is an object of the present invention to provide an improved dance shoe which will optimally support and protect the dancer's foot still exposing at least part of it when dancing, or at least provide the amateur with a useful choice.

Contents of the invention

In a first broad aspect, the present invention provides a shoe suitable for use in modern dance, contemporary and jazz type dance, ballet, or other forms of athletic activity, wherein the shoe includes a flexible, non-elastic outsole that when used While being held under the sole of the ball of the foot, the shoe does not provide any coverage under the plantar surface of the heel nor under the plantar surface of the instep, so that the wearer's heel and instep are directly exposed for contact with the floor surface or ground.

Preferably, the shoe includes a flexible, non-elastic upper having first and second sides each joined along a corresponding edge of the outsole such that the outsole and upper form a channel around a portion of the foot, including the metatarsals And at least the front portion of the tarsus, the upper can act as a non-elastic support for that part of the foot when in use.

Preferably, the upper of the shoe produces from there a flexible but non-elastic ankle strap extending in a closed loop in the rear direction from the rear upper part of the back-wrapped upper, the length of the strap being chosen so that, in use, the strap is able to rest on the ankle Slips off and wraps around the wearer's calcaneus without intersecting and does not pass under the wearer's heel or instep.

Preferably, the overall curved shape of the ankle strap is determined by the profile used during strap cutting, supported by elastic binding sewn to the plantar side of the strap and around the upper adjacent to the instep side, with an overall curved shape similar to The letter "C", as viewed from the middle or side, causes the strap to continue to provide medial and lateral fit and support while performing transformations and movements such as plantar flexion, dorsal flexion, inversion, eversion, and flexion of the foot and stretch.

Preferably, the strip also has a kinesthesia function, by stimulating proprioceptive sensory nerve endings beneath the strip.

Optionally, the length of the ankle strap is adjustable, and this can be achieved by using a hook and eye fastening system or a zipper or shoelaces or eyelets.

Optionally, the ankle straps are made from separate strips.

Preferably, when in normal use, the ankle strap tends to bend into a downwardly directed curve between the ball of the foot and the back of the calcaneus due to the tension exerted from the lower connecting edge of the elastic material; The curved shape provides the ankle strap with an elastic function compared to a straight strap that is formed until the ankle strap is tensioned so that the strap maintains sufficient tension and continues to provide support during foot movement, thereby holding the shoe in place.

Preferably, the outsole, upper and ankle strap of the shoe are made of material selected from the group comprising leather, suede and fabric and leather compositions covered with fabric.

Optionally, the exterior of the shoe has an applied trim to make the appearance of the shoe consistent with the performance of the shoe.

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 comprises a rear slit matching in the fore-and-aft direction, and the shoe comprises fastening means capable of maintaining the width of the slit across the fore-and-aft direction; the fastening means being selected from shoelaces comprising perforations, clips, A combination of zippers and hook-and-eye fasteners allows a non-elastic support and retention strap to be securely fastened to a portion of the foot including the metatarsals and at least the anterior portion of the tarsal bones, thereby providing more secure and adjustable support.

In a second related aspect, the upper and outsole terminate in the front direction and are of sufficient size to expose the toes on their dorsal and plantar surfaces while remaining covered under the ball of the foot and over the metatarsals and at least the front of the tarsals , such that, when in use, the shoe facilitates or allows sensations from proprioceptive nerve endings in the foot, thereby facilitating teaching and performance using kinesthesia methods.

Preferably, the shoe also includes a cord extending from the upper, passing directly between the first and second toes (in use) and terminating at the front of the outsole for improved retention of the shoe.

In a third related aspect, the upper forms the back of the blind channel, completing through the plantar surface of the foot beneath the ball of the big toe near the outsole; the blind channel forms a pocket that wraps around the toes and metatarsals.

