DESIGNING 3D LASTS. THE NEW ARSUTORIA COURSE IN COLLABORATION WITH NEWLAST

Article from the “Making of School” Special in Arsutoria Magazine, Issue 507 – June 2026

Arsutoria School’s ‘3D Design of Lasts and Soles’ course dedicates a specific module to the study and modification of shoe lasts, using NewLast Group technologies. A course that brings designers, developers and technicians face to face with the fundamentals of the shoemaking process.

For years, the last has been a paradox: the object that determines the shoe’s silhouette, allows the upper to be shaped, and makes final assembly possible has long remained a blind spot in training. Students were taught to draw and design shoes, choose materials, and interpret trends. But the last was often left out of the picture, something one only learnt after years spent working side by side with an expert last-maker in the factory, through trial and error.

Arsutoria School has now decided to dedicate part of the ‘3D Design of Lasts and Soles‘ course to this, aiming to provide students — designers, product developers, technicians — with a practical understanding of what happens during the design phase of the structure underpinning a shoe. And since lasts come first, an intensive week-long course is dedicated specifically to them.

Paolo Marenghi, Technical Director at Arsutoria, immediately clarifies the terminology:

‘The last is the beginning of everything. We must consider it both as a design tool — it is the object that will give the final silhouette to our project — and as a production tool: it is what allows us to shape the upper, attach the soles, and construct the finished product.’

This is not about training technical last-makers. Marenghi is explicit about this limitation: “A lifetime is probably not enough to truly understand how this fundamental object is shaped and constructed.” The course’s ambition is more focused, and perhaps for this very reason more useful: to give students the ability to understand what they are asking for when they request a modification to the last. A different heel height, a variation in the toe box volume, an adjustment to the instep. Those working in design often request such alterations without knowing exactly what they entail or whether and how they can be implemented. “Designers,” explains Marenghi, “are able, after this course, to communicate more effectively with the last-maker. It is important that anyone involved in the construction of a shoe understands the basics of modifying a last, because it forms the foundation of every project.”

To achieve this goal, Arsutoria has chosen a key partner: NewLast Group. Indeed, the collaboration between Arsutoria and NewLast continues to train the next generation in last design. As Andrea Galbiati, Technical Manager at NewLast Group, explains, the value of this classroom-based approach lies in making visible a process that usually remains hidden: “The workflow followed in this course mirrors what happens today in a last-making workshop. It is like a window through which to observe a landscape never seen before: what lies behind the last, how it is digitised, how the designer or pattern-maker can modify it, and what tools are available to transform an idea into a product.“

The technologies brought into the classroom by NewLast are those used in real production environments. The DGS8MP scanner — featuring 8.5-megapixel cameras and structured light technology, unique in the sector with these specifications — allows a mould to be digitised in around five minutes, producing a 3D file ready for subsequent stages of modification or turning. Everything can be derived from that file: the physical prototype, the virtual prototype in protected .FRV format, and the reference for the upper design. The digital model — unlike the traditional wooden one, which changes volume with humidity and relies solely on human skill — becomes a stable reference point from which to replicate lasts anywhere in the world, quickly and with extreme precision. This is the first revolution that NewLast introduced to the sector, thirty years ago.

The editing software paired with the scanner highlights the difference between the artisanal past and the digital present. Galbiati uses an example that speaks louder than any technical description: ‘I want to replace the square toe of a last with a tapered one. In the traditional process, I have to make a copy of the lasts, cut off the toes, glue them on, wait for the piece to dry, apply filler, and finish it: at least half an hour, with material waste. With the digitiser and the software, in ten minutes I digitise the piece, make the substitution in the software, the patternmaker indicates how it should be done, and the result is practically immediate. No copies, no waste.’ He then adds: ‘This is one example among thousands of the potential of a digitised last.‘

There is a limit, however, that technology cannot cross. And it is worth emphasising: “There is no system — not even with artificial intelligence — that can intuit what the designer has in mind and transform it into a physical object that fits well,” says Galbiati. The designer/patternmaker of the future is not someone who ignores traditional methods: it is someone who will be able to devise new processes based on the potential of digital tools, transferring to those tools the experience that no algorithm can replace. The direction is opposite to replacement: it is an expansion of capabilities.

This is where the collaboration with Arsutoria finds its most concrete justification. “Training must be comprehensive: one must have a thorough understanding of the footwear design process in order to make the most of technological innovations.”
Marenghi reiterates: “With this new course, we aim to provide the opportunity to gain knowledge regarding what is fundamental to product development.” In a sector where the gap between designers and manufacturers risks widening ever further, the new Arsutoria course and the collaboration with those working daily in the industry are part of a forward-looking vision to secure the sector’s future.

