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<ul class="summary-list"><li><a href="https://thecobblers.com/">The Cobblers</a> is a shoe-repair shop in Miami.</li><li>The shoe it's working on today is a rare pair of 1985 Chicago <keyword id="1356365" type="PERSON" weightage="60" keywordseo="Air-Jordan">Air Jordan</keyword> 1s. </li><li>Its cobblers are going to show us how they replace the soles for this pair of shoes.</li></ul>The following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>. Narrator: My name is Derrick Winje. I am the director of sneaker operations at The Cobblers in Miami, Florida. Today, we're gonna be sole-swapping a original 1985 pair of Jordan <keyword id="11234208" type="UNKNOWN" weightage="60" keywordseo="chicago-1s">Chicago 1s</keyword> with a donor sole. And these actually released in 1985, with a retail of just $65. For reference, the same pair in 1985 for $65 is now in the aftermarket, brand new, for about $20,000, and that's if you can even find a pair. The first step that we need to do is acquire a donor shoe. In this case, the client had provided a donor shoe, which is actually the 2015 Retro, which is merely just a rerelease of the shoe. On this particular pair, the customer requested that we leave the upper of the shoe, which is all of the leather. He did not want it cleaned. He did not want it painted. He didn't want any conditioners. So we need to carefully take off the sole without, you know, damaging the sole or altering anything.In this case, the upper of the donor shoe is not as important, but sometimes we use those parts for other things. So, what I like to start with is just using heat and acetone. Ideally, I'll pour the acetone inside of the shoe to actually loosen up the glue that is on the footbed and the sidewalls of the shoe to kind of break that down to give me an entry point in the side. Once we're able to get to that layer of stitching on the sidewalls, we can then use an X-Acto knife, as you see I'm using here, or you can also use a seam ripper to undo those stitches. Once the sidewall and stitching is undone, it should be pretty easy from there. We can either just pull the upper apart or continue using heat or the acetone to break up that glue to separate the sole from the upper here. It's a similar process to remove the original upper from the sole, if it's not already detached. In this case, there is stitching here, as you can see. However, we don't want to use excess heat, and we also definitely don't want to pour acetone into the shoe, as that would damage the upper of the original. On the sides here, you'll see that I use a bone folder, which is just bone from an animal. It's just a -- not a sharp edge, but a blunt enough edge that I can open up the sidewalls to get down into that stitching there. Once the two pieces are completely separated, we're going to remove all of the dust and crumbling inside of the original shoe, as well as from the upper, to prepare this upper of the original shoe to be put on the donor shoe.We use a contact cement. It is made for shoes. It is flexible. It's clear. So it's perfect for what we're doing here. And it's very important with any type of restoration we do, when we're working with glue, especially in this case, that we get a clean surface and get that fully prepped and all of the old glue, any dust or any buildup, oil, water that may have seeped into that shoe. The reasoning for this is because if we don't have a clean surface for the glue to adhere to, the glue is not gonna fully do its job in holding that shoe together for the longest period of time. We will apply one thin layer to the upper, in this case, as well as on the sole of the donor shoe, and we allow that to dry. A tip that I like to use is actually to let this glue overcure, so it gives me more time to fit the sneaker, as opposed to having to put it all together in one shot. And this, again, is so we can line up the upper properly on the sole, so there's no distinction between the original sole and the donor sole being lined up on this 1985.Once we have heated up the glue and pressed it with our hand to make sure everything is fitting properly, we will then just double-check and make sure everything is lined up the way we like, so everything looks original. We'll then take the original last from the shoe, which is just the interior of the shoe, if you can think of it as what shoemakers use to make and shape shoes. We'll place that into the shoe, and then we will take it over to the bladder press. What the bladder press is gonna do is basically give us that extra security and push the shoe together and make sure that the glue is fully bonded and has a strong hold to it.Once we're done, you can see here that we actually stitch by hand. There is a machine, but with something this delicate and this fragile and rare, we actually prefer stitching it by hand, just so we know that every stitch is fit perfectly into the original hole to make things look as original as possible. So, you can see, this isn't a pure white thread we're using. We actually have an aged or more of a vanilla cream thread, which is gonna match the original look of that shoe. If we were to put a bright, brilliant white lace or thread in there, it would kind of take away from the originality of keeping the upper a little distressed and having the sole looking brand new on top of an old, distressed 1985 shoe. We actually add a little bit of wax here, to imitate the original shoe upon release. Now that everything's stitched up, it may not be mind-blowing before and after just putting a sole onto a new shoe, but to us, in these little details, this makes the shoe complete, and I think the customer is gonna be very happy with these results.

