Friday, November 29, 2013

1955 | ANDY WARHOL FOR PALIZZIO | PART 2/2

1955 | Andy Warhol | Ladyslipper by Palizzio
Detail

1955 | Andy Warhol | Shoe advertising drawing |
Ink And Pencil On Paper, Tape
Rhinestone by Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007

1955 | Andy Warhol | Shoe advertising drawing
Ink And Pencil On Paper, Tape
Ladyslipper by Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007

1955 | Andy Warhol | Shoe advertising drawing
Collage, Ink And Pencil On Paper, tape
Show Off by Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007

1955 | Andy Warhol | Shoe advertising drawing
Collage, Ink And Pencil On Paper, Tape
Sugar Cane Lizard by Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007


WARHOL FOR PALIZZIO
PART 1

ANDY WARHOL | POP ARTISAN
IT'S ALL ABOUT SHOES



1955 | Andy Warhol | Shoe advertising drawing
Ink And Pencil On Paper, tape
Fashion to A "T" by Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007

Wednesday, November 27, 2013

1955 | ANDY WARHOL FOR PALIZZIO | PART 1/2

1955 | Palizzio [Very New York] by Andy Warhol
Detail

1955 | Andy Warhol | Shoe advertising drawing | Ink On Paper
Sari Silks by Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007


1955 | Andy Warhol | Shoe advertising drawing | Ink On Paper
New Straplings In Budding Colors By Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007

1955 | Andy Warhol | Shoe advertising drawing | Ink On Paper
The Quiet Ones by Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007

1955 | Andy Warhol | Shoe advertising drawing | Ink On Paper
The Swingers by Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007


WARHOL FOR PALIZZIO
PART 2

ANDY WARHOL | POP ARTISAN




1955 | Andy Warhol | Shoe advertising drawing | Ink On Paper
Sandstorm by Palizzio
From The Luigino Rossi Collection
Source: Made In Warhol Catalog | Fondazione Art Museo Villa Ponti, 2007

Monday, November 25, 2013

MADAME GANNA WALSKA AND HER PERUGIA SHOES COLLECTION AT LACMA

Ganna Walska
Source: Lotusland


Il LACMA - Los Angeles County Museum of Art -  possiede una ventina di modelli di calzature di André Perugia, tra cui un paio a marchio Padova. Oltre alla serie ispirata ad Arlecchino, i modelli della collezione sono quasi tutti degli anni ’20, quando ancora Perugia era in Faubourg St Honoré, tranne un paio di modelli riconducibili agli anni ’30. Quasi tutti i modelli appartennero a Ganna Walska, nome d’arte di Hanna Puacz, e furono donati al museo dalla nipote di lei, Hania P. Tallmadge.

The LACMA - Los Angeles County Museum of Art owns two dozen of footwear models by André Perugia, including a few branded PadovaIn addition to the Harlequin-inspired shoes, the models in the collection are almost all from the '20s (Perugia was still in Faubourg St Honoré) save for a couple of models from the '30s. Almost all the shoes belonged to Ganna Walska, stage name of Hanna Puacz, and were donated to the museum by her nephew, Hania P. Tallmadge.



Ganna Walska's Perugia shoes at LACMA
The Arlequin-inspired shoes
Source: LACMA

Late 1920s | André Perugia
Silk brocade, leather
Source: LACMA

Early 1930s | André Perugia
Silk velvet, silk, leather
Source: LACMA


Collezionista di abiti, calzature, gioielli preziosissimi e mariti (si sposò ben 6 volte), Ganna Walska era nata nel 1887 a Brest-Litovsk, in Polonia, con umili origini. Grazie a una bellezza che aveva attirato, oltre ai mariti, anche le attenzioni dello Zar di Russia, riuscì a procurarsi un' immensa fortuna finanziaria ma non riuscì a coronare il sogno di una gloriosa carriera come cantante lirica e attrice. Nella sua autobiografia "Shocking Life", Elsa Schiaparelli, che all'inizio degli anni '20 era amica della Walska, raccontò il fiasco clamoroso nel debutto a Cuba nel ruolo di Fedora: la cantante fu addirittura costretta a fuggire di nascosto dal teatro abbandonando l'esibizione.

