Friday, March 30, 2018

1943 | PICASSO’S SLIPPERS

Picasso’s Slippers
Photograph: Brassaï
Source: Brassaï - Conversations With Picasso (The University Of Chicago Press, 1999)

Monday 6 December 1943 
Near the easel, an old armchair is staggering under a pile of papers with a portrait on top, one of the many preparatory portraits for “Man With Sheep”. Picasso's slippers are set at the foot of the armchair. The head, armchair, and slippers form a kind of personage, holding in his arms the piles of books and magazines. I move the barely visible slippers slightly, and prepare to take the photo of my funny little man, when Picasso comes in. He glances at what I am doing. 
PICASSO:
It'll be an amusing photo, but it won't be a "document." Do you know why? Because you moved my slippers. I never place them that way. It's your arrangement, not mine. The way an artist arranges the objects around him is as revealing as his artworks. I like your photos precisely because they are truthful.

Brassaï
From: Conversations With Picasso (The University Of Chicago Press, 1999)


Picasso’s Slippers
Photograph: Brassaï
Source: Brassaï - Conversations With Picasso (The University Of Chicago Press, 1999)

Brassaï (born Gyula Halasz) was a photographer, journalist, and author of photographic monographs and literary criticism, including Letters to My Parents, published by the University of Chicago Press.


SHOES & ART
1832 - 2013

Tuesday, March 27, 2018

{ [ ( U P D A T E S ) ] }





1926 | ANDRE' PERUGIA FOR I.MILLER
THE EUCLID GEOMETRIC PUMPS

MASKS BY ANDRE' PERUGIA
THE ECHO IN PARABIAGO, MILAN AND ELSEWHERE

1956 | ANDRE PERUGIA
THE CIRCLET BOOT FOR I.MILLER

1957 | ANDRE PERUGIA'S PARADOX FOR I.MILLER
THE OPEN/CLOSED LOOK

MARTIN FRIEDMANN, JR VS MANOLO BLAHNIK
THE CANTILEVER HEEL | PART 2

1952 | STAERCK | PARIS
THE ’S’ METAL HEEL

1955 | ROGER VIVIER FOR DIOR/DELMAN
THE RHINESTONE BALL HEEL

CUTTING EDGE DESIGN
THE JAGGED SOLE [A.K.A. RIPPLE SOLE]

1938 | LEANDRE G. RENALDO & SALVATORE FERRAGAMO
THE SPLIT-SOLE

1938 | SALVATORE FERRAGAMO
DOESN'T BRING HAPPINESS


1927 | André Perugia models | detail
Source: Le Figaro

1928 | Enzel | designed by André Perugia
Source: Berliner Tageblatt | December 18, 1928

Friday, March 23, 2018

1927 | ANDRE PERUGIA | THE MODEL GOCASSE FOR I.MILLER & ALPINA | FEAT. JOSEPHINE BAKER

1927 | André Perugia for I.Miller | detail
The model Gocasse
Source: Hartford Courant | October 12, 1927


PARIS speaks in very line of this custom-made slipper - in its graceful upward, sweeping curves, exquisite modeling and incomparable perfection of finish … More delightful still, this Perugia original is shown by us at less half its cost in Paris!

I. Miller advertisement
Source: Hartford Courant | October 12, 1927


1927 | All shoes & handbags by André Perugia
Left-hand corner: Gocasse & matching handbag | Drawing by Charles Martin
Source: Femina magazine


Monsieur Perugia brought with him a marvellous collections of his own designs, some worth $100 a pair, others more practical and more within the purse limits of the average woman, but all typical of what is going to be worn for fall and winter.

… in the lower left-hand corner you will find a shoe of bronze kidskin with an interesting saddle effect and strap of gold and silver kid. A hand bag to match is shown with this shoe.

Lucy Claire
The Daily Times | July 21, 1927



1928 | Andrè Perugia for Alpina - Lézard Perlé (Beaded Lizard)
The model Gocasse & matching handbag
Twice the I. Miller price

VFF (Very Famous Feet)
Andrè Perugia | The model Gocasse | detail
Source: Publifoto

Publifoto's picture says 1929 - 1930, while another photograph place Josephine Baker, and manager/lover Pepito (Giuseppe Abatino) alongside Le Corbusier on the dock of the cruiser Giulio Cesare en route to San Paulo, Brazil via Montevideo - November 1929

Anyway, Baker's choice of Perugias was impeccable, but we wonder: where's the matching handbag?.



November 1929 | Josephine Baker shod in Perugia's Gocasse
On board of the cruiser Giulio Cesare
Source: Publifoto

ANDRE PERUGIA
BOTTIER DE LUXE


FOOTNOTE

It seems that the only surviving Gocasse model is kept well hidden at Romans’ Musée International de la Chaussure, France.


