1968 | RENE' MANCINI | FIT FOR A QUEEN

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1968 | René Mancini for Queen Sirikit Queen Sirikit Museum of Textile | Bangkok Source: Google Arts & Culture

«In honor of the auspicious occasion of Her Majesty Queen Sirikit’s 7th cycle birthday anniversary on August 12, 2016, the Queen Sirikit Museum of Textiles will mount Fit For A Queen, a new exhibition that focuses on the 22-year-long working relationship between Her Majesty and French couturier Pierre Balmain. »

René Mancini for Queen Sirikit Queen Sirikit Museum of Textile | Bangkok Source: Google Arts & Culture

«In 1960, His Majesty King Bhumibol Adulyadej and Queen Sirikit embarked on a historic state visit to 15 Western nations. The tour was the West’s formal introduction to the youthful royal couple. Her Majesty had determined that She would need a fashionable, seasonally appropriate Western wardrobe for the sixmonth-long tour, and She engaged renowned Paris couturier Pierre Balmain to design it. 

Balmain proved to be an excellent choice, creating a regal wardrobe—much of it made from Thai silk—for H.M. the Queen. Thus elegantly attired, Her Majesty garnered tremendous interest and acclaim, which contributed greatly to the tour’s success. The trip established Her as an international tastemaker and the era’s epitome of royal style. » 

René Mancini for Queen Sirikit Queen Sirikit Museum of Textile | Bangkok Source: Google Arts & Culture

René Mancini for Queen Sirikit Queen Sirikit Museum of Textile | Bangkok Source: Google Arts & Culture

«The exhibition will offer visitors the chance to view more than 30 of Her Majesty’s most stylish daytime, cocktail, and evening dresses, plus related accessories and several pieces of the luggage custom-made by Louis Vuitton for Their Majesties, most never before displayed. Design sketches and embroidery swatches lent by Balmain S.A. and the House of Lesage in Paris will help illuminate the design and creation processes. The exhibition will be further enriched by period footage and photographs. » 

Text above from the exhibition factsheet

Among the accessories, the exhibition shows a selection of models by Paris-based Italian/French shoemaker René Mancini. The models were designed to accompany the royal outfits created by the couturier Pierre Balmain.

1968 | Farah Pahlavi and Queen Sirikit (right) Queen Sirikit is wearing the pair of shoes by René Mancini  in the photo on the top of this page BUNTE ILLUSTRIERTE Münchner Nr. 7 Feb. 14, 1968 Source: Noblesse & Royautés

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1923 | OPERA | MILAN

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1923 | Model by Opera, Milan Source: Lidel magazine

"Today we have the opportunity to submit to our elegant readers the creations of the Opera house with its three new walking models"

1923 | Model by Opera, Milan Source: Lidel magazine

"The modern shoe becomes increasingly pointed, the two colors still remain, passing from decorations with rounded lines to sharp and starred decorations."

"The buckles have disappeared, but they have been replaced by hanging medallions that pass on the strap - rest on the stocking - are pierced with different figurines or set with stones; they have a beautiful effect"

1923 | The page "The Elegant's Pedestal" Source: Lidel magazine

PATRICIA BERNARDOS | SHOES

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Patricia Bernardos Untitled Source: Cargo Collective

Patricia Bernardos Untitled Source: Cargo Collective

Patricia Bernardos Untitled Source: Cargo Collective

Patricia Bernardos
Instagram

Patricia Bernardos
At Cargo Collective

SHOES & ART
1832 - 2013

Patricia Bernardos Untitled Source: Cargo Collective

CALZATURIFICIO ZENITH | FERRARA

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“La Zenith era stata fondata nel 1914 da Edgardo Buzzoni, figlio di un commerciante di pellami con un laboratorio artigiano in via Ripagrande [a Ferrara] e già allora produceva 40 paia di scarpe per uomo e per bambino e poi quelle da donna passando ad una produzione totale di 200 paia giornaliere. 

Nel 1923 aveva cambiato sede e con la lavorazione Goodyear, l'utilizzo di macchine più moderne e una migliore organizzazione commerciale riuscì ad affermarsi sui mercati internazionali della Svizzera, Austria, Germania, Polonia, Francia, colonie francesi.” [1]

"Zenith was founded in 1914 by Edgardo Buzzoni, son of a leather merchant with a workshop in Via Ripagrande in Ferrara. At that time it produced 40 pairs per day of men's shoes, plus 200 pairs per day for children and women. 

In 1923 they moved and managed to successfully enter international markets such as Switzerland, Austria, Germany, Poland, France and French colonies. The Goodyear system was employed along with modern machines and a better commercial organisation. " [1]

Zenith by Edgardo Buzzoni Ferrara Source: Archivio di Stato

Nel 1929, a soli 47 anni, era morto il fondatore della società, Edgardo Buzzoni e nel 1930 gli eredi avevano registrato il marchio Zenith e rinominato l’azienda. Proprio a questo momento e alla volontà degli eredi di continuare lo sviluppo commerciale dell’azienda risale la campagna pubblicitaria affidata a uno dei disegnatori più prestigiosi, il triestino Marcello Dudovich. Per Zenith Dudovich disegnò due manifesti nel periodo di attività della società editrice “Star”, da lui fondata con l'avvocato Arnaldo Steffenini nel 1920 e della quale fu direttore artistico. [2]

L’idea scelta da Dudovich fu di rappresentare la scarpa Zenit comoda come una poltrona, nella quale sono perfettamente a loro agio un uomo e una bambina. 

