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| 1959 | RAIMONDI by Piero Raimondi Parabiago, Milan |
PARABIAGO'S
FOOTWEAR EXHIBITION [1954 - 1960]
PART 1 | PART 2
Tuesday, July 31, 2012
1959 | RAIMONDI | PARABIAGO, MILAN
PARABIAGO'S
FOOTWEAR EXHIBITION [1954 - 1960]
PART 1 | PART 2
Sunday, July 29, 2012
1963 - 1983 - WAYNE THIEBAUD | BLACK SHOES
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1963 | Wayne Thiebaud | Black Shoes
Source: _Your_Name_Here
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The figures... are not supposed to reveal anything... It's like seeing a stranger in some place like an air terminal for the first time. You look at him, you notice his shoes, his suit, the pin in his lapel, but you don't have any particular feeling about him.
Wayne Thiebaud
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1983 | Wayne Thiebaud | Black Shoes
Source: Cave To Canvas
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Wednesday, July 25, 2012
1955 | AT THE MOVIES | MAX OPHULS'S DETAILS | FEATURING CAPOBIANCO | PART 3
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| 1955 | Lola Montès poster |
Lola Montès uscì nel 1955 e fu l’ultimo film portato a termine dal regista Max Ophüls, morto circa un anno dopo.
Un budget enorme, la diva del momento, Martine Carol, e Peter Ustinov a disposizione facevano prevedere uno strepitoso successo. Invece il film fu sonoramente fischiato per la sua atmosfera barocca e allucinata e per i continui salti temporali della struttura narrativa fin troppo innovativa. Contro la volontà del regista la pellicola fu rimontata più volte per cercare, inutilmente, di incontrare i favori del pubblico. Solo il restauro del 2010 ha restituito al pubblico la versione originale di quel bellissimo film.
Lola Montès was released in 1955 and it was the last film by the director Max Ophüls, who died about a year later.
A huge budget plus the casting of the diva Martine Carol and Peter Ustinov made Lola Montès a blockbuster. In theory, as the movie was loudly booed for its baroque and hallucinatory atmosphere and the constant time shifts of the narrative structure. Too innovative. Against director’s will, it was heavily edited several times to (unsuccessfully) meet the audience’s favour. In the year 2010, the wonderful Lola Montès, was restored to the original cut.
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| 1955 | Lola Montès by Max Ophüls |
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| 1955 | Lola Montès by Max Ophüls |
In un circo infernale, fra danze di diavoli e uomini-banconota, nani, pagliacci e ballerine, una parata di sontuose coreografie mette in scena l’ascesa e la caduta della fatale “Lola Montès”. E’ lei stessa a recitare nel circo la sua vicenda di danzatrice, cortigiana e soprattutto protagonista di numerose avventure nella prima metà dell’800, tra le quali una relazione con Franz Listz ed una - interrotta da una rivolta popolare nel ‘48 - con re Ludwig I di Baviera, che le aveva concesso il titolo di contessa di Landsfeld.
In a hellish circus, between dwarfs, clowns and dances of devils and banknote-men, a parade of sumptuous choreographies tells the rise and fall of the femme fatal "Lola Montes". She remembers in flashback and plays in the circus her story of being a dancer, courtesan and protagonist of many love affairs in the first half of 19th century, including one with Franz Liszt and another with king Ludwig I of Bavaria, who granted her the title of Countess of Landsfeld.
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| 1955 | Lola Montès by Max Ophüls |
Lo spettacolo sembra l’anticipazione dell’odierna tv spazzatura, dove le vicende più personali ed intime sono il nutrimento di un pubblico vorace ed indiscreto. Lola Montès è attrice e allo stesso tempo vittima rassegnata all’espiazione, in un crescendo ansiogeno dato dal suo declino sociale, dalla sua malattia e dai suoi numeri al trapezio. Alla fine, sempre più animale da circo, Lola è rinchiusa in gabbia ed offre la sua mano da baciare in cambio di un dollaro.
The show seems an anticipation of today's trash TV, where the more personal and intimate details are the food for a voracious and inquisitive audience. Lola Montes is at the same time actress and a victim resigned to expiate, while her social decay, her illness and her numbers on the trapeze increase the anxiety. Eventually, like a circus animal, Lola is locked in a cage and offers her hand to kiss for one dollar.
1950 - 1955 | Max Ophuls | Capobianco
| Part 1 | Part 2 | Part 3 | Part 4
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| 1955 | Lola Montès by Max Ophüls Lola Montès close-up Ophuls' style | Shoes by Capobianco |
Saturday, July 21, 2012
HANG LOOSE | FEATURING THE GREAT PLAINS & RON HOUSE | TBAMFW 8.1
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| Great Plains - Dick Clark 7" EP 1985 (Shadowline Records) |
From Columbus, Ohio, the Great Plains were Ron House's band before Thomas Jefferson Slaves Apartments. His voice might be an acquired taste, so it's either love/hate. I love it as much as their lo fi garage-rock Columbus-style.
