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Alla Nazimova vs Lady Gaga: my study of Signs.

Oggi nelle mie lezioni a scuola parlerò dello studio dei segni e della loro interpretazione attraverso l’analisi dei linguaggi mediatici. Ho effettuato ricerche nell’ambito del comunicazione del Sé nella storia della moda, e ho raccolto una lunga – e affascinante – serie di immagini che dialogano tra loro a distanza di tanto tempo. In questa mia comparazione per voi, l’attrice del cinema muto Alla Nazimova in Salomé, anno 1923, e la cantante pop Lady Gaga nel 2009, in una foto promozionale per il suo album “The Fame Monster”. Quel che pensiamo sia innovativo è in realtà già esistito.

Today in my lessons at school I will talk about the study of signs and their interpretation through the analysis of media languages. I have done research in the field of self communication in the history of fashion, and I have collected a long – and fascinating – series of images that communicate with each other over a long period of time. In this comparison of mine for you, silent film actress Alla Nazimova in Salomé, year 1923, and pop singer Lady Gaga in 2009, in a promotional photo for her album “The Fame Monster”. What we think is innovative has actually already existed.

© COPYRIGHT: Luciano Lapadula

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To know more read my Book “The Macabre and the Grotesque in Fashion and Costume”. Click on the pic for info.

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My Styling in Paris: Giuseppe De Nittis

Il cimitero Père-Lachaise a Parigi, è un luogo misterioso e sacro, tra i personaggi celebri che ospita ci sono anche molti italiani, che in passato scelsero la Francia per vivere la propria straordinaria esistenza. Sono questi emigrati eccezionali i protagonisti di un’antologia che si chiama appunto “L’Italia del Père-Lachaise. Vies extraordinaires des Italiens de France et des Français d’Italie.” Tra loro il pittore pugliese Giuseppe De Nittis, protagonista del video “L’Italia del Père Lachaise”, realizzato da ImaginApulia. Ho avuto quindi l’onore e il piacere di tornare a collaborare con Roberto Eduardo Mazzarago e Daria Torriello di ImaginApulia per ricostruire insieme al mio collega Vito Antonio Lerario l’identità del pittore pugliese.

L’iniziativa proviene dal Ministero degli Affari Esteri e della Cooperazione Internazionale, dal Consolato Generale d’Italia a Parigi e dal Comites di Parigi, con lo scopo di ricordare attraverso il libro, il video e una serie di eventi, le “Vite straordinarie degli italiani di Francia e dei francesi d’Italia”, ponendo l’attenzione sul rapporto significativo che in ambito artistico esiste tra le due nazioni.

Tra i più grandi artisti della seconda metà del 1800, Giuseppe De Nittis seppe cogliere “impressioni” e trasformarle in quadri che sono poesie. Descrivono la Francia del suo tempo, con i suoi paesaggi e i suoi costumi, splendidi ritratti di moda che ci spiegano stili di vita lontani.

Per lo styling ho selezionato con cura, dal mio archivio, costumi e accessori autentici di epoca vittoriana, con lo scopo di conferire un valore aggiunto al video. Sono rimasto sorpreso quando ho conosciuto il nome dell’attore che avrebbe interpretato De Nittis nei suoi anni di giovinezza: Pasquale Marzocca, un mio carissimo amico. Il suo volto affascinante e malinconico, unito allo styling realizzato con i miei costumi d’epoca, ha creato un’estetica forte, dandy, romantica, struggente.

La presentazione del video a Parigi è stata accolta calorosamente dai tanti presenti, in particolare da un’artista italiana contemporanea che vive in Francia: Monica Bellucci. Il 10 febbraio 2020 il lavoro è stato poi presentato anche in Italia, a Roma presso l’Ambasciata francese, poi a Ravenna, e il 16 dello stesso mese a Barletta, città natale di Giuseppe De Nittis. Un simbolico ritorno a casa, che per un pugliese come me, è stato davvero emozionante.

Posto qui sotto due fotografie che ho realizzato durante i fitting, insieme al video ufficiale dal canale di ImaginApulia, realizzato all’interno della pinacoteca comunale “Palazzo della Marra” a Barletta.

Spero vi emozioni.

