OCHRE IN FASHION

The major ingredient of this ancient natural colour is iron oxide-hydroxide, known as limonite, which gives it its yellow colour. The hue belongs to a family of earth pigments, it ranges in colour from yellow to deep orange or brown. Ochre is a family of earth pigments, which includes yellow ochre, red ochre, purple ochre, sienna, and umber. From the Red Indians to the Romans, to modern day trendsetters, Ochre has enduring appeal. Ochre was used in decorative palette of the Romans, as well as Medieval Church painters. The Aboriginals have painted with Ochres for over 40 000 years and the Red Indians took their name from the Red Ochre they painted themselves with.




CLOSET CASTLE di Annapaola Brancia d'Apricena

Late 70's ocher silk blouse

Maudie James in John Bates for Jean Varon
photo by David Bailey for Vogue, 1967

Twiggy 1967

Photo by David Bailey 1968

Pierre Cardin 1968

Marianne Faithfull

Courrèges for Jours de France, August 1976

Ochre in Sixties fashion

Jarry Hall  -  Laure Hutton

Sharon Tate

Pat Cleveland for Halston 1970s

Related Article:http://www.scostumista.com/2019/01/ocher-for-spring.html

EARTH TONES

Many earth tones originate from clay earth pigments, such as umber, ochre, and sienna.
The colors used in antiquity were almost always natural, being made, directly and immediately from the animal kingdom, vegetable and mineral. The vegetable colors found in nature by extracting the coloring substances from some parts of the plants. Some colors come from querciolo for example, from the nuts, saffron and peach pits. The natural mineral colors found in nature, ready for grinding and mainly derived from land, ocher and bitumen. Some of them are: Sienna (obtained by calcination of natural sienna and reddish), earth shadow (with composition similar to sienna and greenish-brown color), the bolus (ground red clay formed by iron oxides) and bitumen (brown-transparent color, composed of the mixture of hydrocarbons). The mineral colors were the most used in ancient times as they offer, compared to those of animals and plants, of greater physical stability and chemical characteristics.

 Molti toni della terra provengono da argilla e pigmenti della terra, come la terra d'ombra, l'ocra, e la terra di Siena. I colori usati nell'antichità erano quasi sempre naturali, essendo ricavati in via diretta ed immediata dal mondo animale, vegetale e minerale. I colori vegetali si trovano in natura estraendo le sostanze coloranti da alcune parti delle piante. Alcuni colori provengono ad esempio dal querciolo, dalle noci, dallo zafferano e dai noccioli di pesca. I colori minerali naturali si trovano in natura pronti per la macinazione e si ricavano principalmente da terre, ocre e bitumi. Alcuni di essi sono: la terra di Siena (ottenuto per calcinazione della terra di Siena naturale e di colore rossastro), la terra ombra (con composizione simile alla terra di Siena e di colore bruno-verdastro), il bolo (terra argillosa rossa costituita da ossidi di ferro) e il bitume (di colore bruno-trasparente, composto dalla miscela di idrocarburi). I colori minerali erano i più utilizzati anticamente in quanto offrono, rispetto a quelli animali e vegetali, caratteristiche di maggiore stabilità fisica e chimica.





CLOSET CASTLE di Annapaola Brancia d'Apricena
                    Renewed findings from the coffer of a castle

Late 40's short chiffon slip
Mini-sottovesye in chiffon fine anni '40

Sharon Tate

Britt Ekland

Related Article:http://www.scostumista.com/2016/05/earth-and-rocks.html

60's SACK DRESS

The sack dress falls straight, not enhances the shapes, also because he is good only for those that do not have shapes. Below: 60's dress in satin moire , essential line embellished with edges of silver sequins. Wear them only if you're skinny!
L'abito a sacco cade dritto, non esalta le forme, anche perchè sta bene solo a chi forme non ne ha. Linea dritta ed essenziale per l'abito in raso moire anni '60 qui sotto impreziosito dai bordi di paillettes argento. Da indossare solo se magrissima!




CLOSET CASTLE di Annapaola Brancia d'Apricena

Renewed findings from the coffer of a castle

60's sheath sack dress edged in silver sequins
Abito a sacchetto anni '60 con bordi in paillettes argento

Catherine Deneuve

Brigitte Bardot

Sharon Tate

Marella Agnelli in Courrège 1968

BOW#2

CLOSET CASTLE  di Annapaola Brancia d'Apricena   

Dal baule di un castello ritrovamenti  e riadattamenti 

     Renewed findings from the coffer of a castle 

Camicia di seta con nastro al collo primi anni '70
Silk blouse with bow early 70's

BOWS#2

Photo Helmut Newton

Vogue Usa 1973- photo Irving Penn

Sharon Tate

Vogue Paris 1971

Vogue Italia 1973

Vogue Italia 1974

Related Article: http://scostumista.blogspot.it/2013/02/blow-up.html

THE G.J.'S OBSESSION

The Trikini, a mix between a bikini and a one piece bathing suit, appeared for the first time on the French beaches in the late '60s and then slowly begins to be present in the summer collections.

Trikini, a metà tra il bikini e il costume intero, compare per la prima volta sulle spiagge francesi alla fine degli anni '60 e da allora lentamente comincia ad essere presente  nelle collezioni estive.

Sharon Tate

Sharon Tate

Raquel Welch

Catherine Spaak

Elle Macpherson

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THE JUMPSUIT STORY

Thayaht

Sharon Tate and Roman Polanski

Marilyin Monroe

ph. Helmut Newton 1966

Jean Shrimpton

Marina Schiano

Jumpsuit 1969

David Bowie

David Bowie

A Palazzo Pitti si può ammirare la prima tuta creata da Thayaht, uno dei maggiori esponenti del secondo futurismo italiano, che risale al 1919, poche cuciture, taglio rettilineo, un'unico pezzo di tessuto. (Thayaht sarà anche l'ideatore del logo di Madeleine Vionnet). Dopo la tuta Universale di Thayaht sarà la volta del russo Rodchenko che con sua moglie nel 1923 crea la Varst, la tuta operaia come abito rivoluzionario.Più femminile sarà la jumpsuit disegnata successivamente da Elsa Schiapparelli con punto vita e decori a polsi e caviglie.
At Palazzo Pitti you can admire the first jumpsuit created by Thayaht, one of the greatest exponents of the second Italian Futurism, which dates back to 1919, a few seams, straight cut, one piece of fabric. (Thayaht is also the designer of Madelaine Vionnet's logo). After the Thayaht Universal Jumpsuit, will be turn of the Russian Rodchenko who with his wife in 1923 creates the Varst, the working jumpsuit as a revolutionary garment. More feminine will be the jumpsuit drawn later by Elsa Schiapparelli, with waist and decorations at the wrists and ankles

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http://scostumista.blogspot.it/2012/07/thayaht.html