“For me, the person is at the center of everything. I have seen many people wear clothes that overwhelmed them; they thought they were on the red carpet, but in reality it was the outfit that was on the red carpet, while the person was simply the mannequin wearing it.”
“That time John asked me to join him, it was a surreal dinner with Tony Manero, Tony Montana, Batman and Forrest Gump...”
At the most famous film event in Europe, on the French Riviera, we saw the star of Pulp Fiction, Grease and Get Shorty, the timeless John Travolta, receive the Palme d’Or at the Cannes Film Festival for his first film as a director, “Propeller One-Way Night Coach”, presented there in its world premiere. Always glamorous, always cool, but on that occasion the famous Hollywood dancer surprised us with a decidedly innovative and ‘overwhelming’ style, unanimously hailed by leading media brands (GQ, Vanity Fair, Harper’s Bazaar and Vogue) as the best-dressed look on the entire Croisette. He was accompanied by his daughter Ella Bleu (beautiful, by the way), who also stars in her father’s movie, and together they were the undisputed stars of the red carpet. And while they are the ones who put their faces in front of the cameras, it is just as important to understand that behind every look worn by these global celebrities there is meticulous artistic work, studied down to the smallest detail. It is the major business of costume and fashion, which often travels with them around the world.
For Travolta, there is an Italian who has been making his style distinctive for years. He too is Italian, born in the province of Verona, but for years has worked between Los Angeles, New York, London, Dubai and Singapore, as well as in his beloved homeland. He is Matteo Perin, a lifestyle designer also highly appreciated by Al Pacino and Will Smith, as well as Morgan Freeman, Marisol Nichols, Sofia Milos, Clive Davis and dozens of Silicon Valley clients, both in Venture Capital and Technology and across several other sectors: the SF49ers, San Diego Padres, Dodgers and even owners of Formula 1 teams.
Travolta once said of him: “Men should have his garments in their homes, because Perin knows how to personalize according to individual taste, without imposing, but creating together. He is able to make you feel confident in any circumstance, whether informal or formal.”
Matteo’s passion began in childhood, between the example of his impeccably elegant grandmother and memories of his equally elegant great-grandfather. Then came his first sketches in Montana, his creativity blossomed, requests arrived from North America and Canada, the doors of Hollywood opened, and the United Arab Emirates followed. Everything that comes from the mind of this young and visionary architect of style is then completed by raw materials that are strictly Italian, as are all his main suppliers of fabrics and leather.
Matteo, how did it all begin? When did your connection with the world of fashion first start?
It all began with dreams I had from a very young age. I would watch television and picture myself there with those people. I still did not know in what role or situation, but I knew I would get there. I was not super fashionable as a child; we did not have that possibility, but I was always very observant and I really enjoy what is known as ‘people watching’ - seeing what people wear and how they wear it. Whether they are wearing the clothes or the clothes are wearing them and taking over. I believe garments should never stand out more than the person.
Can you share an anecdote that connects you with John Travolta?
John and I are very well established by now. After so many years, we know each other so well that we can speak very frankly. I remember my first flight on one of his planes: the chef prepared me an amazing dinner, then I slept and did some drawing. We landed directly at his home, and after parking the jet at the house, just as someone would park their car, the only difference being that his house is designed like an airport. He asked me how the flight had been. I told him he had ‘ruined’ my life, because I take more than 100 flights a year and the best part was definitely not having to arrive two hours early and go through airport security.
Or there was the time he called me while I was sitting on the sofa at home in Los Angeles drawing and asked if I wanted to go out for dinner. He would not tell me where we were going, and then I found myself having dinner with Al Pacino, Michael Keaton and Tom Hanks. I remember thinking: just imagine, from Verona to dinner with Tony Manero, Tony Montana, Batman and Forrest Gump... quite surreal.
Your latest appearance at Cannes certainly did not go unnoticed. How did you come up with the incredible light and presence you managed to give the great actor, starting with the hat that is already becoming a trend?
Well, let’s say I wanted to help create a great emotion and a sense of victory for John because we were going to Cannes, but this time not with him as an actor: he had written the book, produced the film and he was the director. So I wanted his presence to feel different and, above all, to remain memorable. I did a lot of research into directors from the past and noticed one thing that often connected them: they all wore a director’s cap. And since John wears glasses, we decided to keep them as part of the look to make it even more distinctive. Finding the right director-style berets for every look was not easy. I ended up personally hand-dyeing some of them to get the exact shade of color we needed.
