WALTEA & CARLO CACCIOLA | VIGEVANO | INDEX |

WALTEA by Carlo Cacciola
Vigevano
Source: Etsy

CARLO CACCIOLA & WALTEA
The master artisan from Vigevano

WALTEA | THE ZAFFARONI COLLECTION
| Part 1 |
| Part 2 |

WALTEA
01 | AT THE FOOTWEAR MUSEUM OF VIGEVANO
02 | AT THE FOOTWEAR MUSEUM OF VIGEVANO

WALTEA
For René Mancini

THE STILETTO HEEL GALLERY
| 1953 - 1962 |

WALTEA by Carlo Cacciola
Vigevano
Source: Etsy

28 JANUARY 814 - 28 JANUARY 2014 | 1200th ANNIVERSARY OF CHARLEMAGNE'S DEATH

"Charlemagne's foot measured thirty-two centimeters, four millimeters and corresponded to a size 48 shoe (...). By imperial order, Charlemagne's foot become an official unit of measure, remaining in use until the metric system was adopted in 1795.
We know from the monk of the Saint Gall monastery that emperor Charlemagne wore simple boots with straps intertwining the legs, although for ceremonies he wore laced boots decorated with precious stones."

Marie-Josèphe Bossan

The Art of the Shoe - Parkstone Press, 2004

Charlemagne ceremony shoes

Source: Histoire des cordonniers et des artisans dont la profession se rattache a la cordonnerie (...) 

by Paul Lacroix 1852

THE FOOTPRINTS FOR HOPE PROJECT | 27 JANUARY 2014 | INTERNATIONAL HOLOCAUST REMEMBRANCE DAY |

"All the effort that went into the making of the “Footprints for Hope" film and educational materials that help students identify with the shoes of children who were killed in the Shoah is so very moving and meaningful. The educational value and dissemination of these historical facts to future generations is of primary importance"

Gloria Landy

Coordinator of the informal Jewish NGO Caucus at the United Nations

Olivia Hemingway | Child's Shoe Artefact [From Questions Of War Series]

For The Imperial War Museum Holocaust Education, The Institute of Education & The UN.

Source: Olivia Hemingway

Olivia Hemingway | Child's Shoe Artefact [From Questions Of War Series]

For The Imperial War Museum Holocaust Education, The Institute of Education & The UN.

Source: Olivia Hemingway

Olivia Hemingway | Child's Shoe Artefact [From Questions Of War Series]

For The Imperial War Museum Holocaust Education, The Institute of Education & The UN.

Source: Olivia Hemingway

1991 | SUSANNA PIERATZKI | BIRTH |
27 JANUARY 2013
INTERNATIONAL HOLOCAUST REMEMBRANCE DAY

1936 | WALKER EVANS (1903-1975) | BOOTS

Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.

Walker Evans

[From MANY ARE CALLED, 1966]

1936 | Walker Evans

Floyd Burroughs' Work Shoes

[From Let Us Now Praise Famous Men]

1936 | Walker Evans

Shoeshine Stand, Southeastern U.S.

Source: Shorpy Historical Photo Archive

1931 | Paul Grotz

Walker Evan's New Boots

Source: Christie's

Let Us Now Praise Famous Men
Source: Margreta Stage

Van Gogh Influence
On Record covers

1955 | SABINE WEISS SHOWCASES

“For me, photography is a ‘trialogue’ between the subject, the camera and myself, and all this must merge together”

SABINE WEISS
[From Catalog See And Feel]

1955 | Sabine Weiss

Showcase | Paris

Source: The Red List

1955 | Sabine Weiss

Showcase | Paris

Sabine Weiss

Paris

Source: Athenna

1935 | ILSE BING (1899-1998) | QUEEN OF THE LEICA

I was friends with her and her husband Konrad in the 1980's and early 1990's. I set up a stereo system for them in her apartment on the upper West Side. They were old time intellectuals, they had a huge, sprawling rent controlled apartment overlooking the Hudson River. It was crammed to the rafters with books, musical instruments, two Grand Pianos, paintings, art, framed photographs. A real old-world aerie you never see anymore.

She had a trunk under her bed with some of the rarest Leica equipment I have ever seen, worth perhaps millions now. EVERYTHING was mint in a fitted velvet case, and the trunk and case were manufactured by Leitz. I was not as knowledgeable about cameras then as I am now, but I still recognized unbelievably rare prototypes and odd stuff.

I tried to buy some but she would not hear of it. After she died, the trunk mysteriously vanished, maybe stolen by the building superintendent. Probably pawned or thrown out if he didn't find a buyer.

