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1966 | SEPTEMBER 3 - 11 | 6TH CAMPIONARIA IN FLORENCE [LEATHER GOODS TRADE FAIR]

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3 - 11 September 1966 
Florence Leather Goods Trade Fair | Campionaria di Firenze
Source: Export magazine


A good selection of SS33 shoemakers (Parabiago Footwear District) at the 6th Campionaria in Florence such as Alfiere, Du Barry, Olonia and Castea).

A successful event that attracted the previous year brands from 63 Countries and a grand total of 1.607 exhibitors (700 Italian shoe factories).



3 - 11 September 1966 
Florence Leather Goods Trade Fair | Campionaria di Firenze
Source: Export magazine

1966 | Creazioni Du Barry
By Stefano Marazzini | Parabiago, Milan

1966 | Creazioni Du Barry
By Stefano Marazzini | Parabiago, Milan

1966 | Castea
By Fratelli Castelli
S. Lorenzo di Parabiago, Milan

1966 | Alfiere
By Cozzi & C.
Cerro Maggiore, Milan

1966 | Olonia
By F.lli Galli
San Vittore Olona, Milan


SS33



3 - 11 September 1966 
Florence Leather Goods Trade Fair | Campionaria di Firenze
Source: Export magazine


1959 | VOGUE | BOLOGNA

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1959 | Vogue
Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)

1959 | Vogue
Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)

1959 | Vogue
Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)


1959 - 1963 | C.L.A.M.S.
BOLOGNA

1959 | DESIGNERS AT THE 14TH NATIONAL SHOE FAIR OF VIGEVANO
PART 1



1959 | Vogue
Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)


1959 | BRUNO VANNINI | BOLOGNA

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Bruno Vannini
Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)

1959 | Bruno Vannini
Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)

1959 | Bruno Vannini
Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)


1959 | DESIGNERS AT THE 14TH NATIONAL SHOE FAIR OF VIGEVANO
PART 1



1959 | Bruno Vannini
Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)

1959 | MARVITT | BOLOGNA

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1959 | Marvitt
By MARio VITTorio Galletti | Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)

1959 | Marvitt
By MARio VITTorio Galletti | Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)

1959 | Marvitt
By MARio VITTorio Galletti | Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)


1959 - 1963 | C.L.A.M.S.
BOLOGNA

1959 | VOGUE
BOLOGNA


1959 | Marvitt
By MARio VITTorio Galletti | Bologna
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)



1959 | VEGA | VIGEVANO

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1959 | Vega
Vigevano
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)

1959 | Vega
Vigevano
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)


1959 | DESIGNERS AT THE 14TH NATIONAL SHOE FAIR OF VIGEVANO
PART 1


1959 | Vega
Vigevano
Source: Ente Moda Calzatura Italiana catalog (Spring/Summer)


1938 - 2017 | ANDRE PERUGIA V/S GIORGIO ARMANI: TO BE OR KNOT TO BE

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1938 | André Perugia for his own brand Padova
Sandal with draped heel
Musée International de la Chaussure, Romans
2017 | Giorgio Armani
Sandal without draped heel

A few months after the last André Perugia rip-off, here is another Perugia-inspired design. It has been described as:
Sophisticated and elegant, this velvet sandal is ideal for special occasions. The shoe features crossover straps at the front creating a bow. 
Source: Giorgio Armani web site


938 | André Perugia - Padova
Sandal with draped heel 
On display at the Footwear Museum of Vigevano. Gift of Yvette Lafaury
Photograph: Irma Vivaldi


However, Perugia’s sandal main feature wasn’t the knot but the draped heel, as presented by Paris Soir (November 23, 1938):

"Perugia, 2 rue de la Paix, launches the draped heel. This model and all its variations are protected by international patents.”

Two known models of the Perugia “draped heel” are kept at the International Footwear Museum of Vigevano (picture above) and Romans’ Musée International de la Chaussure (top left page).


ANDRE PERUGIA
BOTTIER
I N D E X


1938 | André Perugia - Padova
Sandal with draped heel 
On display at the Footwear Museum of Vigevano. Gift of Yvette Lafaury
Photograph: Irma Vivaldi

STREAMING CHRISTMAS

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Christmas 1957
Holiday Dress-ups with the Brown Shoe company
Source: LIFE magazine

FERNANDA WANAMAKER HAS EVERYTHING

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Wanamaker's Has Everything
Philadelphia Jenkintown Wilmington Wynnewood


It all started as a simple search, but there’s no such thing as a “simple search”.

