The Devil Wears Bata — Sonja Bata 1926-2018

Nineteen years ago today I left the Bata Shoe Museum. The reasons I left came flooding back when I heard that Sonja Bata died two days ago at the age of 91.

Bata Shoe Museum, designed by Moriyama & Teshima, 1995

In 2006 I saw the movie The Devil Wears Prada – it was astonishingly close to my own experience of working at the Bata Shoe Museum. The movie about a young, energetic, naive assistant to an overbearing control freak was based on Lauren Weisberger’s thinly veiled experience of working for Anna Wintour at Vogue magazine.

Everything in that story was familiar, from the ‘gird your loins’ warning phone call from the front desk upon Sonja’s arrival, to being under the constant threat of disapproval and punishment for failure. I even had her coat flung on my desk one morning, although that only happened once after I left it there all day. With the perspective of time, I now see Sonja’s sadistic management style for what it was, but at the time Sonja Bata had me convinced I was the one who needed to fix my shortcomings.

Sonja had been born into a wealthy upper middle-class Swiss family with strict, traditional values. She always told interviewers that she was studying architecture when she met her future husband. The truth was that she was only weeks into her first semester at university when she met Thomas Bata. In a soft moment she once told me her mother took her out of university and enrolled her in a cooking school so she would make a better wife. This was Sonja’s Achilles heel – she was in awe of academics, jealous of their accomplishments because their success was her unfulfilled dream.

Sonja in front of her Annigoni portrait from c. 1960

At the age of 19, Sonja married Thomas Bata in 1946. The Bata company, which had been founded in 1894 by Tomas Bata (Thomas’s father), was at its height of success in 1934 when Tomas unexpectedly died in a plane crash. Tomas’ brother Jan, and his son Thomas ended up in a legal battle over who would take control of the company, and anticipating the coming war, Thomas built a manufacturing plant in Canada in 1939. After the war, the Eastern European manufacturing plants and stores disappeared behind the descending iron curtain. Bata HQ was relocated first to England, and later Canada.

During this post war period the Bata company aimed at international expansion in Asia, Africa, and South America where huge opportunities awaited. The Bata company excelled at locating in countries where locals were employed to manufacture simple styles of footwear for their own markets. Bata was not a high fashion label. In the Western World, Bata was known for producing everyday ‘back to school’ sneakers and shoes for children, working women’s low heeled pumps, and wardrobe essentials such as slippers and galoshes. Sonja often joked that when she was learning the business, she worked in a shoe store in the East End of London trying to sell high heeled shoes in ‘sunset pink’ and ‘avocado green’, but in working class postwar London, black and brown were the only colours that sold.

While travelling the world in the 1950s and 1960s, Sonja collected various historical and local types of footwear from the countries she and Thomas visited. She had accumulated close to a thousand examples when in 1979 she created a foundation that would someday fund a museum for footwear. She hired a conservator and a collections manager to care for and document the collection, and engaged anthropology hobbyist Alika Podlinsky Webber to acquire examples of Native American footwear for the collection. Webber’s antiquated methods of categorizing material culture by construction methods eventually resulted in the museum’s first publication, a near-useless typology of “Indian and Eskimo” footwear.

I had been keenly following the museum’s progress since I first heard about Sonja Bata’s collection in 1981. I wrote letters to her annually, asking for the opportunity to work with the collection in a curatorial capacity. Then, one day in November, 1987, I received a phone call from Margaret Leask, her secretary, asking if I could come in for an interview. A position was available to catalogue and care for the collection in the basement of the shoe company’s Don Mills headquarters.

The now-demolished Bata HQ in Don Mills, designed by John B. Parkin, built 1964-65

I was 26 and already had a decade’s worth of museum experience, as well as visible enthusiasm, but I was incredibly nervous during my interview because I really wanted the job. The interview went well, even though I could see she was disappointed when I told her I could only read French, and that I had an incomplete Masters. I had been paying for my university education by working part-time during the school year and full time during the summer, but after five years, student fatigue had set in and I called it quits half way through my Masters. I did notice during the interview that she looked at my hands a lot. Years later she said her mother always told her to look at the nails of prospective servants because those with short nails worked harder.