[SOURCE: RangeFinder]

1935 | Ilse Bing [For Harper's Bazaar]

Gold Lamé Shoes

Source: V&A Museum

ILSE BING
On DieselPunks

WILLIE COLE | SOLESTICE

"Women's shoes offer a lot more variety, texture and color than men's shoes. And are just more interesting in many ways to me."

WILLIE COLE
[Source: MLive]

1995 | Willie Cole | Untitled (Chicken)

Source: Christie's

2010 | Willie Cole | House Pet

Source:WarmSculpture

Willie Cole | Louboutin Worrier | Detail

Source: Willie Cole

2011 | Willie Cole | Worrier (Black)

Source: LikeYou

Willie Cole | Worrier (White) 

Source: KontraPlan

Willie Cole At Work

Source: Memphis Flyer

Willie Cole At Rest

Source: University Of Arkansas

2007-2008 | WILLIE COLE |
SHINE & SOLE BROTHER NUMBER 2 |

SHOES 'N' ART
1876 - 2009

1925 - 1926 | THE ORPHIC ANDRE PERUGIA | 2/2

In the season 1925/26 André Perugia launched a collection inspired by the Orphic painting. Around the same time at the Théâtre Michel in Paris was staged "The Dompteur", a comedy in three acts by Alfred Savoir based on a short story by Jacques Théry. It was directed by Gaston Baty with music by Georges Auric. On stage, alongside the star Spinelly, Jean Deboucourt and Pierre Alcover.

Nella stagione 1925/26 André Perugia lanciò una serie di modelli vicina ai motivi della pittura orfica. Contemporaneamente al théâtre Michel di Parigi andò in scena la commedia in tre atti di Alfred Savoir "Le Dompteur", da un racconto di Jacques Théry. Regia di Gaston Baty, musiche di Georges Auric. In scena Jean Deboucourt, Pierre Alcover e, col solito successo che la accompagnava, Mademoiselle Spinelly.

1925 | The Orphic strap shoes by André Perugia | Detail
Source: Vogue France

1925 | André Spinelly in Le Dompteur

Shoes by André Perugia | Costume by Gesmar

Source: Vogue France

1926 | André Perugia| The Orphic collection | detail

Source: Shoe-Icons

1926 | André Perugia| The Orphic collection

Source: Shoe-Icons

1925 - 1926
THE ORPHIC ANDRE PERUGIA
PART 1

ANDRE PERUGIA
D O S S I E R

1926 | Shoes by André Perugia

Golden sequin gown by Lanvin

Source: Vogue

1925 - 1926 | THE ORPHIC ANDRE PERUGIA | 1/2

Between the first and the second phase of Robert Delaunay's Orphism, André Perugia added his own personal vision of the movement with this footwear collection made ​​in 1925/26.

Tra una fase e l'altra dell'Orfismo di Robert Delaunay, André Perugia inserì una sua interpretazione in questa serie di calzature realizzate nel 1925/26.

Left: 1934 | Rythme (II) | Robert Delaunay      

Centre Pompidou | Paris

Source: Eternel Eclairs

Right: 1926 | André Perugia

Source: Shoe-Icons

1926 | André Perugia

Source: Shoe-Icons

1926 | André Perugia

Source: L'Art Vivant magazine

S e r e n d i p i t y

1963 | Vaccari

Bologna

1925 - 1926
THE ORPHIC ANDRE PERUGIA | PART 2
FEATURING MADEMOISELLE SPINELLY

ANDRE PERUGIA
D O S S I E R

Andrea Pfister | Tribute to André Perugia
Source: ebay

1922 | Manège | Robert Delaunay

Centre Pompidou| Paris

Source: Eternel Eclairs

Andrea Pfister | Tribute to André Perugia
Source: ebay

THEHISTORIALIST CITY GUIDES

THEHISTORIALIST CITY GUIDES

Vigevano 1969 |01| |02|

Vigevano
Monument To The Italian Shoemaker

Florence
w/Ferragamo

Florence 1967

Baalbek, Lebanon
w/F.lli Rossetti & Celestino's

Parma 1969

Bruxelles

1968 | MILTON'S SHOES BY ALEXANDER CALDER

In 1968, my old friend from the US art scene, Alexander Calder, visited me in Rome. I had gone there in the 1950s, when my flat in New York was torn down and my first wife left me.

As an artist, Calder was first­rate, which the world has recognised. But he was also great company: witty and playful, with a brilliant mind. One evening, we went out for dinner. I had been whitewashing my studio and had walked in the paint. When I crossed my legs, Calder took out a pencil, on impulse, and drew my portrait on one of the splattered soles, and my profile on the other. He signed each: "AC". 

