As the Italian brand opens a new exhibition dedicated to its cinematic history, we look at the costumes they have created for films from The Royal Tenenbaums to The Devil Wears Prada.
The illustrious history of Fendi has long been intertwined with the silver screen: whether through staging fashion shows at Cinecitta or designing costumes for Luchino Visconti and Wes Anderson, the brand is historically embedded in cinematic culture. After all, explained Silvia Fendi in 2013, “the motion picture has always represented an important aspect of our family’s life. I remember, as a child, that the projections were true events: occasions when the movie theatre would enter our house with white background and religious silence.”
That reverence has played out accordingly and now, through a new exhibition entitled Fendi Studios, the brand is revisiting some of its greatest cinematic hits: the pieces that have been custom-created for films including The Royal Tenenbaums and Never Say Never Again. Staged at the house’s new Roman headquarters, it will feature a series of studios with interactive studios, within which visitors can superimpose themselves onto the silver screen alongside its very own Fendi cinema (with a vintage Italian ticket kiosk). In homage, we revisit some of our favourite on-screen Fendi moments, from the outré glamour of Miranda Priestly to fashion favourite Margot Tenenbaum.
Fendi Studios is open until June 2018 at Palazzo Della Civilta Italiana in Rome.
Fendi and Wes Anderson are clearly a match made in heaven – after all, Anderson’s proclivity for mad glamour presents the perfect canvas for a major look. Here, Tilda Swinton (as Madame D) is suitably dressed in a hand-painted velvet cloak, with mink cuff and collars, and she is every bit the fabulously eccentric billionaire.
No matter your gender, surely the staple requirement for being an Eighties Bond villain is a fur coat – and, if you’re Spectre operative and assassin Fatima Blush, such a staple comes custom-made. Played by Playboy covergirl Barbara Carrera, Blush is the archetypal Bond villainess – hyper-sexual and hyper-glam – and her fox fur stole is as necessary a part of her character as her pout.
If you’re playing such a stereotypically abusive magazine editor as Miranda Priestly, then you deserve a Cruella-style coat. Accordingly, Patricia Field and Fendi collaborated to create a red Persian jacket with orange and black striped lining for Meryl Streep’s character to wear: an outré fashion statement well-suited to her similarly outré demands.