Pierrot and Pantelone 皮埃羅與潘特洛內 ピエロとパンテローネ

Among the swirling masquerade of Venice Carnevale, where identity blurs and the theatrical takes center stage, the iconic figures of Pierrot and Pantalone emerge as archetypal reflections of the city's complex soul. The melancholic figure of Pierrot, with his chalk-white face and silent, yearning gaze, embodies unrequited love, poetic sorrow, and the innocent dreamer, a poignant counterpoint to the city's bustling opulence. In stark contrast, the red-clad, hook-nosed Pantalone strides through the palazzi and piazzas, a wealthy, avaricious Venetian merchant, ever consumed by greed and lust, his bluster a comedic critique of the city's ancient mercantile spirit. Their enduring commedia dell'arte dynamic – the innocent idealist against the cynical materialist – finds its ultimate stage amidst the liberating anonymity of Carnevale, where their exaggerated personas offer both playful commentary and a timeless glimpse into humanity's enduring follies and desires, beautifully interwoven with the city's own theatrical fabric.

Every February, the labyrinthine streets and glittering canals of Venice transform into a living tableau of color, music, and theatricality as the city’s famed Carnevale bursts into life. While the event has long been associated with aristocratic masquerade balls and centuries‑old feathered masks, a vibrant new energy now pulses through the festivities: the surge of young costumers—students, artists, and internet‑savvy creators—who re‑imagine the traditional garb with fresh, daring flair. Armed with digital design tools, thrift‑store finds, and a reverence for Venice’s opulent heritage, these emerging makers blend historic silhouettes—like the voluminous “bolla” gowns and intricate “corteo” masks—with contemporary twists such as LED‑lit fabrics, recycled polymer feathers, and pop‑culture motifs that instantly resonate on TikTok and Instagram. Their costumes become more than just attire; they are statements of identity and sustainability, turning the city’s age‑old carnival into a runway for eco‑conscious fashion and cross‑generational dialogue.

In the weeks leading up to the grand “Volo dell’Angelo,” workshops pop up in hidden ateliers along the Rialto, where master tailors teach the nuances of hand‑embroidered lace while mentoring the next generation in techniques like 3‑D printed accessories and biodegradable dyes. This collaborative spirit fuels a kaleidoscope of youthful expression: a troupe of high‑school friends may parade as a flock of neon‑glowing swans, while a university collective might reinterpret the iconic Bauta mask with holographic filigree that catches the lagoon’s sunrise. Their enthusiasm not only revives the carnival’s core principle—an egalitarian celebration where anyone can mask their rank and revel in anonymity—but also injects the event with a modern relevance that draws tourists and locals alike. As the night concludes and the final fireworks dissolve over St. Mark’s Square, the silhouettes of these young costumers linger in the water’s reflection, a reminder that Venice’s most treasured tradition is not static relic, but a living, breathing canvas continually refreshed by youthful imagination.

Pierrot and Pantelone are costumes by my new found friends Kate and Quiterrie. These young ladies are new to the Venice Carnevale, but their costumes are actually quite a spectacle and they make great photos.

Pierrot  is a stock character of pantomime and commedia dell'arte whose origins date back to the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne. The name is a diminutive of Pierre (Peter), using the suffix -ot and derives from the Italian Pedrolino. His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, often pining for love of Columbine (who usually breaks his heart and leaves him for Harlequin). Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim and, more rarely, with a conical shape like a dunce's cap.

Pierrot's character developed from that of a buffoon to become an avatar of the disenfranchised. Many cultural movements found him amenable to their respective causes: Decadents turned him into a disillusioned foe of idealism; Symbolists saw him as a lonely fellow-sufferer; Modernists made him into a silent, alienated observer of the mysteries of the human condition.

Pantalone is one of the most important principal characters found in commedia dell'arte. With his exceptional greed and status at the top of the social order, Pantalone is "money" in the commedia world. His full name, including family name, is Pantalon de' Bisognosi, Italian for 'Pantalone of the Needy'. Among other things, Pantalone is a character of Venetians; one theory is that his name derives from Saint Pantaleon (San Pantalone), a popular saint in Venice.

As usual, the portraits are just done on the busy streets of Venice and using natural lighting only...It is not an indoor photo studio, there is no artificial lighting, flash or reflectors...With my costumed friends, we just take our street portraiture to an all new level....