The Père-Lachaise cemetery in Paris is a mysterious and sacred place, among the famous people it houses there are also many Italians, who in the past chose France to live their extraordinary existence. These exceptional emigrants are the protagonists of an anthology which is called “The Italy of Père-Lachaise. Vies extraordinaires des Italiens de France et des Français d’Italie.” Among them the Apulian painter Giuseppe De Nittis, protagonist of the video “L’Italia del Père Lachaise”, made by ImaginApulia. I therefore had the honor and pleasure of returning to collaborate with Roberto Eduardo Mazzarago and Daria Torriello of ImaginApulia to reconstruct together with my colleague Vito Antonio Lerario the identity of the Apulian painter.

The initiative comes from the Ministry of Foreign Affairs and International Cooperation, from the Consulate General of Italy in Paris and from the Comites of Paris, with the aim of remembering through the book, the video and a series of events, the ” Extraordinary lives of the Italians of France and the French of Italy “, paying attention to the significant relationship that exists in the artistic sphere between the two nations.

Among the greatest artists of the second half of the 1800s, Giuseppe De Nittis was able to capture “impressions” and transform them into paintings that are poems. They describe the France of his time, with its landscapes and costumes, splendid fashion portraits that explain distant lifestyles.

For styling I carefully selected, from my archive, authentic Victorian costumes and accessories, with the aim of giving added value to the video. I was surprised when I met the name of the actor who would play De Nittis in his youthful years: Pasquale Marzocca, a dear friend of mine. Her charming and melancholic face, combined with the styling created with my period costumes, has created a strong, dandy, romantic, poignant aesthetic.

The presentation of the video in Paris was warmly welcomed by the many present, in particular by a contemporary Italian artist living in France: Monica Bellucci. On February 10, 2020, the work was also presented in Italy, in Rome at the French Embassy, ​​then in Ravenna, in Florence, and on the 16th of the same month in Barletta, the birthplace of Giuseppe De Nittis. A symbolic return home, which was really exciting for an Apulian like me.

Below are two photos that I took during the fitting, together with the official video from the ImaginApulia channel, taken inside the municipal art gallery “Palazzo della Marra” in Barletta.

I hope you emotions.

© COPYRIGHT: Luciano Lapadula

Ph backstage
Ph Backstage
Ph Backstage
This is the place where Giuseppe De Nittis rests in the monumental cemetery of Père Lachaise

Here is possible to shope the book:

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90s Make-Up: the guide. Pt 2 1994 – 1995 – 1996

The Lux On : Make Up history from 1994 to 1996

Eccoci quindi alla seconda parte relativa alla storia del trucco anni ’90. In quest analizzo per voi la storia del Make-Up del 1994, 1995, 1996. Sono diverse le tendenze, gli stili si sovrappongono, ma ci sono degli evidenti punti fermi:

  1. Il minimalismo avanza, conducendoci verso il 2000, il trucco si fa sempre più naturale, andando verso il Make-Up no Make-Up
  2. “Bon Chic Bon Genre” per un aspetto elegante senza eccessi
  3. Il vintage impera. Si assiste a una rielaborazione di stili che in questo periodo fanno tornare alla moda il trucco 60s, fine 70s e 80s, per un aspetto rock e neo gotico. Non mancano riferimenti etnici e neo barocchi.
  4. Il look etnico anni ’70 viene rielaborato in un nuovo aspetto tribale e cibernetico.
  5. In linea con la tendenza Cyber Punk nel 1994 esplode il colore che passa dai capelli al volto. La base resta sempre chiara, semplice, ma i toni rosa e azzurro accendono labbra, zigomi, palpebre.

Nel mio prossimo post per voi, la storia del trucco dal 1997 al 1999.

CLICK HERE FOR: 1990 – 1993

CLICK HERE FOR: 1996 – 1999

So here we are in the second part related to the history of the 90s makeup. In this I analyze for you the story of the Make-Up of 1994, 1995, 1996. There are several trends, the styles overlap, but there are some evident fixed points:

  1. Minimalism advances, leading us to the year 2000, make-up becomes more natural, going towards Make-Up no Make-Up.
  2. “Bon Chic Bon Genre” for an elegant appearance without excess.
  3. Vintage reigns. We are witnessing a reworking of styles that in this period make the 60s, late 70s and 80s make-up return to fashion, for a rock and neo-Gothic look. There is no lack of ethnic and neo-baroque references.
  4. The ethnic look of the 70s is transformed into an ethnic cinebernetic look.
  5. In line with the Cyber Punk trend in 1994 the color that passes from hair to face explodes. The base is always clear, simple, but the pink and blue tones light up lips, cheekbones, eyelids.

