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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Haistyle: 1855 vs 1955

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

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

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

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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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Annunci

Divas of Fascist Cinema

Alida Valli Ghergo Luciano Lapadula blog moda storia attrici fascismo moda fashion history photography history blogger libro

Il volto scolpito nel marmo, uno sguardo insieme sensuale e spietato che allude all’erotismo più feroce di quei giorni bui. Le labbra violacee evidenziano un sorriso amaro, sprezzante, fiero del proprio sublime incanto. Sono le dive del cinema fascista, in un’Italia umiliata dalla guerra regnano sulle superfici dell’illusione per regalare un sogno a chi di illusione perisce.

The face sculpted in marble, a sensual and ruthless glance that alludes to the most ferocious eroticism of those dark days. The violet lips show a bitter, contemptuous smile, proud of its own sublime charm. They are the divas of Fascist cinema, in an Italy humiliated by war thay all reigns on the surfaces of illusion to give a dream to those who are diyng by illusion.

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Alida Valli – From a Fresh Look to a Dark Lady – Venturini

Alida Valli Ghergo Luciano Lapadula blog moda storia attrici fascismo moda fashion history photography

Alida Valli. Ghergo

luisa ferida

Luisa Ferida

Leda Gloria

Seductive Leda Gloria – Ghergo

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Leda Gloria – Venturini

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Elisa Cegani – Ph unknown

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Elisa Cegani from in “LA CORONA DI FERRO” di Alessandro Blasetti, 1941. Winner of Coppa Mussolini award

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Clara Calami: the first italian “Dark Lady” actress

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Clara Calamai. I think she worn Ferragamo platform shoes. Could be now

Elsa De Giorgi fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography

Elsa De Giorgi – Peek-a-Boo hairstyle. Ph Venturini

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A perfect face. Elsa De Giorgi

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Amazing Beauty: Doris Duranti, the most loved by dictators

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Doris Duranti, the fascist actress, by Elio Luxardo

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Isa Mirande: the platinum italian Dietrich

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Isa Miranda, who arrived in Hollywood, was greeted with clamor by the public and by Paramount

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The Most Beautiful Suicide

evelyn mchale the most beautiful suicide blog history photo blogger luciano lapadula macabro grottesco libro scrittore

 

Sul biglietto che Evelyn lasciò prima del tragico salto scrisse:

Non voglio che nessuno mi veda, nemmeno la mia famiglia. Fatemi cremare, distruggete il mio corpo.Vi supplico: niente funerale, niente cerimonie. Il mio fidanzato mi ha chiesto di sposarlo a giugno. Ma io non sarei mai la brava moglie di nessuno.
Sarà molto più felice senza di me. Dite a mio padre che, evidentemente, ho fin troppe cose in comune con mia madre

Era una ragazza di soli 23 anni.

Può un suicidio trattenere bellezza e trasformarsi in un’opera d’arte?

Io credo di si. L’elogio della morte di una bella ragazza è atroce e seducente. Da Andy Warhol a David Bowie – nella sua canzone “Jump They Say” – l’esistenza dolorosa di una vita spezzata nel suo fiorire, rende la protagonista un’eroina eterna.

Tratto dal mio libro “Il Macabro e il Grottesco nella Moda e nel Costume“,

la descrizione dell’accaduto.

 