Milton Gendel | 2010

The Guardian

1968 | Milton's Shoes | ALEXANDER CALDER

Source: La Stampa (20-03-2013)

2006 | Self portrait as a triple mug shot by MILTON GENDEL

Source: The Guardian

The photograph was taken decades later. It was used as the cover of a catalogue for a show I gave in the museum of Spoleto in 2006. They suggested the shoes be used for the cover, but I wanted to make the image more personal, so I photographed myself reflected in the frame's glass. As you can see, it looks as if I am behind the shoes, falling feet­first. It was a piece of luck, like so much in photography. 

Milton Gendel | 2010

The Guardian

SOLE HUNTERS:

1984 | THE PHOTOGRAPHY OF STEVE PYKE

1990 | JUNGJIN LEE | SOLE OF TENNIS SHOE


SHOES & ART
1832-2009

1927 | A PRINCELY WEDDING | ANNE D'ORLEANS AND AMEDEO DI SAVOIA-AOSTA | SHOES BY JULIENNE

1927 | Anne of France and Amedeo Di Savoia-Aosta

The wedding parade

Source: Europeana

Così giovane sei, così leggera
cammini incontro alla dubbia fortuna,
che se non fossi una
principessa, saresti una ragazza.
[Umberto Saba, Trieste 1934]

You're so deeply in your youth and so lightly
proceed towards an uncertain fortune.
If you weren't a
princess by birth, you would be grown as a girl.
[Umberto Saba, Trieste 1934]

1927 | Anne of France and Amedeo Di Savoia-Aosta

The wedding parade

Source: Christies

Il 5 novembre 1928, la ventunenne principessa Anna di Francia, duchessa di Guisa, figlia di Giovanni ed Isabella d’Orléans, sposò a Napoli il cugino Amedeo di Savoia, duca d’Aosta. Lui era figlio di Emanuele Filiberto del ramo dei Savoia-Aosta, nipote del primo re d’Italia, Vittorio Emanuele II. Il re in carica in quel momento, Vittorio Emanuele III, era suo zio. Con i suoi centonovantotto (198) centimetri, lui era uno dei pochi candidati all’altezza della cugina, che ne misurava centottantacinque (185).

The twenty-one years old Princess Anne of France, Duchess of Guise, daughter of John and Isabella d'Orléans got married with her cousin Amedeo of Savoy, Duke of Aosta, in Naples on November 5, 1928. The groom was the son of Emanuele Filiberto of Savoy, Aosta branch, grandson of the first king of Italy, Vittorio Emanuele II and nephew of the reigning king (Vittorio Emanuele III). At 6 feet five Amedeo was one of the few contenders given his cousin height (6 feet).

1927 | Anne of France and Amedeo Di Savoia-Aosta wedding

Source: Christies

1927 | Anne of France and Amedeo Di Savoia-Aosta
The official photo
Source: Wikipedia

1927 | Anne of France 

The official photo

Source: Vogue

I tre giorni di cerimonie che accompagnarono l’evento furono uno sfoggio di sfarzo nobiliare e di vivacità partenopea.

L’abito da sera indossato alla festa della vigilia delle nozze da Anna di Francia, color ciliegia lamé, decorato da una cascata di diamanti era stato disegnato da Worth. Sempre a cura di Worth, anche l’abito delle nozze. 

The three days of ceremonies following the event were rich of pomp and Neapolitan vivacity. The evening gown worn by Anne of France at the party the day before the wedding was designed by Worth (metallized cherry color encrusted with diamonds). Worth also designed the wedding dress.

1927 | Anne of France dress for the pre-wedding party

Model by Worth

Source: Vogue

In bianco sia lo sposo che la sposa, lui nell’alta uniforme da ufficiale, lei con un modello realizzato con tessuti prodotti dalle seterie di Lione e accompagnato da un velo sul quale erano ricamate unite le insegne dei Savoia e di Francia. Sul capo il diadema che era appartenuto alla regina Maria Antonietta.

Both in white, the groom with his officer's uniform, the bride with a model made with fabrics produced by Lyon's silk factories and a veil with the insignia of Savoy and France embroidered together. On her head the diadem belonged to Queen Marie Antoinette.

1927 | The Wedding shoes

Both models by Julienne

Source: Vogue

Per quanto riguarda le calzature dei due eventi, la sposa aveva scelto la bottier Julienne. Per la festa serale, un paio di calzature realizzate con il lamé rosso del vestito e per le nozze un paio di scarpette in seta bianca, con una decorazione argento. Nell’illustrazione di Vogue viene decisamente enfatizzata l’altezza dei tacchi rispetto alle scarpe indossate dalla sposa nella parata (Prima foto in alto).

The bride had her shoes made by a woman, the bottier Julienne. For the evening party, Julienne made a pair of shoes in the same metalized red of the gown; the wedding shoes were in white silk, with a silver decoration. The height of the heels illustrated by Vogue don't match those of the actual shoes (see first photo at the top).

