#piero gherardi

[cressida-jayoungr]

One Dress a Day Challenge

November: Oscar Winners

La Dolce Vita / Anita Ekberg as Sylvia

Year: 1961

Designer: Piero Gherardi

It was hard to choose a costume from this movie, well known for its fashion. There's Sylvia's famous strapless black dress, for example, or I also considered highlighting one of Marcello Mastroianni's suits. But I went with this lacy outfit because it's the one I remembered, however hazily, from the one time I saw this movie. I watched it when I went on an art film kick in college or shortly after. I was probably too young to appreciate it properly at the time; I wouldn't mind watching it again, but it doesn't seem to be available for streaming anywhere. Anyway, when I thought back on the look of it, I had a vague image of a woman sitting on a sofa and wearing something really cool in high-contrast black and white.

[desimonewayland]

Giulietta Masina in Federico Fellini’s Juliet of the Spirits, 1965

Set and costume designer, Piero Gherardi

via: slowsoulburn

[costumeloverz71]

Sylvia (Sylva Koscina) Pink & blue dress.. in Juliette of the Spirits (Giulietta degli Spiriti) (1965).. Costume by Piero Gherardi.

[onegentlemansescapades]

Federico Fellini's Juliet of the Spirits (1965) / Costumes by Piero Gherardi

[fashionbooksmilano]

Ciak si sfila

I défilé di moda in trenta film

Grazia D'annunzio e Sara Martin

postmedia books, Milano 2023, 126 pagine, 31 immagini b/n e a colori, ISBN 978865359432

euro 19,00

email if you want to buy booksinprogressmilano@yahoo.it

Il libro è un’analisi approfondita e inedita di un sottogenere cinematografico, la sfilata di moda inserita in una trama cinematografica che inizia a farsi strada in America negli anni Venti per poi essere “esportato” con successo anche in Italia durante gli anni della dittatura fascista. Originariamente il défilé serve sia come momento di evasione che come strumento per veicolare le novità della stagione. A partire dagli anni Cinquanta del secolo scorso, ai costumisti di Hollywood che guardavano ai trend della moda francese e li riproponevano sul grande schermo (Adrian è un caso lampante) e a quelli europei che attraverso gli abiti esprimevano una visione del mondo condivisa con i registi (Piero Gherardi e Danilo Donati con Fellini) si affiancano i veri couturier (le sorelle Fontana ne Le amiche, Hubert de Givenchy in Cenerentola a Parigi), e in seguito la sfilata di moda viene anche vista e proposta in chiave ironico-dissacrante (Chi sei, Polly Maggoo?). Il sottogenere continua a fare capolino anche nei film di questo millennio, in un pastiche di rimandi e appropriazioni (comico surreale in Zoolander, reale in Sex and The City - The Movie, pseudo storico in Marie Antoinette, liberamente ispirato a un couturier ne Il filo nascosto, filologicamente vintage in La signora Harris va a Parigi). Il volume è diviso in due parti: nella prima si analizzano la nascita e l’evoluzione di questo sottogenere, il ruolo e l’estetica dei costumisti più importanti, nella seconda, si descrivono trenta film dove il défilé è un momento essenziale del racconto.

14/12/23

[byneddiedingo]

