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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.

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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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Supermodels from 50s

Spesso pensiamo alle supermodelle come a un fenomeno recente, riconducibile agli anni ’90 e a bellezze quali Cindy Crawford, Claudia Schiffer, Naomi Campbell. Invece sin dagli anni ’50 (e anche prima) il mondo della moda era sedotto da un certo tipo di estetica che si identificava in volti di modelle allora iconiche e assai ricercate, poi – come purtroppo spesso avviene – dimenticati e perduti. Di seguito tre indossatrici che ho selezionato tra le più celebri proprio durante gli anni ’50.

We often think Supermodels is recent phenomenon, dating back to the ’90s and to beauties such as Cindy Crawford, Claudia Schiffer, Naomi Campbell. But since the 1950s (and even before) the world of fashion was seduced by a certain kind of aesthetic that was identified in faces of iconic models, then – as unfortunately often happens – forgotten and lost in times. Here are three modles I selected among the most famous during the 50’s .
1. Carmen Dell’Orefice. Class 1931, she appeared on VOGUE’s cover when she was just 15 years (in 1946). Immortalized by the greatest photographers during the 50s, she still as model.
2. Suzy Parker. Sister of another well-known model, Dorian Leigh, did not have difficulty getting hired by the prestigious American fashion agency Ford Models. She began her career by appearing in Life magazine and soon became Chanel’s face, as well as being a friend of the same designer. Photographed by mosta famous artists as Richard Avedon she also inspired the character played by Audrey Hepburn in Funny Face, 1957.
3. Ivy Nicholson, an icon that has been able to span different territories over time, ranging from the field of fashion to cinema and art. A beauty that we could call contemporary, elegant and wild, with an eclectic personality.

 

1. Carmen Dell’Orefice. Classe 1931, estetica raffinata, comparve sulla copertina di VOGUE nel 1946, a soli 15 anni. Immortalata dai più grandi fotografi durante i 50s è ancora oggi una modella ricercata da numerose case di moda in tutto il mondo.

carmen dell'orefice luciano lapadula
Carmen Dell’Orefice by Milton Greene – 1954

2. Suzy Parker. Sorella di un’altra modella assai celebre, Dorian Leigh, non ebbe difficoltà a essere assunta dalla prestigiosa agenzia di moda americana Ford Models. Iniziò la sua carriera comparendo sulla rivista Life e divenne presto volto per Chanel, oltre che amica della stessa stilista. Musa del fotografo Richard Avedon ispirò il personaggio interpretato da Audrey Hepburn nel film Cenerentola a Parigi, anno 1957.

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Suzy Parker modeling Chanel in 50s

3. Ivy Nicholson, un’icona che nel tempo ha saputo solcare territori differenti spaziando dal campo della moda a quello del cinema e dell’arte. Una bellezza che potremmo definire contemporanea, elegante e selvaggia, misteriosamente custode di una personalità eclettica.

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Ivy Nicholson in Hubert de Givenchy for Life Magazine

 

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Virna Lisi and Vittoria Ceretti: beauties compared

Virna Lisi, classe 1936, professione attrice. Vittoria Ceretti, classe 1998, professione modella. Viene apprezzata in tutto il mondo per la sua bellezza definita “contemporanea”.

Vogue Italia la celebra attraverso uno scatto comparso sulla copertina del numero di Luglio 2016, in cui la modella appare immortalata da Steven Meisel con un evidente riferimento all’attrice Virna.

vogue italia virna lisi vittoria ceretti steven meisel luciano lapadula wordpress moda fashion beauties model actress italy

Soffermo la mia attenzione non sulla rievocazione dell’immagine di decenni prima, ma sul fatto che talvolta accade che alcuni tipi di bellezza siano tanto sublimi da restare sospesi in un’aurea celeste che li preserva dallo scorrere del tempo e dal mutare dei gusti estetici.

virna lisi 2

Vittoria non è certamente brutta, anzi la sua partcolare bellezza riflette a mio avviso il clima di precarietà del tempo che attraversiamo. Acerba e androgina ha uno sguardo che non esprime gioia né sprigiona carica erotica.

vittoria ceretti

L’assenza di sensualità appare in linea con la contemporanea trasformazione del ruolo della donna nella società. Il volto piatto, comune, a tratti apatico e ripetitivo viene sapientemente ritoccato dalle luci, dal trucco, dalle tecniche di post produzione trasformandosi in una brutta copia di quello di Virna, la cui inarrivabile bellezza lascia svanire ogni paragone.

 

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Virna Lisi, born in 1936, actress. Vittoria Ceretti, born in 1998, model. She is appreciated around the world for “contemporary” beauty.

