Top designer and Teachers

Top designer

Gabriella studied in Florence at the Art Institute of Porta Romana and later at the Academy of Fine Arts. She moved to Rome to work as an assistant costume designer, with PL Pizzi, Ezio Frigerio and Piero Tosi with whom she collaborated on Medea Pier Paolo Pasolini, Death in Venice and Ludwig by Luchino Visconti. During the 60’s and 70’s she did her first work as a costume designer for directors such as Giuseppe Patroni Griffi, Mauro Bolognini and Federico Fellini. In the eighties she made her international debut with Sergio Leone’s Once Upon a Time in America, The Name of the Rose by Jean-Jacques Annaud and Terry Gilliam’s The Adventures of Baron of Münchausen, winning an Oscar in 1993 for Martin Scorsese’s Age of Innocence. Collaborations continued with internationally renowned directors such as Tim Burton for The Chocolate Factory (2005). Her most recent works include costumes for highly successful TV series, such as I Borgia (2011-2013) and Penny Dreadful (2014-2016). She has won 27 international awards (Bafta, Emmys, David, Nastri, Goya, etc.)


Gabriella Pescucci

Carlo is the current president of the ASC. After studying at the Art Institute and graduating from the BA Academy in Naples, he went to Rome and started working as an assistant to Gabriella Pescucci (Il Nome della Rosa, Il Barone di Münchausen, The Age of Innocence, etc …) by Piero Tosi (History of a Blackcap) by Maurizio Millenotti (La Voce della luna) and with Ann Rothper The English Patient and The Talented Mr. Ripley. He made his theatre debut with Luca Ronconi. He has been collaborating for several years with Ruggero Cappuccio with whom he has worked on many prose and opera performances, including Falstaff, Nina pazza per Amore, produced by the Teatro alla Scala, Don Calandrino at the Salzburger Festspiele, all directed by Riccardo Muti. He is credited on around 40 films (including international television productions) including Cold Mountain (A. Minghella), The Brothers Grimm and Zero Theorem by Terry Gilliam, Divergent by Neil Burger. He has collaborated with Paolo Sorrentino for Youth, The Young Pope, The New Pope and for the film Loro.

Alessandro studied in Cagliari, where he graduated in modern literature and history of contemporary art. He then moved to Rome, starting to work at Sartoria Tirelli alongside maestro Piero Tosi, he then became assistant costume designer for Maurizio Millenotti and Gabriella Pescucci. He started his career working with Giorgio Treves for Rosa and Cornelia (2000), thus way paving the way to his success,  characterised by lasting collaborations with well-known directors such as Ferzan Ozpetek, starting with Saturno contro (2007) up to Napoli velata (2017), Francesca Archibugi, with whom he is credited on the miniseries Renzo e Lucia (2004), Lezioni di volo (2007), Questione di cuore (2009) and Il nome del Figlio (2015) or Cristina Comencini for Latin Lover (2015). In addition, he often dedicates himself to theatrical productions: La Traviata is celebrated under the direction of Ferzan Ozpetek, on stage since 2012. Among his most recent works are the costumes of I Medici, a very successful TV series, already in its third season.


Alessandro Lai


Some professionals who are part of the teaching staff of the master:

Fabric and costume researcher, Roberta Orsi Landini is the author of many publications and curator of numerous exhibitions and catalogues. For more than thirty years he has been collaborating with Italian and foreign institutions and museums: in Florence with the Palazzo Pitti (for which he has long dedicated himself to the textile collections), with the Costume Gallery (his Fashion exhibition at the Medici court is to be noted , on the restored Medici gowns), of the Uffizi, Palatina, of the Accademia, the Stibbert Museum and of Palazzo Vecchio, the Opificio delle Pietre Dure; in Milan with the Museo Poldi Pezzoli and the Bagatti Valsecchi; in Prato with the Textile Museum; in Turin with the Civic Museum of Ancient Art; in Gorizia with the Fashion Museum; in Venice with the Study Center for the History of Textiles and Costume; in Lyon with the Center International d’Études des Textiles Anciens; in St. Gallen, Switzerland, with the Textilmuseum, just to give examples. Through the analytical study of the documents of the Guardaroba medicea of ​​the Florence State Archive, Roberta Orsi Landini has reconstructed the daily wardrobe of Cosimo I and Eleonora di Toledo. Research that has allowed us to learn how many and which items of clothing to wear, which fabrics were made and which seals were fitted, on which occasions they were used. A thorough investigation that revealed the personal tastes of these important people and how their inclinations were combined with the need to set up a communication and image-building policy useful for obtaining the consent of the subjects.