For those who want to deepen their knowledge of EasyLast and technical shoe last design, this course offers a concrete starting point: hands-on training led by industry professionals, within a school that has been shaping footwear talent for nearly a century.

Three PUMA Professionals, One Technical Foundation at Arsutoria

How can technical education support professionals as they grow into strategic, managerial and product leadership roles? We spoke with Indy, Luke and Khelrin to find out.

From Indrajeet in 2009 to Luke in 2024 and Khelrin in 2025. Three different moments, three different professional paths, but with the same goal: gaining a deep understanding of product, materials, and constructions through a hands-on experience inside our workshop classrooms.

Over the years, Arsutoria School has trained several professionals from PUMA, including most recently Khelrin Kenia, currently Director Global Strategy & Projects at Puma Group Sourcing, who attended the Shoe Making – Sneaker Course training program from November to December 2025. Sixteen years earlier, her manager, Indrajeet “Indy” Sen (now SVP PUMA Group Sourcing), had attended one of the school’s technical programs.

For Indy, the experience at Arsutoria School represented a key step in his professional journey. Indy himself suggested that Khelrin attend the sneaker prototyping course to strengthen and complete her technical background.

What value can technical education bring to professionals working in strategic and managerial roles within the footwear industry? We asked Indy, Luke and Khelrin to share their experiences.

Let’s start with Indy’s perspective:

INDRAJEET “INDY” SEN (2009)

“My journey started at Deichmann, where I worked for nearly ten years. It was during my time as Global Quality Manager, in 2009, that I attended the course at Arsutoria. In 2016, I joined PUMA, taking on several sourcing leadership roles, eventually reaching my current position as Senior Vice President for PUMA Group Sourcing.”

The importance of a technical foundation

“Taking the course while working as a Quality Manager was transformative. Quality is not just about inspection, but about understanding the cause and effect behind shoe construction. Arsutoria gave me practical and fundamental knowledge of why a shoe is built in a certain way.

It completely changed my approach, shifting me from evaluating problems to preventing them. That strong technical foundation has been invaluable throughout my career, especially as I moved into broader sourcing leadership roles, where it is essential to connect product intent with manufacturing reality.”

What led you to choose this technical course for KK?

“You can learn many operational tasks on the job, but it is difficult to build a complete and systematic understanding that way. I personally attended the course when I needed to deepen my technical foundation related to quality, and I knew Khelrin needed the same thing for her path toward product creation.

Her strength lies in strategic sourcing and project management: the ‘what,’ the ‘where,’ and the ‘when.’ This course was the fastest and most effective way to give her the ‘how’ and the ‘why’ as well. It bridges strategy and execution.

Having experienced it myself, I knew it would give her confidence and tangible product knowledge, allowing her to speak the language of product fluently with our technical partners and become an even stronger connector within our organization.”

LUKE MCDONNELL (2024)

“I entered the footwear industry in 2018 with PUMA – who I am still with today. I began my career in a strategy role, a unique position that enabled me to very quickly gain a 360 degree exposure to the workings of one of the largest sports brands in the world. Valuable experience and knowledge was gained by being involved in development, costing, planning, materials, tooling, quality and production topics. From this role – with many intense self development courses, mentors and learnings – I transitioned into a development role. Currently I am still in development, and now oversee our fantastic Regional Creation Centres (our SMU business) development teams based in China, Vietnam and Boston.”

Growing professionally by understanding the heart of the product

“Since PUMA has a few graduates of Arsutoria already – the decision to attend the Sneaker Pattern Making and Prototyping course in Milan was straightforward. Taking on a new development role also meant that this course was especially suited to upskilling my current knowledge. Attending the course in Arsutoria definitely played a part in my career development and I will always look back with pride on my time with Arsutoria!”

The competencies acquired

“Far too many to mention! One I would mention is my current attention to detail has become laser focused through the 4 weeks with Arsutoria. An incorrect pullover meant going back to your pattern and figuring out exactly where you went wrong. Arsutoria also teaches you to truly consider the production elements of footwear – a good looking sample is worthless if we cannot mass produce it for our customers.”

KHELRIN KENIA (2025)

“I have always worked on the operational and strategic side of sourcing. I started at PUMA in Hong Kong within the business solutions area, then moved into sourcing operations in Vietnam. Later, I joined Adidas, where I managed material portfolios and costing. Today, I work on global sourcing strategy and projects.

My background has always revolved around numbers, processes, and projects, with the goal of ensuring that the right product is made in the right place, at the right time, and at the right cost.”