A week later Sonja called to say she would like to hire me and could I come in for orientation and to discuss salary. I gave notice at my other job and bought myself a brand new pair of expensive Florsheim shoes for good luck. At our second meeting she proceeded to tell me that she had thought it over, but the tone and hesitancy in her voice suggested she had changed her mind – my stomach flipped. She hadn’t, but then she explained that I would be replacing the previous collections manager who had a PHD and spoke three languages. I realize now, her tone and hesitancy was a method to lower my salary expectations in light of my shortcomings in languages and education – a point brought up annually prior to any discussion about a salary increase. I later found out that my predecessor, Lena Fattah, had resigned abruptly after telling Sonja to “Fuck Off”. She later became a Buddhist monk.

The position was assistant curator. There was no curator, so it was a pay scale thing with opportunity for promotion. I undersold myself by settling for the first offer at 24,000 per year to start, which in 1987 was okay for an assistant curator’s starting salary. Little did I know that all future salary increases would be based on an average 4% percent increase indexed to the cost of living and tied to annual reviews. However, at the time I was grateful for the opportunity. I had dreamed of working in a museum devoted to clothing or textiles, and few opportunities existed in Canada.

Bata Shoe Museum exhibition opening at the Colonnade, 1992

Things went well for the first few months while I was in a learning curve. My first negative experience occurred when I was about to take my first week of holiday. I was completing an annual inventory of the entire collection, which by 1988 numbered over 6,000 artifacts. Two days before I was to leave, I submitted the report with a total of nineteen missing objects (all of which had been reported missing in previous inventories.) My report was rejected for being incomplete. I was told I would have to cancel my holidays until those artifacts were found. After wasting two days frantically looking for the missing items I went on holiday anyway – anticipating throughout my entire vacation that I would be fired upon my return (not exactly relaxing). However, nothing further was said, although her secretary Margaret told me that in future to always leave the phone number of my hotel where I would be staying in case I needed to be contacted (Sonja didn’t understand that on $24,000 per year, holidays were spent in motels, not hotels.) This was the first of many projects that were never signed off as completed – every project remained an open file. Ironically, years later when Sonja was clearing out some items in her attic at home, thirteen of the missing items showed up.

Similar instances began to happen more regularly. I could excuse some of her criticisms to her being a perfectionist with high standards and I was missing her mark, but I was never given direction so everything was a set-up for failure. I was frequently asked to mount small exhibitions at locations like malls and even the Ontario legislature, but no budget was allocated to do these displays and I had to make do with what supplies and display aids I could find. I was inevitably criticized because something didn’t look as good as it could – then money would be spent or someone brought in to ‘fix’ my work.

The annual salary review became an opportunity for her to save up months-old issues that should have been dealt with at the time they occurred. It was also an opportunity for her to shame me for everything from my messy handwriting to my failure to always wear crisply starched shirts. Meanwhile, anything I was good at doing and relevant to my job, like research, writing, and public speaking, was only allowed to be done as extra-curricular activities. I was actually not allowed to read a book or visit a library to do research about the artifacts on museum time, even though I was expected to know as much as possible about everything I was handling, which included artifacts from three thousand years of various world cultures. I was a frequent guest speaker for various groups around Toronto, all of which had to be done in evenings, or when she was out of town, because I was not allowed to leave the premises during work hours, other than for lunch, when she was around.

For the Bata Shoe Company’s 100th anniversary, I was asked by Thomas Bata to work on a book while he and ‘Sunny’ were in Czechoslovakia most of the summer. With a project coordinator, I picked the shoes, did the research, wrote text, worked with a photographer to take over 200 photographs, even suggested the name for the book and the cover designs. When Thomas and Sonja returned, Sonja hit the roof when she found out and was screaming at me until Thomas came out of his office and explained he had asked me to do this. Nothing more was ever said, however I was removed from all remaining production meetings. I heard that she didn’t want my name in the book at all, but the rest of the team protested, and in the end my name appeared second from last in the credits as ‘museum co-ordinator’.