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| Great Plains - Naked At The Buy, Sell, And Trade 1985 ( Homestead Records) |
The 7" front cover is a detail of the LP cover of the same year by photographer RENEE K. VELKOFF, author of many designs for the Gibson Brothers ("Dedicated Fool", "The Man Who Loved Couch Dancing").
The back cover drawing was made by the Great Plains keyboard player MATT WYATT.
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| Great Plains - Naked At The Buy, Sell, And Trade [Back Cover] 1985 ( Homestead Records) |
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| The Riptides - Hang Out 2006 (Red Square/Union Label Group) |
Ramones worshippers from Ottawa, Canada. No info about the cover.
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| Soldiers - Hit The Bricks 2011 ( State Of Mind Recordings) |
Metal-core from Long Island, NY.
ALL STAR CHUCK TAYLOR
Wednesday, July 18, 2012
THE BRAND MARGARET JERROLD | BY MARGARET CLARK & JERROLD MILLER
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1982 | Margaret Jerrold retrospective at
Lord & Taylor | Fifth Avenue at 39th Street, NY
Source: The Wandering Shoe by Jerry (Jerrold) Miller
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Il nome della designer Margaret Clark troppo spesso viene confuso con Margaret Jerrold, marchio da lei creato col marito Jerry Miller. Lo ammise lo stesso Miller nel suo libro "The Wandering Shoe" (1984), preziosa fonte di informazione che ha permesso di recuperare qualche altra informazione su di lei.
Nata a Tulsa in Oklahoma nel 1921, Margaret Clark aveva studiato design alla Parsons School di New York e per mantenersi gli studi disegnava altri designer, fra cui Sophie Gimbel, designer di Saks Fifth Avenue, che poi firmava i capi col proprio nome. Dopo la scuola iniziò a lavorare nel settore dell’abbigliamento e nel 1946 fu assunta dalla I.Miller perché apprezzata dal noto David Evins, a quell’epoca principale designer dell’azienda.
Per vicissitudini personali (non era gradita la sua relazione con Jerry Miller, nipote del fondatore), lasciò l’azienda e dopo varie collaborazioni iniziò a disegnare a proprio nome verso il 1949/50 per aziende come Joyce, Bally, Red Cross e Capezio (per questi ultimi fu la principale designer fino agli anni Sessanta).
Margaret Clark's name is often confused with the name Margaret Jerrold, a brand that she created with her husband Jerry Miler. Miller himself explained why in his book "The Wandering Shoe" (1984) and gave us more information in the process.
Born in Tulsa, Oklahoma in 1921, Margaret Clark studied design at the Parsons School in New York and to finance her studies she used to sell sketches to studios or other designers, including Sophie Gimbel from Saks Fifth Avenue, who then signed the clothes with her name . After her studies she worked for the clothing industry and in 1946 she was hired by I.Miller, appreciated by the renowned David Evins, at that time the main designer of the company.
Her relationship with Jerry Miller, (I.Miller founder's grandson) was not welcomed within the company, so she had to leave I.Miller to work as a free agent and later for many shoe companies including Joyce, Bally's, Red Cross and Capezio. For Capezio she was the star designer up to the Sixties.
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1954 | Margaret + Jerrold
Enter Margaret Jerrold Inc. (From Footwear News)
Source: The Wandering Shoe By Jerry Miller
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Nel 1954 Margaret Clark e Jerrold (Jerry) Miller (che nel frattempo si erano sposati), unirono i loro nomi per creare il marchio Margaret Jerrold. Iniziarono a produrre scarpe eleganti, celebrate dalle più importanti riviste di moda, e caratterizzate da tacco medio e leggerezza in un periodo in cui dominavano le scene o scarpe ultrapiatte o tacchi alti.
In 1954, Margaret Clark and Jerrold (Jerry) Miller (meanwhile they got married), created the Margaret Jerrold brand (merging their first names) and began to produce elegant shoes, celebrated by the most important fashion magazines, distinguished by medium heel and lightness in a time dominated by ultra flat shoes or high heels.
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| 1955 | Margaret Jerrold Shoes in a Van Raalte ad Source: ebay |
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1960 | Design by Margaret Clark
Source: The Wandering Shoe by Jerry Miller
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Margaret Miller riuscì a disegnare con sempre maggiore fatica fino alla seconda metà degli anni ’60 a causa di una malattia che la costrinse a uscire di scena. Il marchio Margaret Jerrold rimase, ma la creazione dei modelli non fu più sua. Morì nel 1994.
Margaret Clark was able to design until the second half of the '60s because of an illness that forced her to stop working for good. The Margaret Jerrold brand went on, but the design was no longer hers. She died in 1994.
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1966 | Margaret Jerrold
From Harper's Bazaar April issue
Source: Herringbone and Houndstooth
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1967 | Margaret Jerrold
Dress by Bill Blass for Maurice Rentner
From Harper's Bazaar Christmas issue
Source: Online Vintage Stuff
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Source: "The Wandering Shoe" by Jerry (Jerrold) Miller, My Goodfriends | New York 1984
1954 | THE MONDRIAN SERIES
BY MARGARET CLARK (BIRTH OF MARGARET JERROLD INC.)