In 1929, at the age of 47, the founder of the company, Edgardo Buzzoni, died and in 1930 the heirs registered the Zenith brand and renamed the company. At this time, the will of the heirs to continue the commercial development of the company produced the advertising campaign entrusted to one of the most prestigious designers, Marcello Dudovich. For Zenith, Dudovich designed two posters. It happened while he was the artistic director at "Star", the publishing company he had founded with the lawyer Arnaldo Steffenini. [2]

The brilliant idea by Dudovich was to represent the Zenit shoe as comfortable as an armchair, in which a man and a child are perfectly at ease. 

1931 Zenith | Marcello Dudovich | Edizioni Star - Milano (editore)  Grafiche I.G.A.P. - Milano | Printed by Salce 1933 Zenith | Marcello Dudovich | Edizioni Star - Milano (editore)  Grafiche I.G.A.P. - Milano | Printed by Salce

Un altro nome prestigioso chiamato pochi anni dopo per illustrare la produzione Zenith fu Gino Boccasile, che scelse gabbiani e una giovane donna in bianco per la freschezza delle calzature estive. 

Il calzaturificio Zenith “già nel 1932 produceva 350 paia di scarpe da uomo e 200 di scarpine flessibili per bambini con una vasta clientela nazionale ed internazionale. Nel secondo dopoguerra nel nuovo stabilimento costruito nel 1950 su un terreno del fondo Caldirolo aveva una produzione che impegnava 530 dipendenti con buone prospettive di mercato e propri negozi a Milano, Bologna, Napoli, Firenze e Roma." [1]

Negli anni '60 il calzaturificio concentrò la produzione su calzature eleganti e sportive di lusso da uomo.

"Per il cambio manageriale, la concorrenza di aziende che producevano a minor costo, cominciò la crisi dell'azienda e nel novembre del 1971 venne venduto il marchio alla 'Di Varese" con i primi licenziamenti. Col passaggio di proprietà, l’azienda fu rinominata “Calzaturificio di Ferrara (…) fino all'intervento della Gepi nel 1973 che rilevò l'azienda per produrre scarpe per i corpi militari, fino alla chiusura definitiva della fabbrica avvenuta nell'aprile 1982. ” [1]

Another prestigious name called a few years later to illustrate the Zenith production was Gino Boccasile, who chose seagulls and a young woman in white for the freshness of summer shoes. 

"The Zenith shoe factory, in 1932, produced 350 pairs of men's shoes and 200 of flexible children's shoes with a large national and international clientele. After World War II in the new factory they had a production with 530 employees, good market prospects and stores in Milan, Bologna, Naples, Florence and Rome." [1]

In the 1960s, the shoe factory focused its production on luxury and elegant men's sports shoes.

The company crisis was caused by management change and competition from companies producing at lower cost; in November 1971, after the first layoff, the brand was sold to 'Di Varese' and rebranded as Calzaturificio di Ferrara ... ; the final change of ownership happened in 1973 with the company Gepi: they produced shoes for the army until the shutdown in April 1982." [1]

1938 | Marina Summer Shoe by ZENITH Drawing by GINO BOCCASILE

FOOTNOTES:

[1] Sauro Baraldi , in “La nuova Ferrara” | 19 August 2006

[2] Marcello Dudovich

1974 | Calzaturificio Città Di Ferrara The last name of the Zenith Shoe Factory "Sworn price, guaranteed quality"

1967 | ZENITH | FERRARA

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1967 | Zenith models for golf players Source: "Calzature italiane di lusso" magazine

1967 | Zenith man's shoe (right) On the cover of "Calzature italiane di lusso" magazine Embroidered golden pump Vaccari

1967 | Zenith models Source: "Calzature italiane di lusso" magazine

1967 | Zenith models Source: "Calzature italiane di lusso" magazine

1967 | Zenith models Source: "Calzature italiane di lusso" magazine

1967 | Zenith models Source: "Calzature italiane di lusso" magazine

1967 | Zenith models Source: "Calzature italiane di lusso" magazine

1967 | Zenith models Source: "Calzature italiane di lusso" magazine

CALZATURIFICIO ZENITH
F E R R A R A

1967 | Zenith models Source: "Calzature italiane di lusso" magazine

PERCHELLET ET MONQUIGNON | PARIS | PART 1

September 18, 2018, 7:15 am

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Shoe box by L.P. Perchellet Paris

Elegant models by Perchellet and/or his successor Mounquignon, are owned by shoe museums and collections around the world: MET, Museum of the City of New York, Shoe Icons, Fine Arts Museums of San Francisco, Charleston Museum; however very little is known about these two French houses.

L.P. Perchellet  Collection of the Bata Shoe Museum.  © 2014 Bata Shoe Museum, Toronto, Canada | photo: Ron Wood

The first record that we could find about Perchellet was the granting of the patent 68853 to Lucien-Donacien Perchellet, « cordonnier à Paris », located in Rue de Lamartine 7, Paris in 1865 for his « Chaussures à ressorts ». [1] 

Ten years later - 1875 - we find the Maison L.Perchellet located in Paris, Rue Louis-le-Grand, 26. [2] The Bata Museum in Toronto owns a pair of boots of this period, with the original shoe box edged with arsenical tape.

      

L.P. Perchellet  Collection of the Bata Shoe Museum.  Source: 17th Street

In 1881 it was established the societé en nom collectif Perchellet et Chaumette, fab.de chaussures, with a share capital of 70.000 fr., located in Rue St-Honoré, 356 at the corner of  Place Vendôme  [3].

