Some copies from past – Spring Summer 2020

Spring Summer 2020. Guardando le sfilate mi sono accorto di dettagli che spaziano dal trucco alle calzature. Dettagli che sono spesso brutte copie di cose passati. Spesso in molti dimenticano le mode trascorse, così giornalisti e pubblico pensano si tratti di elementi frutto di creatività e innovazione. Vediamone alcuni.

Spring Summer 2020. Looking at the fashion shows I noticed details ranging from make-up to footwear. Details that are often bad copies of past things. Often many people forget the fashions passed, so journalists and the public think that these elements are that are the result of creativity and innovation. Sometimes, often, it is better the original. Let’s see three of them.

Style should celebrate individuality through the Twiggy’s make-up of the 60s, with the intention of emphasis the look, asserts Gucci Beauty. We are at Milan Fashion Week
and the models come on stage with bleach eyebrows covered with thick and dark artificial eyelashes. I personally believe that sometimes it would be better just copying from the past, avoiding slipping in a result lacking in sense, research. What do you think? In my comparison, on the left Gucci (ph Vogue Italia), in the right Twiggy in the 60s.

In my comparison Sharon Tate 1968 vs Mugler at his Paris Fashion Week SS 2020.
The unkempt eyebrows and fixed towards the other are not new. Ps: not even the eyeliner line is new, Chanel had already done it.

Pierre Cardin sequin gown, 1965 and Pierre Balmain on runway in Milan, 27/09/2019 for his ss 2020, ph Vogue Italia. Different dresses, same mood.

Yves Saint Laurent Rive Gauche 1976-77 and Celine prêt-à-porter ss 2020

Boots with a particular design, which have the heel taken from the red “Delman” shoes, preserved at the Met Museum and dated 1937 – 1939. The upper part is instead a mix between the cuissardes of Roger Vivier, 1967, and the creations of André Courreges, in the photo year 1970.

A little curiosity, which has nothing to do with the above. In June I made two sketches for a project, revisiting some constriction shirts for the characters, based on their oppressed identities. What a surprise yesterday, to see that Gucci developed the same concept. On the left, my figures on the right, the images of Vogue Italia from Spring Summer 2020

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Divas Beyond a Veil.

Mistero, ambiguità e seduzione sono peculiarità che appartengono a molte tra le star del cinema. Da sempre, e con molta frequenza, la loro immagine conturbante è amplificata grazie all’utilizzo di veli che ricoprono il volto, conferendo carisma e magnetismo.

Il drappo di una veste, per merito del cinema e della fotografia, ha perso la funzione di mero rivestimento del corpo per esibire lo stesso con sensualità, svelandolo in segreto. Non più tessuto utile a coprire, bensì pizzo, rete, seta adoperati per svestire i soggetti fotografati, lasciando immaginare allo spettatore fattezze, carattere, atmosfere inattese e maliziose.

Lo sguardo dell’icona giunge a noi filtrato dal lembo di un tessuto prezioso, la cui grana seduce e mantiene le distanze dal piacere accennato, che resta in ombra.

Ecco alcune immagini che ho raccolto.

************

Often the provocative image of Diva is amplified by the use of veils that cover her face, conferring charme and mistery. Thanks to the cinema and photography, this garment lost its only function of dress to exhibit the body with sensuality, unveiling a secret. No more useful fabrics to cover, but lace, net, silk used to undress the actress in movies and pictures, leaving viewers to imagine the features, character, atmospheres.

Gloria Swanson photographed by Edward Steichen for a 1924 Vanity Fair.:

Gloria Swanson by Edward Steichen, 1924

Gloria Swanson by Ellen Graham:

Gloria Swanson by Ellen Graham

Lili Damita @@@@@......http://www.pinterest.com/pocketmuseum/1920s-fashion-in-photographs/  ......€€€€€€€€€€€€€€€€€€€€€€€€€€€€:

Lili Damita, 20s

Joan Crawford in the 1920s, Photo by Ruth Harriet Louise #1920s #lace #hat:

Joan Crawford by Ruth Harriet Louise, late 20s

Brigitte Helm| 1906-1966 | a German actress, best remembered for her dual role as Maria and her double, the Maschinenmensch, in Fritz Lang's 1927 silent film Metropolis:

Brigitte Helm, 1927

anna mae wong:

Anna May Wong, Limehouse Blues, Travis Banton, 1934

Anna May Wong -

Anna May Wong, 1934

Jean Harlow:

Jean Harlow, 30s

PETRICHOR:

Bette Davis, 30s

Classic Beauties : Marlene Dietrich:

Marlene Dietrich, 1940, John Engstead

Marlene Dietrich in

Marlene Dietrich, “Just a Gigolo” 1978

Frances Farmer, 1930s - They made a bio-film about her life (very tragic) Jessica Lang played Frasncis:

Frances Farmer early 40s

Ava Gardner:

Ava Gardner, 40s

Actress Lana Turner in a wonderful polka dot veil adorned hat, 1940s. #vintage #hats #1940s:

Lana Turner, 40s

Detail of a photo of Vivien Leigh by Cecil Beaton for Vogue, Paris, November 1944:

Vivien Leigh by Ceceil Beaton, Vogue, 1944

Gina Lollobrigida:

Gina Lollobrigida, 50s

Audrey Hepburn photographed at Ealing Studios, London, 1951 Classic Hollywood Stars:

Audrey Hepburn, Ealing Studios, London, 1951

Audrey, with the infamous Givenchy mask in How To Steal a Million. This movie is wonderful.:

Audry – Givenchy, “How to steal a Million”, 1966

Capucine in Marie-Christiane, 1953. Photo Guy Arsac:

Capucine, Guy Arsac, 1953

Marilyn Monroe photographed by Bert Stern, 1962:

Marilyn Monroe by Bert Stern, 1962

Marilyn Monroe was looked at as a fashion icon and she has also had a great impact on what we wear today.- Caroline m:

Marilyn as a Virgin?