Le sue attenzioni si spostarono poi all’ambito botanico e la portarono a trasformare la tenuta Lotusland a Montecito, California in uno straordinario parco botanico ancora oggi esistente e visitabile. Nel 1943 raccontò la propria vita nell’autobiografia “Always Room At The Top” (R.R. Smith edition).


Collector of clothes, footwear, jewelry and husbands (she got married 6 times!), Ganna Walska was born in 1887 in a humble family from Brest-Litovsk, Poland. Gifted with a beauty that also attracted the attention of the Russia's Tsar, she was able to amass a huge financial fortune and yet could not realize her dream of a successful career as an opera singer/actress. In her autobiography “Shocking life”, Elsa Schiaparelli, who was a friend of Ganna at the beginning of the '20s, recalls the resounding fiasco in Cuba when Ganna sang in the role of Fedora. The singer was even forced to flee secretly from the theater.

Her attention then shifted to the botanical field: she bought the Lotusland estate in Montecito, California and turned it into an extraordinary botanical garden still existing today.
In 1943 she published her autobiography "Always Room At The Top" (R.R. Smith edition).



1927 | “Divorçons” Perfume by Ganna Walska
Source: Cleopatra's Boudoir

Please note the Parisian address: 2, Rue De La Paix, in a few years that will be Perugia's.


Gli sforzi finanziari per far diventare Ganna una grande cantante d’opera furono enormi e in buona parte sponsorizzati dal terzo marito Harold Fowler McCormick, con cui acquistò anche il Théâtre des Champs-Élysées a Parigi. L'impegno economico profuso e il netto insuccesso hanno fatto ipotizzare che Ganna Walska abbia ispirato il personaggio di Susan Alexander, la seconda moglie di Charles Foster Kane, nello strepitoso Quarto Potere di Orson Welles. All'idea probabilmente Ganna Walska avrebbe riso: il senso dell'umorismo non le mancava e quando creò col marito (sempre Harold Fowler McCormick) una linea di profumi, la battezzò “Divorçons” (Divorziamo). Brillante anche la risposta data ai cronisti che la assalivano per sapere perché McCormick l'aveva piantata in asso scendendo precipitosamente un attimo prima della partenza dal piroscafo New York-Parigi: “si può avere anche il più grande amore … e un mal di mare guasta tutto!

The financial efforts to push Ganna were huge and primarily sponsored by third husband Harold Fowler McCormick. Together they also bought the Théâtre des Champs-Élysées in Paris to no avail. Investments and failures made someone think Ganna Walska as the source for the Susan Alexander character (second wife of Charles Foster Kane) from the amazing Citizen Kane by Orson Welles. She probably would have laughed about the connection; Ganna Walska had sense of humor: like when she created a line of perfumes called "Divorçons" (Let's divorse). Not to mention when she was asked about the grimy details of McCormick's split (he abandoned her on the steamer New York-Paris moments before leaving): she said to the reporters: "You can have the greatest love ... and a simple seasickness spoils everything!". Brilliant!




1921 - 1929 | MASKS BY ANDRE' PERUGIA
Part 1 | Part 2 | Part 3

André Perugia
Bottier
I N D E X



1928 | Ganna Walska
Source: Cleopatra's Boudoir


Sources:

"About Madame Walska" - Lotusland website

"Le Rappel" newspaper - Feb 3, 1926

"New York Times" August 22, 1996: "Garden of the Slightly Macabre" by Mitchell Owens

Vogue, French edition, Oct. 1927

Elsa Schiaparelli "Shocking Life"

Friday, November 22, 2013

MASKS BY ANDRE' PERUGIA | PART 3/3 | THE ECHO IN PARABIAGO, MILAN AND ELSEWHERE

1931 | A reproduction of the Enzel ad for André Perugia's mask model
As published in "Il modello della calzatura" magazine by Travaglia e Moroni
Not attributed to Perugia

La rivista "Il modello della calzatura" fu un esperimento sviluppato all'inizio degli anni '30 nel distretto calzaturiero parabiaghese e promosso da due modellisti, Mario Moroni e Adriano Travaglia. Il loro obiettivo era proporre agli artigiani le linee più nuove in ambito calzaturiero e fornire gli strumenti per riprodurle (la rivista era corredata di cartamodelli per il taglio). 