In 1889 Perchellet was listed among the exhibitors at the Exposition de Paris and was awarded with the gold medal (later to be reproduced on the insole label). A few years later, the brand  was name-dropped by Paul Bercy in his short story «Mon Perroquet» as a «fashionable shoe-maker».

1890s | L.Perchellet Label: L. Perchellet/Chaussures Brevetées/2 Place Vendome/Entrée: 356, r. St. Honoré/Paris Model belonged to Fernanda Wanamaker | Source: Metmuseum

This pair of classic evening pumps (above) illustrates the French taste in the 1890s for a very short and tight vamp and high toe spring (up curve of the sole). American shoes of this period exhibit a much longer, shallow pointed toe with less spring. 

The superior quality of this pair by the noted Paris maker L. Perchellet is demonstrated by the refined S-curve of the sole and heel breast and the unusually fine silver-set rhinestone ornament.

[Source: Metmuseum]

Donated in 1959 at the Brooklyn Museum, the shoes once belonged to Fernanda Wanamaker. 

1890s | L.Perchellet Label: L. Perchellet/Fabt. de Chaussures a Ressorts/Paris/2 Place Vendôme entrée Rue St. Honoré 356 Model belonged to Emily Warren Roebling Source: Metmuseum

 The above pair of shoes in white satin, with a curved sole and a decorated strap, belonged to Emily Warren Roebling:

Emily Warren Roebling (September 23, 1843 – February 28, 1903) is known for her contribution to the completion of the Brooklyn Bridge after her husband Washington Roebling developed caisson disease (a.k.a. decompression disease). Her husband was a civil engineer and the Chief Engineer during the construction of the Brooklyn Bridge.

[Source: Wikipedia]

PERCHELLET ET MONQUIGNON | PARIS

PART 1

PART 2

PART 3

FOOTNOTES

[1] Catalogue des brevets d’invention pris du 1er janvier au 31 décembre 1865, Paris, Imprimerie et librairie de Mme V.ve Bouchard-Huzard, 1866 

[2] Le Rappel, July 29, 1875
Bulletin des lois de l’Empire français, tome XXX, Paris, Imprimerie Impérial, 1868

[3] Archives commerciales de la France : journal hebdomadaire, Paris, Jul 28, 1881

PERCHELLET ET MONQUIGNON | PARIS | PART 2

September 21, 2018, 1:58 am

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1890s | L.Perchellet 2 Place Vendôme, Paris The model belonged to Ethel Sanford Source: Charleston Museum

South Carolina's Charleston Museum owns two models by Perchellet, from the 1890s; both were made for Mrs Sanford - probably Ethel Sanford - the donor’s mother, who became Mrs. John [Jean] Sanford in 1892. She was the daughter of Henry Sanford, U.S. Ambassador to Belgium. About the husband, Wikipedia says:

John Sanford (January 18, 1851 – September 26, 1939) was an American businessman, a prominent owner/breeder of thoroughbred racehorses, and a member of the United States House of Representatives from New York's 20th congressional district.

1890s | L.Perchellet Label: Chaussures Brevetées 2 Place Vendôme Entrée 356 r. St. Honoré Paris The model belonged to Ethel Sanford Source: Charleston Museum

L. Perchellet | Paris Place Vendôme, Paris Belonged to Miss Elizabeth M. Larkin. Source: Museum of Fine Arts of Boston

The peculiarity of the model at the Museum of Fine Arts of Boston is that it was made to match a somptuous dress by the maison Rouff, also preserved in the collection. They both belonged to Miss Elizabeth M. Larkin. The pump sports "pointed toes, baby Louis heels, toes embroidered with white beads and metal sequins". 

Maison Rouff | Paris Made for Miss Elizabeth M. Larkin Matching shoes by Perchellet Source: Museum of Fine Arts of Boston

Top: Perchellet "Black satin shoes: one-piece vamp joined at waist to one-piece quarter;  slightly pointed toe with densely beaded decoration; satin, self-bow with beaded loop;  Louis heel; kid leather and lining lining;  hand-sewn with white machine stitching outling the heel; leather soles.  Made by Perchellet (stamp on sole)".  Source: FAMSF Bottom: Perchellet "White satin shoes, c. 1892. The silk and bead embroidery is set off by the decorative beaded bow.  These were made by L. Perchellet at 2 Place Vendôme and were made for “Mme. Jean Sanford.”  Source: Charleston Museum

The richest collection of Perchellet models belongs to the Fine Arts Museum of San Francisco, thanks to a donation by Marion Osgood Hooker (1875–1968). 

Hooker was born in San Francisco, California, to Katharine Putnam Hooker, the niece of famous geologist Josiah Dwight Whitney, and John Daggett Hooker, a direct descendent of Connecticut’s founder Thomas Hooker.

Source: Wikipedia

Perchellet | Paris "Blue satin shoes: two-piece construction; vamp and back attached at waist;  vamp is decorated with blue glass beads in a geometric pattern over cut-out design;  kid leather lining; Louis heel. Label: Perchellet" Source: FAMSF

Marian lived with her mother through most of Katharine's life and was her best traveling companion. The two made an extended trip to Europe in 1896 with a family friend, Samuel Marshall Ilsley.

Source: West Adams Heritage Association

Probably the shoes were bought during such trip, along with a series of fashionable dresses and accessories, a few of them also at the FAMSF. 

