Spirit Photography – Fotografia spiritica tra ‘800 e ‘900

luciano lapadula moda spiritismo photo spirit spiritism eusapia palladino blog fashion magazine culture creepy macabre grotesque

È la fine del XIX secolo, il mondo pare cambiare troppo vorticosamente. Il metallo svetta dal cemento delle metropoli e promette di toccare il cielo. Nuove generazioni si scontrano con quelle vecchie, i cabaret sono affollati da “cocotte”, i bar da artisti che annegano nell’assenzio insieme alle prostitute. La domenica si indossa l’abito buono, chi può permetterselo sfoggia quello bianco. Cambia il modo di ricordare, la fotografia sostituisce le tele dei pittori, e ci descrive di quella strana moda che imperversò durante l’epoca vittoriana giungendo ai primi decenni del nuovo secolo: lo spiritismo. Dalla Russia degli Zar a  Villa Santa Barbara di Cefalù personaggi carismatici, mistici, visionari muovono folle di adepti assetati di conoscere i segreti della vita e della morte. Il clima di trasformazione sociale, i nuovi mostruosi mondi generati dal capitalismo, generano ansia, terrore, malattia. Tubercolosi e sifilide sono solo due tra i tanti virus che decimano impietosi uomini e donne, i dagherrotipi cercano di fermare inutilmente quelle esistenze, ma sono solo fotografie. Allora ci si riunisce in casa, nel salotto, si chiudono le pesanti tende in broccato e intorno a un tavolo solitamente con tre gambe, le mani dei presenti si stringono in una catena, e il medium invoca una presenza. Di seguito una selezione di immagini d’epoca che testimonia la pratica dello spiritismo tra la fine del 1800 e l’inizio del 1900. Come tutte le tendenze, numerosi fiorirono i gabinetti fotografici esperti nel ritrarre quelle immagini che presero il nome di “fotografie spiritiche”.  Alcune tra queste sono frutto di un abile e antesignana pratica di fotoritocco, i cui effetti speciali hanno contribuito ad alimentare come vento sul fuoco le fiamme della speranza, il morbo della conoscenza, consumando le struggenti notti di quel tempo perduto.

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It’s the end of the Nineteenth century, the world seems to change too vortically. Metal stands out from the cemented streets of the metropolises and promises to touch the sky. New generations clash with old ones, cabarets are crowded with “cocottes”, bars by artists drowning in absinthe along with prostitutes. On Sundays people wear the “good dress”, a white one if wealthy. The way to remember changes, photography replaces the paintings, and describes that strange fashion that raged during the Victorian Age reaching the first decades of the new century: spiritualism. From Tsars’ Russia to Villa Santa Barbara in Cefalù, charismatic, mystical and visionary characters move crowds of adepts eager for knowing the secrets of life and death. The mood of general social transformation, the new monstrous worlds created by capitalism, generate anxiety, terror, disease. Tuberculosis and syphilis are just two of the many viruses that merciless decimate men and women, daguerreotypes try to uselessly stop those existences, but they are only photographs. Hence people meet at home, in the living room, they close the heavy brocade curtains and around a table with three legs the hands of those present are clutched in a chain, and the medium invokes the presence. Below you can find a selection of antique images proving the practice of spiritualism between the late 1800s and early 1900s. Like all the trends, there bloomed numerous photographic cabinets, specialized in portraying those images that took the name of “spiritual photographs”. Some of those images are the result of a skilled and precursor practice of photo editing, which special effects have helped to fuel the flames of hope, the morbidness of knowledge like the wind on the fire, consuming the poignant nights of that lost time.

 

Special Thanks for supporting translation SERENA BARTOLO

Luciano Lapadula

Spirit-Photography1

Victorian couple with ghost of daughter

Katie King fu il nome di uno tra i più famosi – presunti – fantasmi che sul finire dell’Ottocento presero forma grazie alla medium Florence Cook, fu così che gli spiritisti attribuirono lo stesso nome alla materializzazione spiritica di quegli anni.

