Giant Bucket Hats: in fashion from Belle Époque to 2020

Giant Bucket Hats: in fashion from Belle Époque to 2020

Cappelli enormi, stravaganti, che agli albori dello scorso secolo facevano apparire le donne simili a colorati funghi e fiori eleganti. Questa tipologia di copricapo, dalla forma a grande casco rovesciato, ha ripreso linfa nel corso del ‘900 per tornare in auge durante questi ultimi anni. Pressoché disattesa la proposta di Louis Vuitton nella sua fall winter del 2012, il “Bucket Hat” è stato rielaborato da Marc Jacobs e Coach 1941 nella fw del 2017, per riapparire pressoché identico nella collezione Nina Ricci e Dior dell’autunno inverno 2019 – 2020. Ecco una mia accurata selezione per voi.

Giant, extravagant hats, which at the dawn of the last century made women look like colorful mushrooms and elegant flowers. This type of headgear, with a large inverted bucket shape, has taken on new life during the 1900s to come back into vogue during these last few years. Louis Vuitton’s proposal in his 2012 fall winter was almost completely dismissed, the “Bucket Hat” was reworked by Marc Jacobs and Coach 1941 in the fw of 2017, to reappear almost identical in the Nina Ricci and Dior collection of autumn winter 2019 – 2020 Here is an accurate selection I made for you.

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Giant Hat trimmed in fur and Aigrettes. 1911, the beautiful model reminds me Coco Chanel.
Giant Bucket hat, year 1911
Still from Belle Epoque, a young model wearing a Giant Hat.
Louis Vuitton fall winter 2012
Louis Vuitton fall winter 2012
Louis Vuitton fall winter 2012
 Winnie Harlow for Coach 1941 fall winter 2017
Marc Jacobs fall winter 2017
Nina Ricci fall winter 2019 2020
Bucket Hat from Dior fall winter 2019 2020

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1918 – 2018: Spring Illustrations in Fashion

spring 2018 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art 1918 1928 1958 1938

Here’s 5 beautiful graphic artwork that talk of fashion and costume across one hundred years. For each decade an image that describes us how the aesthetic taste has changed in fashion.

1918 spring 2018 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art

Paul Poiret Spring Dress from 1918

 

spring 1928 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art

The Delineator from April 1928

 

spring 2018 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art harper s bazaar dali

Harpre’s Bazaar – May 1938

 

spring 2018 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art 1948 my home

My Home magazine, April 1948

 

spring 1958 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art balenciaga flowers dress

Balenciaga spring dress. 1958

 

1968 spring 2018 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art makeup

Hippie – Flower Power illustration from spring 1968

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Dior adv from 1972 c. Artwork by Gruau

 

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dior Joyce – Paris 1988. Graphic by Duncan

 

1998 spring 2018 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art jean paul gaultier tribute to frida kahlo

Jean Paul Gaultier spring summer 1998. Artwork tribute to Frida Kahlo

 

2008 spring 2018 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art valentino pink shoes shocking dress gown alta

Valentino. Spring 2008.

 

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Gucci ss 2018

 

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Spider Dresses in 120 years of Fashion

La visione estetica del corpo rivestito da una ragnatela ha sedotto sin dal passato l’animo di stilisti, costumisti, e di donne desiderose di apparire come sensuali e pericolose aracnidi. Ho scelto per voi alcune suggestive immagini che descrivono al meglio il rapporto tra questa simbologia e l’abito, fotografie che ci raccontano di una tipologia di femminilità che segue la moda del proprio tempo, incentrata sulla caratterizzazione della donna attraverso un erotismo fatale.

The aesthetic vision of the body covered by a spiderweb has seduced the soul of stylists, costume designers, and women who yearned to appear as sensual and dangerous arachnids. I have chosen for you some suggestive images that best describe the relationship between this symbolism and the dress, photographs that tell us about a special kind of femininity that follows the fashion of one’s own time, focused on the characterization of women through a fatal eroticism.

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Annie Harrington in late 800s

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V. Surat from Movie, 1916

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Mack Sennett bathing beauties as “sirens of the sea.” c. 1920s

Coles Phillips

Coles Phillips

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Fancy Halloween Dresses from 20s

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20s spider jumpsuit

 

Lurex and Silk Cobweb dress from 20s:

 

 

 

 

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Madeleine Vionnet – Wedding Dress – 1929- Courtesy MET

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Elegance from 30s in cobweb details

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Mae West from 30s

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Helen Bennett, Spider Dress, 1939 by Horst P. Horst

Helen Bennett, Spider Dress, 1939 by Horst P. Horst

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To the sea in 40s

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Spider Dress from 40s

Jack Herzog Web Dress

Jack Herzog 40s gown

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Jack Herzog from 40s

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New Look in Spider

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From 50s a Poodle Spider Skirt

60s spider dress

Glamour in optical cobweb from 1967

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Stunning Spider details from Christian Dior – early 70s

 