PERCHELLET ET MONQUIGNON | PARIS

PART 1

PART 2

PART 3

Perchellet at The Fine Arts Museums of San Francisco Satin shoes in three different colours: "one-piece vamp joined at waist to one-piece quarter;  collar is edged with grosgrain; rounded, tapering toe; flat piece of satin at throat;  it has been threaded through an oval, horizontally placed buckle to make it resemble a bow;  mother-of-pearl buckle; Louis heel; leather soles; kid leather and linen lining;  hand-sewn except for white machine stitching outlining the heel." Source: FAMSF

PERCHELLET ET MONQUIGNON | PARIS | PART 3

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Monquignon | Insole label Source: Shoe Icons

In 1896 Perchellet sold his activity to Denis and Alfred Monquignon. [4] 

The new owners were father and son, both cordonniers. There's a record of a Monquignon bottier in 1860, among the members of the Société Municipale de Secours Mutuels (9e arrondissement de Paris) operating in an area of the city[5]: it was Denis, the father, as Alfred-René Mounquignon was born the following year (1861).

In 1877 at sixteen, Alfred still worked with his father in Rue Lafayette, and later completed his apprentice at Mr. Ducret, another cordonnier. [6] 

A wedding shoe by Monquignon  Vamp detail  Source: Shoe Icons

Monquignon | Paris a silk boot once owned by Jeanette Dwight Bliss Source: Metmuseum

In 1882, Monquignon took part to a strike promoted by the workers in the field of shoe making («Grève de la cordonnerie de la Seine») and among the others protesters there was Perchellet as well. [7] 


In 1888 Monquignon operated a shoe a boutique in Rue Hausmann, Paris [8] until they moved to Place Vendôme to the former Perchellet shop, keeping the sign of the former owner. Even the shoe style remained more or less unchanged, especially the evening shoes.

Like Perchellet before them, the new company was awarded with the gold medal at the Universal Exhibition in Paris of 1900: another info to be added to the insole label.

In 1905 Alfred Monquignon served as vice-president of the Chambre Syndacale des Chausseurs de Paris. At that time, the President was the well known Hellstern. [9]

The Perchellet-Monquignon Boutique | Paris Photo by Charles Joseph Antoine Lansiaux (detail) At the corner of Place Vendôme and Rue Saint Honoré Source: Paris Musées

The above photograph it's from the period after the acquisition by Monquignon, meaning after 1896.

1916 | The corner of Place Vendôme and Rue Saint Honoré with the  Perchellet-Monquignon Boutique | Paris Source: Wikimedia

Top: Monquignon | Paris Source: Metmuseum Bottom: Monquignon | Paris Source: Shoe Icons

At the Metropolitan Museum of Art there are three models from the Monquignon period. The first one, the silk pump in black colour of the above photo, is from an anonymous donor and the caption says: 

The vamp features an attractive beadwork design, dense but well articulated. The extreme toe shape and curved sole are peculiar to Parisian shoes at this time, and together with the high cut of the back and throat, produce a perfectly straight line along the top profile.

Source: Metmuseum

Monquignon | Paris a silk pump once owned by Jeanette Dwight Bliss Source: Metmuseum

The two other models (a pump and a boot) are both a gift by Susan Dwight Bliss, most probably her mother's, Jeanette Dwight Bliss. Mrs Jeanette was the daughter of a wealthy cotton merchant, and she was married to a banker.

The Russian museum Shoe Icons owns three models. Among them a refined wedding shoe, with an elegant decoration of white and golden beads on the vamp.

Monquignon | Paris Evening shoe detail Source: Shoe Icons

According to the Annuaire du commerce Didot-Bottin, the Maison Perchellet-Monquignon was still in place Vendôme in 1914, although it had already moved to rue du Colisée, 15 in Paris in 1921.

PERCHELLET ET MONQUIGNON | PARIS

PART 1

PART 2

PART 3

FOOTNOTES

[4] Archives commerciales de la France, journal hebdomadaire, Paris, Feb 19, 1896

[5] Société Municipale de Secours Mutuels du 9e arrondissement de Paris, Assemblée Général du 25 mars 1860, Compte Rendu, Paris, Typographie de A.Wittersheim, 1860

[6] Société Municipale de Secours Mutuels du 9e arrondissement de Paris, Assemblée Général du 6 may 1876, Compte Rendu, Paris, Imprimérie cenrale des Chemins de Fer, A. Chaix & Cie

[7] Le Radical, newspaper, Paris Jun 6, 1882

[8] Annuaire-almanach du commerce, de l'industrie, de la magistrature et de l'administration : ou almanach des 500.000 adresses de Paris, des départements et des pays étrangers : Firmin Didot et Bottin réunis, Paris, 1888

[9] Le Journal (newspaper), Paris, Apr 25, 1905

[10] Annuaire du commerce Didot-Bottin, Paris 1914, 1921

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REMEMBERING FIAMMA FERRAGAMO

September 28, 2018, 2:26 am

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Fiamma Ferragamo passed away twenty years ago today.

A “SHOEMAKER OF DREAMS” NO MORE. 

When Salvatore Ferragamo knew he was dying, he had staff specially trained to help his brother and his 19-year old daughter Fiometta carry on the business. Now that he is dead, they have taken over. 

The Sidney Morning Herald | August 11, 1960

Salvatore and Fiamma Ferragamo Not long before Salvatore’s death Source: The Australian’s Women’s Weekly | January 4, 1961

“It seems my father knew he was going to die soon,” she told me sadly.“My mother and I wanted me to go to university to study languages when I left school. But my father said no. He insisted I come into the business and learn about it while he could teach me”. 

