In re shoes: That makes sense, since the sylph corps doesn't appear until the second act. In the first act, all the 'Scots' are either in character shoes or character heels. BTW, ghillies (shoes for Scottish/Irish dance) don't lace very far up - the lacing is more on the foot and ankle actually. You can see Highland (Scottish) ghillies here
You can see pictures - unfortunately none from Act I - of the RDB version here
As to Bournonville - YES!!! There was a period when Bournonville style was not taught in the school much at all, but now it's an integral part of the training. Though of course the students also learn the technique needed for the rest of the ballets & styles in the repertoire, and thanks to Volkova and Balanchine, there's a Russian influence.
I believe that Frank Andersen wants all the students to have done all the Bournonville Schools (classes) while they are training. During the Bournonville Festival last year, the students took part in the daily lecture-performance of the Bournonville schools and there is now a superb DVD/book/score set of the complete Bournonville Schools. The students also did a stunning performance of some of the schools at the Gala Performance at the end of the Festival - this I have on DVD. I believe it was the complete school, and as the steps progressed, the younger kids would file off, class by class. But the overall style and presentation, from the littlest kids (7 perhaps?) up to the 16 year old aspirants, was breathtaking.
Apprentices and all new company members who did not come through the school also are supposed do Bournonville classes, usually once a week - often taught by Thomas Lund of Anne Marie Vessel, though the regularity depends on the rehearsal schedule. I think it does help them to catch up on what they've 'missed' in their non-RDB training.
But I think mainly the dancers learn by watching and being coached by the older dancers and company teachers. The oral tradition is very much alive at the RDB. And it shows in the superb, quick footwork - there's nothing like seeing Thomas Lund or Mads Blangstrup or Gudrun Bojeson or Caroline Cavallo with their feet flashing at a million miles per hour.