Katie King was a popular ghost evocated by Florence Cook, and was already the name given by Spiritualists in the 1870s to what they believed to be a materialized spirit. The question of whether the spirit was real or a fraud was a notable public controversy of the mid-1870s.

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Katie King materialized, photograph of Sir William Crookes

Eusapia Palladino, nata nel 1854 a Minervino Murge, in provincia di Bari: Fu una tra le medium più conosciute e accreditate di tutti i tempi. L’iniziazione allo spiritismo avvenne quando, lavorando come cameriera presso una benestante famiglia, iniziò a prendere parte alle sedute  organizzate nella lussuosa dimora. Fu durante quelle sedute che si verificarono fenomeni mai accaduti prima, che furono attribuiti alla presenza della giovane. Nella sua carriera di occultista ebbe fama mondiale affascinando aristocratici e scienziati, tra i quali Cesare Lombroso e persino Pierre e Marie Curie.

Eusapia Palladino, born in 1854 in Minervino Murge, near Bari: she was one of the best known and accredited mediums of all time. The initiation into spiritism came when, working as a waitress with a rich family, she began to take part in the sessions inside the luxurious home. It was during those sessions that phenomena never happened before were ascribed to the presence of the young woman. In her career as an occultist she gained world fame by captivating aristocrats and scientists, including Cesare Lombroso and even Pierre and Marie Curie.

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Fotografia-delle-mani-di-Eusapia-Palladino.-Collezione-Tony-Oursler

Eusapia Palladino Hands. Collection Tony Oursler

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The well-know italian medium Eusapia Palladino during a spiritual seance

Seance with Eusapia Palladino at the home of Camille Flammario 1898

Eusapia Palladino at the home of Camille Flammarion, Rue Cassini. Full levitation of a table. 12 November 1898

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Victorian Spiritualism Movement Seance conducted by John Beattie in Bristol in England, 1872

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Ghost levitation

Amazing spirit photography by astonishing William Hope: english author, photographer, sailor, and body-builder

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William Hope

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William Hope

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William Hope

French medium Marthe Beraud aka Eva Carriere

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Materialização ectoplásmica eva carriere 1912

A young woman face appear from ectoplasm by Eva Carriére  – 1912

spirit-photography

1912: Eva Carriere has a spiritic light between her hands and a materialization on her head.

Richard Boursnell (1832 – 1909), medium e fotografo britannico esperto in immagini spiritiche. Suoi alcuni tra i più intensi scatti mai realizzati su questo tema.

Richard Boursnell (1832 – 1909), medium and British photographer expert in spiritual images. His some of the most intense shots ever made on this subject.

Richard Boursnell - Spirit Photographer c.1908

Robert Boursnell, Self-Portrait with Spirits, Silver print cabinet card, March 1902

Robert Boursnell, Self-Portrait with Spirits, Silver print cabinet card

spitism photography

Frederick A. Hudson (England)
Mr. Raby with the Spirits “Countess,” “James Lombard,” “Tommy,” and the Spirit of Mr. Wootton’s Mother.
circa 1875 – from www.photographymuseum.com

M. Parkes (England), Mrs. Collins & Her Husband's Father, Recognized by Several, Albumen carte de visite, 1875

M. Parkes (England), Mrs. Collins & Her Husband’s Father, Recognized by Several, 1875

Spesso durante le sedute medianiche si materializzava, o si supponeva si materializzasse, una sostanza semi liquida che fuoriusciva dagli orifizi del medium, a cui lo scienziato Charles Richet dette il nome di ectoplasma. Questo poteva assumere svariate forme, riconducibili all’esistenza del trapassato.

Often during the seance sessions, a semi-liquid substance materialized, or was supposed to materialize, it came out of the medium’s orifices, to which the scientist Charles Richet gave the name of ectoplasm. It could take many forms, attributable to the existence of the person who passed away.

