Pubblicato il Lascia un commento

Renate Müller: the tragic antinazi Diva

Quando un’anima nasce, le vengono gettate delle reti per impedire che fugga. Tu mi parli di religione, lingua, nazionalità: io cercherò di fuggire da quelle reti

“When the soul of a man is born in this country there are nets flung at it to hold it back from flight. You talk to me of nationality, language, religion. I shall try to fly by those nets”

James Joyce

Padre pubblicista e madre pittrice, un talento innato per la recitazione e una bellezza fuori dal comune, che le costerà la vita. Renate Müller nacque a Monaco il 26 aprile del 1906, e a soli 19 anni debuttò a teatro con “Ein Sommernachtstraum” (Shakespeare’s Midsummer Nights Dream) diretta da Pabst.

Trasferitasi a Berlino, nel 1929 ebbe il suo primo ruolo cinematografico in “Peter Der Matrose” (Peter the Sailor). Il successo fu immediato e fino al 1937 comparve in 25 film , tra i quali il celebre “Die Privatesekretärin”, tradotto anche in inglese e ”Viktor und Viktoria” del 1933.

La fama raggiunta, i capelli biondi, i bei occhi azzurri, destarono l’interesse del regime nazionalsocialista, che pressò Renate con sempre maggiore insistenza affinché lei divenisse il volto per i film di propaganda del partito. Numerosi quanto le richieste furono i rifiuti della bella attrice, ma la vita nella Berlino di quel tempo era difficile: sospetti, dicerie, semplici invidie di colleghe potevano essere la causa di processi sommari, deportazioni, omicidi, e Renate aveva un angoscioso segreto che doveva restare nascosto.

Così cedette alle pressioni e nel 1937 recitò in quella che sarebbe stata la sua ultima comparsa in celluloide: “Togger”, pellicola dal contenuto antisemita. Hitler fu sedotto dall’attrice, perfetta incarnazione dell’ideale di donna ariana, ma nonostante le sue lusinghe lei rifiutò di essergli amica. Goebbels insospettito da tanta distanza e dai suoi continui viaggi nella nemica città di Londra, prese a farla pedinare dalla Gestapo.

L’inconfessabile segreto emerse: Renate aveva un fidanzato, viveva in Inghilterra ed era un ebreo. Si persero così, tutto d’un tratto, le notizie sulla bella ragazza: nuove star ariane presero il suo posto sugli schermi. Si diffusero strane voci secondo le quali Renate era stata ricoverata in manicomio a seguito di ripetute crisi di nervi, abuso di alcol e di morfina. Repentino giunse il finale di questa triste storia, il 7 ottobre del 1937 l’attrice fece un lungo volo dalla finestra della sua casa a Berlino. Il corpo fu in fretta cremato presso il Wilmersdorf Krematorium per essere sepolto in gran silenzio all’interno del Parkfriedhof Lichterfelde a Berlin Steglitz. Ai tanti fan fu proibito di partecipare ai funerali, il governo cercò di placare gli animi affermando si fosse trattato di suicidio, ma dei vicini di casa della ragazza, in silenzio, dissero di averla vista precipitare dal balcone all’arrivo in cortile degli uomini della Gestapo. Molti altri, invece, giurarono che furono proprio i soldati ad aver lanciato nel vuoto l’attrice che in vita rifiutò di esser lanciata sugli schermi di un cinema maledetto.

Luciano Lapadula

© COPYRIGHT: 