“For a year he took me everywhere with him, to the factories, the shops, the officies, to many countries - telling me all he knew. Then he became ill, and I had to take over. I used to come home at night, go to his bedroom and tell him what I had done. He would tell me my mistakes, and the best way to correct them.” 

“In March (1960) he told me I would have to design the autumn collection for him. When I finished I took the shoes into his bedroom. He picked up every pair and examined them closely without saying a word. When he looked at the last pair, he put them down carefully, and then looked up at me for the first time and said he was very pleased with the collection”. 

“I was very happy” 

Elsa Barker (from London) |  The Australian’s Women’s Weekly | January 4, 1961

1960 | Fiamma Ferragamo Source: The Pittsburgh Press | November 12, 1960

And that was the beginning of a 38 year stint at the helm of the company: she managed a successful transition from what could have been a fatal blow and brought the brand into the new era.

1961 | Ferragamo at Saks Fifth Avenue Source: Chicago Tribune | September 22, 1961

SALVATORE FERRAGAMO

I N D E X

FOOTNOTE

We can’t help but notice why no books, exhibitions or tribute - save for single products - were ever done to celebrate Fiamma’s work. We would certainly trade the nth book about Salvatore for a well researched one about her daughter. Wouldn’t you agree?

To tell the whole truth: a photographic book about Fiamma Ferragamo was published not long after her death, but it was a private press strictly for family and associates. Too little for the rest of us.

1962 | Ferragamo at Saks Fifth Avenue Source: Chicago Tribune | September 14, 1962

1962 | CLAES OLDENBURG | WHITE GYM SHOES

October 2, 2018, 6:00 am

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1963 - 1969 | Bedroom Ensemble Replica | detail Claes Oldenburg Source: Claes Oldenburg: An Anthology (Guggenheim Museum Publications, 1995)

MORE SHOES FROM
CLAES OLDENBURG (1961/1963)

SHOES & ART
1832 - 2013

1962 | White Gym Shoes | Claes Oldenburg Muslim soaked in plaster over wire frame, painted with enamel  The Museum of Contemporary Art, Los Angeles - The Panza Collection Source: Claes Oldenburg: An Anthology (Guggenheim Museum Publications, 1995)

1952 | ANDRE PERUGIA | HEELSTORY

October 5, 2018, 3:07 am

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This is a serious contender of the most beautiful sandal in the world. Designed at the same time, it’s another stroke of genius in the series of Perugia’s metal heel.

1952 | André Perugia Arched metal heel | Patent paperwork Filed March 14, 1952 | Patented May 27, 1952 Source: Google Patents

Unfortunately, unless hidden in the vault of Romans’ Museum de la Chaussure, no actual Perugia shoe can be found with such a heel. It comes to our rescue Robert Clergerie with a 2007 sandal that employ the very same arched metal heel.

1952 | André Perugia Arched metal heel | Patent paperwork 2007 | Robert Clergerie Source: Shoes A-Z by Jonathan Walford (Thames 7 Hudson, 2010)

We insist calling this practise stealing, but at least Robert Clergerie ALWAYS acknowledged André Perugia as his master in many interviews.

HERITAGE (THEY CALLED IT)

“Discover the MABELA, sock boot on our exclusive metal heel.”
CLERGERIE
From the official Clergerie Instagram page (August 28, 2018)

2018 | Clergerie | SS 2019 Enjoy the “exclusive metal heel” Source: Clergerie Instagram page

Robert Clergerie (the man) is no longer part of Clergerie (the brand): however the new brand employ the same tactic without paying credit where credit is due.

“The exclusive metal heel” was feed to costume/fæshon journalists as part of the Clergerie archive, and they fell for it (see last picture down here). Brilliant.

ANDRE PERUGIA

D O S S I E R 

Well, it’s nothing new, isn’ it? Every season there’s someone who invent a Perugia heel somewhere. More recently here and here.

“The arched heel inspired by the archive” Whose archive? Source: Corriere della Sera daily | September 27, 2018

1955 - 2018 | ANDRE PERUGIA GENDERLESS

October 9, 2018, 8:56 am

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1955 | André Perugia for Jacques Fath Photograph: Joël Garnier Source: André Perugia. Collection Privée Charles Jourdan pamphlet Francesco Russo F/W 2016 | $ 995

Two years ago we caught Francesco Russo doing a Perugia. We thought it was the usual one-off, a quick shortcut to complete a shoe collection, a momentary lack of creativity.

Inexcusable - besides the great choice - because André Perugia went uncredited once again. It wasn’t the first time and it won’t be the last.

But no, it wasn’t a one-off.

2018 | Francesco Russo Model: Oslo Grace | Photograph: Johan Sandberg Source: Vogue.com

Enter the genderless collection (A - Gender, as they called it):

“It’s very defined in the market, what is for men and what is for women, but the reality is: that definition, which is a gendered definition, is out of date. It’s not a polemic, it’s not political. It’s simply how society is moving forward. I think it’s in our duty as people who produce product to respond to the world.” 

Francesco Russo
Vogue.com | September 25, 2018

Right, it’s not polemic, nor political, it’s ethical: also your duty to give credit where credit is due, designer.