In my next post for you, the history of makeup from 1997 to 1999.

© COPYRIGHT: Luciano Lapadula

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The actress Jodie Foster on the cover of Vanity Fair in May 1994, wears a typical make-up 1993 – 1994
Fresh Look and natural red lipstick for Kate Moss on the cover of Elle Magazine Janury 1994
One of the most iconic images of 1994 is that of the super model Eva Herzigova for Wonderbra. Beautiful, provocative look and sensual pose, her Make-Up has a vintage touch from the early 60s, in line with the trend of the first half of the 90s
pink is the trend for the summer of 1994. In this photo Kate Moss for Chanel spring summer ’94
Colorfull Make-up Vogue Italia March 1994. Pink is the new trend
“Hot Ice” makeup designed by Chanel. Very clear face, contrasting colors with mauve and peach pink eyelids and orange-coral lips, the blush is Joues Contraste Boule de Feu
Very clear face and intense pink eyelid, blue hair. Make-Up recalls Cyber Punk atmospheres. Ph Satoshi Saikusa Vogue Italy March 1994
Between Cyber and Manga this Make-Up for the summer of 1994, signed by Helena Rubinstein. Intense eyes with Black Burgundy mascara and icy pink eyeshadow, lips lit by an intense pink, the makeup appears fresh and fun overall
An explosion of pink for a Make-Up candy and cyber. Manga culture spreads in Europe, its aesthetics, combined with Cyber, gives birth to a new fashion. Ph Satoshi Saikusa Vogue Italy March 1994
A tribal, ethnic and cyber look. The ethnic look of the 70s is transformed into an ethnic cinebernetic look. Faces with a clear make-up, colored pink in various shades, from which earrings and piercings stand out. Jean Paul Gaultier 1994. Ph Satoshi Saikusa
Nadja Auermann from the Jean Paul Gaultier ethnic collection, 1994. Ph Steven Meisel. The make-up extends to the arms and hands, decorated with Henné. Fashion that will explode in 1997. We will see it in my next post.
Nadjia with a frash look who highlights her splendid face. Vogue Paris May 1994
Nadja Auermann wears a particular Make-Up considering that we are in 1994. In fact, she reworked the neon atmospheres of the early 80s. Singer Kylie Minogue introduces a similar trick to her Confide in Me. Contrasts and intense shades, the trend for the autumn of 1994 “sophisticad lady”, for a super glamorous but also retro woman. There is so much color, so many shadows that give charm to the look, a very sexy shiny lipstick. The make-up is by François Nars
A Make-Up that is a mix between the 70s and 80s, in line with all the typical revival of the 90s. This strong trick was part of what was called “techno fashion”. Vogue Italy July 1994
And again Nadja with a strong Make-Up that reworks the late 70s, giving it a rock charm. On Harper’s Bazaar September 1994
The revenge of Old Hollywood. Marlene Dietrich’s Make-Up revives through the supermodel Karen Mulder by Michael Thompson for Vogue Paris December 1994 – January 1995
Peter Lindbergh “Amber Valletta en Marlene Dietrich” – 1995
The Revival is trendy for all 90s. In January 1995 the supermodel Kristen McMenamy is photographed by Steven Meisel with a Make-Up that elaborates the Post Punk
Still revival, we are in the fall winter 1995 and supermodel Eva Herzigova shows for Vivienne Westwood with a neo-baroque Make-Up
60s atmospheres and revivals through Naomi Campbell in Anna Molinari. January 1995
An iconic photo for Dolce & Gabbana. January 1995. Among the other models there are Monica Bellucci, Karen Mulder, Amber Valletta, Nadja Auermann, Isabella Rossellini, Helena Christensen, Shalom Harlow. Makeup is characterized by a minimal chic touch that the fashion house will never abandon.
Carla Bruni settles the Make-Up. The “bon chic bon genre” style is a revival of the early 60’s, which the supermodel likes so much. September 1995, for Giorgio Grati
If in 1994 the nails follow the color of make-up and hair, in 1995 the black color explodes, in line with the minimaliso and the gothic lolita current. If in 1994 the nails follow the color of makeup and hair, in 1995 the black color explodes, in line with the minimalism and the gothic lolita current, the makeup was called “magnetic look”. Guy Laroche on Vogue Italy September 1995
Mysterious, neo-Gothic, and Glam. The Magnetic Look becomes “Pure Black Graphic” and greatly anticipates Lady Gaga’s makeup. Fall Winter 1995 1996. On the right Lady Gaga pays homage to David Bowie with Orange Hair & Blue Eye MakeupAt Grammys
Minimal like the brand she represents, Amber Valletta poses for Jil Sander, photographed by Craig McDean. Vogue Italia September 1995. The look is ready for what will be fashionable the following year, on the way to reaching the peak of minimalism.
Golden powders, green tones that come down from the eyes and mark the cheekbones. An aspect ready for 2000. We are in April 1996. Ph by Craig McDean for Vogue Italia. T-shirt Prada. Model Amy Wesson
Total minimal look. Ph Craig McDean for Vogue Italia April 1996
A fresh and minimal look for the summer of 1996: clear face and lips, blue-rimmed eyes with a reworked smokey. Vogue Italy April 1996
December 1996. The Chanel woman is refined, her face is clear, bright, almost absent, a silver powder on her hair makes her appear as coming from the very near 2000.

