Monday, March 30, 2015

1948 - 1952 | ANDRE PERUGIA FOR CHRISTIAN DIOR | INTRO

Perugia did these extraordinary heels in circles, others like the shape of a bent propeller, and he did shoes with heels made of metal. He was really an authority on shoes and construction, but he never recovered his glory after WWII.

Jerry Miller
The Wandering Shoe (My Goodfriends, 1984)


1948 | André Perugia for Dior | Detail
Mink-lined kid
Photograph by Richard Avedon

As much as we like Jerry Miller [1], this is not the case. For instance, back in 1950 a special edition of the Album du Figaro (#23) featured a double page spread of THE French names in luxury fashion: a collective photo portrait with Christian Dior, Mlle Toussaint (Cartier), Hermès, Guillaume and Guerlain among others and Perugia is literally in the middle of it: the only bottier invited at the table, so to speak.


1950 | Album du Figaro # 23
Source: hprints

From the end of the 40's until mid to late 50's Perugia produced some of his best designs for Griffe, Fath, Cardin and Givenchy alongside his lifelong association with I.Miller. Often overlooked is the work André Perugia did for Christian Dior save for the celebrated Avedon photo [2]. Here's your chance to see something more.


August 1948 | Place du Trocadero, Paris
André Perugia for Christian Dior
Photograph: Richard Avedon

1948 | André Perugia for Christian Dior
Source: L'Officiel de la Mode # 321/322



ANDRE PERUGIA FOR DIOR

1948 - 1952 | INTRO

1949 - 1951 | BARING THE FOOT
PART 1 | PART 2

1950 - 1952 | BEAU A LA MODE [BOWS]

1948 - 1952 | EPILOGUE


ANDRE PERUGIA
BOTTIER
I N D E X



FOOTNOTES

[1]
Jerry (Jerrold) Miller, of I.Miller/Margaret Jerrold/Shoe Biz fame, with his autobiography single-handedly managed to save the history of the I.Miller family/shoe empire highlighting along the way nuts and bolts of the shoe trade. Not to mention his work experience with the Parabiago shoe district and many Italian shoemakers all over the Country.

[2]
Provided by the Richard Avedon Foundation, a limited edition print (signed and dated) of the photograph above was sold at Christie's for $ 40,819 (November 2010).

[3]
Strange things happened. Note the "Please return the photograph" note at the bottom of the picture: this one was sold on ebay in 2013.


METleaks

Saturday, March 28, 2015

1939 | FOOTWEAR & AUTARCHY | THE BEGINNING

1939 | The Italian autarchy foolishness was already in motion but alternatives to leather were camouflaged as fashion statements.


1939 | Plaited straw & kid | Unknown maker
Source: Novus # 14 - 1939

1939 | Crocheted rafia | Unknown maker
Source: Novus # 14 - 1939

1939 | Plaited straw for bag, hat and matching cork shoe | Unknown maker
Source: Novus # 14 - 1939

1939 | Plaited straw for hat and matching cork shoe | Unknown maker
Source: Novus # 14 - 1939


Meanwhile in France

1939 | Evening shoes | Unknown maker
Straw fabric from F. Colcombet and gold kid (reduced to a minimum)
Source: Novus # 14 - 1939

1939 | Beach shoes | Unknown maker
ALBENE fiber from F. Colcombet (basically matte Rayon)
Source: Novus # 14 - 1939

On top, two actual ALBENE samples glued to the page. Moreover the whole magazine (Italian, but printed in France) looks more like an art book: hard cover, silver and gold inks, samples all over.


FOOTWEAR & AUTARCHY
THE AUTARCHIC WAY OF SALVATORE FERRAGAMO
PART 1 | PART 2 | PART 3

MADE IN ITALY
BY LAW



1933 | Actress Germana Paolieri for Tessuti Iris
Albene fabric model Marilù
Source: Le Fibre Intelligenti/Vita Femminile magazine - December 1933

July 5, 1939 | Footwear Fair Vigevano
Silliness in full swing
Full use of the rabbit fur
Source: Istituto Luce

Thursday, March 26, 2015

1942 | FOOTWEAR & AUTARCHY | THE AUTARCHIC WAY OF SALVATORE FERRAGAMO | FEAT: FEDE CHETI | PART 3/3

After the felt and/or Cellofania shoes, here are two other solutions by Salvatore Ferragamo to get the better of the lack of leathers and fine fabrics: synthetic straw and leather scraps. 