Scholar of History of Art, Fashion and Applied Arts, Aurora Fiorentini is the author of numerous essays and various monographs on art, fashion, fabric and costume jewellery.She has curated exhibitions and retrospectives on fashion in Italy, France and the United States (at the Milan Triennale; at Palazzo Pitti, Palazzo Strozzi and Palazzo Medici-Riccardi in Florence; at the Textile Museum and at Palazzo Pretorio in Prato; at the Museè des Arts Decoratifs du Louvre in Paris, at the Solomon R. Guggenheim Museum in New York). As a lecturer, she has worked for many years with the most prestigious Italian institutions that offer studies in Fashion and Costume: in Florence at Polimoda, ISIA – Higher Institute of Artistic Industries, Faculty of Architecture and Literature and Philosophy (Courses in Design and Culture and Fashion Design ) and the Opificio delle Pietre Dure Higher Education School; in Milan at the IULM University, at the Catholic University (School of Specialization in the History of Art) and at the Polytechnic (Master in Fashion); in Rome at the Luiss Business School and the Academy of Costume and Fashion. She held the role of Project Manager for the creation of the Historical Archive and the Gucci Museum. She currently works with Valentino SpA and Gucci SpA as a consultant on higher education projects.

Anna Lombardi is a Costume Designer who graduated in Fashion Design at St. Martin’s School of Art in London. She worked in fashion, before starting to collaborate as a Stylist on numerous international advertisements, thus being able to put her training into practice and, at the same time, know the steps in the process of creating an audiovisual product. As Costume Designer, she has been credited on many Italian and international film and television productions, including: Brutti & Cattivi (C. Gomez), Voice from the Stone (Eric D. Howell), Anita B. (R. Faenza), Regina ( C. Lizzani), The Amazing Race (Bertram van Munster), America’s Next Top Model (T. Banks), The Italians Are Coming (E. Halfon). As an assistant and Costume Supervisor, she has worked on films of great prestige and success such as: The Favorite (Y. Lanthimos), Mary Poppins Returns (R. Marshall), All The Money In The World (R. Scott), Angels and Demons ( R. Howard), Gangs of New York (M. Scorsese), The Aviator (M. Scorsese), The Hills Have Eyes (A. Aja), Crimson Peak (G. Del Toro), Far From Heaven (T. Haynes) . In theatre, she has collaborated with Giancarlo Sepe, Lyndsay Kemp and Kristof Zanussi. In 2018 she was nominated for the David di Donatello for the costumes for Brutti & Cattivi by Cosimo Gomez.

Alessandra Carta is Stylist, Stylist and Costume Designer for cinema, TV and advertising. As a designer she presented her collections in Milan, Rome, Paris, Tokyo, Kiev and Abu Dhabi, and her works have been published in international magazines such as Vogue, Elle, WWD, Glamor. She is Creative Director of Idols Generation, a label linked to the costumes of the K-Pop girl band SNH48. She is a stylistic and creative consultant for various fashion, luxury and cosmetics brands, including Max Mara, Bulgari and L’Oréal. In 2014, Alessandra Carta was Stylist and judge of China’s Reality Show China’s next Top Model.

Rodolfo Bargelli is a professor of art subjects in the fashion field. He graduated in History of Art in Florence with a thesis on the sets and costumes of the Maggio Musicale Fiorentino. He taught sketching and appeared in the degree courses in Fashion Design, address Products for the Show at the Faculty of Architecture in Florence. He currently teaches drawing, technical drawing and illustration techniques for clothing and accessories, including footwear and jewellery. Active as an interior painter and decorator, in Italy and abroad he has also taught ancient and modern drawing and painting techniques, visual perception and colour theory, history of drawing, painting and sculpture.

She is a costume designer for film and television. Graduated as Fashion Illustrator and Fashion Designer in 1975, she has been Anna Anni’s pupil and worked as Costume Designer Assistant for Aldo Buti and Enrico Sabbatini. She collaborates with lectures for costume related courses. She won the Ciak d’Oro Award for the costumes of La Valle di Pietra (1992) and the Chioma di Berenice Award 2009 for the costumes of Lo smemorato di Collegno (2009).

He debuted in 1999 at Shakespeare’s Globe Theater in London, initially as a tailor and costume cutter then, since 2003, as a costume designer.

From 2000 to 2007 he worked as head of costume workshop for the Spoleto Festival where he collaborated with many international opera and dance artists. From 2004 to 2016 he lectured historical pattern cutting at the CSC in Rome alongside the maestro Piero Tosi and collaborated

with other costume designers as assistant costume designer as well as costume cutter. In 2010 he founded, together with other collaborators, The School of Historical Dress in London, where he lectures philological reconstruction of historical costume. In 2017 he published his third historical book and collaborated with Milena Canonero on the film The Sisters Brothers.



A restorer and scholar of ancient costumes, embroideries and laces. After completing her studies in Switzerland, she worked at the Metropolitan Museum of Art of New York. In 1985 she moved to Florence to work at the Costume Gallery at Palazzo Pitti. Since that time she has collaborated with many Italian and foreign institutions, studying textile and costume collections. As a lace designer and milliner, she has participated in numerous exhibitions and won recognition as a textile artist and teacher of special textile techniques. She is the author of numerous essays on laces and costume.