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90s Make-Up: the guide. Pt 1

The Lux on 90s Make-Up

«Com’era il trucco negli anni ’90?» Una domanda che il mio pubblico di follower, studenti e professionisti mi rivolge spesso. A differenza dei decenni precedenti infatti, caratterizzati proprio da trucco e acconciature ben definibili e strong, nei 90s gli estremismi paiono svanire in favore di un volto in linea con il minimalismo, circondato da una semplice riga al centro. Vedremo nelle immagini che ho raccolto per voi, come nel 1990 e 1991 si assista a revival di stili primi ’60, per poi dal 1992 evolversi attraverso il Grunge. Ci sono tuttavia dei punti fermi a cui impossibile sottrarsi per realizzare un make-up perfettamente primi 90s:

1: Volto chiaro, chiarissimo, opacizzato dalla cipria.

2: Labbra – in contrasto col pallore – ingrandite da rossetti Mat di colori scuri, estremamente usato il color mattone, il bordeaux, il vinaccia, in alcuni casi anche il rosso e il nero, per un look creepy – neo goth.

3: Blush, poco, utile ad accendere le guance, che spesso erano rosa dall’effetto naturale, come accese dal freddo. Nell’estate del 1993 fu di moda il rosso corallo nelle sue sfumature, alternato al “deserto rosa”, con toni ambrati, sfumature sabbia, argilla, polveri avorio rosé.

4: Occhi intensi e languidi con ombretti sfumati, molto leggeri, nei toni dell’arancio, del bordeaux, del viola, per uno sguardo perduto e malaticcio da bad girl, evidenziato da un sottile rigo di eyeliner in stile anni ’60.

5: Sopracciglia sottili, molto sottili, in casi più estremi anche del tutto depilate.

Nel complesso gli anni ’90 hanno racchiuso nella loro estetica, un insieme di novità provenienti da culture ed epoche diverse, segnando il trionfo del Vintage. Era assai alla moda il revival relativo al periodo fine anni ’60 primi anni ’70. A partire dal 1992 il cambiamento sociale venne interpretato dalla moda attraverso la creazione di abiti e look essenziali, acconciature semplici, e volti dal trucco minimal chic, il make-up fu di ispirazione agli anni ’20. Fu proprio nel 1992 che dal mondo musicale di Seattle giunse il Grunge, diffondendo lo stile estetico di band come i Sonich Youth e i Nirvana sulle passerelle. Icone della musica e del cinema, come Curtney Love e Drew Barrymore, comparivano in tv e sui magazine indossando quello stile che pareva provenire da una dimensione notturna e da un tempo lontano. Nel 1993 il revival dello stile anni ’70 crebbe, anche grazie al look di Madonna (vedi articolo cliccando qui) che nel suo video “Deeper and Deeper” ripropose con successo una splendida estetica “Disco”. Intanto insieme ad attrici e cantanti il fashion system e la cultura pop celebravano nuove eroine: supermodelle dai volti straordinari, testimonial contese dagli stilisti ed emulate dal pubblico di tutto il mondo, anche nel trucco. Di seguito una serie di immagini che ripercorrono gli anni ’90, l’edonismo che ha caratterizzato questo decennio è visibile sui volti, il trucco è un segno, e si vede. Nel mio prossimo articolo la storia del Make-Up dal 1994 al 1999.

