Picture this: you're sitting in a cinema theatre watching Wes Anderson's The Grand Budapest Hotel and, rather than being intrigued by its plot revolving around the bizarre vicissitudes of a hotel concierge, or being mesmerised by the star studded cast, you suddenly realise you're mysteriously drawn in the sets and costumes. Those unusual combinations of shades such as tomato red, ochre and violet are indeed catching your attention, while you're wondering if you saw those same nuances of pink in a Jean Claude-Duplessis porcelain vase at The Hermitage.
Your reaction is perfectly understandable: fabulous Milena Canonero, nominated to five Oscars and winner of three Academy Awards, is the costume designer behind this film. Yet there is also someone else's magic in Anderson's new movie, the Rome-based Sartoria Tirelli (Tirelli Tailoring House)
Tirelli is not only linked with contemporary films, though, it is indeed a place with a legendary fame and its history spans from mythical dramas such as Pier Paolo Pasolini's Medea (1969) to the candy coloured world of Sofia Coppola's Marie Antoinette (2006).
Russian speakers can read the story of the Tirelli fashion house in my interview with Dino Trappetti, current Head of the tailoring house and Chairman of the Tirelli-Trappetti Foundation in the March issue of Ural-based magazine WTF (What's The Fashion?), a publication for design, architecture and fashion fans. The magazine also feature my reviews of the Spring/Summer 2014 Haute Couture collection. Enjoy!
Image credits for this post
Piero Tosi, Maria Callas and Umberto Tirelli. Fittings for Pier Paolo Pasolini's Medea (1969). Courtesy Sartoria Tirelli.
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