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90s Make-Up History pt 3: 1997 – 1999

Nei primi due post abbiamo esaminato le principali tendenze Make-Up rispettivamente ai seguenti periodi: 1990 – 1993 e 1994 – 1996. Questa volta vedremo le tendenze trucco per gli anni 1997, 1998, 1999. A differenza dei precedenti, in questi anni l’estetica risente della tensione emotiva relativa all’arrivo del nuovo secolo. Incombe un nuovo millennio che porta con sé nuovi modi di comunicare, telefonia mobile, internet, realtà cibernetiche e paura verso il futuro si fondono alla gravissima crisi economica che scaraventa la società, con il sistema moda, nel baratro. Il risultato sono immagini cupe, sofferenti. Volti bianchi, trucchi violenti, a tratti sporchi, eccessivi, neo gotici, sono abbinati a indumenti destrutturati, laceri, stropicciati, con nuove proporzioni. Dal 1997 al 1999 il sistema moda trasferisce con i propri codici estetici l’arrivo del 2000 su indumenti e corpi, il nuovo secolo spazzerà con un colpo di spugna l’edonismo degli anni ’90.

Click here for: 1990 – 1993

Click here for: 1994 – 1996

In the first two posts we have examined the main Make-Up trends respectively in the following periods: 1990 – 1993 and 1994 – 1996. This time we will see the makeup trends for the years 1997, 1998, 1999. Unlike the previous ones, in these years the aesthetics is affected by the emotional tension related to the arrival of the new century. A new millennium looms, which brings with it new ways of communicating, mobile telephony, internet, cybernetic realities and fear towards the future merge with the serious economic crisis that drives society, with the fashion system, into the abyss. The result is gloomy, suffering images. White faces, violent make-up, sometimes dirty, excessive, neo-Gothic, are combined with unstructured, tattered, wrinkled clothing with new proportions. From 1997 to 1999 the fashion system transfers the arrival of 2000 to clothing and bodies with its own aesthetic codes, the new century will sweep the hedonism of the 90s with a sponge.

Linda Evangelista in Max Mara spring summer 1997
Panda Make-Up 1997
Neo Gothic “Regard Noir” Make-Up. Year 1997
Creepy Oniric Male-Up from Vogue Italy Januaty 1997
Make-Up that re-elaborates that of the 1920s, merging it with a neo-Gothic 80s taste. This trick is still widespread during fashion shows and shoots. Karl Lagerfeld Vogue Italy January 1997
The Punk returns to the limelight in a cybernetic version. The classic make-up bandeau tends towards the future. Aldo Coppola on Vogue Italy January 1998
Color Block by Versace summer 1998. It will return to fashion exactly 20 years later, summer 2018
Rock Look Dark Look. Dolce & Gabbana summer 1998
Phylosophy by Alberta Ferretti spring summer 1998: no more smiles. ph Paolo Roversi
Ship Hat by Jean Paul Gaultier 1999. Like a modern, sad Marie Antoinette
Claudia Schiffer: the two faces of 90s. On the left 1994 ca, on the right just few years later in 1999 c. Photography by Juergen Teller
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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

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Make-Up & Flower Power: 1968 vs 2020

Make-up like clothes are cyclically repeated. In the photo above, flower petals and hair create a decoration for artificial eyelashes. 1968 ca. In the second image, the feathers create the same mood for Valentino’s spring summer 2020. I already show you the same rielaboration by Gucci with the iconic 60s Twiggy Make-Up. Stay Tuned for next comparisons.

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Some copies from past – Spring Summer 2020

Spring Summer 2020. Guardando le sfilate mi sono accorto di dettagli che spaziano dal trucco alle calzature. Dettagli che sono spesso brutte copie di cose passati. Spesso in molti dimenticano le mode trascorse, così giornalisti e pubblico pensano si tratti di elementi frutto di creatività e innovazione. Vediamone alcuni.

Spring Summer 2020. Looking at the fashion shows I noticed details ranging from make-up to footwear. Details that are often bad copies of past things. Often many people forget the fashions passed, so journalists and the public think that these elements are that are the result of creativity and innovation. Sometimes, often, it is better the original. Let’s see three of them.

