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Folk Fashion in 70s

Con Folk Fashion ci riferiamo a uno tra i maggiori trend che hanno segnato la moda durante gli anni ’70. Come la stessa parola suggerisce, siamo di fronte a un fenomeno che vede il trionfo della “cultura popolare” sull’abito elitario. Molti fashion designer in quel decennio hanno infatti tratto ispirazione per le proprie creazioni, dai costumi tradizionali di popoli assai diversi tra loro, concependo capi esclusivi e boho chic.

Quello che analizzo del resto è un fenomeno in linea con il gusto etnico che segna tutto il decennio. L’aspetto straordinario risiede nel fatto che sempre con maggiore forza la moda, anche in questo periodo, si spinga verso “il basso” abbandonando i salotti e l’elite, sia per la ricerca produttiva che per la distribuzione. Tutti gli abiti e gli accessori che seguono provengono dal mio Archivio.

With Folk Fashion we refer to one of the major trends that signed fashion during the 70s. As the word suggests, we are faced with a phenomenon that sees the triumph of “popular culture” over the elite dress.

Many fashion designers in that decade drew inspiration for their creations, from the traditional costumes of very different countries, conceiving exclusive and boho-chic garments.

What I am analyzing is a phenomenon in line with the ethnic taste that marks the whole decade. The extraordinary aspect lies in the fact that fashion, even in this period, is increasingly pushing itself “down”, abandoning the salons and the elite, both for productive research and for distribution. All the dresses come from my Fashion Archives.

© COPYRIGHT: Luciano Lapadula

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1971. Western Country Girl dress, in Diolen Loft fabric. Ready for an Hippie Boho Chic Look. From my Fashion Archives:

Western Country Girl dress, in Diolen Loft fabric. Ready for an Hippie Boho Chic Look. From my Fashion Archives.

L’abito qui sotto proviene del mio archivio e dalla moda in stile bavarese rielaborata dal brand Zweigler per la collezione del 1972. E’ realizzato in filo di metallo dorato e velluto nero e viola. Sulla destra un’immagine da una rivista tedesca dello stesso anno che pubblicizza abiti dal gusto simile.

This dress below comes from my archive and from the Bavarian-style fashion reworked by the Zweigler brand for the 1972 collection. It is made of gold metal-lurex and black-purple velvet. On the right, an image from a German magazine of the same year advertising similarly styled clothes:

Fashion Archives a Zweigler Modell,on the left. Year 1972.

The gypsy and peasant Mood, with its pleated maxi skirts, joins the Op Art trend for this outfit by Lanvin. Year 1973, from my Fashion Archives:

Lanvin Op Art – Folk Maxi dress from my archives

A detail from a 1973c Folk Fashion dress. Finely drawn colored flowers create a bucolic and apparently simple pattern. From my Fashion Archives:

A detail from a 1973c Folk Fashion dress. From my Fashion Archives

I recreated a typical outfit from the first half of the 70s from which evident Folk influences emerge:

70s outfit, all garments from my Fashion Archives

Sheer stockings often give way to heavy wool socks, which have always been used in the cold countries of northern Europe. Ergee, founded in 1901, was one of the leading manufacturers of socks in Europe. From my Fashion Archives:

Ergee Socks, aroud 1974. From my Fashion Archives.

From a maxi dress with flounces by Alberto Fabiani. Folk style meets Roman high fashion. 1973 – 1974 c. From my Fashion Archives :

Fabiani, Rome 1974 c

The following two dresses, also from my archives, both by Yves Saint Laurent from his “Russian Collection”, year 1976-1977:

Yves Saint Laurent Russian Collection, 1976. From my Fashion Archives

Still Russian inspiration this time for a coat in multicolor silk and lurex designed by Pino Lancetti. 1978. From my Fashion Archives, on the right. On the left Gia Carangi is modeling a coat from the same collection.

Pino Lancetti Russian Insp coat. On the right, from my Fashion Archives.

Ted Lapidus Scarf detail from my Fashion Archives year 1978 c.:

Ted Lapidus Scarf detail from my Fashion Archives year 1978 c

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Here’s my Fashion Archives (just some pics from over 60000 pieces: 17000 —> 2015): https://www.instagram.com/fashion.archives.official/

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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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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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