Thursday, October 30, 2014

ROMA STREET STYLE - BORGO SANTO SPIRITO

Enrico Palazzo


Wednesday, October 29, 2014

YOU'RE GONNA KNOW ME BY MY LITTLE RED BOOTS

You're gonna know me by my Little Red Boots, You may not know my name, 'Cuz I have not made fame, But You're gonna know me by my Little Red Boots,  Riding into town with my guitar on my back Mothers all around will be having heart attacks. Too lost to be found, just a train off of it's tracks You're gonna know me by my Little Red Boots,  Music You're gonna know me by my Ruby Red Lips,  You may not know my face but I leave a lipstick trace You're gonna know me by my Ruby Red Lips,  Downtown at the Bar, I'll be rockin' with the band Wonderin' if Fate is gonna deal a gamblin' man What a place I've been, you better have a winnin' hand You're gonna know me by my ruby red lips  Came to sing this song Now I'll be on my way Better move along But I'll be back again someday Someday Someday...Hey! OH-You're gonna know me by my little red boots  You're gonna know me by my little red boots  Strangers just the same oh You don't need to know my name You're gonna know me by my little red. - (Lindi Ortega "Little red boots")







80's red leather boots, silk blouse by Zara, silk short by Twin-set Simona Barbieri
Stivali pelle rossa anni '80, camicia seta Zara, short seta Twin-set Simona Barbieri

RED BOOTS 2014-15
Emilio Pucci

Prada

Valentino

Valentino

Derek Lam

Anna Sui
Related Article:http://www.scostumista.com/2014/10/80s-red-boots.html

Tuesday, October 28, 2014

80's RED BOOTS

Boots are of ancient origin: they were worn by the Ancient Greeks, who called them embas, embates or edromis depending on the material used and the function the boots had. In the Roman period, they went by the name of ocreae and were worn only by hunters, or by farmers in cold weather. In the Middle Ages and up to the beginning of the sixteenth century, boots reinforced with mesh and iron plates were in use. Then in the Renaissance, it became fashionable to create different types of boot, long and tight-fitting around the leg or short, wide at the top and embellished with large flaps. In general, these boots did not have a heel and in bad weather were worn with another shoe. From the seventeenth century, the boot became a practical form of footwear: military, hunting and horse riding boots were mainly worn by men, unlike ankle boots, which were worn by women.




CLOSET CASTLE di Annapaola Brancia d'Apricena

Renewed findings from the coffer of a castle





Stivali pelle rossa anni '80
80's red leather boots


Gia Carangi

Janice Dickinson


Roger Vivier

Jerry Hall

Monday, October 27, 2014

ARTEMISIA GENTILESCHI

I want to share with the readers of scostumista some pictures of my latest work in theater.
  Artemisia Gentileschi
directed by Mirko Di Martino
with Titti Nuzzolese and Antonio D'Avino
costume designer:Annapaola Brancia d'Apricena
produced by Teatro dell'Osso


                                                                                                         photo:Marco D'Alessandro Photo49

Nel diciassettesimo secolo c'era un detto che circolava sulla bocca dei numerosi viaggiatori stranieri che visitavano Napoli: secondo costoro, la città era “un Paradiso abitato da diavoli”. I turisti stranieri erano affascinati dalla bellezza di Napoli e, allo stesso tempo, atterriti dalla violenza della vita che si conduceva in quella che, all'epoca, era la seconda città più popolosa d'Europa. Eppure, Napoli continuava ad essere una fucina di talenti artistici, una città che ribolliva di creatività e di arte, un centro di scambi e di influenze artistiche di primo livello che metteva in comunicazione il Mediterraneo con il resto d'Europa. Il Forum Universale delle Culture insieme con il Teatro dell'Osso, con la direzione artistica di Mirko Di Martino, propone quattro giorni di spettacoli, reading e concerti dedicati alla Napoli del Seicento e ai grandi artisti che la abitavano: Caravaggio, Artemisia e Carlo Gesualdo. L'antica città partenopea rivive attraverso il racconto delle grandi opere e delle vite di questi geni turbolenti e “maledetti” che, nella prima metà del Seicento, fecero di Napoli la capitale della cultura europea.