Dopo le calzature in feltro e Cellofania, ecco altre due soluzioni di Salvatore Ferragamo per ovviare alla mancanza di pellami e tessuti pregiati: paglia sintetica e scarti di pellame.


1942 | Salvatore Ferragamo
Hand woven synthetic fabric (Lin-Lan) designed by Fede Cheti
Source: Documento - Moda


Synthetic Straw
The vamps of these Ferragamo wedgies were made with the fabrics designed and produced by Fede Cheti (1905 Savona - 1978 Genova) as revealed by “Documento - Moda” (Summer 1942). 

Fede Cheti was a self-taught designer that founded in Milan the artistic textile company of the same name (1936). She designed using every kind of fabrics: silk, linen, hemp, even synthetic materials. Discovered by Gio Ponti, she quickly went to international fame. During WW2 she patented her own synthetic straw called “Lin-Lan” made of viscose (90%) and cotton (10%). The “Lin-lan” was hand-made by rural artisans from Cremona and vicinity.


Paglia Sintetica
Le tomaie di queste zeppe Ferragamo furono realizzate con tessuto disegnato e prodotto da Fede Cheti così come riportato dalla rivista “Documento - Moda” nell’estate 1942. 

Fede Cheti (1905 Savona - 1978 Genova) fu una designer autodidatta che fondò a Milano nel 1936 l’omonima società per la produzione di tessuti artistici. Disegnò utilizzando una grande varietà di filati: seta, lino, canapa, persino materiali sintetici. Scoperta da Gio Ponti, raggiunse presto fama internazionale. Durante la Seconda Guerra Mondiale brevettò la propria paglia sintetica chiamata “Lin-Lan” costituita dal 90% di viscosa e dal 10% di cotone. Il “Lin-Lan” era tessuto a mano da artigiane rurali cremonesi.




1942 | Salvatore Ferragamo
Hand woven synthetic fabric (Lin-Lan) designed by Fede Cheti
Source: Documento - Moda

1942 | Salvatore Ferragamo
Hand woven synthetic fabric (Lin-Lan) designed by Fede Cheti
Source: Documento - Moda


Leather scraps
The combination of different vivid colors, one of the most recognizable element of Ferragamo's designs of '40s, was born as a workaround to overcome the lack of quantity/quality leather: he combined into a single model the scraps from different hides. 

Gli avanzi di pellame
Uno degli elementi più riconoscibili delle creazioni di Ferragamo degli anni '40, la combinazione di più colori accesi, nasceva come soluzione per ovviare alla carenza di disponibilità di pellami di buona quantità e combinava quindi in un unico modello i ricavati di più tagli.


1942 | Salvatore Ferragamo
Panchromatic shoe with the signature Ferragamo's layered wedge heel
Different cuts of hides connected with marked sewing
Source: Documento - Moda

1942 | Salvatore Ferragamo
Elegant sandal with thin strings of leather in various colors, wedge layered heel
Source: Documento - Moda


FOOTWEAR & AUTARCHY
THE AUTARCHIC WAY OF SALVATORE FERRAGAMO
PART 1/3 | PART 2/3 | PART 3/3

MADE IN ITALY
BY LAW

SOURCES: 
"Documento - moda " Anno II - Estate 1942
XX - ENM Ente nazionale Moda - Ed. Grafitalia già Pizzi e Pizio

Enciclopedia Treccani



1942 | Salvatore Ferragamo
Evening sandal made with different cuts of leather and a rare high heel

Source: Documento - Moda

Tuesday, March 24, 2015

1942 | FOOTWEAR & AUTARCHY | THE AUTARCHIC WAY OF SALVATORE FERRAGAMO | PART 2/3

It was 1942, the twentieth year of the Fascist era and the strenouos third year of war for Italy. The Ente Nazionale della Moda (National Fashion Institution), born under the patronage of the regime seven years before, published a monographic publication focused on the Italian Fashion. No frills and no glamour - both contrary to fascist propaganda - fashion was proposed as an "important sum of commercial and industrial interests" and "without even tend to harass or diminish the moral or material discipline that now dominates the Italian life".