ANDRE PERUGIA
D O S S I E R
[Plenty of ideas for aspiring designers]

1970 | WHEN GENDERLESS WAS A NEW THING
RUDI GERNREICH'S VISION

André Perugia For I.Miller Insole detail

1934/35 | LUDOVICO PATRICELLI FOR MARI SHOE FACTORY | PESCARA

October 12, 2018, 10:30 am

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Nel panorama calzaturiero italiano di inizio '900, a fatica si recuperano i nomi di diversi produttori e cercare i nomi dei creatori di calzature prima di Ferragamoè opera da archeologi. Alla fine degli anni '20 e negli anni '30, però, cominciarono a specializzarsi anche in Italia gli stilisti della calzatura. L'accorciarsi delle gonne favorì lo sviluppo di nuove forme e modelli che andarono a sostituire il tradizionale stivaletto. I nuovi stilisti fecero un lavoro da ricercatori delle nuove tendenze e di interpreti nei confronti delle aziende produttive. Sull'asse del Sempione erano molto attivi, anche come divulgatori, i modellisti Adriano Travaglia e Mario Moroni. 

At the beginning of the 20th century, the names of the Italian footwear producers are all lost in time. Finding shoe designers' names before Ferragamo is a rarity, archeology stuff. However, at the end of the 1920s and the beginning of the 1930s, shoe stylists began to operate in Italy: shortened skirts favoured the development of new shapes/models that replaced the traditional ankle boots. They did a researcher-type job of new trends and translated it for shoe factories. In the Milan area the modelists Adriano Travaglia and Mario Moroni were also very active as technical communicators.

Didascalia originale/Original caption:

Due scarpine da sera, una in crespo di seta rossa graziosamente increspata, mentre l'altra più ricercata è a strisciette di pelle in tinta di pastello e di pelle dorata. Modelli MARI - Creazione Patricelli 

Two evening shoes: on the left crêpe red silk: on the right a more elaborated shoe with gold and pastel colored strips. Models by MARI - Patricelli Creations.

1934 | MARI designed by Ludovico Patricelli Source: Lidel

Uno stilista della calzatura di quel periodo fu Ludovico Patricelli di Pescara.
I modelli delle foto qui sotto furono realizzati in collaborazione con il calzaturificio Mari, fondato da Celso Barbaresi nel 1925 a Portocivitanova (oggi frazione di Civitanova Marche) e successivamente di proprietà dei fratelli Ribichini.

A footwear designer of that period was Ludovico Patricelli from Pescara.

The models of the photos below were made in collaboration with the shoe factory Mari, founded by Celso Barbaresi in 1925 in Portocivitanova (now part of Civitanova Marche) and later owned by the Ribichini brothers.

Didascalia originale:/Original caption

"Per sera questo elegante sandalino di morbida pelle dorata"

"For the evening, this elegant sandal in golden leather"

1935 | MARI designed by Ludovico Patricelli Source: Lidel magazine

Didascalia originale:/Original caption

"Sandalo da sera di antilope nera, con passantini intrecciati di pelle d'argento o dorata"

"Evening sandal of black antelope, with intertwined passers in golden or silver leather"

1935 | MARI designed by Ludovico Patricelli Source: Lidel magazine

SS 33 

DATABASE OF THE THE PARABIAGO FOOTWEAR DISTRICT | [AND VICINITY]

A WORK IN PROGRESS

'CELLULOID HEEL' BY NAZIM MUSTAFAEV (SHOE ICONS PUBLISHING)

October 16, 2018, 10:19 am

≫ Next: 'CELLULOID HEEL' | PART 2

≪ Previous: 1934/35 | LUDOVICO PATRICELLI FOR MARI SHOE FACTORY | PESCARA

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Shoe Icons’ Nazim Mustafaev established himself as one of a kind collector. Unlike any other collector, he shares his discoveries and likes to dig deep in order to unearth all there is to know about a certain item. In other words, he works like a museum should; meaning more than one museum we know should look up Nazim’s work and feel a deep shame for what they offer - with tax money - to the public.

1874 | I. S. & J. Hyatt Apparatus And Processes For Holding Celluloids Source: Celluloid Heel (Shoe Icons Publishing, 2018)

Three years ago Nazim published on his website an in depth research about celluloid heels (still available here). It was - and remains - unprecedented. When we saw it we though: this must be in a book. So, like he was reading our minds, he soldiered on, researched some more and published a book.

1920’s F. Weil & E. Petit & Cie (France) Wooden Heels covered in black celluloid Source: Celluloid Heel (Shoe Icons Publishing, 2018)

Materials, construction methods, patents, innovators, historical annotations, vintage ads and striking photographs make “Celluloid Heel” a worth addition to your library even if you have a mild interest in footwear and a book or two about the subject. Probably he didn’t have fashionistas in mind when he wrote it, but “Celluloid Heels” even contains materials that might strike contemporary Instagrammers/bloggers; it is that good.

Instagram material from: Celluloid Heel (Shoe Icons Publishing, 2018)

Like all the really good things, “Celluloid Heels” cannot be purchased at the bookstore round the corner (do they still exists? Bookstores, not corners, that is), but available directly from the author: a quick email to Nazim and he’ll send back all the details.

It’s worth it, believe me.

ca. 1925 | I. Miller & Sons Source: Celluloid Heel (Shoe Icons Publishing, 2018)

Additional info:

Nazim Mustafaev
At Shoe Icons

Shoe Icons
On Instagram

HERE an extract from the book.