According to spiritualists, it was a substance that would be externalized by the bodily orifices of the medium during a séance.

ectoplasm regurgitation

The ectoplasm comes out as a regurgitation from the mouth of the medium into a trance

ectoplasm

F. C. E. Dimmick (England) blog

C. E. Dimmick (England)
“Mrs. Dorothy Henderson. Head bent forward, hands controlled and Ectoplasm covering her lap.”
October 2, 1928 – www.photographymuseum.com

W. J. Crawford - The psychic structures at the Goligher circle

W. J. Crawford – The psychic structures at the Goligher circle

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Ectoplasm from Kathleen Goligher

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A well-known medium, Mina “Margery” Crandon conducting a séance

The famous medium Mina “Margery” Crandon (1889 – 1941) conducting a séance – late 20s

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dangerous ectoplasm for Mina “Margery” Crandon

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Look down, on the right

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Dr. Mabuse: The Gambler – 1922

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Beading: astonishing Make-Up from 1920s


beading makeup trucco history 20s smokey eyes make up historian fashion blog blogger luciano lapadula anni 20 moda storico storia the fashionable lampoon

Questo testo è tratto dal mio libro: “Il Macabro e il Grottesco nella Moda e nel Costume”. Racconto di una particolare moda del trucco durante gli anni ’20. I volti si fecero bianchi, con gli occhi cerchiati di nero e sottolineati da sottili e depilate sopracciglia dalle estremità tendenti verso il basso. Dalle ragazze russe fu importta la moda del beading: piccole sfere di cera erano fissate alle estremità delle ciglia.

This text is taken from my book. The Macabre and the Grotesque in Fashion and in Costume. I wrote of a particularweird make-up fashion during the 1920s. The faces turned white, with their black-rimmed eyes underlined by thin, shapeless eyebrows with down-tending ends. The beading fashion was imported from Russian girls: small wax balls were attached to the ends of the eyelashes.

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Film star silent erotic sex clara bow with lashes that appear to be beaded blog luciano lapadula history make up makeup 20s book gothic trucco i macabro e il grottesco moda storia costum

From Silent Movies, an Iconic Actress: Clara Bow with beaded eyes make-up

Film star Viola Dana with lashes that appear to be beaded blog luciano lapadula history make up makeup 20s book gothic trucco i macabro e il grottesco moda storia costume

Film Star Viola Dana with beaded eyelashes

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Maybelline 20s MakeUp adv

luciano lapadula il macabro e il grottesco nella moda e nel costume man ray makeup beading anni 20 20s scrittore libro progedit trucco storia magazine

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Dresses from Past: 1911 – 1952

Dal mio archivio “Lerario Lapadula ” cinque preziosi e rari abiti d’epoca, esibiti durante una sfilata. Ciascuno degli indumenti rappresenta un modello della donna del proprio tempo, tra stile, carattere, dimensione sociale.

From my archive “Lerario Lapadula” five precious and rare period dresses, exhibited during a fashion show. Each of the garments represents a model of the woman of her time, between style, character and social dimension.

luciano lapadula fashion museum lerario moda history italia italy bari museo storia fercioni rossaro sorelle fontana 20s 30s 40s 50s 60s dress gown historian scrittore storia storico abi

AYRES & CO. Indianapolis  1911

Abito realizzato in delicata seta nera con collo in tulle di seta e pizzo chimico color avorio ornato da coralli color oro sul petto.

La linea del vestito, elegante e drammatica, rimanda all’archetipo di diva noir tipico del cinema inizi secolo. Donne ritratte in stato di altalenante passione e follia, avvolte in un aurea di mistero e connotate da note di maledettismo.

E’ questo un abito realizzato all’interno della più importante sartoria dell’Indiana in attivo per tutto il ‘900, nota anche per aver accolto tra le sue lavoranti le tantissime giovani emigranti europee. La sartoria è ora sede di un importante omonimo museo della moda.

Dress made of delicate black silk with silk tulle collar and ivory-colored chemical lace adorned with gold-colored coral on the chest.