Andrè Perugia's Gocasse highlighted
The treasure room at Romans’ Musée International de la Chaussure
Source: Gordana Dimitrijevic

Tuesday, March 20, 2018

1949 | ANDRE PERUGIA | COURT SHOES OF CLEAR NYLON

COURT SHOES OF CLEAR NYLON 
PARIS. - Perugia, one of the most famous shoe designers in France has launched a court shoe in nylon, of which only the slim heel and sole are visible.
The uppers are transparent, and worn with sheer nylon stocking. The effect is striking and beautiful. 
Eunice Airey
SUN (Sidney - August 17, 1949)

1950 | Dorian Leigh | detail
Photograph: Gjon Mili
Source: Google Art Project

The look on supermodel Dorian Leigh reads like: “Where’s my shoe?”. Which is precisely our question too: where is this Perugia stocking shoe?

We will find it eventually, it’s only a matter of time. Meanwhile you can look at the next best thing made one year later by Beth Levine and universally known as “Gigi Stocking Shoe” as seen December 18, 1950 in LIFE magazine. It was showcased with a full page within the feature “Lingerie Theatrics”.


1950 | Gigi Stocking Shoe | Beth & Herbert Levine | detail
Photograph: Gjon Mili
Source: Google Art Project


According to Helene Verin - author of “Beth Levine Shoes” - Gigi was created in early 1950: “… a stoking was inserted between two layers of sole and drawn up over the foot and leg”.

LIFE called it Can-Can Stockings (December 18, 1950) and added the following caption:

“Black nylon net opera-length hose, like those traditionally worn by Moulin Rouge dancers, now come permanently attached to high-heeled satin mules (Herbert Levine, $30). They are sexy to look at but hard to launder.”


Sexy, but hard to launder? Only LIFE.


ANDRE PERUGIA
BOTTIER DE LUXE
D O S S I E R



1950 | Dorian Leigh wearing Gigi stocking Shoes
Photograph: Gjon Mili
Source: LIFE magazine - December 18, 1950


FOOTNOTES
[SETTING THE RECORD STRAIGHT]


While our focus is strictly on Perugia, we cannot help but notice that both pairs of the Gigi Stocking Shoe kept at The Metropolitan Museum of Art are given the date 1953.




SHOE DESIGNING TODAY

It's of no importance whatsoever but the model pictured here below was called by someone "a statement shoe"; others went for "avantgardist as never seen before". Loss of memory or worse?


S/S 2018 - Dior
What would you do? Change model or shoe-size?

Friday, March 16, 2018

1957 | ANDRE PERUGIA: CINDERELLA? NEVER AGAIN

SPECIAL TECHNIQUES REQUIRED FOR “CINDERELLA” PRODUCTION

An ingenious costume design for Cinderella Julie Andrews will allow her make split-second changes from her servant clothes into her ball gown and back again ...

…the glass slipper has finally been created by Vinylite and Lucite by Parisian designer (André) Perugia of I. Miller.

Says director Nelson: “ The viewers may not realise it but they're forcing us to create new technical patterns and solve problems that ordinarily would be evaded.”

Clinton C. Byers | The Geneva Times (Geneva, NY)
March 23, 1957



March 31, 1957 | ORIGINAL CAPTION:
After the show Julie Andrews drinks toast to the rest of the cast from 
her (André Perugia) glass slipper.
Source: LIFE magazine

So, the most famous glass slipper in the history of glass slippers was made by André Perugia and nobody knew about it. Well, somebody knew, but it must have slipped through the cracks of history and flawed footwear books.

Say, if it were made by someone like Ferragamo, it would have been on exhibit 24 hours a day at Palazzo Spini Feroni with a number of books to back it up the hype (which they actually did more than forty years later). You know, the usual mktg plan.

Instead, we’re left with a Perugia shoe seen by 100 million television viewers (some of them in color) and we don’t even know if the models survived the TV program and kept in a vault somewhere. At least we know how the manufacturing process was made.



1957 | André Perugia | Glass slipper | still frame
Source: You Tube


March 22 - 1957

FRAGILE GLASS SLIPPER TESTS SHOEMAKER AS MUCH AS CINDERELLA.


The all-important glass slipper which Julie Andrews will wear as Rodgers and Hammerstein’s “Cinderella” when CBS Television presents the lavish, hour-and-one-half color musical, Sunday, March 31, is probably the most difficult and costly footwear assignment in television annals.

Parisian designer Perugia of I. Miller arrived in Mew York in mid February to begin work on the size 7 1/2B “glass” shoe, and the results, after four weeks of experiment and exasperating labor, are three pairs of slippers costing $ 300 per pair.



1957 | Jon Cypher as Prince Christopher
Studio photo
Source: Jon Cypher

It was decided that three pairs would be required because one pair must fit Julie Andrews; one must be much smaller than stepsisters Kaye Ballard and Alice Ghostley could possibly wear (they really wear the same size as Julie), and a third pair for Julie is made with leather soles so that she can dance in them (The one hold by Jon Cypher in the picture above).

The slipper which the television audience will see in close-up is made of Vinylite with a Lucite sole and heel, and has resulted in frayed nerves for the craftsmen. In fact, more than six slippers have broken just as they were finished, due to the fragility of the soles.



1957 | Jon Cypher as Prince Christopher | Cinderella
Screencap
Source: Jon Cypher


Perugia, who is not only the world’s most famous shoe designer but also one of the few who can make an entire shoe himself, had to use a special trick to solve the problem of holding the uppers to the soles. Glue will not to the job with such substances as Lucite and Vinylite. After he had made the uppers himself on wooden lasts of Julie’s feet, he created a special rim, which will be invisible, to which the soles can be securely attached.

It is these soles that have caused the hot tempers on the part of the workmen. Once Perugia had finished the uppers, it took two men two days to complete the first soles and heels. The Lucite had to be shaped while hot, then had to be ground to a special thinness and finally polished. It was in the grinding that several soles were broken. In fact, when the first pair was finished the workmen said “Never again!” And had to be persuaded to tackle the other pairs.



1957 | Jon Cypher holding a $ 300 André Perugia glass slipper
Screencap
Source: Jon Cypher


The actual design of Cinderella’s “glass” slipper is very simple. The transparent shoes have 2 1/2-inch heels and a starburst spray of jewels on each vamp.

Needless to say the finished slippers are being handled like newborn babes and are being guarded like royalty from until the “Cinderella” program.

The Arizona Daily Star
Section C - Page Five | March 22, 1957



Julie Andrews as seen in LIFE - April 15, 1957
Source: LIFE magazine


ANDRE PERUGIA
BOTTIER DE LUXE
D O S S I E R




1957 | André Perugia | Glass slipper | still frame
Source: You Tube

Monday, March 12, 2018

1955 | FRATTEGIANI AT THE METROPOLITAN MUSEUM OF ART




LATEST FROM ROME

ROME - Even Italians who prefer their women in skirts have decided that slacks are here to stay. Bowing to the decision, Shoemaker Frattegiani has launched a special sports shoe with a one-piece sole coming up each side in moccasin style. The tops are made in any pastel shade to match - or in contrast with - your trouser turnups.

Chicago Tribune
April 15, 1955 


1955 | Frattegiani | Florence

1955 | Frattegiani | Florence


1949 | FRATTEGIANI
THE KIMO CONCEPT BEFORE THE KIMO SANDAL

FRATTEGIANI (FLORENCE)
I N D E X


SETTING THE RECORD STRAIGHT


Frattegiani MET credits

Friday, March 2, 2018

1502 - 1949 | FRATTEGIANI | THE KIMO CONCEPT BEFORE THE KIMO/SPAGHETTI SANDAL

Free From Frostbite
BOOTIES FOR BEAUTIES

For the woman whose toes get too chilly traveling to and from a festive affair, Frattegiani of Rome designs a two-piece evening shoe that is fashionably bare, but equipped with its own toe protecting bootie. Meant for wear on the dance floor, the shoes are fashioned of gold calf and silver brocade. The shining bootie fits neatly inside the dainty high-heeled sandal.

Press And Sun Bulletin (Binghamton, New York)
December 21, 1949


1949 | Frattegiani
The Origin Of The Spaghetti/Kimo Sandal
Source: Press And Sun Bulletin (Binghamton, New York) - December 21, 1949


When Ferragamo patented the Spaghetti/Kimo sandal, Frattegiani sued him for plagiarism. We know how it ended, as the Ferragamo company still held the patent at the end of the 80s, but almost all the other details vanished over time; we just know two/three things:

1 - The Frattegiani model was called "Pinturicchio" after the Renaissance Italian painter, and for good reasons (see below)

2 - Frattegiani didn't know about the above picture published in the U.S. in 1949 (at the trial he brought a picture published by the Italian magazine "Bellezza" (1950).

3 - Besides local newspapers, a note about the trial was published on "Salvatore Ferragamo, The Art Of The shoe, 1927-1960", a book produced to accompany the exhibition at the Victoria and Albert Museum, London, from 31 October 1987 to 7 February 1988. A valuable note brought to public attention and quickly forgotten.

In other words, footwear history is being erased/rewritten by existing brands with short-term memory only. However, up until now and for what it's worth, the original Frattegiani bootie was never showed and it’s for everyone to see that Frattegiani was right; shame he had a second-rate lawyer.



1951 | Ferragamo's Spaghetti original French ad
The Kimo sock is worn with the golden kidskin "Spaghetti" sandal



(NOT REALLY A ) FOOTNOTE

While André Perugia was the first to design the sock/shoe combo, we can't help to show the real origin of this concept.

Enter Renaissance painter Pinturicchio (Bernardino di Betto Betti) and his "Aeneas Sylvius Piccolomini Introduces Eleonara of Portugal to Frederick III" (1502-1507). The detail here below is self-explanatory and also shows why Frattegiani called his creation "Pinturicchio". As for Ferragamo, well ...



1502 - 1507 | Pinturicchio
Detail of "Aeneas Sylvius Piccolomini Introduces Eleonara of Portugal to Frederick III"

1502 - 1507 | Pinturicchio
"Aeneas Sylvius Piccolomini Introduces Eleonara of Portugal to Frederick III"
Libreria Piccolomini (Siena Cathedral)
Source: Wikipedia