Correva l’anno 1942, anno XX dell’epoca fascista e difficilissimo terzo anno di Guerra per l’Italia. L’Ente Nazionale della Moda, nato col patrocinio dal regime sette anni prima, pubblicò una monografia dedicata alla Moda italiana. Nessuna frivolezza contraria alla propaganda fascista: la Moda era proposta come “somma importantissima di interessi commerciali e industriali” e “senza minimamente tendere a molestare o menomare la disciplina morale o materiale che oggi domina la vita italiana”.


1942 | Salvatore Ferragamo
Wedge heel and handwoven fabric by Fede Cheti
Source: Documento - Moda

The publication aimed to demonstrate the domestic vitality craftsmanship and also to enhance autarchic solutions. Celebrating the creative ability of the Italian people under duress, it illustrated the self-sufficiency with new materials, such as Raion, Cellofania and Nastrital. They also wanted to demonstrate the potential of conquering foreign markets when Italian skills, innovation and aesthetic sense worked in unison.

La pubblicazione mirava a dimostrare la vitalità dell’industria e dell’artigianato italiani e ad esaltare le soluzioni produttive autarchiche. Celebrava la capacità creativa del popolo italiano nelle situazioni critiche, illustrando la ricerca dell’autosufficienza con gli esempi dei nuovi materiali, come il Raion, la Cellofania, il Nastrital. Si voleva anche dimostrare il potenziale di conquista dei mercati esteri quando le competenze, l’innovazione e il senso estetico italiani riuscivano ad operare collegialmente.


The Cellofania 
One of the most original solutions to overcome the lack of leather for elegant shoes came from a thin and semitransparent film derived from cellulose hand-woven by patient Florentine artisans. 

La Cellofania 
Una delle soluzioni più originali per sopperire alla carenza di pellame per le calzature eleganti arrivò da una pellicola sottile e semitrasparente derivata dalla cellulosa e intrecciata da pazienti artigiane fiorentine.



1942 | Salvatore Ferragamo
Shoes and sandals made with handmade Cellofania fabric
Source: Documento - Moda

1942 | Salvatore Ferragamo
Mesh upper of twisted cellofania (third from bottom of the above picture)
[A very similar model was produced in the late 30's]
Source: Shoe Icons



For the footwear industry the poster boy was Salvatore Ferragamo, the shoemaker who could best embody all these elements, "one of our combative and fiery industrialists", back home after his success in rogue state America. The document explained what results could produce an original mixture of cellophane, autarchic fibers such as felt, cork, hand-woven fabrics by Cremonese artisans, laces of string and waste from various fabrics and hides - all this -  highlighted by  Ferragamo's technique. A valuable partnership for Ferragamo was creative fabric-maker Fede Cheti, extraordinary inventor of new materials and designs while recovering traditional craft techniques.

Per il settore calzaturiero venne scelto l’esempio che meglio poteva incarnare tutti questi elementi, “uno dei nostri industriali battaglieri e ardenti”, Salvatore Ferragamo, reduce dai successi presso la nemica America. Il documento illustrava quali risultati poteva produrre la mescolanza originale di Cellofania, fibre autarchiche come il feltro, sughero, stoffe tessute a mano dalle artigiane cremonesi, merletti di spago e cascami di diverse provenienze con l’ottima tecnica di Ferragamo. Una collaborazione preziosa per Ferragamo fu con la creatrice di tessuti Fede Cheti, straordinaria sperimentatrice di nuovi materiali e disegni partendo dal recupero delle più tradizionali tecniche artigianali.



1942 | Salvatore Ferragamo | Felt shoes
Sole made with pressed silk scraps
Source: Documento - Moda

Felt Shoes 
A poor material obtained by compression and felting of fibers from various origins. Ferragamo patented the "armed" felt to increase its resistance and use it for both soles and uppers.

Feltro 
Un materiale povero ricavato dalla compressione e infeltrimento di fibre di varia origine. Ferragamo brevettò il feltro "armato" per aumentarne la resistenza ed usarlo anche per le suole, oltre che per le tomaie.