The Greco shoes at the Philadelphia Museum of Art were donated by Mr. Rodman A. Heeren, a name we came up against perusing both the collections at the Cooper Hewitt Smithsonian Design Museum and the Metropolitan Museum of Art. 

Mr. Rodman A. Heeren contributed the above collections with objects that belonged to his mother. Furthermore, donated in memory of his mother Fernanda Wanamaker

But who is Mr. Rodman A. Heeren?



1909 | Fernanda Wanamaker with her son Rodman
Source: Geni


Mr Rodman A. Heeren was the son of the first marriage of Fernanda Wanamaker with Arthur O. Heeren, son of Count Heeren. 

The marriage was celebrated in Paris in 1909. The Heerens belonged to the Spanish nobility, and the bride came from one of the most prominent - and wealthy - American families. The couple continued to be settled in Paris, but Fernanda used to spend long periods in Palm Beach as well.



1921 | Fernanda Wanamaker (Mrs Arturo de Heeren) 
Playing golf in Palm Beach
Photo Underwood and Underwood
Source: Vogue France


Fernanda Wanamaker (Dec. 9, 1887, Jenkintown, Montgomery County, Pennsylvania – Sep. 30, 1958, Hotel Continental, Paris, Paris, Île-de-France) was the eldest daughter of Lewis Rodman Wanamaker (1863-1928) of Philadelphia, and grand-daughter of John Wanamaker. Her grandfather John Wanamaker had founded the Philadelphia department store that bore his name. 

The family business started in 1861, when John Wanamaker, with his brother Brown, founded a men's clothing store in Philadelphia called Oak Hall. After his brother's death, Wanamaker purchased the abandoned Pennsylvania Railroad station to refurbished it into a store for men's clothing - and later for women's also - in the way of the London's Royal Exchange and Paris's Les Halles.




The Wanamaker's Department Store in Philadelphia


The department store favoured the French production in order to offer a choice of the new fashion trends, and to replicate them, if we may. The business passed onto his son Roland and the experiment of the department stores - one of the earliest in America - was so successful that when her father Lewis Rodman Wanamaker died in 1928, Fernanda shared with her siblings an estimated $120 million trust. 

At her father’s death time, Fernanda had already divorced with De Heeren (1923) and got married to Ector Orr Munn (the following year). With the second husband, before another divorce in 1948, she lived between Manhattan and Paris, constantly paying attention to fashions as a family tradition. She was a real socialite, friend with Elsie de Wolfe, lady Mendl and the Duchess of Windsor.




Early 1900 | Hellstern & Sons | Paris

Early 1900 | L. Perchellet | Paris


"Mrs. Ector Munn [Fernanda Wanamaker and Mrs. Harrison Williams, among others, chaired the American branch of Le Colis de Trianon-Versailles. In 1940, with the support of Lady Mendl and the Duchess of Windsor, they organized the exhibition Paris Openings to raise money for the French war charity. Held at the John Wanamaker Auditorium in New York, the exhibition featured evening dresses worn by members of the Windsor set.

Each dress was chosen for its “hallowed memory,” a dress that had been worn on some “Great Occasion.” These costumes reveal the supreme and unsurpassed craftsmanship of the couture métier in the five years leading up to World War II. At the same time, they reveal how the Duchess of Windsor and her set conscripted fashion - the very expression of their blithe lives - as a unified display of their support for the war effort." 
Andrew Bolton
Metropolitan Museum of Art


The donations by Fernanda's son to the museums read like a who's-who of the high fashion of the first decades of 20th century (mainly French) with evening dresses by Mainbocher, Schiaparelli, Paquin, Madame Grés, Lanvin-Castillo, Balenciaga, Pierre Cardin, Balmain, Chanel, Dior, Givenchy, Doucet, hats by Caroline Reboux, Paulette, or Rose Valois, Gloves by Aris, Alexandrine and Harry bags by Cartier. 



Early 1900 | Hellstern & Sons | Paris


And finally footwear: shoes, bottes and galters. The oldest models are elegant and delicate evening shoes from the early 1900, by L. Perchellet and Hellstern & Sons, two of the oldest Parisian shoemakers dating back the 1870s (above).