Vogue Italy celebrates she by a photo on the cover of the July 2016 edition, immortalized by Steven Meisel with an obvious reference to the actress Virna. My attention is not focused on the image’s evocation of decades before, but on the different kind of beauties that sometimes changes passing the time, or sometimes remains as sublime icons.

Vittoria is certainly not bad, but in my opinion her beautiful face reflects the climate of insecurity of the time that we cross. Unripe, vacant look, she does not express joy and she doesn’t posses any erotic charge. The absence of sensuality appears in harmony with the contemporary transformation of the role of women in society. The face plate, common, at times apathetic and repetitive is wisely beautified by the lights, the makeup, the post-production techniques turning into a bad copy of  Virna, whose unrivaled beauty leaves fade any comparison.

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La Bellezza: Modelle a confronto

Vieni tu dal cielo profondo o sorgi dall’abisso, Bellezza?
(Charles Baudelaire)

Una storia intricata, complessa, quella della bellezza. Il soggettivismo rispetto al gusto lascia spazio a immagini-tipo che imperversano come ideali in determinate epoche.

I canoni della bellezza, tuttavia, mutano con l’alternarsi delle generazioni, e ciò che per un gruppo sociale era repellente ieri si riveste di incanto oggi.

Il mondo della moda sempre più rapidamente cambia i propri testimonial ed è affascinante osservarne differenze stilistiche e stravolgimento nei gusti.

Di seguito alcune immagini che ritraggono sfilate dei medesimi stilisti a distanza di 20 anni: 1996 – 2016

L’attenzione si posa in questo caso non sull’abito ma sulla modella, “corpo-feticcio” che da sempre rappresenta il gusto e l’espressione della società e del tempo in cui essa è immersa.

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Beauty, how much complexity in its history.Exciting images destined to fade because of the ravages of time, or to become iconic and eternal thanks to the magic of an artist. Canons of beauty often change with the changing of the ages, and what for a social group was yesterday repellent is amazing nowadays. Fashion system changes its testimonial and it is stunning to observe stylistic differences.

Here are some pictures that portray runways of the same stylist in 1996 and 2016.

Here I’m interested in model body, the “body-fetish” that always represents the taste and expression of society and time in which it is immersed.

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Carla Bruni – Yves Saint Laurent 1996

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Yves Saint Laurent 2016

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Karen Mulder – Yves Saint Laurent 1996

 

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Yves Saint Laurent FW 2016 – 2017

 

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Naomi Campbell – Versace 1996

 

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Versace ss 2016

 

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Helena Christensen – Gianni Versace 1996

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Versace ss 2016

Eva Herzigova - Herve Leger s/s 1996
Eva Herzigova – Herve Leger s/s 1996

 

Hervé Léger ss 2016
Hervé Léger ss 2016

 

 

Claudia Schiffer - Versace 1996/97
Claudia Schiffer – Versace 1996/97

 

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Versace ss 2016

 

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Nadja Auermann – Westwood 1996

 

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Westwood 2016

 

 

Kate Moss - Dolce & Gabbana 1996
Kate Moss – Dolce & Gabbana 1996

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Dolce & Gabbana ss 2016

 

Helena Christensen - Jean Paul Gaultier 1996
Helena Christensen – Jean Paul Gaultier 1996

 

Jean Paul Gaultier 1996
Jean Paul Gaultier 2016

 

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Amber Valletta – Prada 1996

 

prada ss 2016
Prada 2016

 

Shalom Harlow - Valentino 1996
Shalom Harlow – Valentino 1996

 

valentino ss 2016
Valentino ss 2016

luciano lapadula wordpress

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SuperTop anni ’90 come Dive del Passato

Un fenomeno di particolare interesse è quello legato alla produzione di immagini fotografiche di qualità, realizzate soprattutto durante la prima metà degli anni ’90, che ritraggono iconiche modelle a loro volta “travestite” da mitiche star del cinema.

All’interno della galleria fotografica che vi presento ho selezionato per voi alcuni tra quei look che conservano un esplicito riferimento segnico allo stile appartenuto alle più grandi star nel panorama cinematografico internazionale.

Claudia come Brigitte nella pubblicità Guess
Claudia come Brigitte nella pubblicità Guess

Cindy Crawford, una Gilda degli anni ’90

Marilyn o Eva? La Herzigova fotografata nel 1992
Marilyn o Eva?
La Herzigova fotografata nel 1992

Karen Mulder plays Marlene Dietrich on the December January 1995 cover of Vogue Paris
Karen Mulder come Marlene su Vogue 1995

linda come sophia
Linda, la più bella del reame, ricorda Sophia

Christy Turlington by Steven Meisel
Breakfast at Tiffany’s con Christy Turlington by Meisel