Tuesday, May 27, 2014

SHINING

Newspapers were blowing about the road and pavement, and Broadway looked seedy, like a slovenly woman just out of bed. On almost every street corner there were elevated chairs with shoe-lasts sticking up and people sitting comfortably in shirt-sleeves getting their shoes shined. They gave one the impression of finishing their toilet on the street.

Charlie Chaplin
From: My Autobiography (Simon & Shuster, 1968)


2010 | San Francisco Transbay Terminal
Photograph by Shawn Clover

1857 | Honoré Victorin Daumier
Mr. Hume fantasizing about Julius Caesar polishing his boots

19th Century | The Little Shoe-Shine Boy
By Comte de Charles Philibert Lasteyrie du Saillant

On a more sober and necessary note, ready and waiting on the streets leading into the City that were tramped every morning by ranks of City workers, were rows of shoeblacks: in the days before routine street paving, every respectable worker needed to have his shoes cleaned after walking to work. In the early part of the century, blacking, or shoe polish, came in liquid form, and boys equipped themselves with paintbrushes, enquiring, ‘Japan your shoes, your honour?’ Blacking paste became available in cake form from the 1820s. 
Judith Flanders
The Victorian City. Everyday Life In Dickens's London (Atlantic Books, 2012)


From The Album "Street Life In London"

It was so easy to use that shoeblacks vanished from the streets, but in 1851 the Ragged School set up a Shoeblack Society, and soon their red-coated shoeblacks were seen throughout the city at fixed pitches. The charge was 1d for brushing a gentleman’s shoes and trousers, from which the boys earned about 10s a week in summer but in the winter only half that. (This is surprising: one would have expected the wet season to require more shoe-cleaning, not less.) 
Judith Flanders
The Victorian City. Everyday Life In Dickens's London (Atlantic Books, 2012)


1922 | Le Prix Courant magazine
Montreal, Canada

1935 | Fortune magazine | Grand Central Station

1937 | Shoe-Shine Stand Built Like Merry-Go-Round


That’s probably one of the most direct messages in the world (“If You Don’t Work You Can’t Eat.”, ED). You know, a man looking for a job today looks for a special kind of job; he should first go get a job. I started as a janitor, a shoeshine boy. I shined shoes in front of a radio station—27 years later I came back and bought the station. 
James Brown
Interviewed by Glenn O'Brien (Interview October 1984)



CA.1911 | Baker Shoe-Shine Stand | Anaheim, California
Source: CaliSphere, University Of California

1955 | Vivian Maier | Untitled (Boy shining shoes)
Source: 1stdibs.

2010 | Shoeshine stand | 12th Street | Oakland, CA
Photograph by Lauren Crabbe


1877 | John Thompson & Adolphe Smith
The Independent Shoe Black




And now a word from our sponsor:


1942 | Claire Trevor for Shinola
Golf shoes by I. Miller

1942 | Shinola Cleaner and I. Miller shoes from I. Magnin, Hollywood


Sunday, May 25, 2014

1984 | ROBERT QUALTERS | NICK'S SHOE REPAIR

1984 | Robert Qualters
Nick's Shoe Repair | Mixed media on paper | Collection of William and Mary price



SHOES
& ART
1832-2011

Thursday, May 22, 2014

1899 - 1930 | LA SIGNORINA BY A.FUMAGALLI | TRACING THE ORIGIN OF THE SS33 DISTRICT

1923 | La Signorina
Trademark of the Ditta A.Fumagalli - Parabiago

Don Marco Ceriani nella sua "Storia di Parabiago" fece risalire l'inizio delle attività dei calzaturifici parabiaghesi a due società.[1] La prima fondata nel 1899 da Attilio Fumagalli, con sede nella centrale Piazza Maggiolini (allora denominata Piazza Vittorio Emanuele), con circa 15 operai: alcuni calzolai locali e altri in maggioranza romagnoli. La seconda, fondata da Paolo Castelnuovo ed Ermogene Lazzaroni in Piazza della Stazione, quest'ultima, secondo il professore Egidio Gianazza, attiva dal 1903 [2].

