I think it could look cool if you put some grungy old pennies in a pair of well-worn loafers that are worn casually. Might look a little affected if you put shiny new pennies in shiny new loafers. Comment Post Cancel. I'd never even heard of it until this post, let alone seen it in the wild. I don't know. I mean, I really don't. I remember seeing my uncle wearing penny loafers with pennies in them. I think he was in high school, and I was in first grade.
I remember being impressed but not knowing quite why. I think I thought it was funny. I think I asked him why he did that, and he said, "Why, to make you ask why, kid. Ha ha ha. It was common place years ago. Also, the shoe is named for the practice, which has occurred since the s.
But seeing as I don't wear penny loafers and think they are glorified slippers, I'll let you and others figure out if a penny makes or breaks this fashion disaster. And now I have flashbacks of the s. Zubaz pants anyone? So maybe folks were putting dimes in them, then, to make phone calls? According to one Quora post, the "slot" in penny loafers was ultimately just a " design element.
Mobile phones were not available then,two dimes were equivalent to the cost of a phone call from a pay phone. The tightness of the slots on the shoes kept dimes from getting lost.
But Tricker's , a formal boutique based in London, has even more backstory to the history of these shoes, which went by the original name "Weejun":. Bass made his first version of the loafer which he called Weejuns.
This appears to be a play on words on the origin of the original designer — Norwegian. A distinctive feature of this new design was a strip of leather stitched across the saddle of the shoe, featuring a shaped cutout. The post continues: "In s America before trainers were invented, the Weejun became the shoe of choice for young men and students.
It became fashionable to keep a dime in the half-moon cut-out slot of the leather strip. This eventually gave the shoes their colloquial name of penny loafer, which is still used today. After the first one nine months ago, we are ready to welcome the second chapter of the re-signification of the Valentino maison by creative director Pierpaolo Piccioli. Couture, Atelier, Stud and VLogo Signature are at the center of the narrative of this second chapter.
On the exhibition floor, we also find the contemporary and inclusive interpretation of make-up imagined by Piccioli with Valentino Beauty. We investigate light, darkness and shadows and the way they interact with materials and surfaces, as well as the phenomena of reflection and refraction. But also on the human and statuesque body from the classical representation to the digital and algorithmic one.
Every body present here is the result of the mediation between idea and craftsmanship, technique or technology. The theme of the city that holds together order and chaos, traditions and revolutions, in which communities constantly redefine themselves by feeding on their own suggestions, producing new codes by deconstructing and re-assembling what already exists.
But this relationship is neither univocal nor analytical, but perceptible and easily intuitable. The structure of the exhibition is rationally open and does not provide for the classic unidirectional fruition, but pushes the viewer to get lost and explore by simply being guided by the force of attraction.
The designer has recovered in a transversal way the close relationship with the artists during the 80s, 90s and 00s. From Hip-Hop to Rock, Tommy Jeans includes in the capsule — composed of 16 pieces in organic cotton -, historical bands and teen idols of world music.
The Tommy Jeans archives thus become a gold mine in which to search for references to the music and youth culture of the last forty years.
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