“Edgar Allan Poe, all’interno del
suo saggio La filosofia della composizione,
scrisse che
«la morte di una bella
donna è senza dubbio l’argomento
più poetico del mondo»
e in proposito
colma di emozione è l’immagine
realizzata per caso dall’allora aiuto fotografo
Robert Wiles il primo maggio
1947.
Riuscì a immortalare la ventitreenne
Evelyn McHale distesa con
elegante ma innaturale compostezza
sul tetto di una limousine dopo un
lungo volo dall’ottantaseiesimo piano
dell’Empire State Building.
La fanciulla appare dolcemente
sprofondata tra le scure lamiere del
veicolo, i vetri infranti, l’acciaio laccato
ricurvo su se stesso per la violenza
dell’impatto, e lei lì, supina come
una bella addormentata in un sonno
senza fiato.
Dal freddo metallo della
vettura emerge prepotente il colore
rosso del raffinato tailleur. Bianca la
camicetta e bianchi i lunghi guantini
che vestono ancora alle mani. I capelli
biondi circondano un volto bellissimo
e dal trucco perfetto. Le calze sono
abbassate. Le braccia sono piegate e
la mano sinistra appare gentile accanto
al volto, socchiusa in un gesto che
sembra sofisticato e fascinoso.
Il suicidio
perde in questo caso l’orrore del
suo significato grazie alla bellezza di
un’immagine che appare come quella
di una rivista di moda. La paradossale
assenza di sangue e di deturpazione,
abbinata alla compostezza del soggetto,
fecero sorgere l’appellativo con il
quale la fotografia venne chiamata:
“il suicidio più bello”.
L’immagine lascia
scaturire una forte contraddizione
nella mente dello spettatore, sedotto
dall’estetica della morte che appare
crudelmente soave.
Vorremmo chiedere
a Evelyn il perché di quel gesto,
la frustrazione per l’incomprensibilità
della sua scelta genera una morbosa
attenzione ai dettagli che raccontano
della sua vita: la bianca sciarpa che
vorticosamente scendeva dalla finestra
raggiungendo il corpo, il porta-
trucco lasciato in disparte insieme al
cappotto ripiegato, la sua lettera di
addio.
Una morte violenta per una
fotografia dalla bellezza immortale.
Questa immagine attraente e insieme
aberrante venne pubblicata
all’interno della rivista “Life” con il
titolo The Most Beautiful Suicide.
La didascalia narrava:
«At the bottom of
the Empire State Building the body
of Evelyn McHale reposes calmly in
grotesque bier, her falling body punched
into the top of a car».
Lo scatto
fu poi rielaborato da Andy Warhol
nel 1962 con il nome: Suicide (Fallen
Body), in un’indagine sul rapporto tra
bellezza, morte e Pop Art.”
Luciano Lapadula

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The Most Beautiful Suicide

On the piece of paper Evelyn left before the tragic leap, she wrote:

I don’t want anyone in or out of my family to see any part of me. Could you destroy my body by cremation? I beg of you and my family – don’t have any service for me or remembrance for me. My fiancé asked me to marry him in June. I don’t think I would make a good wife for anybody. He is much better off without me. Tell my father, I have too many of my mother’s tendencies

She was only 23 years old.

Can a suicide keep beauty and transform into a work of art?

I think yes. The praise of the death of a beautiful girl is terrible and seductive. From Andy Warhol to David Bowie – in his song “Jump They Say” – the traumatic existence of a life broken in its blossom, makes the protagonist an eternal heroine.

Taken from my book “Il Macabro e il Grottesco nella Moda e nel Costume“,

the description of the fact.

“Edgar Allan Poe, within its essay Philosophy of composition,
wrote that

«the death of a beautiful
woman is undoubtedly the most poetic
topic of the world »

and about this
the image realized by chance
by the former assistant photographer

Robert Wiles on the first of May
1947 is rich of emotion.

He succeeded in capturing the twenty-three years-old
Evelyn McHale lying with
elegant but unnatural composure
on the top of a limousine after a
long flight from the eighty-sixth floor
of the Empire State Building.


The girl seems to be sweetly
collapsed among the dark plates of
the car, the glasses smashed, the lacquered steel
bent on itself because of the violence
of the impact and the girl there, supine as
a sleeping beauty in a breathless
sleep.

From the ice-cold metal of the
car there comes, violently, the red colour
of the sophisticated suit. 
White is the

blouse and white are the long gloves
that still adorn her hands. Her blonde
hair frame a beautiful face
with a perfect makeup. 
The tights are
taken down. abbassate. Her arms are bent and
the left hand seems to be gentle near
the face, half-closed in a gesture that
seems to be sophisticated and charming.

The suicide,
in this case, loses the atrociousness of
its meaning thanks to the beauty of
an image that seems to come from 
a fashion magazine.

The paradoxical
absence of blood and disfigurement,
combined with the composure of the subject,
gave birth to the title with
which the picture was called:
“The Most Beautiful Suicide”.

The image gives
origin to a strong contradiction
in the observer’s mind, seduced
by the aesthetic of death that seems to be
cruelly sweet.

We would like to ask
Evelyn the reason of that gesture,
the frustration for the incomprehensibility
of her choice generates a morbid
attention to the details that
tell her life: the white scarf that
vertically fell from the window
reaching the body,
the beauty case left apart together with the folded coat, her suicide note.

A violent death for a
picture having an immortal beauty.


This charming and simultaneously
aberrant image was published
in the magazine “Life” with the
title The Most Beautiful Suicide.

The caption told:

«At the bottom of
the Empire State Building the body
of Evelyn McHale reposes calmly in
grotesque bier, her falling body punched
into the top of a car».

The shot
has been then redesigned by Andy Warhol
in 1962 with the name: Suicide (Fallen
Body), in a study about the relationship between 
beauty, death and Pop Art.”