Divieto di copia e riproduzione. Contattare l’autore per info e disponibilità

Do Not Copy. Contact the writer for info

Father publicist and mother painter, an innate talent for acting and a beauty out of the ordinary, which will cost her life. Renate Müller was born in Monaco on April 26, 1906, and at the age of 19 filmaker Pabst made her debut with “Ein Sommernachtstraum” (Shakespeare’s Midsummer Nights Dream). Transferring to Berlin, in 1929 she had his first film role in “Peter Der Matrose “(Peter the Sailor). The success was immediate and until 1937 appeared in 25 films, among which the famous “Die Privatesekretärin”, also translated into English and “Viktor und Viktoria” of 1933. The fame achieved, the blonde hair, the beautiful blue eyes, aroused the interest of the National Socialist regime, which pressed Renate with increasing insistence to use her face for the nazi propaganda films. Life in Berlin – at that time – was difficult: suspicions, rumors, simple envies of colleagues could be the cause of summary trials, deportations, murders, and Renate had an anguishing secret that was to remain hidden. So he gave in to pressure and in 1937 she played in what would have been her last appearance in celluloid: “Togger”, a film with anti-Semitic content. Hitler was seduced by the actress, the perfect embodiment of the ideal of an Aryan woman, but in spite of her flattery, she refused to be his friend. Goebbels, suspicious of her distance and her constant journeys in the enemy city of London, began to  follow the woman by Gestapo. The unconfessable secret emerged: Renate had a boyfriend, lived in England and was a Jew. Thus, all of a sudden, the news about the beautiful girl was lost: new Aryan stars took their place on the screens. Strange rumors were spread that Renate had been hospitalized as a result of repeated nerve crises, alcohol abuse and morphine. The end of this sad story came to a sudden, on October 7, 1937, the actress took a long flight from the window of her house in Berlin. The body was quickly cremated at the Wilmersdorf Krematorium to be buried in great silence inside the Parkfriedhof Lichterfelde in Berlin Steglitz. To the many fans it was forbidden to attend the funeral, the government tried to appease the soul by saying it was suicide, but the girl’s neighbors, in silence, said they had seen her fall from the balcony to the men’s Gestapo. Many others, however, swore that it was the soldiers who had launched into the void the actress who in life refused to be thrown on the screens of a damn cinema.

Renate Müller with pet. Ufa Photo for the movie “Liebling der Götter” (in italian: Le Ali della Fortuna”) by Hanns Schwarz. Costumes: René Hubert. 1930
Renate Müller, Viktor und Viktoria (Germany, 1933, dir. Reinhold Schünzel)
Renate Müller in a silk pajamas strike a pose for a signed 30s film postcard
A magnetic and fatal gaze for a 30s film postcard from the Ufa German motion-picture production company.
Renate Müller wears an evening dress with a plunging neckline on the shoulder, in the typical style of the 1930s
Statuesque body and gorgeous evening dress. Ph Aufnahme Walther Jaeger, Berlin
Early 30s. Posing like a Pin-Up anticipating the 50s looks
On the cover of “FILMWOCHE” Magazine year 1934
Renate Müller at the window, she does not imagine that soon will fall from there

© COPYRIGHT: Luciano Lapadula

Divieto di copia e riproduzione. Contattare l’autore per info e disponibilità

Do Not Copy. Contact the writer for info

Follow my Blog: https://theluxon.com

Follow Me on Instagram: https://www.instagram.com/iamlucianolapadula/

Follow Me on Facebook: https://www.facebook.com/lucianolapadulaofficial/

Follow Me on Youtube: https://www.youtube.com/channel/UCXPI69uNrqeejgYR1fH9ASw

Acquista il mio libro. Clicca sull’immagine per info.

Shop my Book “The Macabre and the Grotesque in Fashion and Costume”. Click on the pic for info.

Pubblicato il Lascia un commento

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)

All right reserved.

Divieto di copia e riproduzione.

Contattare l’autore per info e disponibilità

Do Not Copy. Contact the writer for info

2
3
4
6
10
14a
15
18
19
22
35
36
37
40
45
46
51

Discover more from my Blog:
www.lucianolapadula.wordpress.com
Follow Me on Instagram:
https://www.instagram.com/iamlucianolapadula/

Follow Me on Facebook:
https://www.facebook.com/lucianolapadulaofficial/

Follow Me on Youtube:
https://www.youtube.com/channel/UCXPI69uNrqeejgYR1fH9ASw

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

Pubblicato il Lascia un commento

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

Divieto di copia e riproduzione.

Contattare l’autore per info e disponibilità

Do Not Copy. Contact the writer for info

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.

Pubblicato il Lascia un commento

Divas of Fascist Cinema

Alida Valli Ghergo Luciano Lapadula blog moda storia attrici fascismo moda fashion history photography history blogger libro

Il volto scolpito nel marmo, uno sguardo insieme sensuale e spietato che allude all’erotismo più feroce di quei giorni bui. Le labbra violacee evidenziano un sorriso amaro, sprezzante, fiero del proprio sublime incanto. Sono le dive del cinema fascista, in un’Italia umiliata dalla guerra regnano sulle superfici dell’illusione per regalare un sogno a chi di illusione perisce.

The face sculpted in marble, a sensual and ruthless glance that alludes to the most ferocious eroticism of those dark days. The violet lips show a bitter, contemptuous smile, proud of its own sublime charm. They are the divas of Fascist cinema, in an Italy humiliated by war thay all reigns on the surfaces of illusion to give a dream to those who are diyng by illusion.

© COPYRIGHT: Luciano Lapadula

Divieto di copia e riproduzione.