In one option, the toe-wrapping pocket includes a substantially rigid enclosure or sheath for the toe, known as a toe-type; enabling the shoe to be used for performing pointe ballet, contemporary dance, etc.; the shoe provides for the foot on the back support, but also leaves the sole and rear of the foot exposed, allowing the foot to maintain its natural arch and strength.

Preferably, the shoe is made without metal parts.

In a fourth broad aspect, the invention provides an example shoe based on that previously described in this section; the shoe includes a "multipurpose shoe" in which the shoe has a wrapped toe cap and an extended outsole extending from the The ball of the toe extends toward the arch of the foot.

Optionally, the shoe is made without fasteners and the upper is made from one piece of material.

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

Optionally, the shoe has an extended outsole extending from the ball of the foot to the arch of the foot.

Optionally, the outsole extends towards at least the underside of said toe cap.

Optionally, the upper of the shoe wraps around the toe cap.

In a sixth broad aspect, and in accordance with the principles previously described in this section, the present invention provides a "wrap shoe" type of shoe in which the shoe has a minimized upper substantially covering the back of the foot between the toes and the bottom of the ankle .

Optionally, "wrap shoes" have a maximized upper that essentially covers the back of the foot between the toes and the bottom of the ankle.

Preferred embodiment and accompanying drawing

The present invention can be more clearly understood by reading the following description of specific and preferred embodiments in conjunction with the accompanying schematic and detailed figures, in which:

Fig. 1: Fig. Ia (middle diagram), Ib (rear view), Ic (side view), Id (front view) to IE (oblique view of the outsole) are photo tracings made when sample shoes are in use; and in In Figures Ia-Id, the dancer places her heels on the ground. Laces are omitted for clarity.

Figure 2: Figures 2a (middle image) and 2b (front view) are photographic depictions of the sample shoe made in use, with the dancer elevated on the ball of the foot.

Figure 3: Figures 3a (side view) and 3b (front view) are photographic depictions of an early sample shoe from Example 2.

Figure 4 is a photographic depiction of the shoe of Example 3 in use, as seen from the side of a dancer's foot.

Figure 5 is a schematic view of the shoe of Example 4, as viewed from the front of a dancer's foot.

Figure 6 is a schematic view of the shoe of Example 5, as viewed from the front of a dancer's foot.

Figure 7 is a schematic view of the shoe of Example 6, as viewed from the front of a dancer's foot.

example

At that time, the present inventor has created several styles or examples of shoes; some of which are described in this specification. In general, a soft, non-elastic sheet is preferred in terms of material. Suede tanned in various ways is well known to shoemakers as a suitable material. Suede is an option. While the upper is switched to leather, the outsole is made of harder leather (although no outsole like this is an option). The collagen fibers of leather allow for flexibility if they are not overstretched and the fibers are in a wavy, unstretched mode, but once they are stretched into straight lines, the material cannot be stretched any further. Laminates can be used, such as women's and children's clothing glued to leather. Some plastics, whether in the form of sheets or woven fibers, canvas, etc. can be used as equivalents. The use of elastic materials is limited. An elastic lower edge (Fig. 4: 101) is usually used on the underside (sole) around the ankle strap 102, and a trim or upper binding (Fig. 4: 109) can be sewn to the back of the ankle strap along its periphery.

Example 1. "Original C-Shoe"

Note that all examples are available in a range of sizes and styles for both men and women. The shoe is usually provided as a pair, but for simplicity in this specification the shoe is referred to in the singular.

