SixTwentySix has signed Gianluigi Carella, a filmmaker whose work merges high-fashion polish, adrenaline-charged pacing, and VFX-informed craft. The signing expands the company’s creative range with a director equally at home in luxury fashion, high-octane sports, and culturally resonant entertainment.
Raised in Italy’s Puglia region before moving to New York to study at NYFA, Carella began as a self-taught VFX prodigy obsessed with the emotional power of rhythm. “I started by building computers and tearing apart edits to understand how pacing shapes feeling,” says Carella. “Now, whether it’s a luxury brand or a sports hero spot, I want the work to feel alive—something you experience as much as you watch.”
Before moving entirely into directing, Carella made his mark in editorial, cutting pop culture moments like Ariana Grande and 2 Chainz’s VMA-nominated “Rule The World” and Sabrina Carpenter’s viral “Nonsense.” High-profile campaigns for Toyota, Polestar, Dior, Hulu, and Activision honed his instinct for narrative precision—a skill that now defines his directing style.
His portfolio includes Gucci, Dior, Bvlgari, Fenty, Prada, Cartier, Alexander Wang, Mercedes-Benz, Audi, Samsung, Riot Games, Disney Television, and Amazon Prime Video, with talent ranging from Josh Allen and Katy Perry to Pierce Brosnan and the Kardashians.
“Gianluigi is one of those rare directors whose technical background supercharges the work,” says Jake Krask, SixTwentySix co-founder and managing director. Austin Barbera, co-founder and EP, adds, “He can deliver a hero spot for a global brand and then turn around and create a fashion film that belongs in a museum.”
Recent highlights include a Genesis campaign, a new launch for Brembo, and a Samsung spot showcasing his refined, high-energy style. He also directed an Italian-market feature for Amazon Prime that was elevated to a Prime Original. Carella continues to be repped by The Den for editorial and Nicholas Berglund worldwide.
Reel 360 News wishes Gianluigi the best of luck at SixTwentySix.
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