Contattare l’autore per info e disponibilità

Do Not Copy. Contact the writer for info

alida valli fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography
Alida Valli – From a Fresh Look to a Dark Lady – Venturini

Alida Valli Ghergo Luciano Lapadula blog moda storia attrici fascismo moda fashion history photography
Alida Valli. Ghergo

luisa ferida
Luisa Ferida

Leda Gloria
Seductive Leda Gloria – Ghergo

leda gloria venturini duce coppa mussolini fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography
Leda Gloria – Venturini

elisa cegani Luciano Lapadula blog moda storia attrici fascismo moda fashion history photography
Elisa Cegani – Ph unknown

Elisa Cegani magazine italia duce Luciano Lapadula blog moda storia attrici fascismo moda fashion history photography
Elisa Cegani from in “LA CORONA DI FERRO” di Alessandro Blasetti, 1941. Winner of Coppa Mussolini award

clara calamai profondo rosso nazismo nazi diva gothic fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography
Clara Calami: the first italian “Dark Lady” actress

clara calamai profondo rosso nazismo nazi diva gothic fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography weird blogger
Clara Calamai. I think she worn Ferragamo platform shoes. Could be now

Elsa De Giorgi fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography
Elsa De Giorgi – Peek-a-Boo hairstyle. Ph Venturini

italian beauty elsa de giorgi blonde actress fascism cinema star italian luciano lapadula blog blogger
A perfect face. Elsa De Giorgi

Doris Duranti hitler nazismo nazi diva gothic fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography
Amazing Beauty: Doris Duranti, the most loved by dictators

doris duranti elio luxardo nazismo nazi diva gothic fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography blogger hairstyle makeup
Doris Duranti, the fascist actress, by Elio Luxardo

isa miranda marlene dietrich nazismo nazi diva gothic fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography
Isa Mirande: the platinum italian Dietrich

isa miranda marlene dietrich nazismo nazi diva gothic fascismo cinema Luciano Lapadula blog moda storia attrici nazi beauty creepy moda fashion history photography blogger hairstyle make
Isa Miranda, who arrived in Hollywood, was greeted with clamor by the public and by Paramount

Discover more from my Blog:
www.lucianolapadula.wordpress.com

Follow Me on Instagram:
https://www.instagram.com/iamlucianolapadula/

Follow Me on Facebook:
https://www.facebook.com/lucianolapadulaofficial/

Follow Me on Youtube:
https://www.youtube.com/channel/UCXPI69uNrqeejgYR1fH9ASw

 

Acquista il mio libro. Clicca sull’immagine per info.

Shop my Book

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

Click on the pic for info.

Pubblicato il Lascia un commento

The Most Beautiful Suicide

Sul biglietto che Evelyn lasciò prima del tragico salto scrisse:

Non voglio che nessuno mi veda, nemmeno la mia famiglia. Fatemi cremare, distruggete il mio corpo.Vi supplico: niente funerale, niente cerimonie. Il mio fidanzato mi ha chiesto di sposarlo a giugno. Ma io non sarei mai la brava moglie di nessuno.
Sarà molto più felice senza di me. Dite a mio padre che, evidentemente, ho fin troppe cose in comune con mia madre

Era una ragazza di soli 23 anni.

Può un suicidio trattenere bellezza e trasformarsi in un’opera d’arte?

Io credo di si. L’elogio della morte di una bella ragazza è atroce e seducente. Da Andy Warhol a David Bowie – nella sua canzone “Jump They Say” – l’esistenza dolorosa di una vita spezzata nel suo fiorire, rende la protagonista un’eroina eterna.

Tratto dal mio libro “Il Macabro e il Grottesco nella Moda e nel Costume“,

la descrizione dell’accaduto.

 

“Edgar Allan Poe, all’interno del
suo saggio La filosofia della composizione,
scrisse che
«la morte di una bella
donna è senza dubbio l’argomento
più poetico del mondo»
e in proposito
colma di emozione è l’immagine
realizzata per caso dall’allora aiuto fotografo
Robert Wiles il primo maggio
1947.
 
Riuscì a immortalare la ventitreenne
Evelyn McHale distesa con
elegante ma innaturale compostezza
sul tetto di una limousine dopo un
lungo volo dall’ottantaseiesimo piano
dell’Empire State Building.
La fanciulla appare dolcemente
sprofondata tra le scure lamiere del
veicolo, i vetri infranti, l’acciaio laccato
ricurvo su se stesso per la violenza
dell’impatto, e lei lì, supina come
una bella addormentata in un sonno
senza fiato.
 