I ignored or worked around what I could because the work was still my first love – it was everything I wanted to do, but in a toxic workplace. The constant barrage of small instances continued: I was once coerced to skip an uncle’s funeral when I was asked if it was really important for me to attend, in a tone that suggested I had more important things to do. I was also requested to return to work one afternoon after lunch when my cat was in labour – I returned home to find a dead kitten suffocated by its caul.

What should have been one of the happiest days of my life was destroyed when I was told that the date of a shoe museum symposium she was hosting had been decided over the weekend, without my input, to occur the very day I had booked for the closing and move to my first house. I was asked to move my moving date, which I refused to do – even after a scene in front of the staff. I paid for that defiance for weeks with a cold shoulder, criticism, and a sharp toned voice that kept everyone in the office on edge. The symposium went ahead, with everyone attending wondering why I was absent.

The Fashion Staircase in All About Shoes

Despite these instances, she was relying on me more, even though she never once said in the entire 11 years ‘good job’, or ‘thank-you’. In 1994, with the new museum building nearing completion she decided that with the founding of the museum I needed to become the official curator. At the time I was making about $33,000 per year. She offered a $7,000 increase, but after I showed her that comparable starting salaries for curatorial positions in Toronto ranged between $50,000 – $60,000 she agreed to $45,000, split in two, 7K now, and 5K mid-year. June came and went, then July – in August I asked when the rest of my raise would kick in. The new director, Edward Maeder, checked but came back to ask if I had our agreement in writing. I was absolutely crushed. Sonja had lied to me and used the new director as a shield. So when the new Bata Shoe Museum opened with great fanfare to the public in May 1995, I was making less than half of what the director was making, and only a few thousand more per annum than the janitor, and I didn’t even have a key that opened all the doors. Instead, I had a key that opened a door in the basement where a lock box was located where I retrieved the various keys I needed for the day, signing them out and back in. Nothing was ever made to ease performance.

While she delighted in making my life miserable, she turned a blind eye to employees who were actively stealing from her. A now-retired part-time conservator never did any real work – she would come into the museum once a week to talk to her friends on the phone all day because they were long distance from where she lived. Even worse, the janitor would take props and stock from storage and sell it at flea markets on the weekend.

The other employee she tormented to the same extent as me was Susana Petti, a smart and eager marketing person hired at the time the new museum opened in 1995. Susana worked hard and had great ideas, but she was constantly met with resistance by Sonja. Susana had brought in the advertising firm Ogilvy and Mathers to donate their services to create an advertising campaign shortly after the museum opened. For some reason Sonja actively undermined any progression in creating the campaign until they walked away in search of a company who would be grateful for their gift.

Opening day at the  Museum, 1995 The shoes were an 11, I wear a 12…

As curator, I became the liaison between Sonja and many of the guest curators and designers. At the museum’s official opening in May 1995, Laurent Carrier of Design+Communications of Montreal, who had designed the flagship exhibition All About Shoes, came up to me and said “I won’t say it was a pleasure working with you… ” Despite this, Laurent returned to produce other exhibitions for the museum. This was a pattern typical of many of the guest curators and designers. They all recognized how difficult it was to work with Sonja, but they also knew it would only be for a few months, and at the end there would be an inflated pay cheque (everyone surcharged for the ‘sturm und drang’ of working with Sonja.) An American guest curator/project manager billed the museum in Canadian funds for his services, but was mistakenly paid in U.S. funds when the American dollar was trading at around $1.40. He cashed the cheque and said nothing.

Another guest curator, Dr. Jill Oakes, had been commissioned on several occasions to collect items for the museum from Canada’s North, as well as curate several exhibitions and write accompanying books for the museum. Her expertise in northern cultures was eventually expanded to create a storyline for an exhibition about American Southwest Native footwear – an exhibition I was unaware she had been contracted to curate when Sonja asked me to also write a proposal and outline for the same show (on my own time, of course.) I submitted the proposal and outline, which Sonja then showed to Dr. Oakes telling her she liked mine better. Although Oakes professed the incident was nothing to worry about, it created an embarrassing situation.

