Em breve: Visiveis Virtudes Vintage

“Sounds to me like you come from London Town”

Try and understand Patti Smith

Após o fechamento, em primeiro de agosto, do famoso Hotel Chelsea em Nova York onde Patti Smith morou durante o início dos anos 70 com seu melhor amigo e companheiro de algum tempo Robert Mapplethorpe, e retornou sozinha nos anos 90, a Visíveis Virtudes traz partes de uma entrevista da poeta e cantora punk concebida ao The New York Times ano passado, em sua mesa de esquina preferida do restaurante Da Silvano em Greenwich Village.

“Meu estilo diz `Olhe para mim, não olhe para mim,`” ela disse, com uma certa impaciência que perturbava sua tranquilidade aparente “É, ‘eu não me preocupo com o que você pensa.’” Então foi uma surpresa descobrir que a jaqueta que Patti Smith usava foi criada por Ann Demeulemeester, a sacerdotista da vanguarda chic parisiense. O jeans era Ralph Lauren e as botas, um presente de Johnny Depp, foram usadas por ele no papel de chapeleiro maluco em “Alice no País das Maravilhas”.

“Ela é muito consciente de seu estilo, e o controla” disse Demeulemeester, amiga e colaboradora de longo tempo. “É sobre ter consciência de quem você é e usar todo seu poder para comunicar essa mensagem.” Entre apresentações em eventos como a noite final do CBGB, o lendário clube na rua Bowery, e inúmeras aparições públicas ao longo da última década, ela se manteve fiel ao seu estilo assinatura, uma mistura de glamour e resistência.

Essa consistência estabeleceu Patti Smith, hoje com 64 anos, como lançadora de tendências de várias gerações – quantas meninas imitam seu look vestindo jeans, boyfriend jackets e camisas brancas sem perceber a influência? E seu estilo ressoa o de designers tão diversos como Christophe Decarnin (ex-diretor criativo) da Balmain e Limi Yamamoto da Limi Feu, para quem Smith tem sido um tipo de musa espiritual. “A capacidade dela de aceitar tudo que acontece com ela ,” afirmou Yamamoto recentemente, é uma constante inspiração.

As paixões de Smith refletem seu estilo, um pastiche baseado em seus heróis culturais. A qualquer momento, pode fazer referência à Veruschka, a modelo amazona dos anos 60, ou a Keith Richards e John Lennon. Ela andou por meses por lojas à procura de calças listradas de linho que evocavam Lennon porque, disse ela, “algo naquelas calças falaram para mim de mim mesma.”
Ela gosta de amarrar suas camisas brancas na cintura em homenagem à Ava Gardner. As gravatas masculinas que usa são uma refercência a Frank Sinatra e Bob Dylan. Como as jaquetas biker que ela garimpou nas lojas vintage no Bowery, elas são totens.

Smith, que deixou o colégio aos 20 anos, cultivou um olhar para a moda estudando filmes como Cinderela em Paris (Funny Face) de 1957 e fotografias de estrelas de cinema na Photoplay e de modelos dos catálogos da Sears nos anos 50. Ela teve o primeiro contato com a high fashion aos sete anos ao encontrar uma pilha de revistas Vogue e Harper’s Bazaar. “Estudei as páginas das revistas durante todos os anos 60. Me tornei especialista”.

A loja The Salvation Army em Camden, N.J, próxima a sua casa, era onde os ricos descartavam roupas de estilistas famosos e muitas foram parar no guarda-roupas de Smith.
No colégio, Smith achava normal usar um vestido Dior vintage ou calças capri cor de rosa com uma capa de chuva verde em homenagem à Audrey Hepburn, quem em “Cinderela em Paris” era para Smith “a garota beatnik na livraria que queria ir a Paris. Era eu na época”. Ela também não escondia seu romanticismo efusivo. “As pessoas não sabiam disso, mas eu adoro vestidos de festa”, disse ela. “Iadoro o corte, a arquitetura e a idéia das mãos de tantas costureiras trabalhando neles.”

