Federico Fellini influencer cubed


Brilliant, multifaceted, a true visionary: in a word he was a poet-dreamer who invented and re-invented the fairy-tale of classic Italian cinema, making it a mirror of his fervid, dizzying imagination, not unlike a stylized interpretation of our times. This was, and still is Federico Fellini, globally acclaimed not only for his exceptional skill in creating unforgettable films, but more importantly for his ability to build and manipulate the visual image in such a way strongly impacted viewers, and continues to inspire today’s Generation Y. So much so that if he were still alive today, in spite of himself, Fellini would be considered along with the formidable Giulietta Masina to be a great and indescribable “influencer,” to use the lexicon of the digital age. It would difficult to identify in just a few lines all the stylists, designers, artists and creatives who have been influenced by Fellini’s imaginative, dreamlike works, able to evoke entire worlds. One example lies in the forthcoming book Olympus, edited by Rosita Copioli (on shelves in 2017) which recalls Fellini’s archetypes of our imagination created in his distinctive, artistic and masterful way, with the freedom and critical intelligence of the great romanticist, and revealing the links between the filmmaker and the world of dress and society of his time and even more so, of ours. The hyperbole of Fellini’s protean genius is also the central subject of the 148-page book Fellini and Fashion – Style Paths from Casanova to Lady Gaga, written by journalist, scholar and university professor Gianluca Lo Vetro and published by Bruno Mondadori. Here, the author aims to point out connections between Fellini’s poetics and the current zeitgeist, based on a few of his iconic film references, thus demonstrating Fellini’s meaningful longevity. Examples of creative off-shoots building from Fellini’s aesthetic and societal vision range from mime Lindsay Kemp, who’s mannerisms influenced David Bowie‘s poses and gestures, the performance art of Leigh Bowery which provoked scandal outside the underground art scene of the 1980s, as well as the make-up and styling of models in one of Alexander McQueen‘s more memorable collections. “Fellini-ism,” without question, is all over John Galliano as well. The mad genius from Gibraltar has concocted collections clearly inspired by the director, most especially for Dior haute couture, sending cassock-clad models down the runway in a desecrating tribute to the unforgettable parade scene of cloaked priests in the film Roma. Fellini’s imagery and its sphere of influence are also quite pervasive in the psychedelic and over-the-top work of David LaChapelle, in films by Terry Gilliam and Paolo Sorrentino, as well as in the Dolce & Gabbana creative universe, which references both Anouk Aimée and her iconic little black dress along with the luscious curves of Anita Ekberg, the eternal embodiment of La Dolce Vita.

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