Paola Cortellesi, when elegance of thought is also elegance in look

It can also be a simple one blouse become a means of female emancipation? Of course yes, and it is one of the many languages ​​that Paola Cortellesi uses in her directorial debut with There’s still tomorrow, between gender violence, patriarchal culture and civil responsibility. Through his subversive elegancethe actress (and now director) has managed to making the most extreme simplicity the strong point of his looksmaking her gentle, ironic and sophisticated fashion allure immediately recognizable to our eyes. And pouring it out too in the costumes of the film most viewed Italian of the year, elected as a symbol of a lively and paroxysmal desire for change.

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Starting from red carpets followed by the queen of comedy we find a wardrobe decidedly fond of the touch of King Giorgio Armani, articulated in sinuous long dresses and soft suit balanced trousers nuances of black, grey, blue and soft pastel colours. Which we could define as impervious to any trend, making it almost rebellious in its exceptional sobriety.

As for example in the case of the look by Giorgio Armani Private worn just a month ago on the red carpet of the Rome Film Festival for the first time as a director. Or a total black ensemble composed of palazzo trousers and a very long jacket with a V-neckline, all completely covered in sophisticated crystals. And speaking of sparkle, it’s impossible not to mention the halter neck dress, obviously by Emporio Armani, for the Venice Film Festival in 2018. The gem? A concealed pocket (lucky charm?) on the side.

Moving on to more outfits casual to represent his diktat «less is more” the suit fits perfectly over in baby blue linen combined with a white ivory t-shirt worn at the Filming Italy Sardegna Festival last summer. As well as the one in light gray with a cut mannish complete with vest in pendant shown off at the Emporio Armani show in 2020. In short, a master of what social media would define today Recession Core. Yes, but in an ultra-refined and very personal way.

And moving to the big screen, the very skillful narration of the clothes in his feature film is no different, fishing freehand in the emotional surgery of a profoundly contemporary black and white past. The clothes of Cortellesi (aka Delia, the protagonist of the film) echo neorealist aprons and pinafores, seasoned with midi skirts with a ugly-chic and shirts sewn up with patches that, like scars, he tries to hide from the evidence, immersed in the folkloristic and crumbling atmosphere of post-war Rome.

We then find the reference to the wedding dress that Delia wants completely new for her daughter, a metaphor of a utopian marriage cleansed of the seed of violence-possession. But the item on which the spotlight shines is undoubtedly a certain floral blouse, carefully crafted by the protagonist herself in a slip of self-love. A garment as simple as it is powerful. Because it was created specifically to show up for his first call to vote. And not for the gaze of others. Thus claiming his identity, his right to choose how to appear, how exist in the world. Thus Paola Cortellesi makes a piece of fabric a transposition of that moment full of historical and social meaning. Ultimately, she is an authentic poet of style. And paraphrasing the message and the extreme Cortellesian elegance a little, it is evident that now as then the claim to sew that blouse on ourselves resonates loud and clear.