1942 | Salvatore Ferragamo
Felt shoes with wedge heel covered by kidskin | Crossed decoration on the vamp
Source: Documento - Moda


FOOTWEAR & AUTARCHY
THE AUTARCHIC WAY OF SALVATORE FERRAGAMO
PART 1/3 | PART 2/3 | PART 3/3

MADE IN ITALY
BY LAW



1942 | Salvatore Ferragamo | Felt shoes
Sole made with pressed silk scraps
Source: Documento - Moda

Sunday, March 22, 2015

2004 | ANDREA PFISTER | ICE CREAM

2004 | Andrea Pfister | Ice Cream
At the International Footwear Museum of Vigevano
Photograph: Irma Vivaldi

Andrea Pfister

A perfect example of Pfister's elegant and witty design in the tradition of bizarre shaped heels (carrots, pineapples, diamonds).


2004 | Andrea Pfister
Ice Cream
Source: Andrea Pfister: Sogni, Arte, Scarpe (Vigevano Exhibition Catalog, 2004)

2004 | Andrea Pfister
Ice Cream
Source: Stiletto Heel. Charm And Seduction Exhibition Catalog, 2008



FOOTNOTE
A.K.A. I SCREAM



2013 | Lagerfeld for Melissa


That's what passes for creativity today. After all, Lagerfeld - or whoever is designing shoes for him - is running on fumes. A quick peek at the 2015 Melissa collection reveals ideas borrowed from everywhere, especially for heels, like the stacked spheres (the last of a long series) or the Fluevog-inspired like this one here below.


1970's | John Fluevog for Sacha
Source: Kasia Charko
2015 | Lagerfeld for Melissa

Inutile sorprendersi: un plagio, anche se così evidente non rappresenta una novità nel mondo della moda. Sconcerta invece che un'intera mostra dedicata al rapporto tra cibo e moda non vada oltre la superficie. Accade con "L'eleganza del cibo. Tales about food and fashion", a Roma sino al 1° novembre 2015, ai Mercati di Traiano. Per quanto riguarda le calzature, nessuna traccia di Andrea Pfister, ma si compensa con il cono di Lagerfeld, le scarpe realizzate con pelle di dentice (Ferragamo - fuori tema) e la clonazione di Albanese della scarpa pesce di André Perugia (fuori luogo). Con il patrocinio di MIBACT, EXPO; promossa da Assessorato alla Cultura e Turismo di Roma e Sovrintendenza Capitolina ai Beni Culturali.

Plagiarism, although so obvious, is nothing new in the fashion world. However, it is baffling when an entire exhibition devoted to the relationship between food and fashion doesn't scratch the surface. It happens with "L'eleganza del cibo (The elegance of food). Tales about food and fashion" on display in Rome until 1 November 2015 at the Marcati di Traiano. Footwear wise, no trace of Pfister, but you'll find Lagerfeld's ice cream, shoes made with snapper skin (Ferragamo - off topic) and the Albanese replica of the André Perugia fish shoe (out of place). Exhibition supported by MIBACT (Ministry of Cultural Heritage and Tourism), EXPO; sponsored by Department of Culture and Tourism of Rome and Rome's Superintendence of Cultural Heritage.


1999 - 2002 | Andrea Pfister designs
Source: Andrea Pfister: Sogni, Arte, Scarpe (Vigevano Exhibition Catalog, 2004)
Clockwise from top left:
1999 - Frutti di Bosco | Wild Berries
2000 - Macedonia | Fruit salad
2001 - Carmen Miranda
2002 - Vitamina

Friday, March 20, 2015

1963 | VACCARI & SAGUATTI WITH FLEMING JOFFE

1963 | Fleming Joffe in Italy
New York City

1963 | VACCARI | Bologna
Yellow and Green Phyton from Fleming Joffe

1963 | VACCARI | Bologna
Green Lizard and Brown Alligator from Fleming Joffe

1963 | VACCARI | Bologna
Red and Black Lizard from Fleming Joffe

1963 | SAGUATTI | Bologna
Reptiles from Fleming Joffe

1962 | ANDY WARHOL for Fleming Joffe
Ad running from 1962 to 1964

History Of The
SHOE FACTORY VACCARI/SAGUATTI
BOLOGNA

Wednesday, March 18, 2015

MARCH 18-22, 1848 | THE SHOEMAKER AS A HERO | FIVE DAYS OF MILAN

"CITTADINI!
Onore al popolano Pasquale Sottocorno, che nel palazzo del Genio appiccò primo il fuoco alla porta e irruppe a disarmare e far prigionieri 160 soldati. Quest'oggi ei rinnovò la prova di valore straordinario, assaltando la pia casa di ricovero e disarmando i soldati che vi stavano a guardia. Il nome del Sottocorno suoni glorioso sulle bocche di tutti i prodi, e resti esempio ed eccitamento alle generazioni venture.