Luciano Lapadula

Special Thanks for supporting in translation to

Serena Bartolo trad.serenabartolo@gmail.com

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Evelyn Francis McHale

BIRTH

Berkeley, Alameda County, California, USA
DEATH 1 May 1947 (aged 23)

Manhattan, New York County (Manhattan), New York, USA
BURIAL

Middle VillageQueens CountyNew YorkUSA

evelyn francis mchale 1923

evelyn mchale photo portrait fotografia blog

 

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evelyn-incorrectly-labeled-as-20-years-old-ny-times-may-2-1947

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Fashion and Make-Up from Silent Movies

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Fatali, struggenti, maledette: le donne del cinema muto hanno lanciato mode dell’assurdo, che racconto nel mio libro. Per voi un breve estratto nel video.

Fatal, tormenting, cursed: the women of silent cinema have launched fashions of the absurd, which I tell in my book. A short excerpt in the video for you.

From my book: “The Macabre and the Grotesque in Fashion and Costume”

Dal mio libro: “Il macabro e il grottesco nella Moda e nel Costume”


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10 spaventose pubblicità vintage 10 creepy vintage adv

scary vintage ad adv ads antique old fashion moda storia marketing magazine pubblicita

La pubblicità segue le mode e il gusto sociale del proprio tempo. Così attraverso un rapido sguardo ad alcuni manifesti di antiche réclame si percepisce immediatamente una certa tendenza estetica  – tra gli anni della Belle Époque e il successivo “ventennio”- in cui mistero, struggente decadenza, simbologia esoterica e persino elementi orroriferi incontrano marketing e glamour. Il prodotto talvolta risulta paradossale, a tratti kitsch, ma terribilmente seducente. Ho scelto per voi 5 (per ora) incredibili pubblicità in cui io mi sia imbattuto durante le mie ricerche.

Advertising follows the fashions and the social taste of one’s own time. So, through a quick glance at some posters of ancient claims, you immediately perceive a certain aesthetic tendency – between the years of the Belle Époque and the following “roaring 20s”, in which mystery, yearning decadence, esoteric symbology and even horrific elements meet marketing and glamour. The product is sometimes paradoxical, sometimes kitsch, but terribly seductive. I have chosen for you 10 (for now) incredible advertising in which I came across my research.

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Italian “Liquore Strega! – 1906

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 Michelin Man vintage poster

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Scary Drunk Russian Man from 1912

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Italian adv from 1924

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1921 italian vermuth adv

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Italian Sinf”Orco” from 1911

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Femme Fatale for italian “Spumanti baccaro” – 1925

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Scary, so scary, clown for italian Show Polish adv

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Italian Adv from 1910 c. “Borotalco Florentia”

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Pears Soap Adv

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When an old photo describes a moment in life

La modella, è elegante con i suoi capelli biondi  raccolti in uno chignon illuminato da un fermaglio dorato. Indossa un maglioncino verde come la speranza mentre, dando le spalle a noi e alla camera, è immersa nella fotografia che stringe tra le mani. Contempla un ritratto in bianco e nero, sbiadito come un malinconico ricordo. 

Quest’opera d’arte è frutto del lavoro della fotogafa Frances McLaughlin-Gill, e venne pubblicato il 1′ dicembre 1946 su Vogue America. Frances fu la prima donna a ottenere un contratto come fotografa per Vogue Usa.

The model is elegant with her hair pulled back and held up with a clip. Her back is to us and to the camera, and she’s wearing a low cut evening crochet sweater, green as hope. The #atmosphere is full of feeling and #sadness. She is looking at one photo. In black and white like an old #memory.

This atrwork was made by Frances McLaughlin-Gill for Vogue, year 1946. Frances was the first female fashion photographer under contract with #Vogue

luciano lapadula moda fotografia Frances McLaughlin-Gill photography fashion blog vogue 40s wwii

Ph by Frances McLaughlin-Gill’s, appeared on Vogue – 1th December 1946

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“The Macabre and Grotesque in Fashion and Costume History”

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Tarakànova Princess: history of a tragedy

Bella come la più tragica tra le figure femminili nella storia, enigmatica come una sciarada senza tempo, la giovane principessa Tarakànova fece la propria comparsa sulle scene della politica nel 1772, durante il regno della Zarina Caterina II di Russia.

Alla morte di Elizaveta Petròvna, figlia di Pietro il Grande, la giovane comparve dall’ombra dell’ignoto sotto il nome di principessa Vladimirskajaasserendo di essere la figlia segreta, unica erede, della deceduta imperatrice e per tanto legittima erede al trono.