Chi vuole approfondire tematiche riguardanti aspetti insoliti della storia della moda può leggere il mio libro, il link al termine di questo articolo.

Luciano Lapadula

© COPYRIGHT

CLICK HERE for: 1994 - 1996
CLICK HERE for: 1997 - 1999

“What was the makeup like in the 90s?” A question that my audience of followers, students and professionals often asks me. Unlike previous decades, in fact, characterized precisely by make-up and hairstyles well defined and strong, in the 90s the extremisms seem to fade in favor of a face in line with minimalism, surrounded by a simple middle part. We will see in the images that I have collected for you, how in the 1990s and 1991 there was a revival of early 60s styles, and then from 1992 everything evolved through Grunge. However, there are some fixed points that it is impossible to avoid in order to create a perfectly early 90s make-up:

1: Face clear, very clear, opacified by face powder.

2: Lips – in contrast to the pallor – enlarged by Mat lipsticks of dark colors, brick, burgundy, marc, in some cases even red and black, for a creepy – neo goth look.

3: Blush, little, useful for lighting the cheeks, which were often pink with a natural effect, as if lit by the cold. In the summer of 1993, coral red was fashionable in its shades, alternating with the “pink desert”, with amber tones, shades of sand, clay, ivory and rosé powders.

4: Intense and languid eyes with shaded, very light eyeshadows in shades of orange, burgundy, purple, for a lost and sickly bad girl look, highlighted by a thin line of 60s-style eyeliner .

5: Thin eyebrows, very thin, in more extreme cases even completely depilated.

Overall, the 90s enclosed in their aesthetics a set of novelties from different cultures, marking the triumph of Vintage. The revival for the late 60s and early 70s was very fashionable. Starting in 1992, social change was interpreted by fashion through the creation of essential clothes and looks, simple hairstyles, and faces with minimal chic makeup that was inspired by the 1920s. It was in 1992 that Grunge came from the musical world of Seattle, spreading the aesthetic style of bands like Sonich Youth and Nirvana on the catwalks. Music and cinema icons, such as Curtney Love and Drew Barrymore, appeared on TV and in magazines wearing that style that seemed to come from a nocturnal dimension and from a distant time. In 1993 the revival of the 70s style grew, also thanks to Madonna’s look (see article here) who in her video “Deeper and Deeper” successfully reproduced a splendid “Disco” aesthetic. Meanwhile, together with actresses and singers, the fashion system and pop culture celebrated new heroines: supermodels with extraordinary faces, testimonials contested by stylists and emulated by audiences all over the world, even in make-up. Below is a series of images that retrace the 90s, the hedonism that characterized this decade is visible on the faces, makeup is a sign, and it shows. In my next article I will write about Make-Up in fashion history from 1994 to 1999. Anyone who wants to learn more about unusual aspects of the history of fashion can read my book, the link at the end of this article. Stay tuned and Follow me.

Luciano Lapadula

© COPYRIGHT: Do Not Copy. Contact the writer for info. Divieto di copia e riproduzione. Contattare l’autore per info e disponibilità