Dal freddo metallo della
vettura emerge prepotente il colore
rosso del raffinato tailleur. Bianca la
camicetta e bianchi i lunghi guantini
che vestono ancora alle mani. I capelli
biondi circondano un volto bellissimo
e dal trucco perfetto. Le calze sono
abbassate. Le braccia sono piegate e
la mano sinistra appare gentile accanto
al volto, socchiusa in un gesto che
sembra sofisticato e fascinoso.
 
Il suicidio
perde in questo caso l’orrore del
suo significato grazie alla bellezza di
un’immagine che appare come quella
di una rivista di moda. La paradossale
assenza di sangue e di deturpazione,
abbinata alla compostezza del soggetto,
fecero sorgere l’appellativo con il
quale la fotografia venne chiamata:
“il suicidio più bello”.
 
L’immagine lascia
scaturire una forte contraddizione
nella mente dello spettatore, sedotto
dall’estetica della morte che appare
crudelmente soave.
 
Vorremmo chiedere a Evelyn il perché di quel gesto,
la frustrazione per l’incomprensibilità
della sua scelta genera una morbosa
attenzione ai dettagli che raccontano
della sua vita: la bianca sciarpa che
vorticosamente scendeva dalla finestra
raggiungendo il corpo, il porta-
trucco lasciato in disparte insieme al
cappotto ripiegato, la sua lettera di
addio.
 
Una morte violenta per una
fotografia dalla bellezza immortale.
Questa immagine attraente e insieme
aberrante venne pubblicata
all’interno della rivista “Life” con il
titolo The Most Beautiful Suicide.
 
La didascalia narrava:
«At the bottom of
the Empire State Building the body
of Evelyn McHale reposes calmly in
grotesque bier, her falling body punched
into the top of a car».
Lo scatto fu poi rielaborato da Andy Warhol
nel 1962 con il nome: Suicide (Fallen
Body), in un’indagine sul rapporto tra
bellezza, morte e Pop Art.”
 
Luciano Lapadula
 
© COPYRIGHT:
Divieto di copia e riproduzione.
Contattare l’autore per info e disponibilità
Do Not Copy. Contact the writer for info

The Most Beautiful Suicide

On the piece of paper Evelyn left before the tragic leap, she wrote:

I don’t want anyone in or out of my family to see any part of me. Could you destroy my body by cremation? I beg of you and my family – don’t have any service for me or remembrance for me. My fiancé asked me to marry him in June. I don’t think I would make a good wife for anybody. He is much better off without me. Tell my father, I have too many of my mother’s tendencies

She was only 23 years old.

Can a suicide keep beauty and transform into a work of art?

I think yes. The praise of the death of a beautiful girl is terrible and seductive. From Andy Warhol to David Bowie – in his song “Jump They Say” – the traumatic existence of a life broken in its blossom, makes the protagonist an eternal heroine.

Taken from my book “Il Macabro e il Grottesco nella Moda e nel Costume“, the description of the fact.

“Edgar Allan Poe, within its essay Philosophy of composition,
wrote that

«the death of a beautiful
woman is undoubtedly the most poetic
topic of the world »

and about this
the image realized by chance
by the former assistant photographer

Robert Wiles on the first of May
1947 is rich of emotion.

He succeeded in capturing the twenty-three years-old
Evelyn McHale lying with
elegant but unnatural composure
on the top of a limousine after a
long flight from the eighty-sixth floor
of the Empire State Building.


The girl seems to be sweetly
collapsed among the dark plates of
the car, the glasses smashed, the lacquered steel
bent on itself because of the violence
of the impact and the girl there, supine as
a sleeping beauty in a breathless
sleep.

From the ice-cold metal of the
car there comes, violently, the red colour
of the sophisticated suit. 
White is the

blouse and white are the long gloves
that still adorn her hands. Her blonde
hair frame a beautiful face
with a perfect makeup. 
The tights are
taken down. abbassate. Her arms are bent and
the left hand seems to be gentle near
the face, half-closed in a gesture that
seems to be sophisticated and charming.

The suicide,
in this case, loses the atrociousness of
its meaning thanks to the beauty of
an image that seems to come from 
a fashion magazine.

The paradoxical
absence of blood and disfigurement,
combined with the composure of the subject,
gave birth to the title with
which the picture was called:
“The Most Beautiful Suicide”.

The image gives
origin to a strong contradiction
in the observer’s mind, seduced
by the aesthetic of death that seems to be
cruelly sweet.

