Clarks at 200 Years: Why the Shoemakers Museum Matters for Brand Heritage
On a crisp September morning in Street, Somerset, a modest pair of sheepskin slippers—patched together from offcuts in the 1820s—sits behind glass. For visitors, it’s a small object; for the brand it represents, it’s an origin myth rendered tangible. The Shoemakers Museum, which opened in mid-September 2025 to coincide with Clarks’ bicentenary, does more than collect shoes: it stitches together two centuries of craft, commerce, community and culture into a narrative that explains how a Quaker family workshop grew into a global footwear identity. The museum is, quite simply, an argument for why brand heritage matters—and how it can be put on public display in a way that does real work for the company, the local place, and the wider culture. (Shoemakers Museum)
Objects as stories: the museum’s curatorial logic
Museums are storytelling machines. A pair of Desert Boots with a factory stamp, a child’s first shoe, a wall of Wallabees signed by musicians—each object carries multiple stories: of design choices, of the people who made them, of the moments (and markets) that made them famous. Curators at the Shoemakers Museum chose to foreground not just the headline models that turn up in pop culture histories—Desert Boots and Wallabees among them—but also the everyday artefacts of a manufacturing town: measuring gauges, jigs, production-line machines, and the personal ephemera of Clarks employees. These choices expand the meaning of the brand beyond product to process, and beyond logo to labour. That’s essential when a company wants to claim authenticity. (The Guardian)
There’s an important curatorial balancing act at play. On one side is myth—founders Cyrus and James Clark, Quaker values, a scrappy origin story of slippers made from rug offcuts. On the other is a more complex industrial history: mechanisation in the 19th century, the building of factory communities, and eventually the deindustrialisation and offshoring of production in later decades. The museum chooses to hold both at once: celebrating the design icons that gave Clarks cultural resonance while also honoring the skilled hands and machines that produced them. That complexity is a defensible and modern approach to heritage: brands that curate their past honestly gain credibility in the present.
Place, memory and local identity
One reason the Shoemakers Museum matters is its rootedness. It sits in Street, adjacent to Clarks’ historic headquarters and the Alfred Gillett Trust—which houses the company archive and stewarded the collection into a public museum. That proximity matters. Heritage that remains near its place of origin helps anchor a brand to a geography of meaning: Somerset is no mere backdrop, it’s part of the story. For the local community, the museum is both a repository of collective memory (grandparents who worked on the line, children fitted for their first school shoes) and an economic anchor—drawing visitors into Clarks Village and the town itself. Museums that connect to local identity can be engines for civic pride as well as tourism. (Shoemakers Museum)
Brands sometimes try to plaster global narratives onto local ones and lose authenticity. Clarks’ move to open a museum in Street—on the site where the company’s social projects and schools once stood—illustrates a different tack: use the local to explain the global. The museum’s exhibits about philanthropy, Quaker social values and community institutions demonstrate that Clarks’ success was always entangled with place-based commitments. That’s a powerful story in an age when consumers increasingly ask where products come from and what companies contribute to the places they touch. (The Guardian)
Cultural resonance: from school shoes to stagewear
Clarks’ fame is a chameleon—different audiences see different things. In the UK it’s often synonymous with school shoes; in the US and elsewhere it has been adopted by subcultures, from hip-hop to Britpop. The Wallabee, adopted and amplified by the Wu-Tang Clan and immortalised in TV moments like Breaking Bad, shows how a product can be repurposed by culture and gain new meanings far from its original market. The Desert Boot, influenced by wartime travel and later adopted by mod culture, is another example of a design that kept reinventing itself as it moved through decades and tastes. By showcasing those cultural afterlives—advertising, film, celebrity endorsements, and stagewear—the museum turns the brand into a cultural archive, not just a corporate one. Visitors who grew up wearing Clarks for school suddenly recognise that the brand also shaped music scenes and street style, which widens its relevance. (The Guardian)
For brand managers, that duality is gold. Heritage museums can reframe a product’s identity, reminding older customers of their own narratives while introducing younger audiences to the brand’s unexpected cultural credentials. That cross-generational work helps maintain relevance: heritage doesn’t have to fossilise a brand; it can be a platform for reinterpretation.