Fortunately, I knew that most people could see what I was dealing with via knowing smiles and rolled eyes – even her own children. At the opening ceremonies, where my name was NEVER uttered and I was never thanked, even though I had curated two of the four opening exhibitions, I wore a black jacket upon which I had painted white foot prints. Christine Schmidt quipped “Is mom stepping all over you?” I assured her she was.

Guiding Haakon on a tour, with Sonja in pink nervously fingering her necklace, ready to pounce…

Although I was often not introduced to special guests that came to the museum (Liona Boyd, Andre Pfister, Maureen Forrester…) I was brought in to give a ‘royal tour’ to Norway’s Prince Haakon. Judging by his reactions, I could see the 22 year old Prince was interested in fashion and celebrity shoes. He was admiring a pair of platforms worn by Madonna, when Sonja decided I wasn’t giving the right tour, and stepped in to take over saying “Perhaps his highness would like to examine our Lapp collection?” This made me cringe since Lapp is the politically incorrect term for the Sami (the indigenous population of Northern Scandinavia), as well, our Sami collection was poor – hardly something worth showing the Crown Prince of Norway. Haakon politely followed Sonja as she completed the tour. I faded to the back of the crowd, embarrassed and emasculated. However, as he was leaving, Haakon sought me out to thank me for showing him the “most interesting shoes”. I thought he worded that well.

Until my promotion as curator, the staff consisted of myself, Ada Hopkins, the full time conservator, and a part time conservator (the one on the phone all the time.) Prior to the opening of the new museum, more staff were hired, including education coordinator Sheila Knox, and the director, Edward Maeder. I warned the egocentric Maeder that Sonja was not easy to work with, but he assured me he knew how to handle women like her – he fled halfway through his five year contract.

The next director to come along was Sharon MacDonald who was the exact opposite of Edward Maeder in every aspect. She came from the police museum and was a bureaucratic rule follower. Within a couple of months she admitted to me Sonja appeared sadistic at times, especially towards me.

Shoe designer Beth Levine at the Bata Shoe museum c. 1998

The final straw came when my credibility was threatened on my 38th birthday, on February 23, 1999. Prophetically, my horoscope that day had said ‘don’t take up issues with your boss today, you will lose.’ Two events occurred that day that made it impossible for me to remain with the museum. The first happened when I came across the recently submitted tax receipts on the secretary’s desk. Looking through them I found one for $46,000 to Rick Riewe for photographs. Imagine my surprise when I saw the forged signature of the name of the person who had done the evaluation – Jonathan Walford. Rick Riewe was Jill Oakes husband, and had taken hundreds of photographs documenting the process of making traditional clothing in Siberia where Oakes had conducted a field collection the previous summer. Even if I agreed with the amount, I hadn’t done the evaluation, and certainly would not permit my name to appear for that huge an amount without documentation to prove fair market value, and/or an arm’s length third party assessment.

While I was contemplating what to do about this situation, the catalogues for the Japanese exhibition, which was opening that night, arrived from the printer. At the final production meeting two weeks earlier, I noticed my name was spelled correctly in the credits as both the exhibition curator and author of the catalogue. A few days after that meeting Sonja had told me she had called them to make a couple of minor changes, but it didn’t occur to me that it would be to remove any trace of my name from the catalogue. Knowing how Sonja’s mind works, she wanted it to look like the exhibition and the catalogue had been done in cooperation with the Japanese community by having only Japanese names in the credit list. Although the photographer and the designer had Japanese names, I did not.

My name was being added to things I hadn’t done and being removed from things I had done…I went ballistic.

I contemplated wiping out the entire catalogueing system (something I actually could have done – I knew how) However, I calmed down, got a box, filled it with my personal possessions and any damning evidence, and left the building. I went back a week later for a de-briefing, but instead of discussing the real issues, Sonja had pulled out some of my recent catalogueing sheets and pointed to insufficiently notated references. She then said she thought I must be entering a mid-life crisis… I stopped her there, stood up, held out my hand, thanked her for the opportunity of working with the collection but that I couldn’t work with her anymore. I still recall the look on her face – like she couldn’t believe I had finally found a backbone.  I was told later by the director, Sharon, who was in the meeting with us, that Sonja immediately said after I left that she realized she had not handled that well.