 Artemisia resta, ancora oggi, una figura molto misteriosa, su cui si sa relativamente poco. Quello che essa fu davvero lo si può ricostruire in parte dalla lettere riemerse di recente, dalle quali viene fuori l'immagine di una donna sicura del proprio ruolo, una pittrice consapevole della propria arte, una commerciante che vende e promuove la propria opera con sfacciata sicurezza. Ne vengono fuori, però, anche le sue debolezze, il suo desiderio di un amore vissuto intensamente, la sua gelosia e le sue paure. A Napoli si conserva il dipinto più famoso di Artemisia, quel "Giuditta e Oloferne" che faceva impallidire i suoi contemporanei per la crudezza della rappresentazione; a Napoli, Artemisia visse trent'anni e morì in un giorno imprecisato del 1653. Ma quali tracce ha lasciato Artemisia a Napoli, oggi? Molto poche. Il nostro spettacolo parte da qui, da Napoli, dove Artemisia si è rifugiata molti anni prima: la pittrice è alla fine della sua carriera, stanca, disillusa. Senza alcuna spiegazione apparente, Artemisia viene costretta da un magistrato a raccontare ancora una volta i particolari di quel giorno del 1612 quando il pittore Agostino Tassi, amico e collega di Orazio Gentileschi, la violentò nella sua casa romana. La donna credeva di aver chiuso i conti con quella storia al termine del processo che condannò Agostino Tassi per stupro, ma scopre adesso che tutta la sua vita e la sua stessa opera ne sono state segnate troppo in profondità. Artemisia è obbligata a confrontarsi con le sue paure, i suoi dubbi, i suoi desideri di gloria, di affermazione di sè come artista prima che come donna. In un mondo dominato dai maschi, Artemisia scopre che le è preclusa ogni libertà e autonomia. Perfino la sua arte viene interpretata come un continuo ritorno sul tema della violenza e della vendetta, dello stupro e della castrazione. Artemisia credeva di essere diventata libera grazie all'arte, adesso scopre che era la sua prigione.


Fitting
Judith beheading Holofernes
Museo di Capodimonte-Napoli

Friday, October 24, 2014

FASHION PHOTOGRAPHERS: LARTIGUE

Jacques-Henri Lartigue (1894-1986) was born at Courbevoie, France, and he grew up in Paris.
His father, a businessman and passionate amateur photographer, gave him his first camera at the age of seven and started keeping what would become a lifelong diary. In 1904 he began making photographs and drawings of family games and childhood experiences, also capturing the beginnings of aviation and cars and the smart women of the Bois de Boulogne as well as society and sporting events.  In 1932, attracted by the cinema, Jacques-Henri Lartigue acted as assistant director on the film ‘Le Roi Pausole’ for which he also took the official photographs. His passion for movies saw him work as still photographer with Jacques Feyder, Abel Gance, Robert Bresson, François Truffaut and Federico Fellini. Jacques-Henri Lartigue became well known as an illustrator and designer during the years 1935-1950. Mr. Lartigue first became known to the American public through an exhibition of photographs organized by John Szarkowski in 1963 at the Museum of Modern Art, New York who saw Jacques-Henri Lartigue as “the precursor of all that is lively and interesting in the middle of the 20th century.”Worldwide fame came three years later with his first book, The Family Album, followed in 1970, by Diary of a Century, conceived by Richard Avedon. In 1975 he had his first French retrospective at the Musée des Arts Décoratifs in Paris. For the rest of his life, Lartigue was busy answering commissions from fashion and decoration magazines.
Florette-Paris 1944

Florette-Paris 1943


Bibi- Cannes 1923

Renèe - Paris 1931






Zissou-1911

Tuesday, October 21, 2014

THE TRAMONTANO BAG

Since 1865, in Napoli, Tramontano designs and produces bags, luggage and leather goods. The story of the brand Tramontano started in the second half of the last century and is tied to a production both creative and refined.  Creations in natural leather and reptilian skin standing out for the continuous search for ethnic and exotic materials in which the Mediterranean essence is expressed in each detail. The company has developed and evolved becoming a leading brand in the world of quality handicrafts with production of leather and of goods associated with the use of natural hides and hand-made.   Tramontano Arte In 2001, Davide de Blasio, Chairman of Tramontano, started to establish relationships with many international artists who loved the Tramontano’s skills to combine tradition, research, creativity and design. Laurie Anderson, Enzo Cucchi, Timothy Greenfield-Sanders, Mimmo Paladino, Valerio Adami, Bernardì Roig, Antony and the Johnsons, Lello Esposito, Daniel Canogar, Lou Reed, Doug and Mike Starn, Dionisio Gonzalez. Many collaborations with artists has been produced since then and in 2006, Davide e Rosalba de Blasio decided to give a stable form to this activity and a foundation was born. The Tramontano Arte Foundation, aware of the role that a business reality such as Tramontano can have in supporting the social and cultural development of the territory, works around the creativity process and especially on the link between the traditional handycraft and the contemporary art and design.
http://www.tramontano.it
                                                                                       photo:Carlo William Rossi-Spaziocentoundici









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