20s Flapper girls from China

luciano lapadula moda china actress anna may wong blogger chinese 20s 1920s blog fashion magazine culture creepy macabre grotesque

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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5 drawings from Andrew Loomis that look as 90s supermodels

andrew loomis supermodel 90s 40s hairstyle makeup art blog fashion museum storia luciano lapadula moda yves saint laurent ss summer 1996 90er blog blogger moda

La riflessione sulla bellezza porta a percorrere strade impervie, in cui è facile smarrirsi nella ricerca della perfezione che lasci riconoscere il bello in senso universale e oggettivo. Da qui parte il fremito che mi ha attraversato quando ho visto i disegni di Andrew Loomis: in alcune sue opere degli anni ’40 infatti, pare l’artista abbia ritratto alcune supermodelle anni ’90 anticipandone l’immagine di 50 anni circa. Vediamo tre di questi miei confronti.

The reflection on beauty leads to travel through impervious roads, in which it is easy to lose oneself in the search for perfection that allows us to recognize beauty in a universal and objective sense. From here starts the thrill that crossed me when I saw the drawings of Andrew Loomis: in some of his artworks from 40s it seems the artist has portrayed some supermodels of the 90s anticipating the image of that kind of beauty about 50 years. We see five of these comparisons of mine.

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andrew loomis linda evangelista yellow suit art blog fashion museum storia luciano lapadula moda christian dior 1992 1993

On the right Linda Evangelista for Christian Dior 1992 1993

andrew loomis supermodel 90s 40s hairstyle makeup art blog fashion museum storia luciano lapadula moda yves saint laurent ss summer 1996 90er shalom harlow top

On the right Shalom Harlow in 1995

andrew loomis supermodel 90s 40s hairstyle makeup art blog fashion museum storia luciano lapadula moda yves saint laurent ss summer 1996 90er carla bruni

On the right Carla Bruni for Yves Saint Laurent ss 1996

andrew loomis supermodel 90s 40s hairstyle makeup art blog fashion museum storia luciano lapadula moda yves saint laurent ss summer 1996 90er

Still Yves Saint Laurent 1996

andrew loomis supermodel 90s 40s hairstyle makeup art blog fashion museum storia luciano lapadula moda yves saint laurent ss summer 1996 90er eva herzigova top

On the right supermodel Eva Herzigova 1993 ca

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Morphine from Belle Époque

morphine history of drug droga belle eopque 1800 victorian 1890 1900 blog fashion moda blogger storia tools ad vintage illustration arte art creepy gothic historia histoire

Mitizzazione e consumo della droga non sono fenomeni moderni, ma provengono da rituali che affondano la propria nascita molto lontano nel tempo. L’arte, nelle sue forme più disparate, ha tracciato dei precisi quadri che descrivono l’utilizzo delle sostanze stupefacenti nell’alternarsi dei periodi storici. E’ affascinante quanto accaduto sul finire dell’Ottocento, quando all’estetica della donna immersa tra corsetti e fiori delicati si alternò quella di una fatale mantide, maledetta e pericolosa. Questa nuova dimensione femminile, emancipata e seducente, destabilizzò i ruoli sociali proponendo un’immagine perversa, sfrontata, impregnata questa volta di profumi oppiacei. Analizzo di seguito una serie di immagini che riguardano la Morfina, una tra le droghe più consumate da queste eroine della perdizione durante la Belle Époque.

Mythologizing and consumption of drugs are not modern phenomena, but come from rituals that sink their birth far in time. The art, in its most disparate forms, has drawn precise pictures that describe the use of drugs in the alternation of historical periods. It is fascinating what happened at the end of the nineteenth century, when the aesthetics of the woman immersed in corsets and delicate flowers alternated with that of a fatal, damned and dangerous mantis. This new feminine dimension, emancipated and seductive, destabilized social roles by proposing a perverse, shameless image, impregnated this time with opiate perfumes. I analyze below a series of images concerning Morphine, one of the most consumed drugs by these heroines of perdition during the Belle Époque.

