Fendi and cinema : a tale of passion

For Fendi, the captivating magic of the silver screen has always been simply impossible to resist.  True to the finest spirit of the “eternal city”, over the years the Roman House has collaborated on over 100 films, making a lasting mark on the world of cinema.

Mixing audacity and tradition in its approach to creativity and craftsmanship, Fendi has captivated the world with masterful storytelling and a true love for experimentations. The boundaries between the world of fashion and cinema simply do not exist and each draws inspiration from the other.  “Cinema has always been an important part of our family life and of our brand,” says Silvia Venturini Fendi, Creative Director of Accessories, menswear and kidswear. ”As part of the creative and artistic side of Rome, the Fendi sisters have been involved in collaborations which today can be considered groundbreaking.”

The exciting challenge of creation comes to life in Fendi’s cinematic collaborations. The House has created and continues to create costumes for Italian, European and Hollywood productions. From Silvia Mangano in the Conversation Piece to Madonna in Evita, from Gwynneth Paltrow in The Royal Tenenbaums to Isabelle Hupert in Lady of the Camelias, Fendi’s cinematic portfolio has included collaboration with world famous costume designers, including legendary Piero Tosi to create some of the most iconic looks to have graced the screen.

How do these remarkable partnerships come into being? Each and every cinematic collaboration is by definition unique and depends on the needs and timing of the production. The work begins with a meeting with the costume designers who share their thoughts, sketches and research with the Fendi atelier.  Cinematic collaborations may consist of lending iconic achieved pieces, like the Astuccio Fur worn by Marisa Berenson in I am Love, or the creation of bespoke items, like in the case of garments worn by Edward Norton and Tilda Swinton in Wes Anderson’s The Grand Budapest Hotel.

To create the looks for Wes Anderson’s latest film, the House worked closely with Oscar-winning costume designer Milena Canonero. Norton’s character inspector Henckel wore a bespoke grey strakhan coat, while Tilda Swinton captivated the audiences in a sumptuous hand-painted Italian silver velvet cape with a black mink collar and sleeve details. The pieces that perfectly recreated the atmosphere of the late 1920s were a result of almost 6 months of work from inception to production. Produced in the historic Fendi fur atelier, they became yet another symbol of the ultimate savoir faire of the House and its never-ending passion for the Seventh Art.