## 1 Introduction
Finally, Scanning Electron Microscopy (SEM) [23; 24; 25; 26; 27; 28; 29; 30] and X-ray Diffraction (XRD) [23; 26; 27; 29; 31] have been widely used to study the morphology and crystallinity of the fibers and to monitor the morphologic modifications undergone by the fibers structure and surface due to ageing or industrial processes. At present, textile polymers are very popular and exploited in a great number of applications, including the field of the restoration of artworks. The characterization of not only the fabric but also the dye formulations used is widely important to disclose the complete composition of the artwork and select the most suitable materials for the restoration and conservation practices. Several studies are reported in the literature on the identification of synthetic organic dyes and pigments in paintings, or in paint and textile mockups, while only few are dedicated to synthetic organic dyes detection in 19 th historical textile archives and modern costumes. In these cases, synthetic dye recognition was performed by 3D Fluorescence [32], Raman and Surface Enhanced Raman Spectroscopy (SERS) [33] and High Performance Liquid Chromatography coupled with Diode Array Detector and Mass Spectrometer detector (HPLC-DAD-MS) [34; 35; 36; 37; 38]. This study focuses on two stage costumes used in [PERSON] movies: the exquisite dress of the \"golden lady\" in \"_Ill Casanova_\" (1976) and the tunic and the chasuble worn by a bishop in \"_Roma_\" (1927). [PERSON] (Rimini, 1920--Rome, 1993) could be considered one of the greatest, most influential, and most creative directors and screenwriters of all time. Several of his movies were awarded with national and international prizes, including ones for Best Costumes. The creative and prolific [PERSON] (Suzzara, 1926--Rome, 2001) was one of the costume designers with whom [PERSON] used to collaborate. [PERSON] was awarded with the Best Costume prize for the innovative and eccentric creations prepared for _\"II Casanova di [PERSON]\"_ After the shooting of the movie, the costumes analyzed in this work were bought by [PERSON], who owns a deposit of stage costumes in Rome, and later by the _Cineteca Comunale di Rimini-Archivio [PERSON]_[39]. To celebrate the centennial of [PERSON]'s birth, a museum dedicated to the Italian director will be opened in Rimini, and the stage costumes will be on display for the exhibition. Thus, the _Opificio delle Piere Dure_ (OPD, Florence) was charged with the restoration campaign of these innovative artworks. The costumes are characterized by the copresence of miscellaneous executive techniques and fabrics with different chemical and physical features. These peculiarities make their restoration extremely complex. Thus, a preliminary study of the historical background and of the technical properties of the fabrics present is fundamental for their characterization and describing the executive techniques and the relative degradation phenomena. Even if the stage costumes are relatively recent, they were stored in unsuitable conditions, re-used for carnival parties, and modified to address these purposes. The re-use and the customization of the stage costumes strongly affected their integrity, since they were originally designed to last for just one movie [40]. In order to provide information fundamental for the interventions, to shed light on the nature of the fabrics and the dyes employed in such multi-material objects, representative samples were taken from the costumes and analyzed with a combined analytical approach based on OM, ATR-FTIR, SEM-EDX, Py-GC/MS, HPLC-DAD, and Liquid Chromatography coupled with high-resolution mass spectrometry (HPLC-ESI-Q-ToF). The relative performances of the different techniques were evaluated in providing complementary information.