La ditta di Attilio Fumagalli (1874-1920), usava come marchio “La Signorina”. ed era specializzata nella produzione era di scarpe da donna, realizzate interamente a mano, almeno nei primi anni.
La produzione, con diverse ragioni sociali (Ditta A. Fumagalli; snc A.R.Fumagalli; A.Fumagalli di Mario Fumagalli) prosegui le attività fino alla grande crisi industriale di fine anni ’20, quando chiuse, insieme con molti altri calzaturifici della zona.


Father Marco Ceriani in his "History Of Parabiago" traced the beginning of the shoe industry in the city [1]. The first company was founded by Attilio Fumagalli in 1899 located in the central Piazza Maggiolini (at that time called Piazza Vittorio Emanuele), with 15 workers, the majority of them from the Romagna region; then the factory founded by Paolo Castelnuovo and Ermogene Lazzaroni in Piazza della Stazione, according to historian Egidio Gianazza, active since 1903 [2].



The company founded by Attilio Fumagalli (1874-1920), used as a trademark "La Signorina" (The Young Lady) and it was specialized in the completely handmade production of women's shoes in the beginning. They operated under different names over the years (Ditta A. Fumagalli; snc A. R. Fumagalli; A. Fumagalli di Mario Fumagalli) until the great industrial crisis of the late '20s, when the factory closed along with many other shoe factories in the area.

FOOTNOTES

[1] Marco Ceriani: "Storia di Parabiago, vicende e sviluppi dalle origini ad oggi" - 1948 - Unione Tipografica Milano
[2] Egidio Gianazza, "Uomini e cose di Parabiago" - 2010 - Città di Parabiago


SS33
The Parabiago
Footwear District
DATABASE

Tuesday, May 20, 2014

1910 | SS33 | ENRICO RIZZI & C. | PARABIAGO, MILAN

1911 | Enrico Rizzi Calzature [ERC]
Parabiago, Milan

Enrico Rizzi fu uno dei pionieri dell'industria calzaturiera dell'area parabiaghese. Probabilmente iniziò l'attività imprenditoriale già nel 1905 in società con Ugo Reina nella "Reina e Rizzi".[1] L'impresa a suo nome, la Enrico Rizzi e C. di Parabiago risulta invece iscritta alla Camera di Commercio di Milano nel 1910. Il marchio di fabbrica, un pavone col monogramma ERC fu depositato l'anno seguente, come riportò la Gazzetta Ufficiale del Regno d'Italia del 27 agosto 1912. 

La produzione era riservata a calzature di lusso.


Enrico Rizzi was among the pioneers in the footwear industry of the Parabiago area. He started his business activity in partnership with Ugo Reina with the "Reina and Rizzi" company in 1905. A company under his own name, Enrico Rizzi and C. in Parabiago was registered at the Chamber of Commerce of Milan in 1910. 
The trademark, a peacock with the monogram ERC, was registered the following year, as reported the Official Gazette of the Kingdom of Italy on August 27, 1912 

The production was based on luxury footwear.


1911 | Trademark of Enrico Rizzi & C. 
Gazzetta Ufficiale del Regno d'Italia, August, 27 1912

FOOTNOTES 
[1] Egidio Gianazza, "Uomini e cose di Parabiago" - 2010 - Città di Parabiago


SS33
The Parabiago
Footwear District

DATABASE

Sunday, May 18, 2014

1925 | THE GOLD RUSH

In the creation of comedy, it is paradoxical that tragedy stimulates the spirit of ridicule; because ridicule, I suppose, is an attitude of defiance: we must laugh in the face of our helplessness against the forces of nature – or go insane. 

