I VESTITI DEI SOGNI

"I vestiti dei sogni"- clothes of dreams is the exhibition at Palazzo Braschi that exposes the clothes of the greatest Italian costume designer.
From 17 January to 22 March - Palazzo Braschi, piazza san Pantaleo

Gabriella Pescucci-The Age of innocence-Martin Scorsese
for Winona Ryder

Gabriella Pescucci-The Age of innocence-Martin Scorsese
for Winona Ryder

Gabriella Pescucci-The Age of innocence-Martin Scorsese
for Michelle Pfeiffer

Gabriella Pescucci- The Adventure of Baron Munchausen-Terry Gilliam
for Uma Thurman

Gabriella Pescucci- Once upon a time in America-Sergio Leone
for Elizabeth McGovern

In The age of innocence, Gabriella Pescucci evokes the oppressive climate of high society in New York in 1870, through a calibrated color symbolism, while too tight corsets stifle the desires of the rebel Countess Olenska, the character played by Michelle Pfeiffer.
Costumes Of Adventures of Baron Munchausen are more visionary, inspired by fairy tales and illustrations for children.

Milena Canonero- Marie Antoniette- Sofia Coppola
for Kirsten Dunst

Milena Canonero- Marie Antoniette- Sofia Coppola
for Kirsten Dunst

The costumes of Marie Antoinette, with their elegance and lightness define the visual and emotional climate of the film, where the fashion of the eighteenth century is mixed with pop suggestions.

Piero Tosi- The Leopard-Luchino Visconti
for Claudia Cardinale

Piero Tosi- Death in Venice-Luchino Visconti
for Silavana Mangano

Piero Tosi- Ludwig-Luchino Visconti
for Romy Schneider

The Leopard represents one of the best examples of Tosi's art. To create the costumes he draws inspiration from old photos taken from the albums of Sicilian noble families related to Tomasi di Lampedusa. Historic precision is a principle which the actors themselves must embrace: the bodice worn by Angelica in the famous ball scene was too tight Claudia Cardinale's waist measure.

Danilo Donati-Casanova-Fellini

Danilo Donati-Oedipus Rex-Pier Paolo Pasolini

In Oedipus rex, Donati recreates a mythical ancient era, his costumes look like sculptures tailor made for the characters using feathers copper, wood and straw. Here, there is an improvised feel, as if made with a low budget and out of a limited range of available materials. This helps to give a unique look to the film at once basic and primitive but also unmistakably modern.

Maria de Matteis-War and Peace-King Vidor
for Audrey Hepburn

In War and Peace, to show the psycological evolution of Natasha's character; maria De Matteis decides to draw inspiration from the colour themes and chromatic variability of vegetation. The colours of 22 costumes created for Audrey Hepburn follow the life cycle of a leaf, from light spring green to glittering summer emerald, from early autumn red to winter Havana brown. The famous ballroom dress is ivory in colour and made from satin organza dotted with rhinestones.

Piero Gherardi-Juliet and the spitit-Federico Fellini
for Sandra Milo and Giulietta Masina

After the worldwide success of 8 1/2 for which Gherardi earns the Oscar for the costumes, with Juliet of the Spirits explores the world from a woman's point of view. Juliet is a film filled with hats and dresses that give the characters a comic-strip touch.

Caramba-the Borgias-Caramba

Caramba was tailor and set designer:he designed dresses and made them in his own tailor's shop. The renaissance costumes in the court of AlexanderVI are made according to a method he is very fond of: he uses fabrics with Fortuny prints embellished with gold work.

Gino Carlo Sensani -The Iron Crown-Alessandro Blasetti

Sculptured fabrics and gold work open up for us an unprecedented historic dimension. The heaviness of these fabrics has a medeieval taste, but Sensani makes them lighter and richer with inserts of very thin and mysterious gauze, which conceal disquieting feminine figures.

Vittorio Nino Novarese-Ettore Fieramosca-Alessandro Blasetti

Novarese shows us the warrior hero in his everyday clothes, even when the screenplay imposes the use of armours, Novarese makes them minimal in order for the character to stand out.

Gitt Magrini-The Conformist-Bernardp Bertolucci
for Stefania Sandrelli and Dominique Sanda

With Bertolucci, Magrini revisited different ages with an extremely original style elegant and never intrusive: from the Seventies of Last Tango in Paris to the fifty years of italian history of 1900. For The Conformist, she created the sophisticated outfits of the Forties worn by Stefania Sandreli and Dominique Sanda, which in director of Photography Vittorio Storaro's hands lit up with vivid splendour.

Maurizio Millenotti
left:Napoleon and me-P.Virzì for Monica Bellucci
right:The legend of 1900-G.Tornatore

Maurizio Millenotti  -Anna Karenina-Bernard Rose
for Sophie Marceau

Left:Ursula Patzak-Il giovane favoloso-M.Martone for Elio Germano
Center:Franco Carretti- Duck, you sucker-S.Leone for James Cabourn
Left:Gianna Gissi-The Marquess-M.Monicelli for Alberto Sordi

Daniela Ciancio-The Great Beauty-Paolo Sorrentino
for Sabrina Ferilli and Tony Servillo

For the character Jep Gambardella she drews ispiration from the "Napolitan Gagà", from the CApri and Amalfi Coast 60s style. Jep Gambardella is the king of parties.The use of colours is very important for his character.

Massimo Cantini Parrini-The Tale of Tales- Matteo Garrone
for Salma Hayek

Massimo Cantini Parrini arrives at Tirelli's tailor shop where he trained with the Academy Award winner Gabriella Pescucci.The costumes created by Cantini Parrini follow the Seventeenth Century style and are adapted to the world of fairy-tales in a free and creative way.

Mariano Fortuny-Satanic Rhapsody-Nino Oxilia
for Lyda Borelli

Before the costume becomes a profession, are the actors who have to think of their clothes on set. In Satanic Rhapsody, Lyda Borelli wearing a Delphos,  famous creation by Fortuny, inspired Greek tunics.