Marcello Mastroianni in 8 1/2 (Federico Fellini, 1963) Casti: Marcello Mastroianni, Claudia Cardinale, Anouk Aimée, Sandra Milo, Rossella Falk, Barbara Steele, Madeleine Lebeau, Eddra Gale, Guido Alberti, Jean Rougeul. Screenplay: Federico Fellini, Ennio Flaiano, Tullio Pinelli, Brunello Rondi. Cinematography: Gianni Di Venanzo. Production design: Piero Gherardi. Film editing: Leo Catozzo. Music: Nino Rota.  At one point in 8 1/2 an actress playing a film critic turns to the camera and brays (in English), "He has nothing to say!", referring to Guido Anselmi, the director Marcello Mastroianni plays, and by extension to Fellini himself. And that's quite true: Fellini has nothing to say because reducing 8 1/2 to a message would miss the film's point. Guido finds himself creatively blocked because he's trying to say something, except he doesn't know what it is. He has even enlisted a film critic (Jean Rougeul) to aid him in clarifying his ideas, but the critic only muddles things by his constant monologue about Guido's failure. Add to this the fact that after a breakdown Guido has retreated to a spa to try to relax and focus, only to be pursued there by a gaggle of producers and crew members and actors, not to mention his mistress and his wife. Guido's consciousness becomes a welter of dreams and memories and fantasies, overlapping with the quotidian demands of making a movie and tending to a failed marriage. He is also pursued by a vision of purity that he embodies in the actress Claudia Cardinale, but when they finally meet he realizes how impossible it is to integrate this vision with the mess of his life. Only at the end, when he abandons the project and confronts the fact that he really does have nothing to say, can he realize that the mess is the message, that his art has to be a way of establishing a pattern out of his own life, embodied by those who have populated it dancing in a circle to Nino Rota's music in the ruins of the colossal set of his abandoned movie. The first time I saw this film it was dubbed into German, which I could understand only if it was spoken slowly and patiently, which it wasn't. Even so, I had no trouble following the story (such as it is) because Fellini is primarily a visual artist. Besides, the movie starred Mastroianni, who would have made a great silent film star, communicating as he did with face and body as much as with voice. It is, I think, one of the great performances of a great career. 8 1/2 is also one of the most beautiful black-and-white movies ever made, thanks to the superb cinematography of Gianni Di Venanzo and the brilliant production design and costumes of Piero Gherardi.

[vividiste]

Guarda "Mina - Se telefonando (1966) regia e costumi Piero Gherardi" su YouTube

Notte🌻⭐🌛

[savage-kult-of-gorthaur]

BEHIND-THE-SCENES SHOTS OF AN ARTHOUSE CLASSIC -- A SIXTY-YEAR-OLD MASTERPIECE IN 2023.

PICS) INFO: Spotlight on European cinema greats Anouk Aimée & Marcello Mastroianni✝ in behind-the-scenes shots of Federico Fellini's surrealist classic "8½" (1963). Archivio Storico del Cinema, AFE. 📸: Paul Ronald.

OVERVIEW: "As if by magic, Federico Fellini’s legendary black and white film 8 ½ makes an appearance in colour, immortalised by Paul Ronald. The producers asked him to photograph scenes in black and white. But Ronald had two hasselblad cameras, and he loaded the second one with a roll of colour film, not knowing what he would do with it.

Colour reveals all. It underscores the aesthetic choices’ resolute modernity, from the sets to Piero Gherardi’s costumes, the eminently contemporary figures of Anouk Aimée and Claudia Cardinale, and Marcello Mastroianni’s lecherous poses. It takes us out of the film’s rigorous structure, brings us behind the scenes and shows us the festive mood that prevailed on Fellini’s set."

-- LES RECONTRES DE LA PHOTOGRAPHIE, "Fellini, 8½ Colour Photographs by Paul Ronald, c. 2015, by Abbaye de Montmajour

Sources: www.rencontres-arles.com/en/expositions/view/354/fellini-8-colour, X, Republica Bologna, & The Eye of Photography.

[candywynnejones]

Mina - Sono come tu mi vuoi (1967) regia e costumi Piero Gherardi

[claudio1959]

Mina - Se telefonando (1966) regia e costumi Piero Gherardi

[lamiaprigione]

8½ (1963)

[nowvoyagerit]

Ava Gardner wearing the scandalous dress "il Pretino" created by Sorelle Fontana in 1956.

Some years later, in 1960, Piero Gherardi, the costume designer for Fellini's La dolce vita, took up the idea for the dress worn by Anita Ekberg in the film.

[desimonewayland]

Juliet of the Spirits, 1965

Federico Fellini: “Don’t forget that costumes, like dreams, are symbolic communication.”

Set and costume designer, Piero Gherardi.

© RTI / BFI

[sesiondemadrugada]

Le notti di Cabiria (Federico Fellini, 1957).

[serafino-finasero]

Sylva Koscina in a costume by Piero Gherardi on the set of the film Giulietta degli spiriti (Juliet of the Spirits, Italy/France, 1965, Federico Fellini) | photo by Franco Pinna (Italian, 1925--1978) | Rizzoli Film / Francoriz Production

[silezukuk]

Sylva Koscina, Valentina Cortese, Caterina Boratto, Mario Pisu, Giulietta Masina / Giulietta degli spiriti (1965) / [***]