Growing professionally by understanding the heart of the product

“I would like to move closer to the heart of the product by taking on a Product Development role. Even if the transition does not happen immediately, understanding how a product is created is essential for anyone working in sourcing.

My manager, Indy, who attended the full Arsutoria course years ago, knows the value of this experience firsthand. We decided that this course would be the fastest and most effective way to connect my sourcing background with the technical ‘how-it’s-made’ knowledge I was missing. It was the most obvious gap to fill.”

The competencies acquired

“The most valuable part was finally connecting all the dots. I joined the course with limited technical knowledge related to shoe construction. Today, I can truly visualize how a shoe takes shape from the ground up.

The course allows you to understand — by actually doing it — how cutting, preparation, stitching, lasting, soling, and finishing are carried out while working directly with lasts, patterns, and machinery. Experiencing the process firsthand completely changes your perspective. You stop looking only at numbers and technical sheets, and you begin to truly understand the heart of the product. That was the foundation I was missing.”

Shoe Making Intensive Course

The Sneaker Making module is part of the Shoe Making course, which starting in 2027 will last 5 weeks.

After an online preparatory phase dedicated to the fundamentals of footwear, students work directly with materials, lasts, constructions, and machinery, developing different sneaker models through a hands-on approach inside the school’s sample room.

The experiences of Indy, Luke and Khelrin show that technical education is not only valuable for pattern makers or developers. Whether working in sourcing, strategy, quality or product development, understanding how a shoe is actually built creates a stronger connection between product, manufacturing and business decisions.

INFINITE SHOE by Arsutoria School: Golden Goose, Brustia Alfameccanica, and Puntozero3D are the project partners

There are high expectations surrounding this project. It is undoubtedly a highly relevant initiative, but also a pioneering one. The results could represent an important step forward toward the implementation of circularity practices in the footwear industry.

Regione Lombardia approves the research and development project dedicated to the circularity of Made in Italy sneakers

What happens to a sneaker when it reaches the end of its life cycle?

INFINITE SHOE, the research and development project created for Regione Lombardia “Next Fashion” call and approved just a few weeks ago, was born precisely to rethink the end-of-life of footwear by developing and adopting innovating processes capable of regenerating as many materials and components as possible to be reused in the production of new shoes.

PARTNERS COMPANIES

Arsutoria School is the lead partner of this project. Matteo Pasca, Director of the school, together with part of the technical department staff, will work on developing a system of metrics aimed at measuring the level of product circularity and creating a quantitative framework to support the development of effective eco-design practices. A project rooted in deep technical knowledge of materials and manufacturing processes.

Golden Goose will naturally act as the industrial partner of the project, guiding the working group toward the most effective design solutions while balancing aesthetics, cost and sustainability.

Brustia Alfameccanica has already worked on similar European projects and will focus on developing innovative processes, studying solutions that can facilitate component separation, thanks also to the expertise gained over the years in quality control systems based on X-ray technologies and advanced sensors.

Puntozero3D is an innovative startup specialized in the engineering of products for additive manufacturing. Their specific role will be to stimulate the brand with innovative design practices aimed at achieving a superior level of eco-design in their products.

There are high expectations surrounding this project. It is undoubtedly a highly relevant initiative, but also a pioneering one. The results could represent an important step forward toward the implementation of circularity practices in the footwear industry.

Four degrees for a Bespoke Shoe: the third generation of Cesare Baroli 1947

Article from the “Making of School” Special in Arsutoria Magazine, Issue 507 – June 2026

At the post-war shoe factory, four grandchildren with degrees in design, languages, economics and computer engineering bring together Goodyear welting, bespoke shoemaking, trainers and innovation. All under the 100% Made in Italy label. Arsutoria School has helped drive the company’s innovation process.

There is a classroom in Via Ippolito Nievo, Milan, where people who already work during the week come in on Saturday mornings. Some have years of experience behind them, perhaps with children to raise. Like Silvia Baroli: a mother, pattern-maker, and for over ten years a worker at the family factory in Gargallo, in the province of Novara (once known as ‘the second Vigevano’). She has enrolled on Arsutoria School’s ‘Saturday Shoe Pattern-Making Course’. The question arises naturally: why study for a trade you already practise?

TRAINING DRIVES INNOVATION

Silvia holds a degree in Design and Engineering from the Politecnico di Milano, and has been working in the company since 2013, dealing with pattern-making, leather dyeing and finishing. In the factory, she learnt by observing, trying and making mistakes. Something was missing, however: technical depth, the principles of pattern-making, and clear guidance on how to translate tradition and bring it into dialogue with the new machinery that was, in the meantime, being introduced to enrich and innovate the production line. The Saturday course – a solution designed specifically for those already working full-time – provided her with rules and a method. From then on, Cesare Baroli’s processes sped up and, above all, became replicable. Without having to start from scratch with every new request.