Nel numero di agosto/settebre 1931 ci siamo imbattuti in questo disegno presentato nella selezione "I nostri modelli". Non era attribuito ad André Perugia, ma era l'esatta riproduzione della pubblicità Enzel di un paio di anni prima.


The magazine "Il modello della calzatura" was an experiment made in the early 30's in the shoe district of Parabiago (Milan), promoted by two designers: Mario Moroni and Adriano Travaglia. They wanted to inform the shoemakers about new trends and how-tos (the magazine included pattern cutting). 

We came across this design in the issue of August/September 1931 featured in the section “Our models”. Actually, it was an uncredited André Perugia design, the exact replica of the Enzel ad of a couple of years earlier.


1929 | André Perugia
Photograph: D'André Vignaud (1892-1968)
Source: eBay


Echoes of Perugia's work went also down under as you can see from this Paragon model from the Thirties.

Paragon Shoes Pty Ltd was one of the most significant 20th century Australian shoe retailers, and at one time was the largest manufacturer of high quality of women's shoes in Australia. Its factory was located in Melbourne, and its shoes were sold throughout Australia and New Zealand. 
Source: Museum Victoria Collections

1930's | Paragon - Black and Silver Pumps
Source: © Museum Victoria/CC BY


Eventually the Perugia mask model came back home in the capable hand of Paris' Etienne who made "a pair of pink leather shoes with black suede mask­ shaped bands, black bakelite gold studded heels"; the description comes from Sotheby's where a pair of such shoes sold for € 1,750 back in 2015.



1935 | Etienne | Paris
Source: Sotheby's


1921 - 1929 | MASKS BY ANDRE' PERUGIA
PART 1
PART 2

ANDRE PERUGIA
D O S S I E R



1935 | Etienne | Paris
Source: Sotheby's

Wednesday, November 20, 2013

1921 - 1929 | MASKS BY ANDRE' PERUGIA | PART 2/3

1923 | Mask model by André Perugia
Source: Vogue France

Sempre nei primi anni ’20 la maschera divenne riferimento ricorrente di Perugia entrando nella forma stessa di alcuni modelli di calzature. Nel 1923 sull’edizione Francese di Vogue fu presentato il modello qui sopra, definito come esplicito richiamo ad una “maschera negra”. Dopo aver influenzato l’arte d’inizio secolo facendosi strada fra Picasso, Modigliani e Brancusi - solo per citare i più noti - l’ispirazione africana trovava la sua via nella moda con la stilizzazione delle maschere .

The mask was a leitmotif in Perugia’s production and became a part of the shoe itself for a few models of the early'20s. In 1923, Vogue France published the model shown above, explicitly associated to a "negro mask". After influencing art in at the beginning of the 20th century (Picasso, Brancusi and Modigliani come to mind) the stylized African masks found their way into fashion.


1929 (attr.) | Mask sandal by André Perugia
Source: Shoes - A Celebration Of Pumps, Sandals, Slippers & More (Workman Publishing, 1996)

Dal sandalo del 1923 nacquero diverse varianti, tra cui la versione per Enzel del 1929, una nera per il mercato americano realizzata per Saks Fifth Avenue e un'altra in seta verde e oro, presentata sempre nel 1929 sulla rivista delle Seterie di Lione in un numero dedicato alla produzione serica delle calzature.

In the year 1929 Perugia realized several variations of this shape including the version for Enzel, a black one for the American market (Saks Fifth Avenue) and another one in green silk and golden leather, featured by the journal of Lyon's silk factories ("La Soierie de Lyon"): an issue dedicated to footwear-related use of silk.


1929 | Enzel ad
Design by André Perugia
Source: HPrints

1938 (attr.) | André Perugia for Saks Fifth Avenue
"Mask" shoe | Black velvet and metallic leather
Source: Drouot

Una versione del sandalo in rosa e nero andò all’asta nel 2003 in Francia, con un risultato finale di oltre 6.000 euro. Una bellissima versione, negli stessi colori, si trova presso il museo della calzatura di Romans-sur-Isère. Una copia australiana la si può vedere qui.