Ela junta referências com um olhar atento; elas servem em seu livro “Just Kids” como umdisparador de mnemônicas, levando-a de volta ao carnaval que era o arenoso St. Marks Place no começo dos anos 70, o espaço repleto de arte que dividia com Mapplethorpe no Chelsea Hotel, e a mesa redonda nos fundos do Max, uma vez lugar de Andy Warhol e seus amigos.
Naquele período ela começou a dar nomes divertidos às suas roupas . Havia o chapéu de palha “Song of the South”, a jaqueta Br’er Rabbit , botas de trabalho e calças dobradas; o “jogador de tênis em luto,” uma roupa toda preta com tênis Keds brancos; e sua Anna Karina em “Bande à part”: agasalho preto, saia xadrês, meia preta e sapatilhas.

Nunca aversa a uma performance, ela revelou: aquelas roupas eram, afinal, para torná-la inesquecível. Pousando para uma foto para sua amiga Judy Linn, Smith acendeu um Kool, na expectativa de que isso poderia causar intimidamento. “Sei que sou uma fumante de mentira,” ela confessou a Linn, “mas não estou fazendo mal a ninguém e, além disso, tenho que cuidar da minha imagem.”

Ainda assim, ela insiste não ser uma atriz. “Não tenho a disciplina nem o desejo de ser outra pessoa.”. “Gosto de me sentir confortável,” disse ela. “Sexo nunca foi minha história. Apenas quis me sentir eu mesma.”

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Following the closure, on August 1, of the the infamous Hotel Chelsea in New York where Patti Smith lived during the early 70s with best friend and sometime lover Robert Mapplethorpe and returned alone in the 90s, Visiveis Virtudes brings parts of an interview given by the legendary punk poet and musician to The New York Times last year, at her customary corner table at Da Silvano em Greenwich Village.

“My style says ‘Look at me, don’t look at me,’” she said, a hint of testiness ruffling her easy composure. “It’s, ‘I don’t care what you think.’” So it was surprising to learn that her roomy gray jacket, with cuffs that unfasten at the wrist, was designed by Ann Demeulemeester, a high priestess of Parisian vanguard chic. Her jeans were Ralph Lauren, prized by Ms. Smith for their racy lines. Her boots, a gift from Johnny Depp, who wore them as the Mad Hatter in “Alice in Wonderland,” were the perfect fit, Ms. Smith exulted, “like when the magic cobbler made your shoes.”

“She is very aware of her style and she controls it,” said Ms. Demeulemeester, a longtime friend and fashion collaborator. (Ms. Smith favors the designer’s mannish white shirts, inspired by the one she wore on the cover of her debut album, “Horses”) “It’s about being conscious of who you are and using all the strength you have to communicate that”. “The thing I’ve always liked about performing,” she said, storm clouds gathering in her eyes, “is that I decide what I want to wear, whether I want to comb my hair. No one ever told me what to do, and no one tells me now.”

A star attraction at iconic events like the final night of CBGB, the fabled Bowery club where she performed as a girl, and at a string of public outings throughout the past decade, she has cleaved to her signature style, an unlikely fusion of glamour and grit.

That constancy has made Ms. Smith a trendsetter for several generations — how many young girls emulate her look of pegged jeans, boyfriend jackets and white shirts without ever realizing it? And her style resonates with designers as diverse as Christophe Decarnin of Balmain and Limi Yamamoto of Limi Feu, for whom Ms. Smith has been a kind of spiritual muse. “The capacity to accept anything that happens to her,” Ms. Yamamoto said recently, is a source of constant inspiration.

Her abiding passions are reflected in her style, a thoughtful pastiche modeled on her cultural heroes. At any time, it may owe a debt to the Harris tweed jackets she spied on a couple at the Metropolitan Museum, to Veruschka, the ’60s runway Amazon, or to vintage Keith Richards and John Lennon. She combed shops for months in search of the striped linen trousers that evoked Mr. Lennon because, she said, “something in those pants spoke to me of myself.”
She likes to knot her white shirts at the waist in homage to Ava Gardner. Her stringy men’s ties are a simultaneous nod to Frank Sinatra and Bob Dylan. Like the beat-up biker jackets she hunted down long ago in thrift shops on the Bowery, they are totems.

Ms. Smith, who dropped out of college at 20, cultivated a fashion eye by studying movies like “Funny Face” and photographs of movie stars in Photoplay and of models in 1950s Sears catalogs. She encountered high fashion at 7 when she chanced on a cache of discarded Vogues and Harper’s Bazaars. At the time, fashion magazines “were such a window into the culture,” she added wistfully. “There would be a spread on Morocco, another on what to wear to a fox hunt.“I studied those pages all through the ’60s. I became very knowledgeable.”