Worthy of note two series of models by two brands of Italian origin: Ducerf Scavini and Nicolas Greco (Twenties and Thirties). We can partially amend the Philadelphia Museum dates about the models by Ducerf Scavini: those are earlier than 1935, as the company was sold to the famous Italian bottier, Nicolas Greco, in 1934. 

While in London and New York, Fernanda visited Thomas and Nancy Haggerty Shoes, Inc. 

Looking at the collection it looks like she favoured elegant and simple models (Oxford, pumps and t-strap), avoiding the most eccentric styles of the time. 

Also the colours are sober: we found Oxfords by Thomas in many shades of grey, black and brown. And the same goes for the T-Straps and pumps by Ducerf Scavini and Greco.



CA. 1920s | Thomas | London 

“Walked then up affluent Avenue to the Champs, crossed the Place de la Concorde and browsed in the expensive shop windows on the Rue Royale by the Parthenon-imitation Eglise Madeleine, up the Rue de la Paix, glancing at sparkling diamonds, red delicate shoes and orange and smoky blue shoes and gold shoes (if I were wealthy, my idea of extravagance would be to have a closet full of colored shoes - just one or two styles: simple princess opera pump with tiny curved heel- in all the shades of the rainbow.) ” 
The Unabridged Journals of Sylvia Plath


In other words, Fernanda Wanamaker fulfilled the beloved novelist/poet Sylvia Plath’s secret wish: one model/style in ALL seasonal colors. After all, money was not object for the heiress of the Wanamaker empire.



CA. 1935
Center left and top right: Ducerf Scavini et Fils (Paris)
Center below: Nancy Haggerty Shoes, Inc. | New York

Nicolas Greco | Paris


1963 | BRUNIS VIGEVANO

1963 | BALLOTTA | BOLOGNA

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1963 | Ballotta by M. Ballotta & C.
Bologna
Source: EMCI catalog (Ente Moda Calzature Italiane)

1963 | Ballotta by M. Ballotta & C.
Bologna
Source: EMCI catalog (Ente Moda Calzature Italiane)

1963 | Ballotta by M. Ballotta & C.
Bologna
Source: EMCI catalog (Ente Moda Calzature Italiane)


1967 | Ballotta
Bologna



1963 | Ballotta by M. Ballotta & C.
Bologna
Source: EMCI catalog (Ente Moda Calzature Italiane)

1963 | F.LLI AMODIO | MONTEVARCHI

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1963 | Fratelli Amodio
Montevarchi, Arezzo
Source: EMCI catalog (Ente Moda Calzature Italiane)

1963 | Fratelli Amodio
Montevarchi, Arezzo
Source: EMCI catalog (Ente Moda Calzature Italiane)

1963 | Fratelli Amodio
Montevarchi, Arezzo
Source: EMCI catalog (Ente Moda Calzature Italiane)

ORHAN PAMUK | THE INNOCENCE OF SHOES

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The culmination of decades of omnivorous collecting, Orhan Pamuk’s Museum of Innocence in Istanbul uses his novel of lost love, The Museum of Innocence, as a departure point to explore the city of his youth. 

Source: The Innocence Of Objects (back cover)


Box 2 (detail)
Photograph: Refik Anadol


My well-intentioned fiancée was wearing Sylvie, a perfume I’d always liked, and these imitation net stockings that, as she knew very well, aroused me, with high-heeled shoes. She arrived elated, thinking that my “sickness” was retreating, and I could not bring myself to tell her that, quite to the contrary, I had called her here to rescue me from the scourge, however briefly; that I longed to embrace her as I had embraced my mother when I was a child.

Orhan Pamuk
The Museum of Innocence (Alfred A. Knopf, 2009)



Box 2
One day I was inspired and sketched this box (below) with a pencil. We put the objects in the box according to that design, moving things around by the tiniest of fractions and relying on trial and error to get it right. Imagining the boxes one by one as objects beautiful in their own right has added a touch of lyricism to the museum.

