Italian Style

Eugenia Paulicelli is Professor of Italian, Comparative Literature and Women's Studies at Queens College and The Graduate Center, The City University of New York (CUNY), USA. At The Graduate Center she directs Fashion Studies in the Master of Arts in Liberal Studies (MALS) and the PhD Concentration. Among her books: Fashion under Fascism: Beyond the Black Shirt (2004); Moda e Moderno (editor, 2006); The Fabric of Cultures: Fashion, Identity, Globalization (co-editor, 2009); Writing Fashion in Early Modern Italy (2014); Rosa Genoni: Fashion is a Serious Business (2015). Visit her website at www.eugeniapaulicelli.com.

The insight at the heart of Paulicelli's earnest and unflashy book is that dress cultivates mood and can variously intimate the languor or lasciviousness of a specific moment or the state of an entire country ... [Paulicelli is] knowledgeable and unafraid to wade deep into obscure Italian films and textile history.

• List of Illustrations Acknowledgments 1 Fashion, Film, Modernity a. Nostra Dea: the goddess of fashion b. Pirandello, cinema, and clothing: elective affinities c. “The Tight Frock-Coat”: performing dress d. Film, costume, fashion, and intermediality e. Italian style: fashion and film 2 Italian Fashion and Film in the 1910s: From the Futurists to Rosa Genoni a. The Futurists, fashion, film, and performance b. Rosa Genoni: Per una moda italiana: fashioning the diva 3 From the Body of the Diva to the Body of the Nation a. The Italian divas and the “gowns of emotions”b. Lyda Borelli (1887–1959): the ethereal melancholic beauty and Ma l’amore mio non muore! (love everlasting)c. The veil: modernity in motion in Nino Oxilia’s Rapsodia Satanicad. Francesca Bertini (1892–1985): the glamorous embodied e. Nino Oxilia’s Sangue Bleu (1914) and Gustavo Serena’s Assunta Spina (1915) f. Pina Menichelli (1890–1981): “the other woman” and the end of an era 4 Fashion, Film, Modernity, under Fascism a. Fashion in motion: the LUCE newsreelsb. Rhythms of the modern city: fashion in Corrado D’Errico’s Stramilano (1929)c. Contessa di Parma (Alessandro Blasetti, 1937): a manifesto for the promotion of Italian fashion and Turin as a fashion city d. Grandi Magazzini (1939, Mario Camerini): fashion consumption, gender roles, and work in Milane. Epilogue: towards a new dawn 5 Launching Italian Style in Cinema and Fashion: The Films of Michelangelo Antonionia. The fabric of film: Sette canne, un vestito (1949)b. The 1950s: Cronaca di un amore, La signora senza camelie and Le amichec. The fashion show in Cronaca: a narrative mise en abymed. “Was I a good femme fatale?” (Lucia Bosè (Clara) in La signora senza camelie)e. The fashion show in Le amiche: the end of the game f. The 1960s: from costume to fashion. L’Avventura and beyond g. Outsiders, doubles, wanderersh. Conclusion: a visual tactility6 Rome, Fashion, Filma. From “Hollywood on the Tiber” to La Dolce Vitab. Rome as a fashion city in the postwar years 161c. La Dolce Vitad. La Dolce Vita and its discontentse. Roma (Fellini, 1971): space and time f. The broken watch of historyg. The ecclesiastical fashion show7 After La Dolce Vita: La Grande Bellezza (2013) by Paolo Sorrentinoa. Fashion, film, and Rome today: national identity revisitedAppendices:a. The Photographic Archive by Giuseppe Palmas (1918–1977)b. Interview with Fernanda Gattinoni, Rome, June 16, 2000c. Dressing the Dreams: Interview with Dino Trappetti—Tirelli Costumi Rome, December 2015d. Interview with Teresa Allegri, founder of Annamode, Rome, Fondazione Annamode, June 6, 2013e. Adriana Berselli f. Some notes on the set of L’avventura (1960) by Michelangelo Antonioni g. “Cesare Attolini” and La Grande Bellezza: Interview with Massimiliano Attolini, Son of Cesare and Grandson of Vincenzo, Founder of the SartoriaSelected Bibliography Filmography Index