Studying in detail the first example (see the five parts of Figure 1 ), in which the dancer is in a standing position with flat feet, Figure 1a shows the sample shoe 100 in use, as seen from the middle side. The dancer's foot 110 is shown as a dotted outline in FIGS. 1 and 2 . Figure 1a shows that the toes 111 are not covered in this example. Showing the toes is seen as a wish to enhance motor sensation and freedom, and to enjoy (almost) barefoot dancing. The arch 112 and heel 113 are also not covered. The ball of the foot, the only part of the foot that touches the ground, is protected. In FIG. 1 e , the sole of the foot bearing the weight under the heel is highlighted as a series of lines 113 . The upper of the shoe includes a functional channel 104 made of a soft material that surrounds and wraps the distal end of the foot, covers the lower part of the metatarsals but leaves the toes exposed, and is sewn (stitch 105S) or secured to the outer The middle and side of bottom 105. Here, for clarity, the shoelaces are not drawn. Laces are threaded through holes made through the upper and are usually fastened. A series of holes 106 for tightening the upper and laces is clearly seen in Figure Id. Although eyelets may be considered, it is preferred that no part of the shoe is made of metal due to the damage they may sometimes cause.

The tightness of the upper can be adjusted (in this particular embodiment) by means of laces which pass through holes or eyelets 106 on either side of a slit 107 in the upper, i.e. placed approximately at the level of the second metatarsal and Align with it. (Note that the laces themselves are removed in most of the drawings). The slits allow the upper to be tied tighter or looser to more precisely fit a specific foot at a given time, as in the case of common walking shoes. The human foot may swell under physiological conditions, when exposed to heat or eg after exercise, and reconditioning is covered. Other ways known to those skilled in the shoemaking art to provide adjustability include using other forms of fasteners, such as hook and eye fastening systems (e.g., "Velcro" ^(TM) ), and/or simply using suitable The upper 104 is made of a reversibly stretchable or elastic material. Some applications, other than contemporary dance, may allow the use of hard clips, zippers or the like. This type of shoe is also made without fasteners and the upper is cut in one piece.

The outsole 105 covering the ball of the foot can be seen in Figure 1e. Outsole 105 is formed to sit under the ball of the foot and is made of one or more materials suitable for bearing weight and allowing sliding or gripping on the floor to the desired degree. Outsoles are typically made with leather on the outside and canvas on the inside, or made of double-sided leather. Typically, the thickness is up to about 3 mm. For the exposed-toe style, a short leather (or other similar) cord (108) is run between the far ends of the upper, down between the first and second toes down to the far edge of the outsole at 108A ( See Figure Ie). This toe cord/separator helps wrap the shoe grip around the foot, avoids any tendency for the outsole to slide sideways under the ball of the foot, and aids in proprioception. The shoe is also held in place by means of an extension from the rear side of the upper, referred to here as the ankle strap 102, which forms a closed loop that curves towards the back of the ankle, particularly over the calcaneus, as shown in Figures 1a, 1b and 1c and shown in Figure 4. There is no cross. The strap does not pass under the heel or instep of the wearer when the shoe is on the foot. The strap is preferably an extension of the upper and made of the same material, rather than a separately made item that is subsequently attached to the upper. The curve creates a "C" shaped curve between the ball of the foot and the ankle, and since it has a variable curved shape rather than a straight unit, it has some "elasticity" compared to a straight, non-elastic strip, making it Continue to provide an effective amount of support and retention at any amount of foot extension, as shown in FIG. 2 . Can have stitches. Optionally, the length of the ankle strap is adjustable, and this can be achieved through the use of a hook and eye fastening system or shoelaces or eyelets. Preferably, the overall shape of the ankle strap is determined by elastic binding that is sewn to the plantar side of the strap and around the upper adjacent the instep side. The ankle strap continues to provide medial and lateral fit and support while allowing transitions and movements such as plantar flexion, dorsal flexion, inversion, eversion, and flexion and extension of the foot.

As far as materials and construction details are concerned, the shoe 100 has so far been made of leather. Regardless of the inelastic material being used as the structural part, the elastic binding or lip 101 is sewn onto the sole and rear sides of the foot, not the front of the upper where the toes 111 emerge, and also not on the back of the ankle strap (upper) on the side. This helps with comfort and maintains the "C" shape. The stitching 103 is only a structural pattern of manufacture. The upper 104 of the shoe shown is made of suede and the outsole 105 is made of thicker leather. In such a shoe, the toe strap 108 is made of a soft material, but may preferably be provided with means for length adjustment at the upper end. A reader skilled in the art will be able to select a type of leather, suede or other material, such as canvas, optionally as a multi-layer structure so that it can be used widely. Note that the heel strap 102 does not cross and does not contact the bottom of the foot. The straps also don't wrap around the ankle like the straps of a ballet shoe. This helps maintain circulation in the foot and also helps keep the Achilles tendon intact or healthy.