Heritage as corporate accountability
Not all heritage is celebratory; some of it is uncomfortable. The Shoemakers Museum doesn’t ignore the hard questions. Industrial histories inevitably involve labour issues—long shifts, repetitive work, and the centralisation and later outsourcing of production. By displaying machinery and telling workers’ stories—naming nicknames, celebrating skill—the museum foregrounds labour as part of the brand’s identity. That’s important because it reframes craftsmanship as human skill, not just a marketing trope. It also opens a space for the company to acknowledge the social cost of industrial shifts and to celebrate the communities that shaped its history. That kind of transparency can be read as a form of corporate accountability: brands that curate honestly are less likely to be accused of selective nostalgia. (The Guardian)
Heritage exhibits that include labour stories invite a broader conversation about sustainability, supply chains and the ethics of production—topics consumers and investors now scrutinise. A museum that addresses those themes can help a brand do more than burnish its image; it can scaffold a credible narrative for how it will act in the future.
The trust model: stewardship beyond commerce
A critical structural detail in Clarks’ heritage project is governance: the Shoemakers Museum is operated by the Alfred Gillett Trust, a charity set up to preserve the Clarks archive and collection. That governance model matters because it frames the museum as a public-good institution, not a marketing department. Trust-run museums tend to have more curatorial independence and a mandate to serve researchers, schools and local communities as well as brand fans. That independence gives the museum legitimacy: visitors are less likely to read exhibits as corporate spin if they’re curated by a charitable trust with scholarly and civic responsibilities. It also ensures long-term stewardship of the collection beyond the commercial cycles of fashion. (Shoemakers Museum)
The trust model also opens collaboration with universities, conservationists and other museums. That amplifies the collection’s research value, and positions Clarks within a broader heritage ecosystem. For a 200-year-old brand, that ecosystemic positioning is a strategic move: it moves the company from being a commodity maker to being a cultural institution.
Why this matters for modern brand strategy
In an era of rapid trend cycles, brands often face a tension: stay rooted in core identity or chase ephemeral cool. Heritage can be weaponised by both sides. But when done well—honest curation, local engagement, governance through a trust, and attention to labour and cultural histories—heritage becomes a resource for resilience. It supplies stories that advertising can’t invent overnight: continuity, provenance and the ability to reinvent meaning across generations.
For Clarks specifically, the Shoemakers Museum creates a set of tangible assets the company can mobilise: archives for product development (designers mining 100-year-old patterns), educational programmes that train new craftspeople, and exhibitions that partner with music, fashion and cultural festivals. The museum helps the brand target diverse audiences: nostalgic customers, design students, school groups, tourists and international fans who encountered the brand in very different cultural contexts. That breadth is valuable—heritage multiplies audience reach rather than narrowing it.
The economic and cultural returns
It’s tempting to look at a museum and ask only about footfall and ROI. Yes, museums can drive tourism, create retail spillover for nearby villages (Clarks Village, in this case), and generate programming revenue. But the returns are also intangible: reputation capital, crisis resilience (brands anchored in legitimate heritage weather scandals differently), and a richer talent pipeline (designers and archivists may be drawn to work with a brand that preserves its past). By operating publicly through the Alfred Gillett Trust, Clarks converts corporate memory into civic memory—and that publicness itself is a form of brand investment. (Retail Gazette)
Lessons for other brands
Not every company needs a museum. But there are lessons here for firms that want to treat history as strategic:
- Be honest and comprehensive. Honor both the design triumphs and the labour history—people can smell selective nostalgia. (The Guardian)
- Connect to place. If your brand has geographic roots, use them to create richer narratives and local goodwill. (Shoemakers Museum)
- Choose governance carefully. A trust or independent foundation can lend legitimacy and ensure long-term stewardship. (Shoemakers Museum)
- Design for multiple audiences. Heritage should speak to scholars, customers, school groups and culture fans simultaneously. (Museums Association)
- Make heritage useful. Use archives for new product inspiration, educational programming and partnerships that extend the brand’s cultural footprint. (Clarks)
Clarks at 200 Years: Why the Shoemakers Museum Matters for Brand Heritage
Case Studies, Comments, and Real-World Examples
In 2025, Clarks, one of Britain’s most iconic footwear brands, celebrates an extraordinary milestone: 200 years of continuous operation. Founded in 1825 by brothers Cyrus and James Clark in the small Somerset village of Street, Clarks has grown from a humble Quaker family business making slippers out of sheepskin offcuts to a global fashion and lifestyle powerhouse known for timeless classics like the Desert Boot and Wallabee.