I had no option but to report the tax receipt to Revenue Canada – an action that resulted in a three year audit for the museum. Leslie Tenenbaum, one of the company’s lawyers, was brought in to mediate my departure in a heavy-handed manner. He tried to mitigate any possibility of my suing for constructive dismissal or fraud, and explained how I didn’t deserve an exit package because I left of my own accord. I just wanted out – all I could think of was the Tina Turner movie where she says all she wants is her name. I didn’t care what it took to get away from Sonja’s clutches and the frequent phone calls from her minion lawyer.

Sonja could be charming, but her motivation was power and she never saw how her actions impacted others (or perhaps she did, which would be worse…) She was not a great leader – she was an iron-fisted bully, and because she was at the top of the food chain, there was no managerial accountability. When the only days you look forward to at work are the ones when the boss is out of town, you know there is a problem. There was an ongoing joke I had with Robert Barron, the education assistant – I would walk into the office in the morning and say “Is she dead yet?”, and he would retort “Maybe today!”

I am actually saddened by Sonja’s death, because of what could have been. She spent a fortune on artifacts that are a gift to the world through her architecturally important museum. She hired many good people, but lost most of them because they wouldn’t put up with her shit. However, in spite of her, I learned amazing things and wouldn’t have started the Fashion History Museum without the experience I gained as the Bata Shoe Museum’s founding curator.

Sarah Beam, now an ex-employee of the museum, told me how a few years ago Sonja had bought a playhouse for her great grandson – Graydon Weston, the son of Galen and Alexandra Weston. Sonja said she thought it would be amusing to watch Galen try to put it together on Christmas day – to which Sarah pointed out “That’s not very Christmasy – is it?”

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I had this weird dream….

Queen Elizabeth and Anna Wintour were at this fashion show and the models were all wearing mismatched flower printed dresses with motorcycle helmets…

Turns out it was true. Yesterday, H.M. Queen Elizabeth II presented the inaugural Award for British Design to Richard Quinn and his fall 2018 collection of flowery printed frocks – this was only the second collection of his career.

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Fadshions – The first Onesie?

Lizzie Bramlett recently did a post about pyjamas, citing 1912 as the earliest reference she has found to date for their sale in catalogues. This predates the c. 1917 date when they begin to show up more often in catalogues and magazines as sensible sleeping attire, especially for women in England in case of zeppelin raids. Bramlett also posted a 1919 pattern illustration for a sleeping pyjama intended for camping that looks a lot like a onesie. This might be the first of its kind!

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Canadian Fashion Connection – Pierre Paris

Pierre Paris promoting the custom side of their business at the Pacific National Exhibition, 1922

Pierre Paris was originally from the Basque region of southern France. After immigrating to Canada, he located in Vancouver and opened a boot-making business in 1907 where he specialized in making logging boots for the booming lumber trade. The company eventually specialized in all forms of industrial footwear.

Pierre’s sons, George and Roger, studied podiatry in Chicago to better understand how footwear can be made to fit better, and brought that knowledge with them when they returned to Vancouver to join the family business. The company branched into creating made to order orthopaedic shoes and was eventually renamed Pierre Paris & Sons Ltd.

In 1979, Roger’s son Stephen and daughter Renee assumed control of the company. With the dwindling resource-based economy in British Columbia, they decided to sell off the boot-making business to former rival firm Dayton boots, and instead concentrate on the orthotics side of the business. Paris Orthotics Ltd., opened in the early 1980s and is now one of Canada’s largest manufacturers of custom made prescription orthoses.