”She refined her expertise. The Salvation Army in Camden, N.J., near her home, a dumping ground for the castoffs of the rich, was filled with high-end labels, some that made their way into her closet. In high school Ms. Smith thought nothing of wearing used Dior dresses or pink shantung capri pants with a Kelly green raincoat in honor of Audrey Hepburn, who in “Funny Face” was for Smith “the beatnik girl in the bookstore who wants to go to Paris. That was me at the time”. Nor did she mask her effusive romanticism. “People wouldn’t know this about me, but I adore ball gowns,” she said. “I love their cut, their architecture and the thought of the hands of so many seamstresses working on them.”

She gathers references with a magpie eye; they serve in her book “Just Kids” as mnemonic triggers, taking her back to the gritty carnival that was St. Marks Place in the early ’70s, the cramped, art-strewn quarters she shared with Mapplethorpe at the Chelsea Hotel, and the coveted round table in the back room at Max’s, once home to Andy Warhol and his entourage.

In those days she took to giving fanciful names to her outfits. There was her “Song of the South” get-up: straw hat, Br’er Rabbit jacket, work boots and pegged pants; the “tennis player in mourning,” a black-on-black ensemble accessorized for evening with white Keds; and her Anna Karina in “Bande à part”: dark sweater, plaid skirt, black tights and flats.

Never averse to role-playing, she reveled in those costumes: they were meant, after all, to render her unforgettable. Posing for a photograph for her friend Judy Linn, Ms. Smith lighted a Kool, hoping, as she writes, that it would lend her a bit of professional swagger. “I know I’m a fake smoker,” she confided to Ms. Linn, “but I’m not hurting anybody and besides I gotta enhance my image. ”Yet she she’s no actress, Ms. Smith insists. “I have neither the discipline nor the desire to turn into someone else”.“I like to be comfortable,” she said evenly. “Sex has never been my thing. I just wanted to feel like myself.”

IN CONEY ISLAND Ms. Smith and Robert Mapplethorpe in 1969

Patti Smith, wearing Dior

Ann Demeulemeester’s designs are favorites

Front cover for Patti Smith’s debut album Horses, 1975

2007 Rock And Roll Hall Of Fame Induction Ceremony – Show

VV Look du Jour: Minus Zero corset

O corselet Minus Zero é a peça perfeita para qualquer festa e a stylist da Visiveis Virtudes pode ajudar você a montar um look simples ou elaborado com ele. Gostou? Escreva pra visiveisvirtudes at gmail.com e descubra como!

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The Minus Zero corset is the perfect piece for any party and Visiveis Virtudes’s stylist can help you to dress it up or down. Like it? Email visiveisvirtudes at gmail.com and find out more!

In the mood for mud

O festival de Glastonbury é o maior festival de música do país que deu ao mundo Beatles, David Bowie e Stone Roses – muito provavelmente o mais importante do mundo. Glastonbury acontece quase anualmente desde 1970 no sudoeste da Inglaterra, em uma fazenda próxima da cidade que dá o nome ao evento.

Em 2011 o festival teve 60 palcos, e pelo legendário Pyramid stage já passaram nomes como The Cure, Primal Scream, Neil Young e Bob Dylan. Mas alguns dos participantes são igualmente famosos e, seguindo os passos do ícone de estilo Kate Moss, contribuiram para inspirar pessoas que chegam de diversos países para, no solstício de verão, acampar suas tendas por cinco dias e alternar entre as botas wellington e os óculos Ray-Ban em shorts jeans.

Veja alguns dos looks do Glasto desse ano, que teve seu último dia domingo, e nos conte o que você usaria para ser notado em meio à lama, boa música e 160 mil pessoas.