To mark this bicentennial, Clarks opened the Shoemakers Museum—a purpose-built cultural and historical institution dedicated to preserving and telling the story of its heritage. This museum is more than just a showcase of shoes; it is a living testament to the company’s legacy, its impact on the local community, and its role in shaping global footwear trends and subcultures.
In this feature, we’ll explore why the Shoemakers Museum matters through detailed case studies, comments from industry voices, and real-world examples of how Clarks’ history remains relevant to contemporary brand strategy and cultural identity.
Case Study 1: Preserving Craftsmanship and Design Icons
The Desert Boot as a Cultural Artifact
The Desert Boot, designed by Nathan Clark (great-grandson of the founders) in 1949, is arguably Clarks’ most iconic design. Inspired by boots worn by British soldiers in Egypt during World War II, the Desert Boot became a fashion statement during the 1950s and 1960s. It was adopted by mods in the UK, jazz musicians in the US, and later by a variety of youth subcultures around the world.
At the Shoemakers Museum, visitors can see original prototypes of the Desert Boot, handwritten design sketches, and even early marketing campaigns that helped cement its place in popular culture. This exhibit serves as a case study in how heritage products can remain relevant across generations.
Comment from Dr. Lydia Grant, fashion historian at the University of the Arts London:
“The Desert Boot isn’t just a shoe; it’s a cultural signifier. By showcasing its evolution—from military necessity to high-street staple—Clarks is doing more than celebrating its past. It’s educating consumers about design history and demonstrating how a single product can adapt to shifting cultural contexts.”
Example:
Brands like Levi’s 501 jeans and Ray-Ban Wayfarers have also leveraged their heritage products to stay relevant. By putting the Desert Boot on display alongside global icons, Clarks positions itself as a peer in the world of enduring design classics.
Case Study 2: Local Heritage, Global Reach
Street, Somerset as the Heart of Clarks’ Story
Clarks’ origins are deeply tied to the village of Street, where the company built not only factories but also schools, housing, and recreational facilities for its workers. This model of Quaker-inspired social responsibility was ahead of its time, reflecting a belief that business success should benefit the community.
The Shoemakers Museum stands adjacent to the original factory site and Clarks Village, a retail outlet that draws millions of visitors annually. It tells the story of how a rural town became a global footwear hub, while also acknowledging the challenges of industrial decline and the eventual outsourcing of production.
Comment from Jane Coles, Director of the Alfred Gillett Trust (which operates the museum):
“Our goal was to create a space where local people could see their family histories reflected while also telling a global story. Many visitors have parents or grandparents who worked at Clarks, so the museum is as much about community identity as it is about shoes.”
Example:
This mirrors what Guinness has achieved with its Storehouse museum in Dublin, turning local production heritage into a tourist destination and strengthening brand loyalty. For Clarks, the Shoemakers Museum similarly provides economic and cultural benefits to Street and Somerset.
Case Study 3: Music, Pop Culture, and the Wallabee Phenomenon
Clarks in Hip-Hop and Streetwear
While Clarks is synonymous with school shoes in the UK, its reputation abroad—especially in the US and Caribbean—has been shaped by music and streetwear culture. The Wallabee, first released in the 1960s, became a cult favorite thanks to Jamaican reggae artists and later American hip-hop icons like Wu-Tang Clan.
The Shoemakers Museum dedicates an entire section to Clarks’ pop culture impact, featuring signed pairs of Wallabees from musicians and videos of performances where the shoes became part of a cultural identity.
Comment from RZA of Wu-Tang Clan, via a recorded interview in the exhibit:
“Clarks Wallabees weren’t just shoes to us—they were a symbol. They represented style, individuality, and the streets we came from. Seeing them honored in a museum shows how deep that connection goes.”
Example:
This is comparable to Adidas’ collaboration with Run-D.M.C., where the track “My Adidas” turned sneakers into a cultural movement. By highlighting its similar legacy, Clarks reinforces its relevance to younger, style-conscious consumers.