Orhan Pamuk
Source: The Innocence Of Objects by Orhan Pamuk (Abrams, 2012)


Box 2 | Sanzelize Butik
Photograph: Refik Anadol


At least twice a day my mother would find an excuse to ring me at the office, and after telling me how long she had cried after coming across some possession of my father’s at the back of a wardrobe - his black-and-white summer spectator shoes, for example, one of which I respectfully display here - she would say, “Don’t leave me alone, please!” and would go on to remind me that I shouldn’t stay in Nişantaşı, that it wasn’t good for me to be alone either, and that she was definitely expecting me for supper in Suadiye.

Orhan Pamuk
The Museum of Innocence (Alfred A. Knopf, 2009)


Box 51
My father’s shoes, which my mother came across at the back of a wardrobe 
and cried over.
Source: The Innocence Of Objects by Orhan Pamuk (Abrams, 2012)


Box 23
Here I display Füsun’s white panties with her childish white socks and her dirty white sneakers to evoke our spells of silence.

Orhan Pamuk
Source: The Innocence Of Objects by Orhan Pamuk (Abrams, 2012)


Box 23
Photograph: Refik Anadol
Source: The Innocence Of Objects by Orhan Pamuk (Abrams, 2012)

Amore, musei, ispirazione. 
Il Museo dell’innocenza di Orhan Pamuk a Milano
Dal 19 gennaio al 24 giugno 2018
Museo Bagatti Valsecchi

Love, Museums and Inspiration. 
Orhan Pamuk’s Museum of Innocence in Milan
From January 19 to June 24, 2018
Museo Bagatti Valsecchi



Istambul | A view of the floor of the Museum of Innocence
Photograph: Refik Anadol
Source: The Innocence Of Objects by Orhan Pamuk (Abrams, 2012)

1963 | GIROTTI & BELLINI | BOLOGNA

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1963 | Girotti & Bellini
Bologna
Source: EMCI catalog (Ente Moda Calzature Italiane)

1963 | Girotti & Bellini
Bologna
Source: EMCI catalog (Ente Moda Calzature Italiane)


HELLSTORY
1955 | GIROTTI & BELLINI



1963 | Girotti & Bellini
Bologna
Source: EMCI catalog (Ente Moda Calzature Italiane)

JANUARY 27, 2018 | HOLOCAUST MEMORIAL DAY | GIORNATA DELLA MEMORIA

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The photograph entitled Horror was created at the time Hitler came to power in 1933. The man’s shoe crushing the fragile china heads of a white skinned and a dark skinned doll is one of the most often reproduced of Mosinger’s photographs.




1932 | Horror
Photograph by Franjo Mosinger (Zagreb, 1899 – 1956)

Source: AthenaPlus Museum



TO REMEMBER

PRIMO LEVI [1919-1987]
SURVIVAL IN AUSCHWITZ

1991 | SUSANNA PIERATZKI
BIRTH

2005 | GYULA PAUER & CAN TOGAY
SHOES ON THE DANUBE PROMENADE

THE FOOTPRINTS FOR HOPE
PROJECT

MEMORIAL DAY 2015

MEMORIAL DAY 2016

MEMORIAL DAY 2017

CALZATURIFICIO GRIMI E MASLA | PARABIAGO, MILAN

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1925 | Calzaturificio Grimi e Masla
Illustrazione du Achille Luciani Mauzan

... nei primi giorni del 1920 nacque il: CALZATURIFICIO "SOLE" DI GRIMI E MASLA. Era una casa grandiosa, un grosso stabilimento di calzature in Parabiago. Il complesso era suddiviso nei vari reparti di tagliatori, orlatrici, tranciatori, spedizionieri, finissaggio, magazzini per il pellame e accessori, portineria, uffici, spogliatoi per uomini e donne, con relativi servizi. 
La grossa novità era però la manovia che occupava la parte centrale dello stanzone, per quasi tutta la sua lunghezza; senza dimenticare i nuovi macchinari dalla etichetta scritta in inglese. Ogni macchina era affidata a un singolo operaio per una specifica lavorazione; il nastro che correva sulla manovia portava avanti la scarpa fino al suo completamento, fino alle spazzole, al reparto finitura e spedizione.

Così scriveva il prof. Egidio Gianazza nella sua ricerca su "Uomini e Cose di Parabiago" a proposito del Calzaturificio SOLE di Grimi E Masla. Il calzaturificio produsse a Parabiago calzature da uomo, donna e bambino per quasi trent'anni, fino al 1940.



