Filmed after World War II, Federico Fellini’s acclaimed satire, La Dolce Vita, is an acute portrayal of the post-war male psyche, but also – albeit mostly on the sideline, because 1960 – hinting at an exasperated offspring of repressed female expression. Anita Ekberg wading, wet, in the Trevi Fountain (now officially illegal, according to new Rome tourism rules) was perhaps the very catalyst of the baby boom… not to make sweeping socio-economic summations (what war?). The Dolce Vita lass is well-endowed and feminine—the unattainable, fur-clad, fantasy figure born via and to the world of hedonistic excess. She is but a fluffy accessory to Marcello’s vanity, a steamy episode in the circularity of his escapism.
Her contemporary however, reels herself centre-stage; entirely un-fussed about her male counterpart’s opinion, and hence rarely vexed. No need for wet stunts, she has a no-BS attitude to endorse – nay, boost – her charm. She wears Mulberry SS19 swinging coats and Rhanders opera gloves during the day. She is all about contrasts—sharp and soft, playful but pragmatic, generally blasé but quick-witted when push comes to shove, just like the 1966 Morris Garages convertible she commandeers.
No need for wet stunts, she has a no-BS attitude to endorse – nay, boost – her charm.
creative direction, photography & words SHINI PARK
art direction CAMILO GONZALEZ
styling MARIAN NACHMIA
hair & makeup KATE TIGHE
production CUBE COLLECTIVE
production assist LAURA BROWN
project management ANNA HOLMFELD
video EMARR KIHOMANO
research ZANA WILBERFORCE
retouch ALE JIMENEZ
stills & video grading CAMILO GONZALEZ
model (female) LIZA KARASYK via MODELS 1
model (male) MATTIA REGONASCHI via D MANAGEMENT
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