Visual acceptability, such as acceptance by an audience, can be greatly affected by appearance. The inventors have also noticed that ballerinas have not previously been decorated for appearance. As with any type of shoe, the upper 104 and/or strap 102 may be lined on the outside with satin or other decorative material, or may be dyed to incorporate the skin, according to preference. Seam 109 may be sewn to the upper portion of the ankle strap. Outsole can be stained. Laces can be dyed. The structural part of the shoe may be trimmed with satin, or have a leather or suede binding 101 . Styling touches might offer matching accessories, like a dress or tote bag. Examples of retouching include leopard spots, zebra stripes, herringbone, spots, stripes and spots, fake grass, faux fur, holographic and metallic decorations, parka and quilted effects, vinyl and photo designs, inlays Diamond appliqués, sequins, beads and buttons. Can be any color, including fluorescent colors. Luminous decorations include phosphorescent paint or other materials and light sources (such as light emitting diodes) that can be activated by pressure and perhaps by sound. Ethnic designs and fanciful graphics or characteristic commercial imagery may be used. Users can start with neutral colored shoes and a basic set of art materials to paint and decorate their own shoes.

The present inventors have discovered that protecting the ball of the foot with the outsole 105 of the shoe prevents blisters and calluses, and prevents punctures or cuts. Readers will note that all styles of shoes are "minimal"; there is no outsole under the arch or heel in either style. All dance shoes are a compromise between protection and exposure. This shoe, which lacks any support for the heel or plantar arch and has many (not all) styles with exposed toes, allows a person to better explore the limits of their capabilities, and is fairly unobtrusive to either the user or the spectator. The table below lists some of the differences.

aspect Example 1 shoe prior art shoes balance Unrestricted toes allow for natural 3-point balance. The bound toes restrict and alter the balance action. freedom of movement from restriction Shoe fastening means (laces, etc.) are located on the back and do not compress the ankle. Shoes do not wrap around the leg or ankle. A band around the ankle wraps around and compresses the Achilles tendon. A wrapped heel prevents the sole of the foot from flexing fully. Pelvic Stability The exposed heel touches the ground to promote proper pelvic alignment. Shoes with a heel tilt the pelvis and shorten the Achilles tendon. Maturation of the musculoskeletal system Supports and allows normal growth and proper development of the foot structure. The normal growth of the foot may not be normal. Bones strengthen and thicken in response to stress, while cartilage deforms (in children's feet). support The support system is longitudinal laterally and medially, acting along the sides of the foot (see stretcher analog). Support is minimal, or applied under the arch of the foot, and is positioned laterally.

Example 2. Pointed shoes; wrapped toe cap and inner toe cap

This variant of the invention (see Figures 3a and 3b) is a pointed shoe, based on the original "C" shoe of Example 1. The present inventors, being dance teachers, have noticed that dancers often experience pain and difficulty during initiation or completion of tiptoe work, exhibiting incomplete and/or incorrect development of foot strength. If early training is performed with the shoes described in previous Example 1, a smooth transition to the desired toe work is facilitated and will promote the natural and healthy development of the foot shape.

The C-shaped pointe shoes allow the dancer to maintain the progress made during the early training period, assuming that the dancer's strength and maturity are not appropriate for pointe work. Here, using the center (the term applied to the center of the dancer's body) is highly preferred, as the lift begins at the center, not just the feet, and should not be substituted in any other way.

