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December 10, 2025BeautyPhoto story Beauty / Photo story Contorted photos of men’s feet in archive Prada heels

Photographer Pietro d’Azzo’s new project Men in Heels captures the contortions, crumpling and arching of one man trying to fit into archive Prada shoes

ShareLink copied ✔️December 10, 2025December 10, 2025TextDazed BeautyMen in Heels Men in Heels Pietro d’Azzo

Gallery / 36 images

A man’s foot pressed inside a shoe, contorting itself to fit, the angle of the heel forcing it into an almost violent shape. It’s an image full of tension; sharp edges and pointed tips moulding the body into an unnatural sculpture. And it’s one that moves photographer Pietro d’Azzo, so much so that he has centred his latest project, Men in Heels, which sees bare feet stuffed into a collection of different coloured and patterned heels, around it.

D’Azzo has always been fixated on heels and the form of the foot, citing his fascination as having been around “since forever”, and he speaks of them in the way some people talk about art. “Patterns and shapes are the foundation of beauty, and heels are a pure concentration of both,” he says. “When it comes to fashion accessories, I believe that among all components, the heel is the one that most clearly expresses design and structure. In such a relatively small object, so many elements come together: design, sexuality and attitude.” In the series, men’s feet buckle and stretch, crumpling toes and arching soles into heels not primarily designed for them.

Photography Pietro d’Azzo

The project began with shoes from his own archive. “I have been collecting Prada heels for years even though they don’t fit me, because I am incredibly fascinated by their shape, texture, materials and beauty.” For Men in Heels, d’Azzo invites long-term collaborator Daniele to step into those shoes, a continuation of the attraction the two have shared for years, trying to fit into pairs they’ve bought.

D’Azzo’s inspirations range widely: Billy Elliot’s tale of awkward longing – “I think it was my first exposure to young men dealing with the attraction to feminine garments,” he says – the lines of ballet dancers, a sculpture by Elmgreen & Dragset showing a boy wobbling in oversized heels while looking at himself in the mirror, and, of course, feet themselves. His work folds these references into something that questions where masculinity sits within traditionally feminine objects. “It makes sense to me, and I believe it also resonates with lots of other men,” he says.

Taking these inspirations, d’Azzo wanted to flip the familiar narrative. “I wanted to shift that perspective and develop a project from the opposite angle: an adult trying to fit into small heels.” In the end, he hopes viewers take away a sense of freedom from the project.

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