Celluloid Heel by Nazim Mustafaev Shoe Icons Publishing (2018)

'CELLULOID HEEL' | PART 2

October 19, 2018, 1:17 pm

≫ Next: 1961 | BOLOGNA | NATIONAL SHOWCASE FASHION FOOTWEAR EXHIBITION

≪ Previous: 'CELLULOID HEEL' BY NAZIM MUSTAFAEV (SHOE ICONS PUBLISHING)

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1921 | Still frame from “Two Weeks with Pay” Celluloid hells on the big screen Source: Shoe Icons

SHOES ARE MADE OF … 

The list of materials used in manufacturing of footwear is nearly limitless, ranging from the most obvious and easily accessible like grass, bark, leather, wood and other natural staple to the most exotic ones like gold, silver, rare skins, semi-precious stones and, of course, ubiquitous nowadays - plastics. 

2015 | Nazim Mustafaev
Shoe Icons

That was the beginning of the original “Celluloid Heel” study published online back in 2015 and available here. Three more years and the already thorough research - now expanded - got a well deserved book treatment.

It works as a teaser for the book, where the good stuff are multiplied tenfold, like these pictures here below.

1900’s | White Studios | New York Study of a lady’s leg in pump with celluloid covered heels decorated with rhinestones. Source: Celluloid Heel (Shoe Icons Publishing, 2018)

1920’s | Great Britain Multicoloured striped upper shoes with celluloid heels decorated with rhinestones. Source: Celluloid Heel (Shoe Icons Publishing, 2018)

1910-1913 | Eperon d’Or | Belgium Source: Celluloid Heel (Shoe Icons Publishing, 2018)

CONCLUSION 

There is no conclusion. The beauty never ends. Once again I am fascinated by the fact that such a practical, heavy duty part of a shoe can be turned into real piece of art that sometimes outlives the shoe itself. 

2015 | Nazim Mustafaev
Shoe Icons

CELLULOID HEEL
PART 1



Additional info:

Nazim Mustafaev
At Shoe Icons

Shoe Icons
On Instagram

HERE an extract from the book.

Heel pattern Source: Celluloid Heel (Shoe Icons Publishing, 2018)

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1961 | BOLOGNA | NATIONAL SHOWCASE FASHION FOOTWEAR EXHIBITION

October 23, 2018, 6:27 am

≫ Next: 1921 | HELLSTERN IN VOGUE | PART 1

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1961 | Bologna | Fashion Footwear Exhibition Nice uh? | Unknown producer Source: Fiera di Bologna 1961 catalog

Within the Bologna Trade Fair the Footwear industry always got the spotlight thanks to high end producers such as Vaccari, Saguatti, Romagnoli, Magli and Bruno Cavalli, to name just a few. And then, all of a sudden, everything disappeared. That’s why we consider nothing short of a miracle the surfacing of this dusty catalog in a flea market somewhere. No names mentioned - besides local politicians and visiting ministers, but still worth the price of admission.

Go here for a closer look of the exhibited models.

1961 | National Showcase Fashion Footwear poster Source: Fiera di Bologna 1961 catalog

1961 | National Showcase Fashion Footwear poster Exhibition area | detail Source: Fiera di Bologna 1961 catalog

1961 | National Showcase Fashion Footwear Window displays (second from right: Valentino from Naples) Source: Fiera di Bologna 1961 catalog

1961 | Bologna | Fashion Footwear Exhibition Unknown producers Source: Fiera di Bologna 1961 catalog

1961 | Bologna | Fashion Footwear Exhibition Fur-lined pump | Unknown producer Source: Fiera di Bologna 1961 catalog

1961 | Bologna | Fashion Footwear Exhibition I think I’ll take all three Source: Fiera di Bologna 1961 catalog

1961 | PARABIAGO FOOTWEAR
AT THE XV BOLOGNA EXHIBITION

1961 | ROTELLI | VARESE
AT THE XV BOLOGNA EXHIBITION

1961 | Aerial view of downtown Bologna from Torre Degli Asinelli Source: Fiera di Bologna 1961 catalog

1921 | HELLSTERN IN VOGUE | PART 1

October 26, 2018, 1:53 am

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1921 | Hellstern Source: Vogue France

"The bottom of the skirt goes more and more down on the shoes and a lot of dresses are in very rich fabrics. And yet the shoes far from resume their modest place as before the war, take more fancy and sumptuousness than the dresses."

1921 | HellsternSource: Vogue France

"This elegant sandal-shaped evening shoe has both golden toe and heel. Adorned with golden embroidery in the back, it has the instep trimmed with a golden ornament."

1921 | Hellstern Source: Vogue France

"The fur, which is often used for shoes, enriches this black satin court shoe with a beaver rosette retained by a rhinestones buckle."

1921 | Hellstern Source: Vogue France

"A new oval silver buckle embellished with fringes, adorns the straps of this black satin evening shoe. The heel is also silver."

1921 | Hellstern Source: Vogue France

"The fashion of the colored heels matching the ornaments of the shoe also influences the home shoes as showed in this model by Hellstern, very successful, in fine red and blue leather."

1921 | HELLSTERN IN VOGUE
PART 2

A LA RECHERCHE DU 

HELLSTERN PERDU

Hellstern & Sons | Insole label © Romans; Musée international de la Chaussure

1921 | HELLSTERN IN VOGUE | PART 2

October 30, 2018, 8:49 am

≫ Next: 1929 | LIDEL | WEDDING TIME

≪ Previous: 1921 | HELLSTERN IN VOGUE | PART 1

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"As can be seen from the following images, the shoes probably never held so much room in the feminine toilet. There are models for every hour of the day, from the light sandals for the morning until the rich evening shoes embroidered with gold and silver."

1921 | Hellstern Source: Vogue France

"Model in gray leather with pointed toe, with a vamp originally lined in black and decorated with an oblong black and silver buckle."