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Fashion and Humour

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2017 Academy Award Costume Nominees

I did it! For the first time I have seen all five Academy Award costume nominated films so I won’t have to judge from stills and trailers:

Beauty & The Beast

Jacqueline Durran has been nominated for two films this year – Beauty and the Beast, and Darkest Hour. She has been nominated for several films in the past: Pride and Prejudice, Atonement, Mr. Turner — and she won for Anna Karenina. I have not always been a fan of Ms. Durran’s work because historical accuracy has not been her strength, or so I thought… While Beauty and the Beast has a delightfully costumed opening number with a ballroom of dancers in white 18th century dresses, the rest of the costuming is typical ‘Disney’ fare and I am not sure why it was nominated. I can see an art direction win, but not costuming. However, Darkest Hour is exceptionally well done. The historical accuracy for place and period (London, May 1940), and its rich palette of colour and texture creates the perfect mood for the film.

The Shape of Water

Other than the film Flash of Genius, and a few T.V. episodes of Being Erica, I am not familiar with anything Luis Sequeira has done. To be perfectly honest, I am not sure why he was nominated for The Shape of Water unless it was for the sea monkey costume, which is well done but I thought was more likely the result of  special effects and make-up. Otherwise, I find the green palette of the film heavy handed, and the difficulty level of a fantasy world inspired by 1962 Baltimore less challenging than an episode of Mad Men. I must be missing a technical reason for why it was nominated because there were a lot of worthy films this year that were not nominated: Valerian and the City of a Thousand Planets; Battle of the Sexes, Viceroy’s House, Murder on the Orient Express, Dunkirk, Wonder Woman, The Last Jedi, Blade Runner 2049, and ESPECIALLY Tulip Fever, which would have been my first choice to win this year.

Victoria & Abdul

I liked the costuming for Victoria & Abdul a lot. The costumer, Consolata Boyle, has been nominated and won many costume awards, but never an Oscar (The Queen, Florence Foster Jenkins, Angela’s Ashes…) There is a spectacular banquet scene at the beginning of this film, and the costuming for Victoria is recreated beautifully. However, I felt the film lacked the feeling of a passage of time. It is supposed to occur between 1887 and 1901, but there is nothing to suggest there is anything more than a couple of years passage at most. I can’t blame Boyle for what is a directorial issue, but there was a lost opportunity here that costuming could have solved, so as much as I liked the costuming, I wouldn’t vote for it.

Phantom Thread

Phantom Thread by Mark Bridges is THE fashion film of the year. Annoyingly, no date is given in the film, although there are clues to suggest 1953/54 – the first client acquires a dress for what has to be a Coronation gala (June 2, 1953), and a scene late in the movie has an October 1954 issue of UK Vogue I recognize from the cover. Bridges, who has been nominated before for Inherent Vice and Boogie Nights, and won an Oscar for The Artist, deserves this nomination because the high fashion clothes he created for this film are, in a word, mumsy – and that’s good. The fashions are typical of English couture of this era – the John Cavanaugh and Norman Hartnell type of dresses the young Queen wore that were elegant but dowdy. I hope that was intentional because Mr. Bridges got it bang on. I suspect it was, since there is a scene where the word ‘chic’ is discussed disparagingly. However, there were little problems that bothered me (an olive green silk dress featured in a fashion shoot didn’t seem to fit the actress very well, some extras wore hats that looked odd for the era, most underwear was nude coloured, which seemed strange for the mid 1950s…) these were all small details, but detracted from the success of the costuming.

Darkest Hour

To recap: Beauty and the Beast is a throw-away; I don’t see why The Shape of Water was nominated but I might be missing some technical reason; Phantom Thread captures a look extremely well, but overall has little issues; Consolata Boyle is overdue for a win and may get it for Victoria & Abdul; but if I was handing out the award, I would pick Darkest Hour. Jacqueline Durran captured the mood and did it authentically – I enjoyed her costuming the most out of all of these films because it had an effortless elan.

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FHM energy savings thanks to ArtsBuild Ontario!


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Glossary – Obroni Wawu

Obroni Wawu is a phrase used in Ghana that literally translates as “dead white man’s clothes”. 

Many of the clothes donated to charities are sold to Africa, and Ghana is one of the largest purchases of used clothing. However, there is a problem — the influx of used Western fashions are killing the traditional African textile and clothing industries, and the recent influx of fast fashion is also lowering the quality of the second hand clothes. As a result many African nations are now banning the importation of ‘dead white man’s clothes.’