From: My Autobiography (Simon & Shuster, 1964)


1925 | Charlie Chaplin
The Gold Rush

Out of this harrowing tragedy I conceived one of our funniest scenes. In dire hunger I boil my shoe and eat it, picking the nails as though they were bones of a delicious capon, and eating the shoe-laces as though they were spaghetti. 

From: My Autobiography (Simon & Shuster, 1964)


1925 | Charlie Chaplin
The Gold Rush


SHOES &
MOVIES

Wednesday, May 14, 2014

1956 | SS33 | CALZATURE CROCE BY PIER LUIGI MAZZI

1956 | Calzature Croce
Varese

Calzature Croce was the commercial brand for shoes sold in Varese but made in Parabiago (Milan) by Pier Luigi Mazzi, whose company was based in Via Sant'Antonio 2.


SS33
The Parabiago
Footwear District

DATABASE

Monday, May 12, 2014

1926 | SS33 | RALLY | PARABIAGO, MILAN

1926 | Rally by Gerolamo Zucchetti
Parabiago, Milan

Gerolamo Zucchetti fu uno dei primi produttori di calzature nell'area di Parabiago. All'inizio degli anni '20 del secolo scorso era già attivo il un suo marchio Wally. Nel 1926 decise di sfruttare la notorietà del più famoso marchio svizzero Bally e depositò il marchio Rally.

Gerolamo Zucchetti was one of the first footwear manufacturers in Parabiago. At the beginning of the 20s of the last century he was already active with his own trademark brand Wally. In 1926 he decided to take advantage of the notoriety of the more famous Swiss brand Bally, so he trademarked the brand Rally.



SS33
The Parabiago
Footwear District

DATABASE

Friday, May 9, 2014

1941 | SS33 | C.FERRARIO | PARABIAGO, MILAN

1941 | C. Ferrario
Elegant And Flexible footwear
Parabiago, Milan


SS33
The Parabiago
Footwear District

DATABASE

Wednesday, May 7, 2014

1950s | PIERRE CARDIN AND ANDRE' PERUGIA

1959 | Pierre Cardin at work
Source L'Officiel de la Mode


I destini di André Perugia e Pierre Cardin si incrociano a inizio anni '50: Perugia, prossimo alla sessantina, vantava un invidiabile e ultra trentennale successo in ambito calzaturiero, mentre Cardin (già premier tailleur con Dior fino al 1950) non era ancora trentenne ma già con esperienze presso Elsa Schiaparelli e Paquin. Erano entrambi di origine italiana e la loro collaborazione si protrasse sino alla fine degli anni '50.

André Perugia and Pierre Cardin paths crossed in the early 50s: Perugia, pushing sixty, boasted a remarkable success in the field of footwear while Cardin (formerly premier tailleur at Christian Dior until 1950) was not yet thirty years old but already with experiences with Paquin and Elsa Schiaparelli. They were both of Italian origin and their collaboration lasted until the late '50s.



1958 | André Perugia for Pierre Cardin
"The toe is narrow, rounded and flattened but has a pinched-in appearance 
similar to the neck of  a spoon"


Insieme svilupparono l’abbinamento fra la linea a cono, ampia, con le spalle morbide e la gonna appena sotto il ginocchio, dove le scarpe sottili dovevano portare equilibrio per contrasto:
“La punta è stretta, arrotondato e appiattito ma ha un aspetto pizzicato in simile al collo di un cucchiaio. Dà un effetto più lungo, più delicato” 
[Pierre Cardin in Sunday Herald Magazine, 22 Set. 1957]

Un altro esempio di "riequilibrio" era l'intaglio rettangolare creato nella tomaia del modello “Hoop”: alleggeriva la scarpa e metteva in risalto la forma del cappotto che accompagnava.