The silhouette, elegant and dramatic, refers to the archetype of vamp lady typical of early century cinema. Women portrayed in a state of fluctuating passion and madness, wrapped in an aura of mystery and characterized by notes of malice.

This is a dress made inside the most important tailoring of Indiana in active throughout the ‘900, also known for having welcomed among its workers the many young European emigrants. The tailoring is now home to an important fashion museum of the same name.

luciano lapadula fashion museum lerario moda history italia italy bari museo storia fercioni rossaro sorelle fontana 1910 indianapolis ethereal dress gown historian scrittore storia stor

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FLAPPER DRESS  1927

Questo vestito è realizzato in un sofisticato tulle di seta interamente ricamato con pailettes grigio perla e argento e conchiglie colorate provenienti dal lontano Oceano Pacifico. Il tutto genera dei bellissimi decori sul fondo del vestito, con un chiaro ricamo all’art-Dèco e quindi alla nuova scoperta della sfavillante cultura orientale.

This dress is made of a sophisticated silk tulle entirely embroidered with pearl and silver gray sequins together with handpainted shells coming from the distant Pacific Ocean. All this generates beautiful decorations on the bottom of the dress, with a clear embroidery to the art-Dèco and then to the new discovery of the sparkling oriental culture.

luciano lapadula fashion museum lerario moda history italia italy bari museo storia fercioni rossaro sorelle fontana 20s sequin dress gown historian scrittore storia storico abiti antich

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1932

Abito da sera in crepe di seta nero con ricami in lurex oro e vivaci disegni multicolor.

Black silk crepe evening gown with gold lurex embroidery and bright multicolor designs.

luciano lapadula fashion museum lerario moda history italia italy bari museo storia fercioni rossaro sorelle fontana 30s lurex 1930 dress gown historian scrittore storia storico abiti an

© COPYRIGHT Luciano Lapadula

1940s – WWII

Abito in seta stampata proveniente dagli anni del secondo conflitto bellico. Il gusto è di impronta orientale, il copricapo, in lana con fiocco in seta, è in stile Art Déco.

Printed silk dress from second world war era. The taste is oriental, the headpiece, in wool with silk bow, is in Art Déco style.

luciano lapadula fashion museum lerario moda history italia italy bari museo storia fercioni rossaro sorelle fontana 40s de luca war nazi dress gown historian scrittore storia storico ab

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Sorelle Rossaro, Milano. 1952

Abito da gran sera datato 1952 e firmato dal marchio milanese “Sorelle Rossaro”, raro esempio di creazione di alta moda italiana appartenente a una casa di moda non più esistente che nacque durante il ventennio fascista proprio a Milano, con sede in via Montenapoleone.

Great evening gown dated 1952 and signed by  brand “Sorelle Rossaro”, Milano. This is a rare example of the creation of Italian high fashion belonging to a fashion house no longer existing that was born during the twenty years Fascist in Milan, located in via Montenapoleone.

luciano lapadula fashion museum lerario moda history italia italy bari museo storia fercioni rossaro sorelle fontana 50s fath dior chanel dress gown historian scrittore storia storico ab

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La nascita della Tuta nell’Italia Futurista – Jumpsuit from Futurism

Innovazione in ogni campo, rapidità e praticità nel costume e nella moda pervasero gusto e stili di vita dell’Italia futurista. L’abito per quanti aderirono alla corrente si trasformò nella rappresentazione della propria identità, dando il via alla

marinetti futurismo manifesto 1909 figaro moda

Manifesto Futurista. Marinetti. “Le Figaro” 1909

produzione di capi di vestiario concepiti come opere d’arte. Tra queste creazioni spiccano i colorati e geometrici gilet creati da Depero dal 1923, allo stesso modo dei tessuti stampati opera di Sonia Delaunay.