Milano, 22 marzo 1848." [*]

Pasquale Sottocorno era un calzolaio infermo ad una gamba. Durante i tumulti delle Cinque Giornate milanesi, il 21 marzo, pur ferito da un proiettile austriaco, riuscì a raggiungere la porta del Palazzo del Genio militare in via Monte di Pietà. Fu lui a dar fuoco alla porta con stoppa e pece presi dal banco di lavoro, consentendo agli assedianti di entrare e disarmare gli austriaci. 
Morì di tisi a soli 35 anni nel 1857 a Torino dov'era esule dopo il ritorno degli austriaci e ancora esercitava il mestiere di calzolaio.


CA 1865 - 67 | Pietro Bouvier | Oil on canvas
Shoemaker Pasquale Sottocorno assaulting the military engineering headquarter
Milan | Museo del Risorgimento

"CITIZENS!
Honour to the man of the people Pasquale Sottocorno, who, in the Palace of the Army Corps of Engineers set fire first and entered it to disarm and take prisoners 160 soldiers. Today he gave another proof of extraordinary value, assaulting the house of hospitalization and disarming the soldiers that were guarding it. Let the name of Sottocorno sound glorious on the mouths of all the braves end be example and excitement to the coming generations. 
Milan, March 22, 1948" [*]

Pasquale Sottocorno was an invalid shoemaker. During the riots of the Five Days of Milan, on March 21, though wounded by an Austrian bullet, he was able to reach the door of the Palace of the Army Corps of Engineers in via Monte di Pietà. He set fire to the door with flex tow and pitch taken from the workbench, allowing assaulters to enter and disarm the Austrians.
He died of tuberculosis at the age of 35 in 1857 in Turin, where he lived exiled after the return of the Austrians and still working as a shoemaker.



[*] 
Attestato che fu affisso nella città di Milano dal Governo Provvisorio. 
Bill posted on the walls of Milan by the Provisional Government.

Source: Leone Tettoni | Cronaca della rivoluzione di Milano | Ed. Claudio Wilmant | 1948


Also:
1906 | The Shoemaker as

Monday, March 16, 2015

1963 | THE SHOEMAKER LUPO | VIGEVANO

1963 | Shoemaker LUPO
Vigevano
Source: Ars Sutoria

1963 | Shoemaker LUPO
Vigevano
Source: Ars Sutoria

1963 | Shoemaker LUPO
Vigevano
Source: Ars Sutoria

1963 | Shoemaker LUPO
Vigevano
Source: Ars Sutoria


1961

Saturday, March 14, 2015

1963 | MAGLI PRESENTS MISS MAGLI

1963 | Miss Magli by MAGLI
Bologna

1963 | Miss Magli by MAGLI
Bologna

1963 | Miss Magli by MAGLI
Bologna

1963 | Miss Magli by MAGLI
Bologna

BRUNO MAGLI 1963
PART 1

BREAKFAST AT MAGLI'S
1970 | PARIS

BRUNO MAGLI
(IT WAS) MADE IN BOLOGNA

Thursday, March 12, 2015

1963 | BRUNO MAGLI | BOLOGNA

1963 | Bruno Magli
Bologna

1963 | Bruno Magli
Bologna

1963 | Bruno Magli
On Sale Chez Pinet
Source: L'Officiel de la Mode

1963 | Bruno Magli
On Sale Chez Pinet
Source: L'Officiel de la Mode

1963 | Bruno Magli
Bologna

1963 | Bruno Magli
Bologna



BREAKFAST AT MAGLI'S
1970 | PARIS

BRUNO MAGLI
(IT WAS) MADE IN BOLOGNA

BRUNO MAGLI presents
MISS MAGLI [1963]