1925 | Calzaturificio Grimi e Masla
Illustrazione du Achille Luciani Mauzan

Gianazza aggiunge inoltre:
Nelle vicinanze dello stabilimento la Società "Nizzola" aveva costruito una cabina per potenziare la fornitura di energia elettrica. Il marchio della ditta era stampigliato in una sottile lamina dorata sui sottopiedi, sulle scatole, sulle etichette applicate agli scatoloni da spedire. A carattere cubitale e a tinte diverse fu pure dipinto sul muro esterno dello stabilimento, quello che guardava verso la ferrovia poco distante, ben leggibile dai finestrini dei treni in corsa sulla stràa ferràa. 
I Sigg. Grimi lavoravano insieme con funzione di direzione e controllo, il Masla si faceva vedere raramente in fabbrica; praticamente partecipava solo alle riunioni del Consiglio.
In fabbrica lavoravano numerose persone, non solo di Parabiago, ma anche dei vari paesi vicini."

Egidio Gianazza, "Uomini e cose di Parabiago" -  2010 - Città di Parabiago

Carlo Grimi esercitava i ruoli di Presidente della Società, nonché consigliere d’Amministrazione e Direttore Tecnico. Al suo fianco, come Amministratore Delegato, Direttore Amministrativo e altro consigliere d’Amministrazione c’era il rag. Felice Bosio.

Nel 1936 furono depositati i marchi commerciali “Sole” e “Colonia”,ma in quello stesso anno il capitale di 820.000 L versato all’atto della costituizione societaria si era ridotto a 320.000 Lire.Erano I segni di una crisi che avrebbe portato Grimi nel 1939 a staccarsi dalla Società, che avrebbe cessato l‘attività l’anno successivo.

Il manifesto pubblicitario di cui sopra venne commissionato nel 1925 al francese Achille Luciano Mauzan, uno dei più affermati illustratori dell’epoca. 



NOTE/FONTI

Secondo la ricostruzione di E. Gianazza, la ditta era nata nel 1916 come “C.Grimi” ed era diventata nel 1917 “Grimi Carlo e C.”

La nuova denominazione della ditta divenne “Grimi e Masla” nel 1920, trasformata nel 1921 in “Soc.An. Calzaturificio Grimi e Masla”

Annuario Industriale della Provincia di Milano, Milano, Tip. F.lli De Silvestri, 1933

Archivio Centrale dello Stato, Archivio Marchi

Gazzetta Ufficiale, 12 agosto 1936

IN MEMORIAM | 1957 - 2018 - MARK E. SMITH (THE FALL)

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Mark E. Smith | detail
5 March 1957 - 24 January 2018

Photograph: Gabor Scott/Redferns

“It was me and Tony (Friel) who decided to call it The Fall, after the Albert Camus book. He wanted to call it The Outsiders at first after another Camus book; but I’d read The Outsider and didn’t particularly like it. I thought The Fall was a better book. But for a period of time we were The Outsiders until I found a seven-inch in Shudehill by a 60s band called The Outsiders - ‘A Question of Temperature’ it was called. Good record. So that meant we were The Fall.”

Mark E. Smith
From: Renegade: The Lives and Tales of Mark E. Smith (Viking, 2008)



Mark E. Smith | Early days of The Fall.
Photograph: Gabor Scott/Redferns

Source: Guardian

IN MEMORIAM | 1942 - 2018 ANDREA PFISTER

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"I close my eyes and I walk around here [the shoe factory] and I smell: leather has one of the most wonderful smells, suede. The wooden heels have a smell, rhinestone buckles have a smell, the glue."

Andrea Pfister
Source: SF Gate


Andrea Pfister Couture
Leather and vinyl sandals


ANDREA PFISTER
I N D E X

CALZATURE OSCARUCH | TURIN

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Oscaruch fu uno storico negozio di Torino, che aveva sede in via Nizza e produceva calzature di alto livello esclusivamente a mano. Attivo già negli anni ’10, subito dopo la fine della prima guerra ebbe un momento di sviluppo con l’apertura di un’altra sede in corso Orbassano e infine, all’inizio degli anni ’20, in via XX Settembre, dove la gamma fu estesa anche a modelli più economici per tutta la famiglia. 

