Paolo Sorrentino’s latest film ‘Parthenope’ features a reimagined version of Yves Saint Laurent’s 1966 Le Smoking tuxedo jacket, highlighting themes of youth and time.
Yves Saint Laurent’s 1966 Le Smoking tuxedo jacket has been reimagined in Paolo Sorrentino’s latest film, “Parthenope,” a cinematic exploration of themes such as youth and the passage of time, rooted in the director’s native Naples. The film narratively follows its titular character, expertly portrayed by newcomer Celeste Dalla Porta, as she navigates the journey from her youthful years into middle age. The character’s personal evolution is mirrored in her fashion, transitioning from vibrant oranges and bright colors in her youth to darker hues in her older years.
Speaking to Variety, the film’s costume designer, Carlo Poggioli, noted that Sorrentino had a clear vision for the aesthetic elements of the film. He remarked, “Sorrentino had a very clear idea of what visually he would like to see in front of the camera.” To further enhance this vision, Sorrentino collaborated with Anthony Vaccarello, the creative director of Saint Laurent, emphasizing the need for a wardrobe that not only reflects timelessness but also aligns with the film’s narrative context. “I wanted the film’s fashion to have a timeless quality to it, but be plausible both for the period and the story that we are telling,” Sorrentino mentioned.
Poggioli also highlighted the successful collaboration with Vaccarello, indicating that they discussed various elements including colors and shapes to create an authentic wardrobe for Parthenope. A particularly significant moment in the film occurs when Parthenope wears the iconic tuxedo jacket in her thirties, symbolizing her quest for independence and freedom.
Notably, Vaccarello’s involvement extended beyond simply selecting pieces. According to Poggioli, all the garments worn by the character were specially crafted for the film. “We didn’t use any archive pieces… Everything was made,” he explained. This meticulous attention to detail included the tuxedo jacket itself, which was recreated with the aid of specialized cutters and tailors dedicated to the production. Furthermore, Saint Laurent provided period-accurate fabrics to accurately replicate the looks.
The fittings for the wardrobe took place in Paris and the completed pieces were flown to Naples for the film’s shooting. In addition to the tuxedo jacket, Vaccarello created other standout pieces for the film, including a jewel-encrusted ivory gown, a striking black satin evening dress, and a gold lamé cape paired with a coordinating gown, each contributing to the film’s rich visual narrative.
Source: Noah Wire Services