I LUV UR SNEAKERS | TBAMFW 8.3

The canvas, the color, the rubber toe

No animal died or lost its soul

In the production of

Your beautiful sneakers



The jewels, the bling, the zing, zing, zing

You look so cool with your funky rubber soles

And your purple fanzine

Your beautiful sneakers

Your beautiful sneakers

From "I Luv Ur Sneakers" by Poly Styrene
(Generation Indigo - Future Noise, 2011)

1982 | Центр

Трамвайное депо (2007 СОЮЗ / Зенит)

Former URSS

2005 | NOFX

7" Of The Month Club #2 (Fat Wreck Chords)

San Francisco

2005 | Faker

Hurricane CD single (Capitol Music)

Australia

2008 | Sugus 

Learn To Be A Mornard [Bells On Records]

Spain

2012 | Maxwell's Dead

The Arrival EP (Make-That A Records) 

Scotland

2013 | Vånna Inget

Vart Tar Du Vägen / Hemlighet (Majken Records/Heptown Records/Instigate Records)

Sweden
Artwork by vocalist Karoline Engdhal

The glitter, the logo, metallic glow

You even wear them in the snow

And the summer time flies

With your beautiful sneakers



They rock, they pop, even hip hop

You're farmer free with your branded funky pumps

And skinny fit jeans

Your beautiful sneakers

From "I Luv Ur Sneakers" by Poly Styrene
(Generation Indigo - Future Noise, 2011)



ALL THE SNEAKERS YOU CAN TAKE:

TBAMFW # 8
All Star Chuck Taylor | Feat. The Ramones

TBAMFW # 8.1 | Hang Loose
Feat. The Great Plains

TBAMFW 8.2
ALL TOGETHER NOW

1928 | KARL SCHMIDT-ROTTLUFF | ANTIQUES

1928 | KARL SCHMIDT-ROTTLUFF | ANTIQUES 

Oil On Canvas | 56,5 x 87,5 cm. |  Brücke-Museum Berlín, Germany

Source: The Prodigious Century

SHOES & ART
1832-2009

MADAME JULIENNE | THE FEMME BOTTIER

1920s | Julienne | Paris

Pair of shoes of brown silk taffeta with brown and gold leather trim, faux-topaz buckles

Source: MFA Boston

Si faceva chiamare la "Femme Bottier", o anche semplicemente Julienne (il cognome di famiglia rimane un mistero) e fu la prima donna a raggiungere la fame come designer di calzature negli anni Venti. Madame Julienne proveniva da una famiglia di calzolai e aprì la sua boutique al numero 235 di Faubourg Saint-Honoré, Parigi nel 1919 (1) dove rimase almeno sino allo scoppio della Seconda Guerra Mondiale. Aveva inoltre altri due negozi a Cannes e a Biarritz.

She used to call herself the “Femme bottier”. Madame Julienne - or simply Julienne (her family name is still unknown today) - was the first woman to achieve fame as a designer/maker of elegant women shoes in the early Twenties. She came from a family tradition of shoe makers and opened her boutique in Faubourg Saint-Honoré, 235, in 1919 (1). She was still there before the last World War. She also owned two other showrooms in Cannes and Biarritz.

1923 | Julienne

235, Rue St. Honoré, Paris

1923 | Julienne

Paris

Nel 1925 partecipò all'Esposizione Internazionale di Arti Decorative e Industriali di Parigi e negli anni Trenta approdò nel mercato americano.

Julienne si specializzò in calzature da ballo e in modelli pronti molto raffinati, ma non trascurò lussuose produzioni fatte a mano e su ordinazione. Il suo stile le valse la scelta di designer come Worth per accompagnare le sue collezioni.

In 1925, Julienne attended the "Exposition Internationale Des Arts Décoratifs Et Industriels in Paris and in the Thirties she found her way to the American market. 

Julienne was specialized in dance shoes and refined ready-to-wear models, but her production included luxury handmade and custom shoes and she was stylish and innovative enough to be chosen by designer like Worth to accompany his collections.

1923 | Julienne

Paris

1923 | Julienne

Paris

1923 | Julienne

Paris

1926 | Julienne

Grey kidskin and lizard

Source: Vogue France

1926 | Julienne

Paris

1930 | A summer set

Straw shoes by Julienne

Source: Vogue

1931 | Julianne

At the Colonial Exhibition In Paris

1936 | Julienne

Paris

(1) Marie-Josèphe Bossan
L’Art de la chaussure - Parkstone International, 2012

MADAME JULIENNE

(THE FEMME BOTTIER) | FEAT. MAN RAY

1927 | ANNE D'ORLEANS
SHOD IN JULIENNES

1938 | Julienne

White fabric with appliques in ruby cellophane material

Source: L'officiel de la Mode