CHAPEAU from 1959 to 2019

CHAPEAU from 1959 to 2019

Il mio lavoro mi porta con frequenza a riscontrare similitudini, copie e brutte copie di abiti e accessori del passato, riproposte nel contemporaneo. Uso il termine “contemporaneo” invece di “moderno” perché ritengo più innovativi gli originali delle copie. Oggi vi mostro il copricapo in pizzo a falda larga sul viso, realizzato per Valentino fall winter 2019 – 2020 e indossato in passerella da Kaia Gerber. Lo stesso design, in tessuto trasparente, fu proposto nel 1959 da Nina Ricci. La modella nelle foto sotto indossa infatti un abito con copricapo chiamato “Jeasmine” e realizzato dal designer Jules-François Crahay (1917–1988), a Belgian-born French fashion artist who worked for the fashion house from 1952 to 1963 . Più sotto una creazione di per Adolfo Sardinia per Emme, sempre dal 1959.

My work frequently leads me to find similarities, copies and bad copies of clothes and accessories of the past re-proposed in the contemporary. I use the term “contemporary” instead of “modern” because I consider the originals of the copies to be more innovative. Today I show you the wide-brimmed lace headgear on the face, created for Valentino fall winter 2019 – 2020 and worn on the catwalk by Kaia Gerber. The same design, in semi-transparent fabric, was proposed in 1959 by Nina Ricci. In fact, the model in the picture below wears a dress together with an hat, called “Jeasmine” and made by the designer Jules-François Crahay (1917–1988), Belgian-born French fashion artist who worked for the fashion house from 1952 to 1963. Last pic: a creation of Adolfo Sardinia for Emme, 1959.

Kaia Gerber in Valentino fw 2019/2020
“Jeasmine” model by NINA RICCI
Adolfo Sardinia hat for Emme

© COPYRIGHT: Luciano Lapadula

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Annunci

An Actress, a Prince, a car crash

«Nell’estate del 1931 il principe più bello d’Europa, Umberto II di Savoia, fu oggetto di scandalose cronache che raccontavano di un presunto idillio tra il giovane, che si era sposato solo diciotto mesi prima, e la bellissima attrice hollywoodiana Jeanette MacDonald, giunta in Riviera per una vacanza. Il giorno in cui si sarebbe dovuta separare da Umberto, lei era seduta in macchina e lui era alla guida, l’automobile slittò sull’asfalto bagnato facendo sbalzare fuori dall’abitacolo i due. Il volto dell’attrice ne rimase sfigurato, per ricucirle il cuoio capelluto i chirurghi dovettero raderle la bionda chioma. Disperata Jeanette si fece aiutare dal banchiere Maurice Garfunkel che la affidò ai migliori specialisti di New York. La diva sfigurata fu restituita prontamente a Hollywood grazie a un abile intervento di chirurgia plastica.»

Tratto dal mio libro “Il Macabo e il Grottesco nella Moda e nel Costume“.

Storie incredibili, aneddoti e curiosità, info e shop al link: https://www.progedit.com/libro-589.html

«In the summer of 1931 the most beautiful prince of Europe, Umberto II of Savoy, was the object of scandalous chronicles that told of an alleged idyll between the young man, who had married only eighteen months before, and the beautiful Hollywood actress Jeanette MacDonald, come to the Riviera for holydays. The day she was supposed to leave Umberto, she was sitting in the car and he was driving, the car skidded on the wet asphalt, knocking the two out of the cockpit. The actress’s face was disfigured, and to round her scalp the surgeons had to shave her blonde hair. Desperate, Jeanette was helped by the banker Maurice Garfunkel who entrusted her to the best specialists in New York. The disfigured diva was promptly returned to Hollywood thanks to a skilful plastic surgery.»

