Piero Gherardi, costume designer, set designer and art director of La Dolce Vita, chose for Marcello Mastroianni Brioni’s ‘Roman style’ suits, which he wore throughout the film. Especially in terms of menswear, the movie started a real revolution. Their suits speak of the most refined Italian sartorial tradition, emblematic of a vision of the Italian ‘Latin Lover’ much indebted to Fellini’s masterpiece.įederico Fellini’s film La Dolce Vita (1960) gave birth to a powerful trope signifying Italian style, fashion and glamour, recognized both in Italy and abroad. In Italy, the sartorial suit has come to represent the quintessential mise of elegant and fashionable men, reinforced by the outfits of two characters embodying an image of Italian masculinity and style recognised worldwide: Marcello Rubini of La Dolce Vita (Federico Fellini, 1960), and his modern reincarnation, Jep Gambardella, the protagonist of Paolo Sorrentino’s film La Grande Bellezza (2013). Tracing their modern evolution back to the Enlightenment, when a rediscovery of Ancient Greek and Roman ideals took place, Hollander explains that the survival of modern suits is due to their simultaneous suggestion of classical nudity and confident male sexuality. Suits have been considered ‘naturally masculine’ since their birth in the late seventeenth century, as argued by fashion scholar Anne Hollander.
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