Then came Covid. And with Covid, a realisation: not even those who had always distinguished themselves through excellence in men’s formal footwear could continue to ignore the trainer. So Silvia enrolled in a second Arsutoria training course, this time online. Once again, the importance of flexible courses tailored for those who cannot be absent from the factory comes to the fore. Today, the company is able to design and produce high-quality sneaker collections as well.

WHERE TRADITION BEGINS

Many Italian footwear companies could tell a story similar to that of the Cesare Baroli shoe factory: the founder seizing the opportunities of the post-war period, the growth of the business, the children and then the grandchildren leading the change. It is true. Except that here, history does not function as a mere narrative; it acts as a driving force. And to understand how, we must take a step back, all the way to 1947.

Post-war, one man, one challenge: Cesare Baroli set up a small leather-cutting business in Gargallo, in northern Piedmont, which at the time boasted a thriving community of master shoemakers. Over the years, the company grew. It was precisely those historic workshops in the area that provided the foundation of the craft. His three sons – Pietro, Savio and Lauro – joined the business, and the operation expanded from cutting alone to the production of complete footwear, experimenting with the most established techniques, culminating in the Goodyear welting process. This involves double-stitching the sole to the welt – the strip of leather that runs along the shoe’s perimeter and binds the upper to the sole, both made from pure Italian leather.

To put it another way: a Goodyear shoe is for life; it can be resoled. It is a men’s classic, but also a production philosophy. No consumerism, just the deliberate purchase of a product to cherish. At the same time, during those years, collaborations began with well-known Italian fashion brands, which saw in Baroli a partner capable of meeting their requirements without compromising on quality standards. Collaborations also took place with Formula 1 (shoes created specifically for driver Juan Pablo Montoya) and for professional golfers.

Today, those three sons are still very much part of the business. Lauro – the only surviving brother, a pattern maker, assembler and finisher – is the living memory of the initial transformation, when the process moved from the cutting workshop to the finished shoe. Savio and Piero are the fathers of the third generation who have taken over the family business. There is no shortage of key female figures: Donatella De Toffoli works in the last-fitting, upper preparation and assembly departments, whilst Elisabetta Gregori is head of the stitching department. Both assist customers with foot measurements and the selection of bespoke footwear. Both are mothers to Cesare’s four grandchildren. Four cousins, four degrees, four rich perspectives on a trade that none of them had chosen as their first career path.

Silvia, product design at the Politecnico di Milano, now a patternmaker and head of crust dyeing and finishing. Clara, who studied foreign languages and literature at the Catholic University, is in charge of the cutting, layout and leather selection departments, as well as being the point of contact for foreign customers. Carlo, an economics graduate, handles the company’s management affairs and personally oversees the assembly stages. Filippo, a computer engineering graduate from the Polytechnic University of Turin, is in charge of cutting alongside Clara, develops the in-house IT systems and acts as a mechanic for machinery maintenance.

Each of them has returned out of love for a factory and a world in which they grew up. And each has brought with them something that wasn’t there before: a design methodology, a foreign language, management training, IT programming. Innovation.

ARTISANS OF THE 21ST CENTURY

This is a picture that illustrates what is meant when we speak of “artisans of the 21st century”. Not a company that pretends to be modern, but a workshop that integrates modernity where and when it is needed. To defend and pass on the Goodyear welting technique, one must know how to manage it using CAD and, when necessary, prototype it in 3D, alongside decorative stitching still carried out with artisanal know-how. To produce a high-quality shoe, one must choose eco-friendly water-based adhesives and hypoallergenic tanned leathers. For a sustainable shoe, you need a 30 kW photovoltaic system covering at least 70% of the company’s energy requirements and a vision that prioritises the product’s durability and repairability.

BESPOKE CUSTOMISATION

The company works with fashion brands that refuse to compromise on quality, and which find in Cesare Baroli a supplier capable of interpreting their style to the full. At the same time, work on bespoke footwear continues. Determining the fit is almost a ritual: measurements of both the customer’s feet are taken, using both a digital scanner and a traditional tape measure, and used to construct the last. This is the starting point for personalising the product: over 100 models, over 100 leathers, 9 types of soles, 25 possible finishes. Calfskin, cordovan, alligator, stingray, ostrich, even elephant; hand-stitched decorative seams, monograms stamped onto the upper, initials in gold or silver, embroidery. And every new pair replicates the comfort of the previous one, thanks to the constantly updated last archive.

