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Artistic Director Maurizio Millenotti
Assistants Giovanna Arena e Virginia Gentili
SHAREThe Costume Design course is based on three fundamental phases: costume design, cutting workshops, and make-up and hairstyle seminars.
During the first year, students are requested to focus on the design of costume. They study a given historical period by way of classes on Costume history and Iconographic documents. Once they have acquired the ability to ‘read’ an image of a given period, they are submitted a screenplay set in the same historical period: by analysing the characters, the text, the scenes, the social class, and the location they go on to create the sketches for each character. Drawing is fundamental both to comprehend the historical period and to design the characters and costumes. It also helps establish a dialogue with the film director. In the final part of the year, after the course in Institutions of costume (which illustrates the work before the shooting – how to organize the costume department, how to relate with suppliers, how to relate to the cast, and how to work with the film director), the students go on to work on their first short films.
During the second year, another historical theme is proposed. Besides dealing with all the phases of study of the historical period, the students come in contact with suppliers and begin to learn how costume rental works, not to mention the collaboration with costume makers, shoe manufacturers, wig makers, and property departments. The historical cut seminar is key: the students have the possibility to create with their own hands the patterns and clothes they studied in the design phase, learn to recognize the fabrics from different historical periods, to know underpinnings of women’s dresses, to evaluate the potential of bodies and the wearability of clothes as well as to recognize the differences between sewing techniques of distinct periods. A seminar in make-up and hairstyle follows, after which the students can finally interact with the Acting students and shape their own project, taking care of each phase of implementation. The second-year short film cycles allow students to put in practice the theory learned during the study phase.
During the third year, the students focus on their dissertation films throughout a design project that is supposed to summarize the various educational steps. Another important seminar in cutting is organized, where they are faced with the problems connected with reconstructing a historical costume.
Over the three years the students are given the possibility of collaborating with important productions by way of internships: films in preparation and in the making, stage plays, and top-notch dressmakers. Access to the job market is thus facilitated.
In summary, the primary goal of the three teaching phases is an in-depth study of costume in relation to the era, to the visual expression of the historical moment, and in function of the physicality of the performer, whom the costume designer should make credible as a character.
At the end of the three-year period and upon achievement of the end-of-course goals, the Scuola Nazionale di Cinema awards the historic Degree of the Centro Sperimentale di Cinematografia, which is equivalent to the three-year Bachelor’s Degree (L-03 DAMS) pursuant to Ministerial Decree no. 378 of April 24th, 2019.
The Faculty of recent years include Piero Tosi, Claudia Castaldi (technical assistance), Andrea Cavalletto, Nanà Cecchi, Maria Teresa and Franco Corridoni, Luca Costigliolo, Virginia Gentili, Luigi Marchione, Gabriele Mayer, Maurizio Nardi (technical assistance), Francesco Pegoretti (technical assistance), Gabriella Pescucci, Maurizio Silvi, Tommaso Strinati, Andrea Viotti.
Costumista di fama internazionale, in teatro di prosa e d’opera ha lavorato – tra gli altri – con Alfredo Arias, Luca Ronconi e Franco Zeffirelli; tra i tanti registi con i quali ha collaborato al cinema ricordiamo Peter Greenaway, Ermanno Olmi, Bernard Rose, Sergio Rubini, Kevin Reynolds, Paolo Virzì, Gianni Amelio, Rupert Everett. Due volte finalista agli Oscar per i film di Franco Zeffirelli Otello e Amleto, ha vinto il Nastro d’Argento per E la nave va di Federico Fellini, L’importanza di chiamarsi Ernesto di Oliver Parker, La passione di Cristo di Mel Gibson, Reality di Matteo Garrone, e per i film di Giuseppe Tornatore La leggenda del pianista sull’oceano e La migliore offerta, per i quali ha vinto anche il David di Donatello.
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