Sophia Loren, 1960s.:

Sophia Loren, early 60s

Sophia Loren:

Sophia Loren with veil turban

Virna Lisi, reportage sul set di “Oggi, domani, dopodomani” (Eduardo De Filippo, 1965)  Photo Angelo Frontoni:

Virna Lisi, “Oggi, domani e dopodomani”, 1965

Brigitte Bardot - 1960's:

Brigitte Bardot, early 70s

Romy Schneider on the set of Le trio infernal, 1974. Photo by George Pierre. via http://hollywoodlady.tumblr.com/:

Romy Schneider, 1974, Le Trio Infernal

Silvana Mangano in Gruppo di Famiglia in un Interno (Conversation Piece):

Silvana Mangano, “Gruppo di famiglia in un interno”, 1974

I always thought that Elizabeth Taylor was so sensuous. Here she poses nude behind a sheer veil.:

Elizabeth Taylor, 70s

Catherine Deneuve on the set of The Hunger.:

Catherine Deneuve, The Hunger, 1983

Joan Collins...played a great bitch in dynasty:

Joan Collins, 80s

Charlize Theron:

Charlize Theron

Julianne Moore, “The end of the affair”, 1999

Marion Cotillard by Ellen von Unwerth:

Marion Cotillard by Ellen von Hunwerth

angelina jolie:

Angelina Jolie

suicideblonde:“ Cate Blanchett photographed by Patrick Demarchelier ”

Cate Blanchett by Patrick Demarchelier

Cate Blanchett.:

Cate Blanchett

Kirsten Dunst:

Kirsten Dunst

Keira Knightley. In my opinion, she is by far one of the most beautiful women I've ever seen! She's so classically stunning!:

Keira Knighltly, “The edge of love”, 2008

Luciano Lapadula

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Il brutto della Pop Art a Milano ss 2016

Dalle ultime passerelle milanesi un breve percorso che congiunge alcune creazioni contemporanee al mood  della Pop Art, della Strada, della Moda del Passato.

Moschino fa sfilare le sue modelle all’interno di quello che sembra essere un autolavaggio. Abiti-spazzoloni e indossatrici che imitano male il passo indiavolato che fu di Pat Cleveland.

Moschino ss 2016

Moschino ss 2016

Modelle che ci fanno  – solo – immaginare di aver abbandonato l’esclusività di una passerella per infilarsi dentro abiti-divise normalmente indossati da chi si occupa della manutenzione stradale.

Moschino ss 2016

Moschino ss 2016

Sfilano per lui anche ragazze che indossano creazioni decorate con paillettes a motivi Pop, un po’ come quelli presentati da Gianni Versace nel 1990:

Moschino - ss 2016 Milan Fashion Week

Moschino – ss 2016 Milan Fashion Week

Gianni Versace 1990 Modella Linda Evangelista

Gianni Versace 1990
Modella Linda Evangelista

Già nel 2014 Christopher Kane  aveva presentato qualcosa di simile:

Christopher Kane Spring 2014 Ready-to-Wear

Christopher Kane ss 2014

Prima ancora ci avevano pensati altri, nel 2013 a riproporre questo mood fu la volta di Tom Ford:

Tom Ford fw 2013

Tom Ford fw 2013

Per il giorno e per la sera Jeremy Scott-Moschino rispolvera linee a metà tra i primissimi anni ’90 e gli anni ’50. Il riferimento a quest’ultima decade é lapalissiano rispetto allo stile Dior, da Chrtistian a Galliano, di pochi anni fa, ma non manca qualche richiamo a Charles James:

charles james 1950

C. Jamens 1950

Moschino ss 2016

Moschino ss 2016

Moschino ss 2016

Moschino ss 2016

Christian Dior curaçoa dress fw 1954

Christian Dior curaçoa dress fw 1954

dior by grau 1955

Una creazione Dior del 1955 attraverso l’illustrazione di Gruau

Sempre presenti – anche all’interno della collezione presentata da Jeremy Scott (vedi post) per l’ omonimo brand, le infinite e ormai ripetitive copie di Andy Warhol e Liechtenstein, con abiti dalle stampe pop art di cui si é preso il senso artistico:

A model walks the runway during the Moschino fashion show as part of Milan Fashion Week Spring/Summer 2016 on September 24, 2015 in Milan, Italy.

MOschino ss 2016

A model walks the runway during the Moschino fashion show as part of Milan Fashion Week Spring/Summer 2016 on September 24, 2015 in Milan, Italy.

Moschino ss 2016

Preda di questa facile produzione anche Au Jour le Jour che presenta abiti e accessori sponsor del detersivo Dash .

1965 vs 2016

1965 vs 2016

Non siamo più negli anni ’50 però.

Au Jour le Jour ss 2016

Au Jour le Jour ss 2016

Au Jour le Jour ss 2016

Au Jour le Jour ss 2016

Au Jour le Jour clp RS16 0003

Au Jour le Jour ss 2016

Queste le creazione artistiche in origine…:

Lisa Perry Dress limited edition capsule collection - Roy Lichtenstein SPRAY,1962

Lisa Perry Dress limited edition capsule collection – Roy Lichtenstein SPRAY,1962

Andy Warhol soup dress 1964

Andy Warhol soup dress 1964

Andy Warhol Brillo Box Dress 1964

Andy Warhol Brillo Box Dress 1964

Roy Lichtenstein Lee Rudd Simpson Dress, c.1965

Roy Lichtenstein Lee Rudd Simpson Dress, c.1965