Alexa Chung, designer
Jaqueta Barbour, top vintage, shorts Chatrum Manly, wellingtons Superga

Alice Dellal, modelo
Tudo Diesel, óculos de sol vintage, botas de uma loja em Kentish Town, Londres

Rubymay Cowan, estudante
Chapéu e top vintage, shorts American Apparel, botas Doc Martens

Clare Drummond, relações públicas
Camiseta Truly Madly Deeply, shorts Henry Holland, bolsa Trussardi 1911

Becky Nolan, vendedora de antiguidades
Vestido ASOS, botas Marc by Marc Jacobs, óculos Ray-Ban, colar vintage

Lia Nicholls, jornalista
Camiseta Topshop, shorts vintage, óculos Ray-Ban, wellingtons Hunter

Jessie Good, modelo
Jaqueta Acne, vestido Alexander Wang, bolsa vintage e botas

Megan Lowy, gerente de hotel
Poncho e tiara de flores Topshop, leggings customizadas, wellies Hunter

The most stylish woman of all time, according to the British

Em pesquisa nacional, realizada pela empresa de refrigerantes Orangina, ingleses elegeram as 10 mulheres que consideram ter mais estilo de todos os tempos. Segue a lista, enquanto você faz a sua!

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In a nationwide poll by soft drinks comany Orangina, English man and women voted for the most stylish women of all time. Here goes the list, whilst you make yours!

Brigitte Bardot, 1960’s

Elizabeth Taylor, 1950’s

Victoria Beckham, 2010

Cheryl Cole, 2011

Joan Collins, 1971

Audrey Hepburn, 1959

Grace Kelly, 1956

Sophia Loren, 1961

Marilyn Monroe, 1957

Princess Diana, 1988

The most stylish women from the fashion capitals

Na matéria intitulada Fashion Capital Style, a revista Vogue fez a seguinte pergunta: “Qual capital da moda tem as mulheres mais estilosas?”, apresentando suas dez preferidas de cada cidade. VV editou sua lista e, embora as francesas estejam no topo e em maior número, acreditamos que mulheres com estilo estão em todos os lugares. Olhe à sua volta.

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In an article entitled Fashion Capital Style, Vogue has come up with the following question: “Which fashion capital has the world’s most stylish women?”, presenting us with their 10 best from each city. VV made its list, and even though the French are on top and in higher number, we believe stylish women are everywhere. Have a look around.

PARIS

Emmanuelle Alt
O look da nova editora-chefe da Vogue Paris é inovador, e seu estilo pode ser adotado com jeans pretos e um tuxedo branco.
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The new editor-in-chief of Vogue Paris has really made us excited about French style again. Her look is admirably cutting edge, but still makes us feel that we could manage to somehow look like her in a pair of black jeans and a white tuxedo.

Carine Roitfeld
A antiga editora-chefe da Vogue Paris raramente é fotografada sem lápis preto de olho e cabelo no rosto, seu estilo assinatura. O look é de alto impacto e exige manutenção constante, mas ainda assim dá a impressão de chique sem esforço.
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Former editor-in-chief of Vogue Paris, Roitfeld is rarely photographed without her signature black eyeliner and hair over her face. Her look is high-impact and high-maintenance, but somehow still looks effortlessly chic.

Vanessa Paradis
A musa da Chanel resume tudo que é simples e chique na moda e seu sorriso de dentes separados tornaram-se icônicos, fazendo dela a equivalente moderna da sua predecessora francesa Brigitte Bardot.
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The Chanel muse epitomizes all that is simple and chic in fashion and her gap-toothed smile has become iconic, making her the modern equivalent of her French predecessor Brigitte Bardot.

Carla Bruni
A primeira-dama francesa usa os dois mais famosos looks parisienses à perfeição. Dior com acessórios Roger Vivier é a opção dela para ocasiões formais, enquanto os sapatos baixos, as calças justas e um top simples mantém sua imagem de artista.
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The French first lady works the two most famous Parisian looks to perfection. Dior, teamed with simple Roger Vivier accessories, is her choice for any formal occasion, whilst her off-duty look – flat shoes, slim trousers, and a simple top – maintains her image as a low-maintenance musician.

Eva Green
A atriz mora em Londres mas seu estilo é drama parisiense puro. O contraste gótico dos cabelos pretos e da pele branca, muitas vezes acompanhados de batom vermelho, complementam suas escolhas de couture – frequentemente francesa – espetacular.
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The actress and former Bond girl may live in London now, but her style is pure Parisian drama. Gothic dark hair and pale skin, often paired with red lips, complement her choice of spectacular, often French, couture.