The shoe has a wrapped toe (a rigid inner toe is used to surround the toe). The outline of the hidden inner header is shown at 306 . A preferred toe cap construction for the shoe may include a fiberglass shell, an optional polymer gel liner, and an innermost liner of cotton, leather, suede, wool or absorbent synthetic fibers . Alternatively, it could be a standard toe-off, hardened with epoxy to prolong life. A "stubble" of solid rubber or leather emerges from the opening in the toe box and sits inside the shoe. The stud tapers away from the toe cap towards the rear seam, providing a more gradual transition between the stiff toe cap and the soft body of the shoe, and providing support and comfort for the phalanges (toes), metatarsals, and tarsals. The outsole 305 of the shoe is made of two or more layers of strong yet supple leather. The outsole extends slightly further back toward the arch until approximately 37mm to 50mm beyond the ball of the foot (for adult shoe sizes). Additionally, one option for the shoe includes covering the plantar area under the foot with a band (307) approximately 2.5 cm wide, made of a reinforced fabric or wide elastic material. The above-mentioned overlay will be sewn to the rear bottom edge of the extended outsole. The upper includes a cover over the toe box and is reinforced at the back. Note that the heels and arches are still exposed.

This shoe has a long life, has a slight shock absorption function, and is suitable for part and toe performance. The table below compares the shoe of this example with a prior art pointe shoe.

The present invention (C type pointed shoes) Prior Art Pointed Shoes Preferably, the lace-up upper wraps and covers the dorsal region of the foot. This provides support from the back of the foot to the area beyond the arch. Does not wrap/cover the dorsal area of the foot. There is no support for the arch from the top/back of the foot. The shoe does not wrap, cover or wrap around the underside of the arch (plantar area). Covers the underside of the foot (including the ball of the foot, arch and heel). Almost all pointe shoes have a hard outsole; one type of pointe shoe has a two-layer hard outsole. The shoe does not wrap, cover or wrap around the underside of the heel (plantar area). The heel is wrapped/covered. Shoes are modern and are available in all types of fabrics and materials. Pink satin is available. The shoe fastens at the back and can be adjusted with laces, elastic hook-and-eye fasteners, or the shoe is supplied as a fitted piece. The strip wraps around the calf near the ankle, including the Achilles tendon.

Note that the shoe of the present invention provides greater support to the dancer's foot and does not feel as though it will slip off, as with prior art pointe shoes, where the foot arches when the outsole leaves the foot. Most of the time, the dancer performs pointe movements with the ball of her/his foot or on the toes, and does not employ the universal principle of foot support. Using this example, the dancer's foot is free to achieve its own natural arch, where the maximum natural forces are expressed, since there is no constraint from a hard outsole or the like, as occurs with prior art shoes like that. (Marieb E N in "Human Anatomy and Physiology" (5th Edition) 2001, Addison Wesley Longman in "The Arches of the Foot", "A segmented structure supports weight as long as it is arched. The foot has three arches; two longitudinal arches (medial and lateral) and a transverse arch, which constitute its abnormal force."). Given the pressure involved in tiptoe dancing, it is important to maximize the force of the foot and should not prohibit the use of any arching action that occurs.

Example 3. Multipurpose dance shoes; wrapped toe cap but no inner toe cap

"Multipurpose dance shoe" (see FIG. 4 ) is based on Example 2. Additionally, it has similar structure and reinforcements, such as in the upper (404). The outsole 105 extends rearwardly about 37 mm (1.5 inches) (although less may be desirable) over the otherwise exposed arch 112 behind the ball of the big toe, while the heel 113 is exposed. The ankle strap 102 may have a satin (for example) upper lip 109, or may be edged, and the lower lip 101 is elastic. The toe cap is completely wrapped by the extension (401) of the upper (404). Although shoelaces (106) are shown, the inventors have realized that an article of footwear has many options for adjusting shoe fit. For safety reasons, the inventors prefer not to use metal parts. In one option (FIG. 4a), the collar is cut in one piece and has no fastening means and no seams.