From my press archive, a beautiful image signed by Giorgio Armani for his “Woman of the 90s”, which seems to come from the 1920s. Hair Oribe for Oribe at Parachute Hair. Makeup Rumiko for Suga Salon Nyc
Iceberg from Vogue Italia feb 1990. The model wears a strong make-up, in line with her rock look. The hairstyle is typical of 1990
Thin hair and gull wing eyebrows for Linda Evangelista. Vogue February 1990
Supermodel Linda Evangelista in Dolce & Gabbana on Vogue Italia Aug 1990. Linda’s make-up takes up the late New Look. Sophisticated and elegant, still a little Pin-Up
Madonna from a service dedicated to her by Herb Ritts on Vogue August 1990. The singer plays with a look and pose from the past, presents herself with thick eyebrows, an aspect that will radically change the following year. Read my post on Madonna and Marlene Dietrich here
Yasmeen Ghauri Vogue Italia Feb 1991 modeling Gianmarco Venturi ph by Walter Chin. The exotic beauty of the supermodel is highlighted by a warm and still rather strong make-up, in line with the fashion of 1991. It will change the following year
A pin-up eyeliner for Yaseen Ghauri in Valentino, on Vogue Italia February 1991
Countless and quick changes of look for supermodels. On Vogue Italia August 1991 Linda Evangelista wears a Make-Up that makes us remember Sophia Loren
Sherilyn Fenn, the iconic Twin Peaks actress, makes vintage 50s-style make-up the strong point for her splendid image. Steven Meisel for Dolce & Gabbana on Vogue Italia August 1991
1992. GRUNGE is a Fashion tred. Supertop Naomi Campbell and Kristen McMenamy with “Nirvana” t-shirt Ph Steven Meisel on Vogue Us “Grunge and Glory”
Yasmeen Ghauri for Gaetano Navarra on Vogue Italy October 1992. The supermodel appears a year later with a Make-Up that is completely different from the previous one
Kate Moss arond 1992
One of the most iconic photographic shots of the 90s. Kate Moss together with Nadja Auermann wrapped in ostrich feather boas with a smokey eyes make-up, thin, languid and ethereal eyebrows evoke the atmosphere of the late 20s and early 30s (but 70s too). Dolce & Gabbana on Vogue Italy October 1992
Naomi Campbell for Anna Molinari Blumarine on Vogue Italy October 1992. 70s inspired Make-Up and Hairstyle
A minimal and bright make-up, shiny and flesh-colored lips, wet hair. Linda Evangelista sensual for Valentino Pelle on Vogue Italia October 1992
Always Linda Evangelista, this time haughty in her look that seems to come from the 60s. Very elegant and superb in Gianfranco Ferré on Vogue Italia October 1992. Ph Steven Meisel
Chanel ad. Model Christy Turlington, from Vogue Italia Dec 1992
Kristen McMenamy: an essential make-up that enhances the strong and intense features of the supermodel. Vogue Italia Dec 1992
Carla Bruni Make-Up on Vogue Italia December 1992
Christy Turlington in the early 90s poses for a photo shoot dedicated to Make-Up
Eva Herzigová, one of the most iconic face of 90s (and ever). Vogue Italia January 1993
Madonna Make-Up in 1993 c: No eyewbrows fro a 70s mood. Vintage was popular during 90s, thanks to Madonna too. Read my post on Madonna and Marlene Dietrich here
Carla Bruni wears a make-up suitable for the evening, the magazine says: very clear 60s style mouth
Supertop Helena Christensen on Vogue Italia Jan 1993
Stephanie Seymour, she wears a smokey eyes make-up that revisits the 60s style. Vogue Italia January 1993
Curly Middle Part for the beautiful top model Claudia Schiffer, 1993
Linda Evangelista. Oh yes this is very 90s
Kate Moss wears a Make-Up in perfect 90s style, which enhances the beauty of the face without hiding it
Still Kate Moss in 1993 with her special Make-Up, trend of the ’93 autumn: Romantic Glow. Ph Guy Marineau
Light shades and brick lipstick for an iconic make-up on an iconic supermodel: Eva Herzigová for Giorgio Grati. She adopted a Marilyn Monroe style. Vogue Italia October 1993
Very clear faces, 20s style thin eyebrows and middle part. This is the 90s face
Vogue Italia December 1993. The lightheartedness of that time on the faces of the models.
See you on my next article about make-up from ’94 to ’99.

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“The Macabre and Grotesque in Fashion and Costume History”

Il mio libro: “Il Macabro e il Grottesco nella Moda e nel Costume”. Clicca l’immagine per info e shop

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Jole Veneziani and Giorgio Morandi

Il mondo delle arti è fatto da contaminazioni, da sensazioni che avvolgono lo spettatore, passando dall’occhio allo spirito. Così può capitare che ammirando una creazione di moda, come questa firmata Jole Veneziani, alla menta più o meno incosciamente tornino le atmsfre evocate da un grande artista come Giorgio Morandi, in quest’opera del 1957 chiamata “Paesaggio Levico”. La borsa, seconda metà anni ’60 c, è realizzata in velluto e pelle, nei colori cari all’artista, che ricordano paesaggi semplici, naturale, rilassato. Proviene dall’archivio della moda mio e di Vito Antonio Lerario, che trovate su facebook a questo link: Fashion Archives Lerario Lapadula e Instagram qui: Fashion Archives Official


Il marchio Jole Veneziani, dell’omonima sarta di origine pugliese, è stato amato tra le altre da dive del cinema come Lucia Bosé, recentemente scomparsa, Marlene Dietrich e il soprano Maria Callas. Dalla rivista ELLE riporto uno stralcio da una intervista rilasciata nel 2016 da Federico Bano, a capo del brand Veneziani, che ha rilanciato sul mercato.

