TheHistorialist: March 2016

Wednesday, March 30, 2016

1972 | JULY | COLETTE FOR BIKI | HAUTE COUTURE ROME

1972 | Colette for Biki | Detail

White lace-up ankle boot with a zipper on the inside

Source: Ars Sutoria

The "Saint Moritz" collection by the Biki atelier was showcased at the Roman haute couture shows in July 1972. It was designed by Alain Renaud and characterized by lively outfits in the style of winter holidays, accompanied by leather vests and studded jackets.

Parabiago's shoe factory Colette created the models for the collection.

The picture above shows a detail of a white laced boot with a side zipper (picture below). The last photograph shows a pair of boots with ankle strap and a golden chain along with a classic pump decorated with a stud and a thin chain.

La collezione “Saint Moritz” dell’atelier milanese Biki fu presentata in occasione delle sfilate romane dell’alta moda nel luglio 1972. Era stata disegnata da Alain Renaud ed era caratterizzata da abbigliamenti dopo-sci sbarazzini, accompagnati da gilet e giubbini in pelle e dal motivo ricorrente delle borchie.

Il calzaturificio Colette aveva creato le calzature che accompagnavano la collezione.

Il dettaglio rappresenta uno stivaletto bianco e stringato, ma con cerniera lampo laterale (visibile nella foto completa qui sotto); Nell'ultima foto un paio di stivali decorati con un cinturino e catenella alla caviglia; una décolleté classica, decorata con borchia e catenella.

1972 | BIKI | Aprés-ski style from the "Saint Moritz" collection

Ankle Boots by Colette

Source: Ars Sutoria

1973 | COLETTE FOR BIKI
HAUTE COUTURE ROME

COLETTE
I N D E X

1972 | Colette for Biki

A pair of black boots decorated with a golden chain and a classic pump with a stud and a thin chain

Source: Ars Sutoria

Monday, March 28, 2016

U P D A T E S

1938 | Franco Malinverno | Milan

Shoe labels

Source: URIC magazine

... AND THE WINNERS ARE ... | IT'S TURIN NOT HOLLYWOOD
THE HISTORY OF THE ITALIAN FOOTWEAR OSCAR | PART 1

... AND THE WINNERS ARE ... | IT'S TURIN NOT HOLLYWOOD
THE HISTORY OF THE ITALIAN FOOTWEAR OSCAR | PART 2

FRATELLI NEBULONI/SHOE FACTORY MILENA
1971 | FOOTWEAR OSCAR AWARD

ALDROVANDI | VIGEVANO
HISTORY OF

1969 | ALDROVANDI
VIGEVANO

THE SHOE FACTORY MILENA
BY FRATELLI NEBULONI

THE SHOE FACTORY MARCOZ
PARABIAGO, MILAN

THE SHOE FACTORY ALFIERE
CERRO MAGGIORE, MILAN

1971/1972 | ALFIERE
THE HAIR COLLECTION BY DEODATO

PARABIAGO'S FOOTWEAR EXHIBITION [1954-1960]
PART 1 | PART 2

MANOLO BLAHNIK & SALVATORE DEODATO
THE WACKY PLATFORMS

1938 | Modarte | Padova

Shoe labels

Source: URIC magazine

1938 | A. Tabini | Parabiago, Milan

Wooden Shoe lasts

Source: URIC magazine

1938 | Nuncas | Milan

White Shoe Cream

Source: URIC magazine

Saturday, March 26, 2016

DANGLING SHOES (A.K.A. SHOEFITI) | WHEN IN ROME [FEAT. BRUCE CHATWIN]

The term "shoefiti", a composite of shoe and graffiti referring to the act of flinging shoes over a telephone wire or power wire to hang by their laces, is considered to be a global example of ostensive behavior.

Gail de Vos

What Happens Next? Contemporary Urban Legends and Popular Culture (ABC - Clio, 2012)

Dangling Shoes A.K.A. Shoe Tossing A.K.A. Shoefiti

Source: flickrhivemind

On the way we passed pink-eared elephants, brick-kilns and churches that looked like Chinese pagodas. Most of the slogans were welcoming. But from time to time a string of old shoes was suspended across the road: the worst of all Hindu insults.