How $20,000 1985 Chicago Air Jordan 1s are professionally resoled

<ul class="summary-list"><li><a href="https://www.ragobrothers.com/">Rago Brothers Shoe &amp; Leather Repair</a> is a cobbler shop that <keyword id="387455" type="PERSON" weightage="60" keywordseo="repairs">repairs</keyword> <keyword id="21227" type="ENTERTAINMENT" weightage="60" keywordseo="shoes">shoes</keyword> and <keyword id="69872" type="ORGANIZATION" weightage="60" keywordseo="Leather">leather</keyword> goods.</li><li>Some of the challenging items it works with are shoes that have been bitten or chewed by pets.</li><li>Co-owner Tom Rago shows us how a $1,000 pair of dog-chewed Louboutin heels is refurbished.</li></ul> The following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: My name is Tom Rago, and I am the co-owner of Rago Brothers Shoe &amp; Leather Repair with my brother, Tony Rago. And today I am going to walk you through a dog-chewed Louboutin shoe. Approximate cost is $800 to $1,000. When they came in to us, the platform was halfway chewed off, the top of the shoe wasn't there, and the heels were all chewed, all had bite marks on it. And you would think that this was an unrepairable shoe. We are going to attempt to rebuild the platform of the shoe, the upper part, the black patent leather, and get the structure back to the shoe.To start out the process, we are going to give this to our repairman, Ronnie, who is going to put this shoe together. We are using the heat gun to remove the platform very carefully, trying to loosen the glue between the shoe and the platform. We now are putting the platform down on the table and taking a piece of bonded leather and tracing out the platform so that we can make a mold for the other shoe. What that involved is flipping the platform over so it looked like a left shoe instead of the right shoe. So we did that. We took our measurements. Once we've got that pattern, we now are taking a hard piece of rubber and we are shaping that with a Dremel to match the other platform. The platform, when you get it from Louboutin, it's a molded plastic base. Molded plastic is not available to us, so we cut it out of a very rigid piece of rubber, and we had to sand it to make the exact curves that it needed to have to fit the upper part of the shoe.When you start with the upper part of the shoe, you take a flat piece of patent leather and you take the inside material, which is a bonded leather -- that gives it the structure. That gives it the form. What we're doing now is we're heating up the leather on the platform so that we can stretch it, make it more malleable so that it has no creases in it. And then we pull it and attach it to the platform. So, now we have the top shape of the shoe. After we've gotten that, we begin to form it to the platform underneath. We have to mold that platform around the top of the shoe, and that requires us using a hand Dremel to get the shape of the platform to fit onto the upper part of the shoe. That's just trial and error. You may go through that several times.So, now that we've repaired the upper part of the shoe, we're going to take the platform and attach the platform to the upper part of the shoe. Now we are going to give the shoe to our shoe repairman, Henry, so that he can attach the leather and rubber soles to the bottom of the shoe. Now what we're doing is we're attaching the red sole onto the bottom of the shoe. We are going to take this shoe, and we're going to edge it with black paint, so that from the side of the shoe all you see is the black. You won't see any red. This shoe was really a challenge for us, and we think it came out really great. We think that when the owner does get this shoe back, her mouth is gonna drop.

