Hairstyles Revival in time

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Le acconciature al pari degli indumenti seguono delle tendenze ben precise spesso in linea con un mood che riporta in auge fogge del passato. Ecco alcuni hairstyle che ho studiato e che sono frutto di rielaborazioni di mode più vecchie.

Hairstyles like garments follow trends often in line with a mood that makes comeback styles of the past. Here are some hairstyles that I have studied that are the result of reworkings of older fashions. Follow me for more.

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1855 1955 50s hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses victorian hair

Haistyle: 1855 vs 1955

1920s hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses 20s cher louise brooks hair

Louise Brooks in 20s – Cher in 1972 by Richard Avedon

1940s hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses 40s pinup

Tricia Helfer for Yves Saint Laurent in 1996 vs Betty Grable in 40s

1970s hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses 70s gothic rolled hair raquel zimmermann guido palau copy elle pageboy

Pageboy from 70s to now with Alice Kastrup. Ph credit Filippo Del Vita for Creem Magazine

1970s hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses 70s gothic rolled hair raquel zimmermann guido palau copy

Rolled Hair in 70s and Guido Palau from “Hair” 2014

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1940s waves and make-up from Hedy Lamarr to contemporary Katy Perry

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Supermodel Eve Salvail in glorious 1994 vs Dior men 2018

The #bighair of #PriscillaPresley in 1968 are now on #Valentino runway

The #bighair of #PriscillaPresley in 1968 are in 2018 on #Valentino runway

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The Macabre and the Grotesque in Fashion and Costume History“.

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20s Flapper girls from China

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Una nuova tipologia di donna nasce in Cina durante gli anni ’20. La sfrenatezza della vita occidentale, legata al ritrovato benessere, invade l’Oriente e la sua moda che lentamente è sedotta dall’immagine à la Garçonne. Il pesante cerone, gli ombrellini di carta, i fascianti kimono in seta cedono il passo ad impalpabili abiti  in chiffon, a trucchi meno vistosi, ad acconciature “alla maschietta”. E si fa strada ad Hollywood la prima tra le attrici cinesi, Anna May Wong, destinata a divenire un’icona di stile per il mondo intero. Di seguito una selezione di immagini che testimoniano questa rivoluzione sociale e vestimentaria in Cina.

© COPYRIGHT: Luciano Lapadula

A kind of woman was born in China during the 1920s. The wildness of Western life, linked to the refounded welfare, invades the Orient and its fashion that was slowly seduced by the style “à la Garçonne”. The heavy make-up, the paper umbrellas, the kimono silk bindings give way to impalpable chiffon dresses, to less conspicuous make-up, to “boyish” hairstyles. And the first of the Chinese actresses, Anna May Wong, was making her way to Hollywood, destined to become a style icon for the whole world. Below for you a selection of images that testify to this social and clothing chinese revolution.

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Illustrazione cinese anni ’20. Due ballerine indossano un abito tradizionale chiamato Cheongsam, rivisitato per un look occidentale tipico della “Flapper Girl”. I capelli sono corti e in stile Garçonne. Calzature T-Bar. 

Cheongsam china shangai dancer 1920s 20s blog blogger fashion history luciano lapadula

Chinese illustration from the 20s. Two female dancers wear a dress called Cheongsam, rivisited in Western look, typical of the Flapper Girls. The hair is short and in Garçonne style. T-Bar shoes

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Ni Hongyan, Chinese film actress popular in the Chinese film industry in the late 1920s. Fashion Magazine and Amazing Belt (seems to be a modern Alaya!) for this beautiful girl in her swimsuit

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Silk Socks, Waves Hairstyle and Cigarette for a smoking flapper

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Huang Huilan wife of the  Chinese diplomat Wellington Koo, popular in the western world as Madame Wellington Koo or Hui-lan Koo

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still Madame Wellington Koo

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Two asian ladies in 20s fashionable outfits

Here is Anna May Wong visiting Chicago 20s china fashion 1920s history chinese women

March 25, 1928. Here is Anna May Wong visiting Chicago. Trousers, Mary Jane shoes and Cloche hat for the first Chinese American Hollywood movie star, as well as the first Chinese American actress to gain international recognition

Anna May Wong

“The Dangerous” Anna May Wong

the dangerous Anna May Wong

Anna May Wong a glamorous Femme Fatale. 1928

Anna May Wong -1929 photo by Paul Tanqueray cloche fur

Anna May Wong in 20s

Anna May Wong -1929 photo by Paul Tanqueray

Anna May Wong -1929 photo by Paul Tanqueray

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The Macabre and the Grotesque in Fashion and Costume“.

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Circassienne Fashion: Punk style from XVIII sec

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«Fu Mademoiselle Aïssé la donna che lanciò la grottesca tendenza vestimentaria denominata robe à la circassienne. Il suo destino segnò la storia del costume in modo eccezionale: proveniente dalla Circassia, nella zona del Caucaso, bella e insofferente, fu
acquistata al mercato degli schiavi a Costantinopoli dall’ambasciatore di Francia Monsieur de Ferriol. Il suo abito era aperto sul davanti e caratterizzato da ben tre cordoni per essere rialzato sino alla caviglia, maniche più corte di quelle della sottoveste, che invece aveva una cascata di pizzi che giungeva sino al polso.

Ottenuto con tessuti a forti cromie contrastanti e adornato da strisce e inserti animalier, lo stile circassienne anticipò di secoli nella propria essenza lo spirito del punk della seconda metà del Novecento.

Aggressività e stupore, rottura con gli eleganti schemi di uno stile perbenista, origine suburbana sono solo alcune delle affinità che in un volo pindarico congiungono due mondi apparentemente lontanissimi tra loro.»

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«Mademoiselle Aïssé was the woman which launched the grotesque trend called robe à la circassienne. Her destiny signed the history of costume in an exceptional way: coming from the Circassia, in the area of the Caucasus, beautiful and impatient, she was purchased at the slave market in Constantinople by the ambassador of France Monsieur de Ferriol.

Her dress was open at the front and featured from three cords to be raised up to the ankle, sleeves more short of those of the petticoat, which instead had a cascade of lace that cames to the wrist.

Obtained with fabrics with strong colors contrasting and adorned with stripes and animal inserts, the Circassian style she anticipated centuries in its essence the spirit of the punk of the second half of the twentieth century.

Aggression and amazement, break with the elegant schemes of a respectable style, suburban origin they are just some of the affinities that in a pindaric flight  join two worlds apparently very distant between them.»

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From my book:

The Macabre and the Grotesque

in Fashion and Costume

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