1921 | Hellstern Source: Vogue France

"The wide barrette of this grey suede afternoon shoe is adorned with a black lining and a very elegant rosette in grey grosgrain."

1921 | Hellstern Source: Vogue France

"A rounded toe distinguishes this black leather shoe cut in the shape of a sandal and all seams are lined in white kidskin."

1921 | Hellstern Source: Vogue France

"The pointed toe of this grey suede shoe is highlighted by black leather that covers the back and the instep and forms narrow stripes."

1921 | HELLSTERN IN VOGUE
PART 1

A LA RECHERCHE DU
HELLSTERN PERDU

Hellstern & Sons | Insole label © Romans; Musée international de la Chaussure

1929 | LIDEL | WEDDING TIME

November 2, 2018, 8:34 am

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Nel 1929 la rivista Lidel dedicò alcune pagine al tema delle nozze, nelle quali raccontò le più moderne tendenze e le scelte più eleganti, dall’abito della sposa e delle invitate al bouquet; dal dettaglio del velo e dell’acconciatura, fino alla scelta di gioielli e accessori. 

In questo servizio la rivista mise all’opera un gruppo fra i suoi migliori illustratori. Parteciparono infatti al progetto Piero Bernardini, Brunetta, alias Bruna Moretti e Renato Zavagli Ricciardelli delle Caminate. Quest’ultimo, allora ventenne, riuscì a comparire nelle stesse pagine sia con lo stile e lo pseudonimo di René Gruau, sia come Borys e anche come San Secondo. 

In 1929 Lidel magazine published a few pages dedicated to the wedding ceremony. They described modern trends and elegant choices, from the bride’s dress to the bouquet, including veil's detail, hairstyle, jewels and tips for the guests.

The magazine assigned the illustrations to a group of its best designers. Part of the project were Piero Bernardini, Brunetta, (AKA Bruna Moretti) and Renato Zavagli Ricciardelli delle Caminate who appeared in the very same pages with different styles and the pseudonyms of René Gruau, Borys and also San Secondo.

1929 | René Gruau Source: Lidel magazine

Bernardini, Gruau e San Secondo si occuparono di suggerire alle lettrici alcune originali partecipazioni di nozze. Gruau creò anche un paio di illustrazioni del corteo nuziale. Borys illustrò una serie di modelli “creati dalle grandi case parigine per i più recenti ed eleganti matrimoni” (modelli di Martial et Armand, Cecil Daymia, Louise Boulanger) Philippe et Gaston. San Secondo illustrò altri modelli, sempre francesi (di Germaine Lecomte, Lanvin, Louise Boulanger, Lucile Paray, Martial et Armand e Maggy Rouf), dedicati alle invitate. 

Bernardini, Gruau and San Secondo offered the readers drawings for some original wedding invitations. Gruau also created a couple of illustrations of the wedding procession. Borys illustrated a series of models "created by the great Parisian houses for the most recent and elegant weddings". San Secondo showed a series of models, also French, by Germaine Lecomte, Lanvin, Louise Boulanger, Lucile Paray, Martial et Armand e Maggy Rouf, specifically for the guests.

1929 | San Secondo (AKA René Gruau) Source: Lidel magazine

1929 | René Gruau Source: Lidel magazine

Brunetta, invece si occupò di illustrare le acconciature della sposa e una serie di dettagli, “che devono essere studiati con particolare cura per raggiungere quell’insieme di grazia composta e armoniosa”. Tra questi “le scarpine di crêpe satin con profili di pelle d’argento”, a loro volta di probabile ispirazione francese, che furono proposte in due versioni, una con cinturino ed un intaglio laterale, l’altra con una piccola fibbia. 

Nell’illustrazione troviamo solo due modelli rigorosamente anonimi, a differenza dei vestiti. Già la loro presenza però è caso raro. Una vistosa differenza rispetto alla fonte di ispirazione - la Francia - dove già da diversi anni una schiera di creatori di calzature aveva iniziato a distinguersi per il proprio stile e la propria tecnica e dove le riviste di moda già presentavano regolarmente servizi dedicati ai modelli di Hellstern, Ducerf Scavini, Edith, Julienne, Greco e, soprattutto, André Perugia.

Brunetta took care of the bride's hairstyles with a series of illustrations and details "which must be studied with particular care to achieve a combination of composed and harmonious grace"; among them "the crepe satin shoes with silver leather profiles", also allegedly of French inspiration, which were drawn in two versions, one with a strap and a side cut, the other with a small buckle.

Only two models are showed and, unlike clothes, strictly anonymous.  Featuring footwear was rare back then, a marked difference compared to their source of inspiration - France - where fashion magazines regularly published articles showcasing models by a group of key shoemakers such as Hellstern, Ducerf Scavini, Edith, Julienne, Greco and, most important, André Perugia.

1929 | Brunetta Source: Lidel magazine

1929 | Brunetta Source: Lidel magazine

THEHISTORIALIST FEED

November 6, 2018, 2:10 am

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≪ Previous: 1929 | LIDEL | WEDDING TIME

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Say, you like shoes but you find a bit boring the historical stuff. It’s alright, nothing to be ashamed of. In this case, TRY THIS, would that be alright?

Ipotizziamo: vi piacciono le scarpe, ma trovate noiose le informazioni storiche. Comprensibile, nulla di cui vergognarsi. In questo caso però PROVATE QUESTO. Meglio?

1952 | André Perugia | U.S. Patent No. 166,868 | Fig. 2 Filed March 14, 1952 - Granted May 27, 1952 Source: Google Patents