Style should celebrate individuality through the Twiggy’s make-up of the 60s, with the intention of emphasis the look, asserts Gucci Beauty. We are at Milan Fashion Week
and the models come on stage with bleach eyebrows covered with thick and dark artificial eyelashes. I personally believe that sometimes it would be better just copying from the past, avoiding slipping in a result lacking in sense, research. What do you think? In my comparison, on the left Gucci (ph Vogue Italia), in the right Twiggy in the 60s.

In my comparison Sharon Tate 1968 vs Mugler at his Paris Fashion Week SS 2020.
The unkempt eyebrows and fixed towards the other are not new. Ps: not even the eyeliner line is new, Chanel had already done it.

Pierre Cardin sequin gown, 1965 and Pierre Balmain on runway in Milan, 27/09/2019 for his ss 2020, ph Vogue Italia. Different dresses, same mood.

Yves Saint Laurent Rive Gauche 1976-77 and Celine prêt-à-porter ss 2020

Boots with a particular design, which have the heel taken from the red “Delman” shoes, preserved at the Met Museum and dated 1937 – 1939. The upper part is instead a mix between the cuissardes of Roger Vivier, 1967, and the creations of André Courreges, in the photo year 1970.

A little curiosity, which has nothing to do with the above. In June I made two sketches for a project, revisiting some constriction shirts for the characters, based on their oppressed identities. What a surprise yesterday, to see that Gucci developed the same concept. On the left, my figures on the right, the images of Vogue Italia from Spring Summer 2020

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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

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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.»

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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

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
Jeanne Lanvin
Marcelle Dormoy

© COPYRIGHT: Luciano Lapadula

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Italiani all’estero, i diari raccontano – Italians abroad, stories from their diaries – My Styling

È stato presentato in Farnesina – Roma – l’11 giugno 2019 il lavoro prodotto per conto del Ministero degli Affari Esteri che mi ha visto collaborare nella ricerca e selezione dei costumi in qualità di power dresses e stylist. Il video, realizzato da Imaginapulia, (foto backstage attore Livio Berardi) descrive con pathos i percorsi esistenziali di quanti tra fine ‘800 e ‘900 hanno abbandonato l’Italia per trasferirsi all’estero.

Riaffiorano così dagli autentici diari di queste persone – custoditi nella Fondazione Archivio Diaristico Nazionale di Pieve Santo Stefano (AR).  – racconti e storie di vita che ci immergono in paure, aspettative appagate o disattese, fatica, senso di inadeguatezza e disagio, disperazione, voglia di tornare.

Nel video, oltre ai costumi, anche oggetti provenienti dal passato che ho appositamente selezionato dal mio archivio, tra questi scarpine anni ’30 per bimba in vernice nera, occhialini inizi ‘900, foulard e occhiali da sole per donna dagli anni ’50. Un pettine da viaggio, oggetti che rievocano in modo segnico quanto contenuto nei racconti di chi è partito all’estero nella speranza di una vita migliore.

The work produced on behalf of the Ministry of Foreign Affairs was presented in the Farnesina – Rome – on 11 June 2019, which saw me collaborating in the research and selection of costumes as power dresses and stylists. The video, made by Imaginapulia (backstage photo actor Livio Berardi) describes with pathos the existential paths of those between the end of the 1800s and the 1900s who left Italy to move abroad. Thus resurface from the authentic diaries of these people – kept in the National Archive Diary Foundation of Pieve Santo Stefano (AR) – describe stories and life stories that plunge us into fears, fulfilled or unfulfilled expectations, fatigue, a sense of inadequacy and unease, desperation, desire to come back.In the video, in addition to the costumes, there are also items from the past that I have specially selected from my archive, including little shoes from the 30s for girls in black patent leather, glasses from the early 1900s, scarves and sunglasses for women from the 50s. A travel comb, objects that symbolically recall what is contained in the stories of those who went abroad in the hope of a better life.

