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Istituto Marangoni course leader Gloria Bellardi: ‘A strong portfolio can kickstart your career’

This is a new FashionUnited series, ‘From Fashion School to Industry’, featuring industry professionals sharing how to kickstart your fashion career and break into the industry.
People|Interview
By Cynthia Ijelman

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Buenos Aires - As fashion students approach graduation, one question becomes central: how to translate years of creative work into a portfolio that opens doors.

In today’s fast-evolving industry, where creativity alone is no longer sufficient, the portfolio has become more than a showcase—it is a strategic tool. It communicates not only what a candidate can do, but how they think, adapt, and position themselves within a changing market.

For Istituto Marangoni course leader Gloria Bellardi, who has reviewed portfolios across Europe, Asia, and the Middle East, the gap between education and industry is where many young talents struggle most. “There is this gap in between the moment when the student is approaching the market… where they need support to create their DNA, their aesthetic and to communicate it in the right way”, she explained during an interview with FashionUnited.

From fashion school to industry: What brands look for in portfolios today

Since 2017, Gloria Bellardi has been a lecturer at Istituto Marangoni in Milan and Florence Credits: Gloria Bellardi
IN SHORT
    As the fashion industry evolves, portfolios are no longer just a showcase of creativity; they are strategic tools. For Gloria Bellardi, Course Leader at Istituto Marangoni Milan, the candidates who stand out today are those who combine clear storytelling, digital fluency, and a strong personal identity with a clear understanding of the market they want to enter.

From creativity to strategy

While individuality remains essential, Bellardi emphasizes that what brands expect today goes beyond talent: “Creativity is not enough, definitely not.”

According to her, the key shift lies in how candidates connect their creative vision with the realities of the market. In a fast-paced, constantly evolving industry, portfolios are now read as indicators of openness. “They need to see adaptability to new systems, to new technologies, to new challenges”, she says.

The first 30 seconds: what really matters

In an increasingly competitive landscape, first impressions are decisive. When reviewing a portfolio, Bellardi looks beyond aesthetics. “I look for cleanliness and organization… I look for relevant references, meaningful images.”

But more importantly, she looks for evidence of thinking. “You give an idea of yourself about how much you are a deep thinker.” That’s where the distinction between academic and professional becomes clear. “You look professional when you show that you think about the audience. Because in the end, fashion is art, but it is a business.”

Bellardi has worked in creative direction, product development and fashion consulting. Credits: Gloria Bellardi

Digital vs. physical: a dual approach

While digital portfolios have become essential — especially through links, QR codes and online platforms — physical portfolios still hold strong value within the fashion industry, particularly in the luxury and couture sectors. According to Gloria Bellardi, “digital portfolio is mandatory”, but brands continue to value manual skills and tangible creative development. “Even in Marangoni, we still do the research all in the paper,” she explains, emphasizing the importance of developing ideas “with the scissors, with the glue” before translating them into digital formats.

“I believe it is important to have your portfolio in a physical version, especially when you go in person to companies,” Bellardi says. “Today, it has a big value.” According to her, physical portfolios allow students to demonstrate not only their digital skills and ability to use software or AI tools, but also craftsmanship and creative processes that “very few people still know how to do.”

The role of technology and its risks

The rise of AI and digital tools has transformed how portfolios are built, but not always for the better.

Bellardi warns about the indiscriminate use of artificial intelligence in portfolio creation. “If you don't know how to use it, you risk creating something flat… equal to everybody else,” she says. In her view, AI can be a useful tool, but it may also lead to homogenized work that lacks personal identity and creative depth. For her, students who can combine handcrafted skills with digital expertise will ultimately stand out: “someone that knows how to do everything by hand can do the digital rather than the opposite.”

One portfolio doesn’t fit all

Another critical mistake is using the same portfolio for every opportunity. Bellardi recommends building a strong foundation and adapting it strategically: “I think it’s important to tailor the portfolio.” “Build a base and then organize your portfolio based on the brand’s DNA and on the brand’s needs,” she suggests.

This level of customization signals not only professionalism, but also a genuine interest in the role.

Can a portfolio replace experience?

For recent graduates, a lack of experience is inevitable — but not necessarily a disadvantage. Bellardi believes that “if you have a good portfolio, definitely it can help you to start your career.” In many cases, the portfolio becomes the primary entry point into the industry.

To strengthen it, she encourages students to actively seek opportunities beyond the classroom. “I recommend students do a lot of contests, that way you show you are very proactive and you put yourself in the challenge”, she says.

Common mistakes that can cost opportunities

One of the most common mistakes students make is trying to include everything they have ever created in a single portfolio. According to Bellardi, “the portfolio is not the summary of your work.” Instead, it should function as a carefully curated selection of the strongest projects and skills. “Just put the things you're good at and you are proud to show,” she says.

For Bellardi, strong editing and self-awareness are essential when building a portfolio. Rather than showcasing every technical ability, students should focus on the areas where they truly stand out, whether that is 3D software, pattern making or conceptual development. “Good selection of your project makes the portfolio valuable,” she explains.

Beyond aesthetics and technical execution, she insists that what “cannot really be missed is the creative thinking process.” A successful portfolio should reveal not only skills, but also “identity and individuality and adaptability” — qualities that increasingly define young creatives entering the fashion industry.

What defines a strong portfolio today

If distilled into key elements, Bellardi summarizes it in three words: “Cleanliness, creative research, and strong identity.” In an industry where expectations continue to evolve, the ability to combine creativity, strategy, and adaptability is what ultimately turns a portfolio into a career opportunity.

Gloria Bellardi has more than 20 years of experience in the global fashion industry, having worked across major markets including Italy, the UK and the Asia-Pacific region. Credits: Gloria Bellardi
About Gloria Bellardi
    Gloria Bellardi is a Milan-based fashion designer, illustrator and educator with more than 20 years of experience in the global fashion industry, having worked across major markets including Italy, the UK and the Asia-Pacific region. After studying at leading fashion institutions in Italy and Europe, including Istituto Marangoni, she developed her career working for luxury brands such as Roberto Cavalli, Salvatore Ferragamo, Aquascutum and Laura Biagiotti. Throughout her career, Bellardi has worked in creative direction, product development and fashion consulting, supporting brands through trend research and collection development while also designing garments for the performing arts. Since 2017, she has been a lecturer at Istituto Marangoni in Milan and Florence, teaching subjects related to fashion design, personal style development, brand exploration and illustration. She currently serves as Course Leader for the third-year Bachelor’s program in Fashion Design at the institution.
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