One graffito read, ‘Indira Gandhi is a notorious fascist witch'.

Bruce Chatwin

What Am I Doing Here (Viking Books, 1989)

Shoefiti in the Bronx

Source: New York Times

These sneakers tossed over wires in the Bronx denote a) a crack den; b) loss of virginity; c) run-of-the-mill bullying; or d) the urban myth of your choice.

The New York Times

March 2, 2014

When driving along the bumpy streets of Munsieville, a township near Johannesburg, one cannot help but notice the shoes dangling at regular intervals from wires strung high across the road. Tennis shoes, boots, children's shoes of various sizes, single ones or pairs - a surreal sight. What are those perfectly good shoes doing up there?

Who in this poor neighborhood can do without shoes, and even to go the trouble of hanging them way up there? Our driver's explanation silences all cheerful attempts at guessing the answer: the shoes mark the borders between territories that are controlled by different drug gangs. They are a warning to those who do not follow the gangs' law: you won't be needing your shoes any longer.

Eva Pattis Zoja
Sandplay Therapy in Vulnerable Communities: A Jungian Approach (Routledge, 2011)

Source: 1001 Amazing Things

They have been a common sight above the streets of Bristol for many years, but to most their meaning has been a mystery. Dangling from telephone wires, shoes can be found suspended by their laces above terraced roads everywhere from St George to St Andrew's.

To some, they are simply an eyesore. But for police there is a more sinister explanation for their presence – they believe they reveal the locations where illegal drugs can be bought. Officers have now hired a cherry picker to remove shoes hanging from wires in St Paul's and St Werburgh's.

Marc Rath

Bristol Post, October 27, 2014

Interesting to note that officers removed the hanging shoes, not the illegal locations. Anyway, besides an Hindu insult and a crack house street sign there's much more. Shoe-flinging/tossing can also be found everywhere. Even album jackets.

Great Plains - Dick Clark 7" EP

(Shadowline Records, 1987)

Source: Discogs

… but I walked faster, our shaded unit traveling as one, until it split when I ambled in front of the bar, just below the dangling tennis shoes still suspended from the sky, still perched over the wire, still providing notice to drug addicts of where to get their fix; only now, they were drenched with darkened exhaust from car engines, cigarette ash floating out from open windows on third-floor apartments, and acid rain.

Elisabeth L. Silver

The Execution of Noa P. Singleton (Headline, 2013)

SHOES & BOOKS
[FEAT. HEMINGWAY, SHAKESPEARE, SARAMAGO, RANKIN, GALEANO ...]

Shoefiti in Springfield

Source: flickr

Thursday, March 24, 2016

1972 - 1973 | AMICA | PALERMO

1972 | Shoe factory AMICA by Carmelo Graziano

Palermo

1972 | Shoe factory AMICA by Carmelo Graziano

Palermo

1973 | Shoe factory AMICA by Carmelo Graziano | detail

Palermo

1973 | Shoe factory AMICA by Carmelo Graziano | detail

Palermo

1973 | Shoe factory AMICA by Carmelo Graziano

Palermo

1973

ZEPPE (A.K.A. PLATFORMS)
I WISH THEY WOULD GO AWAY
PART 1

SUPREMELY DANGEROUS
PLATFORM SHOES IN KING'S ROAD | PART 1

MAJOR CATASTROPHES
WINDOW SHOPPING IN KING'S ROAD | PART 2

AMICA by Carmelo Graziano

Palermo

Tuesday, March 22, 2016

1972 | ALDROVANDI | VIGEVANO

1971 | Aldrovandi by Gino Aldrovandi | detail

Vigevano

1971 | Aldrovandi by Gino Aldrovandi | detail

Vigevano

1971 | Aldrovandi by Gino Aldrovandi

Vigevano

1971 | Aldrovandi by Gino Aldrovandi

Vigevano

___________________________

ALDROVANDI | VIGEVANO

I N D E X

___________________________

1971 | Aldrovandi by Gino Aldrovandi | detail

Vigevano

Source: Ars Sutoria magazine

Sunday, March 20, 2016

1973 | ALDO SACCHETTI FOR ENRICA SANLORENZO | PART 3

The January 1973's Spring-Summer collection created by Enrica San Lorenzo (Enrica Massei) for the High Fashion catwalks in Rome had been a success, as well as the shoes designed by Aldo Sacchetti to accompany the shows.