depero futurismo moda panciotto fashion luciano lapadulaMeno glamour e maggiormente legata a un’idea di dinamismo e praticità, fu la nascita della tuta ideata da Thayaht nel giugno 1920. Il senso di questo innovativo capo era quello di rendere semplice e veloce la vestizione, garantendo comodità e agilità, in quanto un abito razionalista slegato da inutili orpelli. La spesa per la confezione dell’indumento doveva essere minima, in modo da poter essere confezionato anche in casa autonomamente, in linea con il principio funzionale dell’“abito-massa”. Nel 1873 negli Stati Uniti, levi jumper old tuta invenzione 1873 levis jeans storia luciano lapadula moda fashionLevi aveva iniziato la produzione di capi in denim destinati al lavoro, che evolvettero presto in overall con pettorina e bretelle, finché, nel 1906, Gertrude Stein raccontò del particolare abito indossato da Picasso, simile a una tuta. Oltre alla novità di aver assegnato un nome e quindi un’identità a quell’indumento, un ulteriore apporto è rinvenibile nel suo schema di progettazione, che rivestiva il corpo dando la prerogativa alla pratica bidimensionalità piuttosto che all’eleganza o alle forme.Thayaht nel giugno 1920 tuta storia moda futurismo fashion luciano lapadula Su “La Nazione” fu allegato un cartamodello della tuta al costo di soli cinquanta centesimi. Era la prima volta che si offriva ai lettori una sorta di coordinato: ideazione, realizzazione, neologismo, pubblicità, marketing e vendita, e non di un prodotto finito,
bensì di un cartamodello che permetteva una seriale riproducibilità dell’indumento
svincolandolo da marchi. Il successo fu notevole, la sua linea morbida, il tessuto lavabile, la semplice fattura e la purezza dei colori fecero della tuta un abito moderno,
dinamico e alla portata di tutti. thayaht tuta storia moda macabro grottesco luciano lapadula libro v magazine lampoon vogue glamourLa contessa Rucellai lo apprezzò al punto da organizzare nel suo palazzo un ballo-tributo in cui fu obbligatorio per tutti indossarla. «Tutti in tuta» proclamavano le pubblicità, un indumento unisex, nuovo, veloce, e soprattutto così simile al vestito antineutrale, di cui si discusse su un nuovo Manifesto il 20 maggio del 1914.

Da: “Il Macabro e il Grottesco nella Moda e nel Costume” di Luciano Lapadula. Edizioni Progedit 2017.

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Innovation in every field, speed and convenience in costume and fashion was the foundation of futurism in Italy. The dress for those who joined the stream became the representation of their identity, giving way thanks to the Futurist Manifesto by Marinetti on “Le Figaro” in 1909, to a production of garments designed as works of art. Among these creations stand out the colorful and geometric gilet created by Depero since 1923, in the same way as the printed fabrics by Sonia Delaunay.

Less glamorous and more connected to an idea of ​​dynamism and practicality, it was the birth of the jumpsuit created by Thayaht in June 1920. The sense of this innovative garment was to wear quickly and easily a dress, ensuring comfort and agility, as a rationalist dress had to be. The expense for the garment packaging had to be minimal, so that it could be packaged by yourself independently, in line with the functional principle of “dress-mass”. In 1873 in the United States, Levi started production of denim garments for work, which soon evolved into overall with bib and braces, until, in 1906, Gertrude Stein told of the particular suit worn by Picasso, similar to a jumpsuit. In addition to the novelty of having assigned a name and therefore an identity to that garment, a further contribution can be found in its design scheme, which covered the body giving the prerogative to practice two-dimensionality rather than elegance or forms. On “La Nazione” magazione, a paper pattern was attached to the suit for only fifty cents. It was the first time that readers were offered a sort of co-ordination: conception, creation, neologism, advertising, marketing and sales, and not a finished product,
but a paper pattern that allowed a serial reproducibility of the garment
freeing it from brands. The success was remarkable, its soft line, washable fabric, the simple workmanship and the purity of the colors made the suit a modern dress,
dynamic and accessible to everyone. Italian Countess Rucellai appreciated it to the point of organizing a tribute dance in her palace in which it was obligatory for everyone to wear it, as a dresscode. “Everyone in overalls” proclaimed advertisements, a unisex garment, new, fast, and above all so similar to the antineutral dress, which was discussed in a new Manifesto on May 20, 1914.

