PANTONE

The setting is in perfect Wes Anderson style.

The care of the décor and the definition of the outfits, retro and cool together, take us back to a typically Andersonian scenario.

The romantic allure of the floral pattern, enhanced by the slight movement of the ruffles and the transparencies, is skillfully laid on a Ganni mini dress with long veiled sleeves and a curled high collar,

fitting perfectly with that feeling of nostalgia, elevated to a glamorous phenomenon.

To project us into a film with extreme formal care and the sickly mannerism, it is primarily the particular use of colors.

The director loves bright colors, such as the orange that dyes the pleated skirt by Loewe, and the chromatic contrasts like those given by beige and the orange of the Burberry silk blouse

that mix in the interweaving of letters to define the new monogram of the Maison.

However, there is a certain predilection for shades ranging from brownish to ocher, colors that are not only found in costumes and scenery, but that distinguish the same photograph from his films.

The iconic Burberry trench coat, in addition to satisfying color preferences, insinuates itself as a uniform that defines the aesthetics of its characters.

The hotel, as a non-place, is another element widely exploited by the director.

The hotel represents, in fact, the opposite of the house, a transitional arrangement that is well suited to characters in constant motion, looking for a change and often on the run.

The rooms, characterized by warm colors, pastel tones and retro taste, are the evident expression of their interiority.

In support, there is always the choice of the dress, now rigorous in form, but explosive in the combination of patterns and prints of the Balenciaga logo.

Wes' aesthetic imagination is inextricably linked to the 1960s and 1970s, reinforced by furnishing objects and architectural elements.

The blazer is laden down with modernity here with the Off-white logo in fluorescent yellow.

The costumes, objects, places and interiors, particular and showy, define and tell the character, the "farcical drama", as well as the history of the characters who relate to it.

Credits

Ph. Mirko Morelli

Styling Luca Cioffi

MUA & Hair Sara Beccarini