Two months later, the then young designer showcased a ready-to-wear collection for the fall-winter season hosted at Florence's Palazzo Pitti, once again with Aldo Sacchetti models.

La collezione primavera-estate creata da Enrica Sanlorenzo per le sfilate dell’alta moda romana nel gennaio 1973 era stata un successo, così come le calzature create da Aldo Sacchetti per accompagnare gli abiti.

A marzo l’allora giovane stilista tornò in scena con le collezioni prêt-à-porter per l’autunno-inverno, presentate a Palazzo Pitti, sempre accompagnata dai modelli di Aldo Sacchetti.

1973 | Aldo Sacchetti for Enrica Sanlorenzo

Rust color, one centimeter high sole, straight and large heel.
Edges turned down and English style decoration over the collar and the tip of the shoe.

Source: Ars Sutoria

“The young Turin stylist is almost the only one offering, and with a careful effort, an unprecedented change in jackets and suits, balancing straight skirts and pants, shiny and wadge-shaped helmets by Maria Volpi, for a springing and finally happy image.

The long coats, with important shoulders, waist narrowed by the belt, the hipes underlined, the large collars are raised to make the head small, get along with suits, raincoats, casual hat on glacé leather as the original boots by Aldo Sacchetti, with a new non-slip sole of car tire : always in the lively bricky color that flips from burnt sienna to orange »

Lucia Sollazzo, La Stampa newspaper, March 30, 1973

“La giovane stilista torinese è pressoché l'unica ad averci offerto, e con accurato impegno, una variazione inedita del giaccone e del tailleur, equilibrando gonne diritte e pantaloni con i levigati, lucenti caschetti a spicchi di Maria Volpi, per un'immagine balzante e finalmente allegra.

I giacconi lunghi, con le spalle importanti hanno la vita stretta dalla cintura ed i fianchi in evidenza, i colli ampi sono rialzati per rendere piccolo il capo, vanno d'accordo con i tailleurs, impermeabile, il cappellaccio casuale in pelle glacé come gli originali stivali firmati da Aldo Sacchetti, dall'inedita suola antisdrucciolo in pneumatico d'automobile: sempre nel vivacissimo color mattone che svaria dal bruciato all'arancio. “

Lucia Sollazzo in La Stampa, 30 marzo 1973

1973 | Enrica Sanlorenzo (Enrica Massei)

F/W ready-to-wear collection

Source: Ars Sutoria

Aldo Sacchetti's shoes and Enrica Sanlorenzo's outfit of the above photos where so described by Ars Sutoria:

"A collection, Enrica Sanlorenzo’s, under the sign of very timely rust and its variants: carrot, orange, mango. Other features are the graphic design placed asymmetrically, the belt for pulling in the waist, the little head with its cap rising out of the broad raised collar. In glazed skin these shoes with the collar-like edges turned down entirely surrounded like the toe-cap with English style perforations. They’re by Sacchetti. Coloured inserts accent the horizontal projection of the purse by Mangiameli"

ORIGINAL TRANSLATION BY Ars Sutoria (No. 104, 1973)

Le calzature di Sacchetti e gli abiti Sanlorenzo vennero così descritti dalla rivista Ars Sutoria:

“Una collezione, quella di Enrica Sanlorenzo, all’insegna attualissima del ruggine (e sue varianti: carota, arancio, mango) Altre caratteristiche: il disegno grafico posto asimmetricamente, la cintura a stringere la vita, la testa piccola nella sua casquette che sorge dal collo ampio e rialzato. In pelle glacé le calzature con bordo rivoltato “a colletto”, tutto circondato, come il puntale, da trafori all’inglese: sono di Sacchetti. Inserti colorati accentuano la proiezione orizzontale della borsa di Mangiameli.”