The 100% Made in Italy label, promoted by Confartigianato, is not just a simple label here. Every stage – design, production, assembly – takes place in the Piedmontese workshop. In November 2008, the Piedmont Region awarded the company the Certificate of Artisanal Excellence. Sixteen years on, that certificate carries even greater weight: it signifies having weathered two global crises, a generational handover, the digital revolution and a pandemic.

Cesare Baroli 1947 is a unique example of excellence: a guardian of tradition, committed to quality, and capable of renewal.

The first edition of the 3D Last and Sole Engineering course was a great success

Article from the "Making of School" Special in Arsutoria Magazine, Issue 507 – June 2026

The course is structured as follows, and feedback from the first participants confirms the importance of studying the structural elements of footwear.

RHINOCEROS FUNDAMENTALS WITH RICCARDO GATTI (WEEK ONE)

The first week of the course is dedicated to acquiring the fundamental tools needed to approach sole design during the following weeks. We chose Riccardo Gatti to introduce our students to the world of Rhinoceros, an extremely powerful software used across many different industries, from architecture and furniture design to automotive and footwear.

Riccardo Gatti is considered one of the leading experts in Rhinoceros training in Italy, having taught for many years at prestigious universities such as Politecnico di Milano.

“I studied Industrial Design at Politecnico di Milano and, after a few years of experience working in different studios, I began my professional career. At the same time, I also started working as a Rhinoceros Trainer after receiving the official certification in 2005. The ability to apply the software to real-world situations within teaching has allowed me to collaborate with universities, schools, and companies from many different industries,” comments Riccardo.

Staying true to the philosophy of “the workshop school,” Arsutoria organized the class as an experiential laboratory where participants immediately began working directly with the software. Each student had access to their own dedicated workstation and a license for the latest version of the software provided directly by the school.

Together with Riccardo Gatti, we explored several topics related to Rhinoceros training and the importance of understanding 2D and 3D design tools in the era of AI.

• How important is it today for different professional profiles — not only those focused on technical product development, but also designers — to learn how to use a tool like Rhinoceros?

“For both profiles, understanding a 3D software is now essential. Rhinoceros is a strong option because it combines an accessible learning curve with a wide range of modeling tools that allow a project to move from the initial concept phase all the way to industrial production.”

• In the age of AI, how important is it to understand 2D and 3D technical design tools in order to enter the industry?

“AI is an amplifier: if I scream, it will only amplify noise; if I sing, it will expand the boundaries of my voice. The foundations of design remain the same whether we work with manual or digital tools, because at the core of everything lies the critical ability to identify constraints and opportunities. AI still lacks this critical capability, and it probably will for a long time, which means we must provide it ourselves. As a designer who started using CAD when many people were still drawing by hand, I see the same fears emerging today. But experience teaches me that, just like CAD, AI will change the way we work without ever completely replacing us.”

EASYLAST FUNDAMENTALS FOR TECHNICAL FOOTWEAR LAST DESIGN (WEEK TWO)

The second week was dedicated to the study of footwear lasts. The last is the first and most essential component for both footwear design and technical construction. Traditionally made in wood using artisanal tools such as files and lathes, today the last incorporates decades of technological innovation.

For more than 30 years, NewLast has been leading the innovation process of this fundamental component through the development of EasyLast, the reference software used by the world’s leading last manufacturers, as well as a range of precision-machining systems for plastic lasts now used in some of the industry’s top factories.

The educational program of the second week was led by Arsutoria School Technical Director Paolo Marenghi together with Alfredo Di Domenico, CAD-CAM Department Manager and Customer Service Manager at NewLast. Each student was provided with an EasyLast software license to explore the software functions used for the most important structural and aesthetic modifications of footwear lasts.

To learn more about the evolution of technical education for last design, we invite you to read the in-depth interview with Andrea Galbiati, Technical Director of NewLast, in the article “Designing 3D Lasts: The New Arsutoria Course in Collaboration with NewLast”.

USING RHINOCEROS FOR TECHNICAL SOLE DESIGN (WEEKS THREE AND FOUR)

During the third and fourth weeks of the course, we had the honor of hosting one of the most important footwear design and engineering studios: Design&Develop from Montebelluna. A historic company from the sport-system district founded by Claudio Franco and now led by his sons Alberto and Piero.

The program of these two weeks began with techniques for positioning the digital last file within space. In continuity with the topics covered during the previous week, the last was analyzed through the proportions relevant to both footwear design and sole development.

The core of the training focused on the use of Rhinoceros tools essential for the technical design of a sole. First, students explored 2D technical drawing tools used to define the relevant sections of the sole geometry.