1954 | THE MONDRIAN SERIES
BY MARGARET CLARK (BIRTH OF MARGARET JERROLD INC.)
Tuesday, July 10, 2012
SS33 | THE MIRABILE SHOE FACTORY | PARABIAGO, MILAN
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1958 | MIRABILE
by Della Vedova, Terni & Co.
Parabiago, Milan
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Il calzaturificio "Mirabile" di Della Vedova, Terni & C. fu registrato nel 1956, in tempo per partecipare ad alcune edizioni della Rassegna della Calzatura di Parabiago. Nel 1960 depositò anche i marchi di prodotto Falena (moth), Farfalla ed Esquire per le diverse linee di prodotto.
The shoe factory "Mirabile" by Della Vedova, Terni & C. was incorporated in 1956 and it was among the exhibitors at the footwear shows in Parabiago, Milan. In 1960 they marketed three different product lines under the monikers Falena (moth), Farfalla (butterfly) and Esquire.
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1956 | MIRABILE First ad
Parabiago, Milan
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1958 | MIRABILE | by Della Vedova, Terni & Co.
Parabiago, Milan
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1969 | MIRABILE
Parabiago, Milan
Source: Moda in Pelle
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1970 | MIRABILE
Parabiago, Milan
Source: Foto Shoe
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Il calzaturificio, attivo fino agli anni ’70, aveva sede a Parabiago, in via 11 febbraio 18, dove in anni più recenti si trovava il calzaturificio Lorenzo Banfi, anche lui ora sparito dal panorama parabiaghese.
Active until the '70s, the shoe factory was based in Parabiago, via 11 Febbraio, 18, the very same location used in recent years by Lorenzo Banfi, a major shoe brand not based in Parabiago anymore.
Monday, July 9, 2012
1938 | ZENITH BY GINO BOCCASILE
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1938 | Marina Summer Shoe by ZENITH
Drawing by GINO BOCCASILE
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1939 | TRADATE SHOES
Sunday, July 8, 2012
Thursday, July 5, 2012
1954 | THE MONDRIAN SERIES BY MARGARET CLARK | BIRTH OF MARGARET JERROLD INC.
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1954 | The Mondrian Series by Margaret Clark
From The Jerry Miller Collection at
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Chi ha disegnato per primo calzature ispirate ai temi della pittura di Piet Mondrian?
Roger Vivier nel 1965 e I.Miller nel 1961 si è detto. Prima di loro però la designer Margaret Clark nel 1954 disegnò il modello qui raffigurato. Anche in questo caso il marchio I.Miller é coinvolto perché presso I.Miller la Clark aveva iniziato anni prima la propria attività lavorativa.
Who first designed a shoe inspired by Piet Mondrian's paintings?
So far, we knew about the 1961 design by I.Miller and the one by Roger Vivier (1965). Somehow, the I.Miller brand is involved even with this 1954 model (that predates by a long shot the two just mentioned) since the designer, Margaret Clark, started at I.Miller her career in footwear design years before.
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1954 | Margaret Clark | detail
From The Jerry Miller Collection at
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Nel 1954 Margaret Clark aveva creato col marito Jerry (Jerrold) Miller la Margaret Jerrold Inc. e questo era uno dei disegni preparatori per il nuovo marchio e faceva parte di una serie ispirata al pittore olandese. Il disegno appartiene alla collezione donata da Jerry Miller al Fit Museum di New York: quasi 5000 disegni di calzature e materiale correlato contenuti in 27 scatole, la maggior parte degli anni ’50, creati per il marchio Margaret Jerrold e per i clienti di Margaret tra cui Capezio, Red Cross, e Joyce.
In 1954, Margaret Clark and her husband Jerry (Jerrold) Miller created the Margaret Jerrold Inc. and this was one of the sketches for the upcoming brand: it was part of a series inspired by the famous Dutch painter. The sketch belong to a collection donated Jerry Miller to the Fashion Institute of Technology of New York: 5,000 sketches (the majority from the 1950s) - and related material - spread over 27 boxes. Works for the brand Margaret Jerrold and other Margaret's clients such as Capezio, Red Cross and Joyce.
I will never forget the Chicago Shoe Show in 1954. The whole world used to come to Chicago. It was a tradition in the shoe industry and it was held in downtown Chicago at the Conrad Hilton and the Palmer House.
… we had a little display of our eight shoes and our pullovers … there was no such thing as Margaret Jerrold - I don't even think we had a name for our company yet. We had such a revolutionary concept that the word spread. The whole shoe industry came to see us.
Jerry MillerFrom: The Wandering Shoe - My Goodfriends, 1984
Wednesday, July 4, 2012
1978 | CAIMAR | VIGEVANO |
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1978 | CAIMAR by Cesare & Mario Martinoli
Vigevano
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CAIMAR is one of the four makers of Manolo Blahnik.