Together they developed the combination of the conic line, wide, with soft shoulders and the skirt just below the knee, where the shoes had to balance the outfit by contrast:
“The toe is narrow, rounded and flattened but has a pinched-in appearance similar to the neck of a spoon. It Gives a longer, more delicate effect”  
[Pierre Cardin - Sunday Herald Magazine, Sept.22, 1957]

Another example of "balancing" was the rectangular notch that Perugia made in the vamp of the model "Hoop" to lighten the shoe and emphasize the shape of the coat by Cardin.



1959 | André Perugia for Pierre Cardin | The "Hoop" Model
Source: L'Officiel

1954 | Overcoat by Pierre Cardin and shoes by André Perugia
Source: L'Officiel

1954 | Shoes by André Perugia - detail

1958 | White wool coat by Pierre Cardin | Shoes by Perugia
Photo by Georges Dambier, 
From ELLE magazine

1958 | André Perugia  | Detail

1958 Pierre Cardin fur design for J.Léonard et Cie. 
Shoes by André Perugia
Source: L'Officiel

________________

ANDRE PERUGIA
D O S S I E R
________________


1958 | Overcoat designed by Pierre Cardin for Fred Carlin. 
Shoes by André Perugia
Source: L'Officiel

Sunday, May 4, 2014

EDOUARD MANET | MID TO LATE 19TH CENTURY | DRAWINGS

They are raining insults upon me, I've never been led such a dance.
Edouard Manet writing to Baudelaire (about the Olympia) | 1865
[Source: The Art Story]


1880 | Edouard Manet
From: Letters to Isabelle
Source: Musée du Louvre

1880 | Edouard Manet
From: Letters to Isabelle
Source: Musée du Louvre

1876 | Edouard Manet
From a sketchbook
Source: Musée du Louvre

Mid to late 19th century | Edouard Manet
From a sketchbook
Source: Musée du Louvre

Late 19th century | Edouard Manet
Etude pour la Femme au Cafe
Source: Musée du Louvre

EDOAUARD MANET

Saturday, May 3, 2014

1939-1980 | IRVING PENN | NEW YORK SHOES

In essence, all of Irving Penn's work takes the same approach, isolating subjects from their context and raising them to one kind of graphic perfection or another. This stems, he said, from a need to "make things manageable enough to record them, to prune away anything inconsequential." Pause. "Because less is more".

Source: NY Times, 1991 | Irving Penn interviewed by Vicky Goldberg | 


1939 | Irving Penn
Shoe Sign: Shoe (Version A), New York
Source: Smithsonian American Art Museum

1947 | Irving Penn
Theater Accident, New York
Source: The Art Institute Of Chicago

1959 | Irving Penn
Four Shoes, New York
Source: Mutual Art

1963 | Irving Penn
Spanish Shoes, New York
Source: The Art Institute Of Chicago

1980 | Irving Penn
Still Life With Shoe
Source: The Art Institute Of Chicago


Thursday, May 1, 2014

DIEGO BOTTIER | PARIS

1934 | Diego Bottier
Paris
Source: Vogue - French Edition

Non c'è una romantica storia artigianale dietro il nome di Diego Bottier. Si trattava invece del marchio commerciale di una società anonima specializzata in calzature di lusso e costituita a Parigi il 26 gennaio 1934, con un capitale sociale di 100.000 Franchi e sede al numero 68 di Rue La Boétie, come riportato negli Archives Commerciale de la France di quell'anno.

No romantic story behind the name of Diego Bottier. This was the trademark of a public limited company specializing in luxury footwear and founded in Paris January 26, 1934, with a capital of 100,000 francs and headquarters at 68 Rue La Boétie, as mentioned in Archives Commerciale de la France, Paris, 1934.


1934 | Sandals by Diego Bottier
Swimming suit by Mona Goya
Source: Vogue - French Edition

1934 | Diego Bottier
Paris
Source: Vogue - French Edition

1934 | Diego Bottier
Above: Wool fabric woven with cellophane
Below: reversed calf
Source: Vogue - French Edition