#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.

[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

[thecoffeelorian]

House Husband AU (WIP; title to be decided...):

Justin Acacius was, according to the neighbors of Imperator Street, a fairly cultured man who wouldn’t dare break the laws of their fair city.

By day, he kept the household of their esteemed Head Curator, Lucilla Gherardi, in perfect working order. The rooms were spotlessly clean at all hours; no sound pollution ever took place besides the quiet humming of his own tunes; and if that didn’t seem peaceful enough for this little town, the fact that he could make his own pasta from scratch just in time for dinner certainly clinched it.

There’s also what this couple’s closest neighbors have come to label as “Piero Watch”, the daily sighting of the family dog on its walk around 9:15 am every day, most often with Mr. Acacius getting somewhat pulled along behind them.

And finally, by the time that night falls, there’s not much of a change other than the occasional smoke break, if not also the even rarer trip outdoors for a few last minute groceries. In other words, though he might be a slightly imposing figure at times…there’s absolutely nothing to fear where Mr. Acacius is concerned.

At least, not if you’re the average, well-to-do citizen…because for those who wear their sunglasses a bit darker and keep one eye over their shoulder, it’s a slightly different story.

Should any members of this crowd pass Mr. Acacius in the streets, the title “Il Lupo” is the name they speak. Sometimes they say it with a voice full of fear, sometimes with awe, but all, regardless of their age, status, or sometimes even gender, as this is the 21st Milennia, don’t dare stick around too long.

For the individuals in charge of such groups, be they The Twins in the center to The Emperor a bit further north, they will on occasion ask Acacius’ advice on what seem like trivial matters, such as the right temperature to roast a head of garlic or what is the best detergent to wash out a bloodstain or several—oh, but always from clumsy accidents rather than any violent executions. In case you haven’t heard, these modern people don’t do that sort of thing any more.

That’s as far as the mystery reaches, of course, for as the dead can’t reveal any secrets and the living wish to keep their honor, nobody’s ever going to consider speaking up instead. It’s highly doubtful any average person will ever know the truth about Mr. Acacius, either, as there are no known books or magazines ever published that might otherwise hint about his true identity.

If someone were to happen upon the oldest man on the same street where Mr. Acacius lives, however—specifically, the one with a faded SPQR tattoo upon one arm and no photographs of grandchildren in plain sight—maybe they’ll one day hear the story of how the one known as Il Lupo, the one who looks suspiciously like him, narrowly escaped life in an Italian prison. Maybe they’ll also hear all about how he became a married man not long afterward, and curiously moved to the very same street address where Mr. Acacius now lives.

But then again…a story’s just a story, wouldn’t you agree?

(written for @braveincafleet; please like this post to join the taglist for the final copy! tysm!)

[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)

[desimonewayland]

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

Set and costume designer, Piero Gherardi

via: slowsoulburn

[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.

[sesiondemadrugada]

Le notti di Cabiria (Federico Fellini, 1957).

[thecoffeelorian]

House Husband AU...? (wip!)

[ quick note: I would like very much to get a taglist going for the final version of this, soooooo. If this interests you at all, please drop a like and/or reblog, and I'll be sure to include you when the final copy is posted. Thanks! :D ]

Justin Acacius was, according to the neighbors of Imperator Street, a fairly cultured man who wouldn’t dare break the laws of their fair city.

By day, he kept the household of their esteemed Head Curator, Lucilla Gherardi, in perfect working order. The rooms were spotlessly clean at all hours; no sound pollution ever took place besides the quiet humming of his own tunes; and if that didn’t seem peaceful enough for this little town, the fact that he could make his own pasta from scratch just in time for dinner certainly clinched it.

There’s also what this couple’s closest neighbors have come to label as “Piero Watch”, the daily sighting of the family dog on its walk around 9:15 am every day, most often with Mr. Acacius getting somewhat pulled along behind them.

And finally, by the time that night falls, there’s not much of a change other than the occasional smoke break, if not also the even rarer trip outdoors for a few last minute groceries. In other words, though he might be a slightly imposing figure at times…there’s absolutely nothing to fear where Mr. Acacius is concerned.

At least, not if you’re the average, well-to-do citizen…because for those who wear their sunglasses a bit darker and keep one eye over their shoulder, it’s a slightly different story.

Should any members of this crowd pass Mr. Acacius in the streets, the title “Il Lupo” is the name they speak. Sometimes they say it with a voice full of fear, sometimes with awe, but all, regardless of their age, status, or sometimes even gender, as this is the 21st Milennia, don’t dare stick around too long.

For the individuals in charge of such groups, be they The Twins in the center to The Emperor a bit further north, they will on occasion ask Acacius’ advice on what seem like trivial matters, such as the right temperature to roast a head of garlic or what is the best detergent to wash out a bloodstain or several—oh, but always from clumsy accidents rather than any violent executions. In case you haven’t heard, these modern people don’t do that sort of thing any more.

That’s as far as the mystery reaches, of course, for as the dead can’t reveal any secrets and the living wish to keep their honor, nobody’s ever going to consider speaking up instead. It’s highly doubtful any average person will ever know the truth about Mr. Acacius, either, as there are no known books or magazines ever published that might otherwise hint about his true identity.

If someone were to happen upon the oldest man on the same street where Mr. Acacius lives, however—specifically, the one with a faded SPQR tattoo upon one arm and no photographs of grandchildren in plain sight—maybe they’ll one day hear the story of how the one known as Il Lupo, the one who looks suspiciously like him, narrowly escaped life in an Italian prison. Maybe they’ll also hear all about how he became a married man not long afterward, and curiously moved to the very same street address where Mr. Acacius now lives.

But then again…a story’s just a story, wouldn’t you agree?

[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