We would like to ask
Evelyn the reason of that gesture,
the frustration for the incomprehensibility
of her choice generates a morbid
attention to the details that
tell her life: the white scarf that
vertically fell from the window
reaching the body,
the beauty case left apart together with the folded coat, her suicide note.

A violent death for a
picture having an immortal beauty.

This charming and simultaneously
aberrant image was published
in the magazine “Life” with the
title The Most Beautiful Suicide.

The caption told:

«At the bottom of
the Empire State Building the body
of Evelyn McHale reposes calmly in
grotesque bier, her falling body punched
into the top of a car».

The shot has been then redesigned by Andy Warhol
in 1962 with the name: Suicide (Fallen
Body), in a study about the relationship between 
beauty, death and Pop Art.”

Luciano Lapadula

Special Thanks for supporting in translation to

Serena Bartolo trad.serenabartolo@gmail.com

© COPYRIGHT

Evelyn Francis McHale

BIRTH

 

Berkeley, Alameda County, California, USA
DEATH1 May 1947 (aged 23)

 

Manhattan, New York County (Manhattan), New York, USA
BURIAL

Middle VillageQueens CountyNew YorkUSA

evelyn francis mchale 1923

evelyn mchale photo portrait fotografia blog
Lots of Love. Evelyn McHale

evelyn mchale luciano lapadula blog cultura arte art history andy warhol il macabro e il grottesco moda costume libro book creepy

evelyn-incorrectly-labeled-as-20-years-old-ny-times-may-2-1947

evelyn mchale suicide blog luciano lapadula

evelyn mchale luciano lapadula blog cultura arte art history andy warhol arte
The Most Beautiful Suicide

 

 

 

 

 

© COPYRIGHT: Luciano Lapadula

Divieto di copia e riproduzione. Contattare l’autore per info e disponibilità

Do Not Copy. Contact the writer for info

Follow my Blog: https://theluxon.com

Follow Me on Instagram: https://www.instagram.com/iamlucianolapadula/

Follow Me on Facebook: https://www.facebook.com/lucianolapadulaofficial/

Follow Me on Youtube: https://www.youtube.com/channel/UCXPI69uNrqeejgYR1fH9ASw

Acquista il mio libro. Clicca sull’immagine per info.

Shop my Book “The Macabre and the Grotesque in Fashion and Costume”. Click on the pic for info.

Pubblicato il Lascia un commento

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”

[youtube https://www.youtube.com/watch?v=IXc9mXiECNs]
Do Not Copy. Contact the writer for info

Follow Me on Instagram:

https://www.instagram.com/iamlucianolapadula/

Follow Me on Facebook:

https://www.facebook.com/lucianolapadulaofficial/

Acquista il mio libro. Clicca sull’immagine per info.

Shop my Book. Click on the pic for info.

 

Pubblicato il Lascia un commento

10 spaventose pubblicità vintage 10 creepy vintage adv

scary vintage ad adv ads antique old fashion moda storia marketing magazine pubblicita

La pubblicità segue le mode e il gusto sociale del proprio tempo. Così attraverso un rapido sguardo ad alcuni manifesti di antiche réclame si percepisce immediatamente una certa tendenza estetica  – tra gli anni della Belle Époque e il successivo “ventennio”- in cui mistero, struggente decadenza, simbologia esoterica e persino elementi orroriferi incontrano marketing e glamour. Il prodotto talvolta risulta paradossale, a tratti kitsch, ma terribilmente seducente. Ho scelto per voi 5 (per ora) incredibili pubblicità in cui io mi sia imbattuto durante le mie ricerche.

Advertising follows the fashions and the social taste of one’s own time. So, through a quick glance at some posters of ancient claims, you immediately perceive a certain aesthetic tendency – between the years of the Belle Époque and the following “roaring 20s”, in which mystery, yearning decadence, esoteric symbology and even horrific elements meet marketing and glamour. The product is sometimes paradoxical, sometimes kitsch, but terribly seductive. I have chosen for you 10 (for now) incredible advertising in which I came across my research.

