The clothes and accessories. Produced by Silvia Venturini Fendi of the famous Fendi family, the film could be considered fashion porn. The leading star, Tilda Swinton, was entirely dressed by Jil Sander’sRaf Simons. The house of Fendi dressed the men and also provided extraordinary furs for the magnificent Marisa Berenson, who plays the perfectly put-together mother-in-law with a preference for vintage ’70s furs. In fact, all of the Recchi women favor a classic look. The impression is that clothes in this family are passed down, not shopped for. Tilda, in an interview, described the choices as an expressive wardrobe. “There were moments when, for her to wear a red dress at the point which she falls in love, there’s a control one can expect on the palette of the film if one works in that way.”
(above) Marisa with Pippo Delbono as Allegra Recchi and Tancredi Recchi, her son(above) It’s all about the ring.(above) This special bracelet together with the ring remind me of how my maternal grandmother wore her jewelry. Bold but subtle. Contemporary but classic. Expensive and the best. And only on special occasions.(above) Jaw-dropping black pearls + unique peach shades + geometric-patterned cashmere sweater + lavender cashmere jacket = casual errand attire(above) Slumming in the house requires a sparkly top paired with a surprising punch of color, orange sherbert.(above) Toning it down is recommended when calling on the mother-in-law.(above) How often have you seen antique jewelry worn with such a contemporary style? The rich coral cameo necklace paired with the deep eggplant blue of her outfit, topped with oversized contemporary earrings makes this mother-in-law awesome.(above) Even though the red is suppose to dominate this scene, my eye is drawn to Marissa’s elegantly draped form.(above) What? There’s more? That bag, her bracelet, the ring, the aforementioned necklace and earrings! She is the epitome of glamour. That’s my opinion.(above) Tangerine and cream for incidental wondering(above) Because of the previous overhead view, I thought this front view would reveal a skirt.[(above) In Italy, one must be more or less covered in the city, but out in the country, it’s perfectly acceptable to reveal a little more.(above) It’s interesting how her color choices evolve in the film–from quiet and calm to vibrant and radiant.(above) It’s all about the perfect sweater being worn so unconsciously and with exactly two buttons exposed.(above) Ooohhhhh…. Love those beautiful black pearls.(above) With two strands of pearls, earrings would have been inappropriate.(above) The soft colors–her skin, pearls, dress–are perfectly suited for candlelight.(above) The final touch is perfection.(above) From candlelight to daylight
Tablescapes. Lighting plays an important role in this film from outside to inside. For the formal dinner scenes, it accentuated all the elements on the table without throwing too much light on the guests, allowing them to come forward or quietly withdraw from the various conversations.
(above) All I notice in this scene are the chartreuse crystal goblets filled with champagne.(above) Silver, crystal, golden glints, and pearls scintillate in candlelight
One thought on “I Am Love (style)”
Diegosays:
a mi también me gustó mucho esta película, estoy de acuerdo en que Marisa Berenson luce muy elegante
a mi también me gustó mucho esta película, estoy de acuerdo en que Marisa Berenson luce muy elegante