From my book: “Macabre and Grotesque in Fashion and Costume History)

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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

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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

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.

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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

© COPYRIGHT: Do Not Copy. Contact the writer for info

Divieto di copia e riproduzione. Contattare l’autore per info e disponibilità

 

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Period Dresses from my Fashion Archives

Dear friends, here some dresses from my collection:

Lerario Lapadula Fashion Archives“.

Lerario Lapadula is a Fashion Archives that owns one of the italian largest collections

of period dresses and accessories from XVIII century to 2010.

The most important part of the collection covers the history of Made in Italy clothes.

Lerario Lapadula organizes and promotes Fashion Events,
and work as Fashion Curator.

Facebook Page: https://www.facebook.com/pg/lerariolapadula

Facebook Contact: https://www.facebook.com/lapadulaluciano

Instagram: https://www.instagram.com/lerario.lapadula/

1909-periodd-dress-lerario-lapadula-fashion-archives-museo-moda

1909 period dress and 1909 fashion magazine. Both from our fashion archives

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1927 evening dress detail Fashion Archives Lerario Lapadula

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1937 silk evening dress. Lerario Lapadula Fashion Archives

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1938 dress Lerario Lapadula Fashion Archives

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1948. Anita di Torino dress detail. Ultra rare Made in Italy dress. Lerario Lapadula Fashion Archives

 

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Chanel tailleur detail – 1958 Fashion Archives Lerario Lapadula

 

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1960 ca Simonetta cocktail dress. Lerario Lapadula FashionArchives

 

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1967 ca Angelo Litrico silk dress polkadot pattern. Lerario Lapadula Fashion Archives

fiorucci-vintage-70s-80s-tartan-dress-lerario-lapadula-fashion-archives-museum-history-robe-abito-vintage-moda-mode

1979 ca FIORUCCI dress  from our collection.

yves-saint-laurent-1987-dress-linda-evangelista-bow-lerario-lapadula-ysl-fashhion-archives-museum-dress-robe-kleid-abito

ss 1987 YVES SAINT LAURENT silk dressand #supertop LINDA EVANGELISTA in our dress Fashion Archives Lerario Lapadula

karl-lagerfeld-1987-suit-museum-chanel-dress-tailleur-lerario-lapadula-fashion-archvies

1987 KARL LAGERFELD tailleur Lerario Lapadula Fashion…

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1987 ca Paola Ferò couture evening dress. Lerario Lapadula Fashion Archives

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1988 ca Isabelle Allard Delphos Dress. Fashion Archives Lerario Lapadula

moschino-lerario-lapadula-fashion-archives-denim-jumper-fluo-1989-80s-1990-technotronic-suit-acid-house-dress-vintage-80er-90s

1989 ca Moschino denim suit. Lerario Lapadula Fashion Archives

christian-lacroix-vintage-80s-90s-coat-red-wool-lerario-lapadula-fashion-archives

Late 80s – Early 90s Christian Lacroix red coat Lerario Lapadula Fashion Archives

dolce-gabbana-1994-dress-vintage-90s-kate-moss-lerario-lapadula-silk-museum-robe-kleid-abito-dg-anni-90-runway-black-gothic-boho-hippie-dark-witch

1994 DOLCE & GABBANA silk dress Lerario Lapadula Fashion Archives

© COPYRIGHT: Do Not Copy. Contact the writer for info

Divieto di copia e riproduzione. Contattare l’autore per info e disponibilità

 

Follow Me on Instagram:

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Follow Me on Facebook:

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“The Macabre and Grotesque in Fashion and Costume History”

SHOP: “The Macabre and Grotesque in Fashion and Costume History”