Video: I DIARI RACCONTANO

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Some of my styling. Photoshooting in Berlin.

luciano lapadula moda history fashion stylist berlin modemuseum shooting styling beautiful teacher expert

Some of the styling I created for a photoshooting in Berlin. Vintage clothes and accessories all from my archive.

Alcuni degli styling che ho creato per lo shooting fotografico realizzato a Berlino. Abiti e accessori d’epoca, dal mio archivio.

Photography Suzana Holtgrave

Mua – Hair Noriko Takayama

Models: Iconic Management – Berlin

in collaboration with Amanda Kastrati and Andreas Weigelt (location)

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Elisabeth Vigée Le Brun: when art meets fashion

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

Elisabeth Vigée Le Brun (1755-1842) è senza dubbio la più significativa artista donna nella Francia del Rococò. Emancipata, dotata di una raffinata bellezza e di un talento straordinario, ha ritratto personaggi illustri e alla moda durante il regno di Maria Antonietta proseguendo nel periodo Neoclassico. Ho selezionato alcune sue opere analizzando dettagli che raccontano stili e tendenze sorprendenti.

Elisabeth Vigée Le Brun (1755-1842) is undoubtedly the most significant female artist in Rococo France. Emancipated, endowed with a refined beauty and an extraordinary talent, she portrayed illustrious and fashionable characters during the reign of Marie Antoinette, continuing in that Neoclassical period that is very present in the artist’s canvases. I have selected some of her works by analyzing amazing details.

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Marie-Antoinette en grand habit de cour - 1778 - Elisabeth Louis
Marie-Antoinette en grand habit de cour 1778 Elisabeth Louise Vigée

Marie-Antoinette en grand habit de cour - 1778 - Elisabeth Louise Vigée baroque

1794 Aglae de Gramont, née de Polignac, duchesse de Guiche by Louise Élisabeth Vigée-Lebrun
Élisabeth Vigée Le Brun, La duchesse de Guise, 1794

Élisabeth Louise Vigée Le Brun seflportrait
Élisabeth Louise Vigée Le Brun sefl-portrait 1781

Élisabeth Louise Vigée Le Brun seflportrait 1781 self portrait earring blog fashion history storia moda luciano lapadula wordpress

Élisabeth Louise Vigée Le Brun, Gabrielle Yolande Claude Martine de Polastron, duchesse de Polignac, 1782
Élisabeth Louise Vigée Le Brun, Gabrielle Yolande Claude Martine de Polastron, duchesse de Polignac, 1782

Élisabeth Louise Vigée Le Brun, Gabrielle Yolande Claude Martine de Polastron, duchesse de Polignac, 1782 hat straw flowers moda storia luciano lapadula blog blogger history fashion

elisabeth-louise_vigc3a9e_le_brun_-_portrait_of_marie_gabrielle_de_gramont_duchesse_de_caderousse_-_google_art_project
Portrait of Marie Gabrielle de Gramont, Duchesse de Caderousse, 1784 — Élisabeth Vigée Le Brun

PORTRAIT OF MARIE GABRIELLE DE GRAMONT DUCHESSE DE CADEROUSSE fashion history storia della moda art artwork blog blogger luciano lapadula

Baroness Bonne-Marie-Joséphine-Gabrielle Bernard de Boulainvilli
La Baronne de Crussol, 1785 Elisabeth Louise Vigee-Le brun

La Baronne de Crussol, 1785 Elisabeth Louise Vigee-Lebrun det fashion bodice red dress luciano lapadula art blog blogger history fashion moda storia

Elisabeth Louise Vigee Lebrun And Her Daughter 1789
Madame Vigée-Lebrun and her daughter Jeanne Lucie Louise – 1789

Elisabeth Louise Vigee Lebrun And Her Daughter 1789 neoclassis direttorio

Portrait of Count Grigory Chernyshev with a Mask in His Hand 1793
Portrait of Count Grigory Chernyshev with a Mask in His Hand, 1793

Portrait of Count Grigory Chernyshev with a Mask in His Hand 1793 fashion luciano lapadula blog blogger magazine history moda storia scrittore

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