You consider yourself more of a lifestyle designer than a fashion designer. Can you explain the difference?
To be honest, I am a fashion designer. The term Lifestyle Designer was given to me around the world because many people wrongly translate the Italian word ‘stilista’ as ‘stylist’ - which obviously is not the same thing. And since, with many personalities, I do not simply design a few looks for them, but create complete looks for their lives and their events, the term was applied to me and I would say it is very accurate. Many people consider me an architect of their lifestyle. I have great respect for many designers, but the truth is that they design for themselves and create particular garments that, in my view, are sometimes not right for the person. I have seen many people on the red carpet wearing clothes that completely overwhelmed them. They thought they were on the red carpet, but in reality it was the outfit, while the person was simply the mannequin wearing it. To me, that is a distortion of priorities. I dress the person, so the aim is always to keep the person at the center.
As an entrepreneur, which markets do you target, and why? What is your core business?
As an entrepreneur, I would say we do not have just one market. Over the years, we have expanded our client portfolio beyond clothing: we introduced high jewelry - everything is handmade - and then interior design as well. I feel very fortunate to have a team of highly skilled people with an exceptional level of know-how. We opened our flagship boutique in Jackson Hole, Wyoming, three years ago. Everyone who does not know the area asks us why. Jackson Hole is the wealthiest county in the United States. We are at around 2,100 meters above sea level, right at the gates of Grand Teton National Park and Yellowstone National Park. It is pristine nature and, for those who know, a town full of very wealthy people who appreciate art, want peace and privacy, but still want their luxuries.
What is your view of luxury? Is it necessary and inevitable at a certain level?
Luxury can mean many things. For one person it may be a way of life, for another it may mean owning the most expensive garment or accessory. Traveling so much and experiencing different cultures, I see huge differences in what people value and what they do not. At the highest levels, I would say luxury is made of subtle things, sometimes almost imperceptible, that nevertheless make your life more peaceful. Money does not buy happiness, of course, but if you use it well it can help you enjoy certain moments with greater serenity. What I try to give our clients is the luxury of knowing they have a team that will do everything possible to make their moments peaceful and unique, removing any stress related to their look and allowing them to enjoy those moments as much as possible.
After the success at Cannes alongside Travolta’s team, where will we see you next?
Cannes 2026 was the result of months of work. For now, we are organizing ourselves to spend a couple of months in Jackson Hole, Wyoming, and at the Yellowstone Club in Montana - if you know, you know - with our friends and clients over the summer. We have some exclusive events planned for July and August.
And now a subject that is fundamental to you: Italian identity, especially in the choice of materials. Is that an essential choice for you, and why?
Let’s say we are extremely lucky to be Italian, especially in the world I work in. When it comes to fabrics, craftsmanship and know-how, no one can beat Italy. At the same time, I believe we need much more support from our government for small and medium-sized businesses, particularly in fashion. If you think about how much they contribute to the world, they are not supported in the way they are in other countries. I care deeply about this, and I dream of helping our artisans regain a dignified livelihood and of helping to find and train a new generation of young workers.
What does it mean to dress John Travolta?
Dressing John means dressing an icon of world cinema. When you are so closely connected to someone’s life, you know things that other people simply cannot know. I see many people criticizing him for some of the roles he has taken recently, but they have absolutely no idea why he made those choices. So I think we should all criticize a little less, especially when we do not know what is behind a decision. I see the man just as I would see a friend meeting me at a bar. The difference is that when you go out with him, you remember that you are not simply sitting at a bar with an ordinary person, but with someone who has touched the hearts of so many people over a 50-year career and will continue to do so. He has played so many kinds of roles - the handsome man, the good guy, the bad guy, and even a woman in Hairspray.
Dressing him means dressing a piece of cinema history. He has been dressed by some of the greatest designers in the world, yet since 2013 he has chosen me, and that makes me very proud. For Cannes this year, many designers tried to dress him, but he turned them all down. The reason is that they do not put the same level of care into what they do that I do. With them, you are a number. For me and my team, you are not a number: you matter, not because of your name, but because of the trust you have placed in us.
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