Lou Doillon
Filha do diretor francês Jacques Doillon, o estilo parisiense de Lou deve muito à sua mãe, a modelo inglesa Jane Birkin. Seu look é ao mesmo tempo clássico e excêntrico.
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Daughter of French director Jacques Doillon, Lou’s Parisian style owes much to British model mother Jane Birkin – who iconic French accessory the Hermès Birkin was named after. Doillon’s look is both classic and quirky.

LONDON

Daphne Guinness
O look de Guiness – quem mais usa couture no mundo da moda e uma famosa colecionadora – é dramático. Ela foi a primeira a usar os vertiginosos sapatos armadillo de seu amigo Alexander McQueen.
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Fashion’s most famous couture wearer, and one of the world’s foremost collectors, lives not in Paris but in London. No look is too dramatic for Guinness – and she was the first to wear her friend Alexander McQueen’s vertiginous armadillo shoes.

Alexa Chung
A garota da capa da Vogue mistura o look parisiense despreocupado com o desalinhado cool de Londres. O cabelo bagunçado que lembra o de Kurt Cobain tornou-se seu estilo assinatura.
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The Vogue cover girl melds a quirky Parisian insouciance with dishevelled London cool. She famously cut her long hair in to a messy “Kurt Cobain” bob when she moved to the US to prevent producers being able to order her to have a glossy blow-dry and has maintained her signature style whether here or in NY.

Agyness Deyn
A garota da capa da Vogue contrasta suas feições delicadas com peças grunge e andróginas – dos sapatos Dr. Martens a camisetas de banda. Musa e melhor amiga do designer Henry Holland, seu estilo assinatura é o cabelo loiro super claro e curto.
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The Vogue cover girl dresses down her delicately pretty face with grungy, androgynous pieces – from Doc Martens and parkas to band T-shirts and plaid shirts. Best friend and muse of designer Henry Holland, her trademark bleach blonde crop spawned thousands of copies.

Lulu Kennedy
Fundadora do Fashion East de Londres, Kennedy tornou-se amiga de designer inovadores durante a última década. Em 2010 lançou a coleção Lulu & Co, trabalhando com nomes importantes da moda, e passou a escrever o blog Today I’m Wearing na VOGUE.COM.
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Kennedy is the founder of Fashion East and as such has built friendships with some of the city’s most cutting-edge designers over the past decade. She launched a collection, Lulu & Co, in 2010 working with some of the industry’s key names, to allow us all to share her dazzling wardrobe – and cemented her fashion status by appearing as VOGUE.COM’s Today I’m Wearing blogger in October 2010.

MILAN

Anna Dello Russo
A editora da Vogue Japão é uma apoiadora da alta-costura, cores, apliques e tudo que for dramático. O oposto do estilo menos-é-mais de vestir da parisiense.
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The Vogue Nippon editor-at-large takes the trademark glossy exuberance of Italian fashion to the nth degree. The woman who famously proclaimed she “doesn’t do daywear” is a supporter of couture, colour, embellishment and all things dramatic. She is the very antithesis of the Parisian less-is-more style of dressing.

Anna Piaggi
Conhecida pelo seu estilo excêntrico, cabelo colorido e carreira prolífica na moda, a antiga editora da Vogue Itália é predecessora de pioneiras da moda como Anna Dello Russo, mostrando que não há ocasião para não se usar um chapéu.
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Called “the world’s last great authority on frocks” by Manolo Blahnik, Anna Piaggi is known for her eccentric style, brightly coloured hair and prolific fashion career. The former Italian Vogue editor is a predecessor to Italian fashion pioneers like Anna Dello Russo, showing that there really is no occasion too small to wear a hat.

Franca Sozzani
A editora da Vogue Itália é conhecida pelo seu estilo minimalista mas nada convencional: peças monocromáticas, cabelo solto e maquiagem leve. Tem o mesmo look intelectual e despreocupado da designer italiana Miuccia Prada.
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The Italian Vogue editor is known for her understated but quirky style: brightly coloured seperates and pared back hair and make-up. She’s the perfect posterwoman for fellow figurehead of Italian fashion Miuccia Prada and shares the designer’s intellectual yet carefree look.

Sophia Loren
Nascida em Roma, a atriz encorpora a moda italiana: sexualidade requintada, feminina e sem medo.
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The screen icon’s incredible and enduring looks have caused many to forget that she is also an Oscar-winning actress. Born in Rome, Sophia nevertheless embodies Italian fashion: polished, feminine and unafraid of sexuality.