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morphine history of drug droga belle eopque 1800 victorian 1890 1900 blog fashion moda blogger storia

Morphine Tools Kit from Victorian Era. Image Courtesy Art.co

morphine history of drug droga belle eopque 1800 victorian 1890 1900 blog fashion moda blogger storia tools

Morphine tools: the syringe

morphine history of drug droga belle eopque blog fashion moda blogger storia tools ad vintage illustration art Georges Moreau dit Moreau de Tours Bois le Roi 1901 ou Les Morphinées Huil

Georges Moreau, La Morphine ou Les Morphinées – Collection particulière, Paris
Expositions : Salon de 1886, Paris, n° 1703 (“La Morphine”)

morphine history of drug droga belle eopque 1800 victorian 1890 1900 blog fashion moda blogger storia tools ad vintage illustration arte art creepy gothic

Morphine Addicts, 1887 Albert Besnard etching Rosenwald Collection

morphine history of drug droga belle eopque 1800 victorian 1890 1900 blog fashion moda blogger storia tools ad vintage illustration Eugène Grasset La vitrioleuse (1894)

Eugène Grasset La vitrioleuse, 1894

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Santiago Rusinol “Before the Morphine”, 1894

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Santiago Rusinol-“Morphine”, 1894

morphine history of drug droga belle eopque 1800 victorian 1890 1900 blog fashion moda blogger storia Eugène-Samuel Grasset 'La Morphine' 1897

Eugène-Samuel Grasset — ‘La Morphine’ 1897

1899 Quack Medicine Sufferers From Morphine Or any Drug Habit Vintage Original Print Ad

1899 Quack Medicine Sufferers From Morphine Or any Drug Habit Vintage Original Print Ad

Vittorio Matteo Corcos, La morfinomane – “The addict”, 1899. Famelica e perduta la donna dalla pelle diafana e dai capelli rossi troneggia al posto dell’uomo, avvolta in un fosco abito di veli neri. Ci fissa minacciosa, ed esibisce il suo potere calpestando il  suo trofeo.

The woman with the diaphanous skin and the red hair is dominated and lost in the place of the man, wrapped in a dark dress of black veils. The woman stares at us menacingly, and exhibits her power trampling on her trophy.

morfinomane

Vittorio Matteo Corcos, La morfinomane – “The addict”, 1899

morphine history of drug droga belle eopque 1800 victorian 1890 1900 blog fashion moda blogger storia tools ad vintage illustration cube

Year 1900: Ad for Cube Morphine, published in American Druggist and Pharmaceutical Record, America’s Leading Drugs Journal

Pablo Picasso, Morphinomans. 1900

Pablo Picasso, Morphinomans. 1900

Salon, 1905 Morphine. by A. Matignon

Salon de 1905 – Morphine. By A. Matignon

Victorien du Saussais, La morphine. Vices et passions des morphinomanes (1906)

Victorien du Saussais, La morphine. Vices et passions des morphinomanes, 1906

1910 morphine blog luciano lapadula blogger fashion ied milano moda storia drugs drug belle epoque

Morphinomane 1910 ca.

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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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La Pin-Up è nata in Italia. Il mio articolo per Lampoon Fashion Magazine

Il mio nuovo articolo per la rivista Lampoon riguarda una storia dimenticata, come purtroppo spesso accade in Italia. Racconto di come, grazie all’artista barese Gino Boccasile, durante gli anni ’30 sia stata creata la prima immagine di una Pin-Up.

I dettagli sono presenti al link qui sotto, gli approfondimenti nel link successivo, che è quello relativo al mio libro: “Il Macabro e il Grottesco nella Moda e nel Costume”.

The Fashionable Lampoon:

La Pin-Up è nata in Italia

 

Libro edizione Progedit 2017:

Il Macabro e il Grottesco nella Moda e nel Costume

My new article for Lampoon fashion magazine is about a forgotten story, as unfortunately often happens in Italy. A story of how, thanks to an artist from Bari, Gino Boccasile, the first image of a Pin-Up was created during the ’30s.

Details can be found at the link below, the details in the next link, which is related to my book: “The Macabre and the Grotesque in Fashion and Costume”.

La Pin-Up è nata in Italia

 

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“The Macabre and Grotesque in Fashion and Costume History”

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from my archives

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History of Sex Dolls

luciano lapadula moda history of sex dolls sex doll bambole gonfiabili bambola gonfiabile blog fashion magazine culture creepy macabre grotesque

Spingersi oltre, ma tornare anche indietro. Rifiutare un approccio comune per dar sfogo a un “Io” diviso tra pulsione feticistica e rifiuto dei rapporti sociali. Tutto questo prende forma, e vita, nella Bambola Sessuale, che ha una storia assai antica. Da disegni e scritti si evince per certo il loro utilizzo sin dal ‘500, rapportabile a una speciale forma di parafilia detta “pigmalionismo”, consistente nel provare piacere durante il compimento di  un atto sessuale con una statua o una rappresentazione plastica del corpo umano.