Ars Sutoria n. 104, 1973

1973 | ALDO SACCHETTI FOR SANLORENZO

PART 1: THE ARTICULATED SOLE

1973 | ALDO SACCHETTI FOR ENRICA SANLORENZO
PART 2

ALDO SACCHETTI
I N D E X

FOOTNOTE

While we are unfit as English teachers, it may be useful for the readers to know that when they wrote "under the sign of very timely rust and its variants: carrot, orange, mango.." they actually meant the (then) hip color rust and all its shades like carrot, orange..

Friday, March 18, 2016

1973 | ALDO SACCHETTI FOR ENRICA SANLORENZO | PART 2

1973 | Aldo Sacchetti for Enrica Sanlorenzo | S/S collection

Slingback pump with a heel of transparent Perspex and natural wood covered with leather

Source: Amica Magazine

ROME 1973

Haute couture spring/summer fashion shows at the prestigious Grand Hotel Ritz (now St. Regis). Enrica Massei (then with the family name Sanlorenzo) showcased her narrow-waisted designs with clean lines, wide, soft pants, pleated skirts and sharp colors from white, powder pink, blue to bois de rose and green.

The fashion reporter Lucia Sollazzo acknowledged her show as “the most beautiful, the truest among Roman fashion shows” (La Stampa daily, January, 20th)

ROMA 1973

Presentazione delle collezioni alta moda primavera-estate nel prestigioso salone Ritz del Grand Hotel (oggi St.Regis). Enrica Massei (ai tempi ancora Sanlorenzo) fece sfilare i propri modelli a vita stretta con pantaloni larghi e morbidi, gonne plissettate e linee essenziali dai colori netti bianco, cipria, blu, bois de rose, alle.

Lucia Sollazzo le attribuì il merito di aver creato “la più bella, la più vera delle uscite romane” (La Stampa, 20 Gennaio).

1973 | Enrica Sanlorenzo S/S collection | A typical piece of the early 70s, the chemisier.

Here in blue color over a white dress with a pleated skirt.

Shoes by Aldo Sacchetti

Slingback pump with heel made of transparent Perspex and natural wood covered with blue leather

Source: Ars Sutoria

Aldo Sacchetti designed the shoes for the Turin's fashion house. A Perugia-inspired articulated sole sandal caught the general attention but it wasn't the only one. A classic slingback, with colors matching the dresses and a peculiar heel got noticed:

"Orthopedic soles (if used) is one centimeter high, the heel is seven to nine centimeters at most. But it seems lower for an optical illusion. It is made of transparent perspex, with the upper band dyed in the same leather color, chevrot, blue canard, bricky, powder pink, green."

[La Stampa daily, Jan 19th]

Aldo Sacchetti curò la produzione delle calzature per la casa di moda torinese. Parte dell'attenzione generale era andata ai sandali dalla suola articolata, che recuperavano un brevetto di André Perugia. Ma anche un altro modello non passò inosservato. Niente di più della classica décolleté tipo Chanel, in tinta con gli abiti. Il tacco in particolare però catturò l’attenzione della stampa:

"La suola ortopedica (quando c'è) è di un centimetro, il tacco si ferma ai sette-nove centimetri. «Ma sembra più basso per un'illusione ottica ». E' in perspex trasparente, tinto nella fascia superiore nello stesso colore della pelle, chevrot blu canard, mattone, cipria, verde."

[La Stampa, 19 gennaio]

1973 | Aldo Sacchetti for Enrica Sanlorenzo | detail

Slingback pump with a heel made of transparent Perspex and natural wood covered with blue leather

Source: Ars Sutoria

And then some:

“To refine and to neutralize the height of the heel, Aldo Sacchetti designed for Enrica Sanlorenzo two-tone shoes, as the leather covers the half of the natural wood heel”

[La Stampa newspaper, Jan 19th]

“A note of originality in the classic pump with medium height heel: the heel is equally divided between the sobriety of the blue and the glow of perspex”

[Ars Sutoria magazine]

E ancora:

“Ad ingentilire, a neutralizzare l'altezza del tacco, Aldo Sacchetti ha disegnato per Enrica Sanlorenzo scarpe bicolori, nel senso che la pelle copre metà del tacco in legno naturale.”

[La Stampa, 19 gennaio]

“Spunto di originalità nel décolleté classico ad altezza media di Sacchetti: il tacco si divide equamente fra la sobrietà del blu ed il lucore del perspex”