John Bates at Jean Varon ‘Cobweb_ Dress

John Bates at Jean Varon ‘Cobweb’ Dress – 1973

John Bates at Jean Varon ‘Cobweb_ Dress 1973

detail

swell farewell web

Swell Farewell 80s evening dress

johnny slut neva web

Johnny Slut from Specimen during the 80s

giorgio armani 1990 beaded spider gown dress

Giorgio Armani 1990 beaded spider dress

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Gianni Versace jumper details from 90s

John Galliano for Givenchy - Haute Couture - Summer 1996

John Galliano for Givenchy – Haute Couture – Spring Summer 1996

john galliano 1997

John Galliano ss 1997

Givenchy Couture Fall 2000. metallic clothing

Givenchy Couture by McQueen – 2000

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Alice Auaa 2013-2015

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Schiaparelli Spring Summer 2016

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spider dress costume history moda raganela cowwbb dress

Studio 54: fashion through music and excess

Scanditi dal ritmo della trasgressione gli anni dello #Studio54 hanno sconvolto e condizionato suoni e moda nel proprio tempo e in quello a venire.

Code interminabili all’ingresso della discoteca per ottenere un posto in un’ambiente popolato da una moltitudine eterogenea di persone. Luci colorate, ritmi assordanti ed ipnotici, alcol, droghe, vip e futuri tali affollano i privè e si mischiano tra il pubblico in un’orgia di musica ed eccessi.

Racconto di questa discoteca simbolo di un’epoca nel mio libro:

“Il Macabro e il Grottesco nella Moda e nel Costume”. Edz Progedit.

Il volume è acquistabile anche al link:

Il Macabro e Il Grottesco nella Moda e nel Costume

 

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Skilled by the rhythm of the transgression, the Studio 54 years have upset and conditioned sounds and fashion in their own time and in the coming one.

Endless codes at the entrance of the disco to get a place in a place populated by a multitude of people. Colorful lights, deafening and hypnotic rhythms, alcohol, drugs, vip togheter with common people in an orgy of music and excesses.

I wrote about this iconic disco in my book:

“Macabre and Grotesque in Fashion and Costume”. Edt Progedit.

The volume is also available to the link

“The Macabre and Grotesque in Fashion and Costume History”

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Studio 54

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Grace Jones at Studio 54

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Pat Cleveland and Jerry Hall at Studio 54

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Indifferenza numero 21 – the train of death

Nel centro di Milano esiste un luogo dimenticato, sepolto dal cemento e dall’indifferenza, lontano eppur vicino al rumore della città, distante ma rasente le vie del consumismo più sfrenato. Questo luogo è intriso di lacrime e di addii, è un binario situato al di sotto della stazione ferroviaria centrale della città e ha numero 21. Partenze senza ritorno per centinaia di persone convogliate nei bui e squallidi vagoni in legno e lamiere, trainati per giorni al freddo verso la più bieca delle destinazioni: i campi di sterminio di Auschwitz-Birkenau, Bergen Belsen, Mauthausen, altri campi italiani.

Il treno che scivolava lungo il binaro numero 21, un tempo adibito al trasporto di pacchi e corrispondenza, tra il 1943 e il 1945 fu il tragico mezzo di trasporto che condusse alla morte innocenti esseri umani, vittime dell’indifferenza di tutti coloro che sapevano quel che accadeva e voltavano la faccia verso un’altra direzione. Il 30 gennaio del 1944 faceva freddo a Milano, spinti e affastellati come lettere senza testo 605 persone smisero di calpestare la terra per sprofondare nell’inferno. Ritornarono solo in 22.

Ancora oggi il binario è lì, qualche metro sotto i piedi che calcano noncuranti il suolo un tempo proibito a tutti quei deportati. Prima dei forni crematori e delle camera a gas è l’indifferenza che stermina.

 

In the center of Milan there is a forgotten place, buried by indifference, far away near the noise of the city, distant but close to the streets of the most unbridled consumerism. This place is full of tears and goodbyes, it is a platform located below the central railway station of the city and has number 21. Departures without return for hundreds of people piped in the dark and squalid wooden wagons and plates, towed for days to cold to the most sinister of the destinations: the extermination camps of Auschwitz-Birkenau, Bergen Belsen, Mauthausen, other camps.

The train that slid along the binar number 21, once used to transport parcels and correspondence, between 1943 and 1945 was the tragic means of transport that led to the death of innocent human beings, victims of the indifference of all those who knew that that happened and turned the face to another direction. January 30, 1944 was cold in Milan, pushed and bundled as letters without text 605 people stopped trampling the earth to sink into hell. They returned only in 22.

Even today the track is there, a few feet below the feet that carelessly kick the ground once forbidden to all those deportees. Before the crematory ovens and the gas chambers is the indifference that exterminates.

Luciano Lapadula

Risultati immagini

Risultati immagini

 

Risultati immagini per auschwitz

Auschwitz

Risultati immagini per auschwitz

Immagine correlata

Risultati immagini per auschwitz

Immagine correlata

 

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