Massimo Cantini Parrini, mentor for Polimoda's master's in costume design, on the role of the costume designer today

Polimoda's new master's in Costume design will launch in February. The course frames costume design as a narrative art form. It adopts a research-based methodological approach, aimed at providing students with a comprehensive and integrated understanding of the essential elements of costume design. Students will develop skills in historical research; character analysis; technical design; and visual storytelling. They will acquire the ability to transform narrative insights into compelling visual representations that authentically portray characters and eras. So, who is a costume designer and what do they do? This well-known and sought-after profession in theatre, cinema, and television offers an interesting career path for young people, both in Italy and abroad.

FashionUnited interviewed Massimo Cantini Parrini, the mentor for the course. It will be held in English in Florence from February to October 2026 and costs 28,000 euros.

Cantini Parrini, born in Florence, trained at Polimoda and then at the Centro Sperimentale di Cinematografia under the guidance of Oscar-winning costume designer Piero Tosi. Recognising his talent, Tosi welcomed him to Sartoria Tirelli as an assistant costume designer. He made his cinema debut collaborating with Gabriella Pescucci. Today, he owns a personal collection of over 4,500 original period costumes and 10,000 vintage accessories, dating from 1630 to the early 2000s. His most recent work on Pablo Larraín's biopic about Maria Callas, “Maria” (2024), starring Angelina Jolie, has been acclaimed as a “visual feast of fashion” and for its ability to reflect the different stages of the singer's life.

What is meant by costume design today?

Today, costume design is a very different profession compared to the past. It is no longer confined to just cinema or theatre. It has become a universal language that spans different media: cinema; television; digital platforms; music videos; advertising; and fashion. We live in an era where the image is dominant. Costume, set design, as well as make-up and hairstyling, are some of the most powerful tools for portraying a character and communicating emotion to the public. It is not just about dressing an actor. It is about translating a character's psychology, making a historical period tangible, and conveying their entire inner world through even a seemingly minor detail. Today, the costume designer must also engage with an international dimension. Productions are often co-produced by multiple countries, there are different cultural sensitivities to respect, and the crossover with fashion and contemporary art is increasingly strong. This is why I always say that costume is a universal visual language that must never be decorative, but narrative.

What skills are necessary to pursue this profession and what talent is essential to possess and cultivate to grow in this field?

It is a job that requires very broad preparation. One must have knowledge of the history of costume and art; know how to read and interpret a script; have technical skills in tailoring and pattern making; and understand fabrics, materials, and even dyeing and ageing techniques. Drawing remains fundamental. It is the first tool we use to transform an idea into an image to convey our vision to the director. At the same time, the ability to communicate is essential. The costume designer always works in dialogue with directors, set designers, cinematographers, and actors, and must translate their vision into a team effort. If I had to name the most important talent, I would undoubtedly say empathy. Without empathy, you never truly get inside a character. It is necessary to understand what they feel, what they hide, and how they relate to the world being portrayed. Only then can you create a costume that is not a disguise, but a second skin. I believe a costume designer must have the insight of a psychologist and the sensitivity of a storyteller. Of course, to all this must be added rigour, discipline, and a tireless curiosity. Visual culture must be cultivated every day. Creativity is born from a rich inner archive.

What are the career opportunities in Italy and abroad?

The opportunities are numerous, and today they are also much more diverse than in the past. In Italy, in addition to cinema and theatre, there is television; series for streaming platforms; advertising; fashion, which often intersects with costume; and even new areas like video games or immersive productions. Italy has a very strong cultural and artisanal tradition. We are the country of Cinecittà, of opera, of great tailoring workshops, and this remains a strength. Certainly, there are structural difficulties and the market is less stable than in other countries. However, Italy continues to attract foreign productions precisely for its artisanal expertise and cultural heritage. Abroad, on the other hand, I think of the US and the UK. There, the production system is much more structured. There are strong unions, recognised professional roles, and a wider network of opportunities. For a young person wanting to pursue this career, gaining experience abroad is certainly enriching. It allows them to engage with large-scale productions and with an organisation that values the work of the costume designer.

What is the average net salary for someone in this profession, at both junior and senior levels?

It is always difficult to talk about numbers. Compensation depends heavily on the type of production, the budget, and the country. In Italy, between small and large sets and independent productions, the figures always change and are not constant. Abroad, especially in the UK and the US, compensation is on average higher than in Italy. A senior costume designer working on a major Hollywood production can earn figures that are unthinkable here. It must be said, however, that this is a profession of highs and lows. There are periods of very intense, well-paid work, alternating with breaks or less profitable projects. Financial stability is not the norm. Anyone who takes up this profession must do so first and foremost out of passion and vocation. This is what keeps the flame alive even in the most uncertain times.

What approach distinguishes the Polimoda master's for which you are a mentor? Are internships or practical experiences included?

It is an honour for me to be able to collaborate with Polimoda as a mentor and former student. The Polimoda master's is a course I consider unique. It brings together the solidity of tradition and the freshness of the contemporary. On one hand, there is rigorous work on the history of costume, tailoring techniques, material analysis, drawing, and character construction. On the other hand, there is direct contact with the real world. The lecturers are professionals who bring their daily experience, and students are encouraged to work on concrete projects. Personally, I strongly believe in the value of “doing”. This is why the master's is not limited to theory. It includes workshops, potential collaborations with productions, and internship opportunities. It is a valuable opportunity to get hands-on experience immediately, to understand what it means to work under pressure, meet deadlines, and interact with a crew. Students thus have the chance to engage with the reality of the profession, and not just its academic side. What we want to impart, above all, is an approach. Not just technique, but the ability to develop a perspective, a sensitivity, and critical thinking. Training costume designers does not just mean teaching how to make a garment. It means teaching how to read a script, listen to an actor, and tell a story. This is what can make the difference between a competent artisan and a true costume artist.

Interview conducted in writing