NEW YORK

Sophia Coppola
Preferida de designers como Marc Jacobs por seu estilo simples e bonito. Seu look é essencialmente francês – cabelo simples e pouca maquiagem combinados com peças básicas e de excelente corte – mas com um toque de perfeição luxuosa que só poderia vir de Nova York.
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Although she lives in Paris, the New York-born director, daughter of legendary filmmaker Francis Ford Coppola, is a favourite of New York designers like Marc Jacobs for her simple, pretty style. Her look is French in essence – simple hair and minimal make-up worn with classic, well-cut basics – but there’s an edge of glossy perfection that could only have come from NY.

Chloe Sevigny
Rainha de tudo que é vintage, Chloe não tem medo de entrar na lista das mais mal vestidas, embora quase sempre acerte no look. Ela sempre surpreende, seja nas peças da sua coleção para a Opening Ceremony ou em Yves Saint Laurent.
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Sevigny represents Downtown cool and is the queen of all things vintage. Never afraid to be on the Worst Dressed list she takes a risk with every look and almost always gets it right. She’s recently added designer to her resume with a stint at Opening Ceremony and always manages to surprise whether in her own collection, vintage or Yves Saint Laurent.

Erin Wasson
A modelo tatuada define a cena cool de Nova York. É vista com frequência nas criações de seu amigo Alexander Wang. O oposto dos cabelos escovados de Upper East Side, ela prefere cabelo desarrumado e calças de couro.
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The tattooed model sums up all that is cool about New York’s fashion scene. Often seen in creations by her friend Alexander Wang, Wasson is the antithesis of the blow-dried Upper East Sider, preferring bed-head hair and skinny leather jeans.

Sarah Jessica Parker
O ícone definitivo do estilo nova-iorquino, sua Carrie Bradshaw fez milhões de mulheres sonharem em morar na East 73rd e usar vestidos vintage com sapatos de Manolo Blahnik.
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Surely the ultimate New York style icon, Parker’s Carrie Bradshaw made a million girls dream of living on East 73rd Street and wearing vintage dresses with Manolo Blahnik shoes. Parker’s real life style, while less adventurous than her character’s, has proved no less enthralling, with the world’s fashion press dissecting her every move long after Sex And The City was no longer on our screens.

Italian Style on the Silver Screen

O fotógrafo Rankin e a escritora de moda e cinema Anna Battista se uniram a Peroni Nastro Azzurro para criar uma exposição que olha para figurinos icônicos surgidos da fantasia de lendários diretores em colaboração com seus excelentes diretores de arte, designers de figurino e artesãos.

Italian Style on the Silver Screen analisa 60 anos de cinema, tendências e moda, homenageando as fashion maisons, casas de alfaiataria, figurinistas e fashion designers que contribuiram para criar o encantamento do cinema italiano. Para acompanhar as peças da mostra, Rankin exibe uma série de fotografias originais e inéditas.

A coleção foi selecionada de diferentes arquivos históricos, incluindo the British Film Institute, the Sorelle Fontana and Fernanda Gattinoni. Imagens e clipes tirados de mais de 50 filmes fazem parte da mostra, além de acessórios como os chapéus Borsalino – da histórica empresa fundada por Giuseppe Borsalino em 1857 – até hoje associados a Humphrey Bogart, Al Capone, Ernest Hemingway e Winston Chirchill – os lendários “paparazzo shoes” criados por Alberto Dal Co’ em 1953, e os sapatos da linha Creations da Ferragamo, reproduzindo aqueles criados para Ava Gardner e Marilyn Monroe.

The Peroni Collection – Italian Style on the Silver Screen está na Proud Gallery Chelsea, em Londres, até 20 de março.

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Photographer Rankin and Italian fashion and film writer Anna Battista have joined with Peroni Nastro Azzurro to create an exhibition which looks at iconic costumes born out of the fantasy of legendary directors in collaboration with their magnificent art directors, excellent costume designers and skilled artisans.

Italian Style on the Silver Screen analyses 60 years of films, trends and fashion, paying a tribute to those fashion maisons, tailoring houses, costume and fashion designers who contributed to create the magic of Italian cinema. Furthermore, to accompany the pieces on show, Rankin will be exhibiting a series of original and previously unseen images.

