![]() Vegan sole options incorporate materials that are toxic-free and animal-friendly such as rice grains, recycled rubber and cork. 100% recycled rubber is a perfect option for the bottom sole as it provides solid grip and durability. Lightweight EVA, recycled TR, Soles made from sugarcane is one example of a sustainable material that recently is developed. When it comes to the outsole of a shoe, multiple materials can be used. Today, every aspect of the shoe can be manufactured sustainably, creating styles that feel better and help the planet by producing less waste and a smaller ecological footprint. Recent innovations in processes and materials used are to thank for this. Sustainability has become an integral focus throughout the process of shoe production and design - and, rightly so. Technological innovations, creative marketing approaches and investments made by the current generation of Portuguese entrepreneurs have all contributed to Portugal’s positioning as one of the world’s leaders when it comes to footwear, and of course, custom shoe sole production and design. Built on ingrained talent and craftsmanship, Portugal has a long history in the footwear industry, which it has used to develop a reputation for luxury and quality. ![]() Considering the price and complexities surrounding shoe outsole production, Portugal has emerged as one of the leading markets in footwear manufacturing because of the country's ability to produce footwear at a relatively low cost and at high quality. In addition, outsole tooling is one of the most expensive pieces of shoe-making equipment needed. On top of this, the shoe outsole is also one of the most costly components of the shoe, accounting for up to 10% of the total shoe. However on Augthe unthinkable happened, 9 of the wedges on the Regis sculpture were stolen and, to my horror, I found myself having to engrave them for the third time.PORTUGAL AS A DESTINATION FOR CUSTOM SHOE SOLE DESIGNSĪs we’ve already mentioned - shoe soles are extremely complex in their design and manufacturing process. It came out better than the one in Dublin but took even longer, it truly exhausted me and since then I have never done a repeat of any sculpture, always moved on. Tom offered alternate text for the 6 offending wedges and I embarked upon the project for the second time. Martin Hart was bitterly disappointed and acted as a mediator between myself and Regis till we eventually agreed that I would redo the sculpture with text chosen by Joycean scholar Tom Staley. It was sold to The Merrion Hotel, Dublin and unveiled on Bloomsday 2000. So I said I would simply sell it to someone else. Firstly I thought it was disloyal to James Joyce and secondly I couldn’t face the idea of re-engraving 6 of the wedges. Just when I was at the end of the job and thought I was finished a phone call came from Regis saying that they had, for the first time, read the text on the maquette and found Joyce’s words unacceptable for the university campus, wanting the text to be changed on 6 of the wedges. Work on the 18 wedges got underway and took me 3 months, working every day with a howling milling machine running at at 60,000 revs per minute splattering a mixture of oil and shards of metal everywhere. Then the eureka moment came, Ulysses is a story divided into 18 episodes that take place on a single day, so why not make a sundial? It is always so exciting when sculptures develop into something more during the work process. ![]() I realized that on the full scale a single disc of bronze would not be possible as expansion and contraction could cause all sorts of problems, so the idea of wedges seemed like the best solution. The maquette was eagerly accepted and I started on the full scale piece, making the bronze figure was fine, I had done this sort of thing many times before, however the engraving was another matter – this was new territory. I made a maquette (small study) of a single figure of James Joyce standing surrounded by rings of engraved text from the 18 episodes of Ulysses. The agreement was that I should have complete artistic freedom and that Regis would have the option to ‘take it or leave it’ once the piece was completed. The sculpture of James Joyce ‘Ripples of Ulysses’ was commissioned in 1999 by Martin T Hart as a gift to his Alma Marter, Regis University.
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