Example 4. T-shaped shoes (with bare toes)

The upper looks similar to a capital T as seen by the wearer. This shoe (see Figure 5) is based on Example 1, but exposes more of the upper surface of the foot on each side of an extension 505 of an upper 504 (a) with means for adjusting the shoe and (b) continuing A strip 102 is formed that passes behind the heel. The gap 506 between the juxtaposed portions may extend further toward the toes. A lip 101 is also shown and may cover the edge of the upper where the toe 111 is exposed. The strip between the toes is also shown. The omitted upper 505 is preferably symmetrical or nearly symmetrical. Preferably, the shoe has no fastening means.

Example 5. T-Shoes with Wrapped Toe

An alternative T-shoe with a toe cap (see Figure 6) based on Example 4. This style is indicated without an inner header, although one can be fitted in a later style.

Example 6. Wrapped shoes: the top of the foot is wrapped

The wrap-around shoe (see FIG. 7 ) is based on Example 4 and covers most if not the entire instep from behind the toes 111 and close to the ankle. 110 shows a bare lower leg. 1.704L indicates the side of the wrapped upper; 704M indicates the middle of the upper. A strip 102 with a lip 101 , which is largely hidden in this illustration, extends around the ankle over the calcaneus, as in the other examples described in this specification. The lip may be leather, suede, or satin (for example), forming a continuous loop around the area containing eyelets or other holes for shoelaces (if any). The ankle and heel remain bare, as in the other examples described in this specification. Type C remains clearly visible.

transform

Variations suitable for martial arts (such as karate, judo, aikido, taekwondo, etc.) maintain the reflexes of bare feet, or at least bare heels, while providing some protection. Variations can be made for ballet, jazz, contemporary and contemporary dance while maintaining the basic principles as claimed.

Manufacturing requirements may change some details of the shoe, but the fundamentals will remain the same.

Industrial Applicability and Benefits

We should review the shoe in Example 1, especially proprioception and balance again. See also Tables 1 and 2 with respect to prior art shoes.

The open structure of the toes allows the toes to participate in sensory activities. Toe and heel matching is facilitated by contact and compression receptors on each side of the foot through the kinematic feel-affected response of the laterally soft lacing provided by the shoe's construction. This function is to remind you to practice tying, but there is no harm of adhesion.

The shoe enhances the natural support and balance system, rather than requiring the foot to adapt to the shoe itself, which can lead to deformity and loss of balance. The preferred shoe fits the foot. Promotes the prevention of sickle feet.

The shoe maintains the immediate feel of dancing barefoot, also prevents wear and tear on the ball of the foot, especially when weight is concentrated on the ball of the foot, and helps support the foot during actual use. In this way, the principles of kinesthesiology can be adopted by those who teach dance for use by every student.

The shoe of the present invention enhances the foot's solid foundation of motion by allowing the foot to be positioned naturally during motion. This foundation can be an ideal base for future injury-free pointe work.

Unrestricted toes allow for natural three-point balance, whereas traditional shoes restrict and alter balancing movements.

The shoe of the present invention does not compress the ankle, whereas many shoes of the prior art compress the Achilles tendon (which may prevent adequate flexion of the sole of the foot) and may limit venous return of blood and lymphatic drainage. The compression may interfere with proprioception through receptors in the tendon or in the muscles connecting the tendon.

Although there is no heel or arch support, the shoes described herein do not impede normal walking because the included outsole is not thick.

Shoes provide a modern method of supporting the foot, consistent with modern dance. Its design focuses on most of the movements a dancer makes with the ball of the foot. These shoes are designed to be the exact opposite of regular ballerinas and pointe shoes.

Finally, it will be understood that the scope of the invention described and/or illustrated herein is not limited to the specific examples. Those skilled in the art will appreciate that various modifications, additions, known equivalents and substitutions are possible without departing from the spirit and scope of the present invention, as set forth in the following claims.