They then moved on to the construction of 3D volumes for the different parts of a sport sole: the midsole, structural components, and outsole. Each student, according to their own aptitudes and professional expectations, had the opportunity to explore the different facets of the software together with two outstanding instructors: Piero Franco, Head of Design at Design&Develop, and Francesco Ferranti, Head of 3D Development.

We had the opportunity to further explore their experience and vision of the industry through an exclusive interview with Piero and Francesco.

• The instructors’ experience inside the Arsutoria School classroom

“The experience was extremely constructive and positive. Alternating frontal lessons with moments of collective practical work was very effective, especially because it created an important exchange between students coming from different backgrounds, as well as professionals already working within the footwear industry.”

• While building this ad hoc module for Arsutoria School, how much were you able to apply the best practices developed by your studio over many years of activity?

“We applied many of the processes we use daily in our studio, from the fundamentals of last nomenclature and their characteristics to the complete design of soles and other components. Beyond helping students achieve autonomy in using the tools, our objective was to transfer and consolidate a solid working methodology developed through years of practical experience.”

• Over the years, your studio has developed important software tools for the footwear sector based on the Rhinoceros platform. How do you see the role of product engineering software evolving within our industry? How important is it for students graduating from technical schools to know these tools?

“More and more, the industry is moving toward what is called ‘digital creation,’ meaning projects and products that are born directly within digital platforms before being translated into the various forms of manufacturing. Software knowledge has now become an extremely important skill, especially for the future roles within this industry.”

STUDENT TESTIMONIALS

• The perspective of someone who has been developing orthopedic footwear for over 30 years.

Among the international students attending the course, coming from different educational and professional backgrounds, there was also Lárus Gunnsteinsson from Iceland, Product Designer at Össur, an Icelandic company specialized in orthopedic solutions and prosthetics.

With more than 30 years of experience in the footwear and product development industry, Lárus has been a Master Shoemaker since 1983 and a certified Orthopedic Shoemaker since 1993. Throughout his career, he has specialized in gait analysis, insole development, EVA products, and footwear for both able-bodied people and individuals with physical disabilities.

These are Lárus’ words about his classroom experience:

“What motivated me to join this course was actually the timing. It’s an intensive four-week course; I knew it would be eight hours a day and quite demanding. I was sure it would help me and become a huge tool for understanding what others are doing — the people I work with today and also the people I will work with in the future. I will definitely use the opportunity I had by participating here to speed up the design work we are currently developing.”

• The point of view of a 3D and Research & Development specialist

Among the participants of the course was also Andrea Di Ianni, who has been working for the past seven years in the Research & Development and 3D department at Diamant SRL, a leading company in the production and distribution of sports equipment and sportswear. Among his responsibilities within the company, he explains, “I develop tools and solutions to optimize production processes and support projects for major brands such as Nike Football, DMT Cycling, and other leading companies.”

Andrea joined the course to deepen his knowledge of footwear lasts and sole design:

“I wanted to expand my experience in the footwear sector and further improve my knowledge of the tools used during the course, but above all to better understand the method and workflow needed to create prototypes and develop products in the best possible way, in the shortest possible time, while maintaining a high level of quality.”

A New Location For The Future Of Education

From the January 2026 edition of Making of School - Arsutoria School and Istituto Secoli announce a new campus in Milan’s Certosa District, opening in the second half of 2026

Arsutoria School and Istituto Secoli announce a new campus in Milan’s Certosa District, opening in the second half of 2026.

The two Italian institutions of excellence, each with almost 100 years of history, announce the opening of their new Milan campus on Via Barrella, in the heart of the Certosa District project developed by RealStep. Starting in mid-2026, the two schools will share a modern campus designed to host laboratories, research areas, and spaces dedicated to student life.

Istituto Secoli since 1934

Founded in 1934, Istituto Secoli is today the first fashion academy in Italy and an international reference point for education in apparel. Its President, Matteo Secoli, also leads the Fashion Training System Platform (Piattaforma Sistema Formativo Moda), the association that brings together Italy’s leading institutions of higher education. It is within this institutional context that the relationship with Arsutoria School has steadily strengthened over time, supported by Matteo Pasca’s participation as a board member of the Platform for two terms.

Shared values

What unites Arsutoria School and Istituto Secoli is a common foundation: both originated as technical training schools, with a strong focus on product development and hands-on laboratory work. Over time, both institutions have expanded their programs to include design, while continuing to consider technical product development and laboratory activities as core elements of their teaching approach.

Building a complete educational pathway

The goal of this synergy is to build a complete educational pathway. As Matteo Pasca explains: “Our dream for the future is to create a full training path, starting from secondary school all the way to a university degree, and possibly even research doctorates.”
Alongside this vertical vision, there is also a horizontal synergy: joining forces and bringing together different but complementary skills from apparel and accessories, leveraging what each school does best. In this way, the expertise of one institution can enrich that of the other, creating a more comprehensive educational system.