A black and pink sandal went to auction in France (2003) fetching more than €6,000. A beautiful model, in the same colors, is kept at the Footwear Museum of Romans-sur-Isère. An Aussie knockoff can be seen here.


André Perugia
The Mask model in pink calf leather and black velvet
Source: La Gazette de l'Hôtel Drouot - 2003 October

1929 | Bottom left: a "mask" model by André Perugia 
Others models by (from top down/ left to right):
Ducerf-Scavini; Costa; Edith; Enzel (Perugia); Edith; Perugia
Source: "La Soierie de Lyon"

1949 (Attr.) | André Perugia
The Mask Sandal At The Footwear Museum of Romans-sur-Isère
Source: The Art Of The Shoe by Marie-Josèphe Bossan (Edimat, 2007)


V.I.F.
[Very Important Footnotes]


La forma della maschera creata da Perugia richiama gli occhi arcani dei ritratti di Modigliani.

The mask shape created by Perugia recalls the arcane eyes of Modigliani portraits.

1912  | Amedeo Modigliani
Blue Caryatid Head
Pencil on paper
Source: Daringtodo


Nel 1924 Perugia ha continuato a sfruttare il tema della maschera con la serie dei modelli con decori a ritagli triangolari: una citazione di Arlecchino, LA maschera per eccellenza che rimanda sia a Poiret che a Picasso.

But the masks connection do not stop with Modigliani. The whole range of models decorated by Perugia with triangular cut-outs (1924) is a reference to Harlequin, THE mask from the Italian Commedia dell’Arte. Also a nod to both Poiret and Picasso.


1921 - 1929 | MASKS BY ANDRE' PERUGIA

PART 1

PART 3


ANDRE PERUGIA

BOTTIER
I N D E X


1980's | Roger Vivier

1995 | Christian Louboutin
The model Maskovitch
Source: Powerhouse Museum, Sidney


S/S 2009 | Nicolas Kirkwood
© Photo: MoMu Antwerp/ Frederic Uyttenhove


SHORT TERM MEMORY

The Kirkwood model was featured in "Footprint - The Tracks of Shoes in Fashion" a showcase described by Vogue Italia as "An exhibition at Antwerp's Mode Museum (that) gathers all the shoe styles that have made the history of footwear".

Right, and another shoe that will make footwear history is the model here below from Vivienne Westwood.


2015 | Vivienne Westwood
No shame

Monday, November 18, 2013

1921 | MASKS BY ANDRE' PERUGIA | PART 1/3

1921 | Tokio model by André Perugia
Drawing from Perugia catalogue
Source: Bertrand Heyraud "5000 ans de Chaussures" Parkstone Press 1994

I balli in maschera erano una vera passione dell’alta società Parigina nella prima parte del Novecento. Paul Poiret, lo scopritore di André Perugia, fu un maestro in materia: divenne di fama internazionale la sua festa in stile persiano denominata “le Mille e due Notti” realizzata nel 1911 con la collaborazione di diversi artisti tra cui i pittori Guy Pierre Fauconnet e Luc-Albert Moreau e le ballerine Régina Badet, Carlotta Zambelli e la russa Trouhanova. Ma, come ricordò poi Poiret nel suo libro di memorie “Vestendo l’epoca” negli anni successivi anche la Costa Azzurra, altra sede tipica delle classi più agiate, non mancava di occasioni: 

“Organizzai per Cornuché, a Cannes [Eugène Cornuché, 1868-1926, gestore del Casino, NdT], una serie di feste di cui gli habitués si ricorderanno sempre. Bisognava trovare ogni settimana un pretesto nuovo per richiamare una clientela tentata da attrazioni diverse da ogni parte della costa. Ci fu una festa dell’Oro, una festa di Parigi, una festa di New York ecc. e ciascuna offrì il pretesto a una adeguata distribuzione di accessori che ci si accaparrava a dispetto della buona educazione che regnava ovunque.” 
Paul Poiret
[Da "En habillant l'époque" trad. Irma Vivaldi]