© COPYRIGHT: Luciano Lapadula

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Back in fashion: 1916 and New Look

La moda, si sa, è fatta di eterni ritorni in fatto di stile, gusti, tendenze. E non è questo un fenomeno del tutto contemporaneo, anzi, affonda le proprie origini nella genesi della novità vestimentaria, che a dispetto del vocabolo, di nuovo spesso non ha nulla. Si confronti in proposito lo strano caso che riguarda la regina di Francia Maria Antonietta, discusso nel mio libro “Il Macabro e il Grottesco nella Moda e nel Costume“. Oggi vi presento la curiosa rielaborazione New Look di una tendenza apparsa nel 1916. Abiti più corti dei precedenti, dai volumi sorprendentemente innovativi, morbidi, con gonne ampie e arricciate sostenute da sottovesti a balze. Colori, fantasie, capricci neo barocchi si spostano così dal ’16 al ’47 per durare questa volta più a lungo. La mia selezione fotografica per voi.

Fashion, as we know, is made up of eternal returns in terms of style, tastes and trends. And this is not a completely contemporary phenomenon, indeed, it has its origins in the genesis of the modern dress, which despite the word, often has nothing of modern. Compare in this regard the strange case concerning the queen of France Marie Antoinette, discussed in my book “The Macabre and the Grotesque in Fashion and Costume“. Today I present to you all the curious New Look reworking of a trend that appeared in 1916. Shorter dresses than the previous ones, with surprisingly innovative volumes, soft, with wide and gathered skirts supported by flounced petticoats. Colors, fantasies, new-baroque trends move from ’16 to ’47 to last this time longer. My photo selection for you.

1916 evening gown
Model in a taffeta dress by Emilio Schuberth, Rome, 1955, photo by G.M. Fadigati
Gabrielle Chanel – Robes de Jersey,1916
Marcelle Dormoy, french couture fashion designer active from the 1910s to 1950, and a former model. 1948
Delineator fashion magazine, July 1916

1948, note the widths and lengths of the skirts, the patern, the necklines:

Jeanne Lanvin, 1916, and Marcel Dormoy 1948:

Fashion sketches fom 1916 and christian dior evening gown 1951.

same irregular cascades of pleated fabrics.

Jeanne Lanvin, 1916
Supermodel Barbara Mullen moeling Balenciaga Dress, 1947
Summer Afternoons dresses from April 1916
Christian Dior ball gown 1947
L’Art et la Mode, 1916
1957, Creators Studios New York
Robes et Chapeaux de Printemps – Le Style Parisien 1916
Cristobal Balenciaga 1948 Pleats, Photo Arik Népo
House of Lanvin 1916
Tailleur bar, House of Dior, 1947
Harvey Nichols day dress, 1916 From the Helen Larson Historic Fashion Collection at the FIDM Museum
“Ciao Bella” Jacques Fath stripes striped 1952

© COPYRIGHT: Luciano Lapadula

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Stripes & Disorders from fashion in 1914 – 1915

 

stripes history fashion blog magazine blogger 1910 1900s 1914 1915 art arte moda storia luciano lapadula costume scrittore blogger photography rivista striped cover magazine lampoon

Quello della striscia come motivo ornamentale o pattern per indumenti merita una riflessione approfondita. Mi limito qui, in sintesi, a farvi riflettere sul ruolo che questa geometria assume nel campo della semiologia e quindi della storia del costume. La riga, la striatura, la striscia, riveste il corpo interrompendo in modo violento un “tutto” sottoesposto generando così in chi guarda l’abito – e allora chi lo indossa – un senso di confusione, misto a eccitazione e persino ricusazione. Come il simbolo di un divieto, quello di un’allerta, o come una sbarra che impedisce un passaggio, la striscia nel suo consueto bicolore, cattura l’attenzione spezzando la regola dell’uniforme: irriverente e ribelle diviene alla moda intorno al 1914 – 1915, e non a caso. La Belle Époque con la sua sfrenatezza cancella il ruolo della donna “angelo del focolare” in virtù di una nuova figura emancipata, pronta a riprendere il proprio ruolo sociale. I venti di guerra poi, soffiano tra le strade delle città, profumando l’aria di polvere da sparo. La riga così spunta violenta dalle tele di Egon Schiele e dagli abiti di Paul Poiret, comparendo sui vestiti delle signore alla moda, simbolo del tempo nuovo e della pericolosità di quello futuro.