Matteo Pasca also explains that the new campus stems from the desire to create a place “where fashion manufacturing is practiced and taught.” He adds that “the new site will reflect what is happening in the industry,” further strengthening the connection between education and the professional world.

For Matteo Secoli, this proximity represents an opportunity to evolve together, “to maintain a strong laboratory-based approach, while expanding it into an academic, research-driven and innovation-oriented dimension, in service of our students.” He also notes that “students will have the opportunity to enhance their learning experience, their connections with companies, and their potential areas of specialization.”

A Renewed “Made in Italy”

Both Arsutoria and Secoli safeguard a long-standing Made in Italy heritage, but tradition alone is not enough. “I believe that the education of the future will be a balance between tradition and innovation, and innovation is something that has always inspired us,” says Pasca. The new campus will therefore be a place where laboratories and research coexist, where craftsmanship engages with new technologies, within an ecosystem designed to prepare professionals who can move confidently in a constantly evolving industry.

Download the latest Making of School and discover more news from Arsutoria School.

Artificial Intelligence In The Design Course: Tools, Method, Andstudent Experience

From the January Edition of Making of School - In the world of footwear and bag design, artificial intelligence is becoming an increasingly natural part of creative processes, but its role is not to replace the designer.

Speeding up, amplifying, and making the final project more readable. Valentino Parlato, Coordinator of the Design Courses at Arsutoria School, explains: “AI shortens timelines, but creativity and technical knowledge remain the human part of the work.” This is the vision guiding the school’s footwear and bag design courses: integrating advanced tools while maintaining solid foundations in drawing, technical knowledge, and digital design. It is from this strong base that AI becomes a true ally.

Workflow and tools

“A drawing that used to take up to an hour can now be rendered in two clicks, freeing up time to rethink, review, and improve the idea,” Parlato explains. AI tools enter the workflow with a clear purpose: not to generate ideas “from scratch,” but to speed up time-consuming tasks and allow students to focus on creative decisions. The first key step is the rendering phase, which follows traditional hand drawing and digital sketching. By uploading a detailed digital drawing and adding material references—such as leathers and textiles—into the prompt, tools like Vizcom and Gemini 2.5 Flash generate photorealistic images of the product, making it possible to explore multiple material and color variations.

The next step is professional post-editing. AI-generated renders are refined in Photoshop to correct lighting, stitching, metal components, and other technical details that artificial intelligence often fails to interpret correctly. “This is where human expertise comes into play,” the coordinator summarizes. “Without a trained technical eye, it would be impossible to understand whether what AI produces is actually feasible.”

The workflow is completed in the Branding and Collection Development module. During moodboard creation, students use Photoshop’s AI features—such as automatic background removal and Generative Fill—to quickly assemble inspirations and visual palettes. For dynamic content, students also experiment with Meta AI, which allows them to create short videos from images, enhancing final presentations with animated content.

Finally, the course introduces Newarc.ai, a platform that generates high-quality images, supports negative prompts, and enables product visualization on virtual avatars, simplifying product presentation without the need for real photography. The platform also meets high standards of security and compliance in data management, which is why it is known to be used by major sportswear footwear brands.

Irreplaceable Skills

Creativity and technical ability remain irreplaceable. On one hand, artificial intelligence does not diminish the importance of product culture— on the contrary, it makes it even more crucial. Parlato explains that AI often imitates forms seen online and adds: “If you delegate creativity to AI, you get a collage of images or elements taken from the digital ecosystem or from existing products. That will never be innovation.”

On the other hand, these tools generate images without understanding real construction logic. “AI can produce a credible-looking product, but if you don’t understand how shoes or bags are built, you can’t tell whether what you’re seeing is actually feasible.”

Case Study: Gabriel Robustelli

A concrete example of the effectiveness of this approach is the final project by Gabriel Robustelli, a graduate of the Shoe One-Year Diploma. His project began with a hand sketch, later developed digitally in Photoshop through the addition of materials, textures, and visual references.

For the rendering phase, he used Vizcom, uploading both the digital drawing and a collage of materials. The tool generated realistic interpretations of the concept, perfectly suited for presentation. Not satisfied with stopping at static renders, Gabriel chose to bring his footwear to life using Higgsfield, an AI platform for video creation. The result was a virtual runway featuring avatars, transforming the project into an immersive experience.

The combination of traditional technique, digital design, and AI made his collection clear, credible, and perfectly suited for both portfolio presentation and personal branding.