© COPYRIGHT: 

Divieto di copia e riproduzione. Contattare l’autore per info e disponibilità

Do Not Copy. Contact the writer for info

vintage creepy adv blog luciano lapadula michelin 1900 20s design graphic fashion art historian writer strega italia italy belle epoque
Italian “Liquore Strega! – 1906

vintage creepy adv blog luciano lapadula michelin 1900 20s design graphic fashion art historian writer
 Michelin Man vintage poster

vintage creepy adv blog luciano lapadula piss 1900 20s design graphic fashion art historian writer rasputin vodka
Scary Drunk Russian Man from 1912

vintage creepy adv blog luciano lapadula michelin 1900 20s design graphic fashion art historian writer strega italia italy belle epoque vintage creepy adv blog luciano lapadula michelin
Italian adv from 1924

vintage creepy adv blog luciano lapadula piss 1900 20s design graphic fashion art historian writer
1921 italian vermuth adv

vintage creepy adv blog luciano lapadula sinf orco 1900 20s design graphic fashion art historian writer
Italian Sinf”Orco” from 1911

vintage creepy adv blog luciano lapadula michelin 1900 20s design graphic fashion art historian writer strega italia italy belle epoque vintage creepy adv blog luciano lapadula michelin
Femme Fatale for italian “Spumanti baccaro” – 1925

vintage creepy adv blog luciano lapadula sinf orco 1900 20s design graphic fashion art historian writer clown circus
Scary, so scary, clown for italian Show Polish adv

vintage creepy adv blog luciano lapadula sinf orco 1900 20s design graphic fashion art historian writer pierrot gothic
Italian Adv from 1910 c. “Borotalco Florentia”

vintage creepy adv blog luciano lapadula sinf orco 1900 20s design graphic fashion art historian pears soap
Pears Soap Adv

Follow Me on Instagram:

https://www.instagram.com/iamlucianolapadula/

Follow Me on Facebook:

https://www.facebook.com/lucianolapadulaofficial/

Acquista il mio libro. Clicca sull’immagine per info.

Shop my Book. Click on the pic for info.

Pubblicato il Lascia un commento

When an old photo describes a moment in life

La modella, è elegante con i suoi capelli biondi  raccolti in uno chignon illuminato da un fermaglio dorato. Indossa un maglioncino verde come la speranza mentre, dando le spalle a noi e alla camera, è immersa nella fotografia che stringe tra le mani. Contempla un ritratto in bianco e nero, sbiadito come un malinconico ricordo. 

Quest’opera d’arte è frutto del lavoro della fotogafa Frances McLaughlin-Gill, e venne pubblicato il 1′ dicembre 1946 su Vogue America. Frances fu la prima donna a ottenere un contratto come fotografa per Vogue Usa.

The model is elegant with her hair pulled back and held up with a clip. Her back is to us and to the camera, and she’s wearing a low cut evening crochet sweater, green as hope. The #atmosphere is full of feeling and #sadness. She is looking at one photo. In black and white like an old #memory.

This atrwork was made by Frances McLaughlin-Gill for Vogue, year 1946. Frances was the first female fashion photographer under contract with #Vogue

luciano lapadula moda fotografia Frances McLaughlin-Gill photography fashion blog vogue 40s wwii
Ph by Frances McLaughlin-Gill’s, appeared on Vogue – 1th December 1946

© COPYRIGHT: Do Not Copy. Contact the writer for info

Divieto di copia e riproduzione. Contattare l’autore per info e disponibilità

 

Follow Me on Instagram:

https://www.instagram.com/iamlucianolapadula/

 

Follow Me on Facebook:

https://www.facebook.com/lucianolapadulaofficial/

 

“The Macabre and Grotesque in Fashion and Costume History”

SHOP: “The Macabre and Grotesque in Fashion and Costume History”

Pubblicato il Lascia un commento

Tarakànova Princess: history of a tragedy

Bella come la più tragica tra le figure femminili nella storia, enigmatica come una sciarada senza tempo, la giovane principessa Tarakànova fece la propria comparsa sulle scene della politica nel 1772, durante il regno della Zarina Caterina II di Russia.

Alla morte di Elizaveta Petròvna, figlia di Pietro il Grande, la giovane comparve dall’ombra dell’ignoto sotto il nome di principessa Vladimirskajaasserendo di essere la figlia segreta, unica erede, della deceduta imperatrice e per tanto legittima erede al trono.

Minata nel ruolo di sovrana, Caterina II ordinò che la giovane, rifugiatasi in Italia, fosse catturata. Avrebbe dovuto occuparsi del rapimento il Conte Grigorij Orlòv, che tuttavia una volta incontrata la donna se ne innamorò perdutamente, venendo corrisposto. Giunti in Russia a bordo di una nave, il giovane cercò in ogni modo di salvarle la vita, scoperto, venne insieme a lei condannato a morte.

Come nelle favole dall’epilogo più triste, la bella principessa fu imprigionata nella fortezza dei SS. Pietro e Paolo a Pietroburgo, dove circondata da topi e avvolta dalle tenebre morì, secondo la leggenda, annegando in seguito alla storica inondazione del 1777. Altre fonti invece asseriscono la bella sia morta nella sua cella durante il 1775, malata di tisi.