The collection has been sourced from different historical archives including the Florence-based Ferragamo Museum, the British Film Institute and the famous Tirelli Tailoring House. Film clips, images and costumes taken from over 50 film titles will be on display, and also exclusive accessories, such as the legendary “paparazzo shoes” designed by shoemaker Alberto Dal Co’ in 1953, a selection of hats by Borsalino, the historical hat manufacturer founded by Giuseppe Borsalino in 1857 in Alessandria, and shoes from the Ferragamo’s Creations line, reproducing the original footwear Salvatore Ferragamo created for Ava Gardner and Marilyn Monroe.

The Peroni Collection – Italian Style on the Silver Screen runs until March 20th, at the Proud Gallery Chelsea, London.

Silvana Mangano in ”Una sera come le altre” (“A night like any other”) by Vittorio De Sica; Costume Design by Piero Tosi. Segment from Le streghe (The Witches, 1967) by Mauro Bolognini, Vittorio De Sica, Pier Paolo Pasolini, Franco Rossi and Luchino Visconti.

Protagonist Giovanna finds refuge in her dreams in which she is not an obedient wife, but a glamorous diva in designer clothes. As a revengeful vixen clad in a black PVC dress matched with a spiky headdress she becomes the sensual mistress. The episode culminates with Giovanna clad in a striking black satin dress with a colourfull billowing cape formed by strips of fabrics knotted on her shoulders, it is a joyful kaleidoscope of vibrant shades that contrasts with her grey and boring everyday life.

 

Claudia Cardinale in C’era una volta il West (Once Upon a Time in the West, 1968) by Sergio Leone; Costume design by Antonella Pompei and Carlo Simi BFI.

This is an iconic image from Leone’s Once Upon a Time in the West. Claudia Cardinale sports a classic cowboy look, with dirty and dusty trousers matched with leather waistcoats. Cardinale’s “western look” reappeared in Ralph Lauren’s Spring Summer 2011 collection including fringed leather trousers, bull’s head belt buckles and pale blue dresses with delicate lace edgings.

 

Anita Ekberg and Marcello Mastroianni in La dolce vita (The Sweet Life, 1960) by Federico Fellini; Costume Design by Piero Gherardi, BFI.

The legendary shots of Anita Ekberg and Marcello Mastroianni in the Trevi Fountain forever changed the history of Italian cinema. The black satin dress worn by Ekberg was actually inspired by Jean Loui’s black satin strapless gown for Rita Hayworth in Gilda. The film caused a huge debate when it was first released and the case even reached Parliament where conservatives MPs asked to withdraw it from circulation as it offended the virtues and integrity of the respectable citizens of Rome.

 

8 ½ (1963) by Federico Fellini; Costume Design by Piero Gherardi, BFI.

The most prominent scene in this film sees the characters dressed in white or donning extravagant designs, gathering together in the circus ring while clowns play Nino Rota’s evocative music. Guido’s psychoanalytic journey through cinematic creation and style is over and he can finally start shooting the film he had dreamt about. The film is best described by Fellini who claimed 8 ½ was “a beautiful chaos” in which he felt alive.

 

Blow Up (1966) Michelangelo Antonioni; Costume Design by Jocelyn Rickards.

Antonioni was interested in iconic and often extreme costumes which would represent social evolutions. The costumes in Blow Up, from the Mary Quant style mini-dress to the optical designs calling on Andrè Courrèges and Rudi Gernreich’s arquitecturally futuristic clean-cut lines, perfectly conjure up the late 1960’s fashion scene; . Other films by Antonioni show more interest in the costume as indicator of the psychological state of the character, as the ‘tetralogy of alienation’ – L’Avventura, La Notte, L’Eclisse and Deserto Rosso).

 

Giulietta degli spiriti (Juliet of the Spirits, 1965) by Federico Fellini; Costume Design by Piero Gherardi, BFI.

The trippy acid colours, theatrical sets and psychedelic interiors of the film incarnated the phenomenal, surprising wonderful and fantastic. To pay homage to Fellini’s oneiric visions, Fendi launched a series of t-shirts in collaboration with the Federico Fellini Foundation for the Spring/Summer 2011 season. The t-shirts, released in limited edition, featured colorful prints of the director’s surreal sketches and drawings.