How a $1,000 pair of dog-bitten Louboutins are professionally restored

<ul class="summary-list"><li>Monique Fischer is a senior <keyword id="6401330" type="UNKNOWN" weightage="60" keywordseo="photograph">photograph</keyword> conservator with the <a href="https://www.nedcc.org/">Northeast Document Conservation Center.</a></li><li>She shows us how to restore a 90-year-old photograph.</li><li>This includes cleaning the photograph, mending tears, inpainting, and flattening the photograph.</li></ul>Following is a transcript of the <keyword id="21654" type="COMPANY" weightage="60" keywordseo="video">video</keyword>.Narrator: My name is Monique Fischer and I'm the senior photograph conservator here at the Northeast Document <keyword id="30871" type="PERSON" weightage="60" keywordseo="conservation">Conservation</keyword> Center. So today I'm going to go through with you how to conserve a nearly 100-year-old photograph. The photograph is a panoramic format, and these usually are taken for groups at conferences. Here we see a boys camp. The biggest problem is that it's tightly rolled, and you can't really access the information.I have created a humidification chamber, and the first thing we need to do is unroll it to do any other types of treatment to it. Once I feel it gets a little limp then I start to unroll it.The next part of the treatment is surface cleaning. There's going to be surface dirt on these photographs. They've been sitting in an attic or basement. On the back we are using some dry-cleaning techniques. The weights that we use are actually steel I-beams cut to size and put on there, and they're actually used in construction. The white wedge there that you see is a cosmetic sponge actually, and the surface is nice and soft. In addition to the cosmetic sponge, there are things like a polyvinyl eraser to get more inground dirt to remove that. The powder that you see here, it's really not powder. It's shredded polyvinyl eraser, and again, it's a more gentle way of cleaning the surface dirt on the back of a photograph.Those dry-cleaning techniques that I was using on the back of the photograph could be problematic to the emulsion. Here's some cotton swabs with water and alcohol to remove some of the surface dirt there. The cloth that is used is Hollytex, it's a woven polyester and it's a nonstick surface. The most thing you need to be careful about is, again, the emulsion. It can get wet if the emulsion's been compromised because it's been exposed to light or been sitting in the attic for years. The emulsion can get very soft and lose the image at the same time.Prior to mending, I'm wet-tearing the Japanese paper. I want soft edges along the paper. I want to make the mend as invisible as possible. We are straining the wheat starch paste that we use. Everything that we do in this profession is supposed to be reversible. So we use wheat starch paste. We don't use any kinds of tapes, we don't use archival tapes. I take the brush, paste out the Japanese paper on a piece of paper that helps absorb it, and then put the Japanese paper on the back of the tear to mend it. And even just a little bit of paste and you know, small pieces of Japanese paper can really strengthen the tear. It needs to be flattened, putting it kind of in a sandwich between Hollytex, blotting paper, and then some weights on it so it can dry and flatten.With tears, you try your best to put it together perfectly, but because this is an old object, there are going to be losses in the emulsion or within the image. And here we have an inpainting technique. The paint brushes are actually fine-point brushes that are used to paint dolls' faces. I like using the Gamblin Conservation Colors because you can use isopropanol to wet up the color. I'll put some color on my brush, paint it out on the blotting paper there, and then when I think the color is good enough, I will then paint the object. And so you blend it all in, so that your eye when you're looking at the panorama doesn't go right to the tear.So once these techniques are done, we need to flatten it over all so that you can handle it. The photograph, that paper support has a memory. So you want to be able to reduce that memory by humidifying it and putting it under pressure. So you can add humidification, but you're not getting the object wet. You don't want to get the object or the photograph wet. It will start to feel limp, and then we put it under light pressure. Usually it stays under weight for about a week. It's with a thick blotting paper that helps absorb the humidity, because if you put the photograph or the gelatin right against the blotting paper, it will stick, and then you're in trouble.So once the photograph has been flattened, we want to create a preservation housing. And the preservation housing in this case is we're creating a polyester L-sleeve. But if you have a unique format like this panorama, you're going to have to make it yourself. So I'm putting the two pieces of polyester together, welding it on the short side and the long side. And once that housing is complete, I trim it so it looks nice, and then put the photograph in there, and then return it this way to the client, who can easily handle it and look for their loved one in the panorama.

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How $20,000 1985 Chicago Air Jordan 1s are professionally resoled

Maggie Cai

How a $1,000 pair of dog-bitten Louboutins are professionally restored

Maggie Cai

How a 90-year-old photograph is professionally conserved

Jacky Barile

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