the secrets of the extravagant tailor who managed to bring Leo XIV into a fashion ranking

At the end of a year in which the Catholic religion was front-page news due to the death of Francis and the election of a new pope, the head of the Vatican was once again at the center of the scene, but this time due to a more trivial fact: Leo XIV was added to the list Ranking of the best dressed people of 2025, accordingly fashion. A list that includes names like Rihanna, Bad Bunny and Jenna Ortega.

In justifying the choice, the fashion magazine article highlighted Leo’s aesthetic choices

From his first public appearance as pope, Leo XIV showed a strong symbolic break with his predecessor, who had opted for a severe appearance with as little decoration as possible.

The new pope chose to go to the balcony to appear before the people for the first time in the central loggia of St. Peter’s Basilica Red satin cape combined with embroidered details in gold, as well as a silk cord in the same gold tone.

Clarion spoke with Filippo Sorcinelli, the Italian responsible for dressing the Pope on his first steps in the Vatican, his relationship with Francis and what it’s like to clothe the Catholic Church’s highest authority.

“The path was natural and easy at the same time,” said Sorcinelli when asked by this newspaper how he became “the Pope’s designer.” He took his first steps in his aunt and sister’s craft workshop in Mondolfo, Italy, where he made his first ecclesiastical costumes for a friend who decided to become a priest.

From then on, “the news spread,” he said. “Word of mouth spread among the clergy and after a few years my work was also recognized by the Vatican during the pontificate of Benedict XVI,” he added.

In 2007 he began teaching Benedict XVI. for whom he made more than 50 elaborate and detailed tunics during his papacy, which ended with his resignation in 2013. Another very different style from Francis.

Although that first call from the Office of Liturgical Celebrations changed his life forever, he admits that the greatest feeling for him was when he saw the Pope on television in his clothes for the first time. Although he had made one of his designs for the Pope, there was no guarantee that he would choose his piece over other alternatives.

“It is an experience that lifts the heart enormously. To design for a pontiff means to give shape to a universal idea, able to represent faith, history and a vision,” the designer told this medium.

Sorcinelli had the opportunity to make his first clothes for the Pope Francis in 2013, for one of his first public appearances. The request demanded that he resolve the issue in the shortest possible time, according to instructions given to him directly from the head of the Vatican.

Filippo had recently visited the Holy See, which inspired him to create a simple cream, white and gold outfit for the Argentine pontiff’s first Mass appearance.

For Sorcinelli it is very important reflect the sensitivity of each pope in his work, although he always agreed the details of each garment in dialogue with the Office of Liturgical Celebrations and not directly with the Pope on duty.

There are no measurements, no meetings to try on clothes or make last-minute adjustments. The orders are made by this office, which consists of a specialized team of priests who are responsible for ensuring that the clothing conforms to the norms of the liturgy. Here fashion obeys ceremony.

However, he said that he had a brief encounter with Francisco. “Our only meeting was coincidental and compassionate,” he simply told this newspaper. Already in a previous interview with fashion He had admitted that he had crossed paths with both Francis and Benedict XIV, saying only: “(The meetings) have taken place, but I would rather keep them in my heart.”

“Working for the Vatican means adhering to precise rules, respecting traditions and forms, understanding the deep meaning of the rites and translating them into sacred form,” Filippo said Clarion.

And respect not only the indications corresponding to the papal attire, but also the rules that the Vatican imposes on those who enter. Covered with tattoos, earrings and piercings, the designer has no problem covering or removing them to gain entry.

“I take them off easily because, above all, I have great respect for them. Plus, it makes everything easier, it’s a question of empathy,” he said.

Even though I’ve been dressing for less than a year Leo XIV – and spent more than twelve years overseeing Francisco’s outfits – Filippo easily manages to spot the style differences between the two.

“Francis brought with him the power of humility, a habit that became a sign of brotherhood. On the other hand, Leo XIV expresses energy and a ‘Christocentric’ sense, a presence that requires understanding to create sacred vestments capable of conveying precisely these aspects,” he explained.

And he added: “Two living dimensions, both rooted in a mystery that goes beyond the habits and personality of each individual.”

Sorcinelli, like Vogue, mentions this Modesty as a central feature of Francis’ legacy that Leo XIV wanted to leave behind, at least in terms of clothing. With that in mind, the fashion magazine named her first public appearance in St. Peter’s Basilica “best outfit,” where she wore a red satin cape.

However, as a photo to illustrate their style, they chose a look they recently wore in Türkiye: a bright purple cape with gold embroidery and cream details.

Although liturgical norms dictate a certain continuity in papal dress, each pope leaves his mark, a product of his priorities, his sensibilities and his cultural past. In 2025, Sorcinelli had to go through this change for the second time since his beginnings in the Vatican.

The designer revealed that when the white smoke comes out and the church’s new highest authority is announced, three white tunics of various sizes are already prepared for the brand new pope.

Then the work begins, which requires knowledge of the new pope’s visual identity and a craftsman’s attention to detail. “It is a task that combines discipline and creative freedom, as if it were an extension of a sentence taking shape,” said the designer.

In April 2025, he was responsible for designing the miter with which Francisco was buried, a tall, pointed cap in white and with gold details, in keeping with his modest style and the grandeur expressed in each postmortem tribute.

Sorcinelli He is not just a designer, He is an artist, and his connection to the Church goes beyond dressing the Pope. From the age of five, he developed a fascination for scents and church garments, which led him to learn tailoring and embroidery from his aunt, a seamstress.

As he told this newspaper, his connection to religion began “as a child, within the walls of the parish of Mondolfo, with the labored silence of my mother, catching the light of the details hidden in every corner. Over time, this seed became a true vocation.”

He studied at an art conservatory and at the Pontifical Institute of Sacred Music in Rome until he became chief organist of the cathedrals of Fano, Rimini and San Benedetto in Tronto.

In 2001, at the age of 26, Filippo designed his first liturgical garment for a friend who was taking his priestly vows, driven “by his desire to create a meaningful gift but also to explore new territory.”

This is how he created the first piece of LAVS, his brand, which is an acronym for Laboratorio Atelier Vesti Sacre and also means “praise” in Latin.

Within a few years, the company became a leading brand in the sector both in Italy and around the world, responsible for ecclesiastical vestments, jewelry and accessories for the Catholic liturgy.

In 2013, he was even responsible for rebuilding the sacred vestments of Celestine V, the 192nd pope and the first to resign. “It was a very strange process. You had to manipulate the bones, I even made the shoes,” Sorcinelli said.

That same year, she launched her perfume line UNUM, which means “unique.” The decision was linked to the desire to add scent to the packages he sent with his designs, and this is how his own brand was eventually born.

Many fragrances are born from the designer’s experiences, such as “Io non ho mani che mi accarezzino il volt” (I have no hands to caress my face), which celebrates Italian photographer Mario Giacomelli.