Quali erano le doti creative della Veneziani?

«Aveva una notevole capacità di cogliere i cambiamenti e le piacevano geometrie e colori. Ha dato una grande sferzata di vitalità allo stile milanese».

Da Elle sito online. Articolo: “Moda: le borse de luxe 2016 di Veneziani”

Del resto la stessa Jole asseriva:

«In futuro vestiremo con una foglia di fico ma avremo accessori strepitosi”».

The world of the arts is made up of contaminations, of sensations that surround the viewer, passing from the eye to the spirit. So it can happen that admiring a fashion creation, like this one signed Jole Veneziani, the atmospheres evoked by a great artist like Giorgio Morandi, more or less unconsciously, return in this work of 1957 called “Paesaggio Levico”. The bag, second half of the 60s, is made of velvet and leather, in the colors dear to the artist, which recall simple, natural and relaxed landscapes. It comes from the fashion archive of mine and of my partner Vito Antonio Lerario. Can find more here on Facebook and Instagram

The Jole Veneziani brand, by the Apulian seamstress of the same name, has been loved among others by movie divas such as Lucia Bosé, recently passed away, Marlene Dietrich and the soprano Maria Callas. From the ELLE magazine I report an excerpt from an interview released in 2016 by Federico Bano, head of the Veneziani brand, which has relaunched on the market.

What were Veneziani’s creative talents? “She had a remarkable ability to grasp changes and liked geometries and colors. It gave a great boost of vitality to the Milanese style ».

Elle Magazine about Jole Veneziani new creations

Besides, Jole herself asserted:

«In the future we will dress with a fig leaf but we will have amazing accessories” “.

“Paesaggio Levico”. Giorgio Morandi, 1957
My Artistic Comparison between Jole Veneziani and Giorgio Morandi
Jole Veneziani adv from a late 60s Vogue Italia

Il Macabro e il Grottesco nella Moda e nel Costume

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Giant Bucket Hats: in fashion from Belle Époque to 2020

Giant Bucket Hats: in fashion from Belle Époque to 2020

Cappelli enormi, stravaganti, che agli albori dello scorso secolo facevano apparire le donne simili a colorati funghi e fiori eleganti. Questa tipologia di copricapo, dalla forma a grande casco rovesciato, ha ripreso linfa nel corso del ‘900 per tornare in auge durante questi ultimi anni. Pressoché disattesa la proposta di Louis Vuitton nella sua fall winter del 2012, il “Bucket Hat” è stato rielaborato da Marc Jacobs e Coach 1941 nella fw del 2017, per riapparire pressoché identico nella collezione Nina Ricci e Dior dell’autunno inverno 2019 – 2020. Ecco una mia accurata selezione per voi.

Giant, extravagant hats, which at the dawn of the last century made women look like colorful mushrooms and elegant flowers. This type of headgear, with a large inverted bucket shape, has taken on new life during the 1900s to come back into vogue during these last few years. Louis Vuitton’s proposal in his 2012 fall winter was almost completely dismissed, the “Bucket Hat” was reworked by Marc Jacobs and Coach 1941 in the fw of 2017, to reappear almost identical in the Nina Ricci and Dior collection of autumn winter 2019 – 2020 Here is an accurate selection I made for you.

© COPYRIGHT: Luciano Lapadula

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Giant Hat trimmed in fur and Aigrettes. 1911, the beautiful model reminds me Coco Chanel.
Giant Bucket hat, year 1911
Still from Belle Epoque, a young model wearing a Giant Hat.
Louis Vuitton fall winter 2012
Louis Vuitton fall winter 2012
Louis Vuitton fall winter 2012
 Winnie Harlow for Coach 1941 fall winter 2017
Marc Jacobs fall winter 2017
Nina Ricci fall winter 2019 2020
Bucket Hat from Dior fall winter 2019 2020

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

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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.

© COPYRIGHT: Luciano Lapadula

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

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Ready to Wear from Thierry Mugler ss 1992.

