The long-awaited TV adaptation of The Leopard has placed special emphasis on the historical fidelity of its costumes, a titanic task taken on by renowned designer Carlo Poggioli. In a recent interview, Poggioli confessed that taking on the challenge was not an immediate decision, as he knew first-hand the complexity of recreating the clothing of 19th century Sicilian aristocracy.
The series will be available on Netflix from 5 March and promises to captivate audiences with this version based on one of the greatest Italian novels of all time, The Leopard is an epic, stunning and sensual story set in Sicily during the uprisings of the 1860s. At the heart of the series is Don Fabrizio Corbera, the unforgettable Prince of Salina, who leads a life steeped in beauty and privilege.
‘Working with Piero Tosi in the past made me aware of the difficulties. I knew that the new costume design would be compared to Visconti’s iconic 1963 work,’ explained Poggioli. One of the biggest challenges was the scarcity of period documentation, especially regarding fabrics and tailoring details.
To achieve maximum authenticity, the team turned to historical sources such as the Casa Museo di Raffaello Piraino in Palermo, where they were able to examine original pieces and take inspiration from their colours and embroidery. ‘Seeing these details up close was crucial to our recreation,’ said Poggioli.
In addition to the costumes, the designer highlighted the challenge of accessories and jewellery. ‘Mainly, the suppliers were Picchio Gioielli and Seam. Personally, I didn’t want the angst of having real jewellery on set, remembering the stories Piero Tosi used to tell me about the 1963 shoot,’ he said. Among those anecdotes, he recalled an unusual episode: on the set of Visconti’s film, valuable props, which included pearl necklaces from the director’s mother and jewellery designed by Eleuteri, were almost stolen.
‘Two seamstresses were in the tailor’s shop when they saw two suspicious men arrive. Sensing danger, they hid the jewellery in wicker baskets and sat on them, eating their sandwiches as if nothing had happened. When the men came in with guns demanding the jewellery, they cold-bloodedly replied: ‘We’ve been awake since five in the morning and we’re tired. There is only a dressing room here. If you want, look all over the tailor’s shop for the jewellery and, if you find it, take it with you. The thieves searched everything, but never found anything,’ Poggioli recounted, relishing the memory of that story.
The result of the costume team’s work is dazzling, paying homage to tradition and history, and accurately reflecting the elegance and decadence of the Sicilian nobility. The series, directed by Tom Shankland, promises to transport viewers back to a time of splendour and change, with costume already emerging as a major player.