The Parisian high society in the early twentieth century was fond of masquerade balls. Fashion designer Paul Poiret - the man who discovered André Perugia - was a master in the field: his Persian style feast called "the thousand and second night" became internationally acclaimed after being launched in 1911 with the help of various artists including painters Guy Pierre Fauconnet and Luc-Albert Moreau, the dancers Régina Badet, Carlotta Zambelli and the Russian Trouhanova. But in later years, even the French Riviera, another playground for the upper class, did not lack opportunities as Poiret himself remembered in his autobiography "King of Fashion":

“I also produced at Cannes, for Cornuche [Eugène Cornuche, 1868-1926, was the manager of the Casino, ed.], a series of fetes (parties) which will never be forgotten. I had to find each week a new way of attracting a clientele that was solicited throughout the whole coast by varied attractions. There was a Golden Fete, a Paris Fete, a New York Fete, etc . . . and each party served as a pretext for a distribution of appropriate accessories, immediately snatched, in spite of the good manners that reigned everywhere.” 
Paul Poiret
From: "King of Fashion: The Autobiography of Paul Poiret" V&A Publishing, 2009]


Paul Poiret and his mask
Source Vogue

Il giovane Perugia, che in quegli anni era ancora a Nizza, iniziò a creare i suoi modelli per occasioni mondane come quelle. Ed ecco le punte “persiane” delle calzature - un richiamo al gusto orientale dell’epoca ben interpretato da Poiret - con un elemento decorativo destinato ad ampio successo nella carriera calzaturiera di Perugia: la maschera.

Still in Nice in those years, the young Perugia began to create his models for social events like that. And here are “Persian” shoes with curled toe, a reference to the oriental taste of the time, well played by Poiret, with a recurring - and successful - decorative element in the Perugia’s career: the mask.


1920s Perugia's "Tokio" | Reproduction of the original 1921 design 
At DLM - Deutsches Ledermuseum Schuhmuseum | Offenbach DE
Photo by Mirco De Cet
Courtesy of the author 

Uno dei primi modelli in cui comparve questo elemento fu il “Tokio” del 1921, definito da Perugia stesso una "calzatura cinese": in capretto arancio (ma poteva essere realizzato in ogni nuance), una forma a punta all’insù e maschera dipinta a mano (forse con allusioni al teatro No giapponese), circondata da motivi floreali, un altro elemento tipico dello stile di Poiret .

One of the first models with the mask was the "Tokyo" in 1921. Perugia defined it a "Chinese shoe": in orange kidskin (but it could be made in every nuance), curled toe and hand-painted with a mask, perhaps an allusion to the Japanese Noh theater, surrounded by floral motifs, another typical element of Poiret’s style.


1921 | MASKS BY ANDRE' PERUGIA
PART 2
PART 3

ANDRE PERUGIA
D O S S I E R


1922 | Cécile Sorel entering the masquerade ball "Grand Prix"
Vogue France

Sunday, November 17, 2013

1967 | CHANTAL | PARABIAGO, MILAN

1967 | CHANTAL | | Footwear Boutique 
Parabiago, Milan

1967 | CHANTAL | | Footwear Boutique 
Parabiago, Milan


SS 33 DATABASE
THE PARABIAGO FOOTWEAR DISTRICT | [AND VICINITY]


1967 | CHANTAL | | Footwear Boutique 
Parabiago, Milan

Tuesday, November 12, 2013

1967 | JAQUELINE | PARABIAGO, MILAN

Jaqueline
Parabiago, Milan

Jaqueline
Parabiago, Milan

Jaqueline
Parabiago, Milan

Jaqueline
Parabiago, Milan


SS 33 DATABASE
THE PARABIAGO FOOTWEAR DISTRICT [AND VICINITY]
A WORK IN PROGRESS




Jaqueline
Parabiago, Milan

Sunday, November 10, 2013

1970 | VACCARI | BOLOGNA | PART 3/3

VACCARI
Bologna


1970 | VACCARI
Bologna

1970 | VACCARI
Bologna

1970 | VACCARI
Bologna

1970 | VACCARI
Bologna



History Of The
SHOE FACTORY VACCARI
BOLOGNA

VACCARI
Index