If the concept of “Ready to Wear” approaches “Ready Made”, to the surreal, to the world of art in its many facets. Thierry Mugler spring summer 1992. Supermodels Niki Taylor, Yasmeen Ghauri and Naomi Campbell. The three amazing and different types of beauties of the supermodels create a unique aesthetic picture of its kind. Unrepeatable today. Iconic moments for a style that ironizes on the past, on the present and on the future…on fashion, on the wearability of a dress, on its opulent aesthetics.

Niki Taylor
Yasmeen Ghauri
Yasmeen Ghauri

© COPYRIGHT: Luciano Lapadula

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STYLES – GENRES – DISGUISES: Bari International Gender film festival

Il prossimo 25 settembre alle ore 15.00 prende il via la conferenza dedicata al tema Gender in occasione del Bari International Film Festival,rassegna che esamina, ricerca, studia,capolavori della storia del cinema in rapporto a genere, identità e orientamento sessuale. Location di questo evento lo storico Palazzo delle Poste di Bari in Piazza Cesare Battisti, 1. Il palazzo è sede dell’Università degli Studi ed è un meraviglioso esempio dell’architettura razionalista fascista, Luciano Lapadula – storico della moda e scrittore – analizzerà il tema “Stili – Generi – Travestimenti“. Lo studio dei segni legati alla moda, al trucco, alle acconciature che a partire dal 1968 hanno diviso e mescolato generi e simbologia sessuale, da Twiggy a Bowie, da Coccinelle ad Amanda Lear. L’intervento di Luciano Lapadula è tratto dal suo libro “Il Macabro e il Grottesco nella Moda e nel Costume“, acquistabile al link: https://www.progedit.com/libro-589.html

 

Salone centrale centro studenti_1palazzo poste luciano lapadula storia moda bari
Ex Palazzo delle Poste di bari – veduta interna

On September 25th at 3.00 pm, the Gender conference will start afor Bari International Film Festival, a review that examines, researches, studies, masterpieces of the history of cinema in relation to gender, identity and sexual orientation. Inside the historic Palazzo delle Poste in Bari (Cesare Battisti Sq, 1), a marvelous example of the fascist rationalist art, Luciano Lapadula – fashion historian and writer – will analyze the theme “Styles – Genres – Disguises”. The study of signs related to fashion, makeup, hairstyles that since 1968 has divided and mixed genres and sexual symbology, from Twiggy to Bowie, from Coccinelle to Amanda Lear. Luciano Lapadula’s speech is based on his book “The Macabre and the Grotesque in Fashion and Costume“, available at the following link: https://www.progedit.com/libro-589.html

luciano lapadula big festival bari conferenza storia moda gay

william dafoe
Willem Dafoe all’inaugurazione del Festival

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Acquista il mio libro. Clicca sull’immagine per info.
Shop my Book “The Macabre and the Grotesque in Fashion and Costume“.

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Shop my Book “The Macabre and the Grotesque in Fashion and Costume”
https://www.progedit.com/libro-589.html

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Hairstyles Revival in time

revival hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses victorian hair

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.

© COPYRIGHT: Luciano Lapadula

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

1920s hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses 20s cher louise brooks hair
Louise Brooks in 20s – Cher in 1972 by Richard Avedon

1940s hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses 40s pinup
Tricia Helfer for Yves Saint Laurent in 1996 vs Betty Grable in 40s

1970s hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses 70s gothic rolled hair raquel zimmermann guido palau copy elle pageboy
Pageboy from 70s to now with Alice Kastrup. Ph credit Filippo Del Vita for Creem Magazine

1970s hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses 70s gothic rolled hair raquel zimmermann guido palau copy
Rolled Hair in 70s and Guido Palau from “Hair” 2014

katy perry hedy lamarr hairstyle hisory fashion storia della moda fashion magazine fashion historian expert hairdresses makeup hair waves 40s 2018 2019 2017
1940s waves and make-up from Hedy Lamarr to contemporary Katy Perry

eve salvail 1994 dior 2018 hairstyle men gay sex sexuality androginy 90s
Supermodel Eve Salvail in glorious 1994 vs Dior men 2018

The #bighair of #PriscillaPresley in 1968 are now on #Valentino runway
The big hair of Priscilla Presley in 1968 are in 2018 on Valentino runway

Acquista il mio libro. Clicca sull’immagine per info.
Shop my Book

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

Click on the pic for info.