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Footwear Innovation Day 2025, Arsutoria School on the front row

From the January 2026 edition of Making of School - A conversation with Alberto Franco, Chief Technology Officer at design&develop, to understand the signals coming today from innovation in the footwear industry.

On November 28, in the heart of the Montebelluna footwear district, the second edition of the Footwear Innovation Day took place an event that brought together companies, designers, and developers around a single question: where is innovation in footwear heading? A delegation from Arsutoria School was also in attendance, with the valuable opportunity to listen to authoritative voices and gain insight into the main directions of innovation currently shaping footwear companies.

We asked Alberto Franco, Chief Technology Officer at design&develop and curator of the event’s content, to help us interpret the most significant messages that emerged on stage. The result was a conversation rich in insights, particularly relevant for those who are still in training today.

What topics were covered during the event?

“This year, we decided to divide the event into four thematic blocks, one more than in the first edition in 2023. An in-depth look at what we consider the key pillars of footwear development: design, engineering, and production. The sessions were:

• Innovation in fabrication, where we presented some of the most innovative technologies in manufacturing, from uppers to soles, including systems that reduce components and increase automation.
• Product end-of-life, a topic made even more urgent by new regulations. We involved Contarina SPA—a true European leader in waste management—together with AIR Coop and Plastic Sort, to provide not only an overview of regulatory constraints but also concrete solutions.
• Digital transformation, a subject that is particularly important to me and still underdeveloped in our local area. The presentations showed that today digitalization can be adopted using open and interconnected tools, far more flexible than what we have seen in the past.
• Design for purpose, a block dedicated to inspiration and design driven by real-world use. After highly technical talks, it was important to return to the constraints and needs of the end user.”

What are the key messages emerging from the 2025 edition, across the presentations and Q&A sessions?

“The common theme across almost all talks is that footwear products need to be designed and built in a more conscious way, simplifying not only production but also design and the product’s end-of-life.
Another interesting aspect is that very little was said about artificial intelligence. Not because it isn’t relevant, but because it is now perceived as an integrated tool—useful, but not a replacement for the work of designers or technicians.”

Which of the technologies presented do you believe could have the greatest impact on the footwear industry?

“I believe the greatest impact will come from production technologies. The possibility of bringing certain types of manufacturing back to Europe — especially in the sport and outdoor sectors will depend on automation. During her presentation, Maia Zheliazkova, Computational Designer and Innovation Concept Design at On, showed how the brand is already able to produce high-performance footwear in Zurich thanks to investments in automation. This is a direction that will lead to a rethinking of design and traditional product development processes.

End-of-life regulations will also play a major role. Brands will be required to contribute to the disposal or recovery of their products, similar to what already happens with plastic bottles. This will push many companies toward simpler constructions, fewer materials, and greater attention to costs.”

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Successful Conclusion Of The Hugo BossX Arsutoria School Project

From the January Edition of Making of School - The brand has confirmed its trust in the effectiveness of Arsutoria School’s industry-driven training by offering an internship opportunity to one of its graduates.

When Hugo Boss shared the internship job description for its Design department, we immediately recognized a profile perfectly aligned with what we develop within the Shoe One-Year Diploma: a solid technical foundation, design creativity, strong proficiency in Adobe software (Photoshop and Illustrator), and skills in the main 3D tools typically used in the footwear industry, such as ICAD and Rhinoceros.

This strong alignment led to a collaboration between the school and one of the most important—and certainly most innovative—brands in the fashion industry, Hugo Boss. The result? One of the five graduates from the October 2025 Shoe One-Year Diploma, Gabriel Robustelli, was selected for a six-week internship in Switzerland starting on November 3, 2025. Following his graduation, Gabriel had the opportunity to present his final project Take a Breath at Lineapelle: a footwear prototype that clearly highlighted both his creative approach and his technical skills.

We caught up with Gabriel during the final weeks of his internship, and he shared that he never felt out of place: “The technical training at Arsutoria allowed me to take part in meetings from the very beginning, understanding both the designers’ and technicians’ language. Complex topics such as structure analysis and material combinations for the collection were approached in a way that felt very familiar. I didn’t feel like a passive observer, but an active part of the process.”

The internship at Hugo Boss also allowed Gabriel to fully immerse himself in the work of a structured team, where each function operates in close coordination. “Seeing how product development, marketing, and materials teams collaborate is extremely formative… what impressed me most was their ability to communicate in perfect synergy.” At the same time, the experience gave him the opportunity to develop a new sensitivity toward footwear construction, proportion harmony, and the role of materials. “I learned how every choice, even the smallest one — a curve, a stitch, a texture — can define the essence of a shoe.”

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