
Poggioli considered the characters and began breaking down who they were. For Caine’s character, everything he wore was made specifically for him, down to the last tie. Everything he wore was something that he had in his wardrobe from years ago because he was a character who no longer thought about his clothes. “Because in the film, he doesn’t care anymore after his wife is going to die. He is not going to conduct anymore so everything I made for him was aged and well worn,” Poggioli explained. The English styled suits he wore were made by a tailor in Naples. “They’re very famous for their fabrics because they use wonderful tweeds, cashmere, very English stuff.”
The collaboration with Sorrentino was also an interesting one because the director was so precise. After the fittings with each actor, new ideas were generated from him. “The challenge was to go in the morning and [have Sorrentino] ask me for something new, and he was always right. I had the fortune to work with Fellini in his last movie before he died and Fellini was exactly the same. He would come in the evening and tell me ‘So tomorrow I would like to shoot this, so I would like 12 red dresses and also green dresses.’ And of course in the morning, he came to me and he said ‘But Carlo, we talked about the white dress.’ So [Sorrentino] reminded me a lot of Fellini. He had the same process of ideas.” The element of surprise in each day’s shoot made the project very interesting and fun for Poggioli as he embraced the process of collaborating with Sorrentino.