Case Study 4: Addressing Difficult Histories
Transparency in Industrial Heritage
While Clarks celebrates its successes, the museum also takes an honest look at challenging chapters, such as the decline of UK manufacturing and the move to overseas production in the late 20th century. Displays include stories from former factory workers, photographs of strikes, and oral histories documenting the human impact of these economic shifts.
Comment from Professor Alan Winters, expert in industrial history:
“It’s rare for a brand to openly acknowledge the complexities of globalization. By including workers’ voices and documenting the realities of factory closures, Clarks builds trust with visitors and demonstrates a commitment to transparency.”
Example:
This approach echoes Levi Strauss & Co.’s visitor center in San Francisco, where exhibits address the company’s role in environmental and labor challenges. For Clarks, such honesty helps avoid the trap of selective nostalgia.
Case Study 5: The Museum as a Living Resource
Inspiring Future Designers
The Shoemakers Museum isn’t just about the past—it’s also a creative hub for innovation. Clarks has opened its archives to design students and partnered with universities to create workshops where young designers can study historical techniques and materials.
One notable partnership is with the London College of Fashion, where students use the museum’s archives to develop sustainable footwear concepts.
Comment from Emily Foster, footwear design student:
“Seeing the actual prototypes and production tools used by generations of shoemakers is incredibly inspiring. It bridges the gap between heritage and innovation.”
Example:
Similar to how Vitra Design Museum inspires furniture designers through its archives, Clarks uses its museum to nurture the next generation of footwear creators, ensuring its legacy evolves.
Why This Matters for Brand Strategy
1. Authenticity in Marketing
In a world where consumers are skeptical of corporate narratives, authentic heritage is a valuable asset. By making its history tangible and public, Clarks demonstrates that its claims of craftsmanship and quality are grounded in fact, not marketing spin.
Example:
Luxury brands like Hermès and Burberry have similarly leveraged their archives to strengthen consumer trust.
2. Strengthening Community Relationships
By investing in a museum that serves both locals and tourists, Clarks reinforces its ties to Street, Somerset. This kind of place-based brand strategy is crucial at a time when many companies face criticism for abandoning their roots.
Example:
Car manufacturer BMW’s Munich Museum plays a similar role, connecting the brand to its city and community.
3. Driving Tourism and Economic Growth
The Shoemakers Museum is expected to attract tens of thousands of visitors annually, creating a tourism boost for the region and supporting local businesses. This aligns with Clarks’ broader retail ecosystem, particularly the nearby Clarks Village outlet center.
Example:
The Guinness Storehouse in Dublin generates over €200 million annually for the local economy. While Clarks’ museum is smaller, it has similar potential on a regional scale.
4. Educating Consumers and Employees
The museum doubles as a training tool for Clarks employees, helping them understand the brand’s values and history. This strengthens internal culture and ensures consistent messaging across global markets.
Comments from Visitors and Industry Voices
- Sophie L., visitor from Bristol:
“I brought my children here to show them where their school shoes come from. It gave them a whole new appreciation for something they take for granted.” - Mark Thompson, retail analyst:
“In today’s competitive market, heritage is one of the few assets that can’t be replicated. Clarks is using its museum to create a moat around its brand identity.” - Naomi Harris, Somerset local:
“My grandmother worked at the Clarks factory. Seeing her name on the wall of workers made me emotional. It’s a beautiful tribute to the people who built this brand.”
Conclusion: A Legacy Worth Preserving
At 200 years old, Clarks stands at a crossroads between tradition and innovation. The Shoemakers Museum is more than a celebration of the past—it’s a strategic investment in the future, providing a platform for storytelling, community engagement, and design inspiration.
By embracing both the triumphs and challenges of its history, Clarks sets an example for how brands can use heritage as a living, dynamic resource. From the Desert Boot’s cultural journey to the voices of factory workers, the museum captures the full complexity of a brand that has shaped—and been shaped by—two centuries of global history.
As brands around the world grapple with questions of authenticity, sustainability, and cultural relevance, Clarks’ Shoemakers Museum offers a compelling answer: honor your past, share it openly, and use it to build a more meaningful future.