Pittori, letterati e registi internazionali hanno dedicato a questo controverso e affascinante personaggio tele intense, pagine drammatiche e metri di pellicola intrisi di sentimento. Una curiosità, nel film del 1938 compaiono due artisti ancora sconosciuti: Anna Magnani, nel ruolo di un’aggressiva cameriera, e Alberto Sordi in quello di uno studente condotto al patibolo. Alberto era giovane e la barba non gli era cresciuta, dovette indossarne una posticcia realizzata dal truccatore di scena.

Ecco alcune significative immagini.

Luciano Lapadula

************************************

As beautiful as the most tragic female figures in history, enigmatic as a timeless charade, the young princess Tarakanova made her appearance on the political scene in 1772, during the reign of the Tsarina Catherine II of Russia. On the death of the Empress Elizaveta Petròvna, daughter of Peter the Great, under the name of Vladimirskaja princess, the girl appeared from the shadows of the unknown claiming to be her secret daughter and therefore legitimate to the throne. Worried to loose her  role of Empress, Catherine II ordered that the woman, refuges in Italy, was captured by Count Grigory Orlov, who however once met the woman fell in love with her.

Once in Russia on board a ship, the young man did all he could to save her life, when their love story was discovered, the both were sentenced to death. As in the saddest tales, the beautiful princess was imprisoned in the fortress of SS. Peter and Paul, surrounded by rats and shrouded by darkness she died, according to legend, drowned after the historic flooding that took place in St. Petersburg in 1777. Other sources assert she ed in her cell in 1775. Painters, writers and international filmmakers dedicated to this controversial and fascinating character, intense paintings, dramatic pages and meters of film soaked feeling.

 Here are a few pictures.

Luciano Lapadula

Risultati immagini per TARAKANOVA Grigorij Danilevskij
“La principessa Tarakànova”, Gregorij Danilevskij, 1883

FLAVITSKY princesa tarakànova dying in prison luciano lapadula wordpress blog fashion macabre book
Konstantin Flavitsky: Princess Tarakanova, drowning in the Peter and Paul Fortress at the Time of the Flood, c. 1864, oil on canvas. State Tretyakov Gallery, Moscow.

FLAVITSKY, Konstantin Dmitriyevich (1830-1866) Princess Tarakanova, in the Peter and Paul Fortress at the Time of the Flood, detail 1864
Konstantin Dmitriyevich FLAVITSKY, (1830-1866) Princess Tarakanova, dying in the Peter and Paul Fortress at the Time of the Flood, detail 1864

princess-tarakanova v.mikulina movie 1910
Frame from a movie by Kaj Hansen e A.Maitre. “Pincess tarakanova”, with V. Mikulina, 1910

Tarakanova is a 1930 French historical drama film directed by Raymond Bernard and starring Édith Jéhanne
Tarakanova Movie Poster,1930 French historical drama film directed by Raymond Bernard and starring Édith Jéhanne

Édith Jéhanne in Tarankova movie frame

tarankova poster
Tarakanova Movie Poster

Édith Jéhanne in Tarankova
Édith Jéhanne in Tarankova, 1930

tarakanovie poster movie film
Poster from the movie, 1930

tarakanova movie poster
Poster from the Movie, 1930

pricesa tarakanova 1938 movie poster
Princesa Tarakanova, 1938. Cast movie: Annie Verany and Pierre Richard Willm, Pricesa Tarakanova, with the collaboration of filmaker Mario Soldati

Mario Soldati anna magnani alberto sordi la principessa tarakanova film postr 1938
Fedor Ozep with Mario Soldati, Fascism ads movie poster, 1938 Italian edt

Tarakanova movie 1938 french editions
Princess Tarakanova, French Poster edt, 1939

Édith Jéhanne tarakanova
Édith Jéhanne as Soeur Dosithée in Tarakanova,1930

© COPYRIGHT: Do Not Copy. Contact the writer for info

Divieto di copia e riproduzione. Contattare l’autore per info e disponibilità

Follow Me on Instagramhttps://www.instagram.com/iamlucianolapadula/

Follow Me on Facebookhttps://www.facebook.com/lucianolapadulaofficial/

Shop my Book. Click on the pic for info.

