- 12 February 2017
- Posted by: yi0nut
- Category: editorial
Born in the Fiftees D’Inzillo Sweet Mode dressmaking passed to theater in the ’70, its name was already guarantee of quality in post-war Rome first and throughout the economic boom then.
Today it realizes historic and modern costumes esteemed in the world of dance, ballet, theater, operetta and TV for its handmade accent, the distinctiveness of models and decorations which make the house a precious partner for the most demanding costumers.
The studio is specialized for working with foam rubber, latex, and the plastic materials employed to manufacture masks, headdresses and mascots. It takes care of the modelling and still untill the dress rehearsal and the debut of each show it collaborated with.
The costume shop, besides working with dyes, art elaborations, distressing of costumes and pictorial decorations, has a collection of clothing for dancesport both for man and woman displayed in the showroom, downtown of Rome, a few steps from Colosseum.
More than a century of experience brought D’Inzillo Sweet Mode into famous collaborations with the world of show business.
The season 2015-16 found it busy with “La légende du roi Arthur”, music opera directed and coreographed by Giuliano Peparini from Decibel Production, that made its debut at the Palais de Congrés de Paris, where the fortunate European tour begun.
The costumes, shining and precious have been realized perfectly copying the models by Frederic Olivier, the costumer the house collaborated with a couple of years ago for the musical ‘Romeo e Giuilietta – Ama e cambia il mondo’, produced by David Zard
Between the works of this lucky season besides the Nutcracker that was on stage during Christmas at the Opera Theater of Rome, there’s the memorable musical “Notre Dame de Paris” by Riccardo Cocciante back on the stage of Linear Ciack of Milano with the original cast from 15 years ago.
This for the public unforgettable success kept the house busy into a true challenge to help out the replica with the chose of costumes accurate respect to the first version for fabrics, models and colors demanded by the costumer Fred Sathal. Then it was the turn of another musical, famous overseas for the cinematographic and stage versions by Clint Eastwood, ‘The jersey Boys’, the Four Season, band of the ’60 of which the Italian-American singer Frankie Valli was the leader. The costume designer Graziella Pera, hired by director Claudio Insegno, relied on stage costumes inspired by the original production and borrowed from old videos and photos that where portraying the band, a job faithful to the fashion of the time and able to restore its atmosphere. The last prestigiuos strain found the house working at La Scala in Milan for the ballet “Il giardino degli amanti” danced by Roberto Bolle and Nicoletta Manni with coreographies by Massimiliano Volpini and the so detailed and decorated costumes by Erika Carretta