Claims (10)

1. footwear, be applicable to modern dance, the dancing of the present age and jazz type, the sports of ballet and other form, it is characterized in that, these footwear comprise flexible, stiff outer bottom, it remains under the foot plate surface of ball of foot of pin in use, but these footwear are not all providing any overcover under the calcaneal foot plate surface and under the foot plate surface at arch, cause wearer's heel directly to be exposed to contact floor surface or ground with instep, and make in use, this footwear promote or allow sensation from proprioceptive nerve endings in the pin, thereby promote the kinaesthesis method of usage operation; These footwear comprise flexibility, stiff upper of a shoe, this upper of a shoe has first and second, and each face all connects along the respective bottom edges of outer bottom, makes outer bottom and upper of a shoe form passage, around at least a portion of pin, comprise metatarsal and at the shank back overcover on the front portion at least; When using, this upper of a shoe can serve as non-resilient support for the described part of pin; And the upper of a shoe of footwear is shaped on flexible but stiff ankle band therefrom, extend into closed loop from the back part of upper of a shoe in posterior direction, this ring is dimensioned to and makes when using, described band can slide on ankle and calcaneum, and footwear are remained on the pin, do not intersect and not heel or instep below by.

2. footwear according to claim 1, it is characterized in that, when normal use, the tension force that the shape that is cut by band is applied by the connection edge from the foot plate surface of elastomeric material, described ankle band trend towards being bent in the curve of the ball of foot of pin and the downward orientation between the calcaneum back; Therefore, compare with the straight band that is manufactured from the same material, described curved shape provides the band of the ankle with function elastic force, makes band keep enough tension force, so that footwear are remained on the appropriate location, and continues between active stage to provide support and proprioceptive stimulation at pin.

3. footwear according to claim 2, wherein, described ankle band comprises additional band.

4. footwear according to claim 2 is characterized in that, the material of making outer bottom, upper of a shoe and the band of footwear is selected from the series of the leather composition that comprises leather, suede, fabric and covering fabric.

5. footwear according to claim 4 is characterized in that, the outside of described footwear has the ornamental modification that adds, and make the outward appearance of footwear use consistent with the function of footwear in action.

6. footwear according to claim 4 is characterized in that, the non-resilient upper of a shoe of described softness is included in the rear portion slit of fore-and-aft direction coupling, and described footwear comprise fastener, can keep the width of slit across fore-and-aft direction; This fastener is selected from the category that comprises the shoestring, clip, slide fastener and the hook eye securing member that pass the hole, makes described non-resilient support and retainer belt can be fastened firmly on the part of the pin that comprises metatarsal, thereby more firm and adjustable support is provided.

7. footwear according to claim 4, it is characterized in that, described upper of a shoe and outer bottom direction in front stop, its size is enough to make toe to be exposed on their back and foot plate surface, keeping hiding under the ball of foot of pin and on the metatarsal of pin and the shank simultaneously, make that in use footwear promotion or permission are from the sensation of proprioceptive nerve endings in the toe, thus the kinaesthesis method of promotion usage operation.

8. footwear according to claim 7 is characterized in that, described footwear also comprise the short rope that extends from upper of a shoe, are directly passing (when using) between first toe and second toe, and are finishing in the front of outer bottom, are used to improve the maintenance to footwear thus.

9. according to claim 4 or 6 described footwear, it is characterized in that described upper of a shoe forms the back of blind vias, the outer bottom below the ball of foot of pin is finished; Described blind vias forms the pocket of parcel toe and metatarsal.

10. footwear according to claim 9 is characterized in that, the pocket of described parcel toe comprises substantially and be the toe wrappage of rigidity that the type is called toe box; Make described footwear can be used for the performance of tiptoe formula ballet and similarly performance; Described footwear are that pin provides support on overleaf, but are come out in sole and pin rear portion, make pin can keep the arc and strength of nature.

Images