 

tarakanova princess history blog blogger fashion luciano lapadula moda movie cinema film

Pubblicato il Lascia un commento

Portraits of prostitutes from 115 years ago

Misterioso e schivo E.J. Bellocq nel 1910 iniziò la propria carriera di fotografo in America, dilettandosi nella realizzazione di immagini a fine commerciale. Svolse la propria attività a New Orleans dove, nel quartiere a luci rosse di Storyville realizzò centinaia di fotografie immortalando prostitute colte in pose sensuali, intime, drammatiche. Il quartiere venne distrutto nel 1917, e furono perduti anche moltissimi scatti di Bellocq, che morì in solitudine nel 1949. La gloria, postuma, lo vide trionfare solo a partire dal 1966, quando Lee Friedlander scoprì in un antiquario a New Orleans suoi numerosi inediti scatti, che divennero presto oggetto di importanti mostre e pubblicazioni, tra cui Storyville Portraits (1970) e Red Light District of New Orleans (1996). Guardando queste immagini non è l’erotismo a prevalere, ma un senso di sconfinata solitudine, tanto lontana nel tempo quanto attuale. Viene voglia di chiedere a quelle donne i loro nomi, come siano finite lì. Vorremmo conoscere le loro storie. Vivono in un bordello arredato per illudere ci sia eleganza, risplende più evidente la fatiscenza. Sulle pareti lacere carte damascate. Compare il poster che sembra ritrarre la famosa attrice Lily Elsie, forse icona di una tra le ragazze costrette a una vita assai diversa. Un occhio tumefatto, un seno sfiorito, un ventre gonfio senza maternità, un sorriso che nasconde l’abbandono. Lola, Edy, Sarah, non hanno nulla da perdere, e si concedono, indolenti e inconsapevoli, alla gloria eterna grazie a queste fotografie.

******************************

Mysterious and bashful E.J. Bellocq in 1910 began his career as a photographer in America, delighting in the creation of images for commercial purposes. He carried out his business in New Orleans where, in the red light district of Storyville, he took hundreds of photographs immortalizing prostitutes caught in sensual, intimate, dramatic poses. The neighborhood was destroyed in 1917, and many shots of Bellocq, who died in solitude in 1949, were also lost. Glory, posthumously, saw him triumph only starting in 1966, when Lee Friedlander discovered his numerous unpublished works in an antiquarian in New Orleans shots, which soon became the subject of important exhibitions and publications, including Storyville Portraits (1970) and Red Light District of New Orleans (1996). Looking at these images it is not eroticism that prevails, but a sense of boundless solitude, as far away in time as it is current. I feel like asking those women for their names, how they ended up there. We would like to know their stories. They live in a brothel furnished to deceive there is elegance, the dilapidation shines more clearly. Damask cards on the tattered walls. The poster appears that seems to portray the famous actress Lily Elsie, perhaps an icon of one of the girls forced to live a very different life. A swollen eye, a faded breast, a swollen belly without motherhood, a smile that hides abandonment. Lola, Edy, Sarah, have nothing to lose, and indulge themselves and unwittingly, to eternal glory thanks to these photographs.

© COPYRIGHT Luciano Lapadula

Some photos – Alcune immagini:

It is morning in the house, from the window the light illuminates the room. On the walls, portraits of prostitutes, in the center, with her beautiful striped stockings, she is ready to start the shift, she drinks, so as not to weigh too much on it.
It’s morning. Flowers for a faded life
A casual smile for a new day equal to the previous one
Gibson Hairstyle. It is daytime and the short,
chubby girl is waiting for her customers
On the tattered wallpaper, the portrait of the actress Lily Elsie hangs. Life has given her a different destiny
Bathed in light. A smile resigned to the girl at the window behind into the darkness, the promise for the meeting
Afternoon A Venus of abandonment
The girl’s big eyes tell us about her atrocious fate, listen to her
Strike a pose. The photos on the wall describe excerpts from an interrupted life
Heavy upholstery covers sounds and lights
An angry trait erases identity
Unconventional late afternoon. It seems that the girl is drawing a butterfly on the wall, a symbol of short and free life
The girl with the erased face waits for customers lying in her négligée
What books will they ever be? And how strange that frame without picture. Maybe it’s a mirror.
A fast, furious trait erases the faces and identities of a “shameful” life
Fragments that crumble like the girl’s life
Waiting for a client, she wears a black silk mask
She wear the same mask as the previous photo wich hidden her face, she exhibits a tired body, a swollen belly without his child
A bed that knows no love
It’s night, Penny is my whole life
Immersed in her failures
Immersed in her failures
The day is over, maybe a last customer will come, so in the meantime let’s get distracted, play cards and drink, one, two, three bottles, not to think about it anymore
The last client has arrived. He was more drunk than I was. He pushed me to the bed, hit me hard, calling me a whore.