L'Italo-Americano

L'Italo-Americano THURSDAY, FEBRUARY 20, 2025 www.italoamericano.org 6 NEWS & FEATURES TOP STORIES PEOPLE EVENTS spirituality than opulence. Other characters, however, wear distinctly more tradi- tional crosses, crafted from gilded alloys and adorned with precious stones." The challenge was also to ensure that the pieces showed their wearers' origins: "The characters come from all over the world, each bringing jew- elry that reflects their roots, personal taste, and history. The challenge was to craft these pieces in a way that made them appear as if they were made by different hands and at different times, rather than in the same workshop," Riccardo says. The materials used were mostly silver and gold alloys, with real gem- stones like lapis lazuli, topaz, and quartz. To help the actors in performing their roles, Penko's team even provided them with descriptions detail- ing the symbolism behind their crosses, a gesture that was deeply appreciated. F o r s o m e o f t h e m a i n actors, jewelry was further personalized: "Stanley Tucci's cross has a prayer engraved on the back. The cross worn by Sergio Castellitto, who plays the Patriarch of Venice, is inspired by the domes of St. M a r k ' s B a s i l i c a , w i t h a n engraving on the back refer- encing the book held by St. Mark's lion. Every detail was c a r e f u l l y c o n s i d e r e d , " Riccardo reveals: "When car- dinals enter the conclave, they all dress the same, and the cross is the only luxurious item they are allowed — it helps them feel at ease and sets them apart." R a l p h F i e n n e s , w h o plays Cardinal Lawrence, had a particularly interesting rela- t i o n s h i p w i t h h i s c r o s s . "Initially, we designed a cross featuring olive leaves, sym- b o l i z i n g p e a c e , w i t h t h e inscription Pax Tibi. But after discussing it with him, he envisioned a different design — simpler, more minimalist. So, we worked together on sketches, which he personally selected. The final design was a classic medieval cross with simple lines, meant to repre- sent the more spiritual and humble side of the Church." F o r J o h n L i t h g o w ' s c h a r a c t e r , C a r d i n a l Tremblay, who stands quite opposite to Fiennes' Cardinal Lawrence, Penko made a dif- ferent choice, creating a cross "inspired by the crucifixion as depicted in an artwork by Andrea della Robbia at La Verna. It features a bas-relief o f t h e c r u c i f i x , M a r y , S t . John, angels, the sun, and the moon — symbols of Christ's death. The cross has a heavy, square shape, adorned with beautifully rich citrine quartz stones. It's not only physical- ly heavy — one of the heaviest in the film — but also visually imposing and elaborate. One of the most stunning pieces we created." Riccardo and his atelier also made the jewelry worn b y O s c a r n o m i n e e Isabella Rossellini, daugh- ter of Roberto Rossellini and Ingrid Bergman, and an icon- ic figure of contemporary cin- ema, both in Italy and world- wide. Rossellini delivers one of the film's most compelling p e r f o r m a n c e s a s S i s t e r Agnes, a character who leaves a l a s t i n g i m p r e s s i o n . I n Conclave, she moves through the Vatican's corridors with quiet strength, an outsider in a world dominated by power- ful men. Her portrayal is lay- ered — it is both watchful and commanding — making her n o m i n a t i o n f o r B e s t Supporting Actress at this y e a r ' s O s c a r s f e e l w e l l d e s e r v e d . T h i s m a r k s Rossellini's first-ever Oscar nomination, a milestone that carries special significance given that it comes exactly 50 years after her mother, Ingrid B e r g m a n , w o n h e r t h i r d A c a d e m y A w a r d . F o r decades, Rossellini has built a career between Hollywood and European cinema, choos- ing roles that challenge con- vention rather than chasing mainstream appeal, and her work in Conclave follows that s a m e p a t h : s h e p l a y s a woman who understands the r u l e s o f t h e c o n c l a v e y e t remains separate from them, observing and influencing w i t h o u t e v e r r a i s i n g h e r voice. Her performance does- n't need grand speeches or dramatic gestures to make an impact, because of the power- ful traits Rossellini bestows upon her character; the great- ness of Sister Agnes lies solid- l y i n R o s s e l l i n i ' s a r t i s t i c choices and interpretation. "For her," Penko explains, "we designed a cross slightly deviating from tradition — more squared and geometric, almost rectangular — because her character is important, and we wanted a full, weighty cross. Her costume was also innovative: her outfit was i n s p i r e d b y a D o l c e & Gabbana design, created by Lisy Christl." Many of us may wonder what happened to all these fantastic pieces after filming eventually wrapped up. Well, Riccardo tells us that most theatrical pieces are usually returned to the workshop, and that this was the case for the jewelry from Conclave, too. "After the Oscars season — he explains — we would love to organize an exhibition featuring the jewelry along- s i d e t h e c o s t u m e s , w h i c h have been acquired by the Tirelli Donation." "Also, when creating jewelry for films, you always need to make dupli- cates in case a piece gets lost or broken on set—so we have all the originals and their copies, except for one." That one missing piece? Ralph Fiennes' cross: "He became so attached to it that he asked to keep it." "Sacred art jewelry isn't just about aesthetics, because these pieces must function as true instruments of prayer," Penko explains. "The idea was to ensure these objects felt authentic, not merely props but true crosses for cardinals" CONTINUED FROM PAGE 4 Cardinal Lawrence, interpreted by Ralph Fiennes, and the cross he wore. The actor asked to keep it (Photo: Gerald von Foris) Working at the crosses in the workshop (Photo: Gerald von Foris)

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