That of the stripe as an ornamental motif or garment pattern deserves a thorough reflection. In short, I limit myself here to reflect on the role that this geometry assumes in the field of semiology and therefore of the history of customs. The line, the streak, the strip, covers the body violently interrupting a “whole” underexposed thus generating in the viewer the dress – and then the wearer – a sense of confusion, mixed with excitement and even rejection. As the symbol of a ban, that of an alert, or like a bar that prevents a passage, the strip in its usual two-color, catches the attention breaking the rule of the uniform: irreverent and rebel becomes fashionable around 1914 – 1915, and not by chance. The Belle Époque with its wilderness cancels the role of the woman “angel of the hearth” by virtue of a new emancipated figure, ready to resume its social role. The winds of war then, blow through the streets of the city, smelling the air of gunpowder. The line so violent check on the clothes of fashionable ladies, symbol of the new time and the danger of the future.

Portrait of Edith Schiele in a Striped Dress - Egon Schiele, 1915

Egon Schiele Portrait of Edith Schiele in a Striped Dress – 1915

stripes history fashion blog magazine blogger 1910 1900s 1914 1915 art arte moda storia luciano lapadula costume scrittore blogger quadro schiele arte museo lgano ferrara piacenza

Egon Schiele and wife Edith (muse) with Striped Dress Sitting, ca 1915. – artwork by Schiele 1915 – Emilie Louise Flöge – 1914 – wearing one of Gustav Klimt’s dress shirts that he made just for her

stripes history fashion blog magazine blogger 1910 1900s 1914 1915 art arte moda storia luciano lapadula costume scrittore blogger

Matisse – Striped Jacket, 1914

stripes history fashion blog magazine blogger 1910 1900s 1914 1915 art arte moda storia luciano lapadula costume scrittore blogger quadro

Viv in Blue Stripe, 1914 – Robert Henri (

llustration de mode française Georges Barbier petit manteau de velours dans costumes parisiens 1914 stripes

French Illustration by Georges Barbierfor Costumes Parisiens – 1914

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The Delineator – July 1914

stripes history fashion blog magazine blogger 1910 1900s 1914 1915 art arte moda storia luciano lapadula costume scrittore blogger quadro magazine illusyration plates

Fashion Plate from The Delineator – July 1914

stripes history fashion blog magazine blogger 1910 1900s 1914 1915 art arte moda storia luciano lapadula costume scrittore blogger photography rivista

The Modern Priscilla, October 1915

Les Modes (Paris) 1914 Costume tailleur par Redfern

Les Modes, Paris – 1914 Costume tailleur by Redfern

Les Modes (Paris) 1914 Robe d'apres-midi par Zimmermann

Les Modes, Paris – 1914 Robe d’apres-midi byZ immermann

stripes history fashion blog magazine blogger 1910 1900s 1914 1915 art arte moda storia luciano lapadula costume scrittore blogger photography

1914 c. fashion for a day at the races

fashion history stripes moda righe luciano lapadula blog blogger olga skott 1914 1915 20s

Olga Skott Vänersborg – 1914, by K & A Vikner – Vänersborg Museum

1915 a fool there was

Theda Bara in a scene from the film ‘A Fool There Was’ 1915

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Theda Bara in a scene from the film ‘A Fool There Was’ 1915

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Fashion and Make-Up from Silent Movies

silent movie divas actress cinema pola negri theda bara blog moda history fashion makeup

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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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

© COPYRIGHT Luciano Lapadula

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

© COPYRIGHT Luciano Lapadula

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

© COPYRIGHT Luciano Lapadula

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

© COPYRIGHT Luciano Lapadula

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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

gruau dior 1978

Dior adv from 1972 c. Artwork by Gruau

 

1988 duncan spring 2018 vintage fashion cover design illustration history blog blogger luciano lapadula moda storia cultura magazine art striped beaute.jpg

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.

 

Gucci_SS18-campaign_Fashionela-16

Gucci ss 2018

 

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