In his formal clothing, he stands in the shadow, detached and observant. In tailored slim suits with single-breasted jackets and slim ties or fitted tuxedo and bow-tie, crisp shirts with peeking French cuffs, large cuff-links and Persol dark sunglasses (worn indoors and at night вЂ“ Mastroianni practically invented that вЂ“ they became more than an elegant and cool accessory, they were an anti-conversation piece, having the ability to shut people out), he stands apart from the paparazzi dressed in wide-cut tweed suits or sweaters and slacks. His sexually alluring masculinity is established in the very first scene and the character of Marcello Rubini was instrumental in creating what we recognize as the вЂњLatin LoverвЂќ. His character is underpinned by a unique, individual style. The film may be stylish overall, but it really belongs to Marcello Mastroianni. The clothes are again key elements in the construction of cinematic identities. Every scene in La Dolce Vita strikes you as a beautifully styled photograph and the film still guides sartorial aspirations around the globe. This is a stylish film as a whole, as Gherardi placed equal emphasis on the costumes for both female and male leads. He was costume and set designer, as well as art director.

Piero Gherardi, self-taught in art and architecture, created the overall look of La Dolce Vita. Marcello Mastroianni plays journalist Marcello Rubini, a tabloid columnist who aspires to be a more serious writer, but knows he will never be, because, like society, he is fascinated by the decadent hedonistic pursuits which are seemingly everywhere. La Dolce Vita introduced the world not only to the Italian fashion, style and elegance, but also to the profession of unscrupulous, unlicensed celebrity photographer. Federico FelliniвЂ™s 1960 groundbreaking film, a landmark pointing to important changes in Italian and European society,В is a spectacular morality play which has lost none of its relevance in todayвЂ™s celebrity obsessed world.

La dolce vita federico fellini