“I don’t usually wear such nice stuff,” Marino ribbed, as Norton marveled at the biker hat and leather chap splendor. Nearby, Alba Clemente introduced Peter Marino to a bewildered Norton. At the next table, an animated Genevieve Jones caught up with tablemate Linda Fargo. Meanwhile, Gugelmann inspected Giovanna Battaglia’s glittering baguette slung on the back of her chair, a perfect companion to her gilded Fendi swing dress. Jessica Diehl peeled away for a cigarette while guests nestled into their dinner seats. He envisioned three women, all playing organs, and they all had bouffants, said Pierson. But then the band’s drummer, Keith Strickland, had a waking dream that solidified The B-52s as a band and the hairstyle as their lasting image. You never know if you can deliver the laughs!” Early on, the wigs started out as a jokethe band would dress up, crash parties, and guzzle free beer. “I was so happy to hear the audience’s laughter. She is separated from her family and sold to a circus man, Zampano. In Fellini’s movie La Strada (1954), we see Gelsomina’s sad life. The strange combination of his dreams and reality begins to be shown in his films. “I’m glad the humor came across,” said Lane, beaming in an ecru Fendi pantsuit, of her oration. Reality and Fantasy As time progresses, we see Fellini crossing all the boundaries and starting filming in his own way. Amusing archival interviews with the director as well as clips spanning the breadth of his work, from “La Strada,” “La Dolce Vita” and “8 ½,” rolled with Edward Norton and Diane Lane taking turns narrating.Īfterwards, guests including Lauren Remington Platt, Fe Fendi, Zani Gugelmann, Shala Monroque, Laure Heriard Dubreuil, Aaron Young, Waris Ahluwalia and Maggie Betts feathered out into the lobby-turned-dining area, where cream-clothed tables and vases flush with hydrangeas and orchids beckoned. Jeremy Scott to Host 16th Annual Supima Design CompetitionĪ procession of floor-grazing taffeta and chiffon (mostly of the Fendi variety the label sponsored the event) trickled into the Frank Gehry-designed theater to take in the 90-minute tributary treatise of the beloved filmmaker. Amarcord, his most autobiographical film (which is saying something, for no director has fed more hungrily on the fruits of memory), is set in a heightened version of Rimini, staffed with figures.

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