Canvas espardenyes
Formentera
Canvas espardenyes were the footwear worn in Formentera and Ibiza in the first half of the 20th century and were handmade. Worn by women, men and children, their manufacture was no easy task due to the pre-treatment of the materials used and the laborious process involved in making them.
The upper part of the espardenyes was usually made of white canvas, with the possibility of adding coloured trim to some models, although they could also be black or dark colours in the case of mourning.
Although this type of traditionally made footwear is not used frequently today, it was very popular in its day and is still worn by members of the colles de ball pagès (traditional dance groups).
As the sole was made of plant fibre, specifically esparto grass, it was sometimes tarred to protect it from moisture and increase its durability.
In terms of models, there were basically two for women, rotlet or mirallet and escotades, and two for men, one with laces and the other with straps that were tied at the ankles.
Formentera
Manufacturing
Along with espardenyes, canvas espardenyes were also common in Formentera, a variant that incorporated a closed canvas cover and offered greater protection. Both are part of the Pitiusan ethnographic heritage and reflect a material culture based on the use of local resources and know-how passed down from generation to generation.
They were made entirely by hand, and their manufacture required skill and patience, as both the pre-treatment of the materials and the manufacturing process required precision and experience.
The first step was to make the llata d’espart, the esparto grass braid that forms the sole. The esparto grass could be used raw, as in the manufacture of senallons, or chopped (crushed) to make it more flexible. Once the llata or pleita had been braided, the excess strands were trimmed, and it was beaten with a mallet to flatten it.
Before beginning to shape the sole, the length of the foot was measured with a small cane cut to the exact size. The llata was then stretched to two and a half times that length to obtain the necessary perimeter. From there, the inside was filled to shape the sole, a meticulous task that allowed the heel and toe to be correctly contoured using characteristic turns called fioles.
Once both soles were finished and shaped, they were sewn onto the banc d’estrènyer with a needle threaded with two braids of pita rope. The sewing began at the heel, symmetrically. The stitches were initially left loose and then tightened one by one, thus achieving a firm but flexible sole.
The process continued with the making of the upper. The canvas was cut according to traditional patterns and sewn to the sole inside out, then the piece was turned over so that the seams were hidden inside. The stitches were made with large needles threaded with hemp, linen or cotton thread, resistant and natural materials.