Il nome che identifica questo tipo di disturbo psicosessuale trae la propria origine dalla figura mitica di Pigmalione. Il re di Cipro infatti si innamorò perdutamente di una statua da lui stesso creata, e ottene da Afrodite che la scultura fosse trasformata in donna vivente che poi sposò.

A differenza di quanto avviene con i più comuni “giocattoli sessuali”, in uso da uomini e donne anche nel Medio Evo, nel pigmalionismo la bambola è un feticcio che si sostituisce interamente all’essere umano, e l’appagamento giunge solo nel caso in cui sussistano determinate condizioni quali appunto l’inumanità, descrivendo quindi un processo psicologico molto più complesso. Scompare l’animus del rapporto e lo scambio da esso derivante, sostituito da un Super-Io che è paradossalmente anche l’esplicita affermazione di un ego svilito e incapace, annoiato, individualista.

Col trascorrere del tempo questi strumenti del piacere furono perfezionati e realizzati in  stoffa imbottita di lana, sovente al capo erano cuciti capelli veri, sul volto dipinti occhi, naso e bocca. Chiamate “dames de voyage” accompagnavano gli uomini che per varie ragioni erano costretti a vivere lontano dal gentil sesso.

Curioso quanto avvenne durante la seconda guerra mondiale, quando i soldati tedeschi avrebbero dovuto avere a propria disposizione bambole gonfiabili da poter riporre comodamente nello zaino dopo l’utilizzo. Il progetto non fu mai realizzato. Si dovrà attendere la seconda metà del ‘900 per assistere a una capillare ed efficace diffusione di bambole gonfiabili realizzate in lattice. Bionde, brune, rosse, oggi il loro aspetto umanoide sfida la perfezione, amate dai collezionisti trovano spazio nei musei, ma il loro posto preferito resta sempre nel segreto di una stanza, per un amore di plastica.

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Go further, but also return back. Reject a common approach to give vent to an “I” dividedbetween fetishistic drive and rejection of social relationships. All this takes shape, and life, in the Sex Doll, which has a very ancient history. From drawings and writings it is clear that they have been used since the 16th century, related to a special form of paraphilia called “pigmalionism”, consisting in feeling pleasure during the fulfillment of a sexual act with a statue or a plastic representation of the human body.

The name that identifies this type of psychosexual disorder derives its origin from the mythical figure of Pygmalion. The king of Cyprus in fact fell madly in love with a statue he had created, and he got from Aphrodite that the sculpture was transformed into a living woman who he later married.

Unlike what happens with the most common “sex toys”, in use by men and women even in the Middle Ages, in the pigmalionism the doll is a fetish that replaces entirely  the human bodies, and the fulfillment comes only in the case in which certain conditions exist such as inhumanity, thus describing a much more complex psychological process. Disappear the animus of the relationship and the exchange deriving from it, replaced by a superego that is also paradoxically the explicit affirmation of a debased and incapable, bored, individualistic ego.

With the passing of time these instruments of pleasure were perfected and made of woolen stuffed fabric, often the head was sewn real hair, on the face painted eyes, nose and mouth. Called “dames de voyage” accompanied the men who for various reasons were forced to live far from the fair sex.

Curious what happened during the Second World War, when German soldiers would have to have at their disposal inflatable dolls to be easily stored in the backpack after use. The project was never realized. We will have to wait for the second half of the 20th century to witness a capillary and effective diffusion of inflatable dolls made in latex. Blondes, brunettes, reds, today their humanoid appearance challenges perfection, loved by collectors find space in museums, but their favorite place always remains in the secret of a room, for a plastic love.

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image

Sculpted doll. 1505 ca

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Late ‘800s – early ‘900s ca – A gentleman wearing a costume embraces a mannequin

blow up doll advertisement

Inflatable Doll ad from 60s

inflatable doll

Late 60s Inflatable Doll ad

Woody with a blow up doll 1972 ca

Woody Allen. 1972 ca

inflatable doll now

A modern sex doll…it can cost up to £11,700

miley-cyrus-sex-doll-pic

Miley Cyrus performing live with a male Sex Doll

installation view of Sex Dolls, 2011, at Serpentine Gallery, London, 2013

Sturtevant. Sex Dolls, 2011; installation view, Sturtevant: Leaps Jumps and Bumps, 2013; Courtesy Serpentine Gallery, London. Photo: Jerry Hardman-Jones

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