Minata nel ruolo di sovrana, Caterina II ordinò che la giovane, rifugiatasi in Italia, fosse catturata. Avrebbe dovuto occuparsi del rapimento il Conte Grigorij Orlòv, che tuttavia una volta incontrata la donna se ne innamorò perdutamente, venendo corrisposto. Giunti in Russia a bordo di una nave, il giovane cercò in ogni modo di salvarle la vita, scoperto, venne insieme a lei condannato a morte.

Come nelle favole dall’epilogo più triste, la bella principessa fu imprigionata nella fortezza dei SS. Pietro e Paolo a Pietroburgo, dove circondata da topi e avvolta dalle tenebre morì, secondo la leggenda, annegando in seguito alla storica inondazione del 1777. Altre fonti invece asseriscono la bella sia morta nella sua cella durante il 1775, malata di tisi.

Pittori, letterati e registi internazionali hanno dedicato a questo controverso e affascinante personaggio tele intense, pagine drammatiche e metri di pellicola intrisi di sentimento. Una curiosità, nel film del 1938 compaiono due artisti ancora sconosciuti: Anna Magnani, nel ruolo di un’aggressiva cameriera, e Alberto Sordi in quello di uno studente condotto al patibolo. Alberto era giovane e la barba non gli era cresciuta, dovette indossarne una posticcia realizzata dal truccatore di scena.

Ecco alcune significative immagini.

Luciano Lapadula

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

As beautiful as the most tragic female figures in history, enigmatic as a timeless charade, the young princess Tarakanova made her appearance on the political scene in 1772, during the reign of the Tsarina Catherine II of Russia. On the death of the Empress Elizaveta Petròvna, daughter of Peter the Great, under the name of Vladimirskaja princess, the girl appeared from the shadows of the unknown claiming to be her secret daughter and therefore legitimate to the throne. Worried to loose her  role of Empress, Catherine II ordered that the woman, refuges in Italy, was captured by Count Grigory Orlov, who however once met the woman fell in love with her.

Once in Russia on board a ship, the young man did all he could to save her life, when their love story was discovered, the both were sentenced to death. As in the saddest tales, the beautiful princess was imprisoned in the fortress of SS. Peter and Paul, surrounded by rats and shrouded by darkness she died, according to legend, drowned after the historic flooding that took place in St. Petersburg in 1777. Other sources assert she ed in her cell in 1775. Painters, writers and international filmmakers dedicated to this controversial and fascinating character, intense paintings, dramatic pages and meters of film soaked feeling.

 Here are a few pictures.

Luciano Lapadula

Risultati immagini per TARAKANOVA Grigorij Danilevskij

“La principessa Tarakànova”, Gregorij Danilevskij, 1883

FLAVITSKY princesa tarakànova dying in prison luciano lapadula wordpress blog fashion macabre book

Konstantin Flavitsky: Princess Tarakanova, drowning in the Peter and Paul Fortress at the Time of the Flood, c. 1864, oil on canvas. State Tretyakov Gallery, Moscow.

FLAVITSKY, Konstantin Dmitriyevich (1830-1866) Princess Tarakanova, in the Peter and Paul Fortress at the Time of the Flood, detail 1864

Konstantin Dmitriyevich FLAVITSKY, (1830-1866) Princess Tarakanova, dying in the Peter and Paul Fortress at the Time of the Flood, detail 1864

princess-tarakanova v.mikulina movie 1910

Frame from a movie by Kaj Hansen e A.Maitre. “Pincess tarakanova”, with V. Mikulina, 1910

Tarakanova is a 1930 French historical drama film directed by Raymond Bernard and starring Édith Jéhanne

Tarakanova Movie Poster,1930 French historical drama film directed by Raymond Bernard and starring Édith Jéhanne

Édith Jéhanne in Tarankova movie frame

tarankova poster

Tarakanova Movie Poster

Édith Jéhanne in Tarankova

Édith Jéhanne in Tarankova, 1930

tarakanovie poster movie film

Poster from the movie, 1930

tarakanova movie poster

Poster from the Movie, 1930

pricesa tarakanova 1938 movie poster

Princesa Tarakanova, 1938. Cast movie: Annie Verany and Pierre Richard Willm, Pricesa Tarakanova, with the collaboration of filmaker Mario Soldati

Mario Soldati anna magnani alberto sordi la principessa tarakanova film postr 1938

Fedor Ozep with Mario Soldati, Fascism ads movie poster, 1938 Italian edt

Tarakanova movie 1938 french editions

Princess Tarakanova, French Poster edt, 1939

Édith Jéhanne tarakanova

Édith Jéhanne as Soeur Dosithée in Tarakanova,1930

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