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Canadian Fashion Connection – Greb Industries

In 1910, the Berlin Shoe Manufacturing Co. was incorporated. Two years later, Charles E. Greb and his son Erwin acquired the company. In 1916, when the city of Berlin, Ontario was renamed Kitchener, the factory was renamed the Greb Shoe Company Ltd. In 1918, Erwin bought the controlling interest in the company from his father.

In 1938 it acquired Valentine and Martin Ltd., a Waterloo manufacturer of work boots, shoes, and dress shoes, but continued to operate them as a separate business until 1951 when it was merged with Greb at a plant on Breithaupt Street in Kitchener. Erwin died in 1954 and the company was taken over by his son Harry Greb, his other sons, Arthye was in management, and Charles was a plant manager who eventually became executive vice-president between 1969 and 1976.

In 1959 the company purchased Canada West Shoe Manufacturing Co. in Winnipeg, including its Kodiak brand of boots. The company is also now listed in the Canadian Shoe manufacturer’s annual as Greb Industries Kitchener Ltd., producing men’s & boy’s goodyear welt & stitchdowns and safety footwear. In 1963 a Winnipeg plant producing Men’s & boy’s Goodyear welts, vulcanized cements, & hand?sewn moccasins.

The company expanded in the 1960s acquiring: Bauer Canadian Skate; Tebbutt Shoe and Leather Company of Trois-Riviers, Collins Safety Shoes of Peterborough, Ontario, and a boot and skate factory in Bangor, Maine. Most significantly, Greb acquired the Hush Puppies brand of casual shoes for the Canadian market from Wolverine World Wide of Rockford, Michigan. In 1966 Greb Industries Ltd. became a publicly traded company and by the early 1970s the company had grown to become Canada’s largest footwear manufacturer, employing 2300 people in Kitchener, Winnipeg, Trois-Rivieres, and Bangor.

Hush Puppies by Greb,c. 1963

In 1974 Greb was acquired by Warrington Products Ltd. of Mississauga. In 1987 Warrington sold the Greb division, which consisted mainly of Hush Puppies and Kodiak boots, to Taurus Footwear of Montreal. Production of Hush Puppies ended in 1989 when the licence was surrendered to Wolverine. Bauer skate, operating as Canstar Sports in Cambridge, was sold to Nike around the same time. The last Greb plant in Kitchener making Kodiak boots closed in 1991. In 1992 the Royal bank took control of Taurus footwear and formed Greb International to market Kodiak boots domestically and internationally. In 2000 this company became Kodiak Group Holdings Inc. In 2005, it purchased Terra Footwear in Newfoundland and now has factories in Markdale, Ontario, Harbour Grace, Newfoundland, and Asia.

Some of the labels made by Greb over the years and the approximate date of their introduction include: Acme Cowboy (1963), Cat Treads (1959),  Greb Arch Director (1938), Greb Camp Shoe (1938), The Greb Shoe (1924),  Heavyduty Arch (1938), Honest All Thru (1938), Hush Puppies (1961), Kodiak (1959), Patrolman (1938), Ramblers (1959), Soo-Shoes (1959), Tyroleans (1959), Valentine (1938)

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An Old Fashioned museum – Huronia Museum, Midland, Ontario

A while back we visited the Huronia Museum in Midland, Ontario. It was an unexpected treat because it’s an old fashioned museum – and I mean that in a nice way. It’s not all push buttons and dioramas with cut-out picture boards and light effects, with nary an artifact in sight. This is a crammed-to-the-gills museum of cool stuff; Penny farthings, 1940s/50s televisions, ancient ‘Indian’ artifacts, Regency era cast iron stoves, and a fair bit of clothing too, including: two really nice Edwardian bathing suits with not one moth nip, one of the prettiest Edwardian wedding dresses I have ever seen, World War II uniforms…. and more. Most items are shown in finely crafted mahogany cases from the turn-of-the-century. It won’t be to everybody’s taste but I loved it!

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