Oscaruch was a footwear shop specialized in high quality hand made shoes located in Turin (via Nizza). Right after the end of WWI they opened a second store in Corso Orbassano and a third one - at the beginning of the 1920s - in Via XX Settembre, where they also offered a wider range of models for the whole family.


1919 | Calzature Oscaruch, Torino | detail
Source: Lidel magazine

Nel 1919 il calzaturificio lanciò sulla stampa quotidiana una curiosa campagna pubblicitaria basata su piccole narrazioni di vena aulica, di cui ne riportiamo alcuni esempi:

In 1919 Oscaruch launched a peculiar advertising campaign based on small narratives in aulic fashion of which we report a few examples. However, we spare the translations as it is quite burdensome/futile to properly render the silliness.


"La superbia è uscita in carrozza ed è tornata a piedi


Cosi dice un antico proverbio. Ma nessuno ha mai saputo degnamente illustrarlo «La superbia era uscita in carrozza per recarsi da Oscaruch in via Nizza angolo corso Valentino, a comperarsi delle scarpette nuove. E le trovò così graziose, cosi belle, cosi comode, cosi eleganti, che rimandò a casa la carrozza e preferi tornare, a piedi, per la gioia di adoperare subito le scarpine e perchè tutti le vedessero e la invidiassero. Come si fa a non essere un pochino superbe quando si calzano le bellissime scarpe di Oscaruch?»."
[La Stampa, 10 marzo 1919]


"O bei piedini così ben calzati...


Ricordate II Guado stecchettiano? Evidentemente il poeta, aveva buon gusto per celebrare in versi gli... stivaletti della donna desiderata. Peccato che non ci abbia detto se la signora si serviva da Oscaruch, la rinomatissima Ditta che ha il suo laboratorio in via Nizza, angolo corso Valentino, dove accorrono le più eleganti signore."
[La Stampa, 5 marzo 1919]


"Quanta strada hanno percorso!
Quanta strada hanno percorso le scarpe dal caliga al coturno, dal sandalo alle calzature odierne, alle Oscaruch, per esempio, che sono l'ultima espressione della modernità più raffinata! Una signora elegante vi dirà: «Dimmi dove ti fai calzare e ti dirò che gusto hai». Lo so vi farete calzare da Oscaruch la signora vi considererà come la persona di buon gusto per eccellenza. Oscaruch e il vero caliganus moderno, artista della forma e signore della più delicata materia. La firma «Oscaruch» è un segno di distinzione inimitabile. Domandatelo alle belle signore che accorrono al laboratorio di Oscaruch, in via Nizza, angolo corso Valentino! Quanti bel piedini felici!"
[La Stampa, 26 febbraio 1919]




1919 | Calzature Oscaruch, Torino
Source: Lidel magazine

2013 | GRAZIANO LOCATELLI

FROM MESSORE TO EDITH | CHAUSSURES DE HAUT LUXE

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1926 | Edith Chaussure de Haut Luxe
Source: Vogue France


Edith was the commercial brand of the «Maison Messore», a manufacture of luxury shoes founded in 1916 by the bottier of Italian origin Alexandre Messore in Paris (67, Rue Rébeval). 

The company enjoyed a significant success in the early 20s, opening boutiques in France and establishing a distribution network in Europe and North Africa (Tunisie and Algerie). In Italy they operated in partnership with Giovanni Gilardini, one of the oldest Italian footwear companies.


1922 | Edith, Paris
Source: Vogue France


Unfortunately it didn't last: the huge investments to expand production/distribution and the expensive advertising campaigns were a burden too big for the company and Maison Messore went bankrupt in 1923.

Alexandre Messore remained in business with his own name for a few years, while the brand Edith changed both ownership and production site. It was then based in 4, Rue Tronchet, Paris. The new manager was Yves Malembits, who carried on the production of luxury shoes, but also specialized in handbags, belts and other leather products. Edith remained a top brand until World War II, then it slowly faded until Malembits sold the company in 1961. 

The “Societé des Chaussures Edith” ended for good its activities at the end of the Seventies.



1926 | Messore - Chaussures Haut Luxe Pour Dames
Source: Cinémagazine



1924 | EDITH CHAUSSEUR
AN INNOVATION

1924-25 | L'APRES-MIDI
